Art 'Spike' Schloemer - 2011 "Transfusion"

Art 'Spike' Schloemer is one of the few musicians who was "born 2 groove".

He began his piano studies at the age of six and starting performing professionally throughout Europe after graduating from Conservatory of Music.

During his productive career as a pianist, composer, bandleader and educator, Art has performed in many different settings and styles. His versatile approach has allowed him to erase the artificial boundary line between contemporary jazz, rock, electro-funk and world, sounding like himself in all idioms.

His playing, like his compositions... ranges across panoramas of mood and emotion, all colored with the freedom that comes from possessing remarkable facility.

His solo album, "TransFUSION," features an all-star roster of guest musicians including Scott Henderson, Dennis Chambers, Kirk Covington, Bunny Brunel, Hadrien Feraud and Bob Franceschini.

Like his idol, the late Joe Zawinul, keyboardist Art 'Spike' Schloemer seeks to erase whatever perceived lines lie between jazz, rock, funk and world music. On his new TransFUSION CD, Schloemer arrives well- armed for the task by enlisting some of jazz/fusion's top open-minded artists: guitarist Scott Henderson, saxophonist Bob Franceschini, bassists Bunny Brunel and Hadrien Feraud, and drummers Dennis Chambers and Kirk Covington.

The opening track, "Concussion," shows additional Schloemer influences from the classic fusion era of the '70s. The piece's epic theme, and Feraud's nimble bass line, echo the work of Chick Corea and Stanley Clarke in Return To Forever.

Brunel guests on the subsequent "Space Flight," and his liquid tone and soloing guide Schloemer's synthesizer into the soaring stratosphere of Weather Report, Zawinul's primary vessel during his stellar career. Chambers' contribution is on "Distant Horizon," another far-reaching Weather Report revisit because of his shell-game with the time signature and Schloemer's darting electric piano.

Henderson worked in Zawinul's post-Weather Report group the Zawinul Syndicate, and the guitarist's prodigious firepower burns throughout "Challenge Day." Built on another epic theme by Schloemer, the energetic track is akin to Henderson's '90s work in the band Tribal Tech (which also featured a Zawinul-influenced keyboardist in Scott Kinsey).

Covington, Tribal Tech's drummer, guests on the closing "Keep Relaxed". A high-octane funk number that belies its title, the cut gets extra fuel through the drummer's signature hummingbird-like fills. Franceschini, best-known for his work in guitarist Mike Stern's group, makes a statement through his solo on "Brain Fever," another Schloemer composition that blends jazz technique with rock intensity.

The guest stars may be the drawing card on TransFUSION, but the guest-free tracks are no less alluring. "Sentimental Journey" sounds like a trip through Zawinul's entire career through its acoustic piano, programming, and chanted vocals.

"Good Times" is a Motown-inspired funk vehicle that could've been an alternate theme to the urban '70s sitcom of the same name; "Indie Dance" manages to blend Middle Eastern and be-bop feels, and the entrancing "For Joe" is Schloemer's ode to his late mentor.

Aside from the work of his special guests, Schloemer is responsible for the entirety of TransFUSION, making the disc an otherwise incredible singular achievement. Through his compositions, arrangements, multi-instrumental playing and programming, the keyboardist always manages to sound like he's looking forward -- even as he reaches backward for inspiration.

Analyzing the album - the construction of the arrangements, the freshness of material, the sounds of the tunes, the power and the intensity of playing the tracks, the rhythmically intense feel - it has an immensely individual touch.

Reading the feedback from other artists it seems they think the same way:

“Great music man… The musicians are killin'!!!...”
Lenny White

"Art, my hat off to you. Incredible Music, I hope we can play one day together and make music, palante! (forward) always."
Walfredo Reyes Jr.

“Congratulations, Spike!
... I'm looking forward to hearing some great music from you, bro!”
Marcus Miller

"…your Music has "Ignited a New Feeling/ Anticipation" within me!"
Charles Marvray

"I'm really, really enjoying your music. Its very interesting in your compositions and your construction/choice of sounds, and simply the wonderful performance!Burning! Very happening!"
Steve Weingart

“Man I just listened to two of your tracks and seriously dug it. Great stuff.”
Mike Clark

Highly recommended CD from “groove” keyboardist Art 'Spike' Schloemer. “Spike” has assembled an incredible all-star roster of guest fusion musicians including guitarist, Scott Henderson, bassists Bunny Brunel & Hadrien Feraud, drummers Dennis Chambers & Kirk Covington & Bob Franeschini on sax.

