Dave Weckl - 1999 "Synergy"

Synergy is a 1999 studio album by jazz-fusion group Dave Weckl Band.

Although Dave Weckl is an excellent drummer, not all of his recordings have been excellent. In the 1990s, you never knew if you would find something exciting or mundane on a Weckl album. But this fusion/soul-jazz disc turned out to be a pleasant surprise. Synergy, in fact, is the drummer's most consistently satisfying CD. Excessive producing was a major problem on some of his previous releases, but this time he generally avoids overproducing and goes for a real band sound. Joined by tenor and soprano saxman Brandon Fields, keyboardist Jay Oliver, guitarist Buzz Feiten, and electric bassist Tom Kennedy, Weckl has a solid team to work with and emphasizes improvisation and honest-to-God playing not high-tech studio gloss. Weckl's band sounds quite cohesive on a diverse, unpredictable outing that ranges from the funky "Wet Skin" and the Latin-influenced title song to the ominous "Cape Fear" and the delicate "A Simple Prayer." If you could purchase only one of Weckl's 1990s albums, Synergy would be the best choice.

Dave Weckl's fifth CD would have been just another good one in a string of many save one thing: the addition of guitar great Buzz Feiten to his usual outstanding rhythm section of Tommy Kennedy on bass and Jay Oliver on keyboards. Feiten's playing and writing talents lifted this release to a level not quite achieved since, giving the whole set an electric edge you can both hear and feel. This CD was recorded on the heels of an extensive tour, and I can only imagine the on stage excitement and creativity that led to such an outstanding musical set.

Audio quality is outstanding throughout, driven by Weckl's accomplished studio techniques and penchant for perfection. High Life is signature Dave Weckl, with an African-inspired drum groove over a tight rhythm section ending in a ridiculous drum solo. Panda's Dream is one of those Buzz Feiten tunes that makes this CD unique; it features a rock groove and guitar lead that makes this one of my all-time favorite Dave Weckl tunes. Swunk features a kind of half-time driving swing famous among drummers (and made popular by Weather Report) for how fun it is to play; checkout the full-blown straight-time swing under a good sax solo. A Simple Prayer is a Feiten ballad featuring a dreamy acoustic guitar. Cape Fear is an interesting groove with a haunting guitar melody, but nothing prepares you for the killer bass solo that ends the tune. After an opening bass solo, the title cut (Synergy) makes you want to get up and dance, and is also one of my favorites on the CD. Where's My Paradise is a second ballad written by Feiten and Oliver featuring some nice acoustic guitar work. Swamp Thing is another rocker featuring Buzz Feiten with a great horn lead, and quickly became one of my all-time favorite Dave Weckl tunes. If you're keeping count, that's two (2!) tracks off of one CD that made my "all-time favorite" list, and both are either written or co-written by Buzz Feiten featuring solos by the same. The last two cuts are really throw-aways for me: Cultural Concurrence is the obligatory Dave Weckl triggered drum solo, and Tower '99 is a re-work of Tower Of Inspiration off of his first CD (Master Plan). It's a nice groove, but I recommend checking out the original that features a killer horn arrangement.

Drummer Dave Weckl gained such a cultlike following playing with Chick Corea's Elektric and Akoustic bands in the 1980s that he could probably release an album of solo wood-block tapping and have it sell enough copies to make the effort worthwhile. So it's a pleasant surprise that Synergy is a decidedly group effort that thrusts the varied compositional talents and versatility of Weckl and his bandmates to the forefront instead of merely showcasing the leader's drum chops. Not that Weckl has been letting those chops sag; his solo percussion odyssey "Cultural Concurrence" and his ferocious soloing over the Latin groove of the title track are enough to give air drummers everywhere a workout. But what makes Synergy more listenable than some of Weckl's other efforts is the inspired group interplay that finds him and his longtime touring ensemble--saxophonist Brandon Fields, keyboardist Jay Oliver, guitarist Buzz Feiten, and bassist Tommy Kennedy--locking in on grooves that push beyond his normal jazz-fusion terrain. From the West African feel of "High Life" to the Cajun-tinged "Swamp Thing" to the swanky James Brown funk of "Wet Skin," Synergy is an inspired and varied outing.

Track listing:

01 "High Life"
02 "Panda's Dream"
03 "Swunk"
04 "A Simple Prayer"
05 "Cape Fear"
06 "Wet Skin"
07 "Synergy"
08 "Where's My Paradise?"
09 "Lucky Seven"
10 "Swamp Thing"
11 "Cultural Concurrence"
12 "Tower '99"

Personnel:

Dave Weckl - drums, tambourine, percussion
Brandon Fields - soprano, tenor & baritone saxophones, keyboards, synthesizer
Jay Oliver - organ, keyboards, synthesizer
Buzz Feiten - electric, nylon string & steel string guitars
Tom Kennedy - bass

Dave Weckl - 1990 "Master Plan"

Master Plan is a 1990 studio album by drummer Dave Weckl.
This was Weckl's debut as a leader after years as a session musician and member of Chick Corea's Elektric and Akoustic Bands, and it's an arresting display of his drum chops and rhythmic know-how, whether he's playing or matching parts with a drum program. The rhythms range from Latin-techno on "Festival de Ritmo" to the light swing of acoustic jazz on "Softly, As in a Morning Sunrise." Weckl is joined by a number of eminent associates, including Michael Brecker and Eric Marienthal on saxophones. Chick Corea himself plays on his tune "Master Plan," and fellow drummer Steve Gadd joins Weckl for some particularly complex polyrhythms. The music sometimes takes a backseat to Weckl's pyrotechnics, but that's in keeping with a musician initially inspired by Buddy Rich. Weckl has effectively extended that aggressive approach to embrace technology, and Master Plan is full of the same kind of inspiration for younger drummers. - Stuart Broomer

"Master Plan" is an upbeat melodic monster fusion album. Dave's drumming is killer as usual; he makes complex grooves sound so simple and effortless while he lays down a solid rhythm that blends with and never overpowers the other musicians. He also shows he is a good composer and co-wrote four of the tunes. Every song on here is tasty but the highlight for me is the title track where Steve Gadd joins Dave for a dual drumming delight. When they play together, neither is tripping over the others beats and they work together to create a really full sounding rhythm section. They even have a solo drum break and take turns going back and forth playing off each other. Very cool! Definitely a similar style of music and as good as the Elektric Band's output, and if you're a drummer this really is essential.  - By WillieB

This is Dave's first solo album and my personal favorite. All of the songs are well written and the musicianship is nothing less than superb!! Dave Weckl is definitely one of the greatest drummers out there today. Any jazz, drum, or just plain music fan owes it to him or herself to check out this great CD. A must for all drum fans. Dave Weckl is a Master at his art.  - By wmakiling@aol.com

Just picked up this CD, and boy I can't say enough for Dave. On one hand, I think of him as the Mr. Smooth of fusion drumming for how super-human his playing/sound is (I could swear it's a computer with a soul playing). Then again, I prefer drumming that breathes a tiny bit more, i.e. a groove where every triplet or 16th note isn't played on (ghost or regular). But then again, this is Dave Weckl and I should not/would not expect anything else. My favorite track is easily Master Plan, for the legendary Chick Corea and Steve Gadd (my favorite drummer) are playing with Weckl, and it produces a stunning piece overall. The first track (Tower of Inspiration) is quite funky and features a brass section playing the melody (Tower of Power?) and track seven (Softly, as in a Morning Sunrise) shows Weckl playing bop in a jazz trio, different for him, but he can do it while still sounding like himself. Overall, I am extremely impressed, can't wait to pick up his new "Transition" CD. And you gotta love the amazing sound he gets from his drums and cymbals.- By Phil Boucher

This CD was distributed by GRP label.That' why total sound design is so polished and sophisticated.Dave's rhythmic approach is so complicated but sharply totalized and well-organized.The songwriting sense is brilliant enough too demonsrate his talents. In Japan ,for example,his tunes are used in the sports program on TV many times.I don't think this is a elevator music.This maybe best described as a instructional CD for drum beginners.Fine techniques and BIG NAMES guest appearances also help this CD to be a well-balanced high tech FUSION ALBUM ever. - By Sound Profiler

Dave Weckl's recording career as a leader was off to a decent start with Master Plan -- not a fantastic start, but a decent one. The drummer had made a name for himself playing with Chick Corea's fusion-oriented Elektric Band and his straight-ahead Akoustic Band, and his admirers greeted this CD with high expectations. But while Master Plan isn't the mind-blowing gem it could have been, it's a competent, enjoyable jazz-rock outing. Weckl has talented guests in keyboardist Jay Oliver, tenor saxman Michael Brecker and Elektric Band colleagues Corea and Eric Marienthal (soprano and alto sax), and he is in good form on pieces that range from the funky "Tower of Inspiration" to the Afro-Cuban-influenced "Festival de Ritmo" and the Brazilian-minded "Auratune." The CD's only hard bop offering is "Softly, as in a Morning Sunrise," which finds Weckl forming a trio with pianist Ray Kennedy and bassist Tom Kennedy. Master Plan isn't essential, but it isn't anything to be ashamed of either.  All Music

