Santana - 1999 The Best Instrumentals Vol. 2

The second collection of Santana instrumentals, like the first, rounds up vocal-less music spanning his tenure at Columbia, in this case 1971-1989. It fills in some obvious missing pieces to that compilation, like "Jingo," along with uncovering deep catalog selections most listeners might not own, or more likely forgot about. The music is arranged thematically as opposed to chronologically, lending a fluid flow as it shifts from the quieter Latin-tinged tracks to the more incendiary guitar/percussion showpieces, closing with the electrifying trilogy from Santana 3 of "Toussaint L'Overture," "Batuka," and "Jungle Strut." What's here is acceptable, but the quickie quality to the packaging (no liner notes, personnel listing, or original album reference for the songs, plus a complete lack of pictures and cheap graphics), abbreviated playing time (surely the compilers could have found 20 more minutes to beef up the disc), and the puzzling exclusion once again of "Incident at Neshabur," one of the band's early instrumental concert highlights (also absent from the first volume), is troubling. There's little live music save for an applause-free "Free Angela" from Lotus, and although some of these songs are difficult to find, there are no rarities or previously unissued cuts. Maybe they will end up on future editions. As it stands, The Best Instrumentals Vol. 2, along with Vol. 1, makes an adequate but hardly essential addition to the bulging Santana catalog of reissues. It effectively takes us on a time trip connecting the dots of the guitarist's various bands, sounds, and styles while showcasing his always electrifying guitar work. It's a satisfying compilation, yet one that, with a little more care and thought, could have been better. 

Two years after it's release of the "Best Instrumentals" Sony is back with another compilation which builds upon and compliments the first release. Again, Sony deserves a lot of credit for recognizing Santana's outstanding guitar playing ability and for taking the time to sift through a decades worth of music to isolate these instrumentals. On Volume 2, Sony collects 14 more instrumentals covering Santana's 30 plus year career. Included on this CD is the sonically beautiful "Revelations" through the precussion laced "Primera Invasion". Despite the title, Sony has included two tunes with spanish vocals, "Jingo" and "Oye Como Va". While these tunes are mainly instrumentals, I am positive that there are at least two other pieces which would have qualified this as an entire instrumental release similar to Volume 1. Overall, it's approximately 56 minutes of great instrumentals that will save you countless hours of attempting to sort through this masters music just to isolate his instrumental works. 


Track listing

1. "Touchdown Raiders"
2. "Verão Vermelho"
3. "Revelations"
4. "Runnin'"
5. "Primera Invasion"
6. "Hannibal"
7. "Samba de Sausalito"
8. "Free Angela"
9. "Oye Como Va"
10. "Singin Winds, Crying Beasts"
11. "Jingo"
12. "Toussaint L'Overture"
13. "Batuka"
14. "Jungle Strut"

Santana - 1997 The Best Instrumentals Vol. 1

Nice Compilation of A Master’s Work! Hat’s off to Sony for recognizing Santana’s outstanding guitar playing ability and for taking the time to sift through a decades worth of music to isolate these instrumentals. Included on this CD is a tune from Santana’s first release in 1969 “Soul Sacrifice”, the incomparable “Blues for Salvador” from his 1987 release of the same name as well as “Europa” from the Amigos album. Overall, it’s 71 minutes of great instrumentals that will save you countless hours of attempting to sort through this masters music just to isolate his instrumental works.

Just the music There are many great guitarists in the world but only Carlos Santana can move me like he does. Long ago I made my own version of this album on cassette because I wanted all these great instumentals on one tape. Finally it has been done and been done right. Europa is easily the best instrumental number ever and I would argue one of the best songs of all time. It is perfectly married with all the other great Santana numbers that were usually the best thing on their respective albums.Put this on, turn the lights down low and lose yourself in the music.

Picking out the best instrumentals from Carlos Santana's thirty-year recording career is a daunting task at best, and a fan can certainly find reasons to disagree with some of the choices made in this collection. However, this German release is valuable in bringing together undisputed Santana classic guitar pieces like "Europa (Earth's Cry Heaven's Smile)," "Samba Pa Ti," "Flor D'Luna (Moonflower)" and "Soul Sacrifice" with lesser known masterworks like "Aqua Marine" and the superb "Song of the Wind." True, there's no "Toussaint L'Ouverture" or "Incident at Neshabur," but how would you like to have to narrow this long-lived band's catalog down to fifteen tracks? Besides, the true fan already has the original albums and earlier compilations. One thing made obvious by this sampler of tracks recorded between 1969 and 1990 is that the later stuff with artificial keyboards, like "Love is You" and "Blues For Salvador" from the late '80s, just doesn't have as much soul as the earlier, more organic material. But that's a technological issue. This disc takes its listeners on a high intensity trip through time on the spiritual wings of Carlos Santana's soaring electric guitar. It's a trip worth taking.

Track Listing

1. Samba Pa Ti
2. Europa (Earth's Cry Heaven's Smile)
3. I Love You Much Too Much
4. Aqua Marine
5. Bella
6. Flor d'Luna (Moonflower)
7. Life Is a Lady/Holiday
8. Full Moon
9. Song of the Wind
10. Tales of Kilimanjaro
11. Love Is You
12. Guru's Song
13. Treat
14. Blues for Salvador
15. Soul Sacrifice

Various Artists - 1989 [1995] Fuse One - The Complete Recordings

Fuse One was a group of jazz musicians who collaborated for two albums released on CTI Records and one album released on GNP Crescendo Record Co..^[1]
The albums Fuse One and Silk were produced by Creed Taylor. The first album was arranged by Jeremy Wall of Spyro Gyra, the second by Leon "Ndugu" Chancler of Weather Report and the third by David Matthews.
Membership was not concrete, but included Tony Williams, Joe Farrell, John McLaughlin, Stanley Turrentine, Wynton Marsalis, Larry Coryell, Lenny White, Paulinho Da Costa, Ronnie Foster, Stanley Clarke, George Benson, Todd Cochran, Leon "Ndugu" Chancler, Tom Browne, Dave Valentin, Jorge Dalto and Eric Gale.
The liner notes to their first album described the group thus: "Fuse One is conceived as a forum in which major contemporary musicians perform according to their own musical disciplines and without the constraints that accompany leader responsibilities. Each player brings in new compositions and ideas.

