Having paid tribute to Johann Sebastian Bach in a sequence of New Series recordings of the Well-tempered Clavier, the Goldberg Variations and the French Suites, Keith Jarrett now turns his attention to Bach’s near contemporary, Georg Friedrich Händel. The project, in fact, has been in preparation for a long time; Jarrett’s liner note informs us that he first began to record Händel’s keyboard suites some 20 years ago. The present recording is of particular interest for a number of reasons and not least because it is the first of his albums of baroque music to feature the piano – as opposed to harpsichord – since Book One of the Well-tempered Clavier was issued in 1988. Where, in his Bach recordings, Keith Jarrett has striven to obliterate his musical personality ("This music does not need my assistance"), he feels Händel’s "basically unknown" solo keyboard music needs a measure of special pleading. And, though he has gone to "the least tampered with editions" of the suites in the interests of "correctness both musicological and musical", in making the case for their reassessment he permits himself some interpretive leeway in matters of tempi and phrasing. The result is an extremely attractive reading of seven of the Suites for Keyboard that can perhaps be more readily related – particularly in the adagio movements, where Jarrett takes full advantage of the lyrical warmth and textural richness of the material – to aspects of the pianist’s improvised recordings than can his Bach interpretations. (Or, to put it another way, these pieces, in the right hands, retain the freshness of improvisation). "Händel was a keyboardist, " Jarrett notes, "and his keyboard works should occupy a higher position in our awareness than they do." Keith Jarrett’s playing on this recording invites comparison with his interpretation of Dmitri Shostakovich’s 24 Preludes and Fugues Op. 87 (a work that creates a bridge, via Bachian inspirational sources, from the baroque to the "modern"). Jarrett’s Shostakovich prompted John Rockwell to declare, in the pages of the New York Times: "With this recording, Mr. Jarrett has finally staked an indisputable claim to distinction in the realm of classical music. Even in our multicultural, multistylistic age, it is extremely difficult to cross over from one field to another. Mr. Jarrett, having long since established himself in jazz, can now be called a classical pianist of the first rank." ECM
Georg Friedrich Handel (1685-1759)
1-4. Suite HWV 452 (G Minor)
5-8. Suite HWV 447 (D Minor)
9-12. Suites II / No.7 HWV 440 (B-flat Major)
13-16. Suites I / No.8 HWV 433 (F Minor)
17-20. Suites I / No.2 HWV 427 (F Major)
21-25. Suites I / No.4 HWV 429 (E Minor)
26-29. Suites I / No.1 HWV 426 (A Major)
Piano – Keith Jarrett
15.6.25
HÄNDEL : Suites for Keyboard (Keith Jarrett) (1995) Two Version | FLAC (image+.tracks+.cue), lossless
14.6.25
JACO PASTORIUS BIG BAND — Word Of Mouth Revisited (2003) Two Version | FLAC (image+.tracks+.cue), lossless
Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it's because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on "Punk Jazz" -- which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on "Teen Town" is fundamentally unmusical, focusing on the player more than the material being played -- which is, come to think of it, the real revelation here. Pastorius' tunes reflect a compositional maturity that wasn't always evident in the more improvisational context of Weather Report, and his arrangements -- notably an idiosyncratic treatment of "Killing Me Softly" and the marimba-flavored exotica of "Opus Pocus" -- suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius' voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words. Robert L. Doerschuk
Tracklist :
1. Jaco Speaks 0:07
2. Havona 5:19
Arranged By – Larry Warrilow
Bass – Jimmy Haslip
Written-By – Jaco Pastorius
3. Teen Town 4:10
Arranged By – Larry Warrilow
Bass – Victor Wooten
Written-By – Jaco Pastorius
4. Jaco Speaks 0:04
5. Punk Jazz 5:03
Bass – Richard Bona
Tenor Saxophone – Mike Scaglione
Written-By, Arranged By – Jaco Pastorius
6. Jaco Speaks 0:05
7. Barbary Coast 5:55
Arranged By – Larry Warrilow
Bass – Gerald Veasley
Written-By – Jaco Pastorius
8. Killing Me Softly 4:22
Arranged By – Jaco Pastorius
Bass – Jeff Carswell
Written-By – Charles Fox, Norman Gimbel
9. Jaco Speaks 0:05
10. (Used to Be A) Cha Cha 6:54
Arranged By – Dan Bonsanti
Bass – Victor Bailey
Written-By – Jaco Pastorius
11. Wiggle Waggle 5:46
Arranged By – Stan Webb
Bass – Jaco Pastorius
Written-By – Herbie Hancock
12. Jaco Speaks 0:10
13. Continuum 3:23
Bass – Jimmy Haslip
Written-By, Arranged By – Jaco Pastorius
14. Jaco Speaks 0:04
15. Elegant People 6:29
Arranged By – Jaco Pastorius
Bass – Gerald Veasley
Drums [Hand Drums] – Bobby Thomas Jr.