"Throughout the entire disc Schloemer proves himself a more than capable composer of electric jazz at the highest level, and as a soloist he establishes himself as a thoughtful and exciting technician. Schloemer's incredibly nimble fingers fly throughout the recording, and he puts them to good use in this collection of high powered, highly percussive fusion. For those who thought great electric jazz, or tightly constructed progressive rock of the 1970s and 80s was gone forever, this disc will restore your soul."

- Thomas R. Erdmann -

"Aside from the work of his special guests, Schloemer is responsible for the entirety of TransFUSION, making the disc an otherwise incredible singular achievement. Through his compositions, arrangements, multi-instrumental playing and programming, the keyboardist always manages to sound like he's looking forward -- even as he reaches backward for inspiration."

- Bill Meredith -

This album is the fruit of two years of hard work. Spike put tremendous effort into writing and arranging the music. The intention was to create a fresh, unique album with his own style, mixing jazz-rock with some world and trance touch. His goal was not to create something only for jazz-rock fusion fans, but also for everyday customers of groove-music.

The CD was fourth on Amazon's Best Seller Jazz ranking and simultaneously one of the most pre-ordered albums at AbstractLogix.

The track called "Sentimental Journey" was ranked #1 on Jazz Rock World Fusion Radio's weekly top 20 in April 2013

Track listing:

1. Concussion
2. Space Flight
3. Distant Horizon
4. Sentimental Journey
5. Good Times
6. Challenge Day
7. Brain Fever
8. For Joe
9. Orient Express
10. Indie Dance
11. Emergency Evacuation
12. Como La Miel
13. Keep Relaxed

Lineup:
Art 'Spike' Schloemer (keyboards)

Featuring:
Scott Henderson (guitar)
Bob Franceschini (saxophone)
Bunny Brunel (bass)
Hadrien Feraud (bass)
Dennis Chambers (drums)
Kirk Covington (drums)

Arthur Brown - 1968 [1991] "The Crazy World Of Arthur Brown"

The Crazy World of Arthur Brown is a psychedelic rock album by Arthur Brown and his band The Crazy World of Arthur Brown, produced by the Who's manager Kit Lambert with associate production by Pete Townshend. The album was released in June 1968 on Lambert's Track Records label in the UK, with North American distribution handled by Atlantic Records. The album was released in the US in September. (Early North American copies of the album, while distributed by Atlantic, bore the Track Records imprint; later pressings were released on the Atlantic label proper.)
The album peaked at No. 7 on Billboard's Pop Albums chart. The album's first single, "Fire," was a global success, reaching No. 2 on the Billboard Hot 100 in North America in October 1968, No. 1 in the UK in August 1968, and No. 19 in Australia in October 1968.

 The Crazy World of Arthur Brown are an English psychedelic rock band formed by singer Arthur Brown in 1967. The band included Vincent Crane (Hammond organ and piano), Drachen Theaker (drums), and Nick Greenwood (bass).
Their song "Fire" (released in 1968 as a single) was one of the one-hit wonders in the United Kingdom and United States in the 1960s. "Fire" sold over one million copies, and was awarded a gold disc.

Brown quickly earned a reputation for both his powerful voice which spanned four octaves and his outlandish performances, including the use of a burning metal helmet, which led to occasional mishaps. During an early appearance at the Windsor Festival in 1967, Brown wore a colander on his head soaked in methanol. The fuel poured over his head by accident and caught fire; two bystanders doused the flames by pouring beer on Brown’s head, preventing any serious injury. The flaming head then became an Arthur Brown signature. On occasion he also stripped naked while performing, most notably in Italy, where, after setting his hair on fire, he was arrested and deported. He was also notable for the extreme make-up he wore onstage, which would later be reflected in the stage acts of Alice Cooper, Kiss, Mercyful Fate's King Diamond and Marilyn Manson..

