KENNY BURRELL / JOHN COLTRANE - Kenny Burrell & John Coltrane (1962-2006) RVG REMASTERS /APE (image+.cue), lossless

For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagan compositions, another two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. While not one of Coltrane's most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song's conclusion. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reins to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas. While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of where one might find it. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here. by Lindsay Planer  
Tracklist
1   Freight Train 7:21
Tommy Flanagan
2   Lyresto  5:44
Kenny Burrell
3   I Never Knew  7:05
Gus Kahn / Ted Fio Rito
4   Why Was I Born?  3:13
Oscar Hammerstein II / Jerome Kern
5   Big Paul  14:04
Tommy Flanagan
Credits
Bass – Paul Chambers
Drums – Jimmy Cobb
Guitar – Kenny Burrell
Piano – Tommy Flanagan
Tenor Saxophone – John Coltrane

KENNY BURRELL - Blue Lights, Vol. 1 (1958-2000) RM / FLAC (tracks+.cue), lossless

Guitarist Kenny Burrell leads a strong jam session that features the talented but very underrated trumpeter Louis Smith (who sounds a bit like Lee Morgan), the similar but contrasting tenors of Junior Cook and Tina Brooks, pianist Duke Jordan, bassist Sam Jones, and drummer Art Blakey. Jordan's tongue-in-cheek "Scotch Blues" is a high point. by Scott Yanow
Tracklist:
1 Yes Baby 7:00
Kenny Burrell / Don Robey
2 Scotch Blues 5:35
Duke Jordan 
3 Autumn In New York 5:00
Vernon Duke
4 Caravan 7:20
Duke Ellington / Irving Mills / Juan Tizol
Credits:

Trumpet – Louis Smith (tracks: 1, 2, 4)

Bass – Sam Jones

Design [Cover] – Andy Warhol, Reid Miles
Drums – Art Blakey
Guitar – Kenny Burrell
Piano – Bobby Timmons (tracks: 3, 4), Duke Jordan (tracks: 1, 2)
Recorded, Remastered By – Rudy Van Gelder
Tenor Saxophone – Junior Cook (tracks: 1, 2, 4), Tina Brooks (tracks: 1, 2, 4)

KENNY BURRELL - Blue Lights, Vol. 2 (1958-2000) RM / FLAC (tracks+.cue), lossless

A jam session led by guitarist Kenny Burrell features the talented if forgotten trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, pianist Bobby Timmons (Duke Jordan was on the first volume), bassist Sam Jones, and drummer Art Blakey. The all-star group performs two standards ("Caravan" and the guitarist's feature on "Autumn in New York"), Sam Jones' "Chuckin'," and Burrell's "Rock Salt." This is excellent music that easily fits into the bop mainstream of the period. by Scott Yanow 
Tracklist:
1 Rock Salt 11:20
Kenny Burrell
2 The Man I Love 6:43
George Gershwin / Ira Gershwin
3 Chuckin' 12:10
Sam Jones
4 Phinupi 9:47
Kenny Burrell
Credits:
Bass – Sam Jones
Drums – Art Blakey
Guitar – Kenny Burrell
Recorded, Remastered By – Rudy Van Gelder
Trumpet – Louis Smith
Piano – Bobby Timmons (tracks: 1, 3), Duke Jordan (tracks: 2, 4)
Tenor Saxophone – Junior Cook (tracks: 1, 3, 4), Tina Brooks (tracks: 1, 3)
Written-By – George & Ira Gershwin (tracks: 2), Kenny Burrell (tracks: 1, 4), Sam Jones (tracks: 3)

