Dusko Goykovich – Blues In The Gutter (1983)

01.Think In Half Time

02.Faros

03.Oo-Bop-P’da

04.Samba- De Loves Me

05.Intro

06.Nursery Sketch

07.Blues Inthe Gutter.

Dusko Gojkovic (tp,flh)

Erich Kleinschuster (tb)

Milos Krstic (p)

Kreso Remeta (b)

Alvin Queen (ds).

An excellent bop-based soloist who has recorded rewarding sets for Enja, Dusko Goykovich played in Yugoslavia and Germany before visiting the U.S. for the first time with Marshall Brown’s International Youth Band (playing at the 1958 Newport Jazz Festival). Goykovich attended Berklee (1961-1963) and played with the orchestras of Maynard Ferguson (1963-1964) and Woody Herman (1964-1966) before deciding to return to Germany, leading a group with Sal Nistico (1966). He was with the Kenny Clarke-Francy Boland Big Band (1968-73) and had a 12-piece band with Slide Hampton (1974-1975). Miles Davis is his main influence, but Dusko Goykovich (who has been quite active during the ’80s and ’90s in Europe) has his own extroverted style.
— Scott Yanow.

Don Ellis - The New Don Ellis Band Goes Underground (1969)

THE NEW DON ELLIS BAND GOES UNDERGROUND Featuring Patti Allen
(Columbia CS 9889, © 1969)

TRACK LISTING:
House in the Country (Al Kooper / arr. Don Ellis)
Don't Leave Me (Harry Nilsson / arr. Don Ellis)
Higher (S. Stewart / arr. Don Ellis)
Bulgarian Bulge (public domain / arr. Don Ellis)
Eli's Comin' (Laura Nyro / arr. Don Ellis)
Acoustical Lass
Goood Feelin'
Send My Baby Back (Marbray, Hewitt / arr. Don Ellis)
Love for Rent (Fred Selden / arr. Fred Selden)
It's Your Thing (Isley, Isley, Isley / arr. Don Ellis)
Ferris Wheel
Black Baby (Allen, Ellis).

PERSONNEL:
Don Ellis
trumpet, electrophonic trumpet, ring modulator, flugelhorn.

Saxes & Woodwinds:
Fred Selden - alto sax, soprano sax, flute, clarinet
Lonnie Shetter - alto sax, soprano sax, flute, clarinet, oboe
Sam Falzone - tenor sax, clarinet, flute
Hadley Caliman - tenor sax, flute
John Klemmer - tenor sax, flute
Mike Altschol - baritone sax, clarinet, bass clarinet, flute;
Jon Clarke - baritone sax.

Trumpets:
Glenn Stuart
Stu Blumberg
John Rosenberg
Jack Coan.

Trombones:
Jock Ellis
George Bohannon
Glenn Ferris
Dana Hughes - bass trombone
Doug Bixby - contrabass trombone, tuba.

Rhythm:
Jay Graydon - guitar
Pete Robinson - piano, Fender Rhodes, ring modulator, clavinet, harpsichord
Joe Julian - bass
Carol Kaye - bass
Gary Todd - bass
Ralph Humphrey - drums
Rick Quintnal - drums, vibes, percussion
Gene Strimling - percussion
Lee Pastora - congas, bongos, shaker, cowbells.

Vocals:
Patti Allen
The Blossoms.

REVIEW:
This album gets a bum rap, but it actually isn't that bad. Al Cooper's involvement in the Autumn album probably had something to do with the opening Blood, Sweat, and Tears cover tune, and he produced the "Eli's Comin'" track. The other covers include songs by Harry Nilsson ("Don't Leave Me"), Sly & The Family Stone ("Higher"), and The Isley Brothers ("It's Your Thing," where the entire trumpet section plays quarter-tone trumpets). The tune that really sticks out on the album is "Bulgarian Bulge," an arrangement of a Bulgarian folk song in 33/16 time. Mind boggling. As for the originals, Fred Selden's "Love for Rent" has a nice breakdown in the middle, where Don plays an echoplexed solo over the chorale-like trombones. Don's "Goood Feelin'" is an earful, going through a number of musical styles (although I could do without the cheesy background vocals). "Acoustical Lass" would be interesting if they issued the whole track, and "Ferris Wheel" features, naturally, trombonist Glenn Ferris...what the hell is the noise at the end of the song?!

A better question would be "Who is Patti Allen?" I'd be interested in hearing how Don and Patti got hooked up. Patti sings four songs on the album with varied results, the best track being "Send My Baby Back." Just when you thought you were baffled enough, the studio vocal group The Blossoms (Darlene Love, Fanita, and Jean King, who, among countless other distinctions, were the singers on "Shindig") also lend their voices to Underground. Is this the same guy who previously recorded "Indian Lady"?!?!?! In the end, it's all a lot of fun.

08.06.03 - I just listened to Laura Nyro's version of "Eli's Comin'" and Don's arrangement is practically a transcription. At the very least, it retains more of the original elements than Maynard's version of the song (which was recorded a year later). Maynard's take on it is a bit more exciting, but Don's is more sonically interesting. Wait a sec…what in God's name am I talking about? I need to get a real life.

12.13.05 - I never thought this album would ever see a CD reissue, but I'm proven wrong once again by Wounded Bird. Getting back to the covers, "It's Your Thing" is not the best version of the song (that honor goes to the band Cold Grits), but the shout section is exciting, and the quarter-tone trumpet section should make anyone chuckle. Don matches Nilsson's wacky vocal stylings almost note for note on "Don't Leave Me." I like Don's version better than the original. Pat Williams also did an arrangement of the song on Heavy Vibrations, but it's too marching band-ish for me (someone is even blowing a whistle to signal the choruses!!). Seek out those OOP Pat Williams albums on Verve...they are all sonically interesting and true musical time capsules.

Dan Adler, Joey DeFrancesco, Byron Landham – Back to the Bridge (2010)

01. Silver and Gold (Adler) 5:14

02. Oh, Look at Me Now (Bushkin) 6:32

03. Joy Spring (Brown) 5:24

04. Back to the Bridge (Adler) 5:21

05. Good Old Days (Adler) 6:55

06. A Beautiful Friendship (Styne-Kahn) 7:43

07. Yatsanu At (We Left Slowly) (Zehavi) 7:14

08. Between Jobs (Adler) 5:10

09. I’ve Never Been in Love Before (Loesser) 6:37

10. The Smudge (Peterson) 8:08.

Dan Adler, guitar

Joey DeFrancesco, organ

Byron Landham, drums.

Dan Adler - Back To The Bridge (Featuring Joey DeFrancesco)

Back To The Bridge is a fine showcase for jazz guitarist Adler's writing, arranging and playing skills, and presents ten tracks of organ trio music in all its glory. Joey DeFrancesco is the most renowned and recognizable organist of the modern era, and DeFrancesco brings his longtime drummer, Byron Landham.

Tracklist:
01. Silver And Gold (5:14)
02. Oh, Look At Me Now (6:32)
03. Joy Spring (5:24)
04. Back To The Bridge (5:21)
05. Good Old Days (6:55)
06. A Beautiful Friendship (7:43)
07. Yatsanu At (We Left Slowly) (7:14)
08. Between Jobs (5:10)
09. I've Never Been In Love Before (6:37)
10. The Smudge (8:08)

Total Time: 64:18 min

Personnel:
Dan Adler, guitar
Joey DeFrancesco, organ
Byron Landham, drums.
Dan Adler made a strong impression with his debut recording as a leader, All Things Familiar, a quintet date featuring tenor saxophonist Grant Stewart and pianist Richard Samuels.