Track listing

    Tower of Inspiration
    Here and There
    Festival de Ritmo
    In Common
    Garden Wall
    Auratune
    Softly, as in a Morning Sunrise
    Master Plan
    Island Magic

Personnel

    Dave Weckl - Drums
    Eric Marienthal (2-4) - Saxophone
    Jay Oliver (1-6, 8, 9) - Keyboards, Piano
    Chick Corea (5, 8, 9) - Synthesizer
    Michael Brecker (5) - Tenor Saxophone
    Steve Gadd (8) - Drums
    Anthony Jackson (2-5, 8, 9) - Bass
    Jerry Hey (1, 3) - Trumpet
    Bill Reichenbach Jr. (1) - Trombone
    Tom Kennedy (1, 7) - Bass
    Ray Kennedy (7) - Piano
    Peter Mayer (2, 4, 6) - Guitar
    Scott Alspach (6) - Trumpet  

Steve Khan - 1990 "Public Access"

Steve Khan is a bit of an enigma in jazz guitar circles, as he neither clearly succeeds nor fails in any of his efforts. This is an exception, however, as the presence of Dave Weckl makes for one of the best GRP releases of the '90s. Khan's sound is still a bit weak, but his compositions are strong, as is the amazing percussion of Manolo Badrena. A longtime collaborator with Khan, Badrena seems to have every type of percussion ever made and uses them all effectively. Weckl thrives on the Latin rhythms and both players are complementary to each other. As with his other recordings, Khan's solos are not very interesting, and like Larry Coryell, he tries to play too fast. Despite this, they all seem to be having a great time. "Kamarica" is one of the happiest tunes here and contains some phenomenal soloing by Weckl. "Botero People" has a nice relaxed feel and a great bassline, proving that the tunes here are well written with a focus on rhythm rather than just improvisation. Although Badrena's singing is in Spanish, it is pleasant and an integral part of the music even if you don't know what he's saying. "Mama Chola" is the most intense piece here and features more great soloing by Weckl, who not only helps hold the band together, but actually manages to carry it for the majority of the session.

 Some 5 years after "CASA LOCO" had finally been released, Steve, Anthony, and Manolo made the commitment to record together again, this time, Eyewitness was joined by Dave Weckl on drums. The new compositions took the work the band had done with the extended song form to new heights. Because of the promotional power of GRP Records, this album reached the most people worldwide during the CD Age.

 Steve Khan is a bit of an enigma in jazz guitar circles, as he neither clearly succeeds nor fails in any of his efforts. This is an exception, however, as the presence of Dave Weckl makes for one of the best GRP releases of the '90s. Khan's sound is still a bit weak, but his compositions are strong, as is the amazing percussion of Manolo Badrena. A longtime collaborator with Khan, Badrena seems to have every type of percussion ever made and uses them all effectively. Weckl thrives on the Latin rhythms and both players are complementary to each other. As with his other recordings, Khan's solos are not very interesting, and like Larry Coryell, he tries to play too fast. Despite this, they all seem to be having a great time. "Kamarica" is one of the happiest tunes here and contains some phenomenal soloing by Weckl. "Botero People" has a nice relaxed feel and a great bassline, proving that the tunes here are well written with a focus on rhythm rather than just improvisation. Although Badrena's singing is in Spanish, it is pleasant and an integral part of the music even if you don't know what he's saying. "Mama Chola" is the most intense piece here and features more great soloing by Weckl, who not only helps hold the band together, but actually manages to carry it for the majority of the session.

 I read the review from Bass Player magazine and bought the CD because it sounded interesting; all I knew about Steve Khan was his great guitar fills on Steely Dan's Gaucho album.  As soon as you start the CD you know you are in for a ride. I can only describe it as the feeling you would get walking through a dense rain forest - an undercurrent of beauty but you have no idea what to expect.  It's a *very* contemporary jazz album - high end musicians doing their stuff.  Throughout the whole CD there's a fantastic sense of interaction between the players, which is something I really liked.  The bass (Anthony Jackson) and drums (Dave Weckl) (and percussion) are exceptional, very solid playing which also provide a lot of the fluid motion and feel of the tracks - you won't get bored listening to these guys.  Steve Khan's guitar creates a floating spacious wall of sound (a great clean tone!).  It's great combination - the sound is both rhythmic and spacious.  The recording quality is absolutely faultless.  I can see that some people might not like it because the sound is very unique - for this reason it may take a couple of listens to get on the same wavelength.  All I can say is I listen to this CD an *LOT* - I'm actually surprised how much.  My favourites are: "Botero People", "Mama Chola", "Sise", "Silent Screen".

If I had to relinquish my entire music collection with the exception of one cd, Public Access would be the record that I keep! What Steve, Dave, Anthony and Manolo put down during this session is the epitome of what a recording should be. This cd has all the ingredients... clarity! The tuning of the instruments and the mix is flawless! I bought this initially because of Dave Weckl. In my opinion, his best recording ever is here! His precise, surgeon like prowess on drums has to be heard to be comprehended. Yet, his loose phrasing on Blue Zone 41 is perfect for that tune. Nobody but nobody could have put what need to be played down like Dave did here!
Anthony Jackson was the only logical choice here! His phrasing and command of his contrabass shows why he was and is the man for the low end!
I'm usually not one for vocalizing/percussion on a jazz record when you already have a drummer. But, what Manolo Badrena played was very hip and again, perfect for this session. I knew of him by way of Weather Report, but his vocals and his percussion added just the perfect blend of helping make this cd a must own!
Steve's sound and his playing open up a plethora of new things everytime I listen to this record. I wish I could have been in on the recording as it went down. With all due respect to any musician that Steve Khan has ever hired to do a recording... only these 4 gentleman on this cd could have played what the listener has pleasure of hearing here! A COMPLETE RECORDING!!

 According to Steve's web site this is his biggest selling CD.

Track listing:

1 Sisé(Khan, Jackson, Badrena, Weckl, Jordan)(9:06)
2 Blue Zone 41(Steve Khan)(4:45)
3 Kamarica(Khan, Jackson, Badrena, Weckl, Jordan)(8:50)
4 Silent Screen(Steve Khan)(7:06)
5 Mambosa(Steve Khan)(8:20)
6 Butane Elvin(Steve Khan(5:13)
7 Botero People(Khan, Jackson, Badrena, Weckl, Jordan)(7:06)
8 Dedicated to You(Sammy Cahn-Saul Chaplin)(6:22)
9 Mama Chóla(Khan, Jackson, Badrena, Weckl, Jordan)(10:07)

Personnel:

Steve Khan - Guitar
Anthony Jackson - Bass
Dave Weckl - Drums
Maholo Badrena - Percussion

Dave Weckl - 2000 "The Zone" [CD/DVD]

An unusual double CD set that contains a "best-of" audio CD to Dave Weckl's own choice of ten selections from the recordings of the Dave Weckl Band and a DVD that features excerpts from his ground-breaking instructional video set A Natural Evolution. Titles contained on the audio CD include: Wet Skin, Alegria, High Life, The Zone, Wake Up, and more. The DVD has excerpts from all three of the A Natural Evolution videos, How to Develop Technique, How to Practice and How to Develop Your Own Sound. Altogether this set makes a great introduction to the work of one of the most notable of contemporary drummers.

A too-good-to-be-true package for aspiring jazz drummers everywhere, this incredible product features one disc of the best selections of the legendary fusion drummer's last three Stretch Records releases, and a special DVD with highlights from his three instructional videos put out by Carl Fischer. The ten tracks arguably feature some of modern jazz fusion's most adventurous jams and give hope that the genre that's not either traditional or smooth jazz can still thrive. The funk-drenched "Wet Skin" is Weckl's retro-soul-minded tribute to James Brown, with Brandon Fields' sax doubling ensembling with Jay Oliver's sly organ harmonies and Buzz Feiton's crisp and punch-rock guitar licks. "Alegria" means happiness, and the tune with that title is in turn wild and optimistic, a honking jam featuring Fields on tenor, soprano, and alto flute. Steve Weingart's feisty Fender Rhodes improvisations also give off an old soul fusion effect. The same sort of powerfully electric, intensely rhythmic horn-section vibe pervades the disc, with Weckl experimenting with meters and bringing in outside percussion on occasion. Steve Tavalione is also featured in sax on a few cuts, as is guitarist Frank Gambale -- all the best Los Angeles fusion freaks. Disc two is a DVD video sampler containing highlights from Weckl's three instructional videos available from Carl Fischer, in which the drummer provides insights into how to play effortlessly and organically (or "In the Zone"), how to develop technique, how to practice, and how to develop an original sound. Weckl writes in his liner notes that to him The Zone is a state "in which everything appears to be working on its own, with no effort involved." That pretty much describes his natural ability with the skins, and this set shows that he's eager to pass on the legacy.