By 1968, the debut album, The Crazy World of Arthur Brown became a hit on both sides of the Atlantic. Produced by The Who's manager Kit Lambert, and executive-produced by Pete Townshend on Track Records, the label begun by Lambert and Chris Stamp, it spun off an equally surprising hit single, "Fire", and contained a version of "I Put a Spell on You" by Screaming Jay Hawkins, a similarly bizarre showman. "Fire" sold over one million copies, and was awarded a gold disc. The song has since seen its opening line "I am the God of Hellfire" sampled in numerous other places, most notably in The Prodigy's 1992 rave anthem "Fire".
Brown's incendiary stage act sometimes caused trouble, even getting him kicked off a tour with Jimi Hendrix. On one tour, Brown waited until sunset, when his band was playing, and then he had a winch lower him onto the middle of the stage from above, wearing a suit and helmet welded from sheet metal. Parts of the suit were completely lit in lighter fluid and sparklers. In due course, Brown created a perception, that he was always on the verge of setting fire to the stage, leading some concert organizers to demand he post a bond with them, if he could not show he was adequately insured against uncontrollable fire and fire damages.
Before Arthur Brown there was little with which to compare his music...and his act! He was one of the first to really understand the theatricality of Rock n Roll, and a grand showman he became. From him flow Bowie, Cooper, Iggy and so many others. Before him there may have been Screaming Lord Sutch's "I Put A Spell On You" but Arthur's was even better...and more exciting. If Chris and Bruce read this they will remember and agree, as will anyone who saw him live.
This album was the begining of an era and a style, and although the Who had already dabbled with the rock opera format in "A Quick One While He's Away" the first side of this album was presented live as if it were a non-stop operatic piece and was mesmerizing. Close your eyes and imagine.
Oh, and just for the record, that is NOT Carl Palmer's drumming on the album, it is Drachian Thacker who was too scared of planes to make the tour wherein Carl Palmer was hired to play on the tour and then stayed with the band and accompanied Vincent Crane into Atomic Rooster.

There are 3 things that make this album exceptional. The first is AB's singing voice: for those who have heard him it's obvious that he has a gift which few can equal. The second: the theme of the 1st half of the cd: a personal spiritual struggle of great tension. The third: Vincent Crane's fantastic Organ work & Carl Palmer's drumming. No guitar here, yet remarkably moving music that fits both the theme & ABs voice. "Fire" was/is a huge hit single, but the first 6 tunes are all great. Try Fire Poem or Come & Buy. AB is a very creative, ORIGINAL, & different artist. I say "buy"!

You don't hear this stuff on the oldies stations. This album is idiosyncratic and powerful. If you would like to hear what the cultural explosion of the late sixies was all about check this out. Mr. Brown's version of "I Put a Spell onYou" is operatic and deliciously demented. More than collection of songs the album is thematic-what was then called a concept album. He knew what he was doing. I liked it back then because, as Frank Zappa might say, it had virtually no teen appeal. Today, I realize he was on to something. Amaze your friends. Frighten your mom.

Though a bit over the top, this album was still powerful and surprisingly melodic, and managed to be quite bluesy and soulful even as the band overhauled chestnuts by James Brown and Screamin' Jay Hawkins. "Spontaneous Apple Creation" is a willfully histrionic, atonal song that gives Captain Beefheart a run for his money. Though this one-shot was not (and perhaps could not ever be) repeated, it remains an exhilaratingly reckless slice of psychedelia. This CD reissue includes both mono and stereo versions of five of the songs. Although the mono mixes lack the full-bodied power of the stereo ones, they're marked by some interesting differences, especially in the brief spoken and instrumental links between tracks.

https://www.youtube.com/watch?v=YAy7GueibBc&feature=share

Track Listings:

1. Prelude - Nightmare (Mono Version)
2. Fanfare - Fire Poem (Mono Version)
3. Fire (Mono Version)
4. Come And Buy (Mono Version)
5. Time/Confusion (Mono Version)
6. Prelude - Nightmare
7. Fanfare - Fire Poem
8. Fire
9. Come And Buy
10. Time/Confusion
11. I Put A Spell On You
12. Spontaneous Apple Creation
13. Rest Cure
14. I've Got Money
15. Child Of My Kingdom

Personnel:

Arthur Brown (vocals);
Vincent Crane (keyboards);
Drachen Theaker (drums)
Nick Greenwood (bass).

Various Artists - A Brief History of Ambient Vol. 3 - 1994 "The Music Of Changes"

Ambient 3: Music Of Changes is a 1994 compilation album released on the Virgin Records label, part of its Ambient series. The compilation was issued as a double CD.