On Back To The Bridge, the inventive guitarist explores a mixture of standards and originals with the top jazz organist of the past 20 years, Joey DeFrancesco.

American jazz has been Dan Adler's main musical inspiration throughout his life. In high school in his native Israel he took lessons from Avri Sharon, a jazz guitarist who had studied with Jim Hall and Chuck Wayne. Seeing guitarist Ray Crawford performing with Jimmy Smith in Tel Aviv was an influential moment in Adler's career as was discovering the early recordings of Joe Pass. Since moving to New York, Adler has worked in jazz clubs, played duo gigs, and performed with many of his musical heroes.

On Back To The Bridge, Dan Adler, Joey DeFrancesco and the organist's regular drummer Byron Landham explore the classic jazz organ trio format. The interplay and communication between Adler and DeFrancesco make it sound as if they play together on a regular basis, but that is not surprising since they are both masters of the mainstream jazz vocabulary and are natural swingers.

The opening original Silver And Gold, a tribute to Horace Silver, has the trio grooving hard from the start with Adler and DeFrancesco taking solos that are full of inventive ideas. Oh, Look At Me Now, pianist Joe Bushkin's most famous composition, was a swing era hit that became associated with Frank Sinatra. Listen to how clear Adler's articulation is during his thoughtful solo.

Clifford Brown's Joy Spring receives an unusual melody statement that alternates between two different tempos, before it becomes a cooking uptempo romp. Back To The Bridge is an Adler original that is a well disguised take on Have You Met Miss Jones. His Good Old Days is a quirky jazz waltz with a melody that is actually played in superimposed 4/4 time.

A Beautiful Friendship starts with an introduction that hints at a New Orleans march before it settles into a medium tempo swing. The lone ballad of the set is an Israeli standard, the somber Yatzanu At (We Left Slowly) . Adler's Between Jobs is reminiscent of Blue Mitchell's Fungii Mama in that it utilizes rhythm changes, has a calypso feel, and is quite joyful. I've Never Been In Love Before, taken faster than usual, includes one of Adler's best solos of the project, an improvisation overflowing with creative ideas. The album concludes with Oscar Peterson's The Smudge, a medium-tempo blues that includes a memorable guitar/organ tradeoff.

A major step forward for Dan Adler, Back To The Bridge is a delight for fans of straight ahead jazz.
Scott Yanow.

Charlie Sepulveda & The Turnaround (2008)

01.Something Cute (Lee Morgan) 6:38

02.Don't You Worry About a Thing (Stevie Wonder) 7:09

03.Si Tú Sabes (Sepulveda) 10:34

04.Mr. Jazz (Sepulveda) 6:00

05.Chang's Song (Herbie Hancock) 4:38

06.Bomba Pa' Carmen (Sepulveda) 6:34

07.Mo Better Blues (Mike Lee) 6:54

08.Gubraltar (Freddie Hubbard) 7:22

09.Mírame Más (Julio Gutiérrez) 6:40.

10.Caribeño (Gabriel Rodríguez) 7:01.

Charlie Sepulveda & The Turnaround - Heineken Jazz Fest 2007.

At age 20, Charlie Sepulveda earned the first trumpet slot in the band of another native New Yorker of Puerto Rican ancestry, heralded pianist Eddie Palmieri. Twenty-five years later, after working with stars from Dizzy Gillespie to Tito Puente, Sepulveda has further proof that his studies at City College of New York, and in Puerto Rico, were fruitful. He started a solo recording career in 1991, but has only seven CDs, partly because he’s been busy giving back as a professor at the Conservatorio de Música de Puerto Rico.

The latest, Charlie Sepulveda & the Turnaround, is an audio textbook in combining disparate studio crispness with concert energy. Sepulveda also studied at the conservatory, and at the Universidad de Puerto Rico. The university’s campus radio station, WRTU, has state-of-the-art digital equipment, so the trumpeter recorded the seven-piece band live in the studio.

Sepulveda covers vintage material by Lee Morgan (“Something Cute”), Herbie Hancock (“Chan’s Song”) and Freddie Hubbard (“Gibraltar”), bringing something new to each through creative arrangements. A band of this size requires attention to detail when recording live, but pianist Eduardo Zayas and vibraphonist Felipe Fournier keep Stevie Wonder’s “Don’t You Worry ’Bout a Thing” creatively uncluttered by alternately setting up and answering Sepulveda and saxophonist Norberto Ortiz.

The trumpeter’s originals range from some of the disc’s most rhythmically simple (“Si tu Sabes”) to “Mr. Jazz,” his churning dedication to Puerto Rican radio host Wito Morales. Bassist Gabriel Rodriguez is a unifying force throughout the CD, and drummer Raul Maldonado and conguero Gadwin Vargas leave each other—and everyone else—just the right amount of space on Sepulveda’s complex “Bomba Pa’ Carmen.” The leader also adds muted trumpet on Mike Lee’s “Mo’ Better Blues,” and salutes Puente on Julio Gutierrez’s poignant “Mirame Mas.”
~ jazztimes.com.

Charles Mingus - Shoes of the Fisherman's Wife (1988)

01.Slop

02.Song with Orange

03.Gunslinging Bird

04.Things Ain't What They Used to Be

05.Shoes of the Fisherman's Wife Are Some Jive Ass Slippers

06.Far Wells, Mill Valley

07.Mood Indigo.

Maurice Brown , Seymour Barab (cello)

Jerome Richardson (flute, saxophone)

Bobby Jones (reeds, tenor saxophone)

Danny Banks (reeds)

John Handy, Benny Golson, Booker Ervin (saxophone)

Dick Williams, Snooky Young, Jimmy Nottingham (trumpet)

Julius Watkins (French horn)

Eddie Bert, Jimmy Knepper, Urbie Green (trombone)

John Foster, Roland Hanna (piano)

Theodore Cohen (vibraphone)

Dannie Richmond (drums).

All music is from the 1959 Columbia release MINGUS DYNASTY, except for "The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers" which is taken from Mingus' 1971 recording LET MY CHILDREN HEAR MUSIC.

Most of the Mingus Dynasty, which features the same lineup as Mingus Ah Um and has a similar feel but is less driving. Inexplicable inclusion of "Shoes of the...." from Let My Children Hear Music, recorded twelve years later. All great music. ~ Michael Katz

Chicago Afro-Latin Jazz Ensemble – Blueprints (Chicago Sessions) (2010)

Send Eggs

Milesmiles

Captain Spok

Vuelvo a Vivir

Blueprints

Bossa Pegajosa

Tierra

Timeless.

Victor Garcia: trumpet;

Tito Carrillo: trumpet;

Roger Ingram: trumpet;

Freddie Rodriguez: trumpet;

Steve Turre: trombone, shells;

John Mose: trombone;

Craig Sunken: trombone;

Greg Ward II: alto sax;

Rocky Yera: tenor sax, baritone sax, flute;

Steve Eisen: baritone sax;

Rich Moore: alto sax (7), clarinet (7);

Neal Alger: guitar;

Darwin Noguera: piano:

Joshua Ramos: electric bass;

Paoli Mejia: congas;

Victor Gonzales, Jr. congas;

Juan Picorelli: timbales;

Ernie Adams: drums (1, 3, 4, 6, 8);

Juan Daniel Pastor: drums (2, 5, 7);

Juan Daniel Pastor: cajon;

Nythia Martinez: vocal;

Ricky Luis: vocal.

