Gateway - 1995 "Homecoming"

Homecoming is an album by Gateway, a trio composed of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in 1994 and released on the ECM label in 1995 and is the trio's first album since Gateway 2 in 1978. 

The Gateway Trio is a cooperative in the greatest sense of the word, as guitarist John Abercrombie, bassist Dave Holland, and drummer Jack DeJohnette are all respected players, composers, and bandleaders on the jazz scene. Even though this only the third Gateway recording and the group's first in 17 years, each group member collaborates frequently with the others. As a result there is always a great sense of interplay between Abercrombie's sometimes-mellow-sometimes-distorted guitar, Holland's huge toned bass, and DeJohnette's dancing drums. All of the compositions are by the band members and are wide-ranging in scope. Highlights include the title track, which begins as a medium swinger but drifts into collective improvisation before coming back to medium swing, Modern Times, with its melody reminiscent of "Yesterdays" over a samba feel, the rockish "How's Never" and "7th D," what one might call a "free blues." This is a fine return to recording for a great group".

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Track listing:

    "Homecoming" (Holland) - 12:37
    "Waltz New" (Abercrombie) - 8:32
    "Modern Times" (Holland) - 7:31
    "Calypso Falto" (Abercrombie) - 7:46
    "Short Cut" (Abercrombie) - 6:12
    "How's Never" (Holland) - 7:34
    "In Your Arms" (Holland) - 5:48
    "7th D" (DeJohnette) - 9:30
    "Oneness" (DeJohnette) - 7:43

Personnel:

    John Abercrombie: guitar
    Jack DeJohnette: drums, piano
    Dave Holland: bass

Randy Brecker - 1968 [2002] "Score"

Score is the debut album by American jazz trumpeter Randy Brecker recorded in 1969 and originally released on the Solid State label. Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads. "The Weasel Goes Out to Lunch" is a cute, though very short, take on the childhood theme, with the remaining tracks fine examples of late-'60s popular jazz. With well-constructed arrangements, strong soloing, and catchy melodies, Brecker knew he was onto something, and this album was the first of several successful ventures.

Born in 1945 in Philadelphia to a musical family, Randy's musical talent was nurtured from an early age. He attended Indiana University from 1963-66 and later moved to New York where he landed gigs with such prominent Jazz bands as Clark Terry's Big Band. Randy also began his foray into jazz-rock by joining Blood, Sweat and Tears. Randy left BS&T to join the Horace Silver Quintet. In 1968, Randy recorded his first album, "Score", featuring a young, then unknown 19 year-old tenor saxophonist named Michael Brecker.
In the early 1970s, Randy played with many prominent artists such as Larry Coryell, Stevie Wonder and Billy Cobham. By 1975, Randy and Michael were ready to front their own band, the Brecker Brothers. The band was to become a band of immeasurable influence and impact. They went on to record a total of six albums and garner seven Grammy nominations between 1975 and 1981.
In 1992, exactly ten years after they disbanded, Randy and Michael joined forces again featuring a world tour and the triple-Grammy nominated GRP recording, "The Return of the Brecker Brothers". In the fall of 1994, the Brecker Brothers released the double-Grammy winning "Out of the Loop".
Randy released his CD for ESC, "34th n' Lex," in 2003 and this CD also brought him his third Grammy for "Best Contemporary Jazz Album."
In 2007 he was awarded his fourth Grammy for "Randy Brecker Live with the WDR Big Band". In the same year, tragically, his brother Michael passed away on Jan 13th.
Randy's CD, "Randy in Brazil," was recorded in Sao Paulo with a full complement of great Brazilian musicians and released in 2008 and the CD won the Grammy for "Best Contemporary Jazz Album," bringing Randy's Grammy total to five.

Track listing:

All compositions by Randy Brecker except where noted

"Bangalore" – 4:34
"Score" (Hal Galper) – 7:17
"Name Game" (Galper) – 5:14
"The Weasel Goes Out to Lunch" (traditional) – 1:21
"Morning Song" – 4:09
"Pipe Dream" – 4:33
"The Vamp" (Galper) – 5:14
"The Marble Sea" – 5:44

Personnel:

Randy Brecker – trumpet, flugelhorn, arranger
Michael Brecker – tenor saxophone
Jerry Dodgion – alto flute
Larry Coryell – guitar
Hal Galper – piano, electric piano, arranger
Eddie Gómez – bass
Chuck Rainey – Fender bass
Bernard Purdie, Mickey Roker - drums

The Brecker Brothers - 2012 "The Complete Arista Albums Collection" [8 CD Box]