This collection is an ideal introduction to ambient music, with a very wide range of styles included. There are one or two duff tracks but generally speaking all the tracks are very enjoyable, some very slow tempoed and relaxing, others a bit more dancy, there's even an excellent dub track included. Don't get this confused with all the naff ibiza ambient stuff that's being churned out, this cd pre-dates all that nonsense and is genuine ambient music. If you are curious about ambient but don't know what to get, this is a great start but you won't find any moby or cafe del mar etc., this is old school ambient. - Michael Cummins

I bought this in my teens in a second hand shop in Norwich. I was just curious about ambient music at the time and this one hit the spot. I didnt know anyone else who was into ambient at school so I felt like i was discovering something new - and thats what the music on this album evokes, something as yet undiscovered!

Some really nice tracks to listen to, if you are after atmosphere and a sense of another place. I could single out some tracks but to be honest they are almost all interesting.

I bought the second in the series which i didnt enjoy nearly as much, being more dancey and aggressive in my view.
But also for me there is an important factor in what makes me enjoy music, and that is when and where I discovered it. This cd came at the right time and maybe thats why i like it so much.- PenPig

This CD is worthy of 5 stars because there are remixes of certain songs which are difficult to find and that makes this CD unique. Just about all of the songs are great and all of the music is relaxing. Highly recommended.  

This is volume 3 in the great ambient series by virgin. It serves as great background music for reading or other non stressfull activities. Another thing is that it is not new age music, so it not quite as boring as most electronic instrumental music. The thing I like best is that it features some tracks by Rain Tree Crow & ex members of Can- Holger Czukay, & Jaki Liebzeit that are not featured on any other cd.

In May of 1994, Virgin Records took another trip to the ambient music well, releasing the third two-disc collection in their commercially and critically successful series A Brief History of Ambient. For the final time, Virgin Records mined exclusively from their back catalog to present this collection of tracks.

This third volume is as enjoyable to listen to as the first two, but, in all honesty, things are starting to get a bit repetitive. Take a look at the track list below and you'll find a selection of the usual suspects making yet another appearance. Some of the more interesting tracks are the quiet ones from the artists whose output is mostly outside the genre. This, certainly though, is the least essential volume of the four. That being said, don't let my grousing detract overly much; if you enjoyed the first two, it's an absolute guarantee that you'll dig this as well.

Track listing:

CD 1
1. Shu-De - Sygyt, Khoomei, Kargyraa [1994] (1:07)
2. Irmin Schmidt / Bruno Spoerri - When the Waters Came to Life [1990] (4:23)
3. David Sylvian / Robert Fripp - Darshana (Reconstructed by The Future Sound of London) [1993] (9:53)
4. William Orbit - Gringatcho Demento [1993] (6:20)
5. Rain Tree Crow - Red Earth (As Summertime Ends) [1991] (3:34)
6. Ryuichi Sakamoto - The Last Emperor - Theme Variation 1 [1987] (2:19)
7. Robert Fripp - 1988 [1981] (10:27)
8. David Sylvian - Epiphany [1991] (1:28)
9. Amorphous Androgynous - A Study of Six Guitars [1994] (3:08)
10. Trisan - May Yo I [1992] (5:48)
11. Bill Laswell - Kingdom Come [1988] (7:27)
12. Seigen Ono - You Will Be All Right [1989] (2:43)
13. Laraaji - Meditation No. 2 [1980] (7:34)
14. Bark Psychosis - Pendulum Man [1994] (9:52)

CD 2
1. Michael Brook - Distant Village [1985] (3:55)
2. Holger Czukay / Jah Wobble / Jaki Liebezeit - Mystery RPS (No. 8) [1992] (8:23)
3. Prince Far I - Throw Away Your Gun [1980] (4:30)
4. Harold Budd / Brian Eno - Wind in Lonely Fences [1980] (3:40)
5. King Crimson - Nuages (That Which Passes, Passes Like Clouds) [1984] (4:44)
6. Nusrat Fateh Ali Khan - Mustt Mustt (Remixed by Massive Attack) [1990] (5:29)
7. Stephan Micus - Concert for Gender, Shakuhachi and Zither (Edit) [1976] (1:21)
8. Robert Fripp / Brian Eno - Healthy Colours III [1994] (5:35)
9. The Future Sound of London - Cascade - Parts 2 & 3 [1993] (13:26)
10. Robert Quine / Fred Maher - Summer Storm [1984] (4:00)
11. John Hassell / Brian Eno - Rising Thermal [1980] (2:43)
12. David Sylvian / Holger Czukay - Mutability (A New Beginning Is in the Offing) (Edit) [1989] (8:43)
13. Brian Eno - 2/2 [1978] (9:25)