Darwin Noguera is a sublime talent. Not only does he have extraordinary technique, something he seems to have worked hard on, but he is brilliantly expressive and he has the dynamic that enables him to him to annunciate in various idioms and metaphors although his strongest is one with a heavy Latin underpinning—especially on this Big Band album, Blueprint, which he appears to have co-created with his alter ego, the trumpet playing Victor García. The pianist and the trumpeter might have made strange bedfellows were it not for the relationships already forged by the venerable Oscar Peterson and Dizzy Gillespie (Pablo Records, 1974). The one with Noguera and García might be longer-standing than that. Moreover, these two musicians write and arrange more like Lennon and McCartney than anyone else. And Blueprints contains some of the finest examples of this writing.

The bold, brassy pervasiveness of this band is replete with the muscular flexing not only of the burnished tones of the horns—the brass section has four trumpets and two trombones—but echoes with the valiant thunder of percussion as well. Although the forthright nature of the music is undiminished throughout and its existentialism is kept alive also by the steady throb of the electric bass, a certain softness does occur in the vocal chart that is gracefully negotiated by the clear and magnificent soprano of Nythia Martinez on “Timeless”, a chart that closes this fine album. However this is not before seven other majestic charts are worked over by some disciplined reading of melody, inventive harmony and the delicate persistence of the Latin beat.

Most of the writing may be attributed to García here, but Noguera has been known to contribute in large measure to the writing and certainly to the arrangement of the voicings as well. Both musicians may appear not to spend too much time on subtlety here, but this is probably deliberate. This is a collection of aggressive, bronzed charts and the clever use of the softer shades of the musical palette are used to enrich the tonal and timbral values of the music; to provide accents rather than to drive the beating heart of the compositions. A notable exception—in addition to “Timeless”, that is—might be Noguera’s “Milesmiles”, which is more than a clever play on Miles Davis’ path breaking eponymous album. Interestingly, the chart is a feature for the trumpet of García, but Noguera underpins the trumpeter’s bold insinuations with a gentle ebb and flow of musically harmonious waves to calm the fluttering melody.

The addition of Steve Turre on trombone, on “Captain Spok” and on shells on “Blueprints” is inspired. Turre brings his characteristic swelling tone, screeches and melodic smears to the charts and on the latter his vigorous harmonising on shells is spectacularly cast against the backdrop of Paoli Mejias’s robust showing on congas. This leaves the music of Blueprints, both the chart and the album to reverberate unforgettably long after the music is actually done.

Chet Baker – You Can’t Go Home Again (1977)

Tracks + Personnel:

1. Love For Sale (12:58)
Chet Baker (trumpet), Michael Brecker (tenor saxophone), John Scofield (acoustic & electric guitars), Richie Beirach (electric piano, Clavinet), Ron Carter (bass), Alphonso Johnson (electric bass), Tony Williams (drums), Ralph MacDonald (percussion)

2. Un Poco Loco (9:20)
Chet Baker (trumpet), Michael Brecker (tenor saxophone), John Scofield (acoustic & electric guitars), Richie Beirach (electric piano, Clavinet), Ron Carter (bass), Alphonso Johnson (electric bass), Tony Williams (drums), Hubert Laws (flute), Don Sebesky (electric piano)

3. You Can’t Go Home Again (5:43)
Chet Baker (trumpet), Paul Desmond (alto saxophone), Kenny Barron (acoustic & electric pianos), Ron Carter (bass), Tony Williams (drums), Don Sebesky (electric piano)

4. El Morro (13:14)
Chet Baker (trumpet), Michael Brecker (tenor saxophone), John Scofield (acoustic & electric guitars), Richie Beirach (electric piano, Clavinet), Ron Carter (bass), Hubert Laws (flute), Tony Williams (drums), Ralph MacDonald (percussion), John Campo (bassoon)

AMG:
Against all odds, Baker made a successful comeback in the mid-’70s after several years totally outside of music. This LP from A&M Horizon features him with a large group on three selections playing Don Sebesky arrangements. Tenor-saxophonist Michael Brecker and guitarist John Scofield are among the all-star supporting cast on ‘Love For Sale’, ‘Un Poco Loco’ and ‘El Morro’. The fourth selection has altoist Paul Desmond (on his very last recording) interacting with the trumpeter/leader on a small group version of Sebesky’s ‘You Can’t Go Home Again’. This is worth searching for.

Chetbakertribute.com:
Chet holds his own in a jazz-fusion setting. Much of this recording seems dated today, as Moog synthesizers permeate many of the arrangements. Fans of his more traditional sound will like the quintet tracks with Desmond, who died just months after these recordings.

(Verve later issues a 2-CD set containing too many unnecessary alternate takes, with jarring switches from the jazz-fusion of this issue to a traditional jazz combo, and six tracks from the album “The Best Thing For You”.)

Ben Williams - State Of Art (2011)

01.Home 4:13

02.Moontrane 6:31

03.The Lee Morgan Story 4:32

04.Dawn Of A New Day 7:38

05.Little Susie Intro 1:24

06.Little Susie 6:46

07.November 7:07

08.Part-Time Lover 7:07

09.Things Don't Exist 6:01

10.Mr. Dynamite 5:32

11.Moonlight In Vermont 4:52.

Matthew Stevens (guitar)

Marcus Strickland (soprano saxophone, tenor saxophone)

Gerald Clayton (piano, Fender Rhodes piano)

Jamire Williams (drums)

Etienne Charles (percussion).

Recording information: Sear Sound, New York, NY (06/16/2010/06/17/2010).

Bassist Ben Williams' 2011 solo debut, State of Art, is a thoughtful contemporary and post-bop-leaning album that finds the winner of the 2009 Thelonious Monk International Jazz Competition delving into several original tunes and successful pop covers. Williams is an adroit improviser with a fluid, muscular approach to the upright -- as well as the electric -- bass, and he showcases all of his skills here along with his ear for unexpected covers and lively originals. Tracks like the roiling, Latin-infused number "November," featuring guitarist Matthew Stevens, and the high-energy, frenetic "Mr. Dynamite" are ear-popping straight-ahead jazz moments, while the hip-hop jazz cut "The Lee Morgan Story," featuring MC/vocalist John Robinson, brings to mind such '90s innovators as Gang Starr and A Tribe Called Quest. A child of the hip-hop generation, Williams clearly has an affinity for the music he grew up with, and consequently, although he does deliver a ruminative and gorgeous contemporary jazz version of "Moonlight in Vermont" here, he also includes a handful of inspired soul covers, including a string-heavy take on Michael Jackson's "Little Susie" and a slow and funky modal jazz version of Stevie Wonder's "Part-Time Lover" featuring saxophonist Marcus Strickland, while he turns R&B singer Goapele's "Things Don't Exist" into a cinematic orchestral jazz ballad. Though not an R&B cover, Williams' version of trumpeter Woody Shaw's underappreciated "Moontrane" only helps to further expand an already supremely well-rounded debut. ~ Matt Collar.

Bobby Matos & John Santos - Mambo Jazz (2001)

01.Entrada (Agogo y Agbe) 2:28

02.Caminado 5:44

03.Mambo Mona Mix X 3:55

04.I Don't Speak Spanish (But I Understand Everything When I'm Dancing) 6:46

05.Nueva Diana 4:52

06.Oye Mi Querida 5:07

07.Ya Se Ve 5:10

08.Cachao 5:36

09.Salida (pa' Cafe Borinquen) 1:19.

Bobby Matos- timbales, congas, bongos, chekere, guiro, bells, coro

John Santos- timbales, coro

Victor Cegarra- piano

John Calloway- piano, flute

Eliseo Borrero, David Belove- bass

Michael Turre- baritone saxophone, alto saxophone, flute, bells

Melecio Magdaluyo- flute, alto saxophone

Ron Stallings- soprano saxophone, tenor saxophone

Wayne Wallace- trombone

Gilbert Castellanos- trumpet

Paul Van Wageningen- claves

Judson Matos- chekere

Robertito Melendez- bongos, bell, chekere

Orestes Vilato- timbales.