Written-By – Wayne Shorter
16. Opus Pocus 5:16
Arranged By – Larry Warrilow
Bass – David Pastorius
Marimba – Gary Mayone
Written-By – Jaco Pastorius
17. Peter & Jaco Speak 0:47
18. Domingo 6:44
Bass – Victor Bailey
Written-By, Arranged By – Jaco Pastorius
19. Forgotten Love 4:01
Arranged By – Larry Warrilow
Bass – Christian McBride
Flute – Mike Scaglione
Written-By – Jaco Pastorius
20. Jaco Speaks 7:18
21. Punk Jazz Revisited
Arranged By – Marcus Miller
Bass, Bass Clarinet, Drums, Clavinet, Soprano Saxophone, Scratches – Marcus Miller
Soprano Saxophone – Roger Byman
Trumpet – Michael "Patches" Stewart
Written-By – Jaco Pastorius, Marcus Miller
Line-up / Musicians
Victor Bailey, Jaco Pastorius, Jimmy Haslip, Gerald Veasley, Marcus Miller, Christian McBride, Victor Wooten, Richard Bona, Jeff Carswell, Dave Pastorius - Bass
Randy Bernsen - Guitar, Koto
Peter Graves - Conductor
Joe Zawinul - Keyboards
Michael Brignola - Flute, Bass Clarinet, Baritone Sax, Woodwinds
Ed Calle - Clarinet, Soprano Sax, Tenor Sax, Woodwinds
Kenneth Faulk - Trumpet, Flugelhorn, Brass
Michael Levine - Synthesizer, Piano, Keyboards
Billy Ross - Flute, Piccolo, Alto Sax, Soprano Sax, Woodwinds
Dana Teboe - Trombone, Brass
John Kricker - Bass Trombone, Brass
Mike Scaglione - Flute, Tenor Sax
Jason Carder, Jeff Kievit - Trumpet, Flugelhorn
Mark Griffith - Drums
Gary Keller - Clarinet, Flute, Alto Sax, Tenor Sax
Gary Mayone - Marimba
Michael "Patches" Stewart - Trumpet
Bobby Thomas, Jr. - Hand Drums
Roger Byman - Soprano Sax
LIZZIE MILES — Complete Recorded Works In Chronological Order • 1 (1922-1923) DOCD-5458 (1996) FLAC (tracks), lossless
Lizzie Miles is better-known than most of the classic blues singers of
the '20s because she made a comeback in the '50s when she emerged still
in prime form. Actually her earliest recordings are quite obscure,
making this first of three Document CDs a valuable acquisition for
vintage blues collectors. Miles' initial 22 recordings feature her
during 1922-23, mostly backed by unknown musicians in combos ranging
from five to seven pieces on such numbers as "She Walked Right Up and
Took My Man Away," "He May Be Your Man, But He Comes to See Me
Sometimes," "Hot Lips," "The Yellow Dog Blues," "Aggravatin' Papa" and
"You've Gotta Come and See Mama Every Night." Miles sounds quite
comfortable both on vaudeville-type numbers and blues. The last three
selections find her backed only by pianist Clarence Johnson, and on
"Haitian Blues" she takes a kazoo solo that is surprisingly advanced for
March 1923, a period of time when there were few horn solos on record.