The Brecker Brothers -- Michael and Randy -- were one of the most successful of the jazz/fusion groups that arose in the 1970s, recording 6 best-selling albums for Arista between 1975 and 1981. Musicians on the records make a jazz/fusion hall of fame including David Sanborn, Steve Gadd, Will Lee, Harvey Mason, Marcus Miller, George Duke, and many more. In 1979 they also participated in all-star shows at the Montreux Jazz Festival. The band was Steve Khan, Tony Levin, Mike Mainieri and Steve Jordan. These two albums are included here as bonuses. None of these albums have ever been released on CD in the U.S.
Randy Brecker contributes liner notes to the set which also includes full discographical info. and rare photos.
The Brecker Bros. have reunited as The Brecker Brothers Reunion Band-- with excellent Italian saxophonist Ada Rovatti keeping it in the family (she is Randy s wife) and ably filling the late Michael's role -- for an all-new studio recording of new material, featuring David Sanborn, Mike Stern, Dave Weckl, and Will Lee (to be released in September).
A new Brecker Bros. Reunion live DVD from the Blue Note jazz club will also be released. Both new releases are on Half Note Records, the label of The Blue Note Jazz club in New York, which will sponsor a record release show the week of Sept. 11-18 in New York. The band will be playing major jazz festivals in the U.S., Europe, and Japan. Randy s own profile at the moment is very high. He received 3 Grammy nominations this year.

Trumpeter Randy Brecker and saxophonist Michael Brecker had already shared the bandstand and logged plenty of studio time together before they formed The Brecker Brothers. The siblings stood as a team with Horace Silver s hard bop ensemble, the proto-fusion unit Dreams, and Billy Cobham's early Crosswinds band, as well as on myriad studio dates for a panoply of artists from James Taylor to Parliament.

By 1975 it was time for them to make their own mark. Gathering together some of the cream of the studio players that they were spending considerable time with, including saxophonist David Sanborn and bassist Will Lee, the brothers formed a tight combo that would integrate their taste for jazz, fusion, R&B, funk and pop. Right out of the box, they garnered a hit single, "Sneakin' Up Behind You," from their debut recording, Brecker Brothers, which also included the emblematic "Some Skunk Funk."

Subsequent albums saw name players like guitarists Steve Khan and Hiram Bullock, keyboardist George Duke, bassist Marcus Miller and vocalist Luther Vandross making vital contributions. No matter how commercially oriented the music might veer, the solid playing of both Randy and Michael could be heard. On such albums as the live recordings, Heavy Metal Bebop and the special project Blue Montreux, the brothers fully displayed their extraordinary technical skills and gutsy phrasing. Combining jazz chops and R&B seasoning, both of the Breckers became important stylistic influences on their respective horns.

In retrospect, the Brecker Brothers can be seen as dashing heroes, unafraid to follow wherever their muse lead them no matter what straight-laced critics objected to. From today's eclectic viewpoint, their up front blend of jazz and outright pop sounds was not only ahead of the curve, it was right up to the minute.

This 8 cd box set was a collection I have always hoped would be released.The Brecker Brothers have always been favorites of mine and this set captures the history of the brothers musically. It was during this period that Michael Brecker really grew and developed his style. Any fan of funky jazz and rock influenced jazz will love this release. The last 2 discs of the collection are of live recordings at Montreux Jazz festival in 1978 and I love the collaboration of the Breckers with Mike Maineri, Eddie Gomez and Larry Coryell. The Collection features so many great players in modern jazz from an early standpoint, Will Lee and David Sanborn and many others. This collection is truly a piece of modern jazz history. So thankful that Randy Brecker put this collection together. I love listening to these albums. It brings back so many memories and musically much of the tracks are still fresh today (especially on the album "Detente"). The loss of Michael Brecker a few years ago, definitely left a huge hole in the jazz world. This collection definitely helps to to remember one of the greatest tenor players ever.

In 2001, the Brecker Brothers' Arista releases were reissued on CD by the One Way label, but the discs quickly went out of print. French and Japanese reissues surfaced toward the end of the decade, but this box set from Sony's Legacy division makes them easy to obtain in the U.S. -- that is, if you're willing to shell out for an eight-disc box, priced around $60 at the time of its September 2012 release. The discs are in durable LP replica sleeves, though they are not as high quality as a standard Japanese reissue. All-original artwork, front sleeve and back sleeve, is reproduced, and there's a booklet as well. The set contains not only each one of the Breckers' 1975-1980 Arista releases (The Brecker Bros., Back to Back, Don't Stop the Music, Heavy Metal Be-Bop, Détente, and Straphangin') but the two Blue Montreux releases from 1979 as well. At the time of release, each one of the Brecker titles here (neither Blue Montreux nor Blue Montreux II) was available separately as a digital download.

CD's Included in Box Set:
1) The Brecker Brothers (Arista 1975)
2) Back To Back (Arista 1976)
3) Don't Stop The Music (Arista 1977)
4) Heavy Metal Be-Bop (Arista 1978)
5) Detente (Arista 1980)
6) Straphangin' (Arista 1981)
7) Blue Montreux (Arista 1979)
8) Blue Montreux II (Arista 1979)

Track Listings:

Disc: 1

The Brecker Brothers

  1. Some Skunk Funk
  2. Sponge
  3. A Creature of Many Faces
  4. Twilight
  5. Sneakin' Up Behind You
  6. Rocks
  7. Levitate
  8. Oh My Stars
  9. D.B.B.