BARNEY KESSEL - Feeling Free (1969-2000) RM / FLAC (tracks+.cue), lossless

Guitarist Barney Kessel recorded regularly for the Contemporary label during 1953-1961, one gem after another. In 1969 he returned to Lester Koenig's label for this lone effort, a quartet set with vibraphonist Bobby Hutcherson, bassist Chuck Domanico, and drummer Elvin Jones. The music is fairly free, particularly Kessel's four originals (which include "Blues, Up, Down & All Around" and "Two Note Samba"). Even Paul Simon's "The Sounds of Silence" and "This Guy's in Love With You" are turned into reasonably creative jazz by the all-star group. Although none of the musicians was associated exclusively with the avant-garde (Elvin Jones came the closest but never quite embraced free jazz), they show the influence of the explorations of the era, using aspects of the innovations as a logical way to stretch the jazz mainstream. Fascinating music. by Scott Yanow
Tracklist:
1 Moving Up  5:14
Barney Kessel
2 Blue Grass  9:24
Barney Kessel
3 This Guy's in Love With You  5:14
Burt Bacharach / Hal David
4 Blues up, Down and All Around  8:21
Barney Kessel
5 The Sound of Silence   7:39
Paul Simon
6 Two Note Samba  4:55
Barney Kessel
Credits
Bass – Chuck Domanico
Drums – Elvin Jones
Guitar – Barney Kessel
Vibraphone [Vibes] – Bobby Hutcherson

TERJE RYPDAL / MIROSLAV VITOUS / JACK DeJOHNETTE - Terje Rypdal~Miroslav Vitous~Jack DeJohnette (1979-2008) FLAC (tracks+.cue), lossless

An otherworldly soundscape of aching beauty, this album is a must-have for aficionados of any member of this trio. Rypdal's guitar is hauntingly reverbed and distant throughout, though occasionally on "Seasons" he becomes too fond of caterwauling guitar synth. But this is truly an effort of trio fusion, with ineffable pieces like "Den Forste Sne" ("The First Snow") appearing and melting away without any tangible solos or structure. From the opening cymbal strikes of "Sunrise," this album is marked by DeJohnette's best drumming on record; his cymbal sound, pushed to the front and recorded with mikes both above and below the cymbal's bell -- "because that's how the drummer hears it" -- is nothing short of revelatory. Vitous' bass steadies Rypdal's flights of fancy, while his subtle electric piano lines float above. These elements combine most powerfully in "Believer," which builds from atmospheric shimmers of electric piano into a whorl of bass and plaintive guitar set against the dry rasp of resonating cymbals. by Paul Collins
Tracklist:
1 Sunrise 8:26
Written-By – Rypdal
2 Den Forste Sne 6:35
Written-By – Rypdal
3 Will 8:01
Written-By – Vitous
4 Believer 6:23
Written-By – Vitous
5 Flight 5:25
Written-By – DeJohnette, Vitous, Rypdal
6 Seasons 7:22
Written-By – DeJohnette, Vitous, Rypdal
Credits:
Double Bass, Electric Piano – Miroslav Vitous
Drums – Jack DeJohnette
Guitar, Guitar Synthesizer, Organ – Terje Rypdal
Producer – Manfred Eicher

CHARLIE HUNTER - Charlie Hunter (2000) FLAC (tracks+.cue), lossless

Charlie Hunter is a restless musician in a dilemma. The variety of players and settings on his first several albums are testament to his restless spirit. But as his technique and confidence grow, it seems that the best showcase for his talent would be in small groups with minimal accompaniment, due to his ability to play rhythm and melody simultaneously. Since his last album, Duo, was the epitome of minimal accompaniment, Hunter must have felt obliged to vary the sound somewhat. For this album, Hunter continues his collaboration with percussionist Leon Parker, as well as bringing Josh Roseman and Peter Apfelbaum on trombone and sax, respectively, plus a couple of Parker's students. But the show still belongs to Hunter; there is one solo cut and three duets with Parker. When the other percussionists join in, the rhythms remain lean, with each player utilizing only one or two items. This leaves plenty of space for Hunter, while providing nice counterpoint to his playing. The horns are used on only four of the nine tracks of the album, but do a lot to expand the overall sound. Apfelbaum and Roseman solo nicely, but just as exciting is hearing Hunter's comping behind them. His technique really is amazing, but always at the service of music, not virtuosity. The tunes themselves lay down a solid groove; never too far from soul-jazz or funk, but with a boppish vocabulary that says this is no ordinary groove band. Charlie Hunter is another fine offering from a uniquely talented player, demonstrating both a high degree of musical sensitivity and astonishing technical abilities. by Sean Westergaard 
Tracklist:

