Weather Report - 1980 [1992] Night Passage

 

Night Passage is the ninth studio album by Weather Report, released in 1980. The tracks were recorded on July 12 and 13, 1980 at The Complex studios in Los Angeles (before a crowd of 250 people who can be heard on a couple of tracks), except for "Madagascar", recorded live at the Festival Hall, Osaka, Japan on June 29 of the same year.

The album introduces a new member to the band, namely percussionist Robert Thomas Jr. Night Passage loses the over-done production layers of some of Weather Report's earlier releases (most notably 1978's Mr. Gone). What is lost in layers of overdubs is made up in solo improvisation in the classic jazz tradition.

All things being relative, this is Weather Report's straightahead album, where the elaborate production layers of the late-'70s gave way to sparer textures and more unadorned solo improvisation in the jazz tradition, electric instruments and all. The flaw of this album is the shortage of really memorable compositions; it is more of a vehicle for the virtuosic feats of what is considered by some to be the classic WR lineup -- Joe Zawinul, Wayne Shorter, Jaco Pastorius, Robert Thomas, Jr. and Peter Erskine. For Erskine, this is is first full studio album and he amply demonstrates his terrific sense of forward drive unique among the other superb drummers in WR annals. "Port of Entry" is a tour de force for Jaco, who knocks off several of those unbelievably slippery, pointed runs that have made him a posthumous legend. There is also a tremendously fun retro trip to Duke Ellington's "Rockin' in Rhythm," everybody swinging their heads and hands off.

The music for Night Passage was honed during the tours of 1979-1980, following the release of 8:30. Whereas 8:30 relied largely on the music of the past, on the ’79-’80 tours the Pastorius-Erskine-Thomas edition of Weather Report developed its own unique identity independent of earlier work. Perhaps Jon Pareles captured the difference best in his article in Musician Player & Listener describing Weather Report’s New York concert in early 1980

Track listing:

1.    "Night Passage"    Joe Zawinul    6:30
2.    "Dream Clock"    Zawinul    6:26
3.    "Port of Entry"    Shorter    5:09
4.    "Forlorn"    Zawinul    3:55
5.    "Rockin' in Rhythm"    Duke Ellington, Irving Mills, Harry Carney    3:02
6.    "Fast City"    Zawinul    6:17
7.    "Three Views of a Secret"    Pastorius    5:50
8.    "Madagascar"    Zawinul    10:56

Personnel:

    Josef Zawinul – keyboards and synthesizers
    Wayne Shorter – saxophones
    Jaco Pastorius – fretless bass
    Peter Erskine – drums
    Robert Thomas Jr. – percussion

Stevie Ray Vaughan and Double Trouble - 1983 "Texas Flood"

 

Texas Flood is the debut studio album by the American blues rock band Stevie Ray Vaughan and Double Trouble, released on June 13, 1983 by Epic Records. The album was named after a cover featured on the album, "Texas Flood", which was first recorded by blues singer Larry Davis in 1958. Produced by the band and recording engineer Richard Mullen, Texas Flood was recorded in the space of three days at Jackson Browne's personal recording studio in Los Angeles. Vaughan wrote six of the album's ten tracks.

Two singles, "Love Struck Baby" and "Pride and Joy", were released from the album. A music video was made for "Love Struck Baby" and received regular rotation on MTV in 1983. Texas Flood was reissued in 1999 with five bonus tracks including an interview segment, studio outtake, and three live tracks recorded on September 23, 1983 at The Palace in Hollywood, California. The album was reissued again in 2013, with two CDs in celebration of the album's 30th anniversary. Disc 1 is the original album with one bonus track, "Tin Pan Alley". Disc 2 is selections from a previously unreleased concert recorded at Ripley's Music Hall in Philadelphia, Pennsylvania on October 20, 1983, originally recorded for the King Biscuit Flower Hour radio program.

Texas Flood received positive reviews, with critics praising the deep blues sound, and Vaughan’s songwriting, while some criticized the album for straying too far from mainstream rock. A retrospective review by AllMusic awarded it five out of five stars.