Personnel:

    Randy Brecker – trumpet, flugelhorn, vocals on "Oh My Stars"
    Michael Brecker – tenor saxophone
    David Sanborn – alto saxophone
    Don Grolnick – keyboards
    Bob Mann – guitar
    Will Lee – bass, vocals on "Sneakin’ up Behind You"
    Harvey Mason – drums
    Chris Parker – drums on "Sneakin’ up Behind You"
    Ralph MacDonald – percussion

Disc: 2

Back To Back

  1. Keep It Steady (Brecker Bump)
  2. If You Wanna Boogie...Forget It
  3. Lovely Lady
  4. Night Flight
  5. Slick Stuff
  6. Dig a Little Deeper
  7. Grease Piece
  8. What Can a Miracle Do
  9. I Love Wastin' Time with You

Personnel:

    Randy Brecker – trumpet, electric trumpet, flugelhorn
    Michael Brecker – tenor saxophone, flute
    David Sanborn – alto saxophone
    Don Grolnick – keyboards
    Steve Khan – guitar
    Will Lee – bass, lead vocals
    Chris Parker – drums
    Steve Gadd – drums (4, 9)
    Ralph MacDonald – percussion
    Sammy Figueroa – percussion (4)
    Rafael Cruz – percussion (4)
    Lew Del Gatto – baritone saxophone (2)
    David Friedman – marimba (6)
    Dave Whitman – synthesizer programmer
    Patti Austin – background vocals (9)
    Allee Willis – background vocals (9)
    Luther Vandross – vocals, vocals arrangement
    Robin Clark – vocals
    Diane Sumler – vocals

Disc: 3

Don't Stop The Music

  1. Finger Lickin' Good
  2. Funky Sea, Funky Dew
  3. As Long As I've Got Your Love
  4. Squids
  5. Don't Stop The Music
  6. Petals
  7. Tabula Rasa

Personnel:

    Randy Brecker – trumpet, flugelhorn, electric trumpet
    Michael Brecker – tenor saxophone, flute
    Will Lee – bass
    Don Grolnick – keyboards
    Doug Riley – keyboards
    Steve Khan – guitar, 12-string guitar
    Jerry Friedman – guitar (1, 5)
    Sandy Torano – guitar (1, 3)
    Hiram Bullock – guitar (2, 3, 4, 6)
    Chris Parker – drums
    Steve Gadd – drums (4, 6)
    Lenny White – drums (7)
    Ralph MacDonald – percussion
    Sammy Figueroa – congas (7)
    Doug and Beverly Billard – background vocals (3)
    Will Lee, Christine Faith, Robin Clark, Josh Brown – background vocals
    Horn Section
        Lou Marini – alto sax
        Alan Rubin – trumpet
        Randy Brecker – trumpet
        David Taylor – bass trombone
        Barry Rogers – trombone
        Michael Brecker – tenor sax
        Lew Del Gatto – baritone sax
    String Section
        Aaron Rosand, Guy Lumia, Paul Gershman, Harry Lookofsky, Sanford Allen, Ariana Bronne, Harold Kohon, Matthew Raimondi, Peter Dimitriades – violins
        Lamar Alsop, Richard Maximoff, Alfred Brown – violas
        Jesse Levy, Richard Locker – cellos

Disc: 4

Heavy Metal Be-Bop

  1. East River
  2. Inside Out
  3. Some Skunk Funk
  4. Sponge (Live Version)
  5. Funky Sea, Funky Dew (Live Version)
  6. Squids (Live Version)

Personnel:

    Randy Brecker – Trumpet and Keyboards
    Michael Brecker – Tenor Saxophone
    Barry Finnerty – guitars, guitorganiser, background vocals
    Terry Bozzio – drums, background vocals
    Neil Jason – bass, lead vocals
    Sammy Figueroa – percussion
    Rafael Cruz – percussion
    Additional musicians on "East River"
        Kash Monet – handclaps, percussion, backing vocals
        Paul Shaffer – Fender Rhodes
        Victoria – tambourine
        Jeff Schoen – backing vocals
        Roy Herring – backing vocals
        Allan Schwartzberg – drums
        Bob Clearmountain – handclaps

Disc: 5

Detente

  1. You Ga (Ta Give It) - The Brecker Brothers feat. D.J. Rogers & Carl Carlwell
  2. Not Tonight - The Brecker Brothers feat. Carl Carlwell
  3. Don't Get Funny With My Money
  4. Tee'd Off
  5. You Left Something Behind
  6. Squish
  7. Dream Theme
  8. Baffled
  9. I Don't Know Either

Personnel:

    Michael Brecker – tenor saxophone, flute
    Randy Brecker – trumpet, flugelhorn
    Airto Moreira – percussion
    Hiram Bullock – guitar
    Paulinho Da Costa – percussion
    Steve Gadd – drums
    Mark Gray – keyboards
    Don Grolnick – keyboards
    Neil Jason – bass
    Steve Jordan – drums
    Ralph MacDonald – percussion
    Marcus Miller – bass
    Jeff Mironov – guitar
    D.J. Rogers – vocals
    David Spinozza – guitar
    Carl Carlwell – vocals

Disc: 6

Straphangin'

  1. Straphangin'
  2. Threesome
  3. Bathsheba
  4. Jacknife
  5. Why Can't I Be There
  6. Not Ethiopia
  7. Spreadeagle

Personnel:

    Randy Brecker – trumpet, flugelhorn
    Michael Brecker – tenor saxophone
    Barry Finnerty – guitar
    Mark Gray – keyboards
    Marcus Miller – bass
    Richie Morales – drums
    Don Alias – percussion
    Manolo Badrena – percussion

Disc: 7

Blue Montreux

  1. Blue Montreux - Arista All Stars
  2. Rocks - Arista All Stars
  3. I'm Sorry - Arista All Stars
  4. Magic Carpet - Arista All Stars
  5. Buds - Arista All Stars
  6. Floating - Arista All Stars
  7. The Virgin And The Gypsy - Arista All Stars

Personnel:

Guitar – Steve Khan (tracks: 1-6), larry Coryell (tracks: 2)
Tenor Saxophone – Michael Brecker (tracks: 1-3, 5-6)
Trumpet – Randy Brecker (tracks: 1,2,5-7)
Vibraphone, Synthesizer [Oberheim] – Mike Mainieri
Bass – Eddie Gomez (tracks: 1-6)
Bass, Chapman Stick – Tony Levin (tracks: 1-6)
Drums – Steve Jordan (tracks: 1-6)
Piano, Electric Piano [Fender Rhodes], Keyboards – Warren Bernhardt

Disc: 8

Blue Montreux II

  1. Funky Waltz - Arista All Stars
  2. Candles - Arista All Stars
  3. Uptown Ed - Arista All Stars
  4. Love Play - Arista All Stars
  5. Cloud Motion - Arista All Stars

Personnel:

    Acoustic Bass – Eddie Gomez (tracks: A3)
    Drums – Steve Jordan
    Electric Bass – Tony Levin (tracks: A2, B1, B2)
    Electric Bass [Electric Stick] – Tony Levin (tracks: A1)
    Electric Guitar – Steve Khan (tracks: A1, A2, B1, B2)
    Electric Guitar, Soloist – Larry Coryell (tracks: A1)
    Keyboards – Warren Bernhardt (tracks: A2, B1, B2)
    Percussion – Mike Mainieri (tracks: A2)
    Piano – Warren Bernhardt (tracks: A1, A3)
    Saxophone – Michael Brecker (tracks: B2)
    Soprano Saxophone – Michael Brecker (tracks: A2)
    Synthesizer [Mini-moog] – Mike Mainieri (tracks: B1)
    Synthesizer [Synthe-vibe] – Mike Mainieri (tracks: B1)
    Tenor Saxophone – Michael Brecker (tracks: A1, A3)
    Trumpet – Randy Brecker (tracks: A1, B2)
    Vibraphone [Electric] – Mike Mainieri (tracks: A2, A3, B1, B2)

Jimmy Smith, Wes Montgomery - 1966 [1984] "The Dynamic Duo"

Jimmy & Wes: The Dynamic Duo is the first collaboration album by American jazz guitarist Wes Montgomery and electric organist Jimmy Smith, released in 1966.

Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary -- a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound. The romping, aggressive big band charts -- Oliver Nelson at his best -- on "Down by the Riverside" and "Night Train," and the pungently haunting chart for Gary McFarland's "13" (Death March)" still leave plenty of room for the soloists to stretch out. "James and Wes" and "Baby, It's Cold Outside" include drummer Grady Tate and conguero Ray Barretto, with Smith's own feet working the organ pedals. The Verve Master Edition reissue also includes an alternate take of "O.G.D." with Tate and Barretto, a track previously surfacing on a long-gone Encyclopedia of Jazz anthology LP from the '60s -- a neat bonus that makes this the preferred version.

I have been listening to this CD since it came out in 1966. Even though there is a lot of "sweetening" with big band and strings on a lot of this CD, this first cut, "James and Wes" is two giants taking the opportunity to just cook and, buddy, they get right to it! Grady Tate punctuates and acknowledges this glorious blues dialogue. The playing is spontaneous and simple yet highly sophisticated and organized. The comping is magnificent. There is much to get even after many hearings.
This cut could be the epitome of organ/guitar jazz trio blues cuts, certainly a good reason to own this CD.