By
JIM SANTELLA.

By allowing their bands to jam together for this project, Bobby Matos and John Santos have created a loose-knit, easy to like affair. Both percussionist bandleaders emphasize Afro-Latin jazz in their respective ensembles. Beside a colorful lineup of tuned drums and cowbells of different sizes, their combined orchestra has room for traditional Afro-Cuban vocals and fiery horn solos. Two dramatic readings make an emotional impression. One appears as a reverent homage to bassist Israel "Cachao" Lopez, 82, who is widely regarded as the creator of mambo music. The other forges ahead in a contemporary mood with thoughts on how this music affects us. Passionate and piercing, the mambo has long given us visual and aural scenery for romance. Horn solos offer refreshing samples of the spontaneity; and everyone in the combined band gets involved. Of particular note are the spots provided by John Calloway on piano and flute, Michael Turre on baritone sax, Wayne Wallace on trombone, Eliseo Borrero on bass, Victor Cegarra on piano and both Ron Stallings & Melecio Magadaluyo on saxophones. Both leaders share their enthusiasm through various percussion instruments. Santos and Matos reach a high point on "Oye Me Querida," on bongos and timbales, respectively, when they interact with conguero Robertito Melendez with spirits soaring. Both bandleaders provide effective examples of the required rhythms, while leading their combined orchestra through a pleasurable session of mambo jazz.

Branford Marsalis & Joe Calderazzo - Songs Of Mirth And Melancholy (2011)

01.One Way 7:13

02.The Bard Lachrymose 4:28

03.La Valse Kendall 7:40

04.Face On The Barroom Floor 4:31

05.Endymion 6:02

06.Die Trauernde 1:42

07.Hope 8:49

08.Precious 6:02

09.Bri's Dance 8:04.

Branford Marsalis - saxophones

Joey Calderazzo - piano.

Given the history that saxophonist Branford Marsalis and pianist Joey Calderazzo have, the end results of Songs of Mirth and Melancholy should not be surprising, yet they are. Calderazzo replaced the late Kenny Kirkland in Marsalis' band in 1998 and the rapport between them is seamlessly intuitive as revealed here. Cut in three days in Durham, North Carolina, the set contains compositions by both men, as well as a surprising pair of covers.

Black Roots - Funky & Abstract Directions In Jazz (1965-1975) (2001)

01 I WALK ON GILDED SPLINTERS - Dr John the Night Tripper

02 JAGGER THE DAGGER - Gene McDaniels

03 THE WINDJAMMER - Mongo Santamaria

04 IT'S YOUR THING - Shirley Scott

05 FOXY BROWN - David Newman

06 MEAN GREENS - Eddie Harris

07 SEE LINE WOMEN - Yusef Lateef

08 THE FAKIR - Duke Pearson

09 RAGA MEGHA - Joe Harriott/John Mayer Double Quintet

10 WITCHI TAI TO - Jim Pepper

11 SUFUR - Rufus Harley

12 BLACK ROOT - Roland Kirk.

Various Artists (Atlantic)
By Dean Rudland.

And all hail to the genius of Atlantic Records. Because as we enter that most future of years - well after 1984 and that blew it - we've prepared for the release of a monster of a compilation that really shows some far out thinking amongst the jazz and progressive funk community in the late 60s early 70s.

We have music going back to its most basic of objects, the drum. In Black Root Roland Kirk, takes us back to the street parades of New Orleans and with the primal screams of his horns gets straight to the heart of the matter. Dr. John brings in the Voodoo spirit for his seminal I Walk On Gilded Splinters, hippy trippy nonsense, which somehow is something more. Eugene McDaniels who used to be plain Gene crooning pop hits. In the 70s he subsidised a politicised solo career as the Left Rev. McD by writing big pop hits for Roberta Flack. Here he may or may not be taking on the egotism of certain pop stars - but he definitely does it over one hell of a groove that was one of the key breaks on Tribe Called Quest's debut LP.

Mixing in elements of funk into the overall stew are David Newman on Roy Ayers Blaxploitation classic Foxy Brown and Shirley Scott playing it fairly straight with the Isleys' It's Your Thing. Adding the final ingredient of a touch of latin flavour is Mongo Santamaria who takes Neal Creque's Windjammer away from the islands and into a Nu-Yorican funk flier.

Keeping it more into an R&B roots thing is Yusef Lateef, who takes on the sought-after Nina Simone cut See Line Women in his normal commanding style. Eddie Harris is equally as commanding on his own Mean Greens - a much underrated horn player giving it the most.

Lateef was renowned for introducing Eastern influences into jazz, and taking up his challenge here is Duke Pearson with the amazing The Fakir which has the much underrated James Spaulding on flute. More authentic and just as good is the Joe Harriott - John Mayer Double Quintet. Taking it into another place are the Native American chants that Jim Pepper brings to Witchi Tai To.

So as we said let's hail Atlantic Records and its messing in a wide variety of music. Never has the past sounded so modern.

Brother Jack McDuff - Brotherly Love (2001)

01.Hot Barbecue 5:36

02.Vas Dis 7:27

03.Kettle Of Fish 5:19

04.Georgia 7:57

05.Santa Amalia 5:39

06.April In Paris 4:40

07.Time's Marchin' On 9:34

08.Pork Chops & Pasta 8:08

09.Rock Candy 11:51.

Brother Jack McDuff, Joey DeFrancesco (Hammond B-3 organ)

Red Holloway (alto & tenor saxophones)

Andrew Beals (alto saxophone)

Jerry Weldon (tenor saxophone) John Hart, Pat Martino (guitar)

Frank Gravis (bass)

Grady Tate, Rudy Petschauer (drums).

Brotherly Love is "Brother" Jack McDuff's final recording session, and features Red Holloway and Pat Martino, both of whom were integral members of his popular '60s group. Recorded just months before his sudden death in 2001, McDuff pulls out all the stops on nine great tracks with phenomenal Hammond B-3 artistry. Two bonus tracks feature previously unreleased material that spotlights McDuff with his protégé, Joey DeFrancesco, sharing in the brotherly love.

Six originals and three standards brim with McDuff's trademark soul and blues chops, all sharing stories in a language the entire world can understand -- the blues. "Hot Barbecue" and "Georgia" are sure standouts, while the "live" recordings, "Pork Chops and Pasta" and "Rock Candy," add another level of excitement to this great recording. On the "live" tracks, McDuff and DeFrancesco together display their staggering Hammond B-3 organ techniques and their love of the blues and jazz that made them a presence on the soul-jazz scene. "Brother" Jack McDuff was a true soul-jazz man, and Brotherly Love captures the essence of the strong musical path he forged for more than 50 years.

Bobby Hutcherson - Farewell Keystone (1982)

01.Crescent Moon (7:14)

02.Short Stuff (6:51)

03.Prism (7:00)

04.Starting Over (10:56)

05.Rubber Man (6:56)

06.Mapenzi (13:31).

Bobby Hutcherson (vibraphone)

Harold Land (tenor saxophone)

Oscar Brashear (trumpet, flugelhorn)

Cedar Walton (piano)

Buster Williams (bass)

Billy Higgins (drums).