This is an interesting release because it features a CD and DVD. The CD is a kind of "Best Of" collection of the cuts from previous DWB CDs, plus a couple of cuts from the Japan releases. These are "Tee Funk" - although previously recorded on Dave's solo release "Heads Up" - it's fun to hear it done by the band. The other is Steve Weingart's "Serenalin" - if you don't have the imports, these are great additions.
The DVD is a so-called "sampler" of the brilliant trio of instructional videos released by Carl Fischer. As with Dave's previous videos, the information and performances are at once exciting and motivating. The view into Dave's new "body movement" style of play is a testament to his commitment to further development as a player and instructor. The segment with Freddy Gruber is funny and often surreal. It's a treat to hear and see this man that so many players look up to. The inclusion of the information on sound and miking is a rare glimpse into an art that is too often ignored. The DVD is well produced and has some production additions from the original videos. The DVD format is great for this type of instruction - you can simply skip to the section where you left off.  Great work by a great musician and soul.

Audio and video doesn't get any better than this project from Stretch Records (Concord Records distributor), and thanks to Carl Fischer and Weckl...this one-of-a-kind 2-CD-Set is right on target...anyone thinking about taking up drums or is playing in a band, needs to pick "THE ZONE" up...Dave makes all of this look so easy, you'll be playing like him in no time.
Techiques that take years to develope will experience a short-cut after witnessing this album...the entire package is a must have...and once again, thanks to the insight of Weckl, Fischer and Stretch Records.

Track listing"

    Disc 1 Audio CD

1-1     Wet Skin     6:11
1-2     Alegria     5:33
1-3     High Life     7:47
1-4     The Zone     6:08
1-5     Wake Up     6:48
1-6     Lucky Seven     5:55
1-7     Tee Funk     7:03
1-8     Rhythm Dance     5:59
1-9     Serenalin     5:57
1-10     Amanecer     8:29

    Disc 2 Instructional DVD Sampler

2-1     Dave Weckl Drum Solo    
2-2     Band Excerpt−High Life    
2-3     How To Develop Technique    
2-4     What Comes To Mind    
2-5     How The Body Works    
2-6     The Grip    
2-7     Exercise #1    
2-8     Freddy Gruber    
2-9     Band−Angel's Flight    
2-10     How To Practice    
2-11     Time By Natural Motion    
2-12     Band Excerpt−Wet Skin    
2-13     Develop Your Own Sound    
2-14     Tuning The Drums    
2-15     Microphones    
2-16     Mixing Console    
2-17     Band Excerpt−High Life    
2-18     Dave Weckl Drum Solo    
2-19     Credits    

Personnel:

    Drums, Percussion, Tambourine [Hi-Hat] – Dave Weckl
    Bass, Electric Bass – Tom Kennedy (2)   
    Guitar, Rhythm Guitar – Buzzy Feiten
    Keyboards – Steve Weingart
    Keyboards, Synth, Organ – Jay Oliver
    Lead Guitar, Guitar [Melody] – Frank Gambale
    Saxophone, Alto Saxophone – Steve Tavaglione
    Tenor Saxophone – Bob Malach
    Tenor Saxophone, Soprano Saxophone, Alto Flute, Baritone Saxophone, Saxophone, Keyboards [Additional] – Brandon Fields 

Chick Corea - 1986 "Elektric Band"

The Chick Corea Elektric Band is an album by jazz fusion keyboard player Chick Corea, released in 1986. It is the eponymous debut album of the Chick Corea Elektric Band, which at that time also featured drummer Dave Weckl, bass player John Patitucci and guitarists Scott Henderson and Carlos Rios.
This album can be described as "jazz-rock", though it is much closer to traditional jazz than the jazz-rock albums of the 1970s. The keyboard sounds on the album are typical for the mid-1980s. The drums played by Dave Weckl dominate the album's sound, with the guitar duties split between Scott Henderson and Carlos Rios.
The album features a heavy use of FM synthesis, MIDI and drum programming, expanding on Corea's previous work in later lineups of Return to Forever (band) and reflecting the technology of the time when it was conceived and recorded.

Chick has a long history of reinvention — not least of which was the stunning high-velocity jazz-rock of Return to Forever. In 1986, after a long period of high-profile, mostly acoustic collaborations, Chick assembled the Elektric Band, a plugged-in unit so tight and flawless that it reinvigorated jazz for a new generation. Their first album, The Chick Corea Elektric Band, is a stunner: from the opening flourish of “City Gate,” Chick was clearly announcing a new direction. The lineup of young masters — Scott Henderson and Carlos Rios on guitar, bassist John Patitucci and drummer Dave Weckl — simply inhabit Chick’s new compositions, creating instant classics out of tunes like “Got A Match?” and “Elektric City.”

Chick Corea's Elektric Band's first disc is the record which formally introduced the bass virtuoso John Patitucci and awe-inspiring drummer Dave Weckl to the world. Patitucci's six-string electric bass technique and Weckl's crystal clean drumming acrobatics would become the stuff of legend and the sparkle in the eyes of rhythm section students from this point forward. Unlike most keyboardists at the time, Corea approached the synthesizer as an individual instrument--not as an electrified piano. As a result, this group's sound was much richer and more creative than similar ensembles of the day.

On "Rumble," Corea's furious fingerings are matched note-for-note by Weckl's use of drum machines and electronic sounds to create a kaleidoscopic backdrop. In contrast, the subdued "Cool Weasel Boogie" displays a softer side to the machines and sampled sounds. The most impressive track is "Got A Match?" Blisteringly fast with jaw-dropping solos by all, this tune cemented the group's status among musicians the world over. The unique "King Cockroach" features a nice blend of Corea's nimble playing, guitarist Scott Henderson's soaring tones and the Weckl/Patitucci rhythm machine. In all, there is little wonder why this band all but defined great electric jazz in the '80s.  

Track listing

All songs by Chick Corea except where noted otherwise.

    "City Gate" – 0:54
    "Rumble" – 4:04
    "Side Walk" (Chick Corea/Dave Weckl/John Patitucci) – 3:48
    "Cool Weasel Boogie" – 6:43
    "Got a Match?" – 5:38
    "Elektric City" – 4:07
    "No Zone" – 5:29
    "King Cockroach" – 6:56
    "India Town" – 5:06
    "All Love" – 5:45
    "Silver Temple" – 8:32

(Tracks #1, #10 & #11 were not included in the original issue of the album)

Personnel: 
 Chick Corea (keyboards, synthesizer, programming) 
 Scott Henderson , Carlos Rios (guitar)
 Bo Tomlyn (voice box)
 John Patitucci (electric bass, 6-string bass)
 Dave Weckl (drums, percussion) 

Lavitz, Weckl, Gambale, Goodman, Patitucci & Morse - 2007 "School Of The Arts"

School Of The Arts: The brainchild of keyboardist extraordinaire T Lavitz (Dixie Dregs, Jazz Is Dead), SOTA culls the supreme talents of such fusion and progressive instrumental music heavyweights as drummer Dave Weckl (Chick Corea) bassist John Patitucci (Corea, Herbie Hancock, Wayne Shorter), guitarist Frank Gambale (Corea, Vital Information), electric violinist Jerry Goodman of Mahavishnu Orchestra, Shadowfax, and Dixie Dregs fame, and T's longtime friend, Dregs mastermind, and Magna Carta label mate, monster axeman Steve Morse. “School of the Arts is different from every album I've ever done as a leader," says Lavitz.

Keyboardist T Lavitz’s fusion credits include the Dixie Dregs and Jazz Is Dead, but he gets extra points for craftiness in putting together this collective. Lavitz seemed to realize that an electric fusion outing by this cast would be deemed predictable, so outside of the occasional electric violin by Jerry Goodman and bass by John Patitucci, he went all acoustic. That element of surprise, and musical chemistry (Lavitz, Goodman and guitarist Steve Morse play together with the Dregs; Patitucci, drummer Dave Weckl and guitarist Frank Gambale with Chick Corea), make for inspired playing. Goodman sounds better than ever, including during his 1970s stint with the Mahavishnu Orchestra. His unison lines with Lavitz’s piano, along with Weckl’s intricate drums and percussion, energize “No Time Flat.” The guest appearances by Goodman and Morse (on the Dregs-like “On Fire” and neo-classical “Portrait”) create highlights throughout.

