Into the Rhythm

Joey DeFrancesco - Goodfellas

2009-12-21T02:33:00.000-08:00

Try to imagine the best Italian-American wedding you've every been to -- the people, the food, the style, the love -- then set it to some great jazz music, Joey DeFrancesco's Goodfellas. Add this killer band to your next wedding party and be prepared to have the time of your life. Plain and simple, this album is 55 minutes of unabated fun. Joey DeFrancesco (Hammond B-3 organ), Frank Vignola (guitar), and Joe Ascione (drums), three outstanding musicians who grew up in typical Italian-American families, play some of the music on which they were raised. Highlights abound on this brilliant concept piece: the kicked-up, jazzy "Volare," the groovy, tasty "Fly Me to the Moon," the energetic, rollicking "Malafemmena," and the beautiful slow dance "Young at Heart." Even Monk's "Evidence," taken at a blistering pace, is right at home in this setting. The Goodfellas wrote a couple of tunes for the occasion as well, none better than the bluesy, gutbucket title track. This band has big-time chops, and this music swings like mad. - by Brian Bartolini, AMG

There's something about the Hammond B-3 organ. The instrument has created its own genre of earthy, blues-fueled jazz. As with punk rock or flamenco, just playing this music implies an emotional commitment. On The Champ, Joey DeFrancesco plays a set of tunes associated with Jimmy Smith; on Goodfellas, he interprets Italian American favorites associated with Frank Sinatra and Louis Prima. An organist achieves a personal sound by using the stops to shape the air-tunnel through which the machine pumps air. On The Champ, DeFrancesco milks this to the max. On "Mack the Knife," some of the vocalized phrases he plays ("scat-scat-phooey!") must be heard to be believed. On "Lover Man," he expertly uses the volume control to make the melody sound "sung," then pushes the instrument so hard it chokes, creating a sobbing effect. On "OGD," he uses quick changes in the middle register to make the Hammond "boil"; fleeting stabs at the high notes sound like expressions of an inner turmoil. Guitarist Randy Johnson adheres to the Wes Montgomery lineage, phrasing his lines like he's playing to an unvoiced scat. Drummer Billy Hart has a ball, testifying to the camp summons of Horace Silver's "Preacher" and engaging DeFrancesco in a hilarious battle on "Walk on the Wild Side." For Goodfellas' cover shot, DeFrancesco and his accompanists, Frank Vignola (guitar) and Joe Ascione (drums), wear Mafia suits, and the booklet is replete with jokes about spaghetti, meatballs, and Chianti. Dreamy tunes like "Volaré" and "Fly Me to the Moon" give less scope for organ explosions than the bluesy menu of The Champ, but it's all good kitschy fun, delivered with impeccable musicianship. Skeptics decry the limitations of the Hammond genre, but when it's played with this much intimacy and polish, you're inclined to reply, "Limitations? Fuhgetaboutit!" - by Ben Watson, JAZZIZ Magazine

Artist: Joey DeFrancesco
Album: Joey DeFrancesco's Goodfellas
Year: 1999
Label: Concord
Total time: 55:45

Personnel:
Joey DeFrancesco (Hammond B-3 Organ)
Frank Vignola (Guitar)
Joe Ascione (Drums)

Tracks:
1. Speak Softly Love (Larry Kusik/Nino Rota) 5:35
2. Volare (Francesco Migliacci/Domenico Modugno/Mitchell Parish) 4:20
3. Fly Me To The Moon (Bart Howard) 5:19
4. All The Way (Sammy Cahn/Jimmy Van Heusen) 5:16
5. Whack 'Em (Joe Ascione) 4:19
6. Malafemmena (Antonio De Curtis) 4:10
7. Young At Heart (Carolyn Leigh) 3:55
8. O Sole Mio (Giovanni Capurro/Eduardo Di Capua) 5:18
9. Evidence (Thelonious Monk) 4:37
10. Goodfellas (Joe Ascione/Joey DeFrancesco/Frank Vignola) 6:15
11. Ya See What I'm Sayin' (Joe Ascione) 4:48
12. Whack 'Em (Reprise) / Tarentella (Joe Ascione) 1:51

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Luka Bloom - The Acoustic Motorbike

2009-12-20T09:38:00.001-08:00

Having made his mark in America and moved back home to Ireland, Luka Bloom attempted to incorporate some of the spirit of the country where he spent four years into his Irish folk-rock, covering LL Cool J's "I Need Love" and the Elvis Presley hit "Can't Help Falling In Love." But in his own songs, he didn't go much beyond such surface aspects of the U.S. as Elvis and rap, preferring to devote himself to vague, cliched lyrics of love and longing (some of them not so much rapped as recited), once again set for the most part against his aggressive guitar strumming, various acoustic instruments, and a bottom provided by an Irish bodhran, sometimes played by his brother, Christy Moore. While Bloom's second album expanded somewhat on his first record's stylistic range and maintained its urgency, it lacked the debut's exuberance -- Bloom was getting more serious when what he needed to do was to get more substantive. - by William Ruhlmann, AMG

Artist: Luka Bloom
Alnóbum: The Acoustic Motorbike
Year: 1992
Label: Reprise
Total time: 46:41

Personnel:
Luka Bloom (Vocals, Guitar)
Ed Tomney (Electric Guitar, Bouzouki) - 1-7,9,10
Paul Barrett (Keyboards, Bass, Organ) - 1-4,6-11
Bob Riley (Bodhran, Drums, Tambourine, Shaker) - 1-3,6,7,9
Frankie Kennedy (Flute) - 2,8
Garvan Gallagher (Double Bass) - 3,5,11
Paul Byrne (Drums) - 3,7,10,11
Christy Moore (Bodhran) - 4,6,7,10,11
Gerry O'Connor (Fiddle, Banjo) - 4,7
Gerry O'Beirne (National Steel Guitar) - 5
Peter O'Toole (Bass) - 5,8,11
Roger Doyle (Keyboards) - 5
Paul Barrett (Backing Vocals, Organ) - 6-8
Liam O Maonlai (Didgeridoo, Harmonica, Bodgran) - 7,8,10
Fiachna O'Braonain (Electric Guitar) - 8
Gerry Fehily (Drums) - 8
Mairead Ni Mhaonaigh (Fiddle) - 8

Tracks:
1. Mary Watches Everything (Luka Bloom) 4:10
2. You (Luka Bloom) 4:45
3. I Believe in You (Luka Bloom) 3:11
4. I Need Love (James Todd Smith/Robert Ervin/ Steve Ettinger/Dwayne Simon/Darryl Pierce) 5:29
5. Exploring The Blue (Luka Bloom) 4:01
6. This Is Your Country (Luka Bloom) 3:52
7. The Acoustic Motorbike (Luka Bloom) 4:15
8. Can't Help Falling In Love (Luigi Creatore/Hugo Peretti/George David Weiss) 3:38
9. Bones (Luka Bloom) 2:11
10. Bridge Of Sorrow (Luka Bloom) 3:44
11. Listen To The Hoofbeat (Luka Bloom) 3:05
12. Be Well (Luka Bloom) 4:15

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Bill Frisell - The Willies

2009-12-18T07:40:00.001-08:00

Echoing his 1995 release, Nashville, Bill Frisell's The Willies revisits the auburn sounds of American roots music. Although he has dipped into folk music in prior efforts, these songs follow the traditional mode even more faithfully than any of his previous releases, with only minor shifts into his familiar dissonant explorations. Assisted by Danny Barnes (Bad Livers) on banjo and guitar and bassist Keith Lowe (Fiona Apple, Wayne Horvitz & Zony Mash), Frisell's quirky tonalities and sweeping soundscapes still pervade each track, but the disquieting surges found on releases like The Bill Frisell Quartet and Gone, Just Like a Train are relatively reigned in. This in no way means that The Willies sounds anything like Hot Rize or New Grass Revival -- it is most certainly a Bill Frisell album; dark and mysterious, eerily beautiful, richly textured and layered -- just sort of a kinder, gentler Bill Frisell album. Highlights include the banjo-driven Carter Family standard "Single Girl, Married Girl" and the group's stark rendition of "Sugar Baby," a song usually associated with the similarly haunting Dock Boggs. Anyone familiar with the guitarist's style will understand his choices in recording these timeworn love songs and murder ballads, and traditional folk aficionados will be intrigued to hear their old favorites in this new environment. - by Zac Johnson, AMG

