Joe Beck - 1975 [1987] "Beck & Sanborn"

Popular crossover smash session linking two instrumental pop stars for a 1975 album. Beck played in a slick, light style, while Sanborn, although restrained, would occasionally slip in a hot blues lick or a fluid alto solo.

We are extremely fortunate that these two stellar players got together to make this album, as it is the definitive one of its kind. Sanborn has never sounded better, period, and Beck is incredible in his simplicity yet perfectly grooved playing. Beck's improvisational ideas, mostly low key, are the perfect contrast to Sanborn, who goes wild on this album as only he can. To measure Sanborn's impact on the generation of alto players that followed him, all one has to do is listen to this recording. He is simply outstanding and unique. The rhythm section is also utterly fantastic - they never get in the way and always create the hippest feel possible on every song. This is a must-purchase recording! It will blow you away!

This 1975 Kudu album by Joe Beck was never reissued on CD in the United States but available only as a Japanese import on the King label. Beck is a masterpiece of mid-'70s funky jazz and fusion. Beck retired in 1971 to be a dairy farmer. He returned to make this album his opus. Featuring David Sanborn, Don Grolnick, Will Lee, and Chris Parker, all of the album's six tracks were recorded in two days. Overdubs were done in another day and the minimal strings added by Don Sebesky were added on a third day. "Star Fire" opens the set and features the interplay of Beck's riffing and lead fills with Sanborn's timely, rhythmic legato phrasing, and the communication level is high and the groove level even higher. On "Texas Ann," another Beck original, Sanborn hits the blues stride from the jump, but Beck comes in adding the funk underneath Grolnick's keyboard while never losing his Albert Collins' feel. On "Red Eye," Beck's two- and three-chord funk vamps inform the verse while Sebesky's unobtrusive strings provide a gorgeous backdrop for Sanborn, who stays in the mellow pocket until the refrains, when he cuts loose in his best Maceo Parker. The deep funk of Jalaluddin Mansur Nuriddin's "Café Black Rose" showcases the band's commitment to groove jazz with a razor's edge. The composition is full of nooks and crannies and syncopated intervallic elements for the rhythm section. Steve Khan's slide guitar adds electric Delta feel to a Sly Stone funk groove along with a Jack McDuff riff makes the whole thing feel like a greasy good time. Beck is essential listening for anyone interested in mid-'70s commercial jazz. The chops are there, but far more than that, Beck leads a band into a soul-deep blowing session with killer charts, nasty tunes, and killer vibes.

This album was originally released as an LP in 1975. It had 6 tracks and was 36 minutes long. The CD release has two bonus tracks and the total time is now 50 minutes. The sound quality is very good. The US edition is out of print, but you can find an import version, that is more expensive.

The band is Joe Beck on guitar and David Sanborn on sax with many studio musicians backing them up. This very good jazz with twinges of fusion. It is very typical of the jazz styles of the mid seventies. It is much better than the Sunday Brunch style of music that would come in the late seventies and early eighties.

All of the compositions are very good and interesting. The music is very fluid. The first 6 tracks are more on the mellow side. The two bonus tracks are more lively and electric. If you are a fan of Spyro Gyra or other soft jazz bands, you might not like this. If you like intelligent music with good compositions, this is a good CD to get. It is not the best jazz ablum of the time, but it is certainly a good album.

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Track listing:

1 Star Fire 4:31
2 Cactus 4:55
3 Texas Ann 7:53
4 Red Eye 7:10
5 Cafe Black Rose 4:23
6 Brothers And Others 6:23
7 Ain't It Good 7:29
8 Spoon's Theme 6:57

Personnel:

Guitar – Joe Beck, Steve Khan
Alto Saxophone – David Sanborn
Bass – Will Lee
Cello – Charles McCracken, George Ricci, Jesse Levy
Drums – Chris Parker (2)
Keyboards – Don Grolnick
Percussion – Ray Mantilla
Violin – Charles Libove, David Nadien, Frederick Buldrini, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Peter Dimitriades

Gil Evans - 1974 [2002] "Plays the music of Jimi Hendrix"

The Gil Evans Orchestra Plays the Music of Jimi Hendrix is an album of Jimi Hendrix's compositions arranged by jazz composer, conductor and pianist Gil Evans recorded in 1974 and performed by Evans with an orchestra featuring David Sanborn, Howard Johnson, Billy Harper, and John Abercrombie. The album was re-released with additional tracks on CD in 1988.

The Allmusic review by Scott Yanow awarded the album 4½ stars stating "Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz"

This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz. [This album was re-released in 2002 on the Bluebird label with four bonus tracks from the same sessions]

Reissue of Gil Evans' classic, controversial original album from 1974, in which his orchestra, which includes guitarist John Abercrombie, trumpeter Marvin C. Peterson and saxophonists David Sanborn and Billy Harper interpret nine Hendrix compositions. Includes the bonus tracks 'Little Wing' and alternate takes of 'Angel', 'Castles Made Of Sand', Up From The Skies' and 'Gypsy Eyes'.
· Gil Evans was to have recorded with Jimi Hendrix. The idea was to feature the Hendrix solo guitar and voice against the cushion of Evans' orchestrations, much in the manner of the Gil Evans-Miles Davis collaborations of the late 1940's and again in the 1950's. Denied the opportunity when the guitarist died in London a week before the preliminary meetings were set, Gil forged ahead with a whole concert of Hendrix compositions at Carnegie Hall, and, with the same young group, the sessions for this album.
· Evans told Rolling Stone magazine: "Stop and think about Hendrix' guitar work, about how difficult it was, and is, to play a guitar that way – the use, the correct use, of electronics. And yet for him it was the natural way. What I do is try to keep Jimi in mind when arranging his music. A very, very great guitar player."
· Gil Evans and Jimi Hendrix - a fusion of rock and jazz, working properly for once, each style drawing from the other. Gil was fond of saying that he looked for the "living spirit" in any music he heard. That spirit is here, alive and well, within these tracks.

Track listing:

1. ANGEL
2. CROSSTOWN TRAFFIC / LITTLE MISS LOVER
3. MEDLEY: CASTLES MADE OF SAND / FOXY LADY
4. UP FROM THE SKIES
5. 1983 – A MERMAN I SHOULD TURN TO BE
6. VOODOO CHILE
7. GYPSY EYES
8. LITTLE WING
9. ANGEL (ALTERNATE TAKE)
10. CASTLES MADE OF SAND (ALTERNATE TAKE)
11. UP FROM THE SKIES (ALTERNATE TAKE)
12. GYPSY EYES (ALTERNATE TAKE) 

Personnel:

• Gil Evans - piano, electric piano, arranger, conductor
• Hannibal Marvin Peterson - trumpet, vocals
• Lew Soloff - trumpet, flugelhorn, piccolo trumpet
• Peter Gordon - French horn
• Pete Levin - French horn, synthesizer
• Tom Malone - trombone, bass trombone, flute, synthesizer, arranger
• Howard Johnson - tuba, bass clarinet, electric bass, arranger
• David Sanborn - alto saxophone, soprano saxophone, flute
• Billy Harper - tenor saxophone, flute
• Trevor Koehler - tenor saxophone, alto saxophone, flute, baritone saxophone, soprano saxophone, arranger
• John Abercrombie, Ryo Kawasaki - electric guitar
• Keith Loving - guitar
• Don Pate - bass
• Michael Moore - electric bass, acoustic bass
• Bruce Ditmas - drums
• Warren Smith - vibraphone, marimba, chimes, latin percussion
• Sue Evans - drums, congas, percussion

John Mclaughlin - 1978- 1979 [2010] "Electric Guitarist" & "Electric Dreams"

Digitally remastered two CD set containing a pair of albums from the legendary guitarist and Mahavishnu Orchestra leader: Electric Guitarist and Electric Dreams (both released in 1979). Ex-Graham Bond and Brian Auger guitarist McLaughlin's career took off when he went to the States in 1969 to join Tony Williams' Lifetime. From then on, he became one of the most acclaimed Jazz/Rock guitarists of the '70s and beyond.

