Frank Zappa - 1972 [1988] "Waka-Jawaka"

Waka/Jawaka (also known as Waka/Jawaka — Hot Rats) is the fourth solo album by Frank Zappa, released in July 1972. The album is the jazz-influenced precursor to The Grand Wazoo (November 1972), and as the front cover indicates, a sequel of sorts to 1969's Hot Rats. According to Zappa, the title "is something that showed up on a ouija board at one time.

"Big Swifty" is a jazz-fusion tune, similar to many of Zappa's pieces from the jazz period of his com-positional timeline. It features many horns to achieve a thick brassy sound as well as room for improvisation and use of multiple time signatures. The tune initially alternates between 7/8 and 3/4 time signatures, soon settling on a 4/4 swing feel for several extended solos. Known recorded live versions expanded rhythmic diversification to 11/8 and rubato parts (e.g. live in Texas, 1973).

The track "It Just Might Be a One-Shot Deal" is a strange tale of hallucinations sung by Sal Marquez and Janet Ferguson (the "tough-minded" groupie in 200 Motels). Jeff Simmons' Hawaiian guitar sets up a dream-like, smooth quality, but with the words but you should be diggin' it while it's happening cause it just might be a one-shot deal, though played in real time rather than achieved with a splice, it again sounds as if the music has started to run backwards.

Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "With Sal Marquez playing 'many trumpets' all over 'Big Swifty,' there are times you could drop the needle and think you were listening to recent Miles Davis. That's certainly what Zappa's been doing. But where Davis is occasionally too loose, Zappa's always too tight—he seems to perceive only what is weird and alienating in his influences, never what is humane. Also, Sal Marquez doesn't play trumpet(s) as good as Miles.

When Frank Zappa found himself stuck in a wheelchair for most of the year 1972 (after a "fan" pushed him off the stage in December of the previous year), he relieved his band (including singers Flo & Eddie) of its duties and turned to studio work. One of the first things he tried was to write jazz fusion music scored for wider instrumentation than an average rock band. Waka/Jawaka was conceived in parallel to The Grand Wazoo, but with fewer players. The album, released in July 1972, is comprised of two extended instrumental pieces and two shorter songs. "Big Swifty," a theme-and-solos showcase, would become a live favorite, but the highlight came in the form of the orgiastic title track, recorded with ex-Mothers of Invention keyboardist Don Preston, trumpeter Sal Marquez, trombonists Bill Byers and Ken Shroyer, saxophonist Mike Altschul, bassist Erroneous, and drummer Aynsley Dunbar. The songs, never performed live, feel like filler material. Waka/Jawaka was Zappa's second solo album and is occasionally referred to as "Hot Rats II" (the handles of the faucets on the cover artwork show the words "hot" and "rats" instead of "hot" and "cold"). His writing and recording technique had matured a lot in very little time. The dirty blues jamming of the 1969 LP was replaced by clean, crisp jazz improvisations -- no need to say this was also an abrupt change in style from the Mothers' 1969-1971 incarnation. But this album was only transitional: Zappa's big-band stylings would really flourish in The Grand Wazoo a few months later.

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

Track listing

All songs written, composed and arranged by Frank Zappa.

1.    "Big Swifty"    17:22
2.    "Your Mouth"    3:12
3.    "It Just Might Be a One-Shot Deal"    4:16
4.    "Waka/Jawaka"    11:18

Personnel:

    Frank Zappa – guitar (all tracks, including acoustic guitar on track 3), percussion (1), electric bed springs (3), uncredited vocals (3)
    Sal Marquez – trumpets (all tracks), vocals (2, 3, 4), chimes (1, 4), flugelhorn (4)
    Erroneous (Alex Dmochowski) – electric bass (all tracks), vocals (3), fuzz bass (4)
    Aynsley Dunbar – drums (all tracks), washboard (3), tambourine (3)
    Tony Duran – slide guitar (1, 2, 3), vocals (3)
    George Duke – ring-modulated & echoplexed electric piano (1), tack piano (2)
    Mike Altschul – baritone saxophone (2, 4), piccolo (2, 4), bass flute (4), bass clarinet (4), tenor sax (4)
    Kris Peterson – vocals (2, 4)
    Joel Peskin – tenor sax (2)
    Jeff Simmons – Hawaiian guitar (3), vocals (3)
    Sneaky Pete Kleinow – pedal steel guitar solo (3)
    Janet Ferguson – vocals (3)
    Don Preston – piano (4), Minimoog (4)
    Billy Byers – trombone (4), baritone horn (4)
    Ken Shroyer – trombone (4), baritone horn (4)

Adam Nitti - 2001 "Evidence"

Adam Nitti's 3rd album release. High energy instrumental music. Futuristic fusion of jazz, funk, and rock with lots of variety. Appealing to both music listeners and players, alike. Features Dave Weckl (drums), Jeff Sipe (drums), Tom Knight (drums), Forrest Robinson (drums), Dwayne Holloway (drums), Shane Theriot (guitars), Bill Hart (guitars), Steve Cunningham (guitars), J Nitti (programming), DeSean (vocals), Colette C.C. Coward (keys), Randy Hoexter (keys), Ike Stubblefield (Hammond B3), Phil Davis (keys).

Adam Nitti's third solo cd Evidence, has him showing a continual growth as a composer, this cd has some excellent fusion material from the start to finish. If you are not aware of who Adam Nitti is, he is a phenomenally gifted bassist, that has adapted his style from some other well known heavy hitters on the bass, here are some he mentions at his website: John Patitucci, Marcus Miller, Dominique di Piazza, John McLaughlin, Jaco Pastorius, Gary Willis, Me'Shell Ndegéocello, Oteil Burbridge, Les Claypool. I would certainly add to this list the likes of Alain Caron, & Stu Hamm, purely for their virtuosity on the bass. Adam surely is one of the exceptionally gifted players that I have heard, and he also has a knack for writing the type of songs that showcase his abilities at their utmost potential, without sounding like a bass players cd. Not one to dwell in the predictability of funk, or the garden varieties of bass dominated fusion cliches, Nitti takes full advantage of the impressive collective of talent he enlists to join him for Evidence. His songs are very catchy, yet have a constant complexity that goes beyond fusion, the word progressive would have to be considered a large element to his overall sound. There are a couple of songs that are straight ahead funk jams, with some great soloing by guitarist Theriot, and it's back to the hard fusion again! The proficiency of Nitti's bass skills are outstanding, he flows through the many demanding styles and meter changes with great command of his instrument, when he does take a solo spot, his tone and flawless technique really impress. To conclude, this cd is very enjoyable to most anyone that likes great music of any kind, especially hard fusion, there are no loosely constructed, improv tunes, or overly played solo spots. Also I wanted to make a special mention of the recording quality of this cd, hearing this at mid volumes on my system really brought me to full attention, crisp, and punchy, with every instrument recorded evenly and at the optimum level, I could only wish all my music was this well produced and engineered.

Never heard of the guy, but accidentally was pointed to him on one of the sites and boy what a find. You could hear elements of Weather Report at times, Uzeb at other times, both extremely welcome, although certainly with his own music. His bass playing is superb, but so are other people, most notably the drummer (super drummer, I should add). If you like jazz rock or fusion - this CD will not leave you with buyers' remorse, quite the contrary. Hopefully Adam will continue in the same direction, since there are so few these days that truly address this genre of music.