Recommended. Scott Yanow
Tracklist :
1 Muscle Shoals Blues 3:12
Lizzie Miles
2 She Walked Right up and Took My Man Away 3:16
Lizzie Miles
3 Virginia Blues 3:00
Lizzie Miles
4 State Street Blues 3:17
Lizzie Miles
5 Wicked Blues 2:55
Lizzie Miles
6 He May Be Your Man, But He Comes to See Me Sometimes 3:02
Lizzie Miles
7 Lonesome Monday Morning Blues 3:09
Lizzie Miles
8 Please, Don't Tickle Me, Babe 3:09
Lizzie Miles
9 Hot Lips 2:58
Lizzie Miles
10 Take It, 'Cause It's All Yours 3:03
Lizzie Miles
11 The Yellow Dog Gal Blues 3:08
Lizzie Miles
12 The Black Bottom Blues 2:53
Lizzie Miles
13 He Used to Be Your Man (But He's My Man Now) 3:06
Lizzie Miles
14 Sweet Smellin' Mama 3:00
Lizzie Miles
15 The Trixie Blues 3:00
Lizzie Miles
16 Four O'Clock Blues 3:15
Lizzie Miles
17 Aggravatin' Papa 2:45
Lizzie Miles
18 Tell Me Gypsy 3:10
Lizzie Miles
19 You've Gotta Come See Mama Every Night 2:52
Lizzie Miles
20 Your Time Now 3:10
Lizzie Miles
21 Haitian Blues 2:59
Lizzie Miles
22 Sweet Smellin' Mama 2:34
Lizzie Miles
Credits :
Clarence Johnson - Kazoo, Piano
Lizzie Miles - Composer, Vocals
Bob Ricketts - Sax (Alto)
LIZZIE MILES — Complete Recorded Works In Chronological Order • 2 (1923-1928) DOCD-5459 (1996) FLAC (tracks), lossless
The second of three CDs that reissue all of Lizzie Miles' recordings
from the 1922-39 period features the versatile singer in 1923 (being
accompanied by either Clarence Johnson or J. Russell Robinson on piano),
and during 1927-28, after a successful period spent as a cabaret singer
in Paris. For the latter recordings, Miles is assisted by Clarence
Johnson, Louis Hooper or Porter Grainger on piano, cornetist Louis
Metcalf on two fine numbers and the dated gaspipe clarinet of Bob Fuller
on the final four selections (which include two versions of "A Good Man
Is Hard to Find"). One of the finer singers of the '20s, Miles'
delivery was quite accessible and one can always understand the words
she sings. Highlights of this excellent set include "You're Always
Messin' Round with My Man," "Cotton Belt Blues," "Lonesome Ghost Blues"
and "If You Can't Control Your Man." Virtually all of the material on
this 1996 CD was formerly very rare. Scott Yanow
LIZZIE MILES — Complete Recorded Works In Chronological Order • 3 (1928-1939) DOCD-5460 (1996) FLAC (tracks), lossless
The third of three Document Lizzie Miles CDs has some of the finest recordings of the singer's career, particularly on the first half of this disc. After three numbers with a trio not helped by the presence of clarinetist Bob Fuller, Miles performs two superior songs ("You're Such a Cruel Papa to Me" and "My Dif'rent Kind of Man") while joined by cornetist King Oliver, Albert Socarras (doubling on flute and alto) and pianist Clarence Williams. Miles fits right in with a hot combo led by the unknown Jasper Davis (probably a pseudonym) that includes cornetist Louis Metcalf, altoist Charlie Holmes and pianist Cliff Jackson. She is also featured on two songs in duet with the great pianist Jelly Roll Morton, three tunes with pianist Harvey Brooks (including "My Man O' War" and "Electrician Blues") and joined by the trio of pianist Porter Grainger, guitarist Teddy Bunn and bassist Pops Foster (highlighted by "Yellow Dog Gal Blues") in 1930. Nine years passed before Lizzie Miles had an opportunity to record again. At the age of 44 she sounds fine on seven numbers with the Melrose Stompers (a Chicago swing septet whose personnel is long lost) from 1939; the band is also heard taking "Mellow Rhythm" as an instrumental. Highly recommended, particularly for the 1928-30 recordings, this CD has Lizzie Miles' last recordings before she began her comeback in 1952. Scott Yanow
LARRY CORYELL — Live From Bahia (1992) FLAC (tracks+.cue), lossless