Since both of these post-Shakti albums feature the word "electric" in their titles, it seems that guitarist McLaughlin wanted to emphasize his more plugged-in side to those who might not have followed along on three previous releases featuring his acoustic world music band. He also thumbs through his impressive phone book to call in some of the cream of the 1977 crop of jazz fusionists to help him out on Electric Guitarist, a true return to form. Ex-Mahavishnu members Jerry Goodman and Billy Cobham assist in kicking things off just like in the old days with "New York on My Mind," a tune that could have been an outtake from his earlier Mahavishnu Orchestra work. Also along for the ride is Chick Corea, Stanley Clarke, David Sanborn, Carlos Santana, Jack Bruce, and four legendary drummers including Cobham, Tony Williams, Jack DeJohnette, and Narada Michael Walden. Unfortunately, the credits don't specify who plays on which track (well-written liner notes would help there), but anyone familiar with the distinctive styles of these artists can easily pick them out. McLaughlin is in fine form throughout, especially when playing clean, staccato, bent notes on the ballad "Every Tear from Every Eye." The majority of the selections stay in a more subtle but amped-up groove as McLaughlin shifts from dreamy to a faster, more straight-ahead tempo on the seven-minute "Do You Hear the Voices that You Left Behind?" A duet with Billy Cobham on "Phenomenon: Compulsion" provides the set's most frantic fireworks as both musicians air out their chops on a breathless, galloping piece with some of the guitarist's most furious picking. Electric Dreams features McLaughlin's One Truth band on an album from the same year. The same players back him throughout, so the sound isn't quite as diverse. There is still a nice balance of ballads and burners, and some tunes that mix both such as "Desire and the Comforter," which is pushed by Fernando Saunders' amplified fretless bass, a ringer for Jaco Pastorius. Saunders takes the collection's only vocal on "Love and Understanding," undercut by well-meaning but schlock-heavy lyrics about being one with the universe as McLaughlin does his best Santana impersonation. The boat rights itself for the two final fusion numbers that find the group locking in and McLaughlin spinning off sweet, sharp lines that leave no doubt as to how exceptional a guitarist he is. BGO's remastering is clean and these titles make perfect companions on a single disc with almost 80 minutes of prime, very electric John McLaughlin music.

Track List:

01 New York In My Mind
02 Friendship
03 Every Tear From Every Eye
04 Do You Hear The Voices That You Left Behind?
05 Are You The One? Are You The One?
06 Phenomenon Compulsion
07 My Foolish Heart
08 Guardian Angels
09 Miles Davis
10 Electric Dreams
11 Electric Sighs
12 Desire And The Comforter
13 Love And Understanding
14 Singing Earth
15 The Dark Prince
16 The Unknown Dissident

John Mclaughlin - 1978 "Electric Guitarist"

If you listen to McLaughlin's version of "My Foolish Heart" from 1978's Johnny McLaughlin - Electric Guitarist, it's hard to logically explain how the same guitarist had also produced the sounds found on so many of his earlier records. It's hard to reconcile this tune with his approach on his debut Extrapolation, Miles' Tribute to Jack Johnson, Larry Coryell's Spaces, and various recordings by the Mahavishnu Orchestra and Shakti. None of those earlier performances would have prepared you for McLaughlin's beautiful treatment of Victor Young and Nat Washington's jazz standard. His warm and serene arrangement sounds like the antithesis of what McLaughlin was known for.

Electric Guitarist was meant to be a comeback record for McLaughlin. Columbia Records was none too pleased that McLaughlin had produced three straight records with his Indian acoustic world music group Shakti. These records would eventually reach legendary status, but at the time they sold embarrassingly poorly. There was hope at Columbia that Electric Guitarist would bring John McLaughlin back to the top of the record sales heap. In the end, although it sold well, it did not sell as many records as Columbia had hoped.

Electric Guitarist features many of McLaughlin's contemporaries, including Chick Corea, Stanley Clarke, Jack DeJohnette, Billy Cobham, Narada Michael Walden, Carlos Santana, Jerry Goodman, and David Sanborn. There is not one weak cut on the entire album. Electric Guitarist also marks the first recorded use of McLaughlin's scalloped fretboard electric guitar, an idea from his Shakti experience that gave him a brand new sound. McLaughlin was able to bend notes and even chords beyond limits. This technique opened up a whole new vocabulary for his compositions.

Key cuts to play really loud include a duet with Billy Cobham, "Phenomenon-Compulsion," and "Are You the One? Are You the One?," featuring Tony Williams and Jack Bruce. This tune harkens back to the great Tony Williams Lifetime that featured McLaughlin, Bruce and the late Larry Young on organ. Even though, for obvious reasons, Young couldn't make this gig, he would have loved this tune. "Do You Hear The Voices You Left Behind," based upon the changes of Coltrane's "Giant Steps," is an unrelenting jazz force that McLaughlin, Chick Corea, Stanley Clarke and Jack DeJohnette play for all they are worth.

Many all-star recordings do not live up to their promise. This album is not one of them. John McLaughlin- Electric Guitarist was the last important recording of the initial jazz-fusion movement.

Musicians - Electric Guitarist

- John McLaughlin / electric guitar
- Jack Bruce / bass on track 5
- Billy Cobham / drums on tracks 1 & 6
- Stanley Clark / acoustic bass on track 4
- Chick Corea / piano and mini-moog on track 4
- Tom Coster / organ on track 2
- Jack DeJohnette / drums on track 4
- Stu Goldberg / electric piano, organ and mini-moog synthesizer on track 1
- Jerry Goodman / violin on track 1
- Neil Jason / bass on track 2
- Alphonso Johnson / Taurus Bass Pedals and Bass on track 3
- Alyrio Lima / percussion on track 2
- Armando Peraza / congas on track 2
- Patrice Rushen / piano on track 3
- David Sanborn / alto saxophone on track 3
- Carlos Santana / electric guitar on track 2
- Fernando Saunders / bass on track 1
- Tony Smith / drums on track 3
- Michael Walden / drums on track 2
- Tony Williams / drums on track 5

John Mclaughlin - 1979 "Electric Dreams"

 The last three minutes of "Desire and the Comforter" from Electric Dreams say it all about John McLaughlin. He just tears apart his electric guitar with cascades of funk, blues, rock, jazz, and Far-Eastern scales. Every strike of a string has individual meaning. His guitar soars above the chord changes and captures the spirit of the music. He leaves space (or texture) where it should be left. Like no other guitarist on earth, John McLaughlin knows when not to play, despite claims from those who say he plays too many notes. And even though there are a million notes a minute on this tune, the spaces in between the notes create the epiphany.

McLaughlin recorded Electric Dreams with the One Truth Band, which also included L. Shankar on violin, Tony Smith on drums, Stu Goldberg on keyboards, Fernando Saunders on bass, and Alyrio Lima handling various percussion duties. The OTB was a much more rhythmic unit than JM's previous bands, and although its members may not have been the "master" musicians like those who comprised The Mahavishnu Orchestra, they certainly knew how to "funk a groove". Electric Dreams is full of such grooves and infectious tunes. Sure, we could have lived without the God-awful "Love and Understanding". But Electric Dreams offers the beautiful "Electric Dreams, Electric Sighs", featuring JM on banjo! The classic “Dark Prince” is a brooding, straight-ahead jazz-fusion homage to Miles that overshadows the album’s other Miles tribute piece, “Miles Davis."

On this recording, McLaughlin used a guitar that had a scalloped fret board. The concave spaces allowed McLaughlin to stretch notes beyond believability. A main component of the band's sound, Shankar's far-eastern violin, does seem ill placed at times, and Goldberg's synth patches are outdated in some areas as well. But, these issues actually endow the album with a bit of charm. The veterans Smith and Saunders make for a very steady rhythm section. Lima is more effective in concert than on this recording. Saxophonist David Sanborn, a guest star on several McLaughlin albums, makes a more than welcome guest appearance on the haunting “Unknown Dissident”.

The mix wasn't always successful. But on the whole, Electric Dreams offers some of the best composing and playing of McLaughlin's career and has been unfairly overlooked.

Musicians - Electric Dreams:

- John McLaughlin / Electric guitar, 6 + 12 + 13 string acoustic guitars and banjo
- L. Shankar / Acoustic and electric violin
- Stu Goldberg / Electric piano, Moog synthesizer with Steiner Parker modifications, Prophet synthesizer, Hammond organ
- Fernando Sanders - Fender bass, acoustic bass, vocals on "Love And Understanding"
- Tony Smith / Drums and vocals
- Alyrio Lima / Percussion, amplified Chinese cymbals
- David Sanborn / Alto saxophone on "The Unknown Dissident"

John Mclaughlin - 1995 "The Promise"

The Promise is a jazz album released in 1995 by John McLaughlin on Verve Records. The album peaked number 4 in the Billboard Top Jazz Albums chart 1996.