In searching for new unique music a few years ago I discovered Adam Nitti at an MP3 site. He is a bass player of incredible ability but he adds to that the ability to compose music that is so creative, so high energy (great for workouts) without the discordance of fusion (or at least it's tastefully done) and so beautiful and captivating it makes the heart swell. He is the Beethoven of jazz/fusion and I love Beethoven. His first CD Liquid Blue isn't listed here but is definitely a must have. My only disappoints are that I haven't found anyone like him since and he hasn't come out with a new cd in quite a while.

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

Track listing:

01     Millenium     5:45
02     Nine-Eleven     5:57
03     Truth     5:39
04     Evidence     5:40
05     Oasis     7:24
06     The Divine Wind     6:31
07     Puddin'     5:32
08     On Wings Like Eagles     6:15
09     Swamp Diddy     6:10
10     Broken, Pt. 1     2:53
11     Broken, Pt. 2     8:14

Personnel:

Adam Nitti - Basses
Shane Theriot - Guitar-1,2,4,5,6,7,8,9
Jeff Snipe - Apt Q258 - Drums-5,7,9
Dave Weckl - Drums-2,6
Ike Stubblefield - Hammond B-3-7,8
Bill Hart - Guitar-11
Randy Hoexter - Keyboards-6,9
Dwayne Holliday - Drums-3,4
Tom Knight - Drums-1
Forrest Robinson - Drums-11
Sam Skelton - Sax, flute-2,5,6,
Phil Davis - Keyboards-4,7
Colette Coward - Piano-11
Desean - Vocals-3
Steve Cunningham - Lap Steel Guitar-3

Trilok Gurtu - 1988 [2001] "Usfret"

Don Cherry, Jonas Hellborg, Ralph Towner and others together with Trilok Gurtu -- what an incredible mix! Shobha Gurtu adds the soul. Shobharock reaches those rare lofty realms of musical heaven that many other musicians in the genre strive for but don't quite attain. One of my favorite East meets West musicians...Trilok doesn't disappoint here. He always introduces me to something new. He's not only an amazing percussionist, he's an amazing musician.

Seriously, what a masterpiece this one is. Released wayback in 1987, this album still rocks. The lovely alaps(vocals), the unbeatable beats, the mesmerising compositions... aaah.. its simply too good. Featuring Shobha Gurtu (Trilok's mom), Don Cherry, Ralph Towner, Shankar, Daniel Goyne and more... this album is 'percussion music' redefined. This one happens to be Gurtu's first solo album, which apparently was way ahead of its time.

The album begins with Shobharock and by the end of this 7 1/2 min track, you get to know whats in store for you ahead. Phenomenal compositions that leave you breathless and moreover all the tracks are placed in an order, that lets you take a breather (or) two.

All in all, Usfret, a landmark album in itself, proved to be an inspiration to so many, that we can still see its poor imitations.

A must buy for all you music lovers. Welcome to the land of percussion music (where Trilok Gurtu rules the roost).

This is actually the album claimed to be the biggest influence to musicians at the London clubscene, such as; Asian dub foundation, Nitin sawhney and Talvin Singh.
Usfret has reasently been recognized as the first "drum and bass" album - ever made (in 1988!)- that's what I call ahead of his time.

Trilok Gurtu has been rewarded several times; Downbeats readers poll - 7 years (worlds greatest percussionist). BBC worldmusic award, Carlton television ect.
And where ever you go in musical invironments, you will hear people talk about Trilok with awe.
If your standards are high, and you only accept the best contemporary music; BUY THIS ALBUM!!! (it's already a classic)
The album is featuring Shobba Gurtu (mom), Ralf Towner, Don Cherry, Lars Danielson, Shankar ect.

Track listing:

1     Shobharock     7:35
2     Shangri La/Usfret     13:00
3     Om     7:09
4     Deep Tri     7:02
5     Goose Bumps     4:22
6     Milo     4:15
7     Inner Voice     1:40

Personnel:

    Acoustic Guitar, Keyboards – Ralph Towner (tracks: 5)
    Arranged By – Trilok Gurtu (tracks: 3, 4)
    Bass – Jonas Hellborg (tracks: 1, 4)
    Percussion, Drums, Tabla, Congas, Voice – Trilok Gurtu
    Piano, Keyboards – Daniel Goyone
    Tambura – Walter Quintus (tracks: 3)
    Trumpet – Don Cherry
    Violin – Shankar
    Voice – Shobha Gurtu
    Written-By – Traditional (tracks: 3, 4), Trilok Gurtu (tracks: 1, 2, 5, 6), Walter Quintus (tracks: 2)

Allan Holdsworth - 2017 "The Man Who Changed Guitar Forever" [12 CD Box]

The Man Who Changed Guitar Forever! The Allan Holdsworth Album Collection is a box set by the English jazz fusion guitarist Allan Holdsworth. It was released by Manifesto Records on 7 April 2017.

The 12-CD collection contains remastered versions of 11 studio albums and a live album, along with a 40-page booklet by Christopher Hoard. In one of his last interviews, Holdsworth spoke to DownBeat magazine and explained that the title of the collection was not his idea, but also added that he was very pleased with the quality of the remastered tracks by Manifesto Records.

Twelve CD box set collection featuring all of Allan Holdsworth's solo albums from 1982-2003. That title is no hyperbole-it was a proclamation that ran on the cover of Guitar Player Magazine in 2008, and is a feeling shared by fans and guitarists all around the world. Still, though, Holdsworth remains largely under-rated; many who admire his most famous work have overlooked dozens of fascinating finds to be made on his decades of recordings. This collection is a treasure trove of such discoveries, as it brings you all 11 of his albums as a solo artist, producer and group leader since 1980 plus the live-in-Tokyo album Then! And a 40-page booklet full of liner notes and archival photos. You also get previously unreleased bonus tracks, and all these albums have been newly remastered from the original tapes: I.O.U. (1982), Road Games (1983), Metal Fatigue (1985), Atavachron (1986), Sand (1987), Secrets (1989), Wardenclyffe Tower (1992), Hard Hat Area (1993), None Too Soon (1996), The Sixteen Men Of Tain (2000), Flat Tire (2001) and Then! (2003). These albums, many of which have been out of print and very hard to find for years, include one intriguing composition, ethereal track, dazzling fusion rocker and daredevil guitar passage after another.

Allan Holdsworth was a true innovator, an absolute genius. His death has left a big hole which no one can fill. If you know a thing or two about harmony and rhythm, you know that he is untouchable. His loss is profound and it may be decades before one is able to catch up with his process. He was touched. He invented and spoke his own language. His influence is great among the gods of guitar, but take the instrument out of the equation and consider the notes that he chose. Long live Allan: the most spectacular guitarist/improviser probably ever! I've had these albums for years, but the fact that they are all being offered up in a box (his "life's work", as he said) is wonderful. The remasters sound remarkable! i.o.u., Atavachron and Sand greatly benefit from the tweaking!

Allan Holdsworth's music is, at the very least, - at the very least! - a must-listen for any serious student of that art form. far beyond that, though: for me, and many others, his music represents the very pinnacle of human achievement. holdsworth literally invented his own system, his own vocabulary, of music - john mclaughlin famously said "if i could figure out what he's doing, i'd steal every bit of it, but i can't figure it out." his technical facility was unmatched, but always applied musically, melodically - he never fell into the trap of technique for its own sake. there is deep and strange beauty in everything he wrote... he also never fell into the trap of commerciality; he was absolutely committed to the highest standards of artistic integrity, even though it cost him material wealth - he never compromised. the box set here in question is simply worth any amount of money, for what price can one put on the greatest art ever created?