Vaughan and Double Trouble had performed at the Montreux Jazz Festival in July 1982 and caught the attention of musician Jackson Browne. He offered the band three days of free use in his Los Angeles recording studio. During Thanksgiving weekend, they accepted Browne's offer and recorded a demo. It was heard by record producer John H. Hammond, who had discovered artists such as Aretha Franklin, Bob Dylan, and Bruce Springsteen among many others. He presented the demo to Greg Geller, head of A&R at Epic Records, and arranged a recording contract.

It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, "Love Struck Baby" and "Pride and Joy," then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's "Tell Me," before building to the climax of "Dirty Pool" and "I'm Crying." Vaughan caps the entire thing with "Lenny," a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present.

Track listing:

Love Struck Baby    2:19
Pride And Joy    3:39
Texas Flood    5:21
Tell Me    2:48
Testify    3:20
Rude Mood    4:40
Mary Had A Little Lamb    2:47
Dirty Pool    5:03
I'm Cryin'    3:43
Lenny    4:59

Personnel:

    Stevie Ray Vaughan – guitar, vocals
    Tommy Shannon – bass
    Chris Layton – drums

Greg Howe - 2017 "Wheelhouse"

 

Greg Howe Goes Back to His Roots for Blistering New Album

Described as his most personal work to date, Greg Howe's new album, Wheelhouse—which will be released on September 1— marks the guitar legend’s highly-anticipated return to solo instrumental work.

Tracks like “Tempest Pulse” and “Throw Down” showcase Howe’s infectious tone and fretboard wizardry while eclectic tracks like “2 In 1” combine a funk-infused vibe with Forties swing. But perhaps one of the biggest highlights on Wheelhouse; and one that long-time followers of Howe’s career will certainly find appealing, is the track, “Shady Lane”.

A song originally written by Howe and his brother back in the early Nineties, on Wheelhouse, "Shady Lane" is given a 21st century spin with an emotionally charged vocal performance by Richie Kotzen (Winery Dogs, Mr. Big). Kotzen also complements his fellow Shrapnel alumni by contributing a blistering guitar solo to the track as well.

Wheelhouse is an album that will once again raise the bar for guitarists, and a fitting return for one of the genre's most dynamically diverse artists.

Track Listing:

1. Tempest Pulse
2. 2 in 1
3. Throw Down
4. Landslide
5. Key to open
6. Push on
7. Let it slip
8. I Wonder
9. Shady Lane (Feat. Richie Kotzen)

Personnel:

    Greg Howe – guitar
    Rochon Westmoreland – bass (track 1, 3, 6, 7, 8)
    Pepe Jimenez – drums (track 1, 3, 6, 7, 8)
    Jon Reshard – bass (track 4)
    Kevin Vecchione – bass (track 2, 9)
    Gianluca Palmieri – drums (track 2, 9)
    Richie Kotzen – guitar vocals (track 9)
    Ronnie Foster – keyboard (track 2)

Steve Gadd - 2018 "Steve Gadd Band"

 

This tasty set is the fourth from the airtight Steve Gadd Band. Atop Gadd’s distinctly supple sense of groove, we hear master pianist Kevin Hays (in for Larry Goldings) playing lots of earthy Rhodes with just the right touch—and singing on “Spring Song.” Michael Landau provides rhythmic snap and bluesy bite on guitar. Trumpeter Walt Fowler brings melodic focus with an unhurried, crystalline tone. Longtime Allan Holdsworth bassist Jimmy Johnson stays straightforward and in the pocket while hugging every compositional curve, not least on Holdsworth’s composition “Temporary Fault.”

The album opens with “I Know, But Tell Me Again,” a tune with a cheerful, delicious groove and feel, and a certain amount of funk. It is approximately two minutes into this track that we get a drum and percussion solo. It’s brief, but good, just a taste of what he does, for this album doesn’t really contain any extended soloing from Gadd. This is one of the tracks to feature Duke Gadd on percussion. “I Know, But Tell Me Again” was written by Jimmy Johnson and Steve Gadd. That’s followed by “Auckland By Numbers,” a sly, mellower number that kind of sneaks in, slinking around the room and catching you in its spell. There is a cool vibe to this one, and it features some seriously good work on guitar. I guess that shouldn’t be any surprise, since it was composed by guitarist Michael Landau. I also like the work on horn, which feels like a voice rising from the mist.