The Promise offers a summation of all the places John McLaughlin has been in his career, and points directly toward his future. Featuring a wide range of musicians including appearances by the Free Spirits, the Guitar Trio, and an electric version of Shakti, the Promise is easily the most wide-ranging and diverse offering of McLaughlin's long career. Its contents encompass everything from straight post-bop and swinging soul-jazz to fusion to modern takes on East Indian music as it meets the West.

As if this weren't enough, there are even moments with spoken word laced throughout, such as a verse of Dante read by Stefania Bombi toward the end of his scorching, funky, soul-jazz number "Thelonius Melodius" with B-3 organist Joey DeFrancesco and drummer Dennis Chambers.

The set kicks off with one of its finest moments, a guitar-to-guitar reading of John Lewis' "Django" with Jeff Beck (bassist Pino Palladino, drummer Mark Mondesir, and drummer Tony Hymas round it out). Beck's solo is first; it is expansive as it moves from a gorgeous restating of the melody through slinky harmonic extrapolations. McLaughlin's answer is ambitious and intuitive. They then move toward one another and the melody, complementing each other perfectly. "El Ciego" is a complex, flamenco-tinged jazz number with McLaughlin trading knotty lines and soulful solos with Al di Meola and Paco de Lucia. "Jazz Jungle" is late 20th century fusion at its blazing best with Michael Brecker, Chambers, Don Alias, James Genus, and Jim Beard beginning almost nebulously before ratcheting the tempo and idea palettes to dizzying heights (Brecker is particularly brilliant). "The Wish," with Zakir Hussein, Nishat Khan, and Trilok Gurtu, looks deeply into Indian classical music balanced by a European gaze.

McLaughlin's engagement with Khan's sitar creates nearly rapturous expression, all the while contained inside a texture that is as atmospheric as it is exotic. "Shin Jin Rui" employs the same band as "Jazz Jungle," with the exception of the saxophone, played by David Sanborn. His playing is riskier than on his own records, his alto juxtaposed with McLaughlin's guitar, a study in funky, electric jazz modernism.

The set closes with a lovely all-acoustic reading of Jimmy Rowles' "The Peacocks" with guitarist Phillipe Loi and bassist Yan Maresz, and a verse by Lorca read by Susana Beatrix as an end cap. Ultimately, The Promise stands as one of McLaughlin's towering achievements as a guitarist and leader.

Some highly respected music critics criticized this 1996 effort as a hodge-podge of musical ideas with no central theme. However, they are mistaken. Clearly the thematic nature of this outing was the diversity of the music itself. The original tunes are compositionally strong, and the playing throughout is purposeful and exquisite. McLaughlin has gathered several of his friends—who happen to occupy the higher echelons of music—for The Promise 's musical journey through genres ranging from the all-out bombastic fusion of "Jazz Jungle" to the Euro-Indian strains of "The Wish". A vast list of musicians join the festivities.

The Promise was the jazz guitar event of 1996. The Beck/McLaughlin reworking of John Lewis' tune "Django" is itself worth the price of admission. Beck's playing opens the piece and the album, making you wonder whether even the great McLaughlin can compare. He does, of course, and in such a way as to make any comparisons an exercise of nonsense. Their interplay is complimentary and utterly brilliant. They should record a whole album together.

"Jazz Jungle" is a true fusion number. Its energy is greater than that of a jumbo jet during take-off (which is also a good description of Dennis Chambers' drumming on this tune). John McLaughlin, at 54, can still wail with purpose better than any young pretender to the throne. Amazing. Guest musician Michael Brecker makes his mark on this piece as perhaps the finest fusion saxophonist on the scene.

"Shin Jin Rui" features a reunion of sorts with jazz-pop sax man David Sanborn. Sanborn doesn't seem to take chances like this on his own albums. He is sympatico with McLaughlin. (Check out Sanborn's appearances on two other McLaughlin albums, Electric Guitarist and Electric Dreams. )

The Promise also features the brief returns of The Free Spirits, The Guitar Trio, and an electric version of Shakti. It is a potpourri of musical styles and performers. Yet, despite its disparate compositions and styles, the record manages to be a cohesive work of art. Spoken passages lead the way, and even a short one and a half minute jam with Sting makes sense in context. Bravo!

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Track listing:

All tracks composed by John McLaughlin; except where indicated

01 "Django" (John Lewis) – 7:24
02 "Thelonius Melodius" – 5:22
03 "Amy and Joseph" – 2:28
04 "No Return" – 7:20
05 "El Ciego" – 9:10
06 "Jazz Jungle" – 14:45
07 "The Wish" – 8:39
08 "English Jam" (Vinnie Colaiuta, John McLaughlin, Sting) – 1:12
09 "Tokyo Decadence" – 0:39
10 "Shin Jin Rui" – 10:47
11 "The Peacocks" (Jimmy Rowles) – 5:53

Personnel:

John McLaughlin – acoustic guitar, electric guitar, keyboards, MIDI guitar
Don Alias – percussion
Jim Beard – keyboards
Dennis Chambers – drums
Vinnie Colaiuta – drums
James Genus – bass guitar
Zakir Hussain – tabla
Nishat Khan – sitar, vocals
Yan Maresz – arranger, acoustic bass guitar, bass guitar
Mark Mondesir – drums
Pino Palladino – bass
Mariko Takahashi – vocals

Guest Artists:

Jeff Beck – electric guitar
Michael Brecker – tenor sax
Joey DeFrancesco – Hammond organ, trumpet
Al Di Meola – acoustic guitar
Trilok Gurtu – percussion
Tony Hymas – keyboards
Paco de Lucía – acoustic guitar
David Sanborn – alto sax
Sting – bass

John Scofield - 1984 [2014] "Electric Outlet"

Guitarist John Scofield combines with Pete Levin on synthesizer to make this 1984 session both very electric and eclectic. With David Sanborn on alto, Ray Anderson on trombone, and Steve Jordan on drums adding acoustic voices to the mix, the results are as thought-provoking as Scofield's titles. The rock, funk, jazz, and techno elements proliferate and combine, putting populist and outside approaches in a new perspective. There are even touches of Ennio Morricone's film music in the wide-open spaces of "Best Western." While much fusion is about the easy mismatching of elements, Scofield manages to turn his different sources into distinctive and original music.

Guitarist John Scofield's music of the '80s (mostly recorded for Gramavision) blended together funk with post-bop improvising. Although not as timeless as much of his work of the '90s, there are always moments of interest on his many recordings. For Electric Outlet, Scofield performs eight originals (the best-known is "Pick Hits") with a notable quintet and also including altoist David Sanborn, trombonist Ray Anderson, Pete Levin on synthesizer and drummer Steve Jordan; there is no bassist, although the leader often plays basslines. Intriguing music.

John Scofield was an early favotite of mine from before he played with Miles. I picked up Shinola when it came out (looking for Steve Swallow stuff, actually). I really loved that. When he started playing with Miles, I was fortunate enough to see him a coulpe of times, and then later in solo form at a nice club. After that period, I have found his stuff 'hit or miss' ... but I was blown away by UberJam. However, Electric Outlet remains right at the top of my list of favorite Scofield work. It really lays out his style and preferences. Worth picking up!

This is a great Scofield disc. I like John's recent funk outings, but this disc from further back in his career really outlines his jazz playing in a more fusion-like setting.