Nice Afro-Latin set with Coryell on acoustic guitar, recorded in Bahia. The assembled cast includes drummer Billy Cobham, alto saxophonist Donald Harrison, and several Brazilian musicians, notably vocalist Dori Caymmi. Ron Wynn
Tracklist :
1.The Harbor (5:41)
Dori Caymmi
2. Old City new City (4:48)
Larry Coryell
3. The Crab Peddler (3:42)
Dori Caymmi
4. Oshum, Goddess Of Love (4:09)
Donald Harrison
5. Bloco Loco (7:08)
Larry Coryell
6. Panama (3:37)
Billy Cobham
7. Bahian Night Walk (10:13)
Nico Assumpção / Luiz Avellar / Márcio Montarroyos
8. Gabriela's Song (3:00)
Dori Caymmi
9. Vera Cruz (9:01)
Milton Nascimento
Line-up / Musicians
Larry Coryell - Acoustic and Electric Guitars
Dori Caymmi - Acoustic Guitar and Vocals
Romero Lubambo - Acoustic and Electric Guitar
Billy Cobham - Drums
Donald Harrison - Soprano and Alto Sax
Marcio Montarroyos - Trumpet
Luiz Avellar - Keyboards
Nico Assumpcao - Electric Bass
Monica Millet, Tiao Oliveira - Percussion
Bashiri Johnson - Additional Percussion
Francisco Centeno - Additional Electric Bass
BARTÓK : Sonata for 2 Pianos & Percussion • STRAVINSKY : Concerto for 2 Solo Pianos · Sonata for 2 Pianos (Alfons & Aloys Kontarsky) (1977-1992) RM | 20th Century Classics Series | Two Version | FLAC (image+.tracks+.cue), lossless
AL JARREAU — All I Got (2002) Two Version | FLAC (image+.tracks+.cue), lossless
Al Jarreau hits you with all he's got on his second release for the GRP/Verve recording label. The 11-song program, appropriately titled All I Got, features Jarreau's imaginative vocal stylings, lots of innovative urban sensibilities, and top-tier performances from a stellar band that includes his longtime musical director, Freddie Ravel, and a duet with guest star Joe Cocker. Urban innovation is more than a buzzword here. The urban sound of producer Paul Brown imparts a soulful message on such songs as "Random Act of Love,""Secrets of Love," the title track, and the very hip a cappella rendition of "Route 66," each of which reflects Jarreau's pioneered use of unfolding a musical story layer by layer. A prime example is his reverse take on street violence called "Random Act of Love," something this world desperately needs. Instead of just another range of excessive scatting and vocal gymnastics, Jarreau presents his listeners with real-world concepts that make a difference in your interpretations of these aural pleasures. He becomes a vehicle of revelation on the gospel-tinged "Feels Like Heaven to Me." On the other side of his musical personality is the lovely fullness of "Until You Love Me" and "Jacaranda Bougainvillea," both of which feature a string orchestra set against an oasis of vocal skills. Overall, All I Got showcases the award-winning Jarreau's unmistakable stylistic diversity in settings that are fluid, soulful, jazzy, and romantic. In some ways, the music even exceeds the versatility heard on the critically acclaimed Tomorrow Today. Paula Edelstein
Tracklist :
1. Random Act Of Love 4:45
Arranged By – Steven Dubin
Producer [Produced By] – Steven Dubin
Written-By – Nelson Jackson, Siedah Garrett, Steven Dubin
2. Life Is 4:00
Arranged By, Co-producer [Co-produced By] – David "Kahlid" Woods, Paul Brown
Written-By – Al Jarreau, David "Kahlid" Woods, Paul Brown
3. Never Too Late 4:04
Arranged By – Jerry Hey, Paul Brown
Written-By – Al Jarreau, John Stoddart, Paul Brown
4. Feels Like Heaven 4:38
Arranged By – Steven Dubin
Arranged By [Vocal Arrangement] – Sherree Ford
Producer [Produced By] – Paul Brown, Steven Dubin
Written-By – Manuel Seal, Siedah Garrett, Steven Dubin
5. Lost And Found 4:52
Arranged By – Paul Brown
Arranged By [Horns Arranged By] – Jerry Hey
Written-By – Al Jarreau, Tom Canning
6. Secrets Of Love 4:36
Arranged By – Rex Rideout
Co-producer – Rex Rideout
Written-By – Milton Davis, Rex Rideout