His collaborations with John Zorn, Marc Johnson, and Paul Motian have shown that guitarist Bill Frisell is no stranger to the bustle and grind of rock and bebop, but on The Willies he again prefers a gentle ramble through the byways of American folk. Joined by Danny Barnes (Bad Livers) on banjo, guitar, bass harmonica, and pump organ, and Keith Lowe on bass, Frisell wanders dreamily through a mixture of bluegrass standards and originals. The pace hovers around a stroll and the rhythms, melodies, and harmonies are generally true to the idiom. Frisell's longstanding affinity with jazz may perhaps be deduced by the occasionally dark harmonic undertow, a suggestion that all may not be well down on the farm. Those with a taste for Ry Cooder's glowering 1985 soundtrack to Paris, Texas may find happiness with The Willies. - by Mark Gilbert, Amazon.com

Artist: Bill Frisell
Album: The Willies
Year: 2000
Label: Nonesuch
Total time: 46:24

Personnel:
Bill Frisell (Electric and Acoustic Guitar, Loops)
Danny Barnes (Banjo, Acoustic Guitar, Bass Harmonica and Pump Organ)
Keith Lowe (Bass)

Tracks:
1. Sittin' On Top of the World (Lonnie Chatmon/Walter Vinson) 3:11
2. Cluck Old Hen (Traditional) 2:28
3. Everybody Love Everybody (Bill Frisell) 2:55
4. I Want to Go Home (Bill Frisell) 3:43
5. Single Girl, Married Girl (A.P. Carter) 3:07
6. Get Along (Bill Frisell) 3:28
7. John Hardy Was a Desperate Little Man (A.P. Carter) 2:35
8. Sugar Baby (Traditional) 2:59
9. Blackberry Blossom (Traditional) 2:01
10. If I Could I Surely Would (Bill Frisell) 3:02
11. Cluck Old Hen reprise (Traditional) 3:55
12. Cold Cold Heart (Hank Williams) 3:07
13. I Know You Care (Bill Frisell) 2:55
14. Goodnight Irene (Huddie Ledbetter/John A. Lomax) 2:36
15. Big Shoe (Bill Frisell/Jimmy Hamilton) 2:23
16. The Willies (Bill Frisell) 1:53

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Jack Wilkins - Mexico

2009-12-17T06:37:00.001-08:00

Jack Wilkins is an excellent guitarist deserving of wider recognition. This 1992 CTI release might get overlooked by hard bop fans because of producer Creed Taylor's tendency to either over-produce a session or turn it into commercial pabulum, but this out of print CD is worth acquiring. "Dailey Double," written by pianist Albert Dailey, is an up-tempo blues with a Latin kick. The guitarist's lyricism comes to the forefront during a brisk reading of "You Must Believe in Spring" and a rather brief "My Foolish Heart," featuring the leader on solo acoustic guitar. Phil Woods makes a guest appearance on Wilkins' swirling bop composition "Captain Blued" and also bassist Harvie Swartz's "Opal," stealing the spotlight on both tracks. Chick Corea's "Captain Marvel" is a miniature that features Wilkins with guest guitarist Carl Barry. A very enjoyable outing. - by Ken Dryden, AMG

Artist: Jack Wilkins
Album: Mexico
Year: 1992
Label: CTI
Total time: 50:03

Personnel:
Jack Wilkins (Guitar)
Albert Dailey (Piano)
Harvie Swartz (Bass)
Akira Tana (Drums)
Ted Moore (Percussion)
Phil Woods (Alto Saxophone) - 4,10
Carl Barry (Guitar) - 4

Tracks:
1. Daily Double (Albert Dailey/Dana Tria) 6:14
2. You Must Believe In Spring (Michel Legrand/Alan Bergman/Marilyn Bergman) 5:09
3. My Foolish Heart (Ned Washington/Victor Young) 1:48
4. Captain Blued (Jack Wilkins) 4:48
5. O Grande Amor (Antonio Carlos Jobim/Vinicius Moraes) 4:27
6. 7th Variation On A Catalan Folk Song, Opus 25 (John Duarte) 1:13
7. Mexico (Harvie Swartz) 6:49
8. Captain Marvel (Chick Corea) 2:07
9. Streets Of Rio (Ted Moore) 6:40
10. Opal (Harvie Swartz) 5:09
11. Jamba (Jack Wilkins) 5:33

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Oscar Peterson - A Summer Night in Munich

2009-12-16T04:22:00.000-08:00

A Summer Night in Munich captures Oscar Peterson and his "NATO quartet" in a triumphant concert performance recorded July 22, 1998 at the Munchen Philharmonika. With a program of seven Peterson originals plus the Ellington-Strayhorn standard, "Satin Doll," this group cooks. "Backyard Blues" and "Nigerian Marketplace" are especially exciting and contemporary-sounding originals, while "When Summer Comes," "Evening Song" and "Love Ballade" are beautiful ballads. Bassist Niels-Henning Oersted Pedersen lays down the nimble-fingered lines for which he is known, while guitarist Ulf Wakenius is a most complementary figure in dialogue with the leader. Drummer Martin Drew keeps the proceedings on track rhythmically, taking a tasty solo turn on the set closer, "Sushi." With this fine recording, Peterson shows that even in his seventies, he's still got the goods. - by Jim Newsom, AMG

Artist: Oscar Peterson
Album: A Summer Night in Munich
Year: 1998
Label: Telarc Jazz (Super Bit Mapping Direct)
Total time: 64:09

Personnel:
Oscar Peterson (Piano)
Ulf Wakenius (Guitar)
Niels Henning Oersted-Pedersen (Double Bass)
Martin Drew (Drums)

Tracks:
1. Backyard Blues (Oscar Peterson) 7:06
2. When Summer Comes (Oscar Peterson) 9:16
3. Nigerian Marketplace (Oscar Peterson) 9:46
4. Evening Song (Oscar Peterson) 6:24
5. Satin Doll (Duke Ellington/Bill Strayhorn) 8:31
6. Love Ballade (Oscar Peterson) 8:58
7. Hymn to Freedom (Oscar Peterson) 6:00
8. Sushi (Oscar Peterson) 8:04

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Lee Konitz - Motion

2009-12-15T08:09:00.001-08:00

This very spontaneous LP (altoist Lee Konitz had never played before in a trio with bassist Sonny Dallas and drummer Elvin Jones) is quite successful and enjoyable. Konitz and his trio perform five familiar standards, stretching out on such tunes as "I Remember You," "All of Me" and "You'd Be So Nice to Come Home To." The music is searching but melodic, exploratory yet accessible. This is one of Konitz's better albums from the era and is long overdue to be reissued on CD. - by Scott Yanow, AMG

Artist: Lee Konitz
Album: Motion
Year: 1961
Label: Verve (2003)
Total time: 37:59

Personnel:
Lee Konitz (Alto Saxophone)
Sonny Dallas (Double Bass)
Elvin Jones (Drums)

Tracks:
1. I Remember You (Johnny Mercer/Victor Schertzinger) 4:30
2. All Of Me (Gerald Marks/Seymour Simons) 7:41
3. Foolin' Myself (Jack Lawrence/Peter Tinturin) 7:01
4. You'd Be So Nice To Come Home To (Cole Porter) 10:45
5. I'll Remember April (Gene DePaul/Patricia Johnston/Pat Johnston/Don Raye) 8:00

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Kin Za Za - Number One in Shambala