Track listing:

All tracks by John Scofield

1. Just My Luck (5:21)
2. Big Break (5:15)
3. Best Western (5:41)
4. Pick Hits (6:03)
5. Filibuster (5:51)
6. Thanks Again (4:50)
7. King For A Day (2:28)
8. Phone Home (5:12)

Personnel:

John Scofield - electric guitar, bass
Peter Levin - synthesizers
David Sanborn - saxophone
Ray Anderson - trombone
Steve Jordan - drums

Various Artists - 2000 "Celebrating the Music of Weather Report"

Telarc and producer Jason Miles brought in a boat-load of contemporary jazz heavyweights to celebrate the 30th anniversary of Weather Report's formation with this recording, and quite a celebration it is. Miles and his all-star cast have managed to remain true to the original music, while updating and opening up the arrangements. Tenor saxman extraordinaire Michael Brecker smokes up "Elegant People," while alto superstar David Sanborn teams up with the final Weather Report rhythm section of Victor Bailey and Omar Hakim to take a scrumptious, synth-soaked stroll through "Cannonball." Lesser known saxophonist Aaron Heick comports himself well as he fills Shorter's shoes on "Mysterious Traveller," and Spyro Gyra's Jay Beckentein turns in a lovely soprano sax lead over Joe Sample's distinctive piano on the ballad "Harlequin." "The Man in the Green Shirt" journeys to the islands courtesy of steel pan man Andy Narell. Randy Brecker's trumpet gives a new dimension to "Palladium," while Marcus Miller and John Scofield take a loping, funky trip through "Cucumber Slumber." In fact, the only complaint about this recording is that the modern synthesizers, employed a little heavy-handedly at times by Miles, have a much cheesier sound than did Joe Zawinul's bank of organic keyboards and early synths in the band's heyday. Nonetheless, this celebration offers a bevy of delights to remind old-time Weather Report fans of the band's greatness; it may even help introduce a new generation of listeners to this superb music, hopefully enticing them to check out the originals.

With a rich subject to mine and a distinctive, creative vision, the compilation Celebrating the Music of Weather Report (Telarc CD-83473; 58:30) stands a cut above the glut of all-star tribute albums currently on the market. The common thread uniting a football team-sized cast is keyboard phenom Jason Miles, who through unique arrangements of carefully chosen pieces traces the band’s evolution and highlights its influence without wandering into cliche territory. Where “Birdland” is given a whammy-bowed, rock guitar read by Chuck Loeb, with Take 6 building rich rhythms via voice, “Cannonball” finds David Sanborn belting the alto sax melody over Miles’ lovely keyboard tones and fusion-styled breaks. “Badia” boasts exotic percussion backbeat, tribal vocals and prickly mid-eastern tones, while “Harlequin” makes an unexpectedly lush, darkly romantic statement with saxophonist Jay Beckenstein at the helm. Most startling and revealing are “Mysterious Traveler,” with Miles setting a haunted, cornered keyboard tone for Aaron Heick to set aflame with multiple squealing saxes, and “Palladium,” which starts with a music-box keyboard feel before opening into a fusion storm, with Omar Hakim’s spitfire drums and Randy Brecker’s singing, sharp trumpet line.

With a huge assembly of star performers like Marcus Miller, Dennis Chambers, Jay Beckenstein etc.,the performances are top-notch, but the overall production borders on "smooth", although some of Weather Reports' catalog is quiet catchy in a "pop" kind of way and therefore lends itself to a slightly more "poppy and smooth" version of fusion jazz.

The sonics are as usual for Telarc, fantastic, and the music is perfectly suited for 5.1, and the mix does not
disappoint, with tasteful use of the surrounds for synths, percussion and "atmosphere", but the main performance is up-front.

Track Listing:

01. Birdland
02. Elegant People
03. Badia
04. Young And Fine
05. Cannonball
06. Pursuit Of The Woman With The Feathered Hat
07. Mysterious Traveller
08. Harlequin
09. Man In The Green Shirt
10. Palladium
11. Cucumber Slumber

Personnel:

- John Scofield, Chuck Loeb, Dean Brown / guitar
- Randy Brecker / trumpet
- Michael Brecker / Tenor saxophone
- David Sanborn / Alto saxophone
- Joe Sample / piano
- Victor Bailey, Mike Pope, John Patitucci, Will Lee, Marcus Miller / bass
- Dennis Chambers, Vinnie Colaiuta, Steve Gadd, Omar Hakim / drums
- Aaron Heick / Soprano & Tenor saxophones
- Jay Beckenstein / Soprano saxophone
- Jason Miles / keyboards, programming, background vocals
- Tom Schuman / synthesizer
- Andy Narell / pans
- Mark Quinones, Cyro Baptista / percussion
- Mary Fahl, Porter Carroll, Take 6 / background vocals

Jaco Pastorius - 1976 [2000] "Jaco Pastorius"

This self-titled album was Jaco Pastorius' solo debut and was originally released in 1976. The album was produced by Blood, Sweat & Tears drummer/founder Bobby Colomby. The disc begins with a cover version of Miles Davis' "Donna Lee" (although the song was originally credited - mistakenly - to Charlie Parker on the album) and includes eight other tracks written or co-written by Pastorius.

It's impossible to hear Jaco Pastorious' debut album today as it sounded when it was first released in 1976. The opening track -- his transcription for fretless electric bass of the bebop standard "Donna Lee" -- was a manifesto of virtuosity; the next track, the funk-soul celebration "Come On, Come Over" was a poke in the eye to jazz snobs and a love letter to the R&B greats of the previous decade (two of whom, Sam & Dave, sing on that track); "Continuum" was a spacey, chorus-drenched look forward to the years he was about to spend playing with Weather Report. The program continues like that for three-quarters of an hour, each track heading off in a different direction -- each one a masterpiece that would have been a proud achievement for any musician. What made Jaco so exceptional was that he was responsible for all of them, and this was his debut album. Beyond his phenomenal bass technique and his surprisingly mature compositional chops (he was 24 when this album was released), there was the breathtaking audacity of his arrangements: "Okonkole Y Trompa" is scored for electric bass, French horn, and percussion, and "Speak Like a Child," which Pastorious composed in collaboration with pianist Herbie Hancock, features a string arrangement by Pastorious that merits serious attention in its own right. For a man with this sort of kaleidoscopic creativity to remain sane was perhaps too much to ask; his gradual descent into madness and eventual tragic death are now a familiar story, one which makes the bright promise of this glorious debut album all the more bittersweet. (This remastered reissue adds two tracks to the original program: alternate takes of "(Used to Be a) Cha Cha" and "6/4 Jam").

In 1976, the first 10 minutes of this eponymous disc took the listener on a jazz world cruise directed by the instrumentalist-composer Jaco Pastorius, who thus gave notice that there was a new sheriff in town and that narrow definitions of jazz would simply not do. More so even than his groundbreaking work as a member of Weather Report, Jaco's music on this, his debut album as a leader (and in a trio setting with his soulmate Pat Metheny on the guitarist's maiden voyage, Bright Size Life), defines his greatness, his outreach, and his ambition. Boppish changes à la Miles Davis come through with Jaco's incredible touch, tone phrasing, and rhythmic locomotion--as does the musical leap of faith from bebop to funky-butt R&B delivered with lyrical majesty on Jaco's aptly titled "Continuum." This reissue greatly enhances the fidelity of Jaco Pastorius, particularly in the bassist's famous, elusive tone, from lightly chorused, vocal-tenorlike glissandos on "Continuum" and the bell-like harmonics of "Portrait of Tracy" to his percussive, hand-drumlike rhythmic cycles underneath Peter Gordon's august French horn on "Oknokole Y Trompa." Even more stunning are the manner in which Jaco deploys a steel drum choir underneath Wayne Shorter on "Opus Pocus" and the ferocious Latin-inflected groove Jaco, Lenny White, and Don Alias conjure under Herbie Hancock on two takes--one unissued until now--of "(Used to Be a) Cha-Cha." Pat Metheny contributes an extraordinary set of liner notes to this set, putting Jaco's contributions to jazz and the bass in sharp perspective. Still, a spirit of innovation and discovery suffuses every note on Jaco Pastorius, and it is startling how modern and engaging this music remains.

At long last, the stunning debut album by Jaco Pastorius gets the royal treatment by the folks at Sony Legacy. Recorded in 1976 prior to joining Weather Report, it's clear from the first bar that this man is serious business!!! From the opening track, a cover of the Charlie Parker classic "Donna Lee"(written by Miles Davis) featuring Jaco only accompanied by a conga player to the final cut "Forgotten Love",it's very apparent that we're hearing something we've never heard before. Pastorius took the bass from being a support instrument, to front and center, without being tedious or overdone. Other highlights of this album include "Portrait of Tracy", and "Continuum". "Jaco Pastorius" features excellent support from the likes of Herbie Hancock, Hubert Laws, David Sanborn, Michael Brecker and Lenny White. This reissue also features two unreleased tracks that were not part of the original LP. The booklet features rare photos from the recording sessions and has great liner notes written by Pat Metheny. The 24-bit remaster is a tremendous sonic improvement over the original CD issue and the disc label even has the original orange Epic logo on the disc. A first class reissue of a fusion jazz classic. 