1 Rendezvous Avec La Verite 6:37

Congas – Leon Parker
Cowbell, Cymbal – Stephen Chopek
Guitar [8-string] – Charlie Hunter
Percussion [Floor Tom, Snare Drum] – Robert Perkins
Written By – Charlie Hunter
2 Two For Bleu 5:39
Congas, Percussion [Floor Tom] – Leon Parker
Cowbell, Cymbal – Stephen Chopek
Guitar [8-string] – Charlie Hunter
Saxophone [Tenor] – Peter Apfelbaum
Tambourine – Robert Perkins
Trombone – Josh Roseman
Written By – Charlie Hunter
3 Al Green 5:39
Drums – Leon Parker
Guitar [8-string] – Charlie Hunter
Written By – Charlie Hunter
4 Nothin' But Trouble 6:33
Drums – Leon Parker
Guitar [8-string] – Charlie Hunter
Saxophone [Tenor] – Peter Apfelbaum
Trombone – Josh Roseman
Written By – Charlie Hunter
5 Cloud Splitter 4:01
Claves – Stephen Chopek
Drums – Leon Parker
Guitar [8-string] – Charlie Hunter
Saxophone [Tenor] – Peter Apfelbaum
Trombone – Josh Roseman
Written By – Charlie Hunter
6 Epistrophy 3:41
Guitar [8-string] – Charlie Hunter
Percussion – Leon Parker
Written By – K. Clarke, T. Monk
7 Flau Flau 5:56
Guitar [8-string] – Charlie Hunter
Percussion [Floor Tom] – Stephen Chopek
Percussion [Snare Drum] – Robert Perkins
Saxophone [Tenor] – Peter Apfelbaum
Triangle – Leon Parker
Trombone – Josh Roseman
Written By – Charlie Hunter
8 Dersu (A Slight Return) 5:14
Drums – Leon Parker
Guitar [8-string] – Charlie Hunter
Written By – Charlie Hunter
9 Someday We'll All Be Free 4:55
Guitar [8-string] – Charlie Hunter
Written By – D. Howard, D. Hathaway

TRIBAL TECH - Tribal Tech (1991) FLAC (tracks+.cue), lossless

Guitar god Scott Henderson is a fusion fanatic's dream, by virtue of his wild yet fluid and even melodic riffs. Bassist Gary Willis lacks Henderson's range compositionally and as a player, but still manages to keep the proceedings grooving. Backed by the keys of David Goldblatt, Joey Heredia's drums and the percussion of Brad Dutz, the two form a powerful musical bond as Tribal Tech. Unlike their previous album, TT's new disc features more melodies (the best ones, "Peru" and "Signal Path" are by Henderson), the softening effect of Goldblatt's key soloing and a tighter tune structure and production all around. There's still lots and lots of improvising, but on the less memorable Willis tunes, it seems to go on interminably. Pop jazz fans will finally be able to relate to Henderson's solid playing by virtue of a smoother context, but it's still mostly geared for the guitar lover or student. Extra credit is due for the very creative song titles, including "Elvis at the Hop" and "The Necessary Blond." by Jonathan Widran

Tracklist:

1 Signal Path 6:26

Scott Henderson

2 Big Girl Blues 6:15

Scott Henderson

3 Dense Dance 4:51

Gary Willis / Scott Willis

4 Got Tuh B 6:43

Gary Willis / Scott Willis

5 Peru 7:23

Scott Henderson

6 Elvis at the Hop 4:34

Scott Henderson

7 The Necessary Blonde 6:52

Gary Willis / Scott Willis

8 Fight the Giant 4:05

David Goldblatt

9 Sub Aqua 5:30

Scott Henderson

10 Formula One 4:44

Scott Henderson

11 Wasteland 8:03

Gary Willis

Credits:

Bass, Synthesizer, Producer – Gary Willis

Drums – Joey Heredia

Guitar, Guitar Synthesizer, Producer – Scott Henderson 

Keyboards, Producer – David Goldblatt

Percussion – Brad Dutz

Written-By – Willis (tracks: 3, 4, 7, 11), Henderson (tracks: 1, 2, 5, 6, 9, 10)

THE ELEVENTH HOUSE - Introducing The Eleventh House with Larry Coryell (1974-1990) FLAC (tracks+.cue), lossless

The Eleventh House during 1972-1975 was one of the stronger working groups in fusion, led by one of the unsung heroes of the idiom, guitarist Larry Coryell. This CD reissue brings back The Eleventh House's first recording and, in addition to Coryell's guitar, most heavily featured are trumpeter Randy Brecker (who would later be replaced by Mike Lawrence) and keyboardist Mike Mandel; bassist Danny Trifan and drummer Alphonse Mouzon are strong in backup roles. The influence of Miles Davis, Weather Report, and Herbie Hancock is apparent, but The Eleventh House also offered a sound of their own. Brecker's solos are often both fiery and lyrical (although his use of an occasional electric wah-wah device is less interesting). Coryell and Mandel blend together quite well, and the original grooves on this set often have distinctive personalities. Pity that the reissue does not have any liner notes, otherwise it is easily recommended to fans of early fusion. by Scott Yanow

Tracklist:

1. Birdfingers ( 3:07 ) 

2. The Funky Waltz ( 5:10 )

3. Low Lee Tah ( 4:17 )

4. Adam Smasher ( 4:30 ) 

5. Joy Ride ( 6:08 ) 

6. Yin ( 6:03 ) 

7. Theme For A Dream ( 3:26 )

8. Gratitude ( 3:21 )

9. Ism-ejercicio ( 3:59 )

10. Right On Yàll ( 4:21 )

Total Time : 44:47

Musicians

Randy Brecker – horn, trumpet

Larry Coryell – guitar

Mike Mandel – piano, synthesizer

Alphonse Mouzon – drums, percussion

Danny Trifan – bass

LARRY CORYELL - Spaces (1974) FLAC (tracks+.cue), lossless

This album features the pioneer fusion guitarist Larry Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time. "Rene's Theme" is a guitar duet with McLaughlin, while "Gloria's Steps" (a Scott LaFaro composition) has Coryell, Vitous and Cobham jamming as a trio. Chick Corea sits in on electric keyboard for "Chris," and the 20-second closer ("New Year's Day in Los Angeles -- 1968") finds Coryell playing alone. Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for. by Scott Yanow
Tracklist:
1 Spaces (Infinite) 9:16
Composed By – Julie Coryell
2 Rene's Theme 4:06
Composed By – René Thomas
3 Gloria's Step 4:29
Composed By – Scott LaFaro
4 Wrong Is Right 9:00
Composed By – Larry Coryell
5 Chris 9:31
Composed By – Julie Coryell
6 New Year's Day In Los Angeles - 1968 0:20
Composed By – Larry Coryell
Credits:
Bass – Miroslav Vitous
Drums – Billy Cobham
Electric Piano – Chick Corea
Guitar – John McLaughlin, Larry Coryell

LARRY COYELL - Spaces Revisited (1997) FLAC (image+.cue), lossless

What started as a project to reunite Coryell with Billy Cobham on drums in order to take a second look at the sound and style of the Coryell's Spaces ended up creating a whole new chapter instead. With Richard Bona on bass and Bireli Lagrene on guitar, these nine songs capture the spirit of that 30-year-old session with new, adventuresome playing and vigor. Coryell takes great pride in the spontaneity of this project -- one day rehearsal, two days recording -- and well he should, since it contains musicians interacting with each other in a loose yet totally on-top-of-their-game manner. Bireli shines on the 9/8 section "Variations on Goodbye Pork Pie Hat," while Bona solos beautifully on "Blues for Django and Stephane." Yet it's ultimately Coryell's and Cobham's show, and their playing throughout is sublime with the on-the-spot recording of "Hong Kong Breeze" -- an off the cuff head arrangement done in one take -- showcasing their two players/one mind interplay. Maybe you can't go home again, but this album clearly proves you can always take your luggage with you and build a whole new house.  by Cub Koda