2009-12-15T06:03:00.000-08:00

The press materials that accompany this tasty fusion of groove, world rhythms and textures, acoustic guitars (by composer Dimitri), and ethereal vocals by an enigmatic figure named Jozy are fairly grandiose. Readers are told that Kin Za Za is not a fusion of styles, not a fusion of cultures, but a fusion of feelings and different truths, even death and birth. Does the music measure up? Certainly, the trippy atmospheres and lyrical images ("The River," "I Am a Dance") conjure up images that connect the heart and mind to life and the universe -- and the tracks flow effortlessly into a cool aggressive ambience. Tracks like "Endless Freedom" combine folk-like simplicity with modern synth textures, while others like "When You Arrive" are pure, intimate new age inspiration, with Jozy's vocal textures slightly reminiscent of Sarah McLachlan. Soft and delicate sounds find their way through the intriguing mix, whose ultimate mind trip is one of seductive, languid relaxation. The group name is said to be one derived from pure imagination, and no doubt creating one's own images to dream along to will make this an even more engaging experience. - by Jonathan Widran, AMG

Artist: Kin Za Za
Album: Number One in Shambala
Year: 2002
Label: Coeur de Lion
Total time: 39:18

Personnel:
Yozi Fever (Vocals and Piano)
Dimitri Soukonnov (Guitar, Piano, Synthesizer, Bass and Loops)
Blair Lofgren (Cello)
Oleksa Lozowchuk (Organ, Accordion and Keyboards)
Nicolas Boulerice (Vielle a roue)
Anna Yerno (Flamenco Steps)

Tracks:
1. The River 3:29
2. Spirit That Left 0:32
3. Endless Freedom 4:01
4. When You Arrive 3:39
5. Somewhere 3:22
6. Mirror 4:39
7. I Am A Dance 3:11
8. Blackbird 3:36
9. Falling 0:38
10. Mid Knight 4:01
11. Elation 4:13
12. Story 3:52
All compositions by Jozy Fever and Dimitri Soukonnov

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Fabrizio De Andre - Mi Innamoravo Di Tutto

2009-12-14T08:04:00.001-08:00

A good sampler, if at 11 tracks all too brief, of the many different phases of Fabrizio De André's career, this compilations skips most of the obvious hits for lesser known but equally terrific album tracks such as "Canto del Servo Pastore" or "Coda di Lupo." Its main attraction is the inclusion of a previously unavailable version of De André's most famous song "La Canzone di Marinella," performed as a live duet with Italy's greatest diva Mina. - by Mariano Prunes, AMG

With the death of Fabrizio De André from cancer on January 11, 1999, Italy lost one of its most modern singer/songwriters. Inspired by the songwriting of Bob Dylan and Leonard Cohen, De André's songs encompassed Genoese folk songs, French protest/social commentary, beatnik "stream of consciousness" poetry, and the soundtracks of Italian film Westerns. A native of the Genoese province of Liguria, De André was born into a wealthy family. His father's criticism of the fascists who controlled Italy caused he and his family to go into hiding in Asti during World War II. The experience left a lasting mark. Although he returned to Genoa following the end of the war in 1945, he continued to be drawn to political and social issues. Entering university as a pre-law student, De André found music a more effective mode for expressing his views. Having studied violin as a youngster, he found his natural musical voice after acquiring his first guitar at the age of 16. American jazz guitarist Jim Hall served as an early influence. Launching his professional career as a member of pianist Mario DeSantis' jazz band, De André increasingly veered toward more pop-minded genres. Forming a country & western band, Crazy Cowboy & Sheriff Ore, he began writing his own songs about suicide, prostitution, and drugs. His debut single, " Nuvole Barocche," was released in 1958. Scoring his first hit, "Marinella," in 1965, De André released his first album of new material, Tutto Fabrizio De Andre, the following year. He remained seclusive, however, refusing to appear on television and not performing his first concert until March 18, 1975. He continued to maintain a low profile for the rest of his life, rarely appearing in concert. De André attracted international attention when he was kidnapped, along with his compatriot Dori Ghezzi, in August 1979 and imprisoned for four months by Sardinian criminals. - by Craig Harris, AMG

Artist: Fabrizio De André
Album: Mi Innamoravo di Tutto (Compilation)
Year: 2007
Label: BMG
Total time: 49:00

Personnel:
Fabrizio De André (Vocals and Guitar)
Danilo Rea (Piano) - 2
Massimiliano Moriconi (Double Bass) - 2
Alfredo Golino (Drums and Percussion) - 2
Mark Harris (Vocals) - 11
Others unknown

Tracks:
1. Coda di Lupo (Fabrizio De Andre/Massimo Bubola) 5:25
2. Canzone di Marinella (Fabrizio De Andre) 5:04
3. Sally (Fabrizio De Andre/Massimo Bubola) 4:50
4. Cattiva Strada (Fabrizio De Andre/Francesco De Gregori) 4:35
5. Canto del Servo Pastore (Fabrizio De Andre/Massimo Bubola) 3:13
6. Bocca di Rosa (Fabrizio De Andre) 3:07
7. Se Ti Tagliassero a Pezzetti (Fabrizio De Andre/Massimo Bubola) 4:12
8. Jamin-A (Fabrizio De Andre/Mauro Pagani) 5:00
9. Canzone dell'Amore Perduto [Live] (Fabrizio De Andre) 3:47
10. Il Bombarolo (Fabrizio De Andre/Giuseppe Bentivoglio/Nicola Piovani) 4:21
11. Ave Maria (Franz Schubert) 5:26

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Benny Golson - Stardust

2009-12-13T07:30:00.001-08:00

This obscure CD, released by Japanese Denon but for a time made available in the U.S., has tenor saxophonist Benny Golson welcoming trumpeter Freddie Hubbard, pianist Mulgrew Miller, bassist Ron Carter and drummer Marvin "Smitty" Smith to his quintet set. Hubbard was in prime form during this period, and the repertoire (three Golson tunes, an original apiece by Carter and the trumpeter, "Love Is a Many Splendored Thing" and "Stardust") provides inspiration for some excellent hard bop-oriented solos. Worth searching for. - by Scott Yanow, AMG

Artist: Benny Golson
Album: Stradust
Year: 1987
Label: Nippon Columbia
Total time: 67:09

Personnel:
Benny Golson (Tenor Saxophone)
Freddie Hubbard (Trumpet)
Ron Carter (Double Bass)
Marvin "Smitty" Smith (Drums)
Mulgrew Miller (Piano)

Tracks:
1. Stardust (Hoagy Carmichael/Mitchell Parish) 9:10
2. Double Bass (Ron Carter) 9:23
3. Gipsy Jingle-Jangle (Benny Golson) 4:43
4. Povo (Freddie Hubbard) 12:15
5. Love Is A Many Splendored Thing (Sammy Fain/Paul Francis Webster) 7:30
6. Sad To Say (Benny Golson) 10:18
7. Far Away (Freddie Hubbard) 13:46

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Glen Velez - Internal Combustion

