Mike Stern - 1996 "Between The Lines"

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

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

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

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

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

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

Track listing:

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

Personnel:

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

Mike Stern - 1999 "Play"

Play is an album by Mike Stern, released in 1999 through Atlantic Records. The album reached a peak position of number twenty-one on Billboard's Top Jazz Albums chart.

Mike Stern is a preeminent guitarist for two key reasons: One, he can play all styles very well and with equal command; and two, he plays very well with all other players. He always shows great respect for those with whom he is playing and gives them each the time and space to develop their musical ideas. Stern displays these two qualities in abundance on Play. Several notable guests join Stern and his core band for this release. Guitarists John Scofield and Bill Frisell and drummer Dennis Chambers each team with Stern on several tracks.

If you enjoy straight-ahead jazz, listen to Stern and Scofield on the title track, or mix in Bob Malach's tenor sax on "Outta Town." If you like your guitar music slightly more spacious and lyrical, try Stern and Frisell on the hypnotic "Blue Tone" or the pensive "All Heart." Finally, if you want to turn up the heat and move into some rock/funk-influenced fusion, then check out the groovy "Tipatina's," the bold rocker "Link," or the intensely funky "Big Kids." It is no surprise, based on his other work, that Chambers, in particular, gives the band a kick in the musical pants inspiring bassist Lincoln Goines to enjoy the ride. Play is an outstanding guitar album from the highly accomplished and incredibly versatile Mike Stern. It is highly recommended.

If Mike Stern were a guitarist coming out of the 1960s, he'd be a hero today. Sure, there's always John McLaughlin. But not many other guitarists then - or now - could play rock guitar with the high degree of intimacy and the non-assaulting technical prowess that Mike Stern has always possessed.

Plus, if there was any kind of justice in jazz, Miles Davis's Star People (1983) would be regarded as one the great records of the Eighties it has always surely been. There, Mike Stern in commanding communiqué with John Scofield, laid the law for what jazz-rock had hoped and ceased long before to achieve. It's just that jazz listeners had stopped caring.

Which brings us effectively to Play, Mike Stern's ninth Atlantic disc over the last baker's dozen years. The question is - be honest — how many of us knew of or heard the preceding eight?

Well, the big news is that Play isn't really newsworthy. It's Stern doing his own thing - a catchy rock take on post-bop jazz — with a first-rate cast of musicians. Again. The guest seats, filled this time by guitarist Bill Frisell and John Scofied (but unfortunately not together), are all people will hear about. However, Stern displays a continuing ability here to hone his melodic craft and perfect his catchy compositional skill. That's what'll Play on after all the hype is gone.

All ten selections are Stern's own, while Scofield guests on three pieces and Frisell sits in on four. Like Scofield did for Medeski, Martin & Wood on last year's A Go Go, Stern here concocts melodies suggested by the much more distinct styles carved by his fellow plecterists.

Scofield goes to Scofieldland for the funky "Play" and catchy "Small World." But Stern breaks the mold a bit for the swingy bop romp, "Outta Town," which lets the reuniting guitarists show their chops a bit and shows how Stern's harshness has mellowed through the years without any loss of bite.

Frisell's tracks took Stern's group to Friztown (Seattle) for the disc's most interesting numbers. Of course, there's the Frisell country-folk-jazz-Americana of "Blue Tone" and "All Heart." But Stern also challenges Frisell to the electro-avant-bop duel of "Frizz" and the surprisingly funky "Big Kids" (which postulates the intriguing concept of a Frisell funk album).

The remaining three tracks - "Tipitina's," "Link" and "Goin' Under" - offer the more familiar Stern groove with his working band featuring keyboardist Jim Beard, the Breckeresque Bob Malach on tenor, bassist Lincoln Goines and (former Scofield) drummer Dennis Chambers.

Since neither Scofield nor Frisell set off any major fireworks, Play ultimately becomes a showcase for its star, Mike Stern. The composer and guitarist is totally in his element here. And if high-ticket guests like Scofield and Frisell bring him the attention he's long been due, then Play is Stern's own hero's welcome.

Mike Stern is doing things with jazz, he always gets hammered by the critics, for his rock edge, but this album along with the last, between the lines, break down musical barriers in a music (jazz) that should incourage new voices, but of course dosen't, and has become mundane,since the passing of Miles, Stern keeps the torch burning!and by the way mike doen't loose the rock edge ! its a uniquie voice in a day when everyone is encouraged to sound the same.

Track listing:

01 Play 7:15
02 Small World 5:23
03 Outta Town 6:09
04 Blue Tone 6:43
05 Tipatina's 6:35
06 All Heart 6:22
07 Frizz 5:41
08 Link 6:50
09 Goin' Under 4:10
10 Big Kids 7:29

Personnel:

Mike Stern – guitar (all tracks)
John Scofield – guitar (tracks 1, 2 & 3)
Bill Frisell – guitar (tracks 4, 6, 7 & 10)
Ben Perowsky – drums (tracks 1, 2, 3, 4, 6, 7 & 10)
Dennis Chambers – drums (tracks 5, 8 & 9)
Lincoln Goines – bass (all tracks)
Bob Malach – tenor saxophone (tracks 3, 5, 6, 8 & 9)
Jim Beard – keyboards (tracks 1, 2, 3, 5, 6, 8 & 9)

Mike Stern - 1994 "Is What It Is"

"IS WHAT IT IS" was nominated for Best Contemporary Jazz Performance in the 37th Annual Grammy Awards.
Mike Stern is one of the more creative fusion guitarists, playing with the power of rock but often taking sophisticated improvisations. On this passionate set (which consists of nine of his originals), Stern is joined by the keyboards of Jim Beard, bassist Will Lee, Dennis Chambers or Ben Perowsky on drums and (on three songs apiece) the tenors of Michael Brecker and Bob Malach. Overall this is one of Mike Stern's better recordings.

Reviewer Ries van Schelven writes about guitarist Mike Stern's 1994 release "Is What It Is", "This is, in my opinion, Stern's best solo album. This album is full of jewels. It has a definite jazz/rock sound to it, but has it's pure moments as well. The album starts of with "Swunk", a typical Stern composition featuring Michael Brecker on tenor sax and a kick ass solo. Next, "A Little Luck" which is brilliant guitar work. Then it's ballad time again, "What I Meant To Say", one of my favorites on the album - a soaring melodic piece, showing Mike's brilliance. Then comes some funky stuff on "Showbiz". Listen to the acoustic masterpiece "Wherever You Are", which features Harvie Swartz on the upright acoustic bass. The phrasing is breathtaking. The best piece is "Signs" - this is Mike Stern. The structure of the solo is incredible. It has Mike Stern's signature all over it. I like when he uses his overdrive. It kicks ass! Definitely his best solo album."

At one time swing was just another kind of dance music with a rhythm of utilitarian regularity. It was only in the hands of drummers like Sid Catlett and Sonny Greer that swing acquired enough flexibility to be useful in jazz. Baltimore's Dennis Chambers, a drummer for Parliament-Funkadelic and John Scofield, is now bringing a similar flexibility to another dance music, funk. On Is What It Is, by former Miles Davis guitarist Mike Stern, Chambers proves that funk can be as infinitely variable as swing, and the soloists respond with a rhythmic freedom unusual in fusion.

This is what it is what is it... I mean, this really IS Mike Stern's best work. All tunes are almost great more or less.
"Swunk" is a quite typical Mike Stern rock/fusion tune, "A little luck" is almost beautiful Stern-piece, third song is always ballad "What I meant to say" is however quite boring tune but Tracks 4-8 are just Greats! "Showbiz" is nice funky humorsong and "Believe it" is really good bluestune with very beautiful and tuff solo, "Wherever you are" is ballad again, but much better than "What I meant to say". Nice basswork by Harwie Swartz, "Ha ha hotel" is maybe Stern's best song of this kind. Crazy melody, high tempo, great basslines and realy tuff guitarsolo and saxsolo by Bob Malach. "Signs" is perhaps Mike's best song ever, all Mike's best elements could be heard and guitarsolo is amazing! Melody and bassline are just fine and doesn't need any "specialharmony", great composition! Last song "55 dive" is again more typical jazzypiece but still quite good theme and good solos by Mike and Bob. If you haven't heard this CD yet, I give you just one tip: Buy it today!

How would I advise you to enjoy Is What It Is?... Well... Just relax in an armchair, boost off-limits your fine-tuned stereo set... Program tracks #2, #6, and #8... Close your eyes...
Then feel Mike's music lifting you up gently above the clouds. Imagine you're riding a jet of some supersonic capabilities (but it's really not the point here). Imagine there's a button on the board you may press.
So, wait for Mike's smooth shifts towards pure crystal and aerial sounds he's the only one to reach with the distortion pedal this way... Wait for him to enter the most delicate, the clearest, the richest, and the most powerful solos you'll ever have listened to so far...
Push the button at that time, as Mike invites you to... Lift off to the stratosphere, and ride outer space...
If you loved this journey, turn to Tell Me, and Pages, on Mike's Between The Lines album, and to If You Say So, on Odds Or Evens, and discover what the best jazz-rock guitarist has to offer: the most beautiful aerial music ever.