Tracklist:

1. The Dragon Gate (6:30)

2. Hong Kong Breeze (8:25)

3. Spaces Revisited (7:05)

4. Variations On Good-Bye Pork Pie Hat (8:03)

5. Blues For Django And Stephane (5:24)

6. Morning Of The Carnival (7:31)

7. Oleo (5:04)

8. Introduction To 'Ruby' (1:33)

9. Ruby My Dear (4:24)

Total time 53:59

Line-up / Musicians

- Larry Coryell / acoustic & electric guitars, producer

- Biréli Lagrène / guitars

- Richard Bona / bass

- Billy Cobham / drums

Bireli solos first (1 to 3,6,7,9), Larry solos first (4,5), Larry plays melody (9)

REMEMBER SHAKTI - Remember Shakti (1999) 2CD / FLAC (tracks+.cue), lossless

On Remember Shakti, jazz guitarist John McLaughlin returns to one of his chief inspirations -- classical Indian music -- by re-forming his '70s group Shakti. Original members Zakir Hussain (tabla) and Vikku Vinayakram (ghatam) return, joined by Hariprasad Chaurasia on the bansuri (Indian flute). Remember Shakti has a more meditative, fluid feel than the percussive work of the original group, but McLaughlin's subtle, hypnotic guitar work bridges Shakti's past and present. Remember Shakti's double-disc length gives the group ample time to explore the intricacies of compositions like "The Wish," "Chandrakauns," and the hour-plus "Mukti." An emotionally rich, musically accomplished album, Remember Shakti reunites a unique group of players. by Heather Phares
Tracklist:
1-1 Chandrakauns 33:35
1-2 The Wish 18:40
1-3 Lotus Feet 7:33
2-1 Mukti 63:30
2-2 Zakir 9:10
Credits:

Bansuri – Hariprasad Chaurasia (tracks: 1-1, 1-3 to 2-2)

Ghatam – T.H. "Vikku" Vinayakram (tracks: 1-2 to 2-1)
Guitar – John McLaughlin (tracks: 1-2 to 2-2)
Tabla – Zakir Hussain (tracks: 1-1 to 2-1)
Tambura [Tanpura] – Uma Metha (tracks: 1-1, 1-3)
Written-By – Hariprasad Chaurasia (tracks: 1-1, 2-1), John McLaughlin (tracks: 1-2, 1-3, 2-2)

REMEMBER SHAKTI - The Believer (2000) APE (image+.cue), lossless

When Eastern classical musicians and Western jazz or pop musicians get together to jam, the result are always heartwarming; two wildly disparate traditions coming together to make music is such an irresistible gesture of human unity and cross-cultural cooperation. What's not to love? Frankly, what's not to love is often the music itself, which all too frequently is long on multicultural good intentions and short on things like coherence, interest, and hooks. The intermittently mystical jazz guitarist John McLaughlin, who has been nursing an India jones for decades now, is hardly innocent of such offenses. But on The Believer, a live set featuring McLaughlin, electric mandolinist U. Shrinivas, kanjira and ghatam player V. Slevaganesh, and legendary tabla player Zakir Hussain, he delivers a gloriously tight, rhythmically thrilling program of original compositions (as well as one contribution each from Shrinivas and Hussain). The group is called Remember Shakti in reference to Shakti, the similarly configured band that McLaughlin co-led in the mid-'70s. If anything, his playing has grown more exciting than it was then; listening to him negotiate the thorny rhythmic changes of this music in unison with Shrinivas and to both of them bouncing off the complexly woven rhythmic patterns laid out by Hussain and Slevaganesh is not only impressive, but uplifting as well. Highlights include the downright funky "Anna" and Shrinivas' composition "Maya.". by Rick Anderson  
Tracklist:
1 5 In The Morning, 6 In The Afternoon 18:13
Written-By – John McLaughlin
2 Ma No Pa 14:56
Written-By – Zakir Hussain
3 Lotus Feet 7:06
Written-By – John McLaughlin
4 Maya 13:40
Written-By – U. Shrinivas
5 Anna 10:34
Written-By – John McLaughlin
6 Finding The Way 12:40
Written-By – John McLaughlin