2009-12-12T08:20:00.000-08:00

The frame drum music of percussion improviser Glen Velez exists in an odd netherworld somewhere between “world music” and Western improvisation. Velez plays exclusively on the family of instruments known as frame drums, which comprises all drums and tambourines whose head diameters are greater than their depth. The resulting flattened drums, often equipped with shakers and cymbals for added percussive versatility, have a distinctive hollow sound to their beats, and are well-equipped to produce a surprising array of very un-drum-like sounds. Which is why Internal Combustion (originally released in 1985, and now thankfully brought back in-print by Schematic) is such an enjoyable album, despite its focus on just one man and one drum for most of the nearly hour-long duration.
The frame drums played on this record are all of a non-Western design (except for the traditional Irish drum on the final piece), and Velez is well-versed in the playing styles suited for each in their original contexts. However, Velez is no cultural copycat, and he makes no attempt to play “traditional” or “tribal” music here; though he incorporates hand drumming patterns and styles from the cultures that designed these instruments, he inserts the foreign music into a steadfastly Western approach to improvisation, making for some very interesting clashes.
The opening “Pyramid” gives a good idea of what’s going to be happening for the rest of the album. Played solo by Velez on the doira, an Afghani tambourine, and the adufe, a square Spanish frame drum, this piece hardly sounds like the work of one man with a drum kit. This is partially due to the instruments’ inventive construction -- the doira is augmented by shaking metal rings; the adufe with vibrating bells -- but also certainly to Velez’s restless variation as he improvises on these instruments. The piece switches tacks several times, trading off between the two instruments, and the resulting soundscape is an airy but complex accumulation of pattering beats and tinkling percussion.
Velez revisits a similar sound on “Rain,” improvised entirely on a Middle Eastern tambourine using Arabic playing styles. The rapid, jingling motion of the tambourine provides a near-constant backdrop for Velez’s fascinating explorations on the head of the instrument, tapping out jaw-droppingly virtuosic patterns and dropping in variations to the structure with increasing frequency. The wide array of tonalities that the drum’s head is capable of producing is fully exploited by Velez, who creates a constantly changing tapestry of skipping, grooving beats.
The rest of the album moves into somewhat darker, heavier territory, with no less success. Particularly striking is “Bendir,” which begins by interlocking a series of drones. You’d be forgiven for thinking that this was created on a computer rather than, as is the case, two North African frame drums called bendir and the voices of Velez and his collaborator Layne Redmond. This piece opens with an almost melodic drone, which could have been created by perhaps rubbing the surface of the drum (though I can’t really be sure), since no other instruments are credited on the piece. A moment later, a second drone joins in, the buzzing of Velez and Redmond’s voices in a kind of primal song. There’s an odd ringing melody darting around in the background, and if I didn’t know better I’d swear there was some kind of wind instrument playing it, but more likely it’s a ghostly resonance left behind by the drums. Finally, almost four minutes in, the more recognizable drum sounds enter the mix, both drummers joined in creating a foreboding din of vibrating whirr and fast-paced beats. Interestingly, each drummer is isolated in one stereo channel, and the two very different rhythms meet in the middle to form a hypnotic, multi-layered piece, particularly when their Middle Eastern-inspired singing adds a spectral drone. Redmond again joins Velez on the title track, a sixteen-minute improvisation around a loose core structure. The drummers are at their peak here, keeping the mood meditative and surprisingly uncrowded, perfectly complementing each other with their constantly shifting sounds. They seem almost supernaturally attuned to each other on this piece, contrasting hollow-sounding beats with sandpapery scrapes. For the final piece, Velez goes solo again, this time on a specially-constructed Irish drum called a bodhran. The mood is very dark, especially with the insectile hum of the drum’s frame hovering sinisterly in the background, and Velez’s quavery drone singing providing occasional counterpoint. As the drummer spits out a cacophony of quick-wristed rhythms and slashing fills, the music rages on to a cathartic finale. Internal Combustion is, as its name implies, a dense and fiery collection. Its unique aesthetic approach sets it far apart from everything else on the Schematic label -- though its interest in the drone does link it tenuously with both electronic and minimalist music -- and its surprising variety of styles and moods makes it far more than just an extended drum solo. This is improvisation at its most enjoyable and accessible, pushing boundaries and exploring crossovers while reveling in the overdriven glee and excitement of free drumming. - by Ed Howards, Stylus Magazine, 2003-09-01

Artist: Glen Velez
ALbum: Internal Combustion
Year: 1985
Label: CMP
Total time: 53:41

Personnel:
Glen Velez (Frame Drums and Voice)
Layne Redmond (Frame Drums and Voice) - 2,4

Tracks:
1. Pyramid 5:57
2. Bendir 15:12
3. Rain 9:35
4. Internal Combustion 16:17
5. Bodhran 6:38
All compositions by Glen Velez

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Max Roach - Deeds, Not Words

2009-12-11T03:04:00.000-08:00

This CD reissue of a Max Roach Riverside date is notable for featuring the great young trumpeter Booker Little and for utilizing Ray Draper's tuba as a melody instrument; tenor saxophonist George Coleman and bassist Art Davis complete the excellent quintet. Highlights include "It's You or No One," "You Stepped out of a Dream" and Roach's unaccompanied drum piece "Conversation." This is fine music from a group that was trying to stretch themselves beyond hard bop.- by Scott Yanow, AMG

Artist: Max Roach
Album: Deeds, Not Words
Year: 1958 (Riverside)
Label: OJC (1987)
Total time: 43:53

Personnel:
Max Roach (Drums)
Ray Draper (Tuba)
Booker Little (Trumpet)
George Coleman (Tenor Saxophone)
Art Davis (Double Bass) - 1-7
Oscar Pettiford (Double Bass) - 8

Tracks:
1. You Stepped Out Of A Dream (Nacio Herb Brown/Gus Kahn) 7:49
2. Filidé (Ray Draper) 7:10
3. It's You Or No One (Sammy Cahn/Jule Styne) 4:15
4. Jodie's Cha-Cha (Bill Lee) 5:00
5. Deeds, Not Words (Bill Lee) 4:38
6. Larry-Larue (Booker Little) 5:16
7. Conversation (Max Roach) 3:51
8. There Will Never Be Another You (Mack Gordon/Harry Warren) 5:51

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Ali Farka Toure - The River

2009-12-10T02:45:00.001-08:00

This 1990 recording contains one of the best African blues tunes ever recorded, and a classic Ali Farka Toure moment. As the electric guitar roars in at the opening, punctured by a darting harmonica line, "Heygana" lays out the roots and branches of the blues in its journey from west Africa to the Americas, and more importantly, back again. Sung in the Songhai language, pushed by a vaguely reggae groove and pulled along by a sometimes idiosyncratic percussion line on a calabash, it pretty well epitomizes what Toure is about. The sound is stripped down, with the guitar and voice working a bare minimum groove. The calabash clicks, a thick stringed ngoni adds some punch, and a few tracks feature Toure on the njarka (fiddle). In addition to Rory McLeod's harmonica, there is one piece with The Chieftains' Seane Keane and Kevin Conneff on fiddle and bodhran (Irish goatskin drum), and a marvelous duet with saxophonist Steve Williamson that adds a little sideways R&B. The River is one of Toure's most straightforward recordings made in the decade after the light of his international fame had first shone. - by Louis Gibson, Amazonas.com

Although I have owned this album for almost ten years now, I haven't gotten a chance to write a review for it, partly because it's so good and so much a part of my life that I didn't think about it. For those who don't know him, Ali Farka is a "blues" guitarist from Timbuktu, Mali, who has created one of the most unique sounds in music. One critic once described his guitar stylings as "listening to John Lee Hooker played backwards", and in a way, he was right. The rhythms are different --African, Arabic-- and the melodies unforgettable. Toure sings in a variety of languages; while I can understand the occasional French he uses, the majority are local dialects, adding a wonderful dimension to his music. I put blues in quotations marks because it isn't really blues, but that's the closest music we have to Toure's works. It's happy, melancholy, energetic, sentimental and fervently passionate all at once. This is in my opinion his best album, followed by "Talking Timbuktu" which he recorded with Ry Cooder. Check him out! - by Matthieu P. Raillard, Amazon.com

Artist: Ali Farka Toure
Album: The River
Year: 1990
Label: Mango
Total time: 67:12

Personnel:
Ali Farka Toure (Guitar, Vocals and Njarka)
Amadou Cisse (Calabash, Percussion and Vocals)
Mamaye Kouyate (Ngoni) - 3,7
Rory McLeod (Harmonica) - 4
Seane Keane (Fiddle and Bodhran) - 2
Kevin Conneff (Fiddle and Bodhran) - 2
Steve Williamson (Tenor Saxophone) - 1

Tracks:
1. Ai Bine 6:21
2. Kenouna 5:02
3. Toungere 7:31
4. Heygana (Ali Farka Toure) 5:55
5. Jungou 7:23
6. Goydiotodam 6:25
7. Lobo 6:43
8. Tamala 8:05
9. Boyrei 5:21
10. Tangambara 5:23
11. Instrumental 2:58
All songs are traditional, arranged, adapted, and lyrics by Ali Farka Toure, except where noted.