Recorded a year before San Francisco's legendary club Keystone Korner (which was open for 11 years) closed, this live set features tenor-saxophonist Harold Land with vibraphonist Bobby Hutcherson (who co-led a group with him in the 1970's) and trumpeter Oscar Brashear (who has often teamed up with Land during the past 15 years). With pianist Cedar Walton, bassist Buster Williams and drummer Billy Higgins completing the sextet, it is not surprising that the music is hard bop-oriented and of consistent high quality.
Originally out on Theresa, the Evidence [Bellaphon] CD reissue adds a lengthy version of Harold Land's "Mapenzi" to the original five-song program, all of which are originals by the musicians. Recommended.

Bryan Beller - View (2003)

01.Bear Divide Beller 2:33

02.Seven Percent Grade 5:31

03.Supermarket People 7:12

04.Elate 1:32

05.Get Things Done 7:35

06.Backwoods 3:37

07.Bite 3:54

08.Eighteen Weeks 7:39

09.Projectile 1:35

10.Wildflower 4:49

11.No 4:12

12.See You Next Tuesday 4:11

13.View.

Jeff Babko - Organ (Hammond)

Bryan Beller - Audio Production, Bass, Bass (Acoustic), Bass (Electric), Composer, Keyboards, Piano, Producer, Soloist, Spoken Word, Vocals

Sean Bradley - Violin

Fausto Cuevas - Percussion

Nick D'Virgilio - Audio Engineer, Engineer, Mixing, Vocals (Background)

Colin Keenan - Vocals

Mike Keneally - Organ (Hammond), Piano, Vocals (Background)

Dmitri Kourka - Viola, Violin

Rick Musallam - Guitar, Guitar (Acoustic), Guitar (Electric), Vocals (Background), Wah Wah Guitar

Toss Panos - Drums

Wayne Perez - Cartage, Documentation, Sound Effects

Griff Peters - Guitar, Guitar (Baritone)

Tricia Steel - Vibraphone

Dave Takahashi - Cello

Joe Travers - Drums

Wes Wehmiller - Composer, Guitar (Bass), Photography, Vocals (Background)

Yogi - Guitar.

Review
by Sean Westergaard

After a decade or so of being "bassboy for hire," seemingly content playing other people's music, Bryan Beller decided the time was right for making some music of his own. View is his first travel down that road. It's an album of solid rock instrumentals (a couple tunes have vocals), broken up by several solo bass pieces. Beller's got chops to spare, but also shows taste and restraint in his playing, along with some fine compositions.

View starts with the very pretty "Bear Divide," scored for an electric and an acoustic bass, then moves into a killer groove with "Seven Percent Grade," featuring Mike Keneally on piano and Rick Musallam on guitar (Beller's bandmates in the Mike Keneally Band). Then it's time for Keneally's turn on guitar with "Supermarket People," with Jeff Babko on Hammond organ, followed by the slightly ominous "Elate," for solo bass. Beller was wise to limit Keneally's involvement (lest anyone doubt this is Bryan's baby), and just as wise to feature Rick Musallam and Griff Peters on guitars, because they sound great on these tunes.

As a composer, Beller shows a pretty broad range, and an affinity for some genuinely sick tones (check Musallam on "Seven Percent Grade," or Keneally on "See You Next Tuesday"). Although all the songs are clearly composed, some are more of a groove, allowing the guitarists plenty of room to strut. "Projectile" is a fairly brief rocker with a great distorted vocal that builds to a frenetic conclusion. Each of the solo bass pieces evokes a different mood, with Beller showing what a great musician he is (there's a lot more to it than just technique). His treatment of John Pattitucci's "Backwoods" is especially nice. Perhaps the most surprising pieces are "Eighteen Weeks," with its wonderful use of a string trio and vibes, and the beautiful title cut, "View," both of which really demonstrate the depth of Beller's composing ability. The only mis-step on the album is "Bite," a pretty generic rocker, and the only other tune Beller didn't write himself. Given Beller's abilities and background, this could have all too easily become a bass showcase, or a guitar shredder album. There is some monster playing on the album to be sure, and fans of those camps will not be disappointed with View, but thanks to his musical sense and savvy, the album goes way beyond that. Those familiar with him already knew Bryan Beller was a great bass player; View shows him to be a fine composer, and an excellent producer as well. This is a strong first effort.

Biography
by Sean Westergaard

After graduating from Berklee College of Music in 1993, Bryan Beller's first big gig was with Ahmet and Dweezil Zappa's band Z, which is where he first met Mike Keneally. In 1996, after two albums and a tour, Keneally decided to leave Z for a solo career and Beller decided to stick with Keneally, beginning a musical partnership that's now lasted more than ten years over the course of seven albums and countless tours. During his time in Los Angeles, Beller also played and/or recorded with Wayne Kramer (MC5), Dream Theater's James LaBrie, singer/songwriter Janet Robin (Lindsey Buckingham), and Steve Vai. Beller appears on several Vai albums, and was asked to be bassist for Vai's 2004 shows with the prestigious Metropole Orchestra (their performance of "Lotus Feet" was nominated for a 2005 Grammy). In 2002, Beller began work on View, his debut as a leader. Financed, composed, and produced by Beller, the critically praised View was released on his own Onion Boy label in the fall of 2003.

Beller is also a freelance writer whose work has appeared in numerous publications, including a long-running column in Bass Player magazine (1999-2003). He's interviewed several heavyweight bass players like Lee Sklar, Neil Stubenhaus, and Billy Sheehan, and currently has a column called Masterclass in Bass Player. Beller moved from Los Angeles to Nashville in early 2006, but continues to work as both a freelance bassist and writer while working on material for his second album. Despite the location change, he is also still recording and touring with Mike Keneally both in the Mike Keneally Band and as a clinician for Taylor Guitars.

Arturo O'Farrill - Blood Lines (1999)

01.Moment's Notice

02.Brava

03.Chinas y Criollas

04.Pure Emotion

05.Ya Yo

06.Little Susan

07.Arturo's Closet

08.Siboney

09.Walking Batteriewoman

10.Darn That Dream.

Arturo O'Farrill (piano)

Papo Vazquez (trombone)

Andy Gonzales, George Mraz (bass)

Horacio "El Negro" Hernandez (drums)

Jerry Gonzales (congas, percussion).

Recording information: Clinton Recording Studio, New Y (02/1999).

Fast approaching 40, pianist O'Farrill (son of the legendary Latin bandleader/arranger Chico O'Farrill) finally released his debut CD. It's a meaty jazz trio-oriented affair with several Afro-Cuban spins, more like Bill Evans with fire than burn-down-the-house Eddie Palmieri. But since he is no spring chicken or lightweight, O'Farrill's lyricism and good melodic and harmonic common sense are well developed and far from naïve. He's active and interactive, digging in and taking his swings, listening and reacting to the mighty contributions of bassist George Mraz or Andy Gonzalez and the exciting drumming of Horacio "El Negro" Hernandez. As much as he's capable, he's not trying to blow you away with pyrotechnics, but seduce you with advanced, temperature-rising music. The recording starts with a concise, crisp, uptempo version of "Moment's Notice," followed by the Santi Debriano-written Panamanian waltz "Brava." One of the most unusual pieces is the interesting Chinese-Cuban, Rob Mounsey-written "Chinas y Criollas," with Jerry and Andy Gonzalez and including Jerry on congas. Also featured is Carla Bley's lightning-quick "Walking Batterie Woman," which O'Farrill played at a much more deliberate speed when he was with Bley's band in the late '70s and early '80s. Two tracks feature the purposefully flatted, mushy, bluesy trombone of Papo Vazquez on the rolling, kinetic "Ya Yo" and the similarly energized 5/4 to 6/8 original "Arturo's Closet." O'Farrill also explores the patient, trusting romanticism of classic Afro-Cuban composer Ernesto Lecuona during the evergreen "Siboney," Mraz's arco intro does the same on "Pure Emotion," and a solo piano version of the standard "Darn That Dream" fully displays O'Farrill's interpretive and improvisational talents to the max. There's also a beautiful Randy Weston piece titled "Little Susan" in 6/8. Aside from the world-class musicianship, O'Farrill's stance is inviting and resourceful as any, and he likes to change up time signatures, which makes the date eminently and repeatedly listenable. Better late than never for O'Farrill, this marvelous recording shows the leader in a most favorable light. A gem in little need of polishing. ~ Michael G. Nastos
.