7. All I Got 5:31
Arranged By – Al Jarreau
Arranged By [Horns Arranged By], Co-producer [Co-produced By] – Jerry Hey
Written-By – Al Jarreau, Arno Lucas, Chris Walker, Freddie Ravel, Joe Turano, Jota Morelli, Ross Bolton
8. Until You Love Me 4:40
Arranged By [Orchestra] – Bill Meyers
Arranged By, Co-producer [Co-produced By] – Rex Rideout
Concertmaster – Bruce Dukov
Strings – Berj Garabedian, Bruce Dukov, Charlie Bisharat, Dan Smith, Darius Campo, David Stenske, Denyse Buffum, Evan Wilson, Eve Butler, Haim Shtrum, John Wittenberg, Larry Corbett, Margaret Wooten, Mark Robertson (3), Matt Funes, Michele Richards, Peter Kent, Steve Richards, Susan Chatman, Suzie Katayama
Written-By – Rex Rideout
9. Oasis 6:20
Arranged By – Paul Brown, Ricky Peterson
Arranged By [Additional Arrangement By] – Jerry Hey
Written-By – Al Jarreau, Ricky Peterson
10. Jacaranda Bougainvillea 4:46
Arranged By – Jerry Hey, Paul Brown
Arranged By [Strings Arranged By], Co-producer [Co-produced By] – Jerry Hey
Concertmaster – Bruce Dukov
Strings – Berj Garabedian, Bruce Dukov, Charlie Bisharat, Dan Smith, Darius Campo, David Stenske, Denyse Buffum, Evan Wilson, Eve Butler, Haim Shtrum, John Wittenberg, Larry Corbett, Margaret Wooten, Mark Robertson, Matt Funes, Michele Richards, Peter Kent, Steve Richards, Susan Chatman, Suzie Katayama
Written-By – Al Jarreau, Arno Lucas, Chris Walker, Freddie Ravel, Joe Turano, Jota Morelli, Ross Bolton
11. Route 66 2:34
Arranged By – Al Jarreau
Written-By – Bobby Troup
13.6.25
HERBIE MANN · BUDDY COLLETTE — Flute Fraternity (1957-1997) RM | FLAC (tracks+.cue), lossless
In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After." The most interesting aspect to this lightly swinging music is the constant switching around of the lead voices on their various horns. Scott Yanow
Tracklist :
1. Herbie's Buddy 4:08
Herbie Mann
2. Perdido 4:13
Ervin Drake / Hans Lengsfelder / Juan Tizol
3. Baubles, Bangles And Beads 4:20
George Forrest / Robert Wright
4. Give A Little Whistle 3:35
Leigh Harline / Ned Washington
5. Here's Pete 2:40
Pete Rugolo
6. Theme From "Theme From" 6:44
Herbie Mann
7. Nancy With The Laughing Face 3:57
James Van Heusen / Phil Silvers
8. Morning After 2:38
Herbie Mann
Credits :
Bass – Buddy Clark
Drums – Mel Lewis
Flute, Alto Flute, Clarinet, Tenor Saxophone – Herbie Mann
Flute, Alto Flute, Clarinet, Tenor Saxophone, Alto Saxophone – Buddy Collette
Piano, Celesta – Jimmy Rowles
YELLOWJACKETS — The Spin (1989) FLAC (tracks+.cue), lossless
Smooth jazz with some rough edges, you can actually sink your teeth into
The Spin. Yellowjackets haven't completely taken pop/jazz out of their
diet -- Marc Russo's "Blues for Nikki" and Russell Ferrante's "Whistle
While You Walk" will skip a little too lightly for some tastes -- but
most of the songs find a satisfying midway point between the sweet and
the sour. "Geraldine," "Dark Horses," and "Storytellers" all have some
meat on them, with keyboardist Russell Ferrante leading a musical
discussion that steers clear of the banal. Leaving Russo to carry the
melodies, Ferrante is free to pursue a more discursive dialogue (notably
on "Enigma"), with punctuation provided by the brisk percussion of
William Kennedy (who shines on "Dark Horses"). Jimmy Haslip's bassline
gives "The Spin" its shape, but he continues to fade in and out of the
mix, and fails to make the most of his one solo. The compact disc
features a great bonus track: a medley of Billy Strayhorn's "A Flower Is
a Lovesome Thing" and Bud Powell's "Hallucinations." What their version
may lack in soul they make up for in stride. The Spin has more on its
mind than an album like Shades, and Yellowjackets' willingness to create
and resolve musical problems will give some listeners pause to think.