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Freddie Hubbard - Backlash

2009-12-09T07:25:00.000-08:00

The first of trumpeter Freddie Hubbard's three Atlantic albums (reissued on a Koch CD in 2000), this excellent set falls between hard bop and the avant-garde, often hinting at both. Hubbard's regular group of the time (with James Spaulding on alto and flute, pianist Albert Dailey, bassist Bob Cunningham, and drummer Otis Ray Appleton, plus guest conga player Ray Barretto) performs the debut version of his famous "Little Sunflower," an excellent remake of "Up Jumped Spring," and four lesser-known pieces. Hubbard and Spaulding made for an excellent team and there are plenty of exciting moments on this brief but potent set. - by Scott Yanow, AMG

Let's put it this way: I didn't listen to jazz until I heard this album. All of the songs are awesome, but the first 3 especially stand out. "Backlash" and "Return of the Prodigal Son" are more akin to rock songs played with jazz insturments; both are uptempo and funky, with catchy melodies that I can't get out of my head. "Little Sunflower" just unreal, it puts you in a mellow vibe without being boring in the slightest. The other 3 songs are great, too. Musically, "Up on Que-Tee" is absolutely insane, and really proves that the band members are world-class musicians, but without a lot of gratuitous showing-off. Definately check this album out! - by toxophilitext, Amazon.com

Artist: Freddie Hubbard
Album: Backlash
Year: 1966 (Atlantic)
Label: Warner Jazz (2002)
Total time: 40:11

Personnel:
Freddie Hubbard (Trumpet and Flugelhorn)
James Spaulding (Flute and Alto Saxophone)
Albert Dailey (Piano)
Bob Cunningham (Double Bass)
Otis Ray Appleton (Drums)
Ray Barretto (Percussion)

Tracks:
1. Backlash (Donald Pickett) 4:15
2. The Return of the Prodigal Son (Harold Ousley) 5:43
3. Little Sunflower (Freddie Hubbard) 7:56
4. On the Que-Tee (Freddie Hubbard) 5:48
5. Up Jumped Spring (Freddie Hubbard) 6:43
6. Echoes of Blue (Robert Cunningham) 9:45

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Jim Hall - Dialogues

2009-12-07T12:36:00.001-08:00

Guitarist Jim Hall has long been one of the most open-minded of the important stylists to emerge during the 1950s, and his harmonically advanced style remains quite modern while hinting at its foundations in bop. For this Telarc CD, Hall teams up with five major players on two numbers apiece: Guitarists Bill Frisell and Mike Stern, Joe Lovano on tenor, flugelhornist Tom Harrell, and Gil Goldstein on accordion. Bassist Scott Colley and drummer Andy Watson are on the Frisell and Lovano tracks, and part of the Harrell and Stern performances. All of the compositions but "Skylark" are Hall originals and, although they are usually a bit dry, there are some exceptions: "Uncle Ed" and "Frisell Frazzle" are a little nutty. The emphasis throughout is on interplay between the lead voices and advanced improvising. Despite his strong sidemen (Stern and Harrell fare best), Jim Hall ends up as the dominant voice on virtually every selection, making this a set his fans will enjoy. - by Scott Yanow, AMG

Artist: Jim Hall
Album: Dialogues
Year: 1995
Label: Telarc Jazz (20-bit Digital Master)
Total time: 55:06

Personnel:
Jim Hall (Guitar)
Scott Colley (Double Bass) - 1-4,7,10
Andy Watson (Drums) - 1-5,7,9,10
Bill Frisell (Guitar) - 1,2
Joe Lovano (Tenor Saxophone) - 4
Tom Harrell (Flugelhorn) - 5,10
Gil Goldstein (Accordion) - 6,8
Mike Stern (Guitar) - 7,9

Tracks:
1. Frisell Frazzle (Jim Hall) 4:49
2. Simple Things (Jim Hall) 6:28
3. Calypso Joe (Jim Hall) 5:20
4. Bon Ami (Jim Hall) 6:40
5. Dream Steps (Jim Hall) 4:48
6. Snowbound (Jim Hall) 6:22
7. Stern Stuff (Jim Hall) 5:15
8. Dialogue (Jim Hall) 4:37
9. Uncle Ed (Jim Hall) 5:06
10. Skylark (Hoagy Carmichael) 5:34

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Joao Gilberto - Joao

2009-12-01T05:49:00.000-08:00

Recent but classic jazz-bossa is played by one of its defining spirits. Vocally, Gilberto is in fine muttering form, communicating intensely with somebody in his breast pocket, and his guitar is as delicate as ever. This recording expresses the close links of bossa nova and jazz. Joao has Clare Fisher arranging and on some cuts playing keyboards, along with one of those saccharin string-sections even the most avant-garde Brazilians love. - by John Storm Roberts, AMG

It should not suprise me that this CD is relatively uncovered by reviewers. In the best sense of the term, I would suggest that this is the definitive "Joao With Strings" recording of his later career. The recording of Joao's vocals and guitar are really well done, and Joao is singing perhaps as good as he ever has (has he ever not?). The real surprise here are the string arrangements done by Clare Fischer, who also handles the keyboard work. For the most part, the arrangements are complimentary and done much in the style of Jobim's early arranging work. Recorded in 1991, there are a few 'synth' tracks done by Fischer that work very well. One is a 'classical guitar' patch which serves as an intro, and it took a few seconds (and an audible 'attack' on the keyboard) before I realized that it was not Joao. My only regret about this CD is that the strings were added in L.A. after Joao had recorded his vocal and guitar in Rio. No, it isn't a sin and still works well, but truly working with an orchestra - the way Sinatra did - HAS to bring out the best of even the best. One of my favorite tracks is "Una Mujer", also. - by Douglas Negley, Amazon.com

Artist: Joao Gilberto
Album: Joao
Year: 1991
Label: Philips (1991)
Total time: 50:26

Personnel:
Joao Gilberto (Acoustic Guitar and Vocals)
Clare Fischer (Keyboards)
Joe Correro (Drums)
Jim Hughart (Double Bass)
Michito Sanchez (Percussion)

Tracks:
1. I Really Samba (Eu Sambo Mesmo) (Janet de Almeida) 4:09
2. Go On (Siga) (Fernando Lobo/Helio Guimares) 4:14
3. Little Rose (Rosinha) (Jonas Silva) 3:52
4. Malaga (Fred Bongusto) 5:02
5. A Woman (Una Mujer) (Paul Misraki/S. Pontal Rio/C. Olivari) 3:43
6. My Heart And I (Eu E Meu Coracao) (Inaldo Vilarinho/Antonio Botelho) 5:12
7. You Do Something To Me (Cole Porter) 2:42
8. Unhappy Remark (Palpite Infeliz) (Noel Rosa) 3:56
9. Ave Maria on the Hill (Ave Maria No Morro) (Herivelto Martins) 4:16
10. Sampa (Caetano Veloso) 5:03
11. Smiled at Me (Sorriu Para Mim) (Caroto/Luiz Claudio) 3:08
12. I Wish You Love (Que Reste-T-Il De Nos Amours) (Charles Trenet/Leon Chauliac) 5:02

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Dexter Gordon - At Montreux With Junior Mance

2009-11-30T14:18:00.000-08:00

Dexter Gordon's set at the 1970 Montreux Jazz Festival is typically exciting with long tenor solos, fine backup (from pianist Junior Mance, bassist Martin Rivera and drummer Oliver Jackson) and a well-rounded repertoire: Gordon's "Fried Bananas," "Sophisticated Lady," Thelonious Monk's "Rhythm-A-Ning," an explorative "Body and Soul," "Blue Monk" and "The Panther." This excellent CD serves as a fine all-around introduction to the music of the great tenor-saxophonist. - by Scott Yanow, AMG

Artist: Dexter Gordon
Album: At Nontreux With Junior Mance
Year: 1970 (Prestige)
Label: OJC (1987)
Total time: 55:32

Personnel:
Dexter Gordon (Tenor Saxophone)
Junior Mance (Piano)
Martin Rivera (Double Bass)
Oliver Jackson (Drums)