All-Star Celebration Of Cannonball Adderley - Cannon Re-Loaded (2008)

01.Jive Samba [06:35]

02.Work Song [05:52]

03.Mercy, Mercy, Mercy [05:51]

04.Save Your Love For Me (featuring Nancy Wilson) [04:53]

05.Sack O' Woe [05:33]

06.Country Preacher [03:21]

07.Inside Straight [05:07]

08.I Should Care [05:49]

09.The Masquerade Is Over (featuring Nancy Wilson) [05:29]

10.Stars Fell On Alabama [04:19].

Tom Scott - Leader, Alto Saxophone

Terence Blanchard - Trumpet

George Duke - Piano, Fender Rhodes, Wurlitzer

Marcus Miller - Bass

Steve Gadd - Drums

Larry Goldings - Hammond B3 Organ

Dave Carpenter - Bass (tr. 8,10)

Nancy Wilson - Vocals (tr. 4,9).

Saxophone stalwart Tom Scott and an all star cast of today's jazz icons join to celebrate the legendary music of Cannonball Adderley, with a very special guest appearance by Nancy Wilson reprising two songs from her classic 1961 recording, Nancy Wilson/Cannonball Adderley.

Attila Laszlo Band – Smart Kid (1999)

01.Bridal Dance (5:55)
02.Smart Kid (5:41)
03.Doctor Q (6:16)
04.Sounds Of My Heart (4:04)
05.Once Upon A Time (6:18)
06.Dr q (2:42)
07.Native (9:17)
08.Tale From The Waltz (5:38)
09.Jazzy (5:48)
10.The Way Home (3:16)
11.Five In One (7:03).

Andre Ceccarelli Trio - Avenue des Diables Blues (2006)

01.Nardis (Davis) – 5:09

02.Sophisticated Lady (Ellington-Mills-Parish) – 7:01

03.Summertime (Tribute to Mr. Jimmy Smith) (Gershwin-Gershwin-Heyward) – 6:52

04.Prelude (Ceccarelli) – 1:50

05.April in Paris (Duke-Harburg) – 5:32

06.3 Views of a Secret (Pastorius) – 7:30

07.Avenue des Diables Blues (Ceccarelli-Legnini) – 4:32

08.La Vie en Rose (Louiguy-Piaf) – 5:37

09.Sunrise (Jones-Lee) – 6:07

10.The Song Is You (Hammerstein-Kern) – 6:49

11.Tchoukar Wago – 2:37.

Andre Ceccarelli: drums

Bireli Lagrene: guitar

Joey DeFrancesco: Hammond organ.

By
DEAN CHRISTESEN,
Andre Ceccarelli Trio: Avenue des Diables Blues

The French can swing hard. Let Andre Ceccarelli's 2005 release Avenue des Diables Blues be evidence of this. Frenchmen drummer Ceccarelli and guitarist Bireli Lagrene along with Joey DeFrancesco on Hammond organ display fine technique and wisely executed playing all throughout this Parisian release.

"Nardis" leads off with a bang and wandering time before snapping into the melody. The band explores different feels as they feel appropriate, which becomes somewhat of a theme for the whole album. Nothing feels out-of-bounds for the trio as they slip comfortably into double-times and loose Afro-Cuban grooves.

DeFrancesco gives his tribute to one of his biggest influences, Jimmy Smith, with his unadulterated yet imaginative take on "Summertime." Ceccarelli maintains a nice foundation with brushes, but his switch to sticks brings out a new fire in Lagrene's solo. The tune shuffles right into the organ solo, in which DeFrancesco draws obvious inspiration from Smith while still pulling from his own unique vocabulary.

While Ceccarelli sounds great at all times on the record, the lack of solo time is noticeable. He shines on one chorus in "Nardis" and a sub-2 minute solo entitled "Prelude." The listener is sometimes even teased with what seems like the beginning of a feature for the drummer but quickly fades into a band mate's solo. Nonetheless, the time he does have to speak is filled with thoughtful phrases, technically impressive rhythmic motives, and clear emotional presence. It is on the bright closer, "The Song Is You," that he trades solos with the band and sounds his best, fusing flashes of hand speed with palette-cleansing moments of slower rhythms and cymbals.

Beautiful presentations of Norah Jones' "Sunrise" and Jaco Pastorious' "3 Views of a Secret" join the program of standards and a lone Ceccarelli original, "Avenue des Diables Blues" (co-written by Eric Legnini).

The album feels like a live set at a club, showcasing a steamy performance by three men with a lot to say. Unfortunately, the energy of what might be a three-hour set is compressed into 57 minutes, which at some times leads to overwhelmingly busy solos. Regardless, the way the trio responds to each other's high level of energy is very impressive.

3rd Coast Jazz Orchestra - Unknown Soldiers (2001)

01.Trane of Thoughts [0:08:20.52]

02.Mother Nature [0:12:32.41]

03.Donna Lee [0:05:22.31]

04.Unknown Soldiers [0:08:35.66]

05.Out on a Limb [0:08:06.74]

06.At This Point in Time [0:07:41.63]

07.Boundaries [0:10:18.10]

08.Chasing after Dreams [0:06:52.24]

09.Newk Meets the President [0:06:09.22]

Greg Wilson, Steven Vague (soprano & alto saxophones, flute)

John Mills, Elias Haslanger (tenor saxophone, flute, clarinet)

Paul White (tenor saxophone, flute)

Tony Campise (baritone saxophone)

Paul Baker (baritone saxophone, bass clarinet)

Eric Johnson, Pat Murray, Bob Meyer, Keith Winking, Paul Armstrong, Chip Crotts (trumpet, flugelhorn)

Max Lyon, Randy Zimmerman, Ken Hoyne, Mike Mordecal (trombone)

Steven Snyder (piano, syntesizers)

Russell Scanlon, Mitch Watkins (guitar)

John Fremgen, Kerry Williams (bass)

Mike Koenning (drums, percussion)

Scott Laningham (drums)

Andy Murphy (percussion).

Rick Lawn assembled a stellar cast of the finest musicians in Austin, Texas to present a 74 minute set of his original compositions and arrangements for jazz orchestra. Soloists featured include among others ex-Stan Kenton saxophonist Tony Campise, trumpeter Bob Meyer, Enja recording artist Mitch Watkins, View Point recording artist John Fremgen and Elias Haslanger, formerly with Maynard Ferguson.This recording features the "straight ahead" version of the same arrangement of "Donna Lee" included on Bobby Sanabria's double Grammy nominated live recording Live and in Clave on the Arabesque label.

Eddy Palermo & Roberto Menescal – Bossa Jam (2007)

01.O Barquinho

02.Batida Diferente

03.So Danco Samba

04.Agarradinhos

05.P’ruze

06.Samba Da Creuza‎

07.Preciso Aprender A Ser So

08.Vagamente

09.Samba De Verao

10.Eu Sei Que Vou Te Amar

11.Wave

12.A Ra

13.Bye Bye Brasil.