Two virtuosos on their respective instruments. Jimmy Smith and Wes Montgomery lay down some smoking hot tracks. The combo is tight, and yet there is a chill groove throughout the album. I recommend this album for anyone who likes that Hammond sound or smooth, driving, full phrasing on a guitar. This one won't let you down!

Track listing

    "Down by the Riverside" (Traditional) – 10:02
    "Night Train" (Jimmy Forrest) – 6:46
    "James and Wes" (Jimmy Smith) – 8:13
    "13 (Death March)" (Gary McFarland) – 5:22
    "Baby, It's Cold Outside" (Frank Loesser) – 6:05

Personnel:

Jimmy Smith – Hammond organ
Wes Montgomery – guitar
Grady Tate – drums
Ray Barretto – conga (tracks 3 - 5)

 Tracks 1, 2, 4 add:

Bob Ashton, Danny Bank, Jerry Dodgion, Jerome Richardson, Phil Woods – reeds
Clark Terry – trumpet, flugelhorn
Ernie Royal, Jimmy Maxwell, Joe Newman – trumpet
Jimmy Cleveland, Melba Liston, Quentin Jackson – trombone
Tony Studd – bass trombone (tracks 1-2)
Dick Hixson – bass trombone (track 4)
Richard Davis – bass

Jimmy Smith - 1982 "Off The Top"

The Cuban cigar is described by many aficionados as being the best of its class, the penultimate. Well, analogously, this disc is clearly at the top, albeit, "Off the Top". Further, the band's tempo, range, and tenacity clearly smoke! Smith stretches out on several cuts and reminds me of a revival while the band rhythmically sets the stage. The group's timing is impeccable and clearly demonstrative of the legendary-like status each deserves. This disc, for whatever reason, unfortunately, was not marketed well, so a large audience of the musicians' respective fans are unaware of this gem! Perhaps the spontaneity of the session contributed to that, I'm not sure.

 It was a very, very rare occasion where each musician happened to be in town from either traveling to Kool Jazz Festivals or other gigs. However, I'm not a proponent of chance, so, I believe, very much so, there's a reason these stellar musicians just "happened" to be available at the same time, and only for one day if I recall correctly! Can you imagine that? If you want first-class, top-notch form from each musician individually and collectively, you must have this piece. As well, the reality of it is, this is an historic jazz event to get these all-stars together. Time to go... I have to go get "Off the Top" from my top shelf!

It had been nine years since organist Jimmy Smith recorded for a major label when Bruce Lundvall approached him to make an album for Elektra Musician. Smith plays some unusual material (including Lionel Richie's "Endless Love" and the "Theme from M.A.S.H.") on this recording but swings everything and has a particularly strong supporting cast -- guitarist George Benson, Stanley Turrentine on tenor, bassist Ron Carter and drummer Grady Tate. A fine comeback date.

Five stars for a great jam album. Shining performances all. The notes reveal these men were confronted with adjusting to jet lag, travel fatigue and champagne. They are top artists, each on his respective instrument. The lack of playing through a tune a few times makes those scrambled eggs combine such that all flavors stand out well.but doesn't have the mystery balance, the how'd they do it. The talk by Jimmy Smith, man, he tells it like it is. It would have been nice if these guys could work for a few days connecting before cutting a landmark meeting of giants.

Track listing:

1     Off The Top    
2     Endless Love    
3     Mimosa    
4     I´ll Drink To That    
5     Theme From MASH    
6     Ain´t Missbehavin´    
7     Jimmy Smith Rap    

Personnel:

    Bass – Ron Carter
    Drums – Grady Tate
    Guitar – George Benson
    Organ – Jimmy Smith
    Percussion – Erroll 'Crusher' Bennett* (tracks: 2, 3)
    Saxophone – Stanley Turrentine

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Pat Metheny & Lyle Mays - 1981 "As Falls Wichita, So Falls Wichita Falls"

As Falls Wichita, So Falls Wichita Falls is a collaborative album by Pat Metheny and Lyle Mays, released in 1981. The title makes reference to Wichita, Kansas and Wichita Falls, Texas. The title tune is just under 21 minutes.

It is one of the few albums where Metheny not only acts as both the lead and accompanying guitarist but also the bassist, as each track uses fair amounts of overdubbing. The track "September Fifteenth" is in reference to September 15, 1980, the day the American jazz pianist Bill Evans died. Metheny and Mays cite Evans as a main influence. Both "September Fifteenth" and "It's for You" appear in the score for the 1985 film Fandango. "It's for You" would later be covered by Akiko Yano, with Metheny on guitar, for her 1989 album Welcome Back.