Lavitz was never a major composer in either the Dregs or Jazz Is Dead (a highly intricate Grateful Dead cover band), yet he wrote nine of the 11 pieces here. The results are mixed, ranging from the off-timed, Goodman-enhanced “Like This” to his predictable “High Falutin’ Blues.” Gambale’s “Gambashwari” and “Teaser” seem designed, as do most of his solos, to showcase more technique than soul. More problematic is the fact that Lavitz recorded his piano in Massachusetts, Weckl recorded his drums in California, and some of Patitucci’s bass lines were captured in New York. It’s a system of convenience that never works as well as recording collectively in the same room. Weckl is a wonder on the percussive showcase “A Little Mouse Music,” but elsewhere his free-rein tracks occasionally cross the overplaying line. For School of the Arts, Lavitz and company get a passing grade, but don’t always show their expected A-worthy work.

Cutting-edge compositions, beautiful sinuous melodies, and massive chops make School of the Arts (SOTA) a truly rare confluence of influences and musical styles, pushing jazz and jazz-fusion into another dimension.

With SOTA, Lavitz (with four decades experience in the music biz - having played with such wide-ranging musicians as Widespread Panic, Bill Bruford, Billy Cobham, Nils Lofgren, Pat Benatar, Jefferson Starship, Mother's Finest, Dave Fiuczynski, Peter Himmelman, Dennis Chambers, Jeff Berlin, and Scott Henderson) is top dog, playing acoustic piano (an instrument close to his heart), and composing most of the material for the band's debut.

Underscoring Lavitz's empathy and musical instincts, is the keyboardist's ability to spearhead and hold together the SOTA project, despite each member's busy schedule: Morse is constantly touring with Deep Purple (occasionally with the Dregs); Jerry Goodman is an in-demand electric violin trailblazer; Patitucci and Weckl crisscross the globe with various artists and solo work; and likewise for Gambale, who recently finished a tour with Billy Cobham.

“The music is definitely interactive," Lavitz says. “When I take a solo, there's Frank Gambale answering me, like something you'd hear on a gig."

Case in point: the Afro-Latin acoustic jazz tune “Gambashwari." Sinewy guitar and piano chords/notes weave around one another in syncopated patterns, stating main, contra and counterpoint melodies. It's breezy, not cheesy, jazz -- the kind that possesses sophistication without being elitist, boring or unlistenable. It's utterly infectious jazz-fusion with aspirations toward chamber or classical music, with rock's reckless abandon simmering just under the surface.

Other tracks include, “High Falutin' Blues" (an appropriate title for a song that crosses the boundaries of country, blues, and jazz), “Like This" (listen as Weckl locks into Patitucci's sparse bass line all the while commenting on Goodman's and T's jazzy/bluegrass-esque soloing acrobatics), and “Teaser" (a Chick Corea-style acoustic rocker, complete with trill-filled piano performances, blanketed by Weckl's silky stream of beats). “Dave Weckl laid down some of the best drum tracks I've heard in a while," Lavitz says.

Despite the obvious -and some might say inevitable--chops heard on this record, the high level of musicianship never detracts from the overall flow of the compositions. In fact, the record has a ring of newfound freedom; of a songwriter allowed to spread his compositional wings, which recalls the artistic creativity and motivation that drove Lavitz to create his 1986 solo debut, Storytime - an album produced in the wake of a Dregs' breakup. “I am very excited about this, because not only did I get to write the bulk of the music, but I produced, played and played only acoustic," says Lavitz. “While it has elements from other recordings I've done, it seems, at least to me, to stand out as being very different."

Track listing:

01 Fairweather Green 5:29
02 No Time Flat 4:49
03 On Fire 4:54
04 Portrait 6:19
05 Like This 4:55
06 High Falutin' Blues 5:10
07 Gambashwari 5:01
08 Dinosaur Dance 6:09
09 Teaser 5:09
10 A Little Mouse Music 7:41
11 Maybe Next Time 3:58

Personnel:

• T Lavitz: Piano
• Dave Weckl: Drums & Percussion
• Frank Gambale: Acoustic Guitar
• Jerry Goodman: Violin (Tracks 2, 5, 8)
• John Patitucci: Acoustic & Electric Bass
• Steve Morse: Acoustic Guitar (Tracks 3, 4)

Dave Weckl - 1994 "Hard Wired"

What was true of Master Plan is also true of Dave Weckl's third album as a leader of Hard-Wired -- it isn't the fusion masterpiece Weckl is capable of delivering, but it certainly isn't bad either. This time, the drummer's guests include keyboardist Jay Oliver and bassist Anthony Jackson as well as bassist John Patitucci, who like Weckl, was no longer a member of Chick Corea's Akoustic and Elektric Bands and was making his own albums a priority. The album's main emphasis is fusion that is fairly accessible, yet substantial and improvisatory. Tunes like the Asian-influenced title song and the groove-oriented "Crazy Horse" weren't recorded with hard bop's hard-liners in mind, but at the same time, they don't pander to NAC radio. As enjoyable as this album is, it isn't essential. One sensed that Weckl's best work as a leader was yet to come.

When you read other reviews (and mine!) just remember the profound musing ... opinions are like [anatomical descriptor here]: everyone's got one. Now for my second disclaimer: I am a drummer. That said, I enjoy this CD as much for the stellar non-percussion composition and performances as much as I do for the stellar percussion composition and performances.

This CD sizzles. It has some songs on it that could be said to have been written with "pop"y hooks in them, yes. It also has a masterful latin piece ("Dis' Place This") with some wild rhythms in it (love that piano part!), whimsical tunes ("Afrique" and "Just an Illusion"), moody songs ("In Flight" and "Where's Tom?"), jazzy urban grooves ("Crazy Horse" (amazing keyboard work) and "In the Pocket"), and a soulful, somber finish ("Tribute") with a wonderfully rich piano part (it takes getting through about a minute of muted key tones played to a ride cymbal to get to it) that the sax picks up and follows along with. The entire horn section is well-written and well-played throughout the album.

Weckl definitely gets his time in the spotlight, and NO ONE can do it quite like him. Some of the songs did take a few listens to get into, I admit, but this is now one of my favorite CDs of all time. If you think the samples on Amazon are interesting AT ALL, then BUY IT. I don't think you'll feel you wasted any money after only a few plays.

This is not only my favorite Weckl CD, but one of my favorite CDs of all time. When I heard Weckl with Chick's Electric Band I was blown away at his sound. When I heard his compositions on "Master Plan" with Jay Oliver, I was Floored. I had no idea this guy was as great a composer as he was a drummer! Not only are these guys masters of their instruments, they are also amazing composers. The rhythms, the melodies, the solos, are all beyond incredible. Jay Oliver is simply the best soloist I have ever heard. His 'mimic guitar' solo in "Crazy Horse" is the coolest 'guitar solos' I have ever heard. Whether you play drums, bass, guitar, keys, sax, horns or just love hearing the finest compositions played by the finest musicians, GET THIS CD! You will be BLOWN AWAY!

Hard Wired is definitely an improvement over Dave's previous solo album "Heads Up," especially in the aspect of songwriting. It might still be somewhat of a drummer's album, but after all it IS a drummer's album! Dave plays some great grooves with some crazy beat displacement/syncopation on the more latin-fusion flavored tracks, as well as some straighter pocket playing. Just an interesting side note- the "guitar" solo on track 5 that is mentioned in other reviews is actually Jay Oliver using a unique sound on the keyboard, and using the pitch bend! This is a must have for drummers, but also a good album for anyone who appreciates jazz fusion oriented, instrumental music.  

Track listing:

1     Hard-Wired     4:02
2     Afrique     5:53
3     Dis' Place This     6:38
4     In Flight     6:11
5     Crazy Horse     5:41
6     Just An Illusion     5:09
7     Where's Tom?     5:09
8     In The Pocket     5:29
9     Tribute     5:09

Personnel:

    Drum, Drum Programming – Dave Weckl
    Bass – Anthony Jackson (tracks: 1, 2, 3,), James Genus (tracks: 5, 6, 7), John Patitucci (tracks: 4, 9)
    Bass [Programming] – Jay Oliver (tracks: 8)
    Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Electronic Wind Instrument – Steve Tavaglione
    Synthesizer, Piano, Organ – Jay Oliver
    Trumpet – Scott Alspach  

Dave Weckl - 1992 "Heads Up"

On drummer Dave Weckl's GRP set the rhythms are funky but complex and intelligent, Weckl's sidemen are very complementary and the grooves are quite infectious. Altoist Eric Marienthal and tenor saxophonist Steve Tavaglione get to blow up a storm twice apiece over vamps, Jay Oliver's synth spot recalls Chick Corea on "Tomatillo" and there are strong cameos by trumpeters Randy Brecker and Jeff Beal. Listeners who hate the sound of electronics would best avoid this date, but within its genre Heads Up is a superior effort.