Tracklist 

	1. Grand Prix Drums – Ndugu*Electric Guitar – John McLaughlinPercussion – Paulinho DaCosta*Programmed By [Synthesizer Programming] – Suzanne CianiSoloist, Bass [Tenor Bass] – Stanley ClarkeSoloist, Electric Piano [Fender Rhodes], Synthesizer – Ronnie FosterSoloist, Tenor Saxophone – Joe FarrellSynthesizer – Jeremy Wall
	2. Waterside Adapted By – Jeremy WallDrums – Lenny WhiteElectric Bass – Will LeeElectric Piano [Fender Rhodes] – Jorge DaltoPercussion – Roger SquiteroSoloist, Acoustic Guitar, Electric Guitar – Larry CoryellSoloist, Electric Piano [Yamaha Electronic Grand] – Jeremy WallWritten-By – Bedrich Smetana*
	3. Sunshine Lady Bass [Tenor Bass] – Stanley ClarkeDrums – Ndugu*Percussion – Paulinho DaCosta*Piano – Vic Feldman*Soloist, Acoustic Guitar – John McLaughlinSoloist, Piano [Acoustic Piano Introduction], Synthesizer – Jeremy WallSoloist, Soprano Saxophone – Joe Farrell
	4. To Whom All Things Concern Bass – Stanley ClarkeDrums – Ndugu*Percussion – Paulinho DaCosta*Soloist, Electric Guitar – John McLaughlinSoloist, Electric Piano [Fender Rhodes] – Vic Feldman*Soloist, Tenor Saxophone – Joe FarrellSynthesizer – Jeremy Wall
	5. Double Steal Bass – Will LeeDrums – Ndugu*Electric Guitar – John McLaughlinPercussion – Paulinho DaCosta*Programmed By [Synthesizer Programming] – Suzanne CianiSoloist, Piano, Synthesizer – Jeremy WallSoloist, Synthesizer, Electric Piano [Fender Rhodes] – Ronnie FosterSoloist, Tenor Saxophone – Joe Farrell
	6. Friendship Bass – Stanley ClarkeDrums – Tony Williams*Drums [Additional] – Michael EpsteinElectric Piano [Fender Rhodes] – Don GrusinPercussion – Paulinho DaCosta*Piano – Jeremy WallSoloist, Acoustic Guitar – John McLaughlinSoloist, Flute [C Flute] – Joe Farrell
	7. Taxi Blues Bass [Tenor Bass] – Stanley ClarkeDrums – Lenny WhiteElectric Guitar – Larry CoryellPercussion – Roger SquiteroSoloist, Acoustic Guitar, Electric Guitar – Larry CoryellSoloist, Bass [Tenor Bass] – Stanley ClarkeSoloist, Harmonica – Hugh McCracken
	8. Silk Bass – Stanley ClarkeDrums – Ndugu*Guitar – Eric GaleKeyboards, Synthesizer – Ronnie FosterPercussion – Sammy FigueroaTenor Saxophone – Stanley TurrentineTrumpet – Tom Browne
	9. In Celebration Of The Human Spirit Bass – Marcus Miller, Stanley ClarkeDrums – Ndugu*Flute – Dave ValentinGuitar – Eric GaleKeyboards, Synthesizer – Ronnie FosterPercussion – Manolo Badrena, Sammy FigueroaTrumpet – Tom BrowneTrumpet, Flugelhorn – Wynton Marsalis
	10. Hot Fire Bass – Stanley ClarkeDrums – Ndugu*Flute – Dave ValentinGuitar – Eric GaleKeyboards, Synthesizer – Ronnie FosterPercussion – Manolo Badrena, Sammy FigueroaTrumpet, Flugelhorn – Wynton Marsalis
	11. Sunwalk Bass – Stanley ClarkeDrums – Ndugu*Guitar – Eric Gale, George BensonKeyboards, Synthesizer – Ronnie FosterPercussion – Sammy FigueroaTenor Saxophone – Stanley TurrentineTrumpet – Tom Browne  "Grand Prix," Sunshine Lady," To Whom All Things Concern," "Double Steal," and "Friendship" recorded at Evergreen Studio and Westlake Audio, April 1980, Tom Vicari, Engineer; additional recording at Secret Sound Studio, Michael Barry and Jack Malken, Engineers. "Waterside" and "Taxi Blues" recorded at Van Gelder Recording Studio, May and June, 1980, Rudy Van Gelder, Engineer. "Silk," "In Celebration Of The Human Spirit," "Hot Fire," and "Sunwalk" recorded at Van Gelder Recording Studio, September 21-24, 1981, Rudy Van Gelder, Engineer. Mixed and Mastered at Van Gelder Recording Studio.

Jimi Hendrix - 1970 [1995] "Rainbow Bridge" 2 CD

Rainbow Bridge is a compilation album[3] by American rock musician Jimi Hendrix. It was the second posthumous album release by his official record company and is mostly composed of recordings Hendrix made in 1969 and 1970 after the breakup of the Jimi Hendrix Experience. Despite the cover photo and subtitle Original Motion Picture Sound Track, it does not contain any songs recorded during his concert appearance for the 1971 film Rainbow Bridge.

Continuing in the vein of The Cry of Love, the first official posthumous Hendrix album, Rainbow Bridge explores new guitar styles and textures. All the songs, except for a solo studio version of "The Star Spangled Banner", are written by Hendrix and mostly performed with Mitch Mitchell on drums and Billy Cox on bass.

The songs on Rainbow Bridge represent material in various stages of development and were never finalized or approved for release by Hendrix. Four of the songs on the album, along with the ten songs from The Cry of Love and three from War Heroes, were planned for Hendrix's follow-up album to the live Band of Gypsys, released in March 1970. These songs were later included on Voodoo Soup in 1995 and First Rays of the New Rising Sun in 1997, which were attempts at completing the double album Hendrix was working on at the time of his death.

 Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as "the original motion picture soundtrack" (it wasn't, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it's understandable why it didn't appeared in the digital realm until 2014 (officially, at least).
Once the estate went back to the Hendrix family in the '90s, three of the tracks from Rainbow Bridge were used on the album First Rays of the New Rising Sun, which had previously only existed as Jimi's hand-written track listing. The remaining tracks were orphaned out on various box sets and compilations. So while all the tracks on Rainbow Bridge have been made available elsewhere, it's nice to finally have it assembled the way the original LP was, with excellent remastered sound (not just for the old-timers who had the LP the first time around, but for others who don't necessarily want to shell out for the box set needed to gather these tracks). Highlights include overlooked gems like "Pali Gap" and Jimi's rarely heard studio version of "The Star Spangled Banner," which is made of multi-tracked guitars and basses.

 Since The Jimi Hendrix Experience split up, Jimi had been working on many songs and recorded a lot of demos. However, without wanting to give another studio album to the producer Ed Chaplin, he decided to make a live album of new material with a few new songs so that he could fulfill his contract. But, unfortunately, Jimi died 9/11/1970, leaving all those demos unfinished , still with a great number of amazing songs. With him dead, a race to release posthumous albums of that material started. The first one to do it, and the most honest, was Eddie Kramer. Together with Mitch Mitchel, Hendrix's drummer, he produced a trilogy of posthumous albums with the most complete demos and some jams too. "Rainbow Bridge" was the second one of these albums and has a good number of Hendrix classics, including songs that he planned to release in his next studio album. The album starts with "Dolly Dagger", a track that feels finished and complete; this hard rocking piece shows that Hendrix had already changed a bit his style since his Experience days. The lyrics seem to be talking about a witch and rituals, a thematic that Hendrix had talked about before. Other highlights include a 11 min long live version of "Hear My Train a Comin'" which shows Hendrix's incredible live performances, and Hey Baby (New Rising Sun), which by the long intro and the fact that he asks "Is the microphone on?" make it feels like it's a early demo, it feels like it could turn out to be the best songs of the ones in this album.

Recording information: Berkeley Community Center (01/20/1970); Electric Lady Studios (01/20/1970); Record Plant (01/20/1970); TTG Studios (01/20/1970); Berkeley Community Center (03/18/1969); Electric Lady Studios (03/18/1969); Record Plant (03/18/1969); TTG Studios (03/18/1969); Berkeley Community Center (05/30/1970); Electric Lady Studios (05/30/1970); Record Plant (05/30/1970); TTG Studios (05/30/1970); Berkeley Community Center (07/01/1970); Electric Lady Studios (07/01/1970); Record Plant (07/01/1970); TTG Studios (07/01/1970); Berkeley Community Center (10/22/1968); Electric Lady Studios (10/22/1968); Record Plant (10/22/1968); TTG Studios (10/22/1968); Berkeley Community Center (11/17/1969); Electric Lady Studios (11/17/1969); Record Plant (11/17/1969); TTG Studios (11/17/1969).

Tracklisting:
CD 1
01 - Rainbow Band - It's a Beautiful Day
02 - Chuck Wein - Introduction
03 - Spanish Castle Magic
04 - Lover Man
05 - Hey Baby
06 - In From The Storm
07 - Message To Love
08 - Foxy Lady
09 - Hear My Train A Comin'
10 - Voodoo Chile (Slight Return)
11 - Fire
12 - Purple Haze
13 - Dolly Dagger
14 - Villanova Junction Blues
15 - Ezy Rider

CD 2
01 - Red House
02 - Freedom
03 - Jam Back at the House
04 - Land Of The New Rising Sun
05 - Dolly Dagger (Wight 70)
06 - Hey Baby (Wight 70)
07 - Hear My Train Comin (Berkeley 70)
08 - Message Of Love (Fillmore 69)
09 - Easy Rider (Fillmore 69)
10 - Room Full Of Mirros (B.O.G. 69)
11 - Stepping Stone (B.O.G. 69)
12 - Earth Blues (B.O.G. 69)
13 - Hey Baby (C.O.L.B. 70)

Personnel

    Jimi Hendrix – guitars, lead vocals, backing vocals (tracks 1, 2)
    Mitch Mitchell – drums (all tracks except 4, 5)
    Billy Cox – bass guitar (all tracks except 5, 6)
    Juma Sultan – congas, percussion (tracks 1, 3, 6)
    Buddy Miles – drums (track 4), backing vocals (track 2)
    Noel Redding – bass guitar (track 6)
    The Ghetto Fighters (Albert Allen and Arthur Allen) – backing vocals (track 1)
    The Ronettes (Veronica Bennett, Estelle Bennett, Nedra Talley) – backing vocals (track 2)

Pat Martino - 1967 [2007] El Hombre

El Hombre is the debut album by guitarist Pat Martino recorded in 1967 and released on the Prestige label

Guitarist Pat Martino's debut as a leader finds the 22-year-old showing off his roots in soul-jazz organ groups while looking ahead at the same time. Joined by organist Trudy Pitts, flutist Danny Turner, drummer Mitch Fine, and both Abdu Johnson and Vance Anderson on percussion, Martino primarily plays a straight-ahead set (five of his originals, "Just Friends," and "Once I Loved"), but already displays a fairly distinctive sound. This CD reissue brings back Martino's impressive start to what would be a productive solo career.

Pat Martino was just 22 when he stepped through the hallowed doors of Rudy Van Gelder’s Englewood Cliffs studio to record his first date as a leader. A veteran of a series of great bands—particularly the organ groups of Brother Jack McDuff, Jimmy Smith, and Richard Groove Holmes—the kid knew the blues. And he had speed.

El Hombre is an organ-drenched speedfest that shows off this Philly kid’s ability to play soulfully, spinning out seemingly endless solos shot through with blue notes, flatted fifths, and thirty-second runs. It was Martino’s calling card, and this was his party. And it is, appropriately, a good time.

The Martino story can’t be told without a mention of his 1980 brain aneurysm, which resulted in amnesia and a total loss of his legendary guitar skills. In the following seven years, Martino listened to his own records and retaught himself how to play, renewing his astonishing technique and bringing to it the sheen of experience. You imagine that, in copping his own riffs, Pat Martino could have done no better than listening to El Hombre at great length.

The personnel on this debut is neither imposing nor disappointing. Trudy Pitts is (to this day) a strong Philly Hammond player, and here she gets to devise dozens of settings for Martino’s taking-on-the-word sound. Danny Turner, from McDuff’s group, plays tasty flute on some selections. Mitch Fine is the drummer, with two-hand percussion on board for flavor on tunes that swing in three, four, and six. The band keeps up with the kid, and that’s plenty.

In 1967 Martino came out of the bag with a rich history of recent style-changing players—always-always Wes Montgomery, but also Grant Green and Kenny Burrell. Martino sounds in some ways like his contemporary, George Benson, in the fluid way that he translates Montgomery’s impulses into something more insistent and, if possible, prettier. On a Latin treatment of Jobim’s “Once I Loved”, Martino plays Wes-style octaves, but he also unfurls gorgeous runs that start on the low E-string and push upward like rising water. On “A Blues for Mickey-O”, Martino is smack-dab in the center of the blues, and he has the wisdom not to rush too much. His solo quickly gets into the effective use of repeated phrases, and he makes a point of not playing more fancy bop changes than a straight blues can bear. There’s just enough bite to his attack that you hear something contemporary, but there are also echoes of old tunes such as “Teach Me Tonight”. When he moves to the Wes octaves again for a couple of climaxing choruses, it feels alright.

More often, though, there is the young cat’s incredible speed. On “Waltz for Geri”, Martino seems to have a bottomless bag of ideas, and he yanks them out one after the other without seeming to take a breath. Amazingly few of them sound like regurgitated practice patterns. Rather, they come out like shards of potential songs, actual compositions in motion. No other soloist dares to play on the song.
The title track is a tune in 6/8 that may even be slightly faster. The melody is articulated as harmony with the flute, with the hand percussion percolating beneath as incitement to riot. Martino comes out of the gate with harmonic invention and rhythm on his mind, wrapping licks around the insistent organ figure with abandon. The flute solo adds color and precision before the tight melody returns. “Cisco” and “One for Rose” swing up-tempo too, in four, with the same formula making for great listening. “Just Friends” drops the flute but also gallops through the changes, with Martino playing as fluently as on any blues. When he rips down from a high note with a small edge of distortion amidst the speed, you’re able to recapture what must have seemed so special about this kid in 1967—he was an unabashed jazz guitarist who played with a youthful abandon without seeming to defect from the tradition.

There is one previously unissued track on the end of El Hombre this time out, a Martino ballad called “Song for my Mother”. Pitts sounds a bit overdramatic here, coloring the very slow melody, and Turner’s flute seems out of place playing unison with Martino on such a lugubrious line. Still, when Martino begins to solo, there is gold in the way he rises up into a chord and, later, when he gently swings the band with octaves. This kind of track is never what this flag-waving album is going to be remembered for, but it’s good to know that the young Philly axe-wielder has more on his mind than the Indy 500.
As always, Rudy Van Gelder’s sound is exceptional, and the remastering keeps the album crisp and urgent. Today, Pat Martino is fully recovered from his amnesia and playing better than ever. El Hombre deserves to be heard by new fans as well as old ones. Many a young guitarist today will be stunned and jealous, I’m sure, of how fresh this 40 year-old music still sounds.

Track listing

All compositions by Pat Martino except as indicated

1. "Waltz for Geri" - 6:21
2. "Once I Loved" (Ray Gilbert, Antonio Carlos Jobim, Vinícius de Moraes) - 5:42
3. "El Hombre" - 5:57
4. "Cisco" - 4:29
5. "One for Rose" - 4:54
6. "A Blues for Mickey-O" - 8:02
7. "Just Friends" (John Klenner, Sam M. Lewis) - 5:47

Personnel

• Pat Martino - guitar
• Danny Turner - flute
• Trudy Pitts - organ
• Mitch Fine - drums
• Vance Anderson - bongos
• Abdu Johnson - congas

Larry Coryell, Tom Coster, Steve Smith. - 1998 "Cause And Effect"

Electric fusion returns in a big way on Cause and Effect, featuring one of fusion's pioneering guitarists, one of the second wave's top keyboard contributors, and a fusion Journey-man on the drums. Indeed, Larry Coryell was there at the birth of jazz-rock fusion as a member of the Gary Burton Quartet on the seminal Duster LP; Tom Coster was the keys man and a key player in the second incarnation of Santana in the 1970s; and Steve Smith hooked up with first generation Santana alumni in Journey. Smith was the catalyst for this explosive, electric summit meeting, single-handedly revitalizing the fusion genre with a series of all-star sessions including this one. Most of the numbers here were made up in the studio as the players jammed. Consequently, the spontaneity is obvious, and the trio has a lot of fun letting out all the stops. It's quite a change from the smooth textures Coryell had been putting out in recent years. Because of the free-flowing nature of the process, there are few real melodies here, but there are some great licks. Coryell's composition "Bubba" is a fine piece of funk, and his "First Things First" slithers seductively along on Coster's B-3 bed. The closing "Finale: Wes and Jimi" provides an appropriate denouement to the proceedings, while paying tribute to two of the genre's most important forebears. The obvious point of reference here is the Tony Williams Lifetime, and those familiar with that group's sound will be taken back to those heady days. However, these guys have managed to recall that exploratory era while creating their own fresh slant, resulting in a one-shot recording that deserves to be heard.

This power trio encounter between drummer Steve Smith, Hammond B-3 organist Tom Coster and fusion guitar pioneer Larry Coryell sounds like outtakes from a 1972 session. And I assure you, this is a good thing. A very good thing indeed.
Hardcore fusion fans had virtually written off Coryell in the '90s after his rather tame radio-friendly offerings for CTI like Live from Bahia and Fallen Angel. He had a welcome return to guitar hero form last year with the superb Spaces Revisited (Shanachie), which paired him with disciple Bireli Lagrene, former Zawinul Syndicate bassist Richard Bona, and drumming great Billy Cobham (who had appeared on the original Spaces session from 1970). But nothing that Larry has done in the past 20 years equals the ripping intensity and exhilaration of this all-out power trio blow-out.

Between the opening salvo of the odd-metered "These Are Odd Times," with its ferocious exchanges of eights, and the fuzz-and-wah inflected scorcher, "Plankton," you can feel the renegade spirit of this recording. Versatile drummer Smith (whose credits range from Jean-Luc Ponty to rock supergroup Journey to Steps Ahead and his own group Vital Information) is basically the A&R presence behind Tone Center, a staunch fusion label started up earlier this year by guitar maven Mark Varney, who is also the head of the heavy metal label Shrapnel Records. Smith's intent is to provide an outlet for true fusion chopsmeisters to wail with no holds barred. He's already done precisely that in previous power trio outings with Tribal Tech guitarist Scott Henderson and Bela Fleck & The Flecktones bassist extraordinaire Victor Wooten (Vital Tech Tones) and with Vital Information guitarist Frank Gambale and Joe Satriani bassist Stuart Hamm (Show Me What You Can Do). Cause And Effect is equally over-the-top.
"Wrong Is Right" and "First Things First" are more traditional, swinging jazz organ trio romps that highlight the trio's bop facility, and "Bubba" is a bit of funk done up in a Meters vein, supported by Smith's syncopated Zigaboo-styled backbeats. But it's the more savage, unrelenting and shamelessly 'notey' jams like "Night Visitors" and the adrenaline-pumped "Miss Guided Missle" that will really get fusion maniacs drooling. It's been a long time since they've been catered to. This one should be received by them with the same zeal that hungry lions greet scraps of red meat at the Bronx Zoo.

Legendary guitar genius Larry Coryell has reclaimed some of his early roots here with an explosive new cd on Tone Center records. Backed by stalwart session men Steve Smith (drums) and Tom Coster (kbrds) this is the stuff that Coryell admirers have been waiting for, especially after some recent and relatively sedate "smooth jazz" ventures.
Coryell was among the handful of jazz pioneers who ventured into experimental dabblings with jazz-rock and psychedelia. His classic collaborations with John McLaughlin, Mike Brecker and Oregon to name but a few were escapades into unknown turf during the 70's. His famed Eleventh House unit during the 70's and early 80's expanded upon jazz-rock-fusion. The Eleventh House was an extremely tight band which featured trumpeter Randy Brecker trading impossible unison runs with Coryell and also featured power house drummer Alphonse Mouzon. The Eleventh House were pioneers that paralleled the likes of Mahavishnu Orchestra and Weather Report. Since the demise of the Eleventh House, Coryell has performed and recorded with various units and has crafted a diverse resume of alliances with many notable musicians of different genres. He has recently explored the "jazz-lite" avenue along with some notable straight ahead romps for various labels.
"Cause and Effect" literally caused me to sit on the edge of my seat. Coryell and co. dazzle, astound and effortlessly rip through originals which rekindle memories of yesteryear. These guys are having a blast which is quite evident from the outset. A conglomerate of bluesy, swinging and rip-roaring tunes take the listener for a journey that is enticing and ultimately captivating. Take the opener "These Are Odd Times" as an example. Coryell is in your face with a sense of urgency. As things progress we get the message. Coryell's attack is devastating. The cuts on this cd represent some surprising twists and turns, lively funk, passionate interplay and memorable compositions. Veteran leader and session man Steve Smith is an amazing drummer. His swing at times is reminiscent of Buddy Rich, yet he can "out-rock" most rock drummers. Tom Coster performs marvelously on the keys. All in all the support is stellar and invigorating. Bassist's Victor Wooten and Bennie Reitveld lend a helping hand on several cuts when Coster isn't stomping on the bass pedals.
This cd is a moving tribute to one of the great guitarists of the 20th Century. Coryell is back with no holds barred. Enjoy and PLAY IT LOUD! Highly Recommended (not for lovers of "lite-jazz")

Tracks Listing

1. These Are Odd Times ( 7:54 )
2. Plankton ( 4:34 )
3. Wrong Is Right ( 7:16 )
4. Bubba ( 6:02 )
5. Cause & Effect ( 0:49 )
6. Night Visitors ( 8:08 )
7. Miss Guided Missile ( 8:37 )
8. First Things First ( 7:51 )
9. Night Visitors Revisited ( 2:19 )
10. Finale Wes & Jimmy ( 11:13 )
11. ( untitled hidden track )

Musicians

- Larry Coryell / guitars
- Tom Coster / Keyboards
- Steve Smith / drums
- Victor Wooten / bass, track 1
- Benny Rietveld / bass, tracks 2,9,10

Allan Holdsworth - 1983 [2014] Road Games

Road Games is an EP (or, according to its vinyl sleeve, a "specially-priced 6-cut mini album") by guitarist Allan Holdsworth, released in 1983 through Warner Bros. Records originally on vinyl only;^[1] a CD edition was reissued through Gnarly Geezer Records in 2001, although to this day Holdsworth claims to have received no royalties from either release.^[3] He has also named it as one of his least favourite recordings, due to numerous creative differences with executive producer Ted Templeman.^[4] Road Games nonetheless received a nomination for Best Rock Instrumental Performance at the 1984 Grammy Awards.

John W. Patterson of AllMusic gave Road Games four stars out of five, describing it as "fusion-rock bliss" and Holdsworth's guitar work as "amazing". He also praised Wackerman's "tastefully poised" drumming and Jeff Berlin's "killer" bass work.

Short but sweet: this 24-plus-minute re-release of an '80s-era solo effort originally appeared as a vinyl EP, and has never before been issued on CD. It is a unique mix of great vocals with a more rocking, bluesy, and jazzy quasi-mainstream song-themed balladic thrust. This release showcases Allan Holdsworth playing less "out there." Don't misunderstand -- the guitar is amazing: multi-voiced, fusion-fired, ethereally chorded, delightfully crystalline clear, note-flourished, and swooningly embellished. Add in the vocals of Jack Bruce for that Cream flashback or the I.O.U. band feel of Paul Williams' crooning, back to back with killer bass by Jeff Berlin and tastefully poised drums by Chad Wackerman, and you have fusion-rock bliss.Holdsworth addicts have waited a very long time for this to appear in the CD format. So go for it. It sounds great all over again. The original album cover graphics and notes are included.

Influential guitarist Allan Holdsworth's "Road Games" is the compact disc re-release of the most coveted Holdsworth release ever! The album features the original six tracks with Jeff Berlin on bass guitar and Chad Wackerman on drums, with special guest Jack Bruce on vocals. Paul Williams also provides guest vocals on one track, making this a three instrumental, three vocal release. three instrumentals, and three vocal tracks. Nevertheless, many critics and fans call 1983's "Road Games" one of Holdsworth's finest (and definitive) recordings, and essential listening for any fan of the electric guitar, legato playing, and jazz/fusion in general. Nominated for a Grammy Award for Best Rock Instrumental Performance.

Track Listings

1. Three Sheets to the Wind

2. Road Games

3. Water on the Brain, Pt. 2

4. Tokyo Dream

5. Was There?

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
• Ted Templeman – executive production
• Eddie Jobson – executive production (reissue)

Wilding-Bonus - 1978 [1993] "Pleasure Signals"

Wilding-Bonus was short lived jazz fusion project, founded by Danny Wilding (guitar) and Pete Bonus (flute). Other band's musicians all were well-known on progressive scene : Phil Collins (drums), John Goodsall (guitars, bass), Robin Lumley(keyboards) were Brand-X members, whenever  Bayeté (keyb.) played in Automatic Man, Michael Shrieve (dr.) - with Santana in Woodstock, percussionist Rebop Kwaku Baah was member of Traffic and Can both.

This fusion is one of those fantastic albums that exist here and there in the music industry. Danny Wilding (guitar) and Pete Bonus (flute) came out of nowhere, made this one LP, and then dissapeared again. There are some top class musicians here, each one with his contribution in developing the sound of this album.

Band recorded just one album in Island Studios, London in 1978, and then disappeared. Album was released on LP by Visa Records in USA ( picture-disc version existed as well), and for a first time re-released on CD in 1993 ( by Ozone Records, US). Very rare and almost forgotten release.

Track listing:

01. Race For Space (Danny Wilding, Pete Bonus) – 3:24
02. G. Storm (Danny Wilding) – 3:12
03. Oddysey (Danny Wilding, Pete Bonus) – 3:10
04. Earth Hymn (John Giblin) – 4:33
05. Rampage (John Giblin) – 4:41
06. Theme From Alma (Pete Bonus) – 4:28
07. Son Of Alma (Pete Bonus) – 4:34
08. Initiation Into The Nagual (Danny Wilding, Pete Bonus, John Goodsall) – 4:24
09. Ranchtown Tango (Danny Wilding, Pete Bonus) – 4:25

Personnel:

– Danny Wilding – flutes, producer
– Pete Bonus – guitar, bass, producer
– Phil Collins – drums (01,02,05)
– Phil Chen – bass (01)
– Kiki Gyane – keyboards (01)
– Rebop Kwaku Baah – congas (01)
– Ashton Tootle & Phil Todd – horns (01,05,06,08)
– John Goodsall – guitar (02,08), bass (03,06,09), acoustic guitar (04), producer
– John Giblin – bass (02,04,05,07), acoustic guitar (04), producer
– Bayeté – keyboards (03,06,08,09)
– Gregg Sheehan – drums (03,06,08,09)
– Preston Heyman – drums (04), percussion (05,06), Hi-Hat (07)
– Robin Lumley – keyboards (04)
– Andy Clarke – keyboards (04)
– Kate St. John – oboe (04)
– Mike Shrieve – drums (05)
– Chris Parren – keyboards (07)
– Morris Pert – congas (07)

Gregg Bissonette - 2000 "Submarine"

Gregg Bissonette is a journeyman rock and jazz drummer with a resumé that includes work done with Carlos Santana, David Lee Roth, Maynard Ferguson, and more. A diverse and hardworking talent, he telescopes those incredibly different styles and interests into this eclectic solo album. This is Bissonette working with ten world-renowned guitarists. Among the guests are Joe Satriani, Robben Ford, Steve Vai, and more. The tracks vary from jazz fusion to modern rock. Bissonette also contributes lead vocals, trumpet, and percussion outside the kit drums.

Submarine has cool tunes, in a variety of styles: From fusion to latin to beatlesque melodic rock - in a heavier King's X kind of way-. Great production and amazing playing from all the stellar guests (The A-list from the Guitar World). Greg Bissonette shows not only his renowned technique, but also great taste and finesse. Highly recommended for instrumental rock/fusion fans.

Gregg Bissonette is an excelent drummer. He makes some really interesting breaks and figures that I haven't heard from anyone else and the songs are very good. His brother Matt also knows how to set the groove and the guest guitarists are all top notch. Gregg is not a great singer but he does his best and, the good thing is that the song is almost instrumental except for three songs.
If you're into new drumming tecniques and more of the sort, you should check this one out, and, besides, there are some nice songs in here that not only showcase the musicianship (which is excelent) but also include some nice melodies.

Tracklist:

1. Marbles - (featuring Frank Gambale)
2. Submarine - (featuring Doug Bossi)
3. No Hay Parqueo - (featuring Gary Hoey/David Garfield)
4. Lum Lum - (featuring Joe Satriani)
5. Train to Willoughby - (featuring Steve Stevens)
6. Noah's Ark - (featuring Steve Vai)
7. Cloudy Day - (featuring Robben Ford)
8. Son Man, The - (featuring Tim Pierce)
9. Sasquatch - (featuring Mike Landau)
10. 12 to 3 - (featuring Matt Bissonette)
11. So Many Notes & So Little Time - (featuring Richie Kotzen)

Personnel:
Gregg Bissonette (vocals, trumpet, drums, percussion); Joe Satriani, Steve Vai, Frank Gambale, Doug Bossi, Gary Hoey, Steve Stevens, Robben Ford, Tim Pierce, Mike Landau, Richie Kotzen (guitar); Matt Bissonette (trombone, piano, acoustic, fretted & fretless electric basses, background vocals); David Garfield (piano, organ); Kathy Bissonette (background vocals).

Stanley Clarke - 1975 "Journey To Love"

Journey to Love is the third jazz funk fusion album by bass guitarist and multi-instrumentalist Stanley Clarke, accompanied by familiar musicians he has often worked with like George Duke and Chick Corea. Other legendary players on this record are John McLaughlin and Jeff Beck.

It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.

Alongside School Days, this is perhaps Clarke's finest work. From beginning to end, it is simply a very joyful and magnetic listening experience. The infectious and sometimes beautiful grooves are just so impressively done. Clarke's playing is fantastic, managing to be hypnotic at certain moments, and frenetic at others without being headache-inducing, and overall, it's just a very well put together album that will definitely benefit from repeat listens. This is one of the best jazz fusion albums of all time. It's equally great in its slow spots as it is in its speedy spots, and Clarke and the other musicians who show up on it simply do stunning work.

Track listing

All tracks composed by Stanley Clarke; except where indicated

1. "Silly Putty" (4:52)
2. "Journey to Love" (4:52)
3. "Hello Jeff" (5:16)
4. "Song to John, Part 1" (Clarke, Corea) (4:22)
5. "Song to John, Part 2" (Clarke, Corea) (6:09)
6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25)

Personnel

• Stanley Clarke - electric bass, acoustic bass, organ, piccolo bass (first used by Stanley Clarke) with Maestro Synthesizer on "Concerto For Jazz/Rock Orchestra," hand bells, tubular bells, gong, vocals
• Jeff Beck - electric guitar on "Hello Jeff" and guitar solo on "Journey to Love"
• Chick Corea - acoustic piano on "Song to John"
• George Duke - organ, synthesizer, Moog synthesizer, keyboard, Arp Odyssey, clavinet, acoustic piano, electric piano, bells, vocals
• Earl Chapin - brass horn
• John Clark - brass horn
• Jon Faddis - trumpet
• Steve Gadd - drums, percussions
• Peter Gordon - brass horn
• Tom "Bones" Malone - trombone
• John McLaughlin - acoustic guitar on "Song to John"
• Alan Rubin - trumpet
• David Sancious - electric guitar, 12-string guitar
• Lew Soloff - trumpet
• David Taylor - trombone
• Lenny White - drums on "Hello Jeff"
• Wilmer Wise - brass horn

Larry Coryell - 1974 Introducing The Eleventh House

Introducing the Eleventh House with Larry Coryell is The Eleventh House's debut album released 1974 for the Vanguard. According to All About Jazz it was one of the pioneer jazz-rock fusion albums

Larry Coryell stands on equal footing with John McLaughlin as one of the premier jazz fusion guitarist and this probably represents his finest achievement. Many people consider his earlier work with McLaughlin, 'Spaces' as writing the textbook for fusion style guitarwork, but to me, this is his greatest overall musical achievement. Comparisons to the original Mahavishnu Orchestra may seem to be inevitable considering the power and attack of the band's performance, but stylistically, the band plays much closer to the fusion/funk style of Herbie Hancock's Headhunters. Their is not as much of an eastern influence as the Mahavishnu Orchestra and there seems to be a wider variety of tempo and stylistic diversity on this recording. The synthesizer runs and Randy Brecker's trumpet keep pace rather well with Coryell's intensity and the compositional framework is elaborate and melodically sophisticated. But the highlight, of course, is the blitzkrieg of notes being pummelled out of Coryell's guitar mostly trading with synthesizer and trumpet, intermingled with more mid tempo improvisations; but the dynamics and interaction feature not just beautifully intricate work, but ingenious melodic and harmonic scales befitting musicians of the highest technical accomplishment. This is probably the most technically perfect fusion recording I have ever heard; a joyous and awesome performance! 

The Eleventh House during 1972-1975 was one of the stronger working groups in fusion, led by one of the unsung heroes of the idiom, guitarist Larry Coryell. This CD reissue brings back The Eleventh House's first recording and, in addition to Coryell's guitar, most heavily featured are trumpeter Randy Brecker (who would later be replaced by Mike Lawrence) and keyboardist Mike Mandel; bassist Danny Trifan and drummer Alphonse Mouzon are strong in backup roles. The influence of Miles Davis, Weather Report, and Herbie Hancock is apparent, but The Eleventh House also offered a sound of their own. Brecker's solos are often both fiery and lyrical (although his use of an occasional electric wah-wah device is less interesting). Coryell and Mandel blend together quite well, and the original grooves on this set often have distinctive personalities. Pity that the reissue does not have any liner notes, otherwise it is easily recommended to fans of early fusion. 

Tracks Listing

1. Birdfingers ( 3:07 )
2. The Funky Waltz ( 5:10 )
3. Low Lee Tah ( 4:17 )
4. Adam Smasher ( 4:30 )
5. Joy Ride ( 6:08 )
6. Yin ( 6:03 )
7. Theme For A Dream ( 3:26 )
8. Gratitude ( 3:21 )
9. Ism-ejercicio ( 3:59 )
10. Right On Yàll ( 4:21 )

Total Time : 44:47

Musicians

• Randy Brecker – horn, trumpet
• Larry Coryell – guitar
• Mike Mandel – piano, synthesizer
• Alphonse Mouzon – drums, percussion
• Danny Trifan – bass

Bill Connors - 1985 [1990] Step It

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

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

Tracks Listing

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

Total Time 78:12

Line-up / Musicians

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

The Coalition - 2004 Naked Movies

A few years back, I was in a band called The Coalition, which also featured Scott Healy, Michael Merritt and Shawn Pelton.  In 2004, we recorded and released a CD called Naked Movies (which is available right here on this website!) on Midlantic Records.  It was later re-released on Fractal Entertainment and I have no idea where it is now. 
This group was trying to blur the lines a bit and at times trying to emulate the collective, group improvisations of early jazz, but in a modern context.  Scott used only vintage keyboards and no synths, and everything was recorded live – with exception of “Drum Sandwich” – but with pre-production and mayhem/percussion tracks for the CD.
Bill Milkowski said: ”Call it avant groove, post-jam band, organic techno-jazz-fusion or call it whatchuwanna, the resulting sound is as unprecedented as it is provocative. In a world of vacuum-packed sampled sounds and clone bands galore, retro-this, neo-that and same ol’ same ol’, Naked Movies can truly be called fresh and original.”   Glenn Alexander.

Prurient implications of its title aside, Naked Movies hearkens back to the halcyon days of jazz-rock fusion minus the pretentious trappings and over-reliance on technique in place of feeling. The Coalition have chops to be sure, but instead of erecting structure within which to show off—either in the funk format or neo-classical archetypes—they prefer to play together and make music.

Proof positive exists in the opening track, "Tuna Whiskey, a piece of modified syncopation that rings and swings true before the band slips into the more atmospheric title song. Here the quartet's propensity to unify their attack by listening to each other is most advantageous. Each of the four tries to find ways to embellish the ideas just stated rather than create brand new ones in a parade of one-upsmanship.
As is the case here, the languorous mood that flows as an undercurrent through the entire CD is usually enhanced by keyboardist Scott Healy, often through his artful usage of old-school keyboards like the clavinet. It's left to guitarist Glenn Alexander to intensify the mood, either alone as on "The Loungy One, or by playing off Healy. "Beatnik Bob, in particular, features some of the most effective tradeoffs on the CD, which was recorded and produced by the band itself, and David Eyges.
Yet "33, recorded live, proves the impact both visceral and cerebral contained on Naked Movies is no digital trickery (notwithstanding drummer Shawn Pelton's credit for electronic voodoo): The Coalition is an electric group literally and figuratively, since they not only eschew acoustic instruments, but engage in instrumental interplay that virtually always crackles. Even at relatively low voltage, as on "Word from Ulster County, you can sense the pent-up energy at hand, even on what is almost a late-night blues.
The Coalition's diverse experience, ranging from keyboardist Healy's time doing movie music and bassist Mike Merritt's membership in Max Weinberg's group on Conan O'Brien, allows them to submerge their personalities in service of the music they make together. And there's a palpable sensation that the four enjoy the collaboration because few moments within the eight tracks here sound forced in the least, as if compositions arise naturally from The Coalition's collective musicianship.
The only falters of any sort are slight and, though appearing toward the end of the album, nevertheless find the band compensating in time. Alexander succumbs to trying to outplay himself on "c0ke, and the last cut, "Drum Sandwich, recalls the density and rhythmic sense of electric Miles a bit too much. But The Coalition recovers as drummer Pelton steps up the pace, the guitarist displays some restraint in response and, all of a sudden, you're hearing some charged interaction that makes as much use of space as sound (a positive influence of The Man with the Horn). The Coalition give a new definition to the word "fusion" on Naked Movies.

Track Listing:

1.Tuna Whiskey
2.Naked Movies
3.The Loungy One
4.-33-
5.Beatnik Bob
6.C0ke
7.Word From Ulster County
8.Drum Sandwich

Personnel:

Scott Healy (Fender Rhodes, Farfisa organ, clavinet, digital mayhem);
Glenn Alexander (guitars);
Shawn Pelton (drums and electronical voodoo);
Mike Merritt (electric bass)

John Scofield - 1978 [1988] Rough House

Rough House is a studio album by jazz musician John Scofield.

Another album, another band, another chance for the restless, itchy guitar player in his mid-twenties and who was seemingly always seeking renewed challenges to catalyze his youthful bursts of testosterone; because, and  as the title suggests, “Rough House” proposes no effortless solutions; fresh from a series of high-profile collaborations such as an extended stint with the George Duke/Billy Cobham band or a participation in a Charles Mingus project, here is Scofield with his, already at the time,  instantly recognizable, slightly distorted semi-acoustic guitar tone,  extraordinaire ability to improvise intelligent and thoughtful, yet brimming with excitement and passion ,lengthy and inventive solos and owner of an articulate and sharp phrasing that made each note sing.

The album consists of 5 Sco compositions and the vigorous and exuberant “Triple Play” (with its head stated in unison by guitar, piano and bass, hence the title, and which Sco channels into a  Rhythm & Blues inflected section where he can explore alternative instincts) written by seasoned pianist, and the band’s senior member Hal Galper, whose style bears strong McCoy Tyner references and who albeit showing a tendency to double-time tranquil solos that don’t seem to be his terrain of election, strongly contributes to the interactive dynamism of the 4tet which also counts with bass player Stafford James, and the 22 years old Adam Nussbaum, the group’s junior then at career start but owner of valuable arguments and who knew both how to trade bars with the band as on “Ailleron” and how to maintain exciting duet conversations with the leader at airplane speed as on “Air Pakistan”.

Putting his Funky instincts on hold - but not the biting edge-, Sco penned a post-bop motivated set, brisk and turbo-charged as on the title track or “Ailleron”, or flirting with more or less translucent, delicate and introspective leanings as on “Alster Fields” and “Slow Elvin”, ambiances he caresses, nurtures and excites with tasty bends, fragile trills, inspired flourishes and snappy meaningful licks.

Flawless, entertaining, classy, vigorous  and finger-snapping this  seems to be a rather obscure album in Scofield’s discography as I’ve just noticed when opening his RYM page; yet it’s worth every penny you’ll pay for it either you’re a fan of his peculiar style or just a lover of  guitar lead serious and juicy music.

Track listing

1. "Rough House"
2. "Alster Fields"
3. "Ailleron"
4. "Slow Elvin"
5. "Triple Play"
6. "Air Pakistan"

Personnel

• John Scofield - guitar
• Hal Galper - piano
• Stafford James - bass
• Adam Nussbaum - drums

Soft Machine - 1981 [1996] Land Of Cockayne

Land of Cockayne is the final album by the band Soft Machine, released in 1981. By this point, the band contained none of its original members. The title refers to the medieval land of plenty.
The album came about as the result of a project in which Karl Jenkins and John Marshall had been involved featuring top session musicians. The ad hoc band, Rollercoaster, had recently recorded the Stevie Wonder tribute album Wonderin' and decided to record another album together. Many of the musicians included on the Cockayne album would make up Soft Machine's final live line-up which played a six-night residency at Ronnie Scott's in 1984. This is the only Soft Machine album to feature a string section.

Tracks Listing

1. Over 'n' above (7:24)
2. Lotus groves (4:57)
3. Isle of the blessed (1:56)
4. Panoramania (7:07)
5. Behind the crystal curtain (0:53)
6. Palace of glass (3:22)
7. Hot-biscuit Slim (7:27)
8. (Black) velvet mountain (5:10)
9. Sly monkey (5:00)
10. A lot of what you fancy... (0:35)

Total Time: 43:51

Personnel

• Karl Jenkins – keyboards, synths, orchestration
• John Marshall – drums, percussion
• Jack Bruce – bass
• Allan Holdsworth – lead guitar
• John Taylor – electric piano
• Ray Warleigh – alto saxophone, bass flute
• Dick Morrissey – tenor saxophone
• Alan Parker – rhythm guitar
• Stu Calver – vocals, backing vocals
• John G. Perry – vocals, backing vocals
• Tony Rivers – vocals, backing vocals

Bill Bruford - 1977 "Feels Good To Me"

Feels Good to Me is the debut solo album by the British drummer Bill Bruford. The band Bruford grew out of the line-up assembled for this album. Led by drummer Bill Bruford, the album also features guitarist Allan Holdsworth and John Goodsall, bassist Jeff Berlin, keyboardist Dave Stewart, and ECM flügelhorn stalwart Kenny Wheeler. He also enlisted singer and songwriter Annette Peacock. Musically, the album does not sound like the early Canterbury sound but is more reminiscent of contemporaries Brand X, with whom they shared guitarist John Goodsall. The album, released in August 1978, is also considered a "vanguard of progressive jazz improvised music"

With a career that was first defined by his metrically-challenging work and instantly recognizable drum sound with progressive rock groups Yes and King Crimson, nothing could have prepared anyone for the surprise of drummer Bill Bruford's first solo release, Feels Good to Me. While Bruford's signature style—a mathematically-precise approach that never failed to find the innate groove in even the most complex of time signatures—was in clear evidence, the album didn't sound like a drummer's solo album. The emphasis was on composition, and while others in the group — including Hatfield and the North and National Health keyboardist Dave Stewart, on-the- ascendance guitarist Allan Holdsworth and the then-unknown electric bassist Jeff Berlin. Bruford made it clear from the get-go that his role as bandleader was to be that of an equal contributor rather than a dominant voice. And while these late-'70s releases—Feels Good to Me, One of a Kind, Gradually Going Tornado and The Bruford Tapes — clearly emerged from a progressive rock sensibility, they also demonstrated a harmonic depth that echoed Bruford's longstanding interest in jazz albeit, in the case of these recordings, more of the fusion kind.

 Track listing

• All Songs Published By E.G. Music Ltd., except where noted.

1. "Beelzebub" (Bruford) 3:22
2. "Back to the Beginning" (Bruford) 7:25
3. "Seems Like a Lifetime Ago (Part One)" (Bruford) 2:31
4. "Seems Like a Lifetime Ago (Part Two)" (Bruford) 4:29
5. "Sample and Hold" (Bruford, Stewart) 5:12 (E.G. Music, Ltd. & Virgin Music)
6. "Feels Good to Me" (Bruford) 3:53
7. "Either End of August" (Bruford) 5:24
8. "If You Can't Stand the Heat..." (Bruford, Stewart) 3:26 (E.G. Music, Ltd. & Virgin Music)
9. "Springtime in Siberia" (Bruford, Stewart) 2:44 (E.G. Music, Ltd. & Virgin Music)
10. "Adios a la Pasada (Goodbye To The Past)" (Bruford, Annette Peacock) 8:41

 Personnel

• Bill Bruford – percussion, drums
• Allan Holdsworth – electric guitar
• Dave Stewart – keyboards, synthesizers
• Jeff Berlin – bass

with

• Kenny Wheeler: Flugelhorn
• Annette Peacock: Vocals (2, 3, 10)
• John Goodsall: Additional guitar (6)
• Neil Murray: Additional bass