On “Where’s Earth?” a great, funky groove is established immediately. This is another of the tracks to feature Duke Gadd, this time on acoustic guitar. He also co-wrote the track with Kevin Hays and Michael Landau. This one takes us on an interesting journey outward, all the while that fantastic groove continues beneath, keeping us somewhat grounded. That groove helps answer the song title’s question, a question many of us may be asking ourselves these days. Or maybe what we ask is, Where is the Earth that we knew? This track features some good work on keys. Then “Foameopathy” eases in with a strange but soothing introduction, relaxing us. So it comes as something of a surprise when the tune takes a turn, the band creating another great groove, featuring some excellent work by Steve on drums. The horn and keys at times work somewhat in contrast to that groove. Then, a couple of minutes into the track, everything seems to come together, and the track takes on a rather bright sound. Soon we are back to that groove, and Steve’s work on drums is really the focus. His playing makes this one of my personal favorite tracks, but there is also some excellent work on guitar. As this track reaches its conclusion, it returns us to the beginning. This one was written by Steve Gadd, Walt Fowler and Larry Goldings. That’s followed by “Skulk,” a track composed by Larry Goldings and Steve Gadd. “Skulk” is a word I don’t hear all that often, which is a shame, for it’s a great word. It usually makes me think of that scene from Four Weddings And A Funeral, when Andie MacDowell says she could skulk around a bit if skulking were required. Anyway, this one has kind of a fun vibe and a catchy rhythm, and features more good work on guitar. But for me it is that keyboard part that is really the delight here. And I like that section just before the end when everything slows a bit. Then “Norma’s Girl” is a mellower number. It has a romantic side, and also an introspective side, and features some pretty work by Walt Fowler. “Norma’s Girl” was written by Jimmy Johnson.

“Rat Race” is another fun, funky, playful number, this one written by Michael Landau and Duke Gadd. Duke Gadd plays percussion on this one. That bass line stands out for me, but everything is working really well. People talk about getting stuck in the rat race, but I wouldn’t mind being caught in this groove, just remaining in it for quite a while. There are so many delightful touches, moments that make you smile, if not laugh outright. That’s followed by “One Point Five,” the disc’s final track to feature the work of Duke Gadd on percussion. There is something catchy about this track’s groove as well, with something of a Latin feel, and then just as you’re getting caught in it, the tune goes in a different direction, and ends up getting even better. This track features some nice work on keys, and a cool drums and percussion section. The track fades out on that wonderful percussion section. The group then delivers a good rendition of “Temporary Fault,” the album’s only cover, written by Allan Holdsworth, and originally included on his 1982 LP I.O.U. They then relax into a classic, soulful groove with “Spring Song,” this one written by Kevin Hays, and also featuring him on vocals. It is the album’s only track to include vocals, and it opens with these lines: “In our life and time there will be sorrow/No reason or rhyme as the days come and go.” Well, that sounds just about right.  Yet this track makes me feel good. That guitar lead is one of my favorite parts, but this entire track is wonderful. “We all want to win, but winning’s not the answer.” The album then concludes with “Timpanogos,” a tune with a sweet vibe, and containing some surprising moments. This one was composed by Walt Fowler, and it gives each musician a chance to shine.

Track listing:

01 I Know, But Tell Me Again - (Jimmy Johnson, Steve Gadd) 4:51
02 Auckland By Numbers - (Michael Landau) 5:20
03 Where's Earth? - (Duke Gadd, Kevin Hays, Michael Landau) 4:15
04 Foameopathy - (Larry Goldings, Steve Gadd, Walt Fowler) 6:37
05 Skulk - (Larry Goldings, Steve Gadd) 4:50
06 Norma's Girl - (Jimmy Johnson) 5:08
07 Rat Race - (Duke Gadd, Michael Landau) 6:35
08 One Point Five - (Jimmy Johnson) 4:13
09 Temporary Fault - (Allan Holdsworth) 3:42
10 Spring Song - (Kevin Hays) 4:54
11 Timpanogos - (Walt Fowler) 5:35

Personnel:

    Acoustic Guitar – Duke Gadd (tracks: 3)
    Bass – Jimmy Johnson
    Drums – Steve Gadd
    Guitar [Guitars] – Michael Landau
    Keyboards, Vocals – Kevin Hays
    Percussion – Duke Gadd (tracks: 1, 7, 8)
    Trumpet, Flugelhorn – Walt Fowler