"Heads-Up" was the follow up recording to "Master Plan. A lot had changed for Dave, as he had recently moved to California.

This record was the first recording completed in his home studio. Like all the GRP-era recordings, "Heads Up" was a "project record," with no band concept in mind. Jay Oliver and Dave used the computer quite a bit for composition and production, and most of the bass on this record was programmed.

However, Jimmy Earl made an appearance on a few tunes, as well as Gary Novak (the drummer!) also playing bass on a tune Dave co-wrote with him!

I thought that this was a great cd for al drumers that want to hear some seriously good druming. Weckl shows off his awsome chops in his solos, and weavs intricate beats that fit perfectly with the groove. I got bored of the backup music and wanted to hear more weckl almost imediatly. I would rather have less synth also, but that's just me. I wouldn't pass this one up.

Dave Weckl is a fantastic drummer and he really shines on this CD. The recording quality is great the drums are mixed "out-front." Dave has great chops!

Tracklist

1. 7th Ave. South (5:15)
2. Heads Up (6:42)
3. Taboo (5:23)
4. Tomatillo (5:36)
5. Peripheral Vision (5:13)
6. Tee Funk (5:34)
7. Against the Wall (5:46)
8. Full Moon (5:39)
9. Trigger Happy (3:58)

Total Time: 49:12

Line-up/Musicians

- Dave Weckl / drums, percussion, bass (track 2)
- Jay Oliver / keyboards, synth programming, piano (track 2)
- Jimmy Earl / bass (tracks 1, 3-6)
- Eric Marienthal / soprano sax (tracks 1 and 2), alto sax (tracks 3 and 6)
- Randy Brecker / trumpet (track 1)
- John Patitucci / bass (tracks 3 and 8), keyboards (track 8)
- Steve Tavaglione / tenor sax (tracks 5 and 8)
- Jeff Beal / muted trumpet (track 5)
- Gary Novak / bass, keyboards (track 7) 

Jörg Kleutgens - 1993 "J.K Special" featuring Dave Weckl

Unlike many drummer-led dates in which percussionists do not establish that it is their session, Weckl's stamp can clearly be detected on any release bearing his name. His blistering beats and phrases occupy a prominent place in the mix, and he is clearly the best player among this session's assembled cast, although speedy electric bassist Jörg (J.K.) Kleutgens provides booming lines and rapid-fire progressions. The songs, like many fusion and instrumental pop pieces, are fragments with light, quickly forgettable melodies and minimal solo space. Other than a forum for Weckl's percussive feats, this qualifies as a pleasant but hardly vigorous workout.

A funky bass sound with Dave Weckl's drum technique.....Wonderful music that you have to listen. Excellent Album. A masterpiece. Definitely one of my favorite all time jazz albums. Even as a guitarist, I have been a long time fan of Weckl and Chick Corea.

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

Track listing:

1. Crossfire (4:43)
2. S.W.I. (4:11)
3. Bodega (5:06)
4. Shine on Me (7:00)
5. Special (5:47)
6. I Still Love You (5:59)
7. B.A.C. (5:27)
8. Ride Home (5:42)

Total Time: 43:58

Personnel:

Bass Written-By, Producer, Recorded By, Mixed By – Jörg (J. K.) Kleutgens*
Drums – Dave Weckl
Guitar – Dirk K.*
Keyboards – Chris Erbstösser

Mike Stern - 1996 "Between The Lines"

Mike Stern does what he does very, very well. He has carved out a unique niche for himself among modern fusion guitarists, a vision that combines funk and R&B bass/drum grooves with skittish melodies often involving extended chord fragments. Stern's lead voice is one of the most distinctive in the genre as well, as his chorused and sometimes distorted tone is always prominently displayed. Stern is joined on this 1996 offering by frequent collaborator Bob Malach, a tenor player with a particular talent for laying screaming lines on top of smoking drum grooves as well as ably doubling and bringing to life Stern's often bookish and theoretical melodies. Completing the band are twin rhythm sections, consisting either of Dave Weckl and Jeff Andrews or Lincoln Goines and Dennis Chambers. Like many of Stern's recordings, the problems lie generally in the sameness of the arrangements and the relatively forgettable nature of some of these songs. Although they are all thoughtfully composed, they sometimes tend to run together a bit in the mind of the listener. Jim Beard's keyboard textures also could be done without, as they add a distracting sheen to the compositions. But there has always been this sort of tension in Stern's work between the obvious and the unexpected. Take, for example, "Lose the Suit," which features an extremely funky intro and a great Stern solo, as well as an extremely predictable bridge that almost sounds as if it could be the theme song to a long-running soap opera. Any lingering sense of treacle is dispelled once Stern kicks in the fuzz, however, and lays into the track, sure to please fans.

Let's establish one thing from the start: Mike Stern is one of the greatest jazz guitarists of our time. He is unique stylistically, musically, and technically. By the time this CD was released, Stern had enjoyed ten years of both critical and commercial recording success. What sets this one apart for me is the basic band used for the sessions: Dave Weckl on drums, Jeff Andrews on bass, Jim Beard on keyboards (who also serves as producer on this and many other Mike Stern projects), and Bob Malach on tenor saxophone. As usual, all songs are written by Mike Stern with a reasonable balance of up- and down-tempo grooves.

This CD features outstanding recording quality throughout. Nearly every solo, whether it be guitar or sax, is a tour de force. There's only one track I really don't like, and that's the last one (Bait Tone Blues). The set begins with the driving latin/rock groove of Sunnyside. Checkout Dave Weckl's slick stick work on The Vine. Wing And A Prayer is a nice ballad with a beautiful melody (doubled on sax and guitar). You Never Know alternates between a hard-driving rock and laid-back blues groove. The next two cuts (numbers 6 & 7) are the only two featuring an alternate (but equally impressive) rhythm section: the great Dennis Chambers on drums and Lincoln Goines on bass. Both are long-time Mike Stern sidemen. Tell Me may be one of my all-time favorite Mike Stern ballads, and With A Twist features an interesting drum groove along with some nice organ work. Back to the original band, Pages is on my all-time favorite Mike Stern playlist, and I can never get enough of the out-chorus sax solo. Also, the interplay between electric guitar and acoustic piano is special. As you can guess, this is an outstanding set of music, top to (almost) bottom!

While I like virtually all of Mike Stern's work, I think this is (narrowly) his best CD from the 1990's. The band, writing, and production quality are all first-rate, and there's over 70 minutes of music on the CD! You can't go wrong with this one, so put it on, sit back, and enjoy some great fusion jazz.

On "Between The Lines", Mike Stern's follow-up to his Grammy-nominated "Is What It Is", Stern delivers more of his trademark bop 'n' roll on ten new original compositions. The band includes saxophonist Bob Malach (Steve Miller, Ben Sidran, Horace Silver), longtime bass associate Jeff Andrews (Steps Ahead, Vital Information) and world renowned drummer Dave Weckl (Chick Corea Elektric/Akoustic Band, Brecker Brothers). Stern's former rhythm section mates in the Mike Stern-Bob Berg Band, drummer Dennis Chambers and bassist Lincoln Goines, also appear on two tracks. From the energetic opener "Sunnyside" to the slamming funk of "Lose the Suit" to the ferocious "With a Twist", Stern and company state their case with power and conviction. "The idea behind this record was to use guys that I had been touring with a lot", Stern explained. "I wanted a live band sound and I feel like that came across. I felt good about the whole vibe of the record. It's loose but tight at the same time. And there's stuff going on with these cats that can only happen if you've been playing together a bunch." "Between The Lines" is excellent jazz/fusion, and is highly recommended.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Mike+Stern

Track listing:

1 Sunnyside 7:27
2 The Vine 6:27
3 Wing And A Prayer 6:37
4 Lose The Suit 8:43
5 You Never Know 7:13
6 Tell Me 6:01
7 With A Twist 6:37
8 True Enough 6:43
9 Pages 6:43
10 Bait Tone Blues 7:37

Personnel:

Guitar – Mike Stern
Bass – Jeff Andrews (tracks: 1 to 5, 8 to 10), Lincoln Goines (tracks: 6, 7)
Drums – Dave Weckl (tracks: 1 to 5, 8 to 10), Dennis Chambers (tracks: 6, 7)
Keyboards, Producer, Engineer [Additional] – Jim Beard
Tenor Saxophone – Bob Malach

Chick Corea Elektric Band - 1991 "Beneath The Mask"

Beneath the Mask is an album by Chick Corea Elektric Band, released in 1991 through the record label GRP. The album peaked at number two on Billboard's Top Contemporary Jazz Albums chart.