Jaco Pastorius was undoubtedly a brilliant musician, in every sense of the word. Not only was he an incredible bassist, but he was a gifted composer, who really knew how to get the most out of his instrument. This, his first solo album, is excellent from start to finish. There's plenty of diversity here, and a regular who's who of musicians backing him up. The list includes David Sanborn, Herbie Hancock, Wayne Shorter, and many more. There are three drummers on here, Bobby Economou, Narada Michael Walden, and Lenny White. All three put on a great performance, but Lenny's is undoubtedly the most impressive.
As I mentioned before, this album is very diverse. There are two bass solo songs (only bass). The first, "Donna Lee", is the opening track, and is a prime example of Jaco's incredible prowess. The second, "Portrait of Tracy", is more laid-back, and shows that in addition to being a technical virtuoso, he had a great sense of melody as well. "Come On, Come Over" has more of a 70's funk feel, and is the only song on the album to feature vocals. "Opus Pocus" is a bit unusual, with odd complex bass work, and some cool steel drums to give it a bit of a tropical feel. "Forgotten Love" doesn't even have Jaco on it, and is perhaps the least interesting track here, but still a nice tranquil piano piece. "6/4 Jam" is a bit repetitive, but Lenny's jaw-dropping performance makes up for it.
The best songs, without a doubt, are "Kuru/Speak Like a Child" and "Used To Be a Cha Cha". Both feature some very fast and infectious basslines, and incredible piano from the great Herbie Hancock. Very technical and diverse songs, with great melody as well. At around 8 minutes each, both go by quite fast.
So there you have it, an excellent album from one of the best bassists of all time. Highly recommended to anyone with even the slightest interest in jazz. I haven't heard quite enough to say this accurately, but this is possibly one of the best albums of the genre. Definitely a must-have.

Track listing

1. Donna lee (2:26)
2. Come on, come over (3:50)
3. Continuum(4:31)
4. Kuru (7:38)
Speak like a child
5. Portrait of tracy (2:20)
6. Ocus pocus (5:25)
7. Okonkole'y trompa (4:21)
8. Used to be a cha-cha (8:52)
9. Forgotten love (2:12)
10 (Used To Be A) Cha Cha (Previously Unreleased)
11 6-4 Jam (Previously Unreleased)

Total Time 41:59

Personnel

Jaco Pastorius: Bass, horn & string arrangements
Don Alias: Congas, Bongos, Percussion, Okonkolo y Iya, Afuche
Randy Brecker: Trumpet
Ron Tooley: Trumpet
Peter Graves: Bass Trombone
David Sanborn: Alto Sax
Michael Brecker: Tenor Sax
Howard Johnson: Baritone Sax
Herbie Hancock: Keyboards, Piano, Fender Rhodes
Narada Michael Walden: Drums
Sam & Dave: Vocals
Bobby Economou: Drums
Michael Gibbs: Conductor, String Arrangement
Wayne Shorter: Soprano Sax
Othello Molineaux: Steel Drums
Leroy Williams: Steel Drums
Lenny White: Drums
Peter Gordon: French Horn
Strings: Violins: David Nadien (concertmaster), Harry Lookofsky, Paul Gershman, Koe Malin, Harry Cykman, Harold Kohon, Matthew Raimondi, Max Pollikoff, Arnold Black. Violas: Selwart Clarke, Manny Vardi, Julian Barber, Al Brown. Celli: Charles McCracken, Kermit Moore, Beverly Lauridsen, Alan Shulman. Double Basses: Richard Davis, Homer Mensch.

Tommy Bolin - 2012 "The Definitve Teaser Collectors Edition" [5 CD Box]

Guitarist Tommy Bolin elevated the role of journeyman to a high art. After leaving his home in Colorado, where he played with Energy and Zephyr, he worked with fusion drummers Billy Cobham and Alphonse Mouzon, joined a post-Joe Walsh James Gang, and went on to Deep Purple when Richie Blackmore left the group. All of this occurred before and during a solo career, which began with Teaser, a remastered, expanded version that confirms Bolin's versatility as guitarist, songwriter and singer. The original nine tracks resound with musicianship consisting of a varying lineup of sidemen including: Mahavishnu Orchestra keyboardistJan Hammer,Genesis drummer Phil Collins, and saxophonist David Sanborn. Tracks such as "Wild Dogs" and "Homeward Strut" show Bolin could lead a band in more ways than one.
The explosive funk-driven opening that is "The Grind" suggests Bolin's intelligent facility with a song, while the quiet likes of "Savannah Woman" reaffirms that songwriting skill— not to mention his natural instincts as a vocalist. The structure of the title song extends to the largely improvisational likes of the six unreleased numbers on two other discs of outtakes and alternate versions from the original sessions. They suggest the source of the continuing resonance of this album some forty years after its initial release and Bolin and co-producer/engineer Dennis McKay had plenty of ideas to work with as they used only those most effective.
Available on its own, as well as part of a box set with the expanded three-disc Teaser, a double-disc package titled Great Gypsy Soul furthers the concept of The Definitive Teaser Collector's Edition. One disc, co- produced by Gov't Mule guitarist Warren Haynes, finds such luminaries as guitarists Peter Frampton and John Scofield adding their readily identifiable styles to tracks from the original sessions, while the second disc is largely comprised of an original extended piece inspired by Bolin's instrumental "Marching Powder." Four movements include Aerosmith guitarist Brad Whitford and Haynes, not to mention guitarist Derek Trucks, flashing his inimitable power, the sum effect of which is a focused, inspired music not just reminiscent of the album from which it is derived, but of a piece with it.
Other titles of Bolin remain available from his own archives, not to mention a second solo album Private Eyes (Columbia, 1976) and a two-CD version of his sole Deep Purple studio work Come Taste the Band (EMI, 2010). But, if the late lamented musician could choose a work by which to be remembered best, odds are in the favor of Teaser, and this package, notwithstanding its less than exemplary graphics design, documents why.
 
Track Listing:

CD1: Teaser Remastered: The Grind; Homeward Strut; Dreamer; Savannah Woman; Teaser; People, People; Marching Powder; Wild Dogs; Lotus.

CD2: Teaser Alternates and Outtakes: Teaser; Flying Fingers; Cookoo; Wild Dogs; Chameleon.

CD3: Teaser Alternates and Outtakes: Crazed Fandango; People, People; Smooth Fandango; Marching Powder; Homeward Strut; Oriental Sky (Lotus).

CD4: Great Gypsy Soul: The Grind; Dreamer; Savannah Woman; Smooth Fandango ; People People; Wild Dogs; Homeward Strut; Sugar Shack; Crazed Fandango; Lotus.

CD5: Great Gypsy Soul Bonus Disc: Flying Fingers; Marching Bag: Movements One through Four.

Personnel:

Tommy Bolin: guitar, vocals; Myles Kennedy: vocals; Glenn Hughes: vocals; Gordie Johnson: vocals, guitar; Peter Frampton: guitar; Derek Trucks: guitar; Warren Haynes: guitar; John Scofield: guitar; Gordie Johnson: guitar; Brad Whitford: guitar; Steve Lukather: guitar; Steve Morse: guitar; Nels Cline: guitar; Joe Bonamassa: guitar; Oz Noy: guitar; Sonny Landreth: guitar; David Sanborn: saxophone; David Foster: piano, synthesizer; Jan Hammer: synthesizer, drums; Ron Fransen: piano; Stanley Sheldon: bass; Paul Stallworth: bass; Terry Wilkins: bass; Al Cross; drums; Jeff Porcaro: drums; Prairie Prince: drums; Narada Michael Walden: drums; Bobby Berge: drums; Phil Collins: percussion; Sammy Figueroa: percussion; Rafael Cruz: percussion.

Tommy Bolin - 1989 "The Ultimate"

Thomas Richard "Tommy" Bolin (August 1, 1951 – December 4, 1976) was an American-born guitarist who played with Zephyr (from 1969 to 1971), The James Gang (from 1973 through 1974), and Deep Purple (from 1975 to 1976); in addition to maintaining a notable solo career.