Track listing:

07:53     Swunk    
06:36     A Little Luck    
06:20     What I Meant To Say    
05:43     Showbiz    
04:32     Believe It    
05:32     Wherever You Are    
06:10     Ha Ha Hotel    
07:48     Signs
05:44     55 Dive    

Personnel:

Mike Stern - Guitar
Michael Brecker - Saxophone
Jim Beard - Synthesizers, Piano, Hammond Organ, Wurlitzer Piano, Production, Additional Engineering
Will Lee - Bass
Dennis Chambers - Drums
Ben Perowsky - Drums
Harvie Swartz - Acoustic Bass
Bob Malach - Saxophone

Mike Stern - 1992 "Standards (and other songs)"

Guitarist Mike Stern, best-known for playing rock-oriented fusion and in more commercial settings, surprised many listeners by recording an album dominated by standards. Actually, there are three originals included among the 11 pieces, but Stern also digs into such songs as "Like Someone in Love," "Moment's Notice," Chick Corea's "Windows," and "Straight No Chaser." Among Stern's sidemen on this fairly straight-ahead but adventurous set are trumpeter Randy Brecker, Bob Berg on tenor, and keyboardist Gil Goldstein. This little-known release is well-worth acquiring.

Mike Stern always has displayed a large be-bop influence in both his playing and compositions so this Cd was inevitable. What we end up hearing on this disc is the closest thing to seeing Mike Stern's band live until he actually releases a live disc. The playing is amazing and he adds new life to some standards. Although all of the covers were written for piano or saxophone, Mike shows that guitar is a great medium for Jazz. Among the highlights are "There is no greater Love" and "Straight No Chaser". There isn't a dissapointing moment on the entire disc. The one noticable difference between this one and the others is the sound of Mr. Stern's guitar. Unlike the other discs ,where he will incorporate a distorted tone during a part of a song, the whole Cd is played with a clean tone. However, this does not stop Mike from displaying non-jazz influences in his playing. Mike Stern doesn't play with the unbelievable speed of other guitarists (Holdsworth,Lane,Etc.) but he does have a unique style and nobody puts together phrases better than him. For anyone that would like to learn another way to approach the instrument this is a great place to start. Actually this Cd is great for any jazz/fusion lover because there are many lessons to be learned on this recording. 

Stern's 'Standards and Other Songs' originally came as a disappointment to me, though I'm ashamed to admit it. The issue, I think, was that I expected the same sort of 'balsy' distorted funk-bebop of, say, 'Play'--a great album in and of itself--yet, 'Standards' is much more subdued than any other Stern outings I can think of. No distortion. Quiet. Little audible harmonic accompanyment to many of the solos.
The great thing about this album, then, is the way Stern really comes through as the killer bebopper that he is. Close listeners will hear the harmonic movement imbedded in the lines and not miss another comping instrument (there is a keyboard on a few tracks, but it is quite subdued and quiet).
Though, I confess, I think 'Between the Lines' and 'Give and Take' are my favorites of Stern's, 'Standards' offers something that these don't. Much like Metheny's Trio outings, it gives one a different perspective and a different flavor--and a wonderful one at that. It's technically impressive, grooving, and it also helps to solidify Stern as one of the best bebop guitarists out there today.
A few other points
* For those who've seen Mike at the 55 Bar in NYC or wish to, 'Standards' is much more in line with that sort of playing than his other work, save perhaps 'Give and Take'.
* Those who are not well-versed in Bird, Trane, etc--ie, rock fans getting into jazz via Stern, Chick, etc (as I was when I first got the album at 16) will probably not "get it" first time out; conversely, close listening will speed that transition
* Again, it is a very quiet album--indeed, perhaps this is my biggest complaint; not only is the playing subdued (not a problem), but recording volume is not especially high.

Mike Stern - Standards and Other Songs
Stern is a fusion guitarist, but here turns his attention to jazz standards. This CD shows them played in a way I had never before heard them played on the guitar. His playing is fleet and his lines run nimbly ... there is an irrepressible momentum that makes every bar compelling and propels the music onward. There is great subtlety of dynamic control too, and beauty in the tracks 'Circles' and 'Peace'. (His tone is lightly chorussed, an effect that usually does not appeal to me, but in Stern's handsk it fits perfectly - he has made this sound his own.) It changed forever my way of thinking about jazz guitar: here are standards, played in a non-standard way, with virutosity and without cliche. A totally fresh and essential jazz guitar album.

Guitarist Mike Stern, who has earned accolades and awards for playing high-energy rock-oriented fusion on albums such as "Give And Take" and "Play", did an about-face in 1992 by releasing a CD of. jazz/bebop standards. Standards (And Other Songs) also includes three original numbers (the 'other songs'), but for the most part, Stern uses a lightly-chorused, clean guitar sound on such classics as Miles Davis' "Nardis" and "Jean Pierre", John Coltrane's "Moment's Notice", Chick Corea's "Windows" and Thelonius Monk's "Straight No Chaser". Stern recruited a number of more-than-able musicians to accompany him through the adventurous material, including trumpeter Randy Brecker, sax man Bob Berg, and keyboardist/producer Gil Goldstein. Standards (And Other Songs) may have received little fanfare upon its initial release, but it is a CD well worth acquiring for a fresh, virtuosic and guitaristic spin on these compositions.

Track listing:

06:37     Like Someone In Love   
01:49     Source   
09:12     There Is No Greater Love    
05:46     L Bird    
04:40     Moment's Notice   
06:47     Lost Time  
06:29     Windows   
05:26     Straight No Chaser   
05:17     Peace    
01:44     Jean Pierre   
07:37     Nardis    

Personnel:

Mike Stern      -      Guitar
Al Foster      -      Drums
Jay Anderson      -      Acoustic Bass
Ben Perowsky      -      Drums ("Lost Time" and "Nardis")
Larry Grenadier      -      Acoustic Bass ("Lost Time" and "Nardis")
Randy Brecker      -      Trumpet
Bob Berg      -      Saxophone
Gil Goldstein      -      Keyboards, Production

Mike Stern - 2001 "Voices"

Voices is an album by Mike Stern, released in 2001 through Atlantic Records. The album reached a peak position of number twenty-three on Billboard's Top Jazz Albums chart.

How does a guitar hero re-invent himself? After nine albums of awe-inspiring chops, melodic and lyrical phrasing and sizzling six-string statements in all manner of contexts, what is there left to say? Mike Stern answered that question by digging deep and coming up with the album that has been inside of him for years. Voices, his tenth recording for Atlantic Jazz, is easily his most inspired outing to date. By organically melding his formidable guitar prowess into the fabric of engaging, uplifting vocal tunes, Stern stands poised to bring his own signature six-string voice to a wider audience in much the same way that Carlos Santana re-introduced himself to contemporary pop audiences with Supernatural. Stern's killer guitar work - previously heard on recordings by Miles Davis, Steps Ahead, and the Brecker Brothers band - is still very much intact on Voices. It's just in the service of the celebratory grooves and remarkably expressive voices that grace this world beat flavored project.

"I've always wanted to do a record with voices", says the Grammy-nominated guitarist. "Some of the tunes that I've written in the past, with tricky kind of beboppish heads, are just unsingable. But then there are some tunes of mine that singers have always mentioned to me that they liked very much... the more singable, lyrical tunes. And so I always thought it would be cool to hook up with singers and explore that further."

One of the primary inspirations for the project was Cameroonian bassist and vocalist extraordinaire Richard Bona, whom Mike had met some years back at a jazz festival in Israel. "I was there with the Mike Stern/Bob Berg Band and he was there playing with the Zawinul Syndicate. We ended up jamming that night back at the hotel room and later when he moved to New York we talked about getting together on a project. And we've just kept in touch over the years until we were finally able to realize this collaboration."

Through multiple overdubbing, Bona creates a triumphant vocal choir on the buoyant opener, One World. Mike responds in kind with a typically heroic guitar solo, wailing freely within the densely woven fabric of this well-crafted piece. Bona also lends his appealing vocals to the relaxed groove of The River, which is underscored by producer Jim Beard's churchy piano playing and sparked by Stern's earthy blues phrasing. Other singers who appear on Voices are Elizabeth Kontomanou, Arto Tuncboyaciyan and Philip Hamilton, formerly of Full Circle, a popular world beat group from the 80's. "The kind of voices that Richard, Arto and Philip have really appealed to me for this project", explains Stern. "They all can sing in a kind of falsetto voice that is so beautiful, like a soprano sax but, of course, better. There's no comparison to the human voice but I like that high register for these kind of melodies. And Elizabeth, interestingly enough, has a very low voice for a woman. So it's really a rich, soulful voice, which added another quality to the record."