Beneath the Mask is the easiest and breeziest Elektric Band album in years, with Latin-flavored melodies that are concise and downright hummable. Corea’s atmospheric harmonies manage to be seductive without evaporating into nothingness. On “One of Us Is Over 40,” the band even slips into a very friendly (and uncharacteristically African) lope. Corea weaves his tricks into a seamless musical fabric. And the Elektric Band — Corea, bassist John Patitucci, drummer Dave Weckl, guitarist Frank Gambale, and saxophonist Eric Marienthal-has never sounded better.

You can always expect some of the best musicianship anywhere from a Chick Corea album. Bassist John Patitucci and drummer Dave Weckl are two of the most renowned musicians at their instruments, and guitarist Frank Gambale, with his burning “sweet picking” style, isn’t far behind. Saxman Eric Marienthal has matured considerably in Corea’s ranks. So, musically speaking, Beneath the Mask is typically solid. The only question is, “What is Chick doing now?”

The new Corea is geared more towards commercial jazz, if you can call it jazz. Even though his music has always been pre-composed, his new material provides even less of a vehicle for improvisation. It does maintain an intense level of musicianship, but the compositional element of the old Corea has given way to a more groove-orientated sound. Corea, like the rest of the world, is getting funky (another musical element to which the world is indebted to New Orleans); on several numbers, Patatucci slaps the bass and Gambale scratches the guitar while drummer Weckl’s busy hands could confound an octopus (although his playing is subtle and seemingly effortless).

Highlights include “One of Us Is Forty,” a driving funk tune with busy Fender Rhodes rocking from Corea and a catchy chord melody. Corea falls into an increasingly familiar tour-de-force rock-out formula here, with everyone playing in unison on fast, pumped-up lines at the front of the stage. Left over from his Return to Forever days, this formula is what he uses to end his sets. “Illusions” starts with spacious chords in a repeating bass riff, goes into a fast groove, then to the tour de force formula and into a Spanish segment reminiscent of much of Corea’s past work. “A Wave Goodbye” is a spacy, reflective rainy day piece with a sad saxophone melody. “Charged Particles” is more serious, classically-influenced fusion, with fast straight rhythm melodies and a grinding keyboard part, under an evil guitar solo.

"Beneath The Mask" would be the last album that the "classic" Elektric Band would record for 12 years, and after their previous 2 outings featured Chick on a grand piano, he obtained an electric midi-Rhodes piano and the amazing Yamaha SY-99 synthesizer,and as a result,the album was punchier, funkier and more direct-to-the-point than their previous two outings "Eye Of The Beholder" and "Inside Out".

As usual, one band member was featured on the lion's share of the cuts. Electric guitar was a large focus on this collection, so Frank Gambale came to the fore, contributing excellent solos on "Little Things That Count", "Lifescape", "Free Step", an acoustic contribution on "A Wave Goodbye", as well as part of the trade-offs on "Illusions".

His finest moment, however, is one of the CCEB's greatest accomplishments as a combo, "Charged Particles". The band was amazingly tight, the tempo changes and shifts handled beautifully, and it all sets up a Gambale showcase, where he combines alternate picking along with his classic "sweep style" for 5 minutes and change of sheer fusion bliss.

Eric Marienthal found a new voice as well, opting for soprano sax as opposed to his normal alto, the title track, "One Of Us Is Over 40", "Jammin' E. Cricket" and "Illusions" all benefit from this stylistic change.

John Patitucci holds the bottom end on bass and "Jammin" E. Cricket" shows what he can do.

Dave Weckl's drumming, as always is superlative and energetic.

Chick himself was obviously having a lot of fun, best showcased on "99 Flavors" which he composed as a sample tune for Yamaha's SY-99 keyboard before recording it with the group.

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

Track listing:

1. Beneath the mask (3:33)
2. Little things that count (3:50)
3. One of us is over 40 (4:57)
4. A wave goodbye (4:46)
5. Lifescape (5:12)
6. Jammin E. Cricket (6:54)
7. Charged particles (5:21)
8. Free step (7:47)
9. 99 flavors (3:56)
10. Illusions (9:45)

Total Time 56.09

Personnel:

Chick Corea – keyboards, mini moog, mixing, producer, synclavier, synthesizer
Frank Gambale – guitar, synthesizer guitar
Eric Marienthal – alto and soprano saxophone
John Patitucci – bass
Dave Weckl – drums, mixing, percussion

Chick Corea Elektric Band - 1987 "Light Years"

Light Years is a 1987 Album by the Chick Corea Elektric Band. It features Chick Corea with guitarist Frank Gambale, saxophonist Eric Marienthal, drummer Dave Weckl and bassist John Patitucci. Also guitarist Carlos Rios plays on some tracks. The album was nominated and received the 1988 Grammy Award for the Best R&B Instrumental Performance (orchestra,group or soloist).

 The second recording by Chick Corea's Elektric Band was the first to feature altoist Eric Marienthal and guitarist Frank Gambale in addition to bassist John Patitucci, drummer Dave Weckl and the leader/keyboardist. Unlike most other fusion groups, these musicians displayed original musical personalitites and Corea's compositions tended to be memorable. This is one of The Elektric Band's better releases.

With the classic Elektric Band lineup in place — Chick, Eric Marienthal (saxophone), Frank Gambale (guitar), John Patitucci (bass) and Dave Weckl (drums) — Chick created a masterpiece of electric jazz: powerful, swinging grooves, passionate solos and virtuosic group interplay throughout. It was a defining moment in jazz, and Light Years is a high-water mark.

Chick seems to enjoy exploring. With these players he has the perfect ensemble to do that. I get the feeling that he wraps his head around a sound or feel that he wants and just goes after it. Each album seems to point in a different direction with each track taking us further out there. Sometimes we don't know where we are going but it is sure a fun ride. I don't know if he's exploring techno or what on this one but there is so much subtle stuff going around a huge, fat beat that it's hard not to play it over wondering what you just heard. You definitely have to have a good sound system to listen to this; otherwise you miss it, like taking a scenic highway with dirty windows.

My guess is that you have probably never heard of this band, unless you are specifically looking for it, and that much I guess is unlikely. So, to describe this band I will list some bands that you may have heard of that remind me of the material on this work; those would be Liquid Trio Experiment, Bill Frisell, and John Scofield. If you can dig stuff from those artists, I highly recommend this album. One thing I will say is that you are most certainly not guaranteed to like this album from Chick and crew if you like his band Return to Forever.
By now having listened to this album in the mix for a few years, I definitely give it a thumbs up. Every track is worth many, many listens.
I guess though is that this music is music for musicians, and pretty much musicians only will buy this album, and most us are poor, so I can't imagine this album sold many copies. Chances are you will only be able to find this album on your computer, such as a used album from Amazon.com, but not at a record store. These days even record stores sometimes won't carry something this rare. That is a shame, because this is really good music.
Another way I might describe this as 1980s jazz. The musicianship is great, but the electronics aren't quite that great, and after albums like this one flopped, I can definitely understand the move to return to more of an analogue sound, such as a Hammond B3 organ. So, the hard part of this album to sell is that it is electric, and uses cheesy synthesizers from start to finish. I do believe that was Chick's aim; to explore new technology and to marry it with jazz. I believe that Chick did an excellent job of that on this album. The music on this album is great and timeless for those that love music, but someone who is interested in sound quality may turn his or her nose up at this one.

Track listing

1.    "Light Years" – 3:51
2.    "Second Sight" – 4:12
3.    "Flamingo" – 4:08
4.    "Prism" – 3:29
5.    "Time Track" – 5:02
6.    "Starlight" – 3:51
7.    "Your Eyes" – 3:56
8.    "The Dragon" – 5:31
9.    "View from the Outside" – 6:33
10.   "Smokescreen" – 4:24
11.   "Hymn of the Heart" – 6:40
12.   "Kaleidoscope" – 8:03

Tracks 10-12 are omitted from the original release and appear only on CD reissues.

Line-up / Musicians

- Chick Corea / Keyboards
- Frank Gambale / Guitars
- John Patitucci / Bass
- Eric Marienthal / Saxophone
- Dave Weckl / Drums

Dave Weckl - 1998 "Rhythm Of The Soul"

Toss into the musical blender the spirits of Stevie Wonder, Crusaders, Van Halen, Sting, Dr. John, and Chick Corea; turn on the fire, low for easy simmering blues-rock at times, high for a fiery intensity that busts the borders between R&B and fusion. The result: the Dave Weckl Band's hard-to-categorize adventure, Rhythm of the Soul. Here, he celebrates his liberation from Corea's Elektric fold with a vengeance. The ensemble ventures into a variety of decades: the 70s, with Steve Tavaglione blowing percussive sax over Buzz Feiten's wah-wah over Jay Oliver's Fender Rhodes Crusaders feel; to the 60s, where, on "101 Shuffle," Weckl and Tom Kennedy lay a throbbing foundation based on Booker T's "Green Onions" for the playful interaction of saxman Bob Malach and Feiten; and even the 80s, where Gambale does his best Eddie Van Halen power guitar to drive the rockin' blues of "Access Denied." Weckl's skin and high-hat energy jumps out at every turn, most notably on the jams but also on the more subtly rhythmic "Mud Sauce" and the dreamy ballad "Song for Claire." Those tunes are the cool oases in the midst of the piping gumbo.