At least on this occasion, Yellowjackets show that light jazz doesn't
have to be a guilty pleasure. Dave Connolly
Tracklist :
1 Geraldine 6:43
Russell Ferrante
2 The Spin 4:46
Russell Ferrante / Jimmy Haslip / William Kennedy / Marc Russo
3 Storytellers 6:44
Russell Ferrante
4 Prayer for El Salvador 6:00
Russell Ferrante
5 Whistle While You Walk 5:14
Russell Ferrante
6 Enigma 4:48
Russell Ferrante / Jimmy Haslip
7 Dark Horses 5:00
Barry Coates / Russell Ferrante / Jimmy Haslip
8 Blues for Nikki 4:20
Marc Russo
9 A Flower Is a Lovesome Thing/Hallucinations 8:48
Bud Powell / Billy Strayhorn
Credits :
Arranged By [Percussions] – Alex Acuna
Bass – Jimmy Haslip
Drums, Percussion – William Kennedy
Keyboards – Russell Ferrante
Producer – Yellowjackets
Saxophone [Saxophones] – Marc Russo
DENNIS CHAMBERS — Outbreak (2002) Two Version | FLAC (image+.tracks+.cue), lossless
Drummer Dennis Chambers is a first-call session ace who is comfortable within a variety of settings and/or genres. He has also evolved into one of the most admired drummers on the globe due to his high-powered polyrhythmic funk beats and supercharged sense of swing. In short, he's a dynamo! With his second solo release, he enlists his former boss, guitarist John Scofield, amid jazz superstars such as brothers Michael (sax) and Randy (trumpet) Brecker among others. Here, Chambers drives it all home via his now infamous attack, consisting of complexly woven tom fills and snappy, funk-drenched rhythms. Much of the credit should be directed towards arranger/producer/keyboardist Jim Beard, who once again demonstrates his prowess for achieving the desired effects. On the piece titled "Otay," fusion bassist extraordinaire Gary Willis leads the way via his impossibly fast lines in concert with Scofield's sinewy plucking and Chambers' sweeping funk pulses. Some of these works are marked by the Brecker Brothers' chirpy unison choruses and the ensemble's morphing of gospel, fusion, and jazz-based grooves. Through it all, Chambers' presence is undeniably felt, while this outing also benefits from strong material and the soloists' zestful endeavors. Glenn Astarita
Tracklist :
1. Roll Call (5:21)
Alto Saxophone – Aaron Heick
Bass – Will Lee
Bass Saxophone, Tenor Saxophone – Bob Malach
Clavinet, Organ [Hammond] – Jim Beard
Drums – Dennis Chambers
Guitar – Jon Herington
Music By – Jim Beard
Shaker – Arto Tuncboyaciyan
Trombone – Michael Davis
Trumpet – Jim Hynes, Randy Brecker
2. Otay (7:03)
Bass – Gary Willis
Drums – Dennis Chambers
Electric Piano [Rhodes], Synthesizer – Jim Beard
Guitar – John Scofield
Music By – Gary Grainger, John Scofield, Milton Chambers, Robert Aries
3. Groovus Interruptus (5:19)
Alto Saxophone – Aaron Heick
Bass – Will Lee
Bass Saxophone, Tenor Saxophone – Bob Malach
Congas – Danny Sadownick
Drums – Dennis Chambers
Guitar – Nick Moroch
Music By – Jim Beard
Tenor Saxophone – Michael Brecker
Trombone – Michael Davis
Trumpet – Jim Hynes, Randy Brecker
4. Paris on Mine (06:08)
Bass – Matthew Garrison
Drums – Dennis Chambers
Guitar – Jon Herington
Music By – Jon Herington
Piano, Organ [Hammond] – Jim Beard
Tenor Saxophone – Bobby Malach
Trombone – Michael Davis
5. In Time (6:08)
Alto Saxophone – Aaron Heick
Bass – Matthew Garrison, Rodney "Skeet" Curtis
Congas – Danny Sadownick
Drums – Dennis Chambers
Guitar – Jon Herington, Nick Moroch
Music By – Sylvester Stewart
Organ [Hammond] – Jim Beard
Tenor Saxophone – Bobby Malach
Trombone – Michael Davis
Trumpet – Randy Brecker
6. Plan B (4:31)
Bass, Guitar – Dean Brown
Drums – Dennis Chambers
Music By – Dean Brown, Dennis Chambers, Jim Beard
Synthesizer – Jim Beard
Trumpet – Randy Brecker
7. Outbreak (10:59)
Bass – Gary Willis
Drums – Dennis Chambers
Music By – Jim Beard, Jon Herington
Synthesizer, Electric Piano [Rhodes] – Jim Beard
Tenor Saxophone – Michael Brecker