“Guitarist Pat Metheny and his longtime keyboard collaborator/alter ego Lyle Mays saw in their rural American roots a mystical connection to an entire world of sounds, and with As Falls Wichita, So Falls Wichita Falls, they began the process of fashioning an idiomatic folk expression all their own. With the help of master percussionist Nana Vasconcelos, they create a whistlestop tour of musical outposts on the extended title track that is at once gothic and atmospheric in the manner of Weather Report, bucolic and harmonious like the Byrds – with echoes of small towns, strip malls, and lonely rail yards, over expanses of wide-open space that reflect their familial origins and countless miles wandering the interstate on a string of college-town one-nighters. In the four square major modes of ‘Ozark’ and ‘It’s for You’ you can hear the beige tinge of the American experience that melded with African American music to give the U.S. its musical depth and breadth, while ‘September Fifteenth’ is a prayerful, ruminative reflection on the spirit of their romantic forebear, pianist Bill Evans.”

This joint solo effort by Metheny and regular pianist and collaborator Lyle Mays is an impressive outing. In the process of stretching out away from the confines of the quartet setting of prior albums, Metheny and Mays presage the sleeker and more ethereal sound of the band's Geffen years on portions of the title track. And while this side-long number has some dreamy moments, it also bogs down in a trite climax or two; one gets the sense of a jazz fusion and prog rock marriage Metheny luckily never fully explored.

Minor flaws, really, since the piece holds together in spite of the worrisome lapses of taste. The balance of the album is just fine, with the highlight being the Bill Evans remembrance, "September Fifteenth" (the date of Evan's passing, which occurred while the album was being recorded). Metheny and Mays appropriately opt for a serene and slightly elegiac piano and acoustic guitar duet. The set is balanced out by the fleet Americana of "Ozark" and the streamlined swinger "It's for You." Topped off by integral and tasteful percussion by future band regular Nana Vasconcelos, this 1981 Metheny date is certainly a worthwhile disc for fans to seek out.

An specific section of first song (14:56), "As Falls Wichita, So Falls Wichita Falls", is frequently used by Christian Dior for the Fahrenheit perfume and cologne ads since 1988.

The front cover photograph is a reference to the lyrics of the song "Wichita Lineman" by Jimmy Webb.

Track listing

All music is composed by Pat Metheny and Lyle Mays.

1.    "As Falls Wichita, So Falls Wichita Falls"    20:44
2.    "Ozark"    4:03
3.    "September Fifteenth" (dedicated to Bill Evans)    7:45
4.    "'It's for You'"    8:20
5.    "Estupenda Graça"    2:40

Total length:    45:32

Personnel:

    Pat Metheny – electric and acoustic 6- and 12-string guitars, bass guitar
    Lyle Mays – piano, synthesizer, electric organ, autoharp
    Naná Vasconcelos – berimbau, percussion, drums, vocals

Pat Metheny 1983 "Offramp"

Offramp is the third album by the Pat Metheny Group, released in 1982. It won the Grammy Award for Best Jazz Fusion Performance. It contains the popular ballad "Are You Going with Me?".

Offramp is the first studio album on which Metheny used a guitar synthesizer, a Roland GR-300 controlled with a Roland G-303 guitar synthesizer controller. The guitar synthesizer became one of Metheny's most frequently used instruments.

Offramp is also the first Group album to feature vocals, which became a fundamental component of the band's sound. When Metheny and Lyle Mays partnered with Brazilian percussionist Naná Vasconcelos on the album As Falls Wichita, So Falls Wichita Falls, they sought to expand the potential of the recording studio as an ensemble instrument and experiment with sounds they hadn't previously utilized. Some of the innovations introduced on Wichita carried over into Offramp, namely Vasconcelos's vocals and percussion stylings.

Bassist Mark Egan was replaced by Steve Rodby, who remained with the Group well into the 2000s and became an important partner in the compositional and production processes between Metheny and Mays.

The Group pays tribute to one of Metheny's biggest influences, pioneering free jazz instrumentalist Ornette Coleman, on the title track, and singer-songwriter James Taylor served as the inspiration for the sixth track, "James."

Offramp was critically acclaimed and commercially successful at the time of its release. It won the Playboy Readers Poll for Best Jazz Album and the 1982 Grammy Award for Best Jazz Fusion Performance, the Group's first of ten Grammys.

The album continues to be acclaimed by critics and fans of the Group for its compositional maturity, technological progressiveness, especially for the time it was recorded, and for firmly establishing key hallmarks of the Group's overall sound, namely the guitar synthesizer and vocals.

If 1980's As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny's charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics. Throughout the CD, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.

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

Track listing:

All tracks are written by Pat Metheny and Lyle Mays except where noted.

1.    "Barcarole" (Pat Metheny/Lyle Mays/Naná Vasconcelos)    3:17
2.    "Are You Going with Me?"    8:47
3.    "Au Lait"    8:32
1.    "Eighteen" (Metheny/Mays/Vasconcelos)    5:08
2.    "Offramp"    5:59
3.    "James"    6:47
4.    "The Bat Part II"    3:50

Total length:    40:10

Note:

    A composition entitled "The Bat" appeared on Metheny's collaborative jazz album 80/81, in 1980. "The Bat Part II" is a reworking of that song.