If you think that title of this 12-disc boxed set rounding up the solo albums from 1982 – 2003 is mere hyperbole then you’d be wrong. With players as diverse as Eddie Van Halen, Carlos Santana, Frank Zappa, Pat Metheny, John McLaughlin, Joe Satriani and Tom Morello speaking his name in reverential tones, Bradford-born Holdsworth is truly special. While the spiralling escape velocity of his runs is breathtaking, the real mind-blowing quality to his work that has the luminaries of the guitar world picking up their jaws from the floor isn’t his speed but the harmonic construction within Holdsworth’s soloing and compositions. His dextrous command remains innovative with most left sprawled in his wake trying to figure out what just happened.

While progressive music fans will know him through Soft Machine, Bill Bruford, Tempest, UK, Gong and Tony Williams’ Lifetime, his own catalogue has tended to mix‘n’match between jazzy elan; 1996’s None Too Soon and fusion-friendly furrows and 1993’s Hard Hat Area being typical. That he has as many releases as this is not something to take for granted. Holdsworth has been notorious in his exacting, self-editing rigour, where even the vaguest hint of anything regarded by him as substandard is binned. It’s a pity because not only has it made his progress slower than it might otherwise have been, his rejects are better than most other people’s career-best takes.

Joined by a variety of empathetic players, including explosive drumming from both Chad Wackerman and Gary Husband and UK jazz veteran Gordon Beck on piano, Holdsworth albums are always going to be classy affairs, with 2000’s The Sixteen Men Of Tain being one of his most incisive of this collection both as player and composer.

Whether Holdsworth’s extensive use of guitar synth technology is a good thing will depend on your taste. As with other exponents, including McLaughlin, Metheny or Fripp, it works best and to most telling effect, when used sparingly. This isn’t a viewpoint especially Holdsworth shares. His fascination in getting his native instrument to emulate keyboards, strings, brass and even, God forbid, a herniated pan-pipe on 2001’s Flat Tire: Music For A Non-Existent Movie, and elsewhere, sounds like the tail wagging the dog.

Such matters of individual preference aside, there’s no getting away from the fact the bulk of his work represents an astonishingly original talent at work. If the 12-disc set is more Holdsworth than you’d like then the two-disc compilation, Eidolon is a very useful snapshot of highlights chosen by the man himself.

Rest In Peace Allan, there will not be another like you.

Album listing:

    I.O.U. (1982)
    Road Games (1983)
    Metal Fatigue (1985)
    Atavachron (1986)
    Sand (1987)
    Secrets (1989)
    Wardenclyffe Tower (1992, 2007 Japanese Edition)
    Hard Hat Area (1993)
    None Too Soon (1996)
    The Sixteen Men of Tain (2000, 2003 Special Edition)
    Flat Tire: Music for a Non-Existent Movie (2001)
    Then! (2003, 2014 Japanese Edition)

 Album/Track listing:

    I.O.U. 1982

1-1     The Things You See (When You Haven't Got Your Gun)    
1-2     Where Is One    
1-3     Checking Out    
1-4     Letters Of Marque    
1-5     Out From Under    
1-6     Temporary Fault    
1-7     Shallow Sea    
1-8     White Line

Personnel:

Paul Carmichael / bass
Allan Holdsworth / guitar, violin
Gary Husband / drums, piano
Paul Williams / vocals

   
    Road Games 1983

2-1     Three Sheets To The Wind    
2-2     Road Games    
2-3     Water On The Brain Pt. 2    
2-4     Tokyo Dreams    
2-5     Was There?    
2-6     Material Real

Personnel

Allan Holdsworth – guitar, production
Paul Williams – vocals (track 2)
Jack Bruce – vocals (tracks 5, 6)
Chad Wackerman – drums
Jeff Berlin – bass
Joe Turano – background vocals
Paul Korda – background vocals

   
    Metal Fatigue 1985

3-1     Metal Fatigue    
3-2     Home    
3-3     Devil Take The Hindmost    
3-4     Panic Station    
3-5     The Un-Merry-Go-Round    
3-6     In The Mystery

Personnel:

Allan Holdsworth – guitar, engineering, production
Paul Williams – vocals (tracks 1, 4)
Paul Korda – vocals (track 6)
Alan Pasqua – keyboard
Chad Wackerman – drums (except tracks 5, 6)
Gary Husband – drums (track 5)
"Mac Hine" – drum machine (track 6)
Jimmy Johnson – bass (except track 5)
Gary Willis – bass (track 5)

   
    Atavachron 1986

4-1     Non Brewed Condiment    
4-2     Funnels    
4-3     The Dominant Plague    
4-4     Atavachron    
4-5     Looking Glass    
4-6     Mr. Berwell    
4-7     All Our Yesterdays

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Rowanne Mark – vocals (track 7)
William Edward Childs – keyboard (tracks 2, 5)
Alan Pasqua – keyboard (tracks 3, 4, 6)
Gary Husband – drums (tracks 1, 2, 4, 6)
Chad Wackerman – drums (tracks 3, 7)
Tony Williams – drums (track 5)
Jimmy Johnson – bass

   
    Sand 1987

5-1     Sand    
5-2     Distance Vs. Desire    
5-3     Pud Wud    
5-4     Clown    
5-5     The 4.15 Bradford Executive    
5-6     Mac Man

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Alan Pasqua – keyboard
Gary Husband – drums (tracks 1, 3)
Chad Wackerman – drums (tracks 4, 5), percussion (track 6)
Jimmy Johnson – bass (except track 6)
Biff Vincent – Roland Octapad bass (track 6)

   
    Secrets 1989

6-1     City Nights    
6-2     Secrets    
6-3     54 Duncan Terrace    
6-4     Joshua    
6-5     Spokes    
6-6     Maid Marion    
6-7     Peril Premonition    
6-8     Endomorph

Personnel:

Allan Holdsworth / guitar, Synthaxe (2,5,8), spoken voice (7), producer & mixing
Rowanne Mark / vocals (2)
Craig Copeland / vocals (8)
Gary Husband / keyboards (1)
Alan Pasqua / piano (3)
Steve Hunt / keyboards (4,6)
Jimmy Johnson / bass (1-6,8)
Bob Wackerman / bass (7)
Vinnie Colaiuta / drums (1-6,8)
Chad Wackerman / drums & keyboards (7)
Claire Holdsworth / spoken voice, in French (7)
Jeffrey Ocheltree / "hammer" (7)

   
    Wardenclyffe Tower 1992

7-1     5 To 10    
7-2     Sphere Of Innocence    
7-3     Wardenclyffe Tower    
7-4     Dodgy Boat    
7-5     Zarabeth    
7-6     Against The Clock    
7-7     Questions    
7-8     Oneiric Moor    
    Bonus Tracks
7-9     Tokyo Dream    
7-10     The Un-Merry-Go-Round Part 4    
7-11     The Un-Merry-Go-Round Part 5

Personnel:

Allan Holdsworth / guitar, SynthAxe (1,3,6), producer
Joel Schnebelt / spoken vocals (1)
Naomi Star / vocals (6)
Steve Hunt / keyboards (1,2,4,5)
Jimmy Johnson / bass
Gary Husband / drums (2,4), keyboards (3)
Chad Wackerman / drums (1,3,5,7), keyboards (7)
Vinnie Colaiuta / drums (6) 

   
    Hard Hat Area 1993

8-1     Prelude    
8-2     Ruhkukah    
8-3     Low Levels, High Stakes    
8-4     Hard Hat Area    
8-5     Tullio    
8-6     House Of Mirrors    
8-7     Postlude

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Steve Hunt – keyboard
Gary Husband – drums
Skúli Sverrisson – bass