Although guitarist Tommy Bolin died well before his time, he left a wide variety of scattered recordings behind (as both a session musician and permanent member of several rock bands). One of the more versatile guitarists of all-time, Bolin touched upon many different styles - blues rock, heavy metal, jazz fusion, and serene ballads, which are all on display on 1989's 2-CD boxset, The Ultimate. In addition to the music, the set comes with a large, gorgeous booklet chock full of pictures, plus a very detailed and informative biography. Disc 1 chronicles Bolin's early years, and while it contains several standouts (the amazing instrumental "Quadrant 4" with Billy Cobham, The James Gang's "Alexis" and "Standing In the Rain," etc.), the selections by his first band, Zephyr, and as a hired hand with a Zep-clone band called Moxy, have not aged well. Disc 2 proves to be more consistent, including tracks with jazz drummer Alphonse Mouzon ("Golden Rainbows," "Nitrogyclerin"), as part of Deep Purple's final '70s line-up ("Gettin' Tighter," "Owed to G"), and as a solo artist ("Dreamer," "Teaser," "Sweet Burgundy," "Shake the Devil," etc.). Although the set was out-of-print by the late-90's, 'The Ultimate' serves as a solid introduction to the talents of the great Tommy Bolin.

This is a grandly packaged retrospective of Tommy Bolin's work, and a must for collectors. It includes songs from Zephyr, The James Gang, Billy Cobham, Alphonse Mouzon, Moxy, Deep Purple, and Tommy's two Solo Ablums (Teaser and Private Eyes). There is also a previously unreleased accoustic version of "People, People" (called "Brother, Brother") that sets the stage for later releases of archived tapes. A wonderful biographical picture booklet accompanies this 2CD box set, which is heavily laden with trivia to bring back even the most ardent fan again and again to check over the facts and timelines.

1989 2-disc 12" x 12" Geffen Records CD box set with 24-page oversized booklet complete with photographs and history of Tommy Bolin's too-short music career, from Zephyr through jazz fusion and Deep Purple to two critically-acclaimed solo albums.

The Ultimate: The Best of Tommy Bolin (Geffen Records/1989) is a spectacular two-CD box set that highlights the recording career of the late Tommy Bolin. Unfortunately, substance abuse resulted in the tragic death of Bolin at a very young age. Tommy left the world prematurely, but before he passed-on, he left a his mark with inspired music that will live on forever. With a cosmic aura, and incredible fretboard prowess, many considered Bolin the successor to the legendary Jimi Hendrix.

Tommy's gifted work is well documented throughout this exceptional collection of diverse tracks that spans his short, but illustrious career. From his early efforts, to the very end, The Ultimate tells the story of Tommy Bolin's expressive song writing, and incredible guitar playing ability. Bolin's recordings with Zephyr, The James Gang, Deep Purple, plus sessions work and solo material, are included on the pair of discs from the Ultimate retrospective.  

The box set also includes a beautiful and detailed booklet, featuring Simon Robinson's liner notes, as well as numerous photographs that span Tommy Bolin's shortm but dynamic life. The cover shot of Tommy, performing in a haze of purple, while working the fretboard of his Fender Stratocaster is an incredible photograph that captures the Sioux City, Iowa native in full six-string-sting.

Tommy was comfortable playing hard rock, ballads, jazz, and funk. That fact is clearly evident throughout The Ultimate: The Best of Tommy Bolin. The legendary Tommy Bolin is missed in a major way, but one and all that heard his music were touched by magic.  

Tommy Bolin R.I.P.

TRACK LISTING:

Disc One:
1. ZEPHYR: Sail On
2. ZEPHYR: Cross the River
3. ZEPHYR: See My People Come Together
4. ZEPHYR: Showbizzy
5. JAMES GANG: Alexis
6. JAMES GANG: Standing in the Rain
7. JAMES GANG: Spanish Lover
8. JAMES GANG: Do It
9. BILLY COBHAM: Quadrant 4
10. MOXY: Train
11. MOXY: Time to Move On

Disc Two:
1. ALPHONSE MOUZON: Golden Rainbows
2. ALPHONSE MOUZON: Nitroglycerin
3. DEEP PURPLE: Gettin' Tighter
4. DEEP PURPLE: Owed to 'G'
5. DEEP PURPLE: You Keep On Moving
6. DEEP PURPLE: Wild Dogs
7. TOMMY BOLIN: Dreamer
8. TOMMY BOLIN: People, People
9. TOMMY BOLIN: Teaser
10. TOMMY BOLIN: Sweet Burgundy
11. TOMMY BOLIN: Shake the Devil
12. TOMMY BOLIN: Brother, Brother.

Personnel:

Glenn Hughes Bass Lee Sklar Bass Dale Peters Bass Reggie McBride Bass Terry Juric Bass WALLEZ Bass Henry E. Davis Bass VIOLONS DU ROY-QUEBEC Bass David Givens Bass Bill Wade Drums Jeff Pocaro Drums Ian Paice Drums Billy Cobham Drums Robbie Chamberlain Drums Bobby Berge Drums Alphonse Mouzon Drums Jim Fox Drums John Faris Flute Tommy Bolin Guitar Earl Johnson Guitar Buddy Caine Guitar Candy Givens Harmonica Mark Stein Keyboards Stanley Sheldon Keyboards Jan Hammer Keyboards John Faris Keyboards Tommy Bolin Keyboards David Foster Keyboards Jerry Peters Keyboards Jon Lord Keyboards Tommy Bolin Main Performer Bob Hall Percussion Rafael Cruz Percussion Norma Jean Bell Percussion Sammy Figueroa Percussion Norma Jean Bell Saxophone David Sanborn Saxophone Glenn Hughes Vocals Buzz Shearman Vocals Roy Kenner Vocals Candy Givens Vocals Tommy Bolin Vocals Dale Peters Vocals Reggie McBride Vocals David Givens Vocals David Coverdale Vocals Mark Stein Vocals WALLEZ Vocals Robbie Chamberlain Vocals

John Mclaughlin - 1978 "Electric Dreams"

Electric Dreams is the sixth solo album by English jazz guitarist John McLaughlin and his "One Truth Band", released in 1979. Between his fourth and fifth solo albums he spent several years active with the Mahavishnu Orchestra.
While performing with Miles Davis, Davis had titled a song on the album Bitches Brew after McLaughlin. McLaughlin returns the favour here, naming a song "Miles Davis".

At this point, it is easy to see that the John McLaughlin story has become a peripatetic journey of electric-acoustic switchbacks, with the formation of the One Truth Band that plays on this CD being just another short chapter in the saga. And this time, McLaughlin is thoroughly in charge: there is little of the competitive dueling or tightly drilled, high-volume unison lines of the past; it's the guitarist and his sidemen, although sometimes keyboardist Stu Goldberg steps out with some wicked chops. McLaughlin returns Miles Davis' favor of naming a piece on Bitches Brew after him by turning the tables, and indeed, "Miles Davis" often has the loose, jamming feeling (and a quote of "It's About That Time") of the maestro's own jazz-rock sessions. There are also some aftershocks from the Shakti experience on "Love and Understanding." For the most part, though, McLaughlin conforms to the controlled funk and electronic sounds of the times, with generally more restraint and a considerable musical payoff. 

The last three minutes of "Desire and the Comforter" from Electric Dreams say it all about John McLaughlin. He just tears apart his electric guitar with cascades of funk, blues, rock, jazz, and Far-Eastern scales. Every strike of a string has individual meaning. His guitar soars above the chord changes and captures the spirit of the music. He leaves space (or texture) where it should be left. Like no other guitarist on earth, John McLaughlin knows when not to play, despite claims from those who say he plays too many notes. And even though there are a million notes a minute on this tune, the spaces in between the notes create the epiphany.

McLaughlin recorded Electric Dreams with the One Truth Band, which also included L. Shankar on violin, Tony Smith on drums, Stu Goldberg on keyboards, Fernando Saunders on bass, and Alyrio Lima handling various percussion duties. The OTB was a much more rhythmic unit than JM's previous bands, and although its members may not have been the "master" musicians like those who comprised The Mahavishnu Orchestra, they certainly knew how to "funk a groove". Electric Dreams is full of such grooves and infectious tunes. Sure, we could have lived without the God-awful "Love and Understanding". But Electric Dreams offers the beautiful "Electric Dreams, Electric Sighs", featuring JM on banjo! The classic “Dark Prince” is a brooding, straight-ahead jazz-fusion homage to Miles that overshadows the album’s other Miles tribute piece, “Miles Davis."