Tracks:
1. Fried Bananas (Dexter Gordon) 8:13
2. Sophisticated Lady (Duke Ellington/Irving Mills/Mitchell Parish) 7:56
3. Rhythm-A-Ning (Thelonious Monk) 8:44
4. Body and Soul (Frank Eyton/Johnny Green/Edward Heyman/Robert Sour) 10:16
5. Blue Monk (Thelonious Monk) 10:54
6. The Panther (Dexter Gordon) 9:27

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Harry Belafonte - Belafonte At Carnegie Hall

2009-11-28T04:43:00.000-08:00

Although an initial glance might not tip off even the most observant of consumers, this German two-disc set includes the entire contents of the 1959 double-LP Belafonte at Carnegie Hall [LP]. In North America, the title was reissued in the early '90s. Sadly, it was a considerably truncated single CD. Compiled from two benefit concerts — on June 19 and 20, 1959, respectively — at the venerable Carnegie Hall, Belafonte's mesmerizing performances exemplify his enormous capacity as more than just a folk and jazz vocalist. Although marketed as the "King of Calypso," Belafonte sheds that erroneous image in favor of a more accurate persona as a seasoned entertainer whose visceral theatrical faculties allow him the ability to inhabit the songs he sings and stories he tells. This 19-song set contains highlights from most of his studio albums, with the exception of the seasonal offering Belafonte Sings of Christmas and the critically acclaimed Porgy & Bess — which was a collaborative effort with Lena Horne. Instrumentally, Belafonte has a diverse pallet from which to draw, ranging from the intimacy of a single acoustic guitar and hand percussion combo to the immensity of a 47-piece orchestra. For maximum effect, the musical arrangements often incorporate dimensions of both — which is how Live in Concert at the Carnegie Hall commences. The brief "Introduction" is a free-flowing orchestral overture to the entire performance. As it builds and crescendos, only bongos, acoustic guitar, and the unrelenting vocal authority of Belafonte remain, yielding a most dramatic segue into "Darlin' Cora." The liner notes — reprinted from the original gatefold two-record set — explain that these performances contained three acts: "Moods of the American Negro," "In the Caribbean," and "'Round the World." From here, the 90-plus minute set is derived, including many audience favorites that would become synonymous with Belafonte and would remain in his repertoire for the entirety of his performance career. The incredible range of material includes a fiery "John Henry," the sublime serenity of "Jamaica Farewell," as well as his hits "Day O" and "Man Smart (Woman Smarter)." As a guide between the songs, he talks about his heritage and the impact that music has had throughout his life and travels. "Man Piaba," a calypso retelling of a "facts of life" lesson, is a consummate example of how Belafonte seamlessly weaves his stories into songs. This climaxes with a ten-plus minute audience participatory version of "Matilda," in which different sections of the orchestra, acoustic combo, and even audience are encouraged to sing along. As not to disenfranchise anyone and all in the best of fun, Belafonte even solicits responses from such unlikely participants as "women over 40" and "people on scholarship." It is this type of unification of all peoples — through song and personal discovery — that became the bedrock of Belafonte's enormous popularity regardless of age, sex, or race. Live in Concert at the Carnegie Hall captures the essence of the performer in his prime. - by Lindsay Planer, AMG

Artist: Harry Belafonte
Album: Belafonte at Carnegie Hall
Year: 1959
Label: BMG (Living Stereo, Remastered Reissue, 1993)
Total time: 98:19

Personnel:
Harry Belafonte (Vocals)
Robert Corman (Conductor)
Millard Thomas (Guitar)
Raphael Boguslav (Guitar)
Danny Barrajanos (Congas and Bongos)
Norman Keenan (Double Bass)
Others unknown

Tracks on CD1:
1. Introduction 0:44
2. Darlin' Cora (Fred Brooks) 3:42
3. Sylvie (Huddie Ledbetter/Paul Campbell) 5:01
4. Cotton Fields (C.C. Carter) 4:22
5. John Henry (Paul Campbell) 5:14
6. Take My Mother Home (Hall Johnson) 5:28
7. The Marching Saints (C.C. Carter) 4:52
8. Day O (Harry Belafonte/Bill Attaway/Lord Burgess) 3:43
9. Jamaica Farewell (Lord Burgess) 5:09
10. Man Piaba (Harry Belafonte/Jack Rollins) 6:34
11. All My Trials (Rita Greene/C.C. Carter) 4:03

Tracks on CD2:
1. Mama Look A Boo Boo (Lord Melody) 5:21
2. Come Back Liza (Lord Burgess/Bill Attaway) 3:15
3. Man Smart (Woman Smarter) (Norman Span) 4:40
4. Hava Nageela (Traditional) 4:05
5. Danny Boy (Fred E. Weatherly) 5:24
6. Merci Bon Dieu (Frantz Casseus) 3:05
7. Cu Cu Ru Cu Cu Paloma (Tomas Mendez) 6:54
8. Shenandoah (Traditional) 4:00
9. Matilda (Harry Thomas) 12:35

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Robert Fripp - The Bridge Between

2009-11-27T00:20:00.000-08:00

Fusing the talents of Robert Fripp, Trey Gunn, and the California Guitar Trio, you'd be wrong to assume that The Bridge Between is a boring album of guitar aerobics for guitar enthusiasts. This is a wonderful piece of work. Its most dubious attribute is to sometimes descend into Sky (the Anglo-Australian outfit formed by John Williams, Francis Monkman etc) territory in its medieval harpsichord delivery ("Passacaglia," "Contrapunctus"). However "Kanon Power" and standouts "Bicycling to Afghanistan" and "Blockhead" are fretboard knitted excellence. Unfortunately, the latter two are separated by a five-minute downbeat -- "Blue" -- and the set is spoiled by a near-13-minute endgame "Threnody for Souls in Torment," which would be better placed elsewhere. None the less, you can always hit the stop button after "Passacaglia" or better, stick "Afghan" and "Blockhead" on repeat! - by Kelvin Hayes, AMG

This unique collection will not necessarily work for everyone and I should immediately confess that I am especially fond of Robert Fripp's guitar work, a prominent feature of this album. I tend to think of this as experimental music and much of it is, but the presence of three pieces by J.S. Bach, played not all that radically far from Bach's intentions, belies that as a general characterization. Most of it was recorded live during 1993 public performances but it does not sound like a live album. Post-performance overdubs have been added, one of the Bach tracks was recorded in its entirety in the studio, and there is no annoying crowd noise. Describing what the material sounds like is challenging because electronics are employed to expand the kinds of sounds electric guitars can make. At times one is convinced of the presence of keyboards, harpsichords even, but they just are not there. The music is often rhythmically intense and emotionally bright: The quintet sound like they are having fun. But then we have the closing track, "Threnody for Souls in Torment" which is 13 agonizing minutes of arrhythmic, atonal desolation, while "Hope" provides a rhythmically muted and tender passage with a subtle (and I think clever) melodic hook. The subdued "Blue" contains a direct reference to the song "Starless", a King Crimson gem from that band's 1974 album Red. I bought The Bridge Between when it was released in 1993 having never heard a note and have never regretted the purchase. Taken as a whole, it sounds unlike anything else that I own and I hear something new each time I play it. Frippertronics, as defined by Fripp, is "that musical experience resulting at the interstice of Robert Fripp and a small, mobile and appropriate level of technology, vis. his guitar, Frippelboard and two Revoxes". At least that's how he defined it in January of 1980 in the liner notes to his solo album God Save the Queen. Whatever it was in 1993 seems to make its most obvious (and ominous) appearance on the threnody. Lams, Richards and Moriya perform and record together as the California Guitar Trio. Fripp and Gunn represent one-half of the current line-up of King Crimson. The Quintet material was recorded during the year prior to the re-emergence of King Crimson in 1994, the so-called double trio lineup that also included Gunn. - by J.G. Miller, Amazon.com