   
    None Too Soon 1996

9-1     Countdown    
9-2     Nuages    
9-3     How Deep Is The Ocean    
9-4     Isotope    
9-5     None Too Soon Pt. 1 Interlude/None Too Soon Pt. 2    
9-6     Norwegian Wood    
9-7     Very Early    
9-8     San Marcos    
9-9     Inner Urge

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Gordon Beck – digital piano
Kirk Covington – drums
Gary Willis – bass

   
    The Sixteen Men Of Tain 2000

10-1     San Onofre    
10-2     0274    
10-3     The Sixteen Men Of Tain    
10-4     Above And Below    
10-5     The Drums Were Yellow    
10-6     Texas    
10-7     Downside Up    
10-8     Eidolon    
10-9     Above And Below (Reprise)    
10-10     Material Unreal

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Gary Novak – drums (except track 6)
Chad Wackerman – drums (track 6)
Dave Carpenter – bass
Walt Fowler – trumpet

   
    Flat Tire 2001

11-1     The Duplicate Man (Intro)    
11-2     The Duplicate Man    
11-3     Eeny Meeny    
11-4     Please Hold On    
11-5     Snow Moon    
11-6     Curves    
11-7     So Long    
11-8     Bo Peep    
11-9     Don't You Know    

Personnel:

Allan Holdsworth – guitar, SynthAxe, drum programming, production
Dave Carpenter – bass (tracks 3, 8)


    Then! 2003

12-1     Zone 1    
12-2     Proto-Cosmo    
12-3     White Line    
12-4     Atavachron    
12-5     Zone 2    
12-6     Pud Wud    
12-7     House Of Mirrors    
12-8     Non-Brewed Condiment    
12-9     Zone 3
        Bonus track
12-10   Funnels

Personnel:

Allan Holdsworth – guitar, SynthAxe, mixing, production
Steve Hunt – keyboard
Gary Husband – drums
Jimmy Johnson – bass

Various Artists - 1994 "Burning For Buddy" A Tribute To The Music Of Buddy Rich

In 1994, Neil Peart produced this Buddy Rich tribute album featuring tracks from various prominent drummers, all accompanied by the Buddy Rich Big Band.  The compilation of course also features Neil Peart on drums, adding his part to Cotton Tail.

Burning for Buddy, Volume 1 is a 1994 Buddy Rich tribute album produced by Rush drummer/lyricist Neil Peart. The album is composed of performances by various rock and jazz drummers, all accompanied by the Buddy Rich Big Band. A follow-up Burning for Buddy...Volume 2 recording was released in 1997 and both recording sessions were also covered in a 5-hour documentary DVD video released in 2006, The Making of Burning for Buddy.

Burning for Buddy: A Tribute to the Music of Buddy Rich, Vol. 1 assembles a shifting cast of virtuoso trap-set players sitting in with the Buddy Rich and His Big Band in order to pay tribute to its legendary founder. Some of the musicians come from rock & roll, often with experience in prog rock or rock/jazz fusion (i.e., the Cult/Guns N' Roses' Matt Sorum, Winger/Dixie Dregs' Rod Morgenstein, Rush's Neil Peart, Yes/King Crimson's Bill Bruford). Others made their mark primarily in the jazz world, including Max Roach, Dave Weckl, Billy Cobham, and Marvin "Smitty" Smith, among others. There are also some drummers who are primarily known for their versatile session work, able to play both rock and jazz; while these players' work is almost always competent, they rarely display much individuality. So overall, Burning for Buddy has more of a modern flavor than one might expect.

This is beautiful tribute to a master musician. The material draws from various times in Buddy's career and is produced with great care by Neil Peart. Some may argue that other drummers active at the time of the recording should have been included. For me, I think Tony Williams would have been a great idea inclusion. Regardless, if you are a drummer, a musician, a lover of great American music, this album smokes. The performances are fantastic and live.

The performances are outstanding, and it's very interesting to hear how rock drummers like Neal Peart and, to some degree, Bill Bruford, handle the complex time signatures and rolls from big band jazz. They do quite well! The biggest surprise had to be Matt Sorum, of Guns and Roses fame. He proves that rock pays his bills, but that jazz/fusion is in his blood!!!

Neil Peart:
I really wanted to carefully present the record to a modern audience. Accessibility was always in the forefront of my mind, knowing that many listeners are unfamiliar with the feel of swing.

I always recall the way reggae was first heard in popular music: people were so funny because they didn't know how to dance to it until they got used to the knee action. Swing is like that for some - if you don't know how to react physically it can leave you sort of cold. So the sequencing was crucial. I carefully added hints of swing with each track, and waited until "Cotton Tail" to fully introduce it.

I was like most people of my generation with Buddy. I saw him do "Dancing Men" and "Mercy, Mercy, Mercy" on the Carson show and they stuck in my mind. They're so dynamic, they'll nail you immediately. People around the project who weren't familiar with jazz responded to them right away during the sessions. It's a matter of presentation. I'm determined to take it beyond the regular audience of Buddy fans.

Honestly, I think this project would have been a lot harder to get done if I didn't have a track record with the company already. [Atlantic Records co-founder] Ahmet Ertegun came down to the studio; he was very interested in it, and in a sense he first planted the seed for this. When Rush signed with Atlantic about six years ago, he came up after a show and pointed his finger in my chest, saying, "I've got to get you playing some jazz." So he predicted it.

This kind of project can be enormously intimidating for drummers, especially if you're unused to the feel of the music. Some stayed in the funk or rock-oriented tracks. But two of the purer rock drummers, Kenny Aronoff and myself, both dove into the most trad-swing stuff we could, because we wanted to make as far a leap as possible. That carries its risks, of course. There are elements of big-band drumming that I just didn't know and you can't necessarily learn them by dissecting the pieces.

There was a great deal of teamwork and unity. The horn players were startled to be asked their opinion! After a take, I'd ask the guys, "How was it for you?" I can't dissect the playing of 15 different musicians as they're wailing. I sat and listened to the horns a lot, even tried ignoring the drummers a bit by sitting in a place where I couldn't see them. I had to forego those free drum lessons.

All the drummers in my generation started from two sources: Either they saw The Gene Krupa Story, which was my route, or they saw the Beatles on The Ed Sullivan Show and wanted to be Ringo. You can listen to most drummers and figure out immediately which is which. There's a major difference.

Track listing / Performers

01    "Dancing Men" – 6:37 Drums performed by Simon Phillips
02    "Mercy, Mercy, Mercy" – 5:09 Drums performed by Dave Weckl
03    "Love for Sale" – 4:30 Drums performed by Steve Gadd
04    "Beulah Witch" – 4:28 Drums performed by Matt Sorum
05    "Nutville" – 5:09 Drums performed by Steve Smith
06    "Cotton Tail" – 4:36 Drums performed by Neil Peart
07    "No Jive" – 5:46 Drums performed by Manu Katche and Mino Cinelu
08    "Milestones" – 5:03 (composed by Miles Davis, arr. Herbie Phillips) Drums performed by Billy Cobham
09    "The Drum Also Waltzes, Pt. 1" – 1:04 Drums performed by Max Roach
10    "Machine" – 3:46 Drums performed by Rod Morgenstein
11    "Straight, No Chaser" – 3:39 Drums performed by Kenny Aronoff
12    "Slow Funk" – 5:33 Drums performed by Omar Hakim
13    "Shawnee" – 3:06 Drums performed by Ed Shaughnessy
14    "Drumorello" – 3:11 Drums performed by Joe Morello
15    "The Drum Also Waltzes, Pt. 2" – :44 Drums performed by Max Roach
16    "Lingo" – 4:31 Drums performed by Bill Bruford
17    "Ya Gotta Try" – 3:18 Drums performed by Marvin "Smitty" Smith
18    "Pick Up the Pieces" – 5:38 Drums performed by Steve Ferrone