Given the exotic tendencies of the featured singers on Voices, the tunes ended up lending themselves toward a world beat vibe, which actually surprised and pleased Stern. "Naturally, the tunes with Richard have an African sounding vibe to them", he says. "And then there's one called Way Out East, which is a play on Sonny Rollins' famous album title Way Out West. That one features Arto on vocals and it's got a distinctly Middle Eastern quality to it, like something you might associate with Morocco or Turkey."

"We went for more of a live approach than layering it all in the studio", says Stern. "We could've done this with sequencers and stuff but then you lose the burn factor from the live performance. We wanted to just play. And actually, it all went down smoothly in three days - two days with Vinnie Colaiuta and one day with Dennis Chambers. The only things I overdubbed was one tune where I broke a string in the middle of the solo and another tune where a microphone fell from one of my amps during my solo, so I had to play that one over. Everything else is just live. And that's really what I wanted for this album - the live vibe with real drums and piano in the same room and a little bit of leakage so that it sounds real."

Much like Carlos Santana did with Supernatural, Stern is re-inventing himself with Voices. The purpose of this CD is to bring Stern a wider audience. It does! A technical genius, whose phrasing and sizzling guitar riffs have made him a much sought after jazz-rock-fusion guitarslinger, Stern has appeared on albums by an eclectic group of artists. The Brecker Brothers, Steps Ahead and Miles Davis to name but a few, have all benefited from Mike Sterns guitar wizardry. Stern was also a member of Blood, Sweat & Tears.

Voices is much more than just the new Mike Stern CD. It is a celebration of music and the feelings that music (and vocals) can convey. Stern, along with guest musicians Michael Brecker and Bob Franseschini on saxophones, Dennis Chambers on drums , bassist Chris Doky, drummer Vinnie Colaiuta, Jon Herington on guitar and Lincoln Goines on additional basses have created a vibe that is both inspirational and uplifting.

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

Track listing:

1.    "One World"    6:25
2.    "The River (Tongo)"    6:29
3.    "Slow Change"    7:15
4.    "Wishing Well"    6:12
5.    "Still There"    7:33
6.    "Spirit"    6:38
7.    "What Might Have Been"    5:33
8.    "Leni's Smile"    5:33
9.    "Way Out East"    7:05
Total length:    58:43

Personnel:

    Mike Stern – guitar
    Michael Brecker – saxophone
    Jon Herington – rhythm guitar
    Richard Bona – bass, kalimba, vocals
    Chris Minh Doky – double bass
    Lincoln Goines – bass guitar
    Dennis Chambers – drums
    Vinnie Colaiuta – drums
    Bob Franceschini – saxophone
    Philip Hamilton – vocals
    Elisabeth Kontomanou – vocals
    Arto Tuncboyaciyan – percussion, vocals
    Jim Beard – production, keyboards

Jim Hall - 1995 "Dialogues"

Guitarist Jim Hall has long been one of the most open-minded of the important stylists to emerge during the 1950s, and his harmonically advanced style remains quite modern while hinting at its foundations in bop. For this Telarc CD, Hall teams up with five major players on two numbers apiece: Guitarists Bill Frisell and Mike Stern, Joe Lovano on tenor, flugelhornist Tom Harrell, and Gil Goldstein on accordion. Bassist Scott Colley and drummer Andy Watson are on the Frisell and Lovano tracks, and part of the Harrell and Stern performances. All of the compositions but "Skylark" are Hall originals and, although they are usually a bit dry, there are some exceptions: "Uncle Ed" and "Frisell Frazzle" are a little nutty. The emphasis throughout is on interplay between the lead voices and advanced improvising. Despite his strong sidemen (Stern and Harrell fare best), Jim Hall ends up as the dominant voice on virtually every selection, making this a set his fans will enjoy. - All Music

I discovered Jim Hall with this record and was instantly seduced. I'd heard of him as the major guitarist of the 1960s West Coast jazz trend and didn't think such a legend could sound so modern today. The 10 pieces he wrote for this album are each astutely tailored for the musician he duets with.
The two pieces with Bill Frisell, whose playing is so characteristic and personal, make that songwriting quality clear and are an excellent intro to the album. On "Bon Ami", Joe Lovano delivers a very sensitive, powerful and moving tenor saxophone part. "Snowbound" showcases a both eerie and compelling part by Gil Goldstein ; what is that instrument he's playing, you wonder? It's a bass accordian (never heard that before) and the strange mode he plays in adds to the effect. The two pieces with Mike Stern are also among my favorites. "Uncle Ed", in particular, is a very lively blues, with excellent support from Andy Watson on drums. The "rivaling" solo and comp parts by Jim and Mike are incredibly brilliant ; Mike Stern hits an intense mid-solo of blues-rock-jazz fusion and Jim Hall's heartful and intense humming in the background while he gives all he has in each of his notes is deeply moving.
A strong addition to any modern jazz fan's discotheque, I believe.  - By Lionel Lumbroso  

Jim Hall set up a number of guest artists to play in basically duo format. Most of the songs have Scott Colley and Andy Watson playing bass and drums extremely tastefully, but they intentionally stay mostly in the background. Jim Hall wrote most of the songs, and with "Frisell Frazzle" he came up with an angular one for Bill Frisell. It's pretty good, though the next song with Frisell, "Simple Things", is blander. Joe Lovano plays some hearty tenor sax on "Calypso Joe" and "Bon Ami". Tom Harrell is in a bit of a Chet Baker mode during "Dream Steps" and the later "Skylark". Jim Hall gives the rhythm section a break during his songs with accordianist Gil Goldstein. "Snowbound" and "Dialogue" are perhaps the most headphoney on the songs - you have to pay attention to the nuances to get the most out of the songs. The two songs with Mike Stern, "Stern Stuff" and "Uncle Ed", are the swingingest.

Sometimes albums with a bunch of featured guest artists can be a mess, but this one works because Jim Hall coaxes careful, subtle performances out of everyone (less so for Mike Stern, who livens things up), so the CD coheres, and doesn't bump along. - By Anthony Cooper

This recording features a nice selection of music. The interplay between Mr. Hall and his guests is very smooth, mellow, and results in some fine jazz. I'd also recommend, if you can find it, as it is out of print, his collaboration with Ron Carter. Fine, fine recording. - By M. Chlanda

Down Beat (2/96, p.42) - 4 Stars - Very Good - "...Hall's playing...achieves a high-water mark of musical poetry..."

JazzTimes (2/96, p.77) - "...A clever, open-minded concept resulting in a stunning sonic watercolor of textures, moods and grooves..."

Village Voice (1/16/96) - Ranked #11 in the Village Voice's Best Jazz Discs of '95 - "...The variety grows on you the way all the guests grew on Hall and vice versa. Not a note is wasted..."

Tracklist

1     Frisell Frazzle  4:47
2     Simple Things      6:26
3     Calypso Joe      5:17
4     Bon Ami      6:37
5     Dream Steps      4:45
6     Snowbound      6:19
7     Stern Stuff      5:12
8     Dialogue      4:34
9     Uncle Ed      5:03
10     Skylark          5:35


Personnel:

    Guitar – Jim Hall, Bill Frisell (tracks: 1, 2), Mike Stern (tracks: 7, 9)
    Accordion – Gil Goldstein (tracks: 6, 8)
    Bass – Scott Colley (tracks: 1 to 4, 7, 10)
    Drums – Andy Watson (tracks: 1 to 5, 7, 9, 10)
    Flugelhorn – Tom Harrell (tracks: 5, 10)   
    Tenor Saxophone – Joe Lovano (tracks: 3, 4)
    Written-By – Jim Hall (tracks: 1 to 9)

Notes
Recorded in Studio A, Power Station, New York City, February 3, 4 & 25, 1995.
Mixed at Ambient Recording Co, Stamford, Connecticut, June 29, 1995.
Mastered at BMG Studios, New York City, July 13, 1995.  

Mike Stern - 1989 "Jigsaw"

Jigsaw is the fourth studio album by guitarist Mike Stern, released in 1989 through Atlantic Records and reissued on July 17, 2007 through Wounded Bird Records. The album reached #12 on Billboard's Top Contemporary Jazz Albums chart in 1989.

This is a fairly typical Mike Stern fusion date, featuring his rocking guitar on seven of his pieces. Stern is joined by his usual sidemen -- tenor saxophonist Bob Berg, keyboardist Jim Beard, electric bassist Jeff Andrews, either Peter Erskine or Dennis Chambers on drums and percussionist Manolo Badrena -- and plays with plenty of fire, yet a good amount of restraint. Michael Brecker is a guest on "Chief," jamming on his fairly anonymous-sounding EWI. A decent effort, easily recommended to fans of the more adventurous rock guitarists.