On this recording, McLaughlin used a guitar that had a scalloped fret board. The concave spaces allowed McLaughlin to stretch notes beyond believability. A main component of the band's sound, Shankar's far-eastern violin, does seem ill placed at times, and Goldberg's synth patches are outdated in some areas as well. But, these issues actually endow the album with a bit of charm. The veterans Smith and Saunders make for a very steady rhythm section. Lima is more effective in concert than on this recording. Saxophonist David Sanborn, a guest star on several McLaughlin albums, makes a more than welcome guest appearance on the haunting “Unknown Dissident”.

The mix wasn't always successful. But on the whole, Electric Dreams offers some of the best composing and playing of McLaughlin's career and has been unfairly overlooked.

Tracks Listing

1. Guardian Angels (0:52)
2. Miles Davis (4:54)
3. Electric Dreams, Electric Sighs (6:27)
4. Desire And The Comforter (7:35)
5. Love And Understanding (6:39)
6. Singing Earth (0:38)
7. The Dark Prince (5:17)
8. The Unknown Dissident (6:18)

Total Time 39:05

Line-up / Musicians

- John McLaughlin / Electric guitar, 6 + 12 + 13 string acoustic guitars and banjo
- L. Shankar / Acoustic and electric violin
- Stu Goldberg / Electric piano, Moog synthesizer with Steiner Parker modifications, Prophet synthesizer, Hammond organ
- Fernando Sanders - Fender bass, acoustic bass, vocals on "Love And Understanding"
- Tony Smith / Drums and vocals
- Alyrio Lima / Percussion, amplified Chinese cymbals
- David Sanborn / Alto saxophone on "The Unknown Dissident"

Steve Khan - 1977 "Tightrope"

Steve Khan and the Brecker Brothers coming together. With folks like this, and Steve Gadd and Bob James too, you have a formula for success. What do you get when you have a superb rhythm section, saucy keyboards, a hot and brassy mini-horn section, and one very tasteful jazz- and chops-laden guitarist all come together with some jazz and some fusion in mind? You have the magic of Khan's compositions are smooth yet lively enough not to bore. His unique drive, and pristine flourish and tone on his modded Fender Telecaster, and even his deft acoustic work, all come together to make a very satisfying blend of sexy jazz and funked-up, be bop fusion.

Yet there is that special touch that only Steve Khan can add that makes his releases a signature sound on each outing. If you listen closely, you will hear Larry Coryell-ian riffs and stylings (as Khan and Coryell used to jam together, and did record together).
Much ado is made about Mike Stern's guitar work in the '80s and '90s, but one listen to Khan and you will immediately hear who his big inspiration was. Next time you pick up an old Stern release you stand a good chance of seeing the words "produced by Steve Khan."

You can totally tell that this is a Bob James production. It's not bad at all, and don't get me wrong, James has done some great stuff. But you can also see why Steve Khan made no more Tappan Zee records, even though staying there probably would have guaranteed him more commercial success.

Being a Bob James production, it's far more dated than any other Khan record. It's also got a tighter, more pop-oriented sound, complete with goofy melodies and disco beats. Khan's signature guitar sound is there, but it seems to be less center-stage than his other recordings.

With the support of Bobby Colomby, I was signed by Bob James to Columbia Records in 1977. It was a tremendous thrill to be on the same label with some of the greatest jazz and jazz-fusion artists, one only has to begin with the name, Miles Davis.

At the time, I suppose I felt it was my 'mission' to somehow maintain the original sound and line-up of the Brecker Bros. Band, only featuring my guitar a little more. Of the great jazz-fusion groups from the early '70s (Weather Report, Mahavishnu Orchestra, and Return to Forever), the Brecker Bros. Band was the only group to feature a 'mini' horn section, and what a horn section it was: Randy Brecker(Trumpet); Michael Brecker(Tenor Sax); and David Sanborn(Alto Sax). Along with Randy's brilliant, unique and underappreciated compositions, this horn trio created a style, sound, and approach to phrasing which has influenced all genres of music and players and arrangers from all over the world.

When Dave left the band to pursue his solo career, Michael and Randy decided to continue without a third horn. On "TIGHTROPE," the horn section is featured on the title track as well as the Randy Brecker original, "The Big Ones," and their playing together remains a highlight for me. During these years(through '79), I was still playing my beefed-up, customized Fender Telecaster and probably only using a Fender Super Reverb.

Other highlights for me include: the drumming of Steve Gadd(especially on "Tightrope"); Michael Brecker's harmonizer-colored solo(his idea and his setting) on "Some Punk Funk"; Dave Sanborn's solos on "The Big Ones" & "Darlin' Darlin' Baby"; and the support of Don Grolnick, Bob James, and Will Lee throughout. On each of the three Columbia recordings, I featured one acoustic steel-string solo amidst an electric texture, the first of these features was on the tune, "Star Chamber."

"TIGHTROPE" is the best selling recording I've ever made, and is probably directly attributable to the inclusion of the Gamble & Huff aforementioned tune, "Darlin' Darlin' Baby," originally recorded by the O'Jays. Bob James wrote the gorgeous arrangement the morning of the session. This recording also marked the beginning of my friendship and link via album cover artwork to Jean-Michel Folon, all thanks to Paula Scher.

[1] Some Punk Funk(Steve Khan)(5:20)
[2] Darlin' Darlin' Baby(Sweet Tender Love)(Gamble-Huff)(6:29)
[3] Tightrope(Steve Khan)(5:44)
[4] The Big Ones(Randy Brecker)(6:02)
[5] Star Chamber(Steve Khan)(5:19)
[6] Soft Summer Breeze(Spencer-Heywood)(5:00)
[7] Where Shadows Meet(Steve Khan)(3:40)

Personnel:

Steve Khan - guitar & twelve-string electric guitar
Michael Brecker - tenor saxophone
Dave Sanborn - alto saxophone
Randy Brecker - trumpet
Bob James - Fender Rhodes & synthesizer
Don Grolnick - Fender Rhodes & acoustic piano (1), clavinet
David Spinozza, Jeff Mironov - guitar
Will Lee - bass
Steve Gadd - drums
Ralph MacDonald - percussion

Larry Coryell - 1975 "Difference"

Larry Coryell is joined on this ‘78 French release by other pickers, Steve Kahn, Arthur Rhames and Glen Moore; along with Michael Brecker, Dave Sanborn Don Grolnick, Will Lee, Steve Gadd and Tony Williams.

An obscure recording that finds Coryell in solo, duo and group settings. The group performances range from free ("Octaves") to funk ("Memphis Underground"). Of the two solo guitar performances, "Improvisation," is the more cohesive as "Acoustic Solo" finds Coryell laboring for speed, a fault that has often hindered his playing. "Picean Moon" is a moody piece similar to the "ECM sound," with Michael Brecker sounding like a dead ringer for Jan Garbarek. "Serabond" is a fine acoustic duet with Steve Khan and even includes a quote from "Theme from Love Story."

Yet another outstanding Coryell album, and one of the most unashamed jazz-rock guitar albums, yet all to short IMHO in its duration. The usual guests are around, Tony Williams, Steve Khan, the Brecker brothers, etc. Although the album was recorded in 75, it didn't see the light of day until 78; indeed it is an assemblage of Electric Lady studio (the Hendrix facilities) recordings and the Montreux festival of the same year. The only things that would make this album a bit different is the label that issued it (Egg) and the unrelated sea photo artwork, as the rest makes it a typical Coryell album.
The opening Octaves is an excellent instrumental (the whole album is) where Brecker and Sanborn make remarkable sax interventions. Memphis Underground could easily sound as if it escaped an Eleventh House album, but the line-up is nowhere near the group's. Picean Moon is a rather chilling piece of jazz, sometimes nearing the dissonant.
As usual, there are acoustic guitar tracks, with the aptly titled Acoustic Solo (maybe a little lengthy, but we won't complain given the overall album duration), the short but nervous Improvisation (that's its name) and the duo flamenco-influenced Serabound, where Khan gets in act.

This album made me flying in the sky. Not kidding. Tony Williams is so great on Picean Moon and on Octaves ; his hi-hat on picean is like a shadow moving around the basic pulsation, the snare's shots aren't on the expected times, Michael Brecker is...divine. Octaves desserved more than this; it's like the Montagnes russes. 