Band personnel:

    Bass – Chuck Bergeron
    Guitar – Bill Beaudoin, Chuck Loeb, John Hart
    Piano – Jon Werking
    Saxophone – Andy Fusco, Dave D'Angelo, Jack Stuckey, Steve Marcus, Walt Weiskopf
    Saxophone [Tenor], Flute – Gary Keller
    Trombone – George Gesslein, John Mosca, Rick Trager
    Trumpet – Craig Johnson (2), Dan Collette*, Dave Stahl, Greg Gisbert, Joe Magnarelli, Mike Ponella, Bob Milikan*, Ross Konikoff, Scott Wendholt, Tony Kadleck

RUSH - 2017 "Live on Air - Legendary Radio Broadcast" [4 CD]

Track listing:

 CD 1
01 Finding My Way
02 The Best I Can
03 What Your Doing
04 Anthem
05 Beneath, Between and Behind
06 In The End
07 Fly By Night
08 Working Man
09 In The Mood
10 Need Some Love
11 Bad Boy

CD 2
01 Opening
02 Anthem
03 Passage To Bangkok
04 By-Tor and the Snow Dog
05 Xanadu
06 Something For Nothing
07 The Trees
08 Cygnus X-1
09 Cygnus X-1 Book II - Hemispheres
10 Closer To The Heart

CD 3
01 Circumstances
02 A Farewell To Kings
03 La Villa Strangiato
04 2112
05 Working Man
06 Bastille Day
07 In The Mood
08 Drum Solo

CD 4
01 2112- Overture
02 The Temples Of Syrinx
03 Discovery
04 Presentation
05 Soliloquy
06 Grand Finale
07 By-Tor And The Snow Dog
08 Xanadu
09 The Spirit Of Radio
10 Natural Science
11 Beneath, Between, Behind
12 Working Man
13 Finding My Way Intro
14 Anthem
15 Bastille Day
16 In The Mood
17 Drum Solo
18 La Villa Strangiato

Personnel:

Alex Lifeson - Guitar
Geddy Lee - Bass
Neil Peart - Drums

RUSH - 1986 1994 "Come To A Standstill" [2 CD]

Track listing:

 CD 1
01 - Dreamline
02 - The Spirit Of Radio
03 - The Analog Kid
04 - Cold Fire
05 - Time Stand Still
06 - Nobody's Hero
07 - Roll The Bones
08 - Animate
09 - Stick It Out
10 - Double Agent
11 - Limelight
12 - Mystic Rhythms
13 - Closer to the Heart

CD 2
01 - Show Don't Tell
02 - Leave That Thing Alone
03 - The Rhythm Method
04 - The Trees
05 Xanadu
06 - Tom Sawyer
07 - Force Ten
08 - YYZ
09 - Manhattan Project
10 - Middletown Dreams
11 - Red Sector A
12 - Marathon

Personnel:

Alex Lifeson - Guitar
Geddy Lee - Bass
Neil Peart - Drums

RUSH - 1976 "2112 Days"

Track listing:

01 - Bastille Day
02 - Anthem
03 - Lakeside Park
04 - 2112
05 - Fly By Night,In The Mood
06 - Something For Nothing
07 - In The End
08 - By-Tor And The Snowdog
09 - Working Man,Finding My Way
10 - What You Are Doing

Personnel:

Alex Lifeson - Guitar
Geddy Lee - Bass
Neil Peart - Drums

R.I.P. Neil Peart

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Rush

John Abercrombie Marc Johnson Peter Erskine - 1989 [2019] "John Abercrombie Marc Johnson Peter Erskine"

John Abercrombie / Marc Johnson / Peter Erskine is a live album by jazz guitarist John Abercrombie with bassist Marc Johnson and drummer Peter Erskine that was recorded in 1988 in Boston and released by ECM Records in 1989.

An excellent trio outing with Abercrombie, inventive bassist Marc Johnson, and careening drummer Peter Erskine. The trio sometimes unite for piercing interpretations as on "Stella By Starlight," and other times collide and interact on furious rhythm dialogues and extended improvisations.

Recorded live at The Nightstage in Boston a long time ago (1988) it may be that venue no longer exists, or if it does, no longer features great jazz. April 21st 1988 would have been one night to have caught this great trio in full flight. Rather than guitar plus support, this programme is very much a collaborative and shared musical experience, especially concerning the impact Mr Erskine does have on the proceedings - the drums are prominent, though never domineering, from the opening track Furs on Ice, and there is even one track Drum Solo in which Mr Erskine demonstrates his skills especially subtley on the bass drum. Four of the tracks are " standards" or "classics" of American popular song made so by interpretations over the years by many greats, including the late great pianist Mr Bill Evans. Indeed, it is not drawing too long a bow to consider this CD a tribute by Mr Abercombie to Mr Evans - please note that bassist Mr Johnson was a former member of the Bill Evans Trio so such a tribute has a special resonance. Some of the tracks swing - Stella by Starlight - some cook - Samurai Hee Haw has a joyous guitar shout by Mr Abercombie - and some are just sheer beauty - Haunted Heart is wrenchingly so. I did not find the guitar synthesiser intrusive or annoying but musically effective in its context. Having listened to this CD a number of times over a decade, I can recommend it as defying the times. It remains a good listening experience.

Wonderful trio album from three beautiful musicians. Abercrombie is in great form. Mainly, all I want to say about this cd is that it is worth the price simply for the closing rendition of "Haunted Heart". Just hauntingly beautiful improvisation and musical interaction captured during live performance. I have only heard a handful of musicians express such raw emotion in this sense - I feel that this performance ranks among the greatest of such expressions.

Despite some negative opinions expressed toward the synth guitar in use on this album, I find that texturally, compositionally and sonically, the synth guitar is used beautifully throughout (guitar synthesis being a path sadly not followed by Abercrombie as time wore on). "Light Beam" in particular is one of the greatest uses of guitar synth i have ever heard. Breathtaking.

This album is quite simply not given the attention it deserves. If you have heard anything about it, or even just heard the samples on this page, buy it. You will not regret it.

Track listing:

01.    "Furs on Ice"    Johnson    7:28
02.    "Stella by Starlight"    Ned Washington, Victor Young    7:34
03.    "Alice in Wonderland"    Sammy Fain, Bob Hilliard    7:22
04.    "Beautiful Love"    Haven Gillespie, Wayne King, Egbert Alstyne, Victor Young    7:55
05.    "Innerplay"    Abercrombie, Erskine, Johnson    5:35
06.    "Light Beam"    Abercrombie    3:08
07.    "Drum Solo"    Erskine    3:00
08.    "Four on One"    Abercrombie    6:03
09.    "Samurai Hee-Haw"    Johnson    8:22
10.    "Haunted Heart"    Howard Dietz, Arthur Schwartz    5:26
Total length:    61:51

Personnel:

    John Abercrombie – guitar, guitar synthesizer
    Marc Johnson – double bass
    Peter Erskine – drums

Merry Christmas

http://jazz-rock-fusion-guitar.blogspot.com/2017/12/various-artists-1997-yule-be-boppin.html

http://jazz-rock-fusion-guitar.blogspot.com/2015/12/vince-guaraldi-trio-1965-2012-charlie.html

Dimension - 2004 "Loneliness"

Track listing:

01     Ironside     5:22
02     Walking On The Moon     6:05
03     Respectacles     7:02
04     Dancer In The Light     5:27
05     Good-bye My Loneliness     5:19
06     Southside On Oneseventeen     5:30
07     Wonderful Tonight     4:33
08     Arthur's Theme (Best That You Can Do) - "New York City Serenade"     5:10
09     Vanity Story     5:49
10     Historic Medley :- Purple Haze - Chameleon - Electric City     5:49
11     So Far Away     4:45

Personnel:

    Guitar – Takashi Masuzaki
    Keyboards – Akira Onozuka
    Saxophone – Kazuki Katsuta

Peter Erskine - 1986 "Transition"

Peter Erskine has done loads of work with the uber producer/arranger/composer Vince Mendoza. They've collaborated on some of my favourite jazz CDs - More or less all of Vince's solo stuff, Jimmy Haslip's "ARC" and Joni Mitchell's "Both Sides Now" so I was wondering how come Vince hadn't worked on any of Peter's albums?