Artist: The Robert Fripp String Quintet
Album: The Bridge Between
Year: 1993
Label: Discipline
Total time: 48:19

Personnel:
Robert Fripp (Guitar and Frippertonics)
Trey Gunn (Grand Stick)
Bert Lams (Acoustic Guitar)
Paul Richards (Acoustic Guitar and Fuzz E-bow Guitar)
Hideyo Moriya (Acoustic Guitar)

Tracks:
1. Kan-Non Power (Hideyo Moriya) 4:02
2. Yamanashi Blues (Bert Lams) 2:41
3. Hope (A. Dehonestis/Youssou N'Dour/Jean-Philippe Rykiel/John Sinks) 5:32
4. Chromatic Fantasy (J.S. Bach) 1:37
5. Contrapunctus (J.S. Bach) 2:18
6. Bicycling to Afghanistan (Curt Golden) 3:22
7. Blue (Robert Fripp/Trey Gunn) 5:35
8. Blockhead (Paul Richards) 3:19
9. Passacaglia (J.S. Bach) 7:08
10. Threnody for Souls in Torment (Robert Fripp/Trey Gunn) 12:41

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Sonny Rollins - Tour De Force

2009-11-26T09:39:00.000-08:00

A better purchase than Sonny Boy (OJC 348) which has four of this set's six numbers plus "The House I Live In" from an earlier date. None of the Sonny Rollins' originals (which include "B. Swift," "B. Quick" and "Ee-Ah") on this release caught on. With pianist Kenny Drew, bassist George Morrow and drummer Max Roach completing the quartet, Rollins was in consistently creative form during this prime period but the overall set is not as classic as most of the tenor's other recordings from the 1950s.- by Scott Yanow, AMG

"Tour De Force" finds Sonny Rollins playing some of his fastest and most forceful tenor saxophone. It is no surprise that Sonny is joined once again on the kit by Max Roach (with Kenny Drew and George Morrow also in the band), because few drummers could keep this pace going on the album's smokers, the aptly named "B. Swift," "B. Quick," and "Ee-ah," and the only slightly slower (normal hard bop speed) "Sonny Boy." "Tour" also features two tracks with vocals by Earl Coleman, the tender ballads "My Ideal" and "Two Different Worlds." While it's not "John Coltrane and Johnny Hartman" (even though this pre-dates 'Trane's session by five years), it's pretty good. However, the disparity between the "speed bop" and the ballads is so great, it causes "Tour De Force" to feel schizophrenic. There is great material here, but I only give it four stars because the album doesn't flow together very well. - by Michael B. Richman, Amazon.com

Artist: Sonny Rollins
Album: Tour De Force
Year: 1956 (Prestige)
Label: OJC (1989)
Total time: 41:55

Personnel:
Sonny Rollins (Tenor Saxophone)
Kenny Drew (Piano)
George Morrow (Double Bass)
Max Roach (Drums)
Earl Coleman (Vocals) - 3,5

Tracks:
1. EE-AH (Sonny Rollins) 6:57
2. B. Quick (Sonny Rollins) 9:14
3. Two Different Worlds (Al Frisch/Sid Wayne) 7:40
4. B. Swift (Sonny Rollins) 5:18
5. My Ideal (Newell Chase/Leo Robin/Richard A. Whiting) 4:23
6. Sonny Boy (Lew Brown/Buddy DeSylva/Ray Henderson/Al Jolson) 8:21

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Trilok Gurtu - Usfret

2009-11-25T08:45:00.000-08:00

Seriously, what a masterpiece this one is. Released wayback in 1987/88, this album still rocks. The lovely alaps(vocals), the unbeatable beats, the mesmerising compositions... aaah.. its simply too good. Featuring Shobha Gurtu (Trilok's mom), Don Cherry, Ralph Towner, Shankar, Daniel Goyne and more... this album is 'percussion music' redefined. This one happens to be Gurtu's first solo album, which apparently was way ahead of its time. The album begins with Shobharock and by the end of this 7 1/2 min track, you get to know whats in store for you ahead. Phenomenal compositions that leave you breathless and moreover all the tracks are placed in an order, that lets you take a breather (or) t(w)oo. All in all, Usfret, a landmark album in itself, proved to be an inspiration to so many, that we can still see its poor imitations. A must buy for all you music lovers. Welcome to the land of percussion music (where Trilok Gurtu rules the roost). - by Aditya Parwatkar, Amazon.com

Artist: Trilok Gurtu
Album: Usfret
Year: 1988
Label: CMP
Total time: 45:14

Personnel:
Trilok Gurtu (Percussion, Drums, Tablas, Congas and Voice)
Shobha Gurtu (Voice)
Ralph Towner (Acoustic Guitar and Keyboards)
Don Cherry (Trumpet)
L. Shankar (Violin)
Daniel Goyone (Piano and Keyboards)
Jonas Hellborg (Bass ) - 1,4
Walter Quintus (Tambura) - 3

Tracks:
1. Shobharock (Trilok Gurtu) 7:37
2. Shangri La/Usfret (Trilok Gurtu/Walter Quintus) 13:02
3. OM (Traditional/arr. Trilok Gurtu) 7:12
4. Deep Tri (Traditional/arr. Daniel Goyone) 7:02
5. Goose Bumps (Trilok Gurtu) 4:23
6. Milo (Trilok Gurtu) 4:16
7. Inner Voice (Trilok Gurtu) 1:40

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Dave Brubeck - Bravo! Brubeck!

2009-11-24T03:32:00.000-08:00

One of the better Dave Brubeck LPs from the later period of the Quartet with altoist Paul Desmond, this set is unusual in that it only contains one Brubeck original. On such tunes as "Cielito Lindo," the beautiful "La Paloma," "Besame Mucho" and "Estrellita," the Quartet is augmented by guitarist Chamin Correa and percussionist Rabito Agueros. The results are melodic but swinging treatments of a variety of famous themes. - by Scott Yanow, AMG

Perhaps no other jazz artist has used the live album to his advantage more so than Brubeck. His series of college recordings in the early 1950s launched his career in full, and by the time his quartet performed these Mexican concerts in 1967, they were in the twilight of one of jazz's most successful runs. Delivering a repertoire of Mexican pop and folk standards (plus one Latin-tinged original), Brubeck mostly shows his softer melodic side, trading in his more intense, agitated ideas for hightened elements of beauty and swing. His dialogue with Mexican guitarist Chamin Correa on "Sobre Las Olas" is delightfully bright. Of course, Paul Desmond's alto work always tended toward the lighthearted; it's elegantly fragile (over Rabito Agueros's most delicate bongos) on "La Paloma Azul" and wonderfully frisky on "Estrellita." Brubeck and Desmond lay out for the fan favorite "Alla En El Rancho Grande," but Brubeck returns for a furious reading of "La Bamba," propelled by the percussion team of Rabito and Joe Morello. The timeless material, guest musicians, and above all, the fertility of the Brubeck Quartet make this Latin bit a success. - by Marc Greilsamer, Amazon.com

Artist: Dave Brubeck
Album: Bravo! Brubeck! (Live in Mexico)
Year: 1967 (Legacy)
Label: Sony (20 Bit Digitally Remixed & Remastered, 1998)
Total time: 50:31

Personnel:
Dave Brubeck (Piano)
Paul Desmond (Alto Saxophone)
Eugene Wright (Double Bass)
Joe Morello (Drums)
Salvador Agüeros (Bongos and Conga)
Benjamin Correa (Guitar)

Tracks:
1. Introduction 1:18
2. Cielito Lindo (Traditional) 5:01
3. La Paloma Azul (Traditional) 6:15
4. Sobre Las Olas (Over the Wawes) (Juventino Rosas) 3:17
5. Besame Mucho (Consuelo Velázquez/Sunny Skylar) 5:53
6. Nostalgia De Mexico (Dave Brubeck) 4:03
7. Poinciana (Buddy Bernier/Nat Simon) 6:43
8. Alla En El Rancho Grande (Emilio de Uranga) 2:58
9. Frenesi (Alberto Dominguez/Leonard Whitcup) 5:17
10. Estrellita (Manuel Ponce) 4:56
11. La Bamba (Traditional) 4:50