Ray Barretto - 1973 [1993] "Carnaval"

One of the many budget-priced Fantasy mid-'70s repackages to get a '90s CD issue (rather than simply releasing the original LPs with their original titles and artwork), Ray Barretto's Carnaval combines two 1962 sessions, Pachanga With Barretto (his Milestone label debut as a leader) and Latino!. Both sets feature Barretto's first band, Charanga Moderna, with trumpeter El Negro Vivar and tenor saxophonist Jose Chombo Silva added to the front line for the latter LP. The first album (confusingly the latter on the CD reissue, comprising tracks nine-18) is very much a Latin jazz album of its time, with all ten tracks designed for dancing the briefly popular pachanga, a dance that was simply too manic and difficult to catch on widely. The pachanga-friendly tempos on these ten brief cuts (most under three minutes) make the album sound rushed and nervous to ears unfamiliar with the dance fad. The far-better Latino!, recorded in nearly the same session, is a good old-fashioned jam session, with more leisurely tempos and extended playing times that give all the soloists -- especially Vivar, Silva, and flutist Jose Canoura -- plenty of room to stretch out. These two albums are very different, but hearing both of them in proximity reveals much about the state of the New York City Latin jazz scene in the early '60s.

This album was recorded at Plaza Sound Studio in New York City on January 1 & 2, 1961 and September 20, 1962 and released that same year. The album was re-released in 1973 and is a latin jazz pachanga oriented masterpiece with some of the great musicians of the day. The personnel Barretto (bongos, congas, timbales) included were Mike Stancerone (violin); Frank Mercado, "Chombo" Silva (tenor saxophone); Jose Canoura (flute); "El Negro" Vivar (trumpet); Alfredito Valdez, Jr. (piano); Ricky Jackson (bass); Wito Kortwright (guiro); Ray Mantilla (timbales); Willie Rodriguez (piano) and Rudy Calzado (percussion). Cocinando Suave is an extraordinary and timeless arrangement and the album is a must for any library. Listen and you will not be disappointed with each and every arrangement. 

Before he became the fiendishly energetic leader of the early-'70s Nuyorican movement, Ray Barretto made a slew of comparatively buttoned-up but highly sensual Latin jazz albums in the early '60s. Carnaval comprises two of the best of these efforts: 1962’s Pachanga and 1963’s Latino!. As he'd prove in the years to come, Barretto had much more to offer than sleek jazz tunes played at a cocktail-lounge volume. But as is the case with comparable masters like Marvin Gaye or John Coltrane, the intricacies of Barretto’s early work often get overwritten in appraisals of his later accomplishments. The horn sections are less visceral on these early works, which lets the interplay between piano and percussion shine through. The addition of violin and flute also gives these performances a distinct and sometimes otherworldly texture. In a few years, Puerto Ricans would be expressing their heritage with a newfound militancy, but it’s impossible to hear “Pachanga Suavecito” and not feel that Barretto had already struck the ultimate pose of exquisite style and self-composure.

These two lp's from early in Barretto's career, are perhaphs the finest sessions he ever led. The sidemen all are on FIRE!!! These heated sessions feature mambos, cha cha's(or what we now call salsa). Whatever you want to call it Afro-Cuban jazz, salsa dancing music, or pachanga music, it is party music for dancing, as well as legit jazz for lsitening. exotic percussions by Barretto, and great jazz gorn solos. Entrancing, enhcanting, and fun music. ESSENTIAL salsa and Latin jazz.