REMEMBER SHAKTI - Saturday Night In Bombay (2001) APE (image+.cue), lossless

John McLaughlin brought his revived Indo-jazz project Shakti to Bombay (Mumbai) in late 2000, and the result is this live disc, which features only four compositions but runs over an hour in length. (The title is a deliberate play on 1980's Friday Night in San Francisco.) McLaughlin's electric guitar and Zakir Hussain's tabla remain at the core of the group's sound. U. Shrinivas (on mandolin) and V. Selvaganesh (on kanjira, ghatam, and mridangam, all Indian percussion instruments) remain from the previous album, but there are also a number of Indian guest musicians, giving the music many added dimensions. The most remarkable guests are Debashish Bhattacharya on Hindustani slide guitar, Shankar Mahadevan on vocals, and Shiv Kumar Sharma on santur, an Indian hammered dulcimer. Sharma composed the second track, "Shringar"; nearly half an hour long, it consists almost entirely of a hypnotic dialogue between santur and guitar. Mahadevan's vocal performance on the opening "Luki" resounds with spiritual power, while Shrinivas's "Giriraj Sudha" gives a sunny, optimistic lift to the somewhat mournful set. by David R. Adler
Tracklist:
1 Luki 5:39
2 Shringar 26:38
3 Giriraj Sudha 10:45
4 Bell'Alla 18:48
Personnel:

Guitar – John McLaughlin

Kanjira – V. Selvaganesh

Mandolin – U. Shrinivas (tracks: 1, 3, 4)

Tabla – Zakir Hussain

Vocals – Shankar Mahadevan (tracks: 1, 3, 4)

JOHN ABERCROMBIE - Characters (1977) APE (image+.cue), lossless

Always unique and uncompromising, John Abercrombie gained a good deal of his popularity from his solo playing. Not the virtuoso of his primary influences -- Django Reinhardt, Tal Farlow and Jim Hall -- Abercrombie is much more the introvert. He often bypasses traditional techniques to pursue experimental sounds and rhythms. Along with Ralph Towner, whom he has recorded with before (see Sargasso Sea), Abercrombie makes excellent use of space within both his compositions and solos. Upon the first listen there may not appear to be very much here; however, this music needs to be absorbed over several listens to appreciate Abercrombie's brilliance. Allmusic

Tracklist

1 Parable 10:37

2 Memoir 3:11

3 Telegram 4:32

4 Backward Glance 4:32

5 Ghost Dance 6:56

6 Paramour 3:47

7 After Thoughts 3:18

8 Evensong 7:35

John Abercrombie – Acoustic Guitar, Electric Guitar, Mandolin [Electric Mandolin]

JOHN ABERCROMBIE / DAVE HOLLAND / JACK DeJOHNETTE - Gateway (1975) APE (image+.cue), lossless

Guitarist John Abercrombie was one of the stars of ECM in its early days. His playing on this trio set with bassist Dave Holland and drummer Jack DeJohnette is really beyond any simple categorization. Abercrombie's improvisations are sophisticated yet, because his sound is rockish and sometimes quite intense (particularly on the nearly 11-minute "Sorcery 1"), there is really no stylistic name for the music. Holland contributed four of the six originals while DeJohnette brought in the other two (one of which was co-written with Abercrombie). The interplay between the three musicians is quite impressive although listeners might find some of the music to be quite unsettling. It takes several listens for one to digest all that is going on, but it is worth the struggle. by Scott Yanow
Tracklist:
1 Back – Woods Song 7:51
Composed By – Dave Holland
2 Waiting 2:10
Composed By – Dave Holland
3 May Dance 11:01
Composed By – Dave Holland
4 Unshielded Desire 4:49
Composed By – Jack DeJohnette, John Abercrombie
5 Jamala 4:47
Composed By – Dave Holland
6 Sorcery I 10:56
Composed By – Jack DeJohnette
Credits:
Bass – Dave Holland
Drums – Jack DeJohnette
Guitar – John Abercrombie
Producer – Manfred Eicher