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Miles Davis - 'Round About Midnight

2009-11-23T02:56:00.001-08:00

Given that Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which reformed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz -- both cool jazz and hard bop -- and was beginning to move in another direction here that wouldn't be defined for another two years. Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk's own, there are the edges of Charlie Parker's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland's left hand. Coltrane's solo here too is notable for its stark contrast to Davis' own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter's "All of You" has Davis quoting from Louis Armstrong's "Basin Street Blues" in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it's in "Bye-Bye Blackbird" that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he's slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps "soft time." When Coltrane moves in for his break, rather than Davis' spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It's breathtaking how seamless it all is. There's little else to say except that Round About Midnight is among the most essential of Davis' Columbia recordings. - by Thom Yurek, AMG

Artist: Miles Davis Quintet
Album: 'Round About Midnight
Year: 1956 (Columbia)
Label: Sony (Mono Master Sound, 2001)
Total time: 39:23

Personnel:
Miles Davis (Trumpet)
John Coltrane (Tenor Saxophone)
Red Garland (Piano)
Paul Chambers (Double Bass)
Philly Joe Jones (Drums)

Tracks:
1. 'Round Midnight (Bernie Hanighen/Thelonious Monk/Cootie Williams) 5:59
2. Ah-Leu-Cha (Charlie Parker) 5:56
3. All of You (Cole Porter) 7:04
4. Bye Bye Blackbird (Mort Dixon/Ray Henderson) 8:00
5. Tadd's Delight (Tadd Dameron) 4:31
6. Dear Old Stockholm (Stan Getz) 7:53

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Ella Fitzgerald - Whisper Not

2009-11-22T07:31:00.000-08:00

Whoever decided to put pianist Marty Paich and Ella Fitzgerald together in the studio in 1966 deserves a bit of credit for the great music on Whisper Not. Together, Fitzgerald and Paich deliver a dozen beautifully sung, carefully arranged standards. An orchestra tastefully backs Fitzgerald's vocals, offering cushy support without overdoing it. Even lighter pieces like "Sweet Georgia Brown" and "Old MacDonald" are given stately renditions. There's a fun version of "I Said No," filled with silly double entendres, and a relaxed take on "Thanks for the Memory." Norman Granz takes full advantage of stereo capabilities, creatively mixing the instruments to the right and left tracks while leaving Fitzgerald's voice front and center. Paich adds to the overall sound quality by varying the arrangements from song to song, carefully wrapping each tune in the right package. These fine-tuned arrangements also provide the perfect launching pad for Fitzgerald to place her own stamp on material associated with other singers. While both "Lover Man (Oh Where Can You Be)" and "You've Changed" will be recognized as Billie Holiday classics, Fitzgerald delivers light, elegant versions that are distinctly her own. Whisper Not captures two intelligent artists working toward a common goal and creating beautiful music in the process. - by Ronnie D. Lankford Jr., AMG

Artist: Ella Fitzgerald and Marty Paich and His Orchestra
Album: Whisper Not
Year: 1966
Label: Verve (2002)
Total time: 40:41

Personnel:
Ella Fitzgerald (Vocals)
Marty Paich (Piano, Arranger)
Chuck Berghofer (Double Bass)
Louie Bellson (Drums)
Harry "Sweets" Edison (Trumpet)
Shelly Manne (Drums)
Joe Mondragon (Double Bass)
Bill Perkins (Tenor Saxophone)
Jimmy Rowles (Piano)
Al Viola (Guitar)
Stu Williamson (Trumpet)

Tracks:
1. Sweet Georgia Brown (Ben Bernie/Kenneth Casey/Maceo Pinkard) 3:35
2. Whisper Not (Leonard Feather/Benny Golson) 3:51
3. I Said No (Frank Loesser/Jule Styne) 2:19
4. Thanks for the Memory (Ralph Rainger/Leo Robin) 4:05
5. Spring Can Really Hang You Up the Most (Frank Landesman/Tommy Wolf) 4:04
6. Old MacDonald (Traditional/Leonard Feather) 3:04
7. Time After Time (Sammy Cahn/Jule Styne) 3:31
8. You've Changed (Bill Carey/Carl Fischer/Roger "Ram" Ramirez) 4:24
9. I've Got Your Number (Cy Coleman/Carolyn Leigh) 2:24
10. Lover Man (Oh Where Can You Be?) (Jimmy Davis/Roger "Ram" Ramirez/Jimmy Sherman) 2:49
11. Wives and Lovers (Burt Bacharach/Hal David) 3:19
12. Matchmaker (Jerry Bock/Sheldon Harnick) 3:16

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Miles Davis - Miles in Tokyo

2009-11-21T11:59:00.000-08:00

After George Coleman left the Miles Davis Quintet, tenor-saxophonist Sam Rivers took his place for a short period including a tour of Japan. Davis did not care for Rivers's avant-garde style (they failed to develop any chemistry) and soon replaced him, but this live LP (originally only issued in Japan) survived to document this brief association. The music (five lengthy versions of standards) is actually of high quality with both Davis and Rivers in fine form and the young rhythm section (pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) pushing the trumpeter/leader to open up his style. - by Scott Yanow, AMG

Artist: Miles Davis
Album: Miles in Tokyo (Miles Davis Live in Concert)
Year: 1964
Label: Sony BMG (2005)
Total time: 54:15

Personnel:
Miles Davis (Trumpet)
Sam Rivers (Tenor Saxophone)
Herbie Hancock (Piano)
Ron Carter (Double Bass)
Tony Williams (Drums)

Tracks:
1. Introduction By Teruo Isono 1:10
2. If I Were A Bell (Frank Loesser) 10:17
3. My Funny Valentine (Lorenz Hart/Richard Rodgers) 12:50
4. So What (Miles Davis) 8:05
5. Walkin' (Richard Carpenter) 9:15
6. All Of You (Cole Porter) 11:18
7. Go-Go (Theme And Announcement) (Miles Davis) 1:20

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James Asher - Globalarium

2009-11-20T09:20:00.000-08:00

Globalarium is a musical portrait of a unified and harmonious world through a multiplicity of ethnic musical styles. Just as Asher's previous, The Great Wheel, covered a lot of ground, his new Globalarium travels far and wide in gathering its musical influences, such as didgeridoo, classical flute, trumpet, shakuhachi, recorder, steel drum and a large selection of sampled and electronic sounds. Adding to the mix are guest performers such as Hossam Ramsy on percussion (has played with Peter Gabriel), Tim Wheater on flute, Joji Hirota (of Trisan trio), and, of course, Asher himself who plays keyboards in addition to being composer, producer and arranger on Globalarium. The ingenious combinations and multitextured pieces command attention and invite lots of in-depth exploration for rewarding listening all the way. - by Backroads Music/Heartbeats, AMG

Artist: James Asher
Album: Globalarium
Year: 1993
Label: Silver Wave
Total time: 67:13

Personnel:
James Asher (Keyboards, Drums, Shak-Shak and Handclaps)
Suzanne Bramson (Vocals)
Hossam Ramzy (Percussion)
Phil Thornton (Recorder and Ebow Guitar)
Joji Hirota (Shakuhachi)
Acoris Andipa (Vocals, Handclaps and Keyboards)
Ted Emmett (Trumpet)
Andy Peters (Didgeridoo)
Ricky de Cairos (Steel Drum)
Tim Wheater (Flute) - 6,9
Michael Cox (Flute) - 1,4

Tracks:
1. The Medicine Wheel 4:36
2. Tabasco Rythem 6:26
3. Paint the Mood Red 5:33
4. August Mood 4:05
5. Zammo-Zansa 7:49
6. Bushwackers 7:05
7. Send in the Tribes 6:33
8. Canyon of the Big Didge 6:18
9. Navajo Sky 8:00
10. Campfire on the Dunes (James Asher/Acoris Andipa) 10:43
All compositions by James Asher, except 10th

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