This CD by Mike Stern reaffirms why he was such aqn important component of Miles Davis' bands in the 80's. This probably can't be called a "jazz" CD, because on many solos such as "Another Way Around," Stern squeals and crunches and bends his notes in a way a rock guitarist would , but also has the sense to run with the solo different from how a rock guitarist would by improvising his notes like a jazzman. His wood hardbody electric guitar that he features on the cover of the CD has such an interesting sound. Its tone is hard to describe, just listen to it for yourself. He rocks as hard as any jazz guitarist i've heard. Excellent CD of guitar work. Buy the CD, because one of the songs is cut out of the tape version. All the songs on this CD must be heard

Track listing

All songs written and composed by Mike Stern.
No.     Title     Length    
1.     "Another Way Around"       6:25
2.     "Loose Ends"       6:11
3.     "To Let You Know"       6:30
4.     "Jigsaw"       7:06
5.     "Chief" (bonus track on CD edition only)     7:45
6.     "Rhyme or Reason"       5:46
7.     "Kwirk"       6:58
Total length:
    46:41   

Personnel

    Mike Stern – guitar
    Jim Beard – keyboard, synthesizer
    Peter Erskine – drums (except tracks 1, 4, 5)
    Dennis Chambers – drums (tracks 1, 4, 5)
    Manolo Badrena – bongo, shaker
    Don Alias – percussion
    Jeff Andrews – bass
    Bob Berg – saxophone
    Michael Brecker – EWI

Dave Liebman, Anthony Jackson, Mike Stern - 2007 "Back on the Corner"

It's only been in the past decade that the electric music of the late Miles Davis has been re-explored, attaining more widespread credibility and acceptance. It's turning out to be a matter of catching up with an icon that, through the many phases of his career, was often ahead of his time. Like so many others, saxophonist Dave Liebman only played with the trumpet legend for a brief period, but he acknowledges its significant effect. Back on the Corner explores that impact in the most personal of ways.
Liebman played on Davis' On the Corner (Legacy, 1972)—a dense album that, with its repetitive grooves and flat-out sonic assaults, was one of the trumpeter's most audacious and controversial recordings. Augmenting his current quartet with two guests—guitarist (and Davis alumnus) Mike Stern and electric contrabassist Anthony Jackson—Liebman has expanded his sonic capabilities, but the overall approach is filled with a space and, at times, calm rarely heard in Miles' mid-'70s music.

Unlike other tributes, there's no trumpet here, and the emphasis is on original material. The studio versions of the two Davis tracks Liebman has selected are ones that he didn't perform on record, though he did play them in performance. "Black Satin" rocks as hard as Miles ever did, but breathes more in the process; "IFE" is a slower, greasier take where Vic Juris once again demonstrates his remarkable versatility and incomprehensible position as one of jazz's most undervalued guitarists.

Liebman may be known for his fiery intensity—and he delivers plenty of it on tracks like the swinging "5th Street" and Latin-esque "New Mambo," where, following an equally powerful solo from Stern, he goes it alone with drummer Marko Marcinko before the rest of the group gradually re-enters. Both tracks also point to Liebman as a writer of greater detail. There's ample solo space throughout the album and a strong emphasis on groove. But Liebman writes more clearly delineated heads, which provide a greater focal point for the rest of the group.

Perhaps the biggest revelation is "Bela," a tranquil, classically informed tone poem that features a lyrical bass solo from Tony Marino and some elegant tradeoffs between Stern and Juris. The reference to Miles may appear subtle given the time period when Liebman worked with him, but Miles always respected spare economy and classicism. "Bela" is one of the most vulnerable and fragile pieces Liebman has every written, though the tenuous groove of "Mesa D'Espana" is a close second.

What makes Back on the Corner special is its avoidance of literal homage. Instead, Liebman demonstrates the very particular effect that Miles had on him in ways that may require a little searching. Liebman has always spoken with his own voice, but dig deep into Miles, and Liebman's respect on Back on the Corner becomes crystal clear.

While listening to saxophonist Dave Liebman's 2007 release, Back on the Corner, it's pretty darn hard not to think of Miles Davis' groundbreaking early-'70s fusion period. And there are obvious reasons for this: firstly, Liebman actually played with Davis at one point (appearing on Davis' 1973 release, On the Corner), another Davis sideman plays throughout the album (guitarist Mike Stern), and lastly, two of the compositions were penned by Davis himself. Joining Liebman and Stern is renowned sessionman Anthony Jackson on contrabass, plus Liebman's own band of the last 15 years (bassist Tony Marino, guitarist Vic Juris, and drummer Marko Marcinko). And the group admirably replicates the sound and feel of all those classic fusion releases of the early '70s (no Spyro Gyra-esque blahness here), especially on the aforementioned Davis-penned tracks, "Ife" and the downright funky "Black Satin," as well as the laid-back album opener, "5th Street," and another funk workout, the properly titled "J.B. Meets Sly." If you think that vintage-sounding fusion is dead and gone circa the early 21st century, Dave Liebman's Back on the Corner should change your mind.

Saxophonist Dave Liebman started his 18-month tenure with Miles Davis in 1972 by recording tracks for On the Corner, the trumpeter’s nod to funk artists James Brown and Sly & the Family Stone. On Back on the Corner, Liebman revisits the spirit of that oft-debated recording without rehashing it track by track, and gets ample support from guitarist (and fellow Miles alum) Mike Stern and bassist Anthony Jackson.

The guest stars’ contributions are matched by Liebman’s 15-year-old working band of guitarist Vic Juris, bassist Tony Marino and drummer Marko Marcinko. They propel Stern’s epic solo on an energized “Black Satin,” the lone track from On the Corner. The other Davis composition, the strutting “Ife,” features Liebman’s soprano darting around Juris’ chiming chords and Marino’s Chapman stick.

All other compositions are by Liebman, and they cover several different musical corners. “5th Street” opens the CD with surprising tranquility, a stark contrast to the 20-minute “On the Corner” medley that led off the album that inspired this one. Marcinko’s drum solo segues into “New Mambo,” an odd-timed showcase for the interplay between Stern’s guitar and Liebman’s tenor. Juris’ acoustic guitar interlude leads into the moody “Mesa D’Espana,” which features Liebman on soprano and wooden flute. Only the closing “J.B. Meets Sly/5th Street Reprise” recalls the hyperactive funk of On the Corner. Lesser artists might have tried to predictably recreate that disc verbatim, but Liebman proves that he learned a valuable lesson during those 18 months: Doing the expected was never Miles’ style, either.

Track Listing:

1. 5th Street
2. Ife
3. Bass Interlude
4. Black Satin
5. Bela
6. Drum Interlude
7. New Mambo
8. Acoustic Guitar Interlude
9. Mesa D’Espana
10. Electric Guitar Interlude
11. J.B. Meets Sly/5th Street Reprise

Personnel:

Dave Liebman: tenor and soprano saxophones, piano, synthesizer, wooden flute;
Mike Stern: electric guitar;
Anthony Jackson: contrabass guitar;
Vic Juris: electric and acoustic guitar;
Tony Marino: acoustic, electric and stick bass;
Marko Marcinko: drums, percussion.

Various Artists - 2008 Miles from India: "A Celebration of the Music of Miles Davis"

Miles from India: A Celebration of the Music of Miles Davis is a compilation album by various artists released in April 2008 through Times Square Records.[1] Produced by Bob Belden, the album features songs associated with iconic trumpeter Miles Davis but performed in new arrangements by American jazz musicians and performers from India. The album reached a peak position of number six on Billboard's Top Jazz Albums chart.

A project sparked by discussion between visionary jazz producer/arranger Bob Belden and label owner Yusuf Gandhi regarding the Indian instrumentation used by Miles Davis on his classic 1972 fusion album On the Corner, Miles from India is devoted to re-imagining Davis’ music by a full ensemble of Indian musicians.

Mastermind behind the seminal Miles Davis reissue series from the Columbia vault, Belden assembled a staggering collection of Davis alumni including Jimmy Cobb, Chick Corea, Ron Carter, John McLaughlin, Gary Bartz, Mike Stern, and David Liebman as well as master Indian musicians Louiz Banks, Rudresh Mahanthappa, Rakesh Chaurasia, and Ranjit Barot to perform on the self-titled 2008 Times Square album – a critical and commercial smash that made the Top 10 on Billboard’s Top Jazz Albums chart upon its release. Now, over a year since Belden’s passing, a fresh assemblage of Miles collaborators and major Indian musicians comes together to explore the rich trove of the Miles Davis songbook, from Kind of Blue to Bitches Brew.