Personnel:

    Pat Metheny – electric and acoustic guitar, guitar synthesizer, Synclavier
    Lyle Mays – piano, synthesizers, autoharp, electric organ, Synclavier
    Steve Rodby – electric and acoustic bass
    Danny Gottlieb – drums
    Naná Vasconcelos – percussion, voice, berimbau

Dennis Chambers, Jeff Berlin, Dave Fiuczynski, T Lavitz - 2005 "Boston T Party"

Boston T Party is the collaboration of four celebrated progressive musicians who join forces for a jazz fusion tour de force, brimming with musical virtuosity from every player in the ensemble. Bringing to mind as diverse artists as Weather Report, Zappa and Jeff Beck.

Although the golden age of fusion is now thought of as 1969-1975, give or take a few years, creative fusion is still very much with us, if a bit underground. Keyboardist T Lavitz heads an all-star quartet and composed most of the material heard here, music that is full of intensity, fire, constant interplay between the players, and passion. Although there are some brilliant solos, the main significance to this music is how the four musicians all fit together and form exciting ensembles. Mixing together jazz improvising with the sound, rhythms, and power of rock, Boston T Party should delight fusion fans.

Wow! What an incredible band! This is some of the best and most interesting fusion work I have heard in years. A band of pros. T Lavitz (ex-Dixie Dregs)and Jeff Berlin (ex-Bruford etc.) have joined forces with an amazing guitarist and the world's greatest drummer to revive the true fusion experience. I saw Jeff play in Clearwater with his three piece jazz group at an art gallery about 2 years ago. Only about 50 people in attendace! I sat on a folding chair only a few feet away from him watching him play and I was blown away. I only wished he was playing the music I've always loved so much - jazz/rock fusion! Not that the jazz was bad, it was great! But I have been a big fan of his especially from the old Bruford Band days. So it was quite surprising (and exciting) to me to hear him back playing this style of music. Not only that, he is working with Dennis Chambers, the most amazing drummer on the planet! Dennis is constantly working with a numerous musicians (Mike Stern, Santana, etc.) doing sessions as well as performing with bands like Niacin (By the way, Niacin will be performing at Nearfest 06!) featuring Billy Sheehan and John Novello. This is also one of the best T Lavitz performances on record! I just can't say enough good things about this band. I highly recommend this CD to anyone who is into playing and also to fans of jazz/rock fusion.

What a great disc. A great lineup delivers. The sounds of classic fusion. From start to finish, great tunes. The disc ends on a burning note, Foxy Morons is a kick ass tune to finish this great piece of music. Hopefully more of this to come in the future from Jeff Berlin and crew.

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

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

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

Track listing:

01     D'funk'd     6:25
02     (Great ) Ball Of Issues     5:39
03     Around About Way     6:41
04     I Hate The Blues...(But Here's One Anyway)     5:56
05     All Thought Out     6:46
06     Emotional Squalor     8:26
07     Deff 184     1:46
08     Last Trane     3:10
09     Constant Comment     7:46
10     Foxy Morons     6:38

Personnel:

    Drums – Dennis Chambers
    Bass – Jeff Berlin
    Guitar – David Fiuczynski
    Keyboards – T. Lavitz
 

Jeff Berlin - 1998 "Crossroads"

To most listeners, Jeff Berlin is utterly unknown as a musician and composer; to progressive rock enthusiasts, however, Berlin is a god, ranked alongside Jaco Pastorious and Victor Wooten as one of the most exciting virtuoso bassists ever. Crossroads compiles his first two albums, Pump It! and Champion, into a single-disc "greatest hits" of sorts, although neither album had much impact beyond jazz-rock circles. Splashy keyboards and '80s slickness date the recordings considerably, but the new track order plays well, with Buddy Miles, Neil Peart, Ronnie Montrose, and Neal Schon being a few of the musicians contributing master chops. The set also features the first recordings of guitarist extraordinaire Scott Henderson and presents Berlin, surprisingly, in more of a supporting than a starring role, although "Manos De Piedra," "Dixie," and the incredibly melodic "Bach" show off some of his fantastic virtuosic soloing.

Jeff Berlin writes in the liner notes about Crossroads, “Back in the ’70s, fusion was hot. I had the good fortune to be in the middle of this era when it was at its peak, and I also had the great honor of playing with its most famous alumni. By recording and touring with these highly respected players, my reputation as a bass player spread and ultimately led to his being signed as a solo artist. “Champion” and “Pump It!” were the first two results of that signing; this CD includes most of the tunes from those records. Scott Henderson, Neal Schon, Frank Gambale and Paul Gilbert each contributed stunning guitar work, “Champion” being Henderson’s first recording session, and “Pump It!” being Gambale’s first session as well. All in all, these tunes capture the attitude and feeling I had about music over ten years ago. There’s some really exciting historical and musical elements going on here.”