Tracks Listing

1. Octaves (3:49)
2. Acoustic Solo (5:35)
3. Memphis Underground (3:38)
4. Improv (2:32)
5. Picean Moon (5:58)
6. Serabond (4:45)
7. Aquarian Mode (5:07)

Total time 31:24

Line-up / Musicians

- Larry Coryell / acoustic & electric guitars

With:
- Steve Khan / guitar (3)
- Arthur Rhames / guitar (1,5,7)
- Glen Moore / acoustic guitar (1,5,7)
- Michael Brecker / saxophone (1,3,5,7)
- David Sanborn / alto saxophone (3)
- Don Grolnick / keyboards (3)
- Will Lee / bass
- Tony Williams / drums
- Steve Gadd / drums (3)

Tony Williams - 2016 (1975) "Believe It" - (1976) "Million Dollar Legs" - (1979) "The Joy Of Flying"

Digitally remastered two CD set containing Jazz drummer Tony Williams' three albums for Sony, dating from 1975, 1976 and 1979. The first two feature guitarist Allan Holdsworth whilst Joy Of Flying has, amongst others, George Benson, Stanley Clarke, Brian Auger, Herbie Hancock, David Sanborn and Ronnie Montrose. Williams, who played with everyone from Miles Davis to John Lydon's PIL, sadly died at the young age of 51 in 1997.

After the original Lifetime split, Tony Williams tried desperately to make the next "great album".
He found his opportunity when he found Allan Holdsworth, a prog-rock veteran of Tempest, Gong, & Soft Machine.
Holdsworth approached the electric guitar with a jazz feel, his Gibson SG Custom sounding often like John Coltrane's saxophone.
Tony Williams and Holdsworth found common ground, and each brought in a musician capable of expressing the power and energy that Williams felt his music had been lacking. Bassist Tony Newton, a veteran of Motown sessions, was picked by Williams to hold it all down. Holdsworth was taken with the abilities of keyboardist Alan Pasqua, who not only could lay out the head of a piece,but was a fine soloist as well.This was to be the last edition of Lifetime, but this album, released in 1975, re-established the band as a force to be reckoned with.

They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!

Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.

The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).

A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again!

I'm a drummer and have been playing 56 years. Among my most influential drummers Tony Williams, Billy Cobham, Lenny White, Mitch Mitchell, Chuck Burgi, Buddy Rich to name a few, I always have to reach back to Tony Williams who was so acrobatic, fluid, musically driven and down right AWESOME. "Believe It" was totally satisfying and inspirational, the guitar work by Soft Machines Allan Holdsworth is.....ah....PERFECT and timeless, I had this album when it originally was released and over the years wore it thru and had to replace it. 100% satisfied

1975 was still a year of great fusion records and this one is without a doubt one of them. Tony Williams returned with a brand new, fresh approach to his sound. The music feels tight but it's actually quite loose, thanks to the masterful musicians he picked. The opener Snake Oil is a killer track with a pounding, funky bass line and a riff that must be heard to be believed.
Allan Holdsworth's guitar work fiery yet mellow while Alan Pasqua and Tony Newton are both impressive on keys and bass respectively. Producer Bruce Botnick mahe sure Tony's drums sounded strong without making them invasive to great result. Needless to say, his drumming is amazing throughout and on the closer Mr. Spock, he takes to the spotlight for the delight of the listener. 35 years on, this has earned the status of a fusion classic.

The album's final piece, Holdsworth's "Mr. Spock" is an all-out jam of epic proportions.
Pasqua and Newton' primary task is to hold the piece together, for this showcase is all about electric guitar and drums.
After the pace is set and Pasqua takes his solo, Holdsworth plays a solo which has been described as no less than "apocalyptic",pulling out all the stops, and throwing caution to the wind.

It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=Tony+Williams

Track Listing:

Disc: 1
  1. Snake Oil
  2. Fred
  3. Proto-Cosmos
  4. Red Alert
  5. Wildlife
  6. Mr. Spock
  7. Sweet Revenge
  8. You Did It to Me
  9. Million Dollar Legs
  10. Joy Filled Summer
  11. Lady Jade
  12. What You Do to Me
  13. Inspirations of Love

Disc: 2
  1. Going Far
  2. Hip Skip
  3. Hittin' on 6
  4. Open Fire
  5. Tony
  6. Eris
  7. Coming Back Home
  8. Morgan's Motion

Personnel:

 "Believe It" & "Million Dollar Legs"

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

 "Joy Of Flying"

    George Benson - Guitar
    Herbie Hancock, Jan Hammer, Brian Auger, Tom Scott - Keyboards
    Stanley Clarke, Paul Jackson, Mario Cipollina - Bass
    Michael Brecker - Saxophone
    Ronnie Montrose - Guitar
    David Sanborn - Alto saxophone
    Ronnie Cuber - Baritone saxophone
    Barry Rogers - Trombone
    Randy Brecker - Trumpet
    Ralph MacDonald - Percussion
    Jon Faddis - Trumpet
    Cecil Taylor - Piano

The Eleventh House Feat. Larry Coryell - 1976 [2014] "Aspects"

Never fit to be tied, Coryell decided to leave behind his jazz-rock fusion in pursuit of disco-funk. There is some good playing here (Coryell lays out on "Kowloon Jag"), but this is not a complimentary setting for him. John Lee and Gerry Brown were the correct sidemen for the job, as was the inclusion of David Sanborn, but Coryell sounds uncomfortable and continuously reverts back to his trademark licks when he runs out of ideas. Even the guitar solo, "Rodrigo Reflections," turns out to be a disappointment due to some very annoying and poorly recorded percussion accompaniment. A less than memorable session that probably seemed like a good idea at the time. All Music.

Reissue of this 1976 album from this band formed by Jazz great Larry Coryell. Larry is best known as one of the original Jazz-Fusion guitarists of the 1970s. He has issued solo albums, along with collaborations with John McLaughlin and other Fusion-Jazz luminaries. He also headed up the highly praised Fusion group the Eleventh House. This group featured keyboardist Mike Mandel. 

This is one of my all time favourite Coryell albums. I have Been waiting for a long time for this to come out on cd, I own the record! I discovered Coryell back when the fusion stuff was taking off, early - mid 70's. I got to see Larry open for John Mclaughlin with his "One Truth Band" at the Columbus Ohio Agora Larry and John even did an impromptu` just trading licks onstage. Kowloon Jag, Titus, and Aspects, are probably my fav's. One thing I always liked about Larry, he's famous for doing a song in one take, even if it meant leaving a 'pucker' (mistake) on the recording to keep it fresh. Watch out folks, don't be alarmed, this album comes from and era when every song on an album was good. Get This One!  By Marilyn Westhoff.

This classic Jazz Fusion album is some of the best youll find anywhere. Outstanding line up, great guitar work Brecker Brothers & Larry Coryell is all you need to know. By John Faulkner.

Very underrated fusion band, Eleventh House had a shot but prolific lifetime.
"Aspects" is by far the funkiest record they've recordered.
Although the production lacks of quality, just like "introducing eleventh house", this item is highly recommended for musicians and music lovers with good taste for music. 

Intense mid 70's jazz-rock-funk fusion from one of electric guitar's most prolific players serves up what was exciting in that era of adventurous hybrids. If the majority is steeped in somewhat dated production, Coryell provides some counterpoint to the obvious Headhunters-like vibe to keep things engaging.

Tracks Listing

1. Kowloon Jag (5:48)
2. Titus (5:29)
3. Pyramids (5:21)
4. Rodrigo Reflections (4:39)
5. Yin-Yang (4:42)
6. Woman Of Truth And Future (6:06)
7. Ain't This (5:02)
8. Aspects (4:24)

Total Time 41:31

Line-up / Musicians

- Larry Coryell / acoustic & electric guitars
- Mike Mandel/ keyboards, synthesizers
- Terumasa Hino / trumpet, flugelhorn
- John Lee / bass
- Gerry Brown / drums

With:
- Danny Toan / rhythm guitar
- Steve Khan / acoustic guitar
- Mike Brecker / tenor saxophone
- Dave Sanborn / alto saxophone
- Randy Brecker / trumpet
- Mtume (James Foreman) / percussion