It was such a simple concept. Producer Bob Belden (who has directed the Miles Davis reissue series) was talking with Times Square label owner Yusuf Gandhi about Miles' use of Indian instrumentation during The Complete On the Corner Sessions and wondered aloud what it would sound like if Indian musicians played Miles' music. Gandhi replied "Miles from India," and nearly a year later Belden delivered this brilliant set that not only features a number of India's finest musicians but a veritable who's who of Miles' own sidemen. In perhaps the boldest move, Belden and the musicians looked well beyond Miles' 1972-1975 sessions with Indian instruments for inspiration, performing tracks from the '50s, '60s, '70s, and '80s (the same time span covered by Miles' associates on this album). Another fun thing about these performances is that some of Miles' sidemen play on songs they didn't originally play on -- like the opener, "Spanish Key," featuring Mike Stern and Dave Liebman. But despite some additional Indian percussion and vocalizing, "Spanish Key" doesn't vary much from the original. On the other hand, "All Blues" is completely transformed, with Ravi Chary's sitar taking the place of Miles' trumpet. The Gary Bartz/Rudresh Mahanthappa sax duet on this is a real treat, as are the presence and playing of Jimmy Cobb, who also played on the original 1959 Kind of Blue session. The fast version of "Ife" marks the entrance of monster bass player Michael Henderson and the wonderfully deranged guitar of Pete Cosey, who does not record nearly enough. After the lovely but relatively brief sarod-led "In a Silent Way," it's great to hear Cosey rip it up on "It's About That Time." He's nearly matched in intensity by Bartz's sax and Kala Ramnath's violin while Henderson does his thing with that killer Dave Holland bassline. Stern gets to reprise his role on the classic "Jean Pierre," paired with some great flute from Rakesh Chaurasia.

 Chick Corea appears only on "So What," but turns in a great piano solo with some tasty inside-the-piano work. Like "All Blues," "So What" becomes something else again with the addition of a trio of Indian percussionists and a change in time signature. And while the bassline of "Miles Runs the Voodoo Down" doesn't really lend itself to Henderson's signature propulsive style, the percussionists lock in with him, providing a platform for more sick playing from Cosey. "Blue in Green" has Wallace Roney's trumpet singing with Shankar Mahadevan's voice and then sarangi in another sublime transformation. Here, Mike Stern's solo is as gentle as the one on "Jean Pierre" was noisy. Henderson and drummer Vince Wilburn kick it on "Great Expectations," which segues briefly into the introspective "Orange Lady" and back. Chary and Roney both contribute excellent solos and Cosey goes nuts (why doesn't he record more?). Fortunately, he gets plenty more space on the slow version of "Ife," both soloing and comping. The rhythm section of Henderson and Badal Roy on tabla is completely hypnotic here, providing a perfect base for languid solos from Dave Liebman and Gary Bartz and some nice spacy sounds from Cosey and Adam Holzman. The album closes with the only track Miles didn't record: "Miles from India," penned by John McLaughlin for this set. Scored for voice, piano, guitar, and the electric mandolin of U. Srinivas, it's a pensive and atmospheric track that nevertheless features some passionate soloing. And that's merely touching on some of the highlights. Folks like Ron Carter, Marcus Miller, Ndugu Chancler, and Lenny White haven't even been mentioned, let alone some of the great Indian musicians also present here.

The essence of jazz is improvisation and expression, and Miles always sought out highly individual players. The beauty of Miles from India is how the players from different cultures and backgrounds meet on Miles' turf with their individual voices completely intact. Miles from India is not only an amazing celebration of the music of Miles Davis, it's also a tribute to the way Miles and Teo Macero changed the way jazz music can be made. Granted, it's the musicians involved who turn in these scorching performances, but this album was recorded in Mumbai, India, Chicago, New York, Los Angeles, and Saylorsburg, PA (!?), and would not have been possible without the studio techniques Macero pioneered with Miles. Perhaps, like Macero, Bob Belden will be remembered more for his production than his horn playing. Either way, with Miles from India, Belden has outdone himself and delivered a tribute that succeeds completely on every level. Kudos to all involved. [Miles from India is also available as a beautiful 3 LP set.]

Track listing

Disc 1

1. "Spanish Key" - Gino Banks, Louis Banks, Rakesh Chaurasia, Selva Ganesh, Adam Holzman, Dave   Liebman, Shankar Mahadevan, Rudresh Mahanthappa, Sridhar Parthasarthy, Taufiq Qureshi, Benny Rietveld, Wallace Roney, Mike Stern & Lenny White
2. "All Blues" - Louis Banks, Gary Bartz, Ron Carter, Ravi Chary, Jimmy Cobb, Rudresh Mahanthappa & Vikku Vinayakram
3. "Ife (fast)" - Gino Banks, Pete Cosey, Michael Henderson, Adam Holzman, Dave Liebman, Kala Ramnath, A. Sivamani & Vikku Vinayakram
4. "In a Silent Way (Intro)" - Adam Holzman, Robert Irving III & Pandit Brij Narayan
5. "It's About That Time" - Gary Bartz, Ndugu Chancler, Pete Cosey, Michael Henderson, Adam Holzman, Robert Irving III & Kala Ramnath
6. "Jean Pierre" - Ranjit Barot, Rakesh Chaurasia, Adam Holzman, Robert Irving III, Benny Rietveld, Mike Stern & Vince Wilburn Jr.

Disc 2

1. "So What" - Louis Banks, Ron Carter, Ndugu Chancler, Chick Corea, Selva Ganesh, Sridhar Parthasarthy & Taufiq Qureshi
2. "Miles Runs the Voodoo Down" - Pete Cosey, Michael Henderson, Adam Holzman, Wallace Roney, A. Sivamani, Vikku Vinayakram & Lenny White
3. "Blue In Green" - Louis Banks, Ron Carter, Jimmy Cobb, Dilshad Khan, Shankar Mahadevan, Wallace Roney & Mike Stern
4. "Great Expectations (Orange Lady)" - Ravi Chary, Pete Cosey, Michael Henderson, Adam Holzman, Marcus Miller, Taufiq Qureshi, Wallace Roney, Vince Wilburn Jr. & Vikku Vinayakram
5. "Ife (Slow)" - Gary Bartz, Pete Cosey, Michael Henderson, Adam Holzman, Dave Liebman, Wallace Roney & Badal Roy
6. "Miles from India" - Louis Banks, Sikkil Gurucharan, John McLaughlin & U. Srinivas

Andrea Marcelli - 1990 "Silent Will"

Silent Will (Andrea Marcelli, Verve).

If you`re partial to high wattage, synthetic jazz, this is a crackling example. It features Andrea Marcelli on percussion throughout and the likes of saxophonist Wayne Shorter, guitarist Mike Stern and bassist John Patitucci on selected cuts. The result is strong on energy but short, to my ear at least, on subtlety, making it difficult to distinguish from dozens of efforts by other collections of performers.

In 1990, with the participation of Bob Berg (Tenor Sax), Mitch Forman (Piano & Midi), John Patitucci (Electric Bass), Wayne Shorter (Soprano Sax), Alex Acuna (Percussions), Mike Stern (Guitar), Allan Holdsworth (Guitar & Synthaxe) and the percussionist Andrea Marcelli, this album presents a great modern Jazz Fusion musical concept.

Although all the tracks are compositions of Andrea Marcelli, the melodies are well driven and supported by the saxes and the electric guitars... this kind of jazz reminds the groups like the Elektric Jazz Band of keyboardist Chick Corea; the good and tasty guitar phrasing of Mike Stern in his interpretations reminds me the participations of guitarist Carlos Rios with Gino Vannelli in the "Brother To Brother" album from 1978; Allan Holdsworth, still hooked on the Synthaxe at this stage of his career, shows his expertise and guitar wisdom in the tracks: "Final Project", "Love Remembered" and "Lights"

Tracklist:

1     Exit     4:38
2     Silent Will     6:46
3     Final Project     6:35
4     Different Moments     6:15
5     Love Remembered     9:00
6     Three Small Dreams     2:37
7     Everyday     7:03
8     Lights     5:00

Personnel:

    Acoustic Bass – John Patitucci (tracks: 5,8)
    Clarinet – Andrea Marcelli (tracks: 5,8)
    Drums – Andrea Marcelli (tracks: 2,3,4,5,6,7,8)
    Electric Bass – John Patitucci (tracks: 1,2,3,4,6,7)
    Electric Guitar – Allan Holdsworth (tracks: 3,5), Mike Stern (tracks: 6,7)
    Grand Piano – Mitch Forman (tracks: 1,3,4,5,6,8)
    Guitar – Mike Stern (tracks: 1,2,4)
    Percussion – Alex Acuna* (tracks: 2,4,5,6,7), Andrea Marcelli (tracks: 1,4,7)
    Soprano Saxophone – Wayne Shorter (tracks: 3,5)
    SynthAxe – Allan Holdsworth (tracks: 3,5,8)
    Synthesizer – Andrea Marcelli (tracks: 2,3,4,5,6,7,8)
    Tenor Saxophone – Bob Berg (tracks: 1,2,4,7)

Various Artists - 2006 "Viva Carlos"

"Viva Carlos!" features some of the greatest names in progressive jazz/fusion, blues, and rock guitar, each paying tribute to rock guitar icon Carlos Santana. These ten incredible guitarists have come together to lift up their guitars as their voices in celebration of some of the most important music in rock history.