Jeff Berlin has been one of my all time favorites for years. I first discovered his work in '85 with the release of Champion. The guest list on this album is an amazing one with the talents of Neal Schon and Steve Smith (Journey), T. Lavitz (The Dregs and solo), and Scott Henderson on most of the guitar tracks. Jeffs second offering was the '87 album entitled Pump It. This equally impressive release features the incredible Frank Gambale on all of the guitar tracks along with Paul Gilbert (Mr. Big and Racer X), Tris Imboden on drums and Buddy Miles singing an inspiring rendition of Crossroads. The album that you are contemplating purchasing is a compilation of those two solo projects that were originally released on the Passport Jazz label and are currently out of print. The only deleted track is the title song from the first album. Highlights on this CD will be Jeffs' bass solo on 20,000 Prayers and Frank Gambales guitar on Freight Train Shuffle. Enjoy!

 Track listing:

01     Crossroads    
02     Bach    
03     Joe Frazier (Part II)    
04     Motherlode    
05     Subway Music    
06     Marabi    
07     All The Greats    
08     Pump It!    
09     Dixie    
10     What I Know Now    
11     Freight Train Shuffle    
12     Three Nighter    
13     20,000 Prayers    
14     Manos De Piedra

Personnel:

Bass – Jeff Berlin
Drums – Steve Smith
Guitar – Scott Henderson
Keyboards – T. ... Lavitz
Rhythm Guitar – Scott Henderson
Vocals – Keith England

Jeff Porcaro Tom-Tom
Jeffrey Weber Vocals (Background), Producer
Ron Reinhardt Keyboards
Bryan Rutter Vocals (Background)
Jeff Berlin Bass, Main Performer
Brad Dutz Percussion
Paul Gilbert Guitar
Clare Fischer Keyboards
Chris Hughes Vocals (Background)
Tris Imboden Drums
Buddy Miles Vocals
Frank Gambale Guitar

Trilok Gurtu - 1993 "Crazy Saints"

Percussionist Trilok Gurtu comes from a long line of respected Indian classical musicians, but he's best known for his genre-blending fusions of world music and jazz. Crazy Saints is one of his most complex and challenging releases to date, enlisting the aid of jazz legends like guitarist Pat Metheny and Joe Zawinul to create a thoroughly modern sound that moves from razor sharp ensemble work to dizzying solos. The most effective songs are those that mine Gurtu's myriad world music influences, including "Manini" and "Blessing in Disguise," both of which are blessed with the haunting vocal ululations of Indian music legend Shobha Gurtu, the drummer's mother. The genteel balladry of "Ballad for 2 Musicians" and the excessive ambient noodling of "The Other Tune" may tax the patience of those with a lower tolerance for modern jazz wankery. But ultimately songs like the title track, which marries blistering beats in quirky time signatures with heavenly vocals and dazzling instrumental interplay, make the album a fine foray into jazz/world fusion.

Rhythm Maestro Trilok Gurtu,Brings us another fine release from his CMP dates.Bringing in Jazz Guitarist Pat Metheny who makes the hair in your neck bop the blues,French Clarinet Cultivater Louis Sclavis,whose distinctive approach towards the clarinet can be clearly heard on "Thillana"(Highly Recommended Track) with another Frenchman Daniel Gayone,giving funkified jazz riffs that dwells on indian raaga on Thillana As well as on other tracks,There are 2 songs here which are higlights from a Famous Jazz Festival where Joe Zawinul brings in his vision to trilok gurtu's every so wonderfull dancing drums!. Truely a fine release,and one of trilok's best releases so far! ,but this cd could be,what the peers describes as "Slow Poison",meaning it takes sometime for you to get the hang of it,once you do..you'll never let it go!

Track listing:

1     Manini     7:06
2     Tillana     4:12
3     Ballad For 2 Musicians     6:08
4     The Other Tune     7:39
5     Blessing In Disguise     9:26
6     Crazy Saints     8:19
7     No Discrimination     3:38

Personnel:

    Drums, Tabla, Voice, Dhol [Dol], Kanjira, Percussion – Trilok Gurtu
    Bass – Marc Bertaux (tracks: 1, 6)
    Bass Clarinet – Louis Sclavis (tracks: 2, 5)
    Cello – Ernst Reijseger (tracks: 2, 5)
    Clarinet – Louis Sclavis (tracks: 2)
    Guitar – Pat Metheny (tracks: 1)
    Guitar Synthesizer – Pat Metheny (tracks: 6)
    Keyboards – Daniel Goyone (tracks: 1, 6)
    Keyboards, Pedalboard [Keyboard Bass] – Joe Zawinul (tracks: 3, 4)
    Piano – Daniel Goyone (tracks: 1, 2, 5, 6, 7), Joe Zawinul (tracks: 3)
    Saxophone – Louis Sclavis (tracks: 7)
    Vocoder – Joe Zawinul (tracks: 4)
    Voice – Shobha Gurtu (tracks: 1, 5, 6)