Eddy Palermo : Guitar

Roberto Menescal : Violדo

Adriano Souza : Piano

Adriano Giffoni : Bass

Joao Cortez : drums.

Tony Perez - From Enchantment And Timba... To Full Force (2001)

Picadillo 8:23

Encanto 5:53

Analógico 6:15

Jazzy 3:03

A La Antigua 5:25

Ninon 4:28

La Diferencia 5:23

La Danza 7:26

Mi China 5:44

A Puerto Padre Me Voy 8:25

Kay' Nah 3:01

Tony Pérez Piano

Braulio Fernández Bass

Coky Garcia Drums and timbales

Miguel Valdés Percussion and bongos

Mario Felix Hernández "El Indio" Trumpet

Alexander Brown Trumpet

Reynaldo Pérez "El Bola" Flute

Alfred Thompson Tenor sax

Emilio Suarez Martinez Vocals

Alberto Bermudez Vocals.

Tony Perez is a 28-year-old pianist from Sancti Sp¡ritus, Cuba, who was handpicked by Chucho Valdes in 1998 to lead Irakere when the founder retired from the group. On Perez's second solo album, From Enchantment and Timba...to Full Force Jazz, navigates a picturesque voyage through many styles of Latin and jazz music.

Truly the enchantments of this CD are Perez's impeccable Latin-piano chops and well-tempered jazz harmonies with a classical edge. A rendition of Tito Puente's "Picadillo" opens the CD and it shows Perez can montuno with the best of them. Perez's "Encanto" follows with a solo piano minuet introduction that exhibits the influential imprints of Chucho Valdes and Emiliano Salvador.

The timba part of the CD is the vibration of Perez's generation. Timba is a dance music evolved by Jose Luis Cortes y NG La Banda that fuses the songo beat innovations of Juan Formell y los Van Van with American Funk and hip-hop. Willie Colon's "Jazzy" burns with timba's frantic energy and the horn-driven ensemble stamp of Irakere.

The full-force jazz aspect of the CD is what Perez is creating whenever he touches the keys and displays his improvisational virtuosity. From marvels with twisting arrangements like "La Diferencia" and "A Puerto Padre Me Voy" to his ragtime-inspired "A la Antigua," Perez is a talented captain steering through some of the freshest jazz waters in the Caribbean.

Sammy Figueroa...And Sammy Walked In (2005)

01.Syncopa O No

02.Niko's Dream

03.Bebe

04.And Sammy Walked In

05.Eugenology

06.Mirage

07.Bolivia

08.Swimming Gaia

09.Mambo Influenciádo

10.Duermete Mi Cielito.

Sammy Figueroa (vocals, congas, percussion, sound effects)

Sammy Figueroa,Nicky Orta (bass instrument)

Gotz Kujack (drums)

John Michalak (flute, saxophone)

Tyler Kuebler (saxophone)

John Lovell (trumpet, flugelhorn, percussion)

Michael Orta (piano, keyboards).

Conguero/percussionist Sammy Figueroa heads a sextet on this date that sounds like a Latinized version of Art Blakey's Jazz Messengers. The music is essentially hard bop, featuring solos from trumpeter John Lovell, saxophonist John Michalak (who is replaced by Tyler Kuebler on two of the ten selections), and pianist Michael Orta. Of the lesser-known material, the "I Got Rhythm"-based "Eugenology" is most memorable and the other highlights include Cedar Walton's "Bolivia" and Chucho Valdés' "Mambo Influenciádo." The final number, "Duermeté Mi Cielito," features Figueroa unaccompanied, singing and playing percussion. Hopefully Sammy Figueroa will be able to keep this accessible and swinging group together for many years, keeping alive the traditions of both Art Blakey and Tito Puente. ~ Scott Yanow.

Liner Note Author: Sammy Figueroa.

Recording information: Afterhours Music, Miami, FL; Outline Studios, Miami, FL.

Arrangers: Tyler Kuebler; Carlos Averhoff; Brian Murphy.

Ray Mantilla Space Station - Hands Of Fire (1984)

01.Ode to Vivian

02.Gourdo Lobo

03.Six for Kim

04.Mariposa

05.En Nos Otros

06.Mantilla's Blues

07.Carajillo con Mantilla.

Ray Mantilla (percussion)

Dick Oatts (flute, saxophone)

Eddie Martinez (piano)

Joe Chambers (vibraphone, drums)

Steve Berrios (drums, percussion).

Recording information: New York, NY (01/09/1984).

Percussionist Ray Mantilla's Space Station (a group that includes Dick Oatts on saxophones and flute, pianist Eddie Martinez, bassist Peter Barshay, Joe Chambers on drums and vibes, and Steve Berrios on drums and percussion) made their recording debut with Hands of Fire. There are many little surprises along the way during this Afro-Cuban set including the nearly free-form beginning to the opening "Ode to Vivian" (before it settles into a Latin groove), the way that Chambers' vibes sometimes gives the group a sound similar to Cal Tjader's, the concise percussion displays, and some excellent Latin-flavored bop. With the exception of the traditional "En Nos Otros," all of the music is comprised of group originals, mixing together older styles with newer ideas. ~ Scott Yanow

Recording information: New York, NY (01/09/1984).

Roy Hargrove - Family (1995)

01.Velera

02.Roy Allan

03.Brian's Bounce

04.The Nearness Of You

05.Lament For Love

06.Another Level

07.A Dream Of You

08.Pas De Trois

09.Polka Dots and Moonbeams

10.The Challenge

11.Ethiopia

12.Nostalgia

13.Thirteenth Floor

14.Firm Roots

15.The Trial.

Ron Blake Tenor Saxophone, Soprano Saxophone | (1-4, 6, 12, 14, 15)

Stephen Scott Piano | (4, 6-7, 10, 12-15)

Rodney Whitaker Bass | (1-4, 6, 10, 12-15)

Gregory Hutchinson Drums | (1-3, 6-7, 12, 15)

Wynton Marsalis Trumpet | (12)

David "Fathead" Newman Tenor Saxophone, Flute | (4, 13)

John Hicks Piano | (8)

Ronnie Matthews Piano | (5)

Larry Willis Piano | (9)

Walter Booker Bass | (5, 8-9, 11)

Christian McBride Bass | (7)

Jimmy Cobb Drums | (4-5, 8-9, 13)

Lewis Nash Drums | (14)

Jesse Davis Alto Saxophone | (9, 15)

Karriem Riggins Drums | (10).

This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory Hutchinson) but with two other rhythm sections and a few special guests. The first three selections (which includes the uptempo blues "Brian's Bounce") are called "Trilogy" and dedicated to various family members. Hargrove shows off his warm tone on "The Nearness of You" (a ballads with strings album was in the near future), and other highlights include the lyrical "Pas de Trois," a duet by Hargrove and bassist Walter Booker on Larry Willis' "Ethiopia," and a driving version of "Firm Roots." A meeting between Hargrove and Wynton Marsalis on the bop standard "Nostalgia" is disappointingly tame, but otherwise this is a high-quality modern hard bop release. ~ Scott Yanow

Recorded at Clinton Recording Studios, Inc., New York on January 26-29,

Steve Masakowski - For Joe (2000)

01.Falling In Love With Love

02.For Django

03.Poinciana

04.Pass Presence

05.The Big Easy

06.In Your Own Sweet Way

07.Peace

08.I'll Pass

09.Waltz

10.Tino's Blues

11.Voluntary Simplicity

12.I'll Know.

Steve Masakowski, 7-string electric and acoustic guitars

Bill Huntington, acoustic bass

Johnny Vidacovich, drums.