Guitarist Jeff Richman continues his series of tribute albums with Viva Carlos!, an homage to guitarist Carlos Santana that manages to accomplish what most tributes can't: actually improve on its source.
Santana's tone and style are immediately recognizable, but when compared to the players enlisted here, the Mexican-born guitarist simply doesn't have the vocabulary. He's dabbled in the jazz world through associations with artists like John McLaughlin and Wayne Shorter. There's no question that some of his tunes are tailor-made for more expansive interpretation. But his ability to navigate his own sometimes complex changes has always been limited. His solo approach is more about finding single notes or simple lines that can thread through the changes, and letting his singing tone do the rest. And that ultimately reduces Santana as a guitarist to something of a one-trick pony.

But there's more substance to Santana's music than meets superficial examination, and his writing can be fine grist for more sophisticated exploration—just listen to Viva Carlos!. Vinnie Moore's take on the blistering "Se a Cabo applies a singing tone similar to Santana's. But his far more developed chops and extended techniques take the energy level to places Santana never could. Similarly, Frank Gambale's equally distorted but sharper-edged tone takes "Samba de Sausalito (from the fusion-centric Welcome, Columbia 1973) and, while occasionally referencing Santana's use of repetition, gives it a facelift through sheer boldness and wide-reaching ideas. Richman's take on the bossa ballad "Europa is reverential in tone, but more advanced in execution.

The real surprises here are those who stray far from Santana's tone and apply a more personal aesthetic. Who'd have thought that Pat Martino's clean and dark-hued sound would work so well with "Moonflower, or that Albert Lee—better known in country circles—could take the equally relaxed "Samba Pa Ti and reinvent it, retaining Santana's evocative melody while turning it into something far more subtle?

Credit, as always, has to go to Richman for assembling a band that understands the source material but is able to expand on it. Sometimes it's a simple conceit like the classic "Oye Como Va (featuring Mike Stern), where the familiar melody is reshaped in 7/4. It can also be a matter of applying a more visceral rhythm, as with the powerful shuffle of "Blues for Salvador, which is tailor-made for the blues-centric Robben Ford.

The fact that all the pieces (except 1987's "Blues for Salvador ) come from '70s albums may reveal a not-so-hidden statement. Recent releases like Supernatural (Arista, 1999) may be mega-million sellers, but Santana's real legacy remains with the string of albums he released between 1969 and 1977. Viva Carlos! respects that legacy but reinvents it through rearrangement and employing guitarists who speak with a more advanced language. This music will appeal to fans and, perhaps surprisingly, non-fans alike.

There are two sides of Carlos Santana which the record buying public has long become familiar with -- the groundbreaking Latin/jazz fusion guitarist of the '60s and '70s, and the mainstream pop/rocker of the early 21st century. Thankfully, the tracks covered on the 2006 Santana tribute, Viva Carlos!, focus entirely on the former era. With a backing band comprised of drummer Dave Weckl, bassist Abe Laboriel, keyboardist Peter Wolf, and percussionist Luis Conte, some of the most renowned names of jazz fusion guitar are included (Robben Ford, Frank Gambale, Pat Martino, Mike Stern), as well as rockers (Eric Gales, Eric Johnson, Vinnie Moore), and even a country picker (Albert Lee). Most tribute albums tend to be mixed bags, but Viva Carlos! proves to be one of the more consistent ones out there, since the performances tend to be quite similar throughout, like Mike Stern's "Oye Como Va" and Coco Montoya's "Jungle Strut." As one of the more criminally underrated/overlooked guitarists, any Santana tribute is a welcome one.

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

Tracks Listing:

1. Vinnie Moore: Se A Cabo (4:42)
2. Jeff Richman: Europa (4:42)
3. Eric Gales: Jingo (6:40)
4. Mike Stern: Oye Como Va (4:58)
5. Pat Martino: Flor D'Luna (5:24)
6. Eric Johnson: Aqua Marine (4:53)
7. Frank Gambale: Samba De Sausalito (4:36)
8. Robben Ford: Blues For Salvador (4:26)
9. Albert Lee: Samba Pa Ti (5:01)
10. Coco Montoya: Jungle Strut (4:58)

Total Time 50:20

Personnel:

- Vinnie Moore / guitars
- Jeff Richman / guitars
- Eric Gales / guitars
- Mike Stern / guitars
- Pat Martino / guitars
- Eric Johnson / guitars
- Frank Gambale / guitars
- Robben Ford / guitars
- Albert Lee / guitars
- Coco Montoya / guitars
- Luis Conte / percussion
- Abe Laboriel / bass
- Jeff Richman / rhythm guitar
- Dave Weckl / drums
- Peter Wolf / keyboards

Steps Ahead - 1994 "Live In Tokyo" 1986

Steps Ahead, one of the most influential jazz groups since their first debut is an all-star jazz oriented R&B band that originally included such players as Mike Brecker, Don Grolnick, Eddie Gomez and Steve Gadd in it's original line-up. Mainieri has revived the group several times since with such musicians as Warren Bernhardt, Eliane Elias, Rachel Z, Mike Stern, Tony Levin, Victor Bailey, Peter Erskine, Steve Smith and Bendik.

After the release of the album “Magnetic” in 1985, Michael Brecker and I, along with the revamped rhythm section of Mike Stern, Daryl Jones, and Steve Smith, embarked on a series of concert tours. One of these concerts was recorded live at Kan-I Hoken Hall in Tokyo and originally released on Laserdisc. Many Steps Ahead fans and musicians who caught this ensemble “live,” either at the ‘Bottom Line’ in New York City or at other venues, have inquired about the availability of recordings from these dates. With the assistance of Hisao Ebine and VideoArts in Japan, we were able to release this live recording on CD. I hope this recording brings you as much joy as I had performing with these great musicians.

This is a strong show of course it goes without saying to hear the great Michael Becker he shines on these songs. I love these songs first they are strong and on top of that performed so well. These guys into act with one another so well Michael and Mike have played together for years and it shows they have a lot musically to say to one another. It is cool to hear the electronics come into play here but not over done. I have always thought it was interesting that the great American form of music jazz is more popular outside of the US and thank God Japan has embraced this art form because like with this release we have it today . One thing that is cool to see and hear how good of a drummer Steve Smith is, he spend many years drumming behind the pop band Journey but you can hear he is good and fits right in with these guys. Steps Ahead have had a number of changes over the years in members of the band but have been able to keep the level of music up there. This is such a great album the whole thing just fits and plays well.

This is the only live recording featuring the legendary line-up of Michael Brecker, Mike Mainieri, Mike Stern, Daryl Jones & Steve Smith.

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

Tracklist

1. Beirut 9:53
2. Oops 8:47
3. Self Portrait 7:30
4. Sumo 9:01
5. Cajun 8:14
6. Safari 6:23
7. In A Sentimental Mood 4:26
8. Trains 9:32

Personnel:

Vibraphone [Vibraphone, Midi Vibes] – Mike Mainieri
Tenor Saxophone, Electronic Wind Instrument [Ewi] – Michael Brecker
Guitar – Mike Stern
Bass – Darryl Jones
Drums, Percussion – Steve Smith

Jaco Pastorius - 2014 "Anthology" - The Warner Bros. Years

Anthology: The Warner Bros. Years is a comprehensive anthology of Jaco Pastorius' output for the label, in 2 CDs, including collaborations with Airto Moreira and Mike Stern, as well as the previously unreleased "Donna Lee" from The Birthday Concert, available for the very first time. Accompanying the discs is a 16-page booklet, featuring a comprehensive essay by Bill Milkowski, author of Jaco: The Extraordinary And Tragic Life Of Jaco Pastorius, and photos by Shigeru Uchiyama.

In 1981, Jaco Pastorius left Weather Report to pursue work with his Word of Mouth Big Band. He released his second solo effort, Word of Mouth under his new contract with Warner Bros.

On December 1st of that year, Jaco celebrated his 30th birthday by hosting a party at a Fort Lauderdale, Florida club. He flew in musicians from the Word of Mouth project to perform, and the event was recorded by Jaco’s friend and engineer Peter Yianilos. Yianilos intended for the recording to be a birthday gift, but it remained unreleased until 1995, when Warner released it on The Birthday Concert.