Tracklist

1 The Zone
2 101 Shuffle
3 Mud Sauce
4 Designer Stubble
5 Someone's Watching
6 Transition Jam
7 Rhythm Dance
8 Access Denied
9 Song For Claire
10 Big B Little B
11 Good Night

Personnel

Dave Weckl - drums
Jay Oliver - keyboards
Buzz Feiten - guitar
Also: Bob Malach, Steve Tavaglione, Tom Kennedy, Frank Gambale

Chick Corea Elektric Band 1988 [1994] "Eye Of The Beholder"

Eye of the Beholder is a 1988 album by the Chick Corea Elektric Band. It features Chick Corea with guitarist Frank Gambale, saxophonist Eric Marienthal, drummer Dave Weckl and bassist John Patitucci.

During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s. 

After a highly impressive debut album and a stylistically simpler sophomore release, the Chick Corea Elektric Band proceeded to produce an album that was musically more advanced than anything they had accomplished before. The result, EYE OF THE BEHOLDER, is arguably the best record the band produced in their seven-year existence. With saxophonist Eric Marienthal and guitarist Frank Gambale on board to enhance the core trio of Corea, Dave Weckl (drums) and John Patitucci (bass), EYE is the perfect balance of the group's stunning technical chops, musical artistry and technological wizardry.

The most obvious difference on this record is the incorporation of more natural, acoustic sounds into the "electric" format. Corea's use of acoustic piano (enhanced by synthesizers), Weckl's natural drum and percussion sounds, Marienthal's sax and even Gambale's use of some acoustic guitar lend a much warmer vibe to EYE than previous efforts. What's more, many compositions, including "Home Universe," "Eternal Child," "Beauty" and "Ezinda" have a very chamber-ensemble feel with many varied textures and dynamics. Finally, the title track is a spectacular Spanish-flavored barnburner in the style of Corea's "Spain" that showcases each member's strengths to the fullest.

“Eye of the Beholder” - An appropriate title for a work that that may not appeal to all, but for those who can see past the surface and identify with Chick Corea's unique sound and creative genius, this is an absolute gem.

The third release of the Electrik Band, the album follows the original self-titled "Electrik Band" and "Light Years". One notes a clear departure from the original hard electric fusion of the first record to a more acoustic sound, a trend that continued with the release of the band's fourth album - "Inside Out".
In my opinion, "Eye of the Beholder" was undoubtedly the height of the Electric Band's existence.
The impressive thing about some of the Electric Band's earlier work is how the absolute best can be brought out of uncomplicated compositions, simply by great musicianship and improvisation. I am not a student of music, so the technical terms elude me, but my perception is that most of these works use a basic core, which gets repeated several times with small, but perceivable changes on each cycle. It is a slow but deliberate build up to the ultimate climax. I wonder if the term “Stretch” Corea used in the naming of his record company refers to this concept?

"Eye of the Beholder” is no different in this regard, but the compositions are meatier than the earlier releases. Each track has an originality of its own and takes the listener on an emotional excursion.

Of the Electrik Band releases, this record is the most timeless and sounds as good today as when I purchased it in 1991.
It is an absolute must for any respectable Fusion collection. 

I am a musician and a HUGE fan of the Elektric Band. I must say, this album has probably shaped my keyboard styles more than any other. My brother is a drummer and used to have these tapes, when he was away I would sneak in his bag and listen to his tapes (remember those!); this album blew my mind, it was unlike anything I'd ever heard. Once I got into jazz I found out where Chick draws his style from, and about the Elektric Band concept, this album stands out among the series as the most epic; to this day it contains some of the most beautiful and intricately woven counter-melodies and harmonies that I've heard, and to think: the first time I heard this album I wasn't even a teenager yet, and it was over 12 years ago. No pianist alive today matches Chick's unique combination of skill, technique, artistry, and overall musicality, and this album shines. I love all of the E. Band albums, but this one stands out because of its overall 'acoustic' feel and intertwined themes. Listen to the album straight through, and you'll hear recurring passages and themes throughout - and it will make you smile.
This album is a must have, for any fan of Chick Corea.

If you are looking for great synth sounds from the 80's, great compositions, and the best musicians, "Eye of the Beholder" won't dissapoint you. It has the well known progressive jazz of Chick Corea along with his friends: John Patitucci (basses), Dave Weckl (drums and percussion), Eric Marienthal (sax), Frank Gambale (guitar).
"Home Universe", the first song, starts with great percussion and "strings" in a march-like rhythm full of mystery. "Eternal Child" is a beautiful ballad in piano. "Cascade" has an intro which uses a synth sound that makes you feel as if you were in front of a cascade.
The album is an excellent recording with great mixing by Bernie Kirsh and Chick Corea.
Personally, this is my favorite album by Chick and his band. I have never lost the sense of satisfaction I feel each time I listen to the album. I highly recommend it, especially to Chick fans. 

Wow...I can't believe anyone would say this release was anything but perfect. This CD is what turned me on to jazz in the first place...I was 16 and a metal head at the time. Here it is, about 15 years later, and I still listen to this CD constantly. The actual music is beautiful, the transitions are genius, and the musicians...well, in my opinion there couldn't have been a better blend of members. This album completely changed me as a musician.

Track listing:

01. Home Universe (2:44)
02. Eternal Child (4:52)
03. Forgotten Past (2:58)
04. Passage (4:56)
05. Beauty (7:56)
06. Cascade, Pt. 1 (1:54)
07. Cascade, Pt. 2 (5:19)
08. Trance Dance (5:50)
09. Eye of the Beholder (6:39)
10. Ezinda (6:54)
11. Amnesia (3:28)

Vinyl Version has only tracks 1-9 (GRP-A-91053)

Personnel:

    Chick Corea – synthesizer, piano, arranger, keyboards, producer, engineer, liner notes, mixing
    Frank Gambale – guitar
    Eric Marienthal – saxophone
    John Novello – synthesizer (track 2 only)
    John Patitucci – bass
    Dave Weckl – drums

Adam Nitti - 1998 "Balance"

Adam Nitti\'s 2nd release, featuring performances from Dave Weckl, Victor Wooten, Jimmy Herring, Shane Theriot, and many others. High energy instrumental music with an emphasis on musicianship. A diverse collection fusing together jazz, rock, and fusion.

Now here is a fusion feast for the ears - bassist Adam Nitti's second solo release, entitled Balance. Not only do you get Nitti's world class bass work, incuding three amazing solo tracks ("Vic-Dom, Part 1", "Fritter Boy", "Vic-Dom, Part 1"), but you get additional contributions by some outstanding guitarists and other musicians. Bill Hart contributes a slinky guitar solo to the Steve Miller cover "Fly Like An Eagle", as well as adds guitar work to two other tracks. Guitarist Shane Theriot guests on two tracks ("B Squared", "Cheeky"), while guitarist Jimmy Herring adds his six-string edge to the title track. Sax man Sam Skelton is also a standout here - he's featured on seven tracks. Nitti, of course, is center stage on Balance, and with good reason - his active, syncopated finger-funk and tasty solos will keep fretlovers enthralled. Instrumental Guitar (Electric/Fusion),

Adam Nitti has emerged as one of the cutting edge bassists and composers in the world of instrumental jazz and rock. Based out of Nashville, Tennessee, Adam currently has 3 CD\'s released on his own Renaissance Man Records label. Adam has toured with the Dave Weckl band, Jeff Coffin Mu\'tet, the Justice League, and Angie Aparo, and has also performed with such legendary jazz artists as Scott Henderson, Peter Erskine, Jimmy Herring, Mike Stern, Kirk Covington, Wayne Krantz, and many others. He is currently touring with Steven Curtis Chapman, a 4 time Grammy winning artist based .