While Ray Barretto's congas have graced more recording sessions than virtually any other conguero of his time, he has also led some refreshingly progressive Latin jazz bands over the decades. His records often have a more tense, more adventurously eclectic edge than those of most conventional salsa groups, unafraid to use electronics and novel instrumental or structural combinations, driven hard by his rocksteady, endlessly flexible percussion work. This no doubt reflects Barretto's wide range of musical interests and also the fact that he came to Latin music from jazz, rather than the usual vice versa route for Latin-descended musicians. Indeed, he has said that he learned how to play swing-style before he came to master Latin grooves. Puerto Rican by extraction, Barretto took up the congas while stationed in Germany during an Army hitch. He began working with American jazz musicians upon his return to New York, eventually replacing Mongo Santamaria in the Tito Puente band for four years, beginning in the late '50s. Barretto made his debut as a leader for Riverside in 1962 and scored a crossover hit (number 17 on the pop charts) the following year on Tico with "El Watusi" (in tandem with a dance craze of the time). He tried to modernize the charanga sound with injections of brass, covering rock and pop tunes of the time as several Latin artists did then. However, Barretto made his main mark in the '60s as a super session player, playing on albums by Gene Ammons, Cannonball Adderley, Kenny Burrell, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader, and several other jazz and pop albums. In moving over to the Fania label in 1967, Barretto began to achieve recognition as one of the leading Latin jazz artists of the day, eventually becoming music director of the Fania All-Stars. In the '70s, he was incorporating rock and funk influences into his music -- with only limited success -- while recording for Atlantic, and in 1981, he made a highly regarded album for CTI La Cuna, with Puente, Joe Farrell, and Charlie Palmieri as guest players. He became music director of the Bravisimo television program and took part in the multi-idiom, all-star, anti-apartheid Sun City recording and video in 1985. In 1992, he unveiled a new Latin jazz sextet, New World Spirit, which made some absorbingly unpredictable albums for Concord Picante

This may be Ray Barrettos "obra maestra" (masterpiece). "Cocinando Suave", the version of "Summertime", and everything else on this CD transcends time and genre.

Tracklist:

1. Manha De Carnaval
2. Sugar's Delight
3. Exodus
4. Descarga La Moderna
5. Summertime
6. El Negro Y Ray
7. Mira Que Linda
8. Cocinando Suave
9. Pachanga Oriental
10. Barretto En La Tumbadora
11. Cumbamba
12. El Paso
13. Linda Mulata
14. Oye Heck
15. Los Cueros
16. Pachanga Suavecito
17. Ponte Dura
18. Pachanga Para Bailar

Personnel:

Ray Barretto (congas, bongos, timbales);
Mike Stancerone (violin);
Jose Canoura (flute);
Frank Mercado, Chombo Silva, Jose Silva (tenor saxophone);
El Negro Vivar (trumpet);
Alfredito Valdez, Jr. (piano);
Ray Mantilla (timbales);
Rudy Calzado, Willie Rodriguez (percussion).

The Philadelphia Experiment - 2001 "The Philadelphia Experiment"

The Philadelphia Experiment is the self-titled album resulting from a collaborative project including Uri Caine (keyboards), Ahmir "Questlove" Thompson (drums) and Christian McBride (bass). Guest musicians include Pat Martino (electric guitar), Jon Swana (trumpet) and Larry Gold (cello and arrangement).
Though all from Philadelphia, each musician brings their unique musical background. Caine is an avant-garde pianist, Thompson is a hip-hop drummer and McBride a jazz bassist. The result is an "insanely funky" album. "Mister Magic" is followed by a "hidden track", where Christian McBride plays a cover of "Just the Two of Us" by Grover Washington, Jr., with bass tracks only, starting at the 4:30 mark of the song.
Ropeadope later issued two follow-up albums:
The Detroit Experiment featured Carl Craig, Bennie Maupin, Marcus Belgrave, Geri Allen, and Regina Carter.
The Harlem Experiment featured Carlos Alomar, Steve Bernstein, Don Byron, Eddie Martinez, bassist Ruben Rodriguez, and drummer Steve Berrios. Guests includes multi-genre vocalist Queen Esther Marrow, bluesman Taj Mahal; vocalist/guitarist James Hunter; trumpeter Olu Dara; turntablist Larry Legend; and the poet muMs da Schemer.

This loose trio date brings together three Philadelphia-bred musicians with radically divergent careers but a lot in common nonetheless. They are pianist/keyboardist Uri Caine, bassist Christian McBride, and drummer/programmer Ahmir ("?uestlove") Thompson from the Roots. It's a textbook example of how jazz, soul, and hip-hop were becoming deeply intertwined at the outset of the new millennium. The album features a number of original tunes and improvisations, as well as covers from sources as diverse as Sun Ra, Marvin Gaye, Elton John, and Grover Washington, Jr. Along the way the trio is joined by John Swana on trumpet, Pat Martino on guitar, and Larry Gold on cello. Caine relies heavily on the Fender Rhodes piano, with McBride switching between electric and acoustic basses and Thompson combining live and programmed beats. Two of the covers, "Ain't It the Truth" and "Ile Ife," are by the early-'70s group Catalyst, whose members used to back Pat Martino. Some of the material is a bit lightweight, and one of the more gripping pieces, "(re)Moved," fades away before it can become anything substantial. That said, the playing is great and the grooves are irresistible -- particularly the opening title track. Caine closes the program with a solo acoustic rendition of Grover Washington Jr.'s "Mr. Magic," and then McBride extends the Washington tribute with a hidden track, a playful solo bass reading of "Just the Two of Us." Elton John's "Philadelphia Freedom," performed as a piano/cello duo, is eyebrow-raising but a bit contrived. Ultimately the date comes across as three extraordinary talents just having fun, although the ramifications for eclectic music-making in the future are profound.