Then I learned about this one browsing amazon.com a few weeks ago, while trying to see if Vince has anything new out. I ordered it without even listening to the sound samples and this album is a testament to the fact that good music never dates. This album was released NINETEEN years ago and it sounds as fresh as if it came out last month! It features some of my biggest heroes - Pete and Vince themselves (of course), with John Abercrombie, Joe Lovano and Bob Mintzer. Brilliant from beginning to end.

Great CD! I have owned this CD for 12 years. Two things to listen for: The variety of the cuts is amazing. It really keeps you suprised. Second, the intensity of Erskins music grabs you. I am not tired of it after 12 years.

Started listening to this CD again after some years - its still as vital and intriguing as I recall the first time - Definitely stands the test of time - outstanding.

The original album cover is very "scary/hairy" photo array of PE, but a great recording, nevertheless.
It's J. Abercrombie, M. Johnson, K. Werner, J. Lovano, B. Mintzer.

I remember Joe talking about making that date, it went down while i was studying with him. He said Erskine had been hanging at a lot of Paul Motian gigs and had really gotten into the trio with Joe and Bill Frisell. Erskine did some very nice writing on this record (he wrote some real melodies) the material covers a fair amount of ground with lots of different moods, but it still has a unified sound.

Recorded direct-to-2-track digital at Power Station Studios, New York City, on October 16 and 17, 1986.

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

 Track listing:

01     Osaka Castle     6:47
02     The Rabbit In The Moon     1:19
03     Corazon     5:04
    Suite: Music From Shakespeare's King Richard II
04     Introduction     1:31
05     Music Plays     7:16
06     Sonnet     2:32
07     Transition     8:02
08     End Hymn     2:39
    -
09     Lions And Tigers And Bears     2:58
10     The Hand Speaks Hold     8:04
11     Smart Shoppers     5:03
12     My Foolish Heart     5:14
13     Orson Welles (Intro)     0:52
14     Orson Welles     5:53

Personnel:

    Drums, Electronic Drums, Gong, Synthesizer, Computer, Producer – Peter Erskine
    Acoustic Bass – Marc Johnson (2)   
    French Horn – Peter Gordon (8)
    Guitar, Guitar Synthesizer – John Abercrombie
    Piano, Synthesizer – Kenny Werner
    Synthesizer – Don Grolnick (tracks: 3, 6, 10, 11)
    Tenor Saxophone – Bob Mintzer
    Tenor Saxophone, Soprano Saxophone – Joe Lovano

Miles Davis - 1972 [2000] "On the Corner"

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.

Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet. Various takes from the sessions were then spliced together using the tape editing techniques of producer Teo Macero. The album's packaging did not credit any musicians, an attempt to make the instruments less discernible to critics. Its artwork features Corky McCoy's cartoon designs of urban African-American characters.

On the Corner was in part an effort by Davis to reach a younger African American audience who had left jazz for funk and rock and roll. Instead, it became one of his worst-selling albums and was scorned by jazz critics at the time of its release. It would be Davis's last studio album of the 1970s conceived as a complete work; subsequently, he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

The critical standing of On the Corner has improved dramatically with the passage of time. Many outside the jazz community later called it an innovative musical statement and forerunner to subsequent funk, jazz, post-punk, electronica, and hip hop. In 2007, On the Corner was reissued as part of the 6-disc box set The Complete On the Corner Sessions, joining previous multi-disc Davis reissues.

Following his turn to fusion in the late 1960s and the release of rock- and funk-influenced albums such as Bitches Brew (1970) and Jack Johnson (1971), Miles Davis received substantial criticism from the jazz community. Critics accused him of abandoning his talents and pandering to commercial trends, though his recent albums had been commercially unsuccessful by his standards. Other jazz contemporaries, such as Herbie Hancock, Cecil Taylor, and Gil Evans defended Davis; the latter stated that "jazz has always used the rhythm of the time, whatever people danced to". In early 1972, Davis began conceiving On the Corner as an attempt to reconnect with the young African-American audience which had largely forsaken jazz for the groove-based music of Sly and the Family Stone and James Brown. In an interview with Melody Maker, Davis stated that

    "I don't care who buys the record so long as they get to the Black people so I will be remembered when I die. I'm not playing for any white people, man. I wanna hear a black guy say 'Yeah, I dig Miles Davis.'"

On the Corner was partly inspired by the musical concepts of Karlheinz Stockhausen.

Also cited as an influence by Davis was the work of experimental composer Karlheinz Stockhausen, in particular his forays into electronic music and tape manipulation. Davis was first introduced to Stockhausen's work in 1972 by collaborator Paul Buckmaster, and the trumpeter reportedly kept a cassette recording of the 1966–67 Hymnen composition in his Lamborghini sports car. Some concepts from Stockhausen that appealed to Davis included the electronic sound processing found in Hymnen and the 1966 piece Telemusik, and the development of musical structures by expanding and minimizing processes based on preconceived principles—as featured in Plus-Minus and other Stockhausen works from the 1960s and early 1970s. Davis began to apply these ideas to his music by adding and taking away instrumentalists and other aural elements throughout a recording to create a progressively changing soundscape. Speaking about Stockhausen's influence, Davis later wrote in his autobiography:

    I had always written in a circular way and through Stockhausen I could see that I didn't want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition.

The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the "harmolodics" of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described On the Corner with the formula "Stockhausen plus funk plus Ornette Coleman." Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz performance, and rhythm-based dance music.

Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the story has been broken off in the middle -- deep street music melding with a secret language exchanged by the band and those who can actually hear it as music. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers -- three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It's a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles' strange lyricism returns in "Black Satin." Though a tabla kicks the tune off, there's a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier -- except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street -- though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. "One and One" begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of "Helen Butte/Mr. Freedom X," where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks.