Folks...if you don't know who this talented individual is yet...WHERE HAVE YOU BEEN!!!! As bass players go, Stu, Billy, Jonas all rock. Mike Manring, Vic and Adam have brought two hands to the fretboard. Jaco, Gary Willis, Bunny, and Jeff Berlin are jazz monsters. There, of course, are many more, but this is a review of Adams first solo offering. Check out the video footage of some of this albums titles on U-tube and you'll understand. He has surrounded himself with very talented players, Dave Weckl, Kirk Covington, and Tom Knight on drums, Jimmy Herring and Shane TheRiot and Bill Hart on guitar. Vic joins him on bass, Randy Hoexter on keys as well as Sam Skelton on sax. Adam starts with a funky rock/fusion number that shows off some outstanding solo techniques. Next up is Kingpin, a jazzy piece with smooth melody and quick fingers. Yin & Yang, of course, features Vic Wooten and is a must listen. Cry for Peace slows things down and Sam's sax is sweet as is the six string Adam plays. Fly like an Eagle is a plucky 4 string version of Steve Miller's hit featuring Bill Hart and Sam. Vic-Dom 1&2 and Fritter Boy are bass solo pieces. Balance, the title track, features one of the most fascinating fusion guitarists, Jimmy Herring. AWESOME!!! Stephanie's Song is a straight ahead jazz piece, slick, smooth and easy. Nice keys solo. B Squared is a funky bayou fusion piece featuring Shane TheRiot. No one plays like Shane. He also is featured on Cheeky another funky, rockin' number with a lot of techniques, as the tune changes to, sort of, become the summary of Adam's talents. Faith is a nice melodic number that reminds one of The Rippingtons. Be astounded! Tell all your friends! By edzona.

I would say this album holds great things for everybody that takes their music seriously. This is Adam Nitti's first solo release and he's released two others since but I still think that this one is his best. You've got killer top shelf drumming throughout with Dennis Chambers being the most notable of them. This album jams right from the start of the first track schizo which is probably my personal favorite along with track 3 Yin Yang which has Victor Wooten guesting on bass and laying down a sick solo. This album also has three bass solo pieces Fritter Boy & vic doom part 1 & part 2. These solo pieces are mostly two hand tapping style songs with lots of energy and good direction. The guitar playing on here is in the progressive style but with some wah wah funk strumming thrown in for good measure. Nitti's playing on the rest of the songs is tight and groove oriented more in a Jaco Rocco sixteenth note style with solos from his six string and ripping slap grooves. This album is high octane fusion with a progressive rock overtone and it rocks out from start to finish, Buy it! By Jonathan Guarriello.

I've collected a lot of music over the past 20t years... and I can count on one hand the number of times I've had a recording just floor me! Balance from Adam Nitti is one such recording! I can actually remember the first time I heard this Cd. This Cd runs the gamut in terms of styles that are performed. Very few cds exist where every tune on the recording is great. Balance is it! When an artist can blend their technical talent with their tune writing ability and be able to keep the listeners attention from start to finish... what you have is a rare gem of a recording... Balance is it! Thank you Adam for this outstanding recording! By M Lucas.   

Track listing:

01 Skitzo 5:57
02 Kingpin 6:11
03 Yin & Yang 4:43
04 Cry For Peace 5:58
05 Fly Like An Eagle 6:13
06 Vic-Dom, Part 1 (Bass Solo) 2:26
07 Balance 5:45
08 Stephanie's Song 4:55
09 Vic-Dom, Part 2 (Bass Solo) 2:20
10 B Squared  4:37
11 Faith 6:00
12 Fritter Boy (Bass Solo) 3:37
13 Cheeky 3:19

Personnel:

Adam Nitti - 5 & 6 String Bass, Keyboards, 6 String Fretless Bass, $ String Bass
Victor Wooten - Bass and Bass Solo on "Yin & Yang"
Bill Hart - Guitar
Jimmy Herring - Guitar
Shane Theriot - Guitar
Tom Knight - Drums
Sam Skelton - Sax
Randy Hoexter - Keyboard Solo
Dave Weckl - Drums
Kirk Covington - Drums 

Bill Connors - 1985 [1990] Step It

This session accented the funk/R&B and rock elements of Connors' arsenal; the eight selections were dominated both by drummer Dave Weckl's prominent backbeats and Connors' riffs and dashing licks, as well as catchy hooks, progressions, and patterns from bassist Tom Kennedy. Such songs as "A Pedal," "Brody," and the title cut weren't melodically sophisticated, but had a bass-heavy structure and quick, animated solos. Although the date is a bit old, its qualities prove a perfect fit on several new adult contemporary and lite-jazz outlets.

Another essential CD for Bill Connors (ex-Return To Forever) fans is "Step It!", which offers prime examples of fluid, legato guitar in a Coltrane-meets-Hendrix, fusion context. Not only is Connors a silky smooth lead player, but his rhythm work is particularly intricate and inspiring. Bassist Tom Kennedy and drummer Dave Weckl also stand out - Kennedy with his poly-rhythmic stylings and Weckl with his energy, feel and panache. Produced by guitarist Steve Khan (who guest solos on "Twinkle"), "Step It!" is a super companion disc to Double Up, and also a great introduction to the work of Connors for the uninitiated. Remarkable fusion from a pioneer who can still deliver excellence.

Tracks Listing

1. Lydia (3:35)
2. A Pedal (8:48)
3. Step It (4:33)
4. Cookies (4:46)
5. Brody (4:15)
6. Twinkle (5:58)
7. Titan (6:37)
8. Flickering Lights (5:07)

Total Time 78:12

Line-up / Musicians

 
- Bill Connors / guitar
- Dave Weckl / drums
- Tom Kennedy / bass
- Steve Khan / guitar (6)

John Patitucci - 1988 "John Patitucci"

John Patitucci is the debut solo album of jazz bassist John Patitucci. The album charted #1 at the Billboard Top Jazz Albums 1987.

This early offshoot of the Chick Corea Elektric Band turned out to be one of 1988’s most pleasant surprises. Patches was still supposed to be cutting his teeth, not chewing through the jazz charts to number one. And while GRP was busy establishing itself as the jazz label of the new digital age, their acumen in letting John Patitucci run free so soon paid off. The bass guitar, historically, is not a rich avenue of musical exploration; low tones get lost and the tricks (funk slap, fuzz tone) are often dull double axels. The first John Patitucci disc is different by design, and you can thank the folks at Smith/Jackson for it. The Smith/Jackson 6-string featured on the front cover is played on all but a handful of tracks as a lead guitar. The fluid, sputtering, tripping, richly rendered sounds that emanate from this six-stringed appendage are a source of wonder throughout. Patitucci also plays an acoustic upright and literally “bows” to his current employer, Chick Corea, on “Zaragoza.” With Dave Weckl on drums, this is an Akoustic/Elektric session at its core half of the time. Double synthesizers (John Beasley, Dave Witham) give the music a modern edge not unlike the first Elektric album, though JP the Composer isn’t nearly as restless or chatty as Chick. The music is also very much in line with GRP’s brand at this point: smooth jazz with some edges, balladeering and barnstorming. Highlights include the opening “Growing,” “Baja Bajo” and a pair of tracks featuring Michael Brecker on tenor sax (“Peace & Quiet Time,” “Then & Now”). I wasn’t expecting a coming-out party this early, but Patches is clearly too large a talent to be contained. Based on this disc alone, his is a unique and interesting voice in the modern melodic/rhythmic fusion movement. 

Stepping out from the shadows of Chick Corea's Elektric and Akoustic bands, Patitucci made a pleasing solo debut here largely on the strength of his brilliant up-front soloing on electric and acoustic basses. Adept at the popular funk slapping manner on electric bass, darting fluidly and jaggedly up high on the Smith/Jackson five-string bass, Patitucci always executes with the moves and body English of a bass player even when his instrument is up in the guitar range. Patitucci's compositions are pretty good, too, thoughtful and not too reliant upon jazz-rock cliches. He gets a lot of expert help from a variety of hot sidemen, including the astonishing Chick himself (who also produced the package), Chick's drummer Dave Weckl, other drummers like Peter Erskine and Vinnie Colaiuta, and the heated tenor sax of Michael Brecker. Without a doubt, this first opus enhanced Patitucci's developing reputation at the time. 

Track listing

    All songs composed by John Patitucci unless otherwise noted.

01  "Growing" – 4:38
02  "Wind Sprint" – 6:10
03  "Searching, Finding" – 5:09
04  "Baja Bajo" (Chick Corea, John Patitucci) – 5:49
05  "Change of Season" – 3:57
06  "Our Family" – 3:05
07  "Peace and Quiet Time" – 5:02
08  "Crestline" – 5:17
09  "Zaragoza" (Chick Corea) – 4:00
10  "Then & Now" – 5:44
11  "Killeen" – 5:21
12  "The View" – 5:37

Personnel

    John Patitucci – bass
    John Beasley – synthesizer
    Dave Whitham – synthesizer
    Chick Corea – piano
    Michael Brecker – saxophone
    Dave Weckl – drums
    Vinnie Colaiuta – drums
    Peter Erskine – drums