JOHN ABERCROMBIE / DAVE HOLLAND / JACK DEJOHNETTE - Gateway 2 (1977) APE (image+.cue), lossless

 

Unlike the first Gateway album, this CD reissue puts more of an emphasis on the rockish side of guitarist John Abercrombie's style. Abercrombie (who also plays some electric mandolin) still indulges in close interplay with bassist Dave Holland and drummer Jack DeJohnette (who doubles a bit on piano) but the playing on the five group originals is generally more fiery than introspective. None of the individual selections are all that memorable but the group improvising does have plenty of surprising moments. by Scott Yanow

Tracklist:

1    Opening 16:16
Written-By – Dave Holland, Jack DeJohnette, John Abercrombie
2    Reminiscence 4:34
Written-By – Dave Holland
3    Sing Song 6:55
Written-By – John Abercrombie
4    Nexus 7:54
Written-By – Dave Holland
5    Blue 8:15
Written-By – Jack DeJohnette
Credits:
Double Bass – Dave Holland
Drums, Piano – Jack DeJohnette
Electric Guitar, Acoustic Guitar, Mandolin [Electric Mandolin] – John Abercrombie
Producer – Manfred Eicher
 

PAT METHENY - Bright Size Life (1976) FLAC (tracks+.cue), lossless

Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing, with titles like "Missouri Uncompromised," "Midwestern Nights Dream," and "Omaha Celebration." There is also a sole harbinger of radical matters way down the road with the inclusion of a loose-jointed treatment of Ornette Coleman's "Round Trip/Broadway Blues," proving that Song X did not come from totally out of the blue. Besides being Metheny's debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too. by Richard S. Ginell
Tracklist:
1 Bright Size Life 4:43
2 Sirabhorn 5:25
3 Unity Village 3:38
4 Missouri Uncompromised 4:19
5 Midwestern Nights Dream 5:58
6 Unquity Road 3:33
7 Omaha Celebration 4:16
8 Round Trip/Broadway Blues 4:58
Credits:
Bass – Jaco Pastorius
Drums – Bob Moses
Guitar, Bass – Pat Metheny
Producer – Manfred Eicher

CHARLIE BYRD / HERB ELLIS / MUNDELL LOWE - The Return of the Great Guitars (1996) FLAC (tracks+.cue), lossless

The first recording by the Great Guitars in over a decade has a change in personnel. A serious stroke had ended Barney Kessel's career, but Herb Ellis and Charlie Byrd were still very much active. Fellow veteran guitarist Mundell Lowe took Kessel's place, and as a wild card, on eight of the 13 selections the versatile Larry Coryell is heard on fourth guitar. With fine backup by bassist John Goldsby and drummer Tim Horner, the guitarists swing hard on a variety of bop and swing-oriented tunes including "Things Ain't What They Used to Be," "A Smooth One," "The Lady in Red," and "Seven Come Eleven," in addition to some more recent originals.  by Scott Yanow
Tracklist:
1 Things Ain't What They Used to Be 4:50
Mercer Ellington / Ted Persons
2 When Lights Are Low 4:13
Benny Carter / Spencer Williams
3 A Smooth One 4:27
Charlie Christian / Benny Goodman
4 My Funny Valentine 5:11
Lorenz Hart / Richard Rodgers
5 The Lady in Red 4:22
Mort Dixon / Allie Wrubel
6 Soft Winds 3:49
Benny Goodman
7 Bernie's Tune 4:23
Jerry Leiber / Bernard Miller / Mike Stoller
8 I Remember You 4:42
Johnny Mercer / Victor Schertzinger
9 Waltz for Wes 4:29
Terry Holmes
10 Seven Come Eleven 4:34
Charlie Christian / Benny Goodman
11 Billy Bean! 4:27
Larry Coryell
 12 Nigh Roby Getaway 4:32
Mundell Lowe
13 On the Trail 4:44
Ferde Grofé