 Track listing:

1. On The Corner, New York Girl, Thinkin' One Thing And Doin' Another, Vote For Miles 19:59
2. Black Satin     5:20
3. One And One     6:09
4. Helen Butte - Mr. Freedom X    23:18

Personnel - Recording dates:

June 1, 1972
Miles Davis (tpt); Dave Liebman (ss); John McLaughlin (el-g); Chick Corea (el-p); Herbie Hancock (el-p); Harold I. Williams (org, synth); Collin Walcott (el-sitar); Michael Henderson (el-b); Jack DeJohnette (d); Billy Hart (d);
Al Foster (d); Badal Roy (tabla)

June 6, 1972 - July 7, 1972
Miles Davis (tpt); Carlos Garnett (ss on track 2, ts on track 4); Bennie Maupin (bcl on track 2); David Creamer (el-g on tracks 2, 3, 4); Herbie Hancock (el-p, synth); Chick Corea (el-p); Harold I. Williams (org, synth); Collin Walcott (el-sitar on tracks 3, 4); Khalil Balakrishna (el-sitar on track 2); Michael Henderson (el-b); Jack DeJohnette (d); Billy Hart (d); Al Foster (d); Badal Roy (tabla, handclaps)

Larry Coryell - 1998 "Major Jazz Minor Blues"

A jazz-rock pioneer during the late '60s and '70s, Larry Coryell was also a strong performer in a straight-ahead setting, as evidenced by his recordings for Muse during the latter half of the '80s. Major Jazz Minor Blues reissues ten titles from those records, most in a trio setting, and finds him reacting well with sidemen including bassists Stanley Cowell and George Mraz and pianists Kenny Barron and Billy Hart. The disc captures two of his best originals from the era, "Tender Tears" and "No More Booze, Minor Blues," plus Coryell's surprisingly nuanced versions of "'Round Midnight," "My Shining Hour," and "Sophisticated Lady."

From an artist whose career has spanned jazz-rock, electric fusion, and mainstream jazz, this straight-ahead session from 55-year old guitarist Larry Coryell is a welcome chapter. Backed by piano, bass and drums, four of the guitarist's 1980's Muse recordings are revisited to produce this album of re-issued material; the ten tracks come from Toku-Do, Equipoise, Shining Hour, and Comin' Home. Pianists Stanley Cowell, Kenny Barron, and Albert Dailey provide doubled melody lines, bop-derived solo work, and varied accompaniment. Bassists Buster Williams and George Mraz interweave melodies with the guitarist and provide intricate accompaniment. Drummers Beaver Harris, Billy Hart, and Marvin "Smitty" Smith trade, converse, solo, and enhance the session.

Coryell and Williams engage in some interesting guitar-bass interplay on Jerome Kern's "Yesterdays" and Williams' own "Toku Do." "Sophisticated Lady" is performed as a lovely ballad guitar solo piece, and Thelonious Monk's ballad " `Round Midnight" includes a stirring guitar cadenza at the end. Clifford Brown's "Joy Spring," Dave Brubeck's "The Duke," and John Coltrane's "Moment's Notice" each include stellar mainstream guitar work and afford the listener an opportunity to appreciate what Coryell does best. Using Johnny Mercer's "My Shining Hour" as a vehicle for upbeat sentiment, the leader highlights the album with his lyrical pick work, fours from Marvin "Smitty" Smith, and an exciting piano solo from Kenny Barron. Coryell has written extensive liner notes for this 65-minute straight-ahead "best of" album, offering his recollections of the four recording sessions and sharing valuable anecdotes for each tune. Recommended.

Track listing:

01     Moment's Notice     6:03
02     The Duke     4:45
03     'Round Midnight     8:43
04     Joy Spring     6:41
05     Yesterdays     5:35
06     No More Booze, Minor Blues     3:32
07     Tender Tears     8:07
08     My Shining Hour     5:00
09     Toku Do     6:57
10     Sophisticated Lady     5:02

Personnel:

    Guitar – Larry Coryell
    Bass – Buster Williams, George Mraz
    Drums – Beaver Harris, Billy Hart, Marvin "Smitty" Smith
    Piano – Albert Dailey, Kenny Barron, Stanley Cowell

Yuval Ron - 2019 "Somewhere in This Universe, Somebody Hits a Drum" Review

Hello friends and music aficionado's.
I received an email from a friend of mine and GREAT player Mr. Yuval Ron. He has a new CD coming out and I would like to share some links for you.

For starters, check out some of his earlier work so you can see what a killer player he is:

Futuristic Worlds Under Construction (see Bandcamp)
Residence Of The Future (also BC)
Flags - Single / video feat. Tammy Scheffer on
https://www.youtube.com/watch?v=JQ5XI-ld_a0

I also did once a cover of Stevie Wonder's "Contusion" if you'd like
https://www.youtube.com/watch?v=mXSXQmmv6-s

--------------------------------------------------------------------------------------------------------------- 

 Here's the email with links to his stuff!

 Hi Stan!

Nice chatting with you again :)

So as mentioned I've got some exciting news which I think might interest you. My new album "Somewhere in This Universe, Somebody Hits a Drum" featuring Marco Minnemann on drums has been recently released alongside a music video and guitar transcriptions book. The overall genre is different than what you might remember from my former band Yuval Ron & Residents Of The Future. It can be described as "Cinematic Prog" as it combines intricate instrumental compositions, extended soloing and a big, film-like background production of orchestral lines, soundscapes and sound effects. The album got some great feedback from audience and music media so far.

https://yuvalron.bandcamp.com/album/somewhere-in-this-universe-somebody-hits-a-drum-ft-marco-minnemann

I'd like to take this opportunity and ask if you'd be interested to review this album on Jazz-Rock-Fusion-Guitar?

Here you can find a couple of examples of the music:

https://www.youtube.com/watch?v=dGVX6JSf1Ic
 
On the blog please share the Bandcamp link
https://yuvalron.bandcamp.com/album/somewhere-in-this-universe-somebody-hits-a-drum-ft-marco-minnemann

You can also embed the Youtube video of course if you'd like:
https://youtu.be/dGVX6JSf1Ic

I hope you'll enjoy the music and look forward to hearing from you.

With musical regards,
Yuval Ron

Traffic - 1973 [2003] "On The Road"

On The Road is the second live album (two LPs, reissued on one CD) by English rock band Traffic, released in 1973. Recorded live in Germany, it features the Shoot Out at the Fantasy Factory lineup plus extra keyboardist (for live performances) Barry Beckett.

The initial U.S. release of On the Road (Island/Capitol) 1973 was as a single LP consisting of: "The Low Spark of High Heeled Boys" (edited to 15:10), "Shoot Out at the Fantasy Factory", "(Sometimes I Feel So) Uninspired", and "Light Up or Leave Me Alone".

The whole album, which was originally a two disc vinyl album, is on one disc. The tracks are long and extended, and given a jazz feel; but never boring. One of the best Traffic albums ever. This was recored live in Germany. If you like traffic, this ones a real winner. It's just as exciting today, as it was the day it was released.

Backed by Muscle Shoals sidemen, Winwood, Capaldi, and Wood rock like never before. Traffic songs that were already great were transformed into extended jazzy jams with interesting interplay between all the players. A funky groove unites all the separate tracks, making this a great driving album or a soundtrack for doing housework. Too bad the sidemen split from Traffic after this, since the album promised potential future development that might have significantly altered the direction of contemporary music. As it is, it's a lesser-known gem in the rock archive that is absolutely necessary for any true music fan of 70's progressive rock.

The 1973 line-up of Traffic was captured on disc with the appropriately-named On The Road, the group’s live album which entered the UK chart on 24 November that year. In America, the initial release was a single-LP set of four extended performances, but at home, it merited a double-disc edition, with six tracks including three from the then-current studio set Shoot Out At The Fantasy Factory.

Founder members Steve Winwood, Jim Capaldi and Chris Wood were joined on the 1973 tour by their Ghanaian percussionist of recent times, Rebop Kwaku Baah, plus collaborators David Hood (bass), Roger Hawkins (drums) and Barry Beckett on organ and piano. They began the year with an extensive North American tour, then a European leg included visits to such cities as Bologna, Vienna and Frankfurt.