8. Baltimore, D.C. (5:46)
Bass – Gary Willis
Drums – Dennis Chambers
Electric Piano [Wurlitzer] – Jim Beard
Guitar – John Scofield
Music By – John Scofield
9. Talkin' Loud and Sayin' Nothin' (6:01)
Alto Saxophone – Aaron Heick
Bass – Rodney "Skeet" Curtis
Bass Saxophone, Soloist – Bobby Malach
Congas – Danny Sadownick
Drums – Dennis Chambers
Guitar – Jon Herington, Nick Moroch
Guitar, Soloist – John Scofield
Music By – Bobby Byrd, James Brown
Organ [Hammond] – Jim Beard
Tenor Saxophone – Bobby Malach
Trombone – Michael Davis
Trumpet – Randy Brecker
FRANK GAMBALE · STUART HAMM · STEVE SMITH — Show Me What You Can Do (1998) Two Version | APE + FLAC (image+.tracks+.cue), lossless
Gambale and the gang tear it up! Stu Hamm is Levinesque-thundering, Stanley Clarke-kicking bass. Vital Information's Steve Smith's drumming keeps right up when it gets wild and hold things together during spacy chordal splurges. These pros got pumped watching old Mahavishnu Orchestra videos and cranked up the old fusion fires. Gambale surprised me on this one. So many of his other releases exhibit more of that bouncy jazz with clean, fast, sweep picking and an obvious structured disciplined approach. This album shows he can get mean, edgy, overdriven, and raw, and be a downright awesome riff monster. Hamm is an earthquake, Smith a splinter-slingin' tornado.
I heard McLaughlin's odd modes and moods clearly influencing "The Promise" and "Dangerous Curves." Tasteful harp-plucked chord progressions build in a Summers/Metheny/Holdsworth meshwork. Everyone gets space to stretch on "Beyond The Bridge" and "Sink." Hamm goes bassman crazy on "Wrong and Strong." Watch out Manring. On "Astral Traveler," Gambale does the Eric Johnson/Satriani dance, throws in a dose of his own machine gun bullet notes in a Scott Hendersonian bluesy-rock raunch, and deftly so at full throttle. "Tanya's Touch" sets you soul-travelin' the rain-slick, empty streets, wandering thru whispering snows, and then over the earth's glowing, blue-fired atmosphere. Find out for yourself what other nice surprises await you here. Pick this one up for end-of-the-millenium fusion finesse. Highly recommended. John W. Patterson
Tracklist :
1. Bad Intent 7:03
Frank Gambale / Stuart Hamm / Steve Smith
2. The Promise 5:39
Frank Gambale / Stuart Hamm / Steve Smith
3. Dangerous Curves 6:39
Frank Gambale / Stuart Hamm / Steve Smith
4. Beyond The Bridge 6:32
Frank Gambale / Stuart Hamm / Steve Smith
5. Sink 4:33
Frank Gambale / Stuart Hamm / Steve Smith
6. Wrong And Strong 6:12
Frank Gambale / Stuart Hamm / Steve Smith
7. Astral Traveler 5:42
Frank Gambale / Stuart Hamm / Steve Smith
8. Tanya's Touch 5:28
Frank Gambale / Stuart Hamm / Steve Smith
9. Lydia's Love Van 9:43
Frank Gambale / Stuart Hamm / Steve Smith
Credits :
Frank Gambale - Guitar
Stuart Hamm - Bass
Steve Smith - Drums
VITAL INFORMATION — Ray Of Hope (1996) FLAC (tracks+.cue), lossless
Ray of Hope is Vital Information's seventh release, the first for Intuition Records and their first in four years. The material was actually recorded long before the release, while leader/drummer Steve Smith shopped around for a record deal. The majority of the selections have heavy commercial overtones, but the heavy grooves, nice melodies, and superb musicianship save this from being just another light fusion affair. Ever the selfless leader, Smith gives all bandmates plenty of opportunities to shine. In particular, keyboardist Tom Coster and bassist Jeff Andrews both shine on their duet of Horace Silver's "Peace." Drummers will be most pleased with the Max Roach-inspired drum solo "Maxed Out," a three-minute tour de force that proves why Smith is held in such high regard among his colleagues. While Ray of Hope may not be the most inspired recording the band has released, there is enough here to please most fans of high-energy jazz/rock fusion and/or contemporary jazz. Robert Taylor