LARRY CORYELL - The Restful Mind (1975-2004) RM / FLAC (tracks+.cue), lossless

Guitarist Larry Coryell recorded several sessions for the Vanguard label during the '70s with varying results. He did manage two classics, Spaces, and this one, The Restful Mind. It is no small coincidence that the better the personnel he surrounded himself with, the better he played. On Spaces, the presence of John McLaughlin and Chick Corea raised his playing to another level. Here, with the backing of the group Oregon (with the exception of Paul McCandless), who were also signed to Vanguard at this time), bring out a more reflective and relaxed Coryell. His tendency to fall back on his chops was always a weak spot in his playing, but it is thankfully absent here. Both of the "Improvisation" pieces are highlights in Coryell's career, which along with the other beaufitul selections, make this one of his best, and certainly most overlooked, recordings. by Robert Taylor
Tracklist:
1 Improvisation On Robert De Visee's Menuet II 8:13
2 Ann Arbor 5:01
3 Pavane For A Dead Princess 5:40
4 Improvisation On Robert De Visee's Sarabande 5:20
5 Song For Jim Webb 3:15
6 Julie La Belle 4:07
7 The Restful Mind 3:12
Credits:
Acoustic Guitar, Electric Guitar – Larry Coryell
Double Bass [Acoustic Bass] – Glen Moore
Guitar – Ralph Towner
Tabla, Congas – Collin Walcott

TISZIJI MUÑOZ / MARILYN CRISPELL - Beautiful Empty Fullness (2014) FLAC (tracks+.cue), lossless

Fans of guitarist Tisziji Muñoz will be surprised by Beautiful Empty Fullness, a duet session with pianist/composer Marilyn Crispell. They've recorded together before, but this marks their first time as a duo. Both players are fiery improvisers who share John Coltrane as inspirational spiritual source and musical influence. While Ms. Crispell has recorded several programs of deeply intuitive, nearly songlike performances beginning with 1997's Nothing Ever Was, Anyway: The Music of Annette Peacock on ECM, Mr. Muñoz has, to date, never so straightforwardly showcased his work as a composer. Ms. Crispell is the perfect partner to assist in revealing this profound aspect of his musical character. These are songs, from short and sweet to lengthy and exploratory, that carry within them a lyricism we've seldom encountered from Muñoz before. The two opening tracks, "Fatherhood" and "I Thank You Love," are each under two minutes. The former carries within it the seeds of gospel, while the latter is almost a hymn. "Prayer for Awakening the Heart" is a modal number. Ms. Crispell's rumbling, lower mid-register chord voicings provide a base for the guitarist's sparse yet lyric melody. Given its nearly eight-minute length, there is room for both players to stretch a bit, but their interplay hovers around the composition's tonal center. Crispell's gorgeous intro to "Precious Friendship" offers an elliptical, blissful atmospheric lilt before Muñoz's signature tone -- simultaneously biting and tender -- digs into its center and carries it to the margins, underscoring, highlighting, and deepening the complex emotions at its core. There is real drama in the nearly 11-minute "Impermanence," which seems to open at the center of a crescendo, but it's merely the beginning of a long ascent, a winding journey toward something even more revelatory as it unfolds, almost cinematically moving backward and forward until the lyric line has been extended almost boundlessly. "Love's Continual Presence" has a nearly "Love Supreme"-esque motif, as Muñoz repetitively offers a mantra-like phrase and Crispell illustrates it compellingly, her ostinati shimmering through the guitarist's "chant"-like phrases. "When I'm Gone" emerges from a minor-key modal exploration; tone, dissonance, and dynamic force are offered in a labyrinthine improvisational language. Heartfelt emotion fuels every gorgeous track on Beautiful Empty Fullness, adding depth and dimension to the portraits of both players. by Thom Jurek