In 1982, Jaco took his Word of Mouth band on a tour in Japan, which resulted in the release of Invitation in the U.S. by Warner.

Warner has just released an all-new anthology which collects remastered versions of many of the tracks on those three albums, along with some of Jaco’s guest appearances, and a previously unreleased performance of Charlie Parker’s “Donna Lee.”

The two guest appearances include “Nativity,” from percussionist Airto Moreira’s 1977 album I’m Fine, How Are You? and “Mood Swings,” from Mike Stern’s 1986 release, Upside Downside.

Jaco biographer Bill Milkowski contributed the liner notes for the anthology, saying “Through his brilliant innovations…Pastorius liberated his instrument from its traditional role in the background and re-imagined it as a potent solo axe and orchestral tool.”

Material from Jaco Pastorius’s solo career has been compiled many times over. That’s what happens to a musician who meets an untimely death. People want more, but there’s only a finite number of recorded goods. Pastorius recorded plenty of stuff during and after his tenure in the jazz fusion supergroup Weather Report. His legendary status came from him finding a highly specialized niche within the genre, that of a wizard of the fretless bass.

The hit title track from 1976’s Black Market gave a snapshot of Pastorius transforming the low end instrument into, if not a lead instrument, one capable of mighty hooks. Joe Zawinul’s Weather Report soared to new heights with Pastorius and Wayne Shorter in the lineup, but it’s tough to argue whether or not their respective departures resulted in Weather Report losing steam. At any rate, Pastorius’s next move was to wrap up work on an album called Word of Mouth.

This is the starting point of Anthology: The Warner Bros. Years, a collection that only spans three albums. So if you already have copies of Word of Mouth, The Birthday Concert and Invitation, you already have a majority of what Anthology has to offer. What remains are only three tracks of the 22 track double-disc compilation, two of which were previously accounted for on albums where Pastorius was a guest musician. The one not accounted for is a live recording of “Donna Lee”, which is interesting but not as refined as the version heard on Pastorius’s self-titled 1976 record.

Since The Birthday Concert and Invitation are both live albums, the studio tracks are naturally outnumbered on Anthology. One factor that strained the working relationship between Pastorius and Joe Zawinul was Zawinul’s distaste for Pastorius’s showmanship. Watching those old Weather Report shows, he sometimes looked like a rock star trapped inside a jazz band. But sure enough, the crowds as Pastorius’s shows ate it up. You hear it at the end of every live track, the sound of an audience getting pumped up after hearing jazz! With horns too! “Liberty City”, “Soul Intro/The Chicken” and “Invitation” are chock-full of zest, tight auxiliary percussion be damned. “Continuum” and the Weather Report leftover “Punk Jazz” slow the momentum to steady grooves. There is lots of overlap between these two live albums and, for many fans of jazz fusion, picking one version of “Continuum” over another is a matter of apples against oranges.

Proportionately, Word of Mouth is represented just as favorably. Six of its seven songs are here on Anthology, leaving out the 12-minute take of “Liberty City”. And what a brilliantly weird album Word of Mouth was. It begins with a bafflingly fast composition called “Crisis” where Pastorius plays seemingly every note on the neck as the horns scramble for a place to live. “Crisis” doesn’t seem to have a center or a main idea driving it, but it somehow feels like an appropriate opener. His band channel the majesty of the far east for “Chromatic Fantasy” and ram the Beatles’s “Blackbird” through a polyphonic skewer. Both tracks are short and end abruptly, as if someone accidentally sat on the mixing desk. And though Pastorius seemed to be taking a boppier direction in his solo career at this point, “Three Views of a Secret” and “John and Mary” demonstrate that he still had an element of Weather Report-esque fusion in his system.

Anthology: The Warner Bros. Years wraps up with the three outsider tracks mentioned earlier:  “Nativity”, Mood Swings” and “Donna Lee”. “Nativity” comes from percussionist Airto Moreira’s 1977 Warner release I’m Fine, How Are You? and “Mood Swings” is drawn from guitarist Mike Stern’s 1986 album Upside Down. Pastorius’ presence is felt heavily on “Nativity”, a track that swings from ambient world to something with considerably more drive to it. The duet with Mike Stern is some intense straight up jam fusion. The live recording of the Charlie Parker tune “Donna Lee”, the one and only exclusive to Anthology.

If you consider yourself a bass player and you don’t hold Jaco Pastorius in the highest esteem, then we can only presume you’ve never really listened to the man, because he’s one of those guys whose work with the instrument was so unique and groundbreaking that it’s hard to hear it without wanting to drop to your knees and begin recitation of the phrase, “I’m not worthy!”

‘Anthology: The Warner Bros. Years’ is one of many retrospectives of bass genius Jaco Pastorius’ work that have been issued since his tragic death at the age of 35. Containing music from his time with the Warner Bros. label, the vast majority of the album is made up of selections from his sophomore solo studio release ‘Word Of Mouth’ and live albums ‘The Birthday Concert’ and ‘Invitation’.

Among the four tracks which are not from these albums, first up is a live version of ‘Okonkole y Trompa’ from debut album ‘Jaco Pastorius’. This recording comes from the Japanese release ‘Twins I & II’ and stays pretty close to the original as an atmospheric piece featuring some beautiful French horn. ‘Nativity’ from Weather Report and Return To Forever percussionist Airto Moreira’s 1977 album, ‘I’m Fine, How Are You?’, continues in the atmospheric vein before a more upbeat mood is struck on ‘Mood Swings’ from Mike Stern’s ‘Upside Downside’.

While the idea of seeing Jaco in other settings could well provide some interest, if there are only a couple of token examples his work with Joni Mitchell or Pat Metheny would almost certainly lend more insight than the selections here. All three of the tracks here were in fact included on 2003's 'Punk Jazz: The Jaco Pastorius Anthology' alongside some of his work with Mitchell and Metheny as well recordings from the beginnings of Jaco's career in an altogether more cohesive and informative compilation.

Here’s the track listing, to get you further excited about diving into the set:

Disc One

1. “Crisis”
2. “Blackbird”
3. “Chromatic Fantasy”
4. “Word Of Mouth”
5. “Three Views Of A Secret”
6. “John And Mary”
7. “Continuum”
8. “Liberty City”
9. “Soul Intro / The Chicken”
10. “Reza”
11. “Happy Birthday”

Disc Two

1. “Punk Jazz”
2. “Amerika”
3. “Invitation”
4. “Domingo”
5. “Sophisticated Lady”
6. “Fannie Mae”
7. “Eleven”
8. “Okonkole’ Y Trompa”
9. “Nativity” – with Airto Moreira
10. “Mood Swings” – with Mike Stern
11. “Donna Lee” – previously unreleased

Various Artists - 1998 [2000] "Who Loves You?" A Tribute to Jaco Pastorius

Jaco Pastorius was as brash and confident as they came, an innovative and challenging musician who, if anyone asked, would call himself the best bass player in the world. Almost 14 years after his death, the legend of Jaco continues to grow. This tribute, produced by Michael Colina, assembles players who jammed with Jaco on record and stage, and also those who were and continue to be inspired by his groundbreaking style.

Former bandmates Peter Erskine, Michael and Randy Brecker, Don Alias, David Sanborn, Mike Stern and Bob Mintzer all play with passion, as do bassists Victor Bailey (who replaced Jaco in Weather Report), Mark Egan, Will Lee, Marcus Miller, John Geus and John Patitucci.

Fittingly, the CD opens with Jimi Hendrix’s “Third Stone from the Sun.” Hendrix’s time was a few years before Jaco’s but Hendrix’s guitar was the same as Jaco’s bass: reckless, daring, uncompromising. Although Jaco could jam like a mother, he expressed many moments of tenderness, as invoked by Egan’s fretless bass on Joe Zawinul’s “A Remark You Made” and Bailey’s lead bass on Pastorius’ “Continuum” from Jaco’s debut solo album.

There are many more highlights, including the seldom-heard “Dania,” a free form and flying excursion with soaring sax lines from Mintzer. Two magical moments are fresh takes on Jaco’s best songs: “Three Views of a Secret” and “Portrait of Tracy,” the latter with Marcus Miller producing and playing all instruments. Sanborn’s sax is magical on “Song for Jaco-Song for a Friend.”

Of course, this isn’t a bass CD anymore than Jaco’s records were bass albums. It’s a jazz CD, with top jazz musicians infusing their own styles, from Bob James and Jeff “Train” Watts to Will Lee, saxophonist Bill Evans and Joey Calderazzo.

A bonus: Excellent liner notes from Jaco biographer Bill Milkowski.