In the '40s, a time-travel experiment allegedly occurred in a Philadelphia naval yard. This fantastic combo of Philly musicians--pianist/keyboardist Uri Caine, bassist Christian McBride, and drummer Ahmir "?uestlove" Thompson of the rap combo the Roots--takes its name from that fictional event, and combines fusion, mainstream jazz, and R&B styles from the '70s to today. Augmented by guitar-legend Pat Martino and trumpeter John Swana, Thompson lays down some tricky jungle beats on the title track, while the threesome venture into the avant-garde on "(Re)moved" and into Latin on "IIe Ife." The group reincarnates Sun Ra's "Call for All Demons" as a funky instrumental, and they brilliantly revisit Marvin Gaye's "Trouble Man," while Elton John's "Philadelphia Freedom" is redone as a classical-style McBride/Caine duet. The late saxophonist Grover Washington Jr. was Philly's patron jazz saint, as evidenced by Caine's reverent solo piano rendition of Washington's hit "Mr. Magic" and McBride's funky, overdubbed one-man electric bass version of "Just the Two of Us." This threesome reminds us that the City of Brotherly Love still swings. 

The Philadelphia Experiment is a trio made up of three of Philly's finest, drummer ?uestlove, keyboardist Uri Caine and bassist Christian McBride. The group is a jazz combo, but they inflect hip hop beats and attitude thanks to ?uestlove who day job is drumming for The Roots. The eleven tracks are mostly made up of covers like Marvin Gaye's "Trouble Man" which shimmers with a funky, cool vibe and Elton John's "Philadelphia Freedom" which they slow down from an up-tempo song into a plaintive celebration of their home town. They acknowledge the influence of and celebrate the music of a Philadelphia legend, the late Grover Washington, Jr. on a cover of his "Mister Magic" and the original "Grover". Mr. Washington was a classy and brilliant musician who is often overlooked, but it is heartening to see that younger musicians like the members of The Philadelphia Experiment appreciate his contributions.

You can't go wrong with ?uestluv (Roots drummer) backing up the productions. Christian McBride another great talent in Philly and Uri Caine an amazing talent that meshes well in this jazz trio. If I had the skills to produce a jazz CD, this is what it probably would sound like. Good sounds, great vibe...... an ear candy treat.

In late 2000, three native Philadelphian musicians teamed up for an experimental Jazz-based eclectic mix of sounds. The outcome promised to be an impressive and unique touch which crosses the boundaries of three genres in the art of music; Hip-Hop, Jazz, and Classical. The three revolutionaries were drummer Ahmir "?uestlove" Thompson (of the progressive, live Hip-Hop band, The Roots), famed Modern-Jazz bassist Christian McBride, and Classical pianist and keyboardist, Uri Caine.
Throughout the eleven tracks on the self-titled Rope-A-Dope Records released "The Philadelphia Experiment," the listener (you) falls into a sense of soothing relaxation as Caine tickles the ivories, Thompson dribbles the toms and rides the cymbals, and McBride slides his fingers up and down, right and left on his acoustic and electric basses.
The album is by no means any competition for classics as "Kind Of Blue" or "A Love Supreme" (parts of the album aren't really Jazz at all, and the general sound is more of a modern groove than a timeless classic from yesteryear in Jazz). But for what it's worth, "The Philadelphia Experiment" is an innovation in the obscure arena of rhythmic connections in Jazz, Soul, Funk and other forms of instrumental and vocal expression. From the Smokey-Club feel of "Lesson #4" to the laid-back title-track, to the covers of Marvin Gaye's classic "Trouble Man" and Grover Washington/Bill Withers' "Just The Two Of Us" (with the latter being a bonus hidden track at the very end), TPE is well worth the purchase. Guest musicians include Pat Martino and Larry Gold.

Track Listings

1. Philadