Released in conjunction with a five-LP vinyl box set of some of his classic albums, guitarist Lee Ritenour's 2015 studio effort, A Twist of Rit, finds him looking back over his career, revisiting and reworking songs from some of his earliest albums. In fact, many of the songs here were culled off his debut record, 1975's First Course. Joining Ritenour on A Twist of Rit are such longtime collaborators as pianist Dave Grusin, drummer Dave Weckl, saxophonist Ernie Watts, and Fender Rhodes keyboardist John Beasley. Also featured is classical guitarist Tony Pusztai, who took home the grand prize in Ritenour's 2014 Six String Theory competition. Musically, this is soulful, groove-oriented jazz that will be familiar to most of Ritenour's longtime fans. And while many of the cuts on A Twist of Rit are reworked versions of older songs like "Wild Rice," "Fatback," and "Sweet Syncopation," they've been given new arrangements (hence, the "twist") and sound as contemporary as anything off Ritenour's previous Concord album, 2012's Rhythm Sessions. The transformation works especially well on the melody for "Soaring," off 1986's Earth Run. Originally played on the MIDI-controlled SynthAxe, here Ritenour sticks to a rounded, more natural guitar tone for a nuanced, modern fusion sound. Nonetheless, cuts like the sultry "Ooh Yeah" and the organic "A Little Bit of This and a Little Bit of That," replete with a hard-hitting R&B horn section, retain much of the breezy '70s soul style that made them sound so fresh to begin with. Similarly, "Countdown" from 1985's Rit, Vol. 1 and "Bullet Train" from 1979's Friendship 2 have the loose, congenial vibe of old friends reuniting. Ultimately, A Twist of Rit works to remind listeners of Ritenour's legacy as one of the driving innovators of instrumental smooth jazz. Matt Collar
Tracklist :
1. Wild Rice 5:32
Lee Ritenour
Baritone Saxophone – Adam Schroeder
Clavinet, Synthesizer – John Beasley
Drums – Ron Bruner Jr.
Electric Bass – Melvin Lee Davis
Electric Piano [Fender Rhodes] – Patrice Rushen 
Percussion – Paulinho Da Costa
Rhythm Guitar – Michael Thompson
Tenor Saxophone – Tom Luer
Tenor Saxophone, Soloist – Ernie Watts
Trombone – Wendell Kelly
Trumpet – Rashawn Ross
2. Fatback 5:51
Lee Ritenour
Baritone Saxophone – Bob Sheppard
Drums – Chris Coleman (9)
Electric Bass – Melvin Lee Davis*
Electric Piano [Wurlitzer] – John Beasley
Organ [Hammond B3], Soloist – Dave Grusin
Rhythm Guitar, Soloist – Michael Thompson
Tenor Saxophone – Ernie Watts
Trombone – Wendell Kelly
Trumpet – Rashawn Ross
3. Ooh Yeah 5:01
Lee Ritenour
Drums – Ron Bruner Jr.
Electric Bass – Melvin Lee Davis
Electric Piano [Fender Rhodes] – John Beasley
Flugelhorn – Rashawn Ross
Flute – Bob Sheppard
Rhythm Guitar – Michael Thompson
Synth [Minimoog] – Dave Grusin
4. W.O.R.K.N' IT (Weckl, Ozone, Ritenour, Kennedy) 7:51
Lee Ritenour
Acoustic Bass – Tom Kennedy
Drums – Dave Weckl
Organ [Hammond B3] – Makoto Ozone
5. Little Bit of This and a Little Bit of That 5:36
Lee Ritenour
Arranged By [Original Horn] – Michael Omartian
Baritone Saxophone – Adam Schroeder
Drums – Ron Bruner Jr.*
Electric Bass – Melvin Lee Davis*
Electric Piano [Fender Rhodes] – John Beasley
Percussion – Paulinho Da Costa
Piano [Acoustic] – Dave Grusin
Rhythm Guitar – Michael Thompson
Tenor Saxophone – Ernie Watts
Trombone – Wendell Kelly
Trumpet – Rashawn Ross
6. Pearl 4:50
Lee Ritenour
Acoustic Bass – Tom Kennedy
Drums, Drums [Hand] – Dave Weckl
Piano [Acoustic] – Makoto Ozone
7. Twist of Rit 5:38
Lee Ritenour
Drums – Chris Coleman
Electric Bass – Melvin Lee Davis
Flugelhorn – Rashawn Ross
Flute – Bob Sheppard
Guitar – David T. Walker, Wah Wah Watson
Piano [Acoustic] – Dave Grusin
Programmed By – Lee Ritenour
Synthesizer, Arranged By [Horns] – John Beasley
Tenor Saxophone – Ernie Watts
Trombone – Wendell Kelly
8. Countdown 4:51
Lee Ritenour
Clavinet, Electric Piano [Fender Rhodes] – Dave Grusin
Drums – Chris Coleman
Electric Bass – Melvin Lee Davis
Electric Piano [Fender Rhodes], Synthesizer – John Beasley
Rhythm Guitar – Michael Thompson
9. Soaring 8:10
Lee Ritenour
Acoustic Guitar – Michael Thompson
Drums – Ron Bruner Jr.
Electric Bass – Melvin Lee Davis
Electric Piano [Fender Rhodes] – John Beasley
Synth [Vibes] – Dave Grusin
Tenor Saxophone – Ernie Watts
10. Sweet Syncopation 5:28
Lee Ritenour
Baritone Saxophone – Adam Schroeder
Clavinet – John Beasley
Drums – Ron Bruner Jr.
Electric Bass – Melvin Lee Davis
Electric Piano [Fender Rhodes] – Patrice Rushen
Percussion – Paulinho Da Costa
Rhythm Guitar – Michael Thompson
Tenor Saxophone – Ernie Watts
Trombone – Wendell Kelly
Trumpet – Rashawn Ross
11. Bullet Train 6:36
Lee Ritenour / Ernie Watts
Drums – Ron Bruner Jr.*
Electric Bass – Melvin Lee Davis*
Electric Piano [Fender Rhodes] – John Beasley
Percussion – Paulinho Da Costa
Piano [Acoustic], Synthesizer – Dave Grusin
Saxophone – Ernie Watts
12. Waltz For Carmen 4:58
Mitch Holder / Lee Ritenour
Classical Guitar – Tony Pusztair .jpg)
Susannah McCorkle has long been a lyricist's dream. Rather than distort or alter the words she interprets, McCorkle (who has an immediately appealing and likable voice) brings out the hidden beauty in the lyrics. For her latest Concord disc, Susannah McCorkle sings 14 songs written by Cole Porter whose lyrics were among the most sophisticated of the 1930-1960 era. The arrangements by her musical director and pianist Allen Farnham are quite inventive, with exuberant octet numbers (featuring concise but generally memorable solos from trumpeter Randy Sandke, alto Chris Potter, trombonist Robert Trowers, and Ken Peplowski on tenor and clarinet) alternating with more intimate performances including voice-guitar duets with Howard Alden on a slow chorus of "Just One Of Those Things," "Why Don't We Try Staying Home" and the sad "Goodbye Little Dream, Goodbye." Among the other highlights are lengthy renditions of "Anything Goes" and "Let's Do It" which find McCorkle singing every stanza that could be found (the former has many obscure topical references), a boisterous version of "It's All Right With Me" and an emotional "Weren't We Fools?" Scott Yanow
Tracklist :
1. Night & Day 4:56
2. Anything Goes 5:14
The "Spilt Milk" Medley
3. Just One Of Those Things 2:57
4. It's All Right With Me 5:48
5. Weren't We Fools? 3:37
6. From This Moment On 3:40
7. Who Wants To Be A Millionaire? 4:42
8. Why Don't We Try Staying Home? 4:24
9. You Do Something To Me 3:19
10. Easy To Love 6:01
11. Goodbye Little Dream, Goodbye 3:08
12. You'd Be So Nice To Come Home To 5:25
13. Let's Do It 5:57
14. Ev'rytime We Say Goodbye 6:06
Credits :
Alto Saxophone – Chris Potter
Bass – Steve Gilmore
Drums – Rich De Rosa
Guitar – Howard Alden
Music Director, Piano – Allen Farnham
Tenor Saxophone, Clarinet – Ken Peplowski
Trombone – Robert Trowers
Trumpet, Flugelhorn – Randy Sandke
Vocals – Susannah McCorkle
When Crystal Silence first appeared in 1972 on the ECM label, its cover photograph depicted a stellar shot of the sun, which appeared to be setting. That duet album featured two already-seasoned jazz veterans who were in their thirties, and had been part of many of the developments in the music for a decade. Corea's credits included Miles Davis, his own Return to Forever, the "Is" sessions, Circle, and many others; Burton's included tenures with George Shearing and Stan Getz as well as Larry Coryell. But the duet album they recorded for ECM was so utterly striking and arresting because it highlighted not only an entirely new way of playing duets between piano and vibes -- which had been done previously and well by others -- but a new way of hearing them as well.
After 35 years, five duet records, and countless tours together, the pair revisit the notion of the duet in two different contexts on this delightful, compelling double-disc package from Concord. The first disc finds the pair playing live in Sydney with that city's symphony orchestra conducted by Jonathan Stockhammer and arranged by Tim Garland. The program includes five tunes, all of them composed by Corea. While it is disconcerting on first thought as to how an orchestra could add to the special intuitive communication this duo has developed since its first accidental performance at a festival in 1971, those fears disappear quickly after the orchestra's intro, when Corea's piano makes its entrance and Burton responds. It's striking there was so little rehearsal time, and that Garland's arrangements are so spot-on and attuned to the intricacy of what happens harmonically between these two. "Duende" opens the set with an enormous introductory sweep that feels more like a crescendo, but it gives way within two minutes to the exploration of extrapolated minors when Corea plays a single note that initiates his speaking voice on the piano. Burton answers and moves them into another direction, painting from the inside and pulling on certain notes as he quotes a melody that feels strangely like "The Shadow of Your Smile." Then the pair are off, the orchestra brooding and shimmering behind them, opening up spaces where there would be tension in such a focused space of minor keys that sweep this way and that way, and then they engage fully with the orchestra. This continues through "Love Castle" and the speculative intro to "Brasilia," which feels like a question. The rhythmic interplay is built layer upon layer, however sparely by the harmonic striations of vibes and piano as strings hover and cautiously seem to follow into a much more romantic and exotic flight of fancy. Of course, the title track, while seemingly an entirely new piece when played with this symphony, is no less limpid than its predecessor. The compositional notion is simply eased into more tentatively, but the interpolations between Burton and Corea are even cannier than one might expect. Everything begins in shade and shadow and is revealed in the full light of day. The set ends with a driving rendition of "La Fiesta," begun with an intensely intricate series of counterpoint exchanges between the pair.
Disc two contains a live performance from the Molde Festival in Norway, with one cut, "Señor Mouse" (also from the Crystal Silence debut), recorded in the Canary Islands. Far more breezy but perhaps more taut and far less tentative, the set starts off with Corea's "Bud Powell," and Burton shines with his solo, moving through the lyric phrases as Corea punches in spaces with tough, jaunty chord masses. It swings like crazy before giving way to a stellar reading of Bill Evans' "Waltz for Debby." The melody, instantly recognizable in Corea's hands, is nonetheless a bit heavier in touch, but that's what makes it sound new as well. The solo he opens with carries the basic lyric frame in his two-handed chords and runs before Burton slides the melody in solo, as expressive and intimate as one could ever hope for before it opens wide and sings. This happens on the other standards here as well, the deeply emotive reading of "I Loves You, Porgy," with Burton's solo as tender as a singer emoting the words, and "Sweet and Lovely," where the pair just dig in and let the tune guide them on a wonderfully engaging, swinging ride through its harmonic possibilities. The other four Corea tunes here include a very different version of "La Fiesta" as a set closer; "No Mystery," which is more mysterious in some ways because of its use of arpeggios, space, and counterpoint; and the all-too-brief rhythmic invention of "Alegria." The bottom line, of course, is that this set, as different as its two mirroring discs are, is nearly magical in both its intensity and creativity, and in its wonderfully relaxed manner of walking through the deep passageways of improvisation. Anyone who is a fan of the duet recordings between these two should own this. Anyone not familiar should check out the ECM disc first, and then move straight here, filling in the gaps later. They are wonderful counterparts to one another and immensely satisfying listens.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1. Duende (Chick Corea) – 10:54
2. Love Castle (Chick Corea) – 12:41
3. Brasilia (Chick Corea) – 9:38
4. Crystal Silence (Chick Corea) – 14:09
5. La Fiesta (Chick Corea) – 13:35
Tracklist 2 :
1. Bud Powell (Chick Corea) – 7:55
2. Waltz for Debby (Bill Evans) – 8:03
3. Alegria (Chick Corea) – 5:49
4. No Mystery (Chick Corea) – 9:12
5. Señor Mouse (Chick Corea) – 9:10
6. Sweet and Lovely (Gus Arnheim, Charles Daniels, H. Tobias) – 6:56
7. I Love Porgy (George & Ira Gershwin & DuBose Heyward) – 4:09
8. La Fiesta (Chick Corea) – 10:41
Credits :
Chick Corea – Piano
Gary Burton – Vibraphone
Sydney Symphony Orchestra
Jonathan Stockhammer – Conductor
Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards – Larry Williams
Percussion – Paulinho Da Costa
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Bobby Womack
2 – Mornin' 5:02
Arranged By – Michael Broening
Backing Vocals, Vocal Percussion – Al Jarreau
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Saxophone – Marion Meadows
Written-By – Al Jarreau, David Foster, Jay Graydon
3 – 'Long Come Tutu 6:37
Arranged By – Marcus Miller
Bass – Marcus Miller
Co-producer – Marcus Miller
Drums – Michael White
Guitar – George Benson
Keyboards – Patrice Rushen
Piano – Herbie Hancock
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Marcus Miller
4 – God Bless The Child 3:40
Featuring Jill Scott
Arranged By – George Benson, John Burk, Patrice Rushen
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Vocal Percussion – Al Jarreau
Vocals – George Benson, Jill Scott
Written-By – Arthur Herzog, Jr., Billie Holiday
5 – Summer Breeze 5:01
Arranged By – Larry Williams
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards, Piano – Larry Williams
Percussion – Paulinho Da Costa
Vocals – Al Jarreau, George Benson
Written-By – Darrell Crofts, Jimmy Seals
6 – All I Am 3:23
Arranged By – Rex Rideout
Drums – Gregg Field, Ricky Lawson
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar, Vocals – George Benson
Piano – Rex Rideout
Written-By – Phillip "Taj" Jackson, Rex Rideout
7 – Ordinary People 5:18
Arranged By – Michael Broening
Backing Vocals – Al Jarreau, George Benson
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Written-By – John Legend, will.i.am
8 – Let It Rain 4:54
Featuring Patti Austin
Arranged By – Al Jarreau, Barry Eastmond
Arranged By [Background Vocals] – Patti Austin
Backing Vocals – Darlene Perry, Lorraine Perry, Maxi Anderson, Patti
Austin, Sandra Simmons Williams, Sharon Perry, Valerie Pinkston
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Keyboards – Barry Eastmond
Percussion – Bashiri Johnson, Paulinho Da Costa
Producer – Patti Austin
Producer [Additional Production] – Barry Eastmond, Gregg Field
Rhythm Guitar – Dean Parks
Trumpet – Chris Botti
Vocals – Al Jarreau, Patti Austin
Written-By – Al Jarreau, Barry Eastmond
9 – Givin' It Up For Love 3:57
Arranged By – Freddie Ravel
Arranged By [Background Vocals] – Fred Martin, Freddie Ravel
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Clavinet, Drums, Electric Piano, Organ, Programmed By [Percussion], Synthesizer [Moog Bass], Synthesizer – Freddie Ravel
Guitar – George Benson
Producer – Freddie Ravel, John Burk
Rhythm Guitar – Michael O'Neill
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Freddie Ravel
10 – Every Time You Go Away 4:30
Arranged By – Larry Williams
Bass – Marcus Miller
Co-producer – Larry Williams
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, Michael Thompson
Keyboards – Patrice Rushen
Percussion – Paulinho Da Costa
Piano – Larry Williams
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Darryl Hall
11 – Four 5:15
Bass – Stanley Clarke
Co-producer – Chris Dunn
Drums – Vinnie Colaiuta
Guitar – George Benson
Piano – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Jon Hendricks, Miles Davis
12 – Don't Start No Schtuff 4:44
Arranged By – Joe Turano
Bass – Stanley Clarke
Drums – Vinnie Colaiuta
Electric Piano, Organ – Joe Turano
Guitar – George Benson
Keyboards – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Joe Turano
13 – Bring It On Home To Me 4:25
Featuring Paul McCartney
Arranged By – Randy Waldman
Arranged By [Background Vocals] – Fred Martin
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar – Dean Parks, George Benson
Organ – Michael Broening
Percussion – Paulinho Da Costa
Piano – Randy Waldman
Vocals – Al Jarreau, George Benson, Paul McCartney
Written-By – Sam Cooke
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Carlos Barbosa-Lima is a superb Brazilian classical guitarist who has a beautiful tone. On his debut for Concord Concerto (the first of many releases), Barbosa-Lima performs six pieces by Antonio Carlos Jobim and eight by George Gershwin. The guitarist mixes together hits with some lesser-known tunes. Highlights include "Desafinado," "Corcovado," two of Gershwin's Preludes," "'S Wonderful" and "The Man I Love." Not an improviser, Barbosa-Lima worked out inventive and melodic renditions of these classic melodies, some of which are quite concise; "'S Wonderful" is only five seconds over a minute long. A strong example of the beautiful music of Carlos Barbosa-Lima. Scott Yanow
Tracklist :
1. Caminho De Pedra 2:38
(Antônio Carlos Jobim / Vinícius De Moraes)
2. Desafinado 3:11
(Antônio Carlos Jobim / Newton Mendonça)
3. Estrada Branca 3:04
(Antônio Carlos Jobim / Vinícius De Moraes)
4. Stone Flower 3:22
(Antônio Carlos Jobim)
5. Corcovado 3:48
(Antônio Carlos Jobim)
6. Amparo 3:42
(Antônio Carlos Jobim)
7. One Note Samba 1:10
(Antônio Carlos Jobim / Newton Mendonça)
8. Modinha 1:18
(Antônio Carlos Jobim / Vinícius De Moraes)
9. Canta Mais 3:23
(Antônio Carlos Jobim / Vinícius De Moraes / Chico Buarque De Holanda)
10. Prelude #2 2:41
(George Gershwin)
11. Prelude #1 2:18
(George Gershwin)
12. Promenade 3:51
(George Gershwin)
13. Summertime 3:40
(George Gershwin / Ira Gershwin / DuBose Heyward)
14. Swanee 1:44
(Irving Caesar / George Gershwin)
15. 'S Wonderful 3:04
(George Gershwin / Ira Gershwin)
16. Merry Andrew 3:33
(George Gershwin)
17. The Man I Love 1:18
(George Gershwin / Ira Gershwin)
Credits :
Acoustic Guitar, Arranged By – Carlos Barbosa-Lima
Nnenna Freelon's fifth CD should establish her as one of the top jazz
singers of the 1990s. Rather than stick to typical jazz standards, she
explore women's songs (or at least lyrics) from many fields of music.
Her compelling interpretation of the title track, with its infrequently
heard lyric by Mrs. Herbie Hancock, is followed by a hypnotic original
lyric written by Freelon for Marian McPartland's "Threnody," titled
"Sepia Wing" in its vocal incarnation. One of the more unusual songs
selected is folk singer Buffy Saint-Marie's "Until It's Time for You to
Go"; Freelon drastically rearranged this tune by changing the melody
line and adding an uptempo vamp, and Bob Mintzer's soprano sax accents
are also a nice touch. The moody lament written by the late Laura Nyro,
"Buy and Sell," is also an intriguing chart by the singer. Of course,
she's no slouch with standard Broadway fare either, as her lively duet
with guitarist Joe Beck proves. Ken Dryden
This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out “Señor Mouse,” “Space Circus,” and “After the Rain,” all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1. On Green Dolphin Street 8:41
Kaper / Washington
2. Waltz for Debby 9:55
Bill Evans
3. Bud Powell 7:10
Chick Corea
4. La Canción de Sofia 7:38
Stanley Clarke
5. Windows 8:54
Chick Corea
6. Hackensack 7:30
Thelonious Monk
7. No Mystery 10:55
Chick Corea
8. Señor Mouse 12:06
Chick Corea
Tracklist 2 :
1. Captain Marvel 4:13
Chick Corea
2. Señor Mouse 12:06
Chick Corea
3. Crescent 1:45
John Coltrane
4. Armando's Rhumba 5:12
Chick Corea
5. Renaissance 5:29
Jean-Luc Ponty
6. High Wire--The Aerialist 3:41
Chick Corea
7. I Loves You Porgy 5:13
George Gershwin / DuBose Heyward
8. After the Cosmic Rain 10:38
Stanley Clarke
9. Space Circus 6:06
Chick Corea
10. 500 Miles High 12:45
Chick Corea
Credits :
Chick Corea - Piano (CD1, CD2#3-7, CD2#10) Keyboards (CD2#1-2, CD2#8-9)
Stanley Clarke - Acoustic Bass (CD1, CD2#1, CD2#4-7, CD2#10), Electric Bass (CD2#2, CD2#8-9)
Lenny White - Drums (CD1, CD2#1-3, CDF2#5-10)
Bill Connors - Guitar (CD2#2, CD2#7-9)
Jean-Luc Ponty - Violin (CD2#4-5, CD2#7-9)
Chaka Khan - Vocals (CD2#6-7)
For the second time in two years, Chick Corea has assembled a band to give aural illustration to the fantasy writings of L. Ron Hubbard. For those who have trouble with Hubbard and his teachings, this may be a red flag to avoid the record altogether. The Ultimate Adventure is a tale that draws on characters from the Arabian Nights -- there is an ad for the book in the back of the CD booklet. With that out of the way, one has to deal with the music entirely on its own terms. Corea has spent decades playing both electric and acoustic jazz. This is the first time since 1976's My Spanish Heart that he has woven his love of both so completely into a single album. There are more than a few echoes here that call upon the ghosts of the earliest Return to Forever band -- primarily in the gorgeous flute playing of Hubert Laws and Jorge Pardo, in the saxophone artistry of Tim Garland, the drumming of Steve Gadd, and the percussion wizardry of not only Airto Moreira, but also of Hossam Ramzy -- just to name a few of this album's players. But as always, it's Corea's compositions and playing that make or break any of his outings. This one is complex, knotty, and contains nuevo flamenco sketches and exotic melodic grooves and rhythms from "North Africa" and the Middle East. The second part of the opening suite "Three Ghouls" -- which makes it ghoul number two, apparently -- showcases Corea on the electric piano and electronic percussion with Laws playing soulful and slightly funky. His flute gets double-tracked as it floats above Moreira and bassist Carles Benavent. It's spacey, airy groove is intoxicating. It morphs into the knotty percussive and slightly "out" part three, where palmas -- handclapped rhythms -- by Corea, Gadd, and Benavent are contrasted to the dissonant acoustic piano and funky Rhodes woven side by side in counterpoint. This stands in contrast to the electric, short, fused-out, three-part suite entitled "Moseb the Executioner." The first part is a tangled mix up of Garland and Corea's Rhodes. It ends in a percussion orgy by Moreira and Ruben Dantas with palmas by the entire band. There are gorgeous melodic interludes in "North Africa" courtesy of Pardo and Corea. "Flight from Karoof" is simply a fusion gem. Ultimately, Ultimate Adventure works extremely well; it's inspired, takes chances, and is compositionally a small wonder. Above all, it sounds like Corea and his band had a ball making it. Recommended for fusion-heads.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
Three Ghouls
1 Part 1 1:38
2 Part 2 4:01
3 Part 3 3:11
4 City Of Brass 6:39
5 Queen Tedmur 5:15
El Stephen
6 Part 1 6:39
7 Part 2 1:47
8 King & Queen 6:06
Moseb The Executioner
9 Part 1 1:39
10 Part 2 2:20
11 Part 3 1:55
12 North Africa 6:24
Flight From Karoof
13 Part 1 6:12
14 Part 2 1:36
15 Planes Of Existence, Part 1 5:26
Arabian Nights
16 Part 1 4:31
17 Part 2 2:38
18 Gods & Devils 2:16
19 Planes Of Existence, Part 2 2:50
Credits :
Acoustic Guitar, Guitar – Frank Gambale
Bass Clarinet, Tenor Saxophone – Tim Garland
Bass, Handclaps [Palmas] – Carlos Benavent
Drums – Tom Brechtlein, Vinnie Colaiuta
Drums, Handclaps [Palmas] – Steve Gadd
Flute – Hubert Laws
Flute [C-Flute], Soprano Saxophone, Handclaps [Palmas], Alto Flute – Jorge Pardo
Percussion – Hossam Ramzy
Percussion, Shaker, Voice – Airto Moreira
Percussion, Tambourine, Pandeiro, Handclaps [Palmas] – Rubem Dantas
Synthesizer, Percussion, Piano, Producer, Electric Piano [Fender Rhodes], Percussion [Electronic], Handclaps [Palmas] – Chick Corea
Eden Atwood is occasionally reminiscent of Lee Wiley in her ability to
bring jazz feeling to lyrics without actually improvising all that much.
Atwood really understands the words that she interprets, and even when
interpreting well-known tunes (as on this CD, when she sings "When the
Sun Comes Out," "The Folks Who Live on the Hill," and "Spring Can Really
Hang You Up the Most"), she makes the music sound quite fresh and
timely. Assisted by pianist Jeremy Kahn, bassist Larry Kohut, drummer
Joel Spencer, and (on four songs) the fiery tenor of Chris Potter, the
young singer shows a great deal of maturity on this session; she takes a
song apiece as a duet with each of her rhythm section mates, and even
"Moon River" (which has her joined only by bassist Kohut) is a success.
Recommended. Scott Yanow
Tracklist :
1 When the Sun Comes Out 4:44
Harold Arlen / Ted Koehler
2 I've Grown Accustomed to His Face 6:04
Alan Jay Lerner / Frederick Loewe
3 Willow Weep for Me 5:28
Ann Ronell
4 The Folks Who Live on the Hill 6:04
Oscar Hammerstein II / Jerome Kern
5 If I Love Again 4:40
Jack Murray / Ben Oakland
6 I Could Have Told You 4:36
James Van Heusen / Carl Sigman / Arthur Williams
7 Spring Can Really Hang You up the Most 5:31
Fran Landesman / Tommy Wolf
8 Medley: Lost in the Stars/So Many Stars 7:48
Maxwell Anderson / Kurt Weill
9 You Taught My Heart to Sing 4:52
Sammy Cahn / McCoy Tyner
10 Why Did I Choose You? 5:26
Michael Leonard / Herbert Martin
11 Moon River 3:28
Henry Mancini / Johnny Mercer
Credits :
Bass – Larry Kohut (tracks: 1-3, 5-11)
Drums – Joel Spencer (tracks: 1-3, 5-10)
Piano – Jeremy Kahn (tracks: 1-6, 8-10)
Tenor Saxophone – Chris Potter (tracks: 1, 3, 5, 7)
Vocals – Eden Atwood 
Shortly before the recording of Vertigo, Chris Potter suffered partial hearing loss after undergoing treatments for Ménière’s disease, an inner ear condition. Vertigo was in fact one of the symptoms he had been experiencing. Despite (or perhaps because of) the somewhat frightening circumstance that led to its title, Vertigo is Potter's most mature and expressive work to date. "Almost Home" and "Wake Up" are two of his prettiest, most memorable melodies. "Fishy" and the title track feature bass clarinet overdubs that double Scott Colley's basslines, to great effect. "Shiva" opens the record with an angular melodic line, stated in unison with utmost precision by Potter and guitarist Kurt Rosenwinkel, whose warm yet crisp tone is a delight. Drummer Billy Drummond trades 12-bar solo statements with Colley on "Long Walk, Short Pier," the first of three tracks to feature guest tenor man Joe Lovano. ("This Will Be," based on the standard "My Shining Hour," and "Modeen's Mood," a free-form tribute to drummer Paul Motian, are the other two.) "Act III, Scene I" is a rubato meditation on the most famous Shakespeare soliloquy of them all ("To be or not to be"). Even more than Unspoken, Potter's superstar session with John Scofield, Dave Holland, and Jack DeJohnette, Vertigo reveals Potter as a player and composer with an uncommonly personal vision. David R. Adler