This tribute to the genius of jazz/fusion bass pioneer Jaco Pastorius features many of the friends and musicians that jammed with the legendary musician, including Victor Bailey (who replaced Pastorius in the Weather Report lineup in 1982) and drummer Peter Erskine (Pastorius's bandmate in Word of Mouth). Bassists Mark Egan, Marcus Miller, Will Lee, James Genus, and John Patitucci play three originals composed in memory of the bassist and cover six songs composed by Pastorius. 

"Third Stone From the Sun" is also included, a song that alludes to a riff that Pastorius would often quote in concert during his bass reign with Weather Report. At the center of this tribute the listener will find a treasure. In what must be one of the most stirring renditions of "A Remark You Made," tenor saxophonist Bill Evans plays a beautifully haunting sax melody underscored by Gil Goldstein's accordion and keyboards that taps into the depths of one's soul. This powerful rendition of Joe Zawinul's composition is even more emotional because of Mark Egan's recreation of the signature fretless bass voice that brilliantly reflects the nucleus of Pastorius' greatness. This, along with the plaintive wail of Mike Stern's guitar that adds another layer of pent-up passion, will bring tears to your eyes. 

Victor Bailey plays "Continuum" to perfection and offers some highly authoritative statements to his excellent perception of the original vision. The song continues to stand as an enduring medium for their brilliant bass chops. Randy Brecker, Peter Erskine, and Bob James perform the compelling ballad "Three Views of a Secret," with Brecker's muted trumpet emphasizing the dramatic inner self, or secret through shifts in nuance. "Song for Jaco - Song for a Friend" spotlights the reverence of alto saxophonist David Sanborn, the beautiful piano of Bob James, and the contemplative guitar of Steve Cardenas and closes the beautiful tribute. 

The music on Who Loves You: A Tribute to Jaco Pastorius is expressive, emotional, and brilliantly eulogizes the passion and forces that were a part of Jaco Pastorius' essence.

Track Listing/Personnel:

01 Third Stone From The Sun - Michael Brecker/Joey Calderazzo/John Patitucci/Jeff 'Tain' Watts

02 A Remark You Made - Bill Evans/Mike Stern/Gil Goldstein/Mark Egan/Steve Gadd/Don Alias/Kevin DiSimone

03 Continuum - Victor Bailey/Gil Goldstein/Steve Gadd/Don Alias/Michael Colina

04 Jaco - Bob Mintzer/Mike Stern/Gil Goldstein/Mark Egan/Steve Gadd/Don Alias

05 Fall'n Star - John Patitucci/Steve Cardenas/George Whitty/James Genus/Peter Erskine

06 Okonkole Y Trompa - Randy Brecker/George Whitty/John Patitucci/Peter Erskine/Don Alias/Michael Colina

07 Come On, Come Over - Hiram Bullock/Will Lee/Jim Beard/Steve Gadd/Don Alias/Andy Snitzer/Chris Hunter/Jim Hynes...

08 Three Views Of A Secret - Randy Brecker/Bob James/Steve Cardenas/James Genus/Peter Erskine

09 Dania - Hiram Bullock/Jim Beard/Mark Egan/Steve Gadd/Don Alias

10 Portrait Of Tracy - Marcus Miller

11 Song For Jaco - Song For A Friend - David Sanborn/Bob James/Steve Cardenas/James Genus/Peter Erskine/Michael Colina

Various Artists - 2005 "Fusion For Miles" - A Guitar Tribute

Titled Fusion for Miles: A Guitar Tribute, this set is a bit unusual. A five-piece band that includes Dave Liebman on soprano sets up grooves and backgrounds that sound like Miles Davis' bands of 1969-1971. A different guitarist is featured on each of the ten selections, with the biggest names being Mike Stern, Bill Frisell, Bill Connors, and Pat Martino. Ironically, those four are each featured on pre-fusion Davis-associated songs ("So What," "Nefertiti," "Eighty-One," and "Serpent's Tooth") that are performed with funk rhythms and as if Davis had revived them in 1970. In addition to having a string of guitars in the foreground, it is unusual to hear this music without any trumpeters. But overall, the project is successful with plenty of fireworks and creative playing along the way, reviving music from 35 years earlier that still manages to sound fresh and slightly menacing.

Trumpeter Miles Davis shifted gears so many times during his forty-year career that doing a proper tribute which covers the entire time frame represents a distinct challenge. Perhaps that's why many artists have focused on specific periods in their Miles tributes. Producer Gary Guthrie put a new spin on Kind of Blue with A New Kind of Blue, while trumpeter Wadada Leo Smith and guitarist Henry Kaiser's Yo Miles! project has released three sets inspired by Miles' '70s electric period. Even trumpeter Wallace Roney, while not recording a tribute album per se, has taken one of Miles' mid-'60s albums, Nefertiti, and used it, along with other sources, as the foundation for his own work.
In the past year, guitarist Jeff Richman has released tributes to saxophonist John Coltrane (A Guitar Supreme) and guitarist John McLaughlin and the Mahavishnu Orchestra (Visions of an Inner Mounting Apocalypse). He's probably the first to try and put the departed trumpeter's greater career arc into perspective. The problem is that there's little to tie together Miles' various periods. One reason for this is that whenever he moved into a new musical space, he often alienated much of his existing fan base. Fans of Kind of Blue are not inherently going to be disposed towards Bitches Brew, and many who discovered Miles with the pop-funk of his last decade may find his more abstract mid-'60s quintet completely unfathomable.

Consequently Fusion for Miles starts with an immediate handicap. The bad news is that Richman's arrangements—featuring a core band of keyboardist Larry Goldings, bassist Alphonso Johnson, and drummer Vinnie Colaiuta—don't go very far in finding the elusive common link. In fact, Richman often takes tunes that were the barest of sketches—for example, Miles' funk vamp of "Jean-Pierre" and the equally harmonically static jungle funk of his early-'70s "Black Satin"—and writes new passages to give them greater interest. While these radically altered and stricter arrangements give the guest guitarists more to work with, by its very virtuosity Fusion for Miles loses sight of one of Miles' core musical goals: creating specific vibes and particular feelings.

The good news is that Fusion for Miles is one heck of a great fusion record when taken on its own merits. It features a varied bunch of guitarists who range from the post bop sensibility of Pat Martino and Bill Connors, to more clear fusion from Jimmy Herring and Mike Stern, and the rock-centric approach of Warren Haynes and Steve Kimmock. Covering material from the late '50s ("So What") through the mid-'80s ("Splatch"), every guitarist digs into the solid foundation laid by the rhythm section. Unlike Richman's Mahavishnu Orchestra tribute, none of the core band members actually played with Miles, but the inclusion of one early-'70s Miles veteran, saxophonist Dave Liebman, on some tracks provides linkage. And while the individual tunes come from a multitude of spaces, Richman's arrangements bring them together for an album that is sure to please fans of pedal-to-the-floor fusion to no end.

Musicians and fans that revere Miles Davis’ late period work will treasure Fusion For Miles, an anthology whose participants consider “Black Satin,” “Back Seat Betty” and “Spanish Key” just as important as “So What” or “Nefertiti” (which are also part of the menu here). Organist Larry Goldings brings some blues/soul grit to the main lineup that also includes a tremendous funk bassist (Alphonso Johnson), a saxophonist just as comfortable with groove-heavy fare as the avant-garde (Dave Liebman) and a guitar-and-drum drum combo that are regulars in this setting (Jeff Richman and Vinnie Colaiuta, respectively).

Although personal favorites include Bill Frisell’s typically unusual but effective playing on “Nefertiti,” Pat Martino’s easy, sleek solos on “Serpent’s Tooth” and Bireli Lagrene’s balance between flash and soul on “Spanish Key,” there’s also Mike Stern’s steady playing on “So What” and Jimmy Herring’s resourcefulness on “Black Satin.” Richman’s arrangements retain much of the intensity and appeal of the original tunes, though the larger Davis aggregations generated more punch on “Black Satin” or “Back Seat Betty.”

As someone who initially loved (and still loves) the electric Davis’ ensembles as much as the great acoustic groups, Fusion for Miles is a worthy celebration of both approaches.

Track Listing:

01 Black Satin
02 Splatch
03 Jean Pierre
04 So What
05 Nefertiti
06 Eighty One
07 Serpent's Tooth
08 It's About That Time
09 Back Seat Betty
10 Spanish Key

Personnel:

Vinnie Colaiuta: drums;
Alphonso Johnson: bass;
Larry Goldings: keyboards;
Jeff Richman: guitars
Dave Liebman: saxophone.

Featured guitarists:

Jimmy Herring (1)
Jeff Richman (2)
Eric Johnson (3)
Mike Stern (4)
Bill Frisell (5)
Bill Connors (6)
Pat Martino (7)
Warren Haynes (8)
Steve Kimmock (9)
Bireli Lagrene (10)