By
DAVID ADLER
Guitarist Steve Masakowski pays tribute to the late Joe Pass with this beautiful trio record. In addition to Pass’s own "For Django" and "I’ll Know," Masakowski presents "Waltz" by Rick Margitza, "Peace" by Horace Silver, the standards "Falling In Love with Love," "Poinciana," and "In Your Own Sweet Way," and five originals. Of Masakowski’s tunes, "I’ll Pass" and "Tino’s Blues" are particularly tasty.
Bassist Bill Huntington and drummer Johnny Vidacovich provide picture-perfect accompaniment for the clean, concise guitarist, who displays harmonic savvy, chops, and lyricism at every turn. Nothing revolutionary going on here, although Masakowski’s choice of a 7-string guitar, in both acoustic and electric varieties, is fairly unusual.

Nguyen Le - Miracles (1990)

01.Miracles (8'04)

02.Question Mark (7'24)

03.Willow (3'42)

04.The Odd Game (3'01)

05.Saari (6'47)

06.20 Fingers (5'37)

07.Cerf Volant (1'40)

08.Miss One (7'28)

09.Pacha (6'25)

10.Haiku (2'31)

11.Eyeland (4'13).

Nguyên Lê:electric and acoustic guitars

Danh Tranh, programming

Art Lande: piano

Marc Johnson: bass

Peter Erskine: drums, percussion.

Nguyên Lê
Miracles
While his latest release, Homescape (ACT, 2006), is the best example of Lê's integration of technology into his musical landscape, it's a characteristic that's equally clear from the opening notes of the title track to Miracles. While the importance of interplay and interaction within the quartet is a fundamental, Lê is one of only a handful of guitarists who are able organically to incorporate programming, guitar synthesis and sequencing.
Miracles may have been a first meeting between Lê, Lande, Johnson and Erskine, but you'd never know it. The material ranges from the backbeat-driven title track to the swinging "? (Question Mark)," the temporal elasticity of "The Odd Game" and the elegantly melancholic "20 Fingers." The quartet tracks are broken up by occasional duets with Lande, ranging from completely acoustic to heavily layered electronic soundscapes. Lê's ethnic heritage and its influence on his overall musical concept would not become fully realized until Tales From Vietnam, but "Cerf Volant," a miniature featuring Lê on the zither-like danh tranh, and the equally brief "Haïku," are clear harbingers of things to come.
Listening to Lande's work on Miracles, it's unfathomable that he's never achieved more widespread fame. He sticks to acoustic piano on these sessions, but his ability to work comfortably in Lê's more expansive aural framework makes him the perfect choice, though not a surprising one when one considers the stylistic diversity he demonstrated on ECM recordings including Red Lanta (1974), Rubisa Patrol (1976) and Skylight (1982).
There is, in fact, a certain vibe to Miracles that's not out-of-context with the German label's aesthetic. Stylistically broad, sonically diverse and, despite Lê's programming and use of processing, natural and filled with room to breathe, ECM is clearly one component of Lê's musical makeup. With Johnson and Erskine on board, it's hard to miss another reference point for Lê—Bass Desires (ECM, 1986)—especially on tracks like the episodic and multifaceted "Miss One."
Lê's distinctly Fender-ish tone means there's a certain twang evident, even when he adopts a warm and clean tone as he does during the first half of the brooding "Eyeland." But Lê is also capable of an edgier, fusion-like sound. Following Lande's focused and more clearly jazz-centric solo on "? (Question Mark)," Lê takes a rockier stance with a densely overdriven tone that's equal parts space, sustain, bebop language and swooping whammy-bar bends.
That Lê had already assimilated a range of influences—from Allan Holdsworth and Terje Rypdal to Pat Metheny and John Abercrombie—into a recognizable voice so early in his career makes Miracles an album that may have been a beginning, but was hardly a humble one.

The Don Rendell & Ian Carr Quintet - Change Is (1969)

01.Elastic Dream

02.One Green Eye

03.Boy, Dog And Carrot

04.Cold Mountain

05.Black Hair

06.Mirage.

Bass - Dave Green,Jeff Clyne

Saxophone [Tenor,Soprano],Flute - Don Rendell

Trumpet, Flugelhorn - Ian Carr

Drums - Trevor Tomkins

Piano - Mike Pyne (tracks:02)

Piano,Harpsichord - Michael Garrick

Saxophone [Tenor],Clarinet - Stan Robinson (tracks:01,02)

Talking Drum, Maracas - Guy Warren (tracks:01,03).

Recorded: London, March 20 & April 16, 1969. Columbia Lansdowne Series release.

By
CHRIS MAY,
Don Rendell/Ian Carr Quintet
Change Is
After being out of catalogue for many years, over twenty of the finest '60s/'70s albums by British jazz masters Don Rendell and Ian Carr are now available again. The duo are key collaborators on the crucially important Integration and Greek Variations albums reissued by Universal/Impressed, while the wonderfully eclectic web-based reissue label BGO has released five of the Rendell/Carr Quintet's albums and all of Carr's albums with Nucleus. There's a rare feast of Prime Cut Grade A Meat (sorry, they showed The Wedding Singer on British TV again last night) out there right now.
Change Is is the latest in BGO's Rendell/Carr Quintet strand. Recorded in '69, it is the last album recorded by the Quintet before the two leaders went their mostly separate ways, Carr to form Nucleus and Rendell to lead his own, less feted but equally exciting, two saxophones/pianoless Quartet. It showcases all the adventurous and idiosyncratic composing and performing qualities that made the Quintet one of the most distinctive post-hard bop groups of the '60s, and also signposts some of the new directions Carr would take with Nucleus.
The opening "Elastic Dream" introduces several of the ideas Carr would develop with Nucleus: an imaginatively constructed, serpentine theme, performed by an expanded line-up featuring two basses, and linked to the following track by a free-improvised passage; the only important Nucleus ingredient it lacks is guitarist Chris Spedding. It's a brilliant piece, full of fresh instrumental textures and quirky solos and almost orchestral in its arrangement.
Intimations of Nucleus aside, one of the other big excitements of Change Is is the debut recorded appearance of tenor saxophonist/clarinetist Stan Robinson—soon to be a founder member, with drummer Trevor Tomkins, of the Rendell Quartet—who guests on two tracks. Robinson, who stands thrillingly shoulder to shoulder with Rendell in the section work, gives a truly bad ass, booting tenor solo on Mike Pyne's funked up "One Green Eye."
Other highlights include Michael Garrick's raga based "Cold Mountain," building up from a slow burn start into a wild dervish dance foregrounding Rendell's skirling, snake charmer soprano and Garrick's hammered, rapid fire chord clusters, the icing on the cake being the pleasingly bizarre traces of Kurt Weill in the theme statements; Garrick's use of harpsichord on the Horace Silverish "Boy, Dog And Carrot;" and on the closing "Mirage," Rendell's and Carr's muscular, in a Kind Of Blue groove solos, among both men's most memorable.
Given its position in the end-of-one-era/start-of-another development of Rendell's and Carr's music, Change Is is a remarkably cohesive work, wholly enduring and richly enjoyable, and it's a joy to have it back.
Note for further investigation : Despite very clearly growing out of the American jazz tradition—and despite also a sustained enthusiasm for Balkan, Indian, African and Middle Eastern musics—there is something unmistakably but somehow indefinably British about Rendell's and Carr's music. It's nothing as obvious as, say, the use of English folk songs, Welsh harps or Northumbrian pipes, it's a lot more "other" than that, more to do with emotional atmosphere and maybe the approach to collective music making, and would probably require a few thousand words to nail down satisfactorily. But someone ought to try.