Tracklist :
1. Shiva 8:05
Chris Potter
2. Vertigo 8:27
Chris Potter
3. Long Walk, Short Pier 8:07
Chris Potter
4. Act III, Scene I 3:38
Chris Potter
5. Fishy 6:31
Chris Potter
6. This Will Be 7:01
Chris Potter
7. Almost Home 5:49
Chris Potter
8. Modeen's Mood 9:32
Chris Potter
9. Wake Up 5:59
Chris Potter
Credits :
Chris Potter - Tenor and Soprano Saxophones, Bass Clarinet, Piano
Kurt Rosenwinkel - Guitar
Scott Colley - Bass
Billy Drummond - Drums
Joe Lovano - Tenor Saxophone (tracks 3, 6, 8)
Steve Kuhn is in a fun-loving mood on this trio date from 1990, accompanied by bassist David Finck and drummer Lewis Nash. His one original of the session, "Looking Back," is full of humorous moments in a driving post-bop setting, and his lagging a bit behind the beat while giving Dave Brubeck's "The Duke" a bit of an oriental sound at times is almost tongue-in-cheek. But not everything is played with a twinkle in his eye; "Stella by Starlight" is lush and dramatic, as is Michel Colombier's pretty ballad "Emmanuel." Kuhn captures the droll mood of the golden oldie "Gee Baby, Ain't I Good to You" with a campy, almost country-flavored approach. This is an outstanding date by a veteran musician who's always deserving of wider recognition for his efforts. Ken Dryden
Tracklist :
1 Looking Back 7:01
Written-By – Steve Kuhn
2 The Duke 5:39
Written-By – Dave Brubeck
3 How Insensitive 5:52
Written-By – Antonio Carlos Jobim, Norman Gimbel, Vinicius De Moraes
4 Stella By Starlight 7:21
Written-By – Ned Washington, Victor Young
5 Alone Together 8:40
Written-By – Howard Dietz - Arthur Schwartz
6 Gee Baby, Ain't I Good To You 5:05
Written-By – Andy Razaf, Don Redman
7 Baubles, Bangles And Beads 5:57
Written-By – George Forrest, Robert Wright
8 Zingaro 3:57
Written-By – Antonio Carlos Jobim
9 Will You Still Be Mine 5:13
Written-By – Matt Dennis, Thomas Adair
10 Emmanuel 3:57
Written-By – Michel Colombier
Credits :
Double Bass – David Finck
Piano – Steve Kuhn
Drums – Lewis Nash
Steve Kuhn is generally not thought of as a solo pianist because he has rarely recorded in that format, but this 1990 concert at Maybeck Recital Hall is one of his most memorable releases. "Old Folks" is a chestnut favored by a lot of swing and bop pianists, but Kuhn's unique approach to it explores a larger range of the keyboard than most players, while powering it with a striding bassline that alternates a lot more than one would expect. He has a lot of fun introducing Miles Davis' "Solar," at first playing around with what sounds like a Scottish dirge and sneaking into a bit of the song while giving it an Oriental flavor, before getting down to business. Both "I Remember You" and "Autumn in New York" are long but fascinating interpretations, as the pianist deconstructs and rebuilds each of them with very fresh approaches. This very satisfying concert CD is well-worth acquiring. Ken Dryden
Tracklist :
1 Old Folks 6:35
Written-By – Dedette Lee Hill, Willard Robison
2 Solar 9:47
Written-By – Miles Davis
3 Don't Explain 8:26
Written-By – Arthur Herzog, Jr., Billie Holiday
4 I Remember You 10:22
Written-By – Johnny Mercer, Victor Schertzinger
5 Autumn In New York 10:55
Written-By – Vernon Duke
6 The Meaning Of The Blues 6:15
Written-By – Bobby Troup, Leah Worth
Credits :
Piano – Steve Kuhn
Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing." Scott Yanow
Tracklist :
1 You Got It 4:09
Composed By – Tom Garling
2 Manteca 6:21
Arranged By – Marko Marcinko
Composed By – Dizzy Gillespie, Walter Fuller, Luciano Gonzales
3 The Vibe 7:12
Composed By – Tom Garling
4 Cajun Cookin' 7:07
Composed By – Denis DiBlasio
5 Milestones 5:31
Arranged By – Tom Garling
Composed By – Miles Davis
6 She Was Too Good To Me 6:23
Arranged By – Tom Garling
Composed By – Lorenz Hart, Richard Rodgers
7 Birdland 4:11
Arranged By – Chip McNeill
Composed By – Josef Zawinul
8 Blues From Around Here 7:34
Composed By – Alan Baylock
9 It Don't Mean A Thing If It Ain't Got That Swing 4:20
Arranged By – Chip McNeill
Composed By – Duke Ellington, Irving Mills
Credits :
Alto Saxophone – Matt Wallace, Vocals (tracks: 6)
Bass – Phil Palombi
Drums – Marko Marcinko, Percussion, (tracks: 4)
Keyboards – Dan Zank
Soprano Saxophone – Chris Farr
Tenor Saxophone – Chris Farr, Matt Wallace
Trombone – Tom Garling, Guitar, (tracks: 7)
Trumpet – Carl Fischer, Larry Foyen, Maynard Ferguson, Scott Englebright
Although Like That was recorded in New York, many of the people involved with the project were Philadelphians. The pleasing hard bop date unites Jimmy Bruno's Philly-based trio of the 1990s (which includes bassist Craig Thomas and drummer Steve Holloway) with organist/trumpeter and Philly native Joey DeFrancesco, while the liner notes were written by guitar great Pat Martino (another Philadelphian). Producer Allen Farnham, however, lived close to New York in northern New Jersey. Bruno's guitar and DeFrancesco's organ prove highly compatible on selections ranging from Sam Jones' "Unit Seven" and Jerome Kern's "The Way You Look Tonight" to Bruno originals such as the sentimental "Waltz for Nancy," the angular "Raezer's Edge," and the mellifluous "Night Dreamer." Although DeFrancesco plays organ on most of the 11 songs, he switches to the trumpet and favors a Miles Davis-influenced mute on relaxed versions of "There Is No Greater Love" and "Stars Fell on Alabama." Bruno's Concord output has been quite consistent, and this fine CD is no exception. Alex Henderson
Tracklist :
1. E.V. 4:39
Craig Thomas
2. Raezer's Edge 5:03
Jimmy Bruno
3. Waltz For Nancy 5:41
Jimmy Bruno
4. There Is No Greater Love 6:12
Isham Jones / Marty Symes
5. The Iguana's Uncle 4:24
Jimmy Bruno
6. Pat's House 5:23
Jimmy Bruno
7. Night Dreamer 6:15
Jimmy Bruno
8. The Way You Look Tonight 5:24
Dorothy Fields / Jerome Kern
9. Like That 4:48
Jimmy Bruno
10. Stars Fell On Alabama 3:26
Mitchell Parish / Frank Perkins
11. Unit Seven 8:08
Sam Jones
Credits :
Jimmy Bruno - Guitar
Joey DeFrancesco - Organ, Trumpet
Steve Holloway - Drums
Craig Thomas - Acoustic and Electric Bass 
Chick Corea's piano work radiates a readily-discernible dignity and if that virtue does not actually belie the lighthearted tone of this title (or his unctuous between-song repartee), then it certainly sets out in much sharper relief the whimsy and serendipity that is also intrinsic to his well-schooled and practiced approach to the instrument. Accordingly—and hardly surprisingly—a composer of such renown as this man offers reverence for all the tunes he chooses, regardless of the source, and that attribute may be the overriding thread of continuity across these two CDs. Doug Collette All Tracks & Credits :
Charlie Byrd was teamed up with Barney Kessel and Herb Ellis (along with bassist Joe Byrd and drummer John Rae) for this rather exciting concert. While Ellis and Kessel have three unaccompanied duets, the inclusion of Byrd (thought of as a Brazilian specialist rather than a bopper) is the wild card that makes this set a major success. While Byrd is excellent on his features "Charlie's Blues" and "O Barquinho," it is the three stomps featuring all the guitarists ("Undecided," "Topsy" and "Benny's Bugle") that are most memorable. Scott Yanow
Tracklist :
1 Undecided 6:19
Sydney Robin / Charlie Shavers
2 O Barquinho 4:41
Ronaldo Bôscoli / Roberto Menescal
3 Slow Burn 5:33
Barney Kessel
4 Charlie's Blues 8:17
Charlie Byrd
5 Topsy 5:44
Edgar Battle / Eddie Durham
6 Latin Groove 4:26
Barney Kessel
7 Down Home Blues 3:57
Herb Ellis / Barney Kessel
8 H And B Guitar Boogie 4:08
Herb Ellis / Barney Kessel
9 Benny's Bugle 5:37
Benny Goodman
Credits :
Bass – Joe Byrd
Drums – John Rae
Guitar – Barney Kessel, Charlie Byrd, Herb Ellis
On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings. Scott Yanow
Tracklist :
1 Jellybeans 4:08
Barney Kessel
2 Stella By Starlight 5:46
Ned Washington / Victor Young
3 Mermaid 4:27
Barney Kessel
4 My Foolish Heart 4:34
Ned Washington / Victor Young
5 Juarez After Dark 4:26
Barney Kessel
6 I've Never Been In Love Before 5:19
Frank Loesser
7 St. Thomas 4:45
Sonny Rollins
8 Shiny Stockings 5:14
Frank Foster
Credits :
Bass – Bob Maize
Drums – Jimmie Smith
Guitar – Barney Kessel
Italian pianist Stefano Battaglia is known for his excellent technique and sensitive touch. So is percussionist Pierre Favre. It comes as no...