Tracklist :
1. Clouds ( 1:01 )
Jeff Andrews / Tom Coster / Frank Gambale / Steve Smith
2. Celebrate Life ( 4:57 )
Jeff Andrews / Tom Coster / Frank Gambale / Steve Smith
3. Rio Lize ( 4:48 )
Frank Gambale / Morris Pleasure
4. Lorenzo`s Soul ( 5:32 )
Jeff Andrews / Tom Coster / Frank Gambale / Steve Smith
5. Sacred Treasure ( 5:49 )
Frank Gambale / Narada Michael Walden
6. Sixth Sense ( 4:37 )
Jeff Andrews
7. Ray Of Hope ( 5:41 )
Jeff Andrews / Tom Coster / Frank Gambale / Steve Smith
8. Maxed Out ( 2:56 )
Steve Smith
9. All My Love, Always ( 6:30 )
Frank Gambale
10.Peace ( 4:13 )
Horace Silver
11.Fit To Be Tied ( 6:25 )
Jeff Andrews
12.Over And Out ( 5:39 )
Jeff Andrews / Tom Coster / Frank Gambale / Steve Smith
Credits :
Steve Smith - Drums
Tom Coster - Keyboards
Frank Gambale - Guitar
Jeff Andrews - Bass
12.6.25
UNIVERS ZERO — Heatwave (1987) Two Version | FLAC (image+.tracks+.cue), lossless
For years after its release, Heatwave was presumed to be the Univers Zero group finale, until the band re-emerged over a decade later with The Hard Quest in 1999. On Heatwave, the transition from acoustic chamber music to electric rock is complete, and the somewhat uncertain steps of Uzed, Univers Zero's previous release, have become purposeful and confident. Almost all the Uzed musicians have returned for this date, together with Andy Kirk on keyboards and original Univers Zero violist/violinist Patrick Hanappier. Perhaps the only criticism that could be levied against the first three tracks on the CD is that they fall a little too comfortably into the prog rock genre, although they compare favorably to the best (and darkest) of King Crimson. However, Andy Kirk's long final track, "The Funeral Plain," is something else altogether, and demonstrates that the band was still capable of stunning originality. Kirk opens with some eerie alien raspings on synth, followed by high-pitched drones and then a quiet but relentless two-note piano pattern. Hanappier joins in with a pensive viola melody, as does Dirk Descheemaeker on clarinet and then Hanappier on violin. Daniel Denis and Christian Genet weigh in with some ponderous unison drum and bass work, tension builds, the tempo increases, and then everything stops. The original alien scrabbling returns, except this time with a relentless, clock-like rhythm, new themes are introduced, and tension builds once more through the skilled use of unresolved chord progressions, continually changing key signatures, and the ultimate wild wailing of synths and electric guitar. The tempo changes to a dirge, then staccato bursts, and finally subsides with the desolate sound of dripping water. Kirk dedicates this piece to "all living hardships that lead into self-awareness," and like the best of Univers Zero elsewhere, it transcends prog rock or any other known musical form, occupying a unique niche all by itself. William Tilland
Tracklist :
1. Heatwave 8:34
Composed By – Andy Kirk
2. Chinavox 4:49
Composed By – Daniel Denis
Voice [Additional Voice] – Chantal Smets
3. Bruit Dans Les Murs 8:25
Composed By – Daniel Denis
4. The Funeral Plain 20:24
Composed By – Andy Kirk
Credits :
Bass, Performer [Nailskake] – Christian Genet
Clarinet, Bass Clarinet, Soprano Saxophone [Soprano Sax] – Dirk Descheemaeker
Cover [Cover Artwork By], Artwork [Cover Artwork By] – Marie-Noëlle Dufromont
Drums, Percussion, Voice – Daniel Denis
Guitar – Michel Delory
Piano, Synthesizer, Voice – Andy Kirk, Jean-Luc Plouvier
Violin, Viola – Patrick Hanappier
+ last month
BETTY BENNETT — Nobody Else But Me (1955-1991) MONO | Ladies Sing Jazz Series | FLAC (tracks), lossless
Nobody Else But Me illuminates the dark corners of romance with rare depth and maturity -- Betty Bennett's sultry, knowing vocals furth...