The whole of side one of the UK double album was taken up with an epic, 20-minute performance combining ‘Glad’ and ‘Freedom Rider.’  In addition to the title track from Shoot Out…, the set included its fellow LP tracks ‘Tragic Magic,’ composed by Wood, and the Winwood/Capaldi co-write ‘(Sometimes I Feel So) Uninspired.’ On The Road concluded with ‘Light Up Or Leave Me Alone’ and the title track from the same 1971 album Low Spark Of High-Heeled Boys, which itself ran to 17 minutes.

Reportedly released as an effort to undercut bootleggers following a world tour, Traffic: On the Road was the band's second live album in three years. The album chronicled a late edition of the band in which original members Steve Winwood, Jim Capaldi, and Chris Wood were augmented not only by percussionist Reebop Kwaku Baah, but also by a trio of session musicians from the famed Muscle Shoals studio, Roger Hawkins, David Hood, and Barry Beckett. The studio pros lent a tightness and proficiency to their characteristic free-form jams, and though they sometimes sounded like they couldn't wait to get the songs over with, the tunes went on and on, four clocking in at over ten minutes. That might have been okay if the choice of material had been more balanced across the band's career, but 1971's Welcome To the Canteen had treated earlier efforts, and the 1973 tour was promoting Shoot Out At the Fantasy Factory, from which three of the six selections were drawn. Unfortunately, that album was not one of Traffic's best, and the live versions of its songs were no more impressive than the studio ones had been. Traffic: On the Road featured plenty of room for soloing by some good musicians, but it was the logical extreme of the band's forays into extended performance, with single tunes taking up entire sides on the original LPs. It's not surprising that, after this, Traffic shrunk in size and returned to shorter songs. [Though best known in its two-LP version, Traffic: On the Road was initially released in the U.S. as a single LP containing only four tracks.]

The album reached number 40 in the UK and number 29 in the USA.

Track listing:

1. Glad / Freedom Rider (20:49)
2. Tragic Magic (8:30)
3. (Sometimes I Feel So) Uninspired (10:20)
4. Shoot Out At The Fantasy Factory (6:40)
5. Light Up Or Leave Me Alone (10:30)
6. Low Spark Of High-Heeled Boys (17:35)

Total Time: 74:24

Personnel

    Steve Winwood – guitar, lead vocals (1, 3, 4, 6), piano
    Chris Wood – flute, saxophone
    Jim Capaldi – percussion, lead vocals (5), drums (4)
    Rebop Kwaku Baah – percussion
    Barry Beckett – organ, piano
    David Hood – bass
    Roger Hawkins – drums

Chick Corea - 1972 [1993] "Sundance"

Sundance is an album recorded by Chick Corea and originally released on the Groove Merchant label in 1972. In 2002, Blue Note Records re-released all tracks from this album, together with all tracks from 1969's Is and alternate takes from both albums as The Complete "Is" Sessions. Sundance features Chick in his prime early period, building with each new track a sound that was instantly recognizable. The lineup is a who’s-who of jazz masters: Jack DeJohnette, Hubert Laws, Woody Shaw, Horace Arnold, Dave Holland and Bennie Maupin. The music is pure Chick: playful and searching, never content with the expected.

Recorded during the same period as Is, Sundance has four very advanced (if forgettable) Chick Corea compositions interpreted by a septet that includes trumpeter Woody Shaw, Hubert Laws on flute, and Bennie Maupin on reeds. Actually, this is a lesser Corea item with plenty of rambling moments (although it is generally not as free as Is) and is recommended mostly to completists of the pianist who are interested in his early development.

This album is what free form jazz is all about, it is music that wanders with purpose meaning that it sounds like it is not really going in a particular direction then it all comes together with perfect timing. Imagine a soundtrack where you keep falling down hill, and every cymbal crash is you hitting a bump, or some other obstacle as you keep tumbling further downward such as the song "Wind song". This is an instrumental record so it is great to read to especially if it is an energetic story such as a thriller, or detective/ private eye story.

Track listing:

    "The Brain" (Chick Corea) – 10:09
    "Song of Wind" (Corea) – 8:05
    "Converge" (Corea) – 7:59
    "Sundance" (Corea) – 10:02

Personnel:

    Chick Corea – piano
    Hubert Laws – flute, piccolo flute
    Bennie Maupin – tenor saxophone
    Woody Shaw – trumpet
    Dave Holland – bass
    Jack De Johnette – drums
    Horace Arnold – drums

Arlo Guthrie - 1967 "Alice's Restaurant"

Alice's Restaurant", also known as the "Alice's Restaurant Massacree", is a satirical talking blues song by singer-songwriter Arlo Guthrie, released as the title track to his 1967 debut album Alice's Restaurant. The song is a deadpan protest against the Vietnam War draft, in the form of a comically exaggerated but essentially true story from Guthrie's own life: he is arrested and convicted of dumping trash illegally, which later leads to him being rejected by the draft board due to his criminal record of littering (and the way he reacted when the induction personnel brought it up). The title refers to a restaurant owned by one of Guthrie's friends, which plays no role in the story aside from being the subject of the chorus.

Despite its running time of over 18 minutes, it was a hit song, and an inspiration for the 1969 film also named Alice's Restaurant. The work has become Guthrie's signature song and he has periodically re-released it with updated lyrics. In 2017, it was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant".

The song consists of a protracted spoken monologue, with a constantly repeated fingerstyle ragtime guitar (Piedmont style) backing and light brush-on-snare drum percussion (the drummer on the record is uncredited), bookended by a short chorus about the titular diner. (Guthrie has used the brief "Alice's Restaurant" bookends and guitar backing for other monologues bearing the Alice's Restaurant name.) The track lasts 18 minutes and 34 seconds, occupying the entire A-side of the Alice's Restaurant album. Due to Guthrie's rambling and circuitous telling with unimportant details, it has been described as a shaggy dog story. For many people in the United States, listening to this song on Thanksgiving Day is a family tradition.Guthrie refers to the incident as a "massacree", a colloquialism originating in the Ozark Mountains that describes "an event so wildly and improbably and baroquely messed up that the results are almost impossible to believe". It is a corruption of the word massacre, but carries a much lighter and more sarcastic connotation, rather than describing anything involving actual death.

For many people in the United States, listening to this song on Thanksgiving Day is a family tradition.

The littering incident
The incident which Guthrie recounts in the first half of the song was reported in The Berkshire Eagle on November 29, 1965. It describes the conviction of Richard J. Robbins, age 19, and Arlo Guthrie, age 18, for illegally disposing of rubbish, and a fine of $25 each, plus an order to remove the trash. The arresting officer was Stockbridge police chief William J. Obanhein ("Officer Obie"), and the trial was presided over by Special Judge James E. Hannon. It identifies the incriminating evidence as an envelope addressed to a male resident of Great Barrington (presumably Ray Brock) rather than Guthrie. In a 1972 interview with Playboy's Music Scene, Obanhein refuted one detail: he denied handcuffing Guthrie and Robbins. He also said the real reason there was no toilet seat in the jail cell was to prevent such items from being stolen, not as a suicide deterrent as Guthrie had joked.

 Track listing:

1. Alice's Restaurant Massacree     18:20
2. Chilling Of The Evening     3:01
3. Ring-Around-A-Rosy Rag     2:10
4. Now And Then     2:15
5. I'm Going Home     3:12
6. The Motorcycle Song     2:58
7. Highway In The Wind     2:40

Personnel:

Arlo Guthrie – vocals, guitar
The unknown musicians who play the electric guitar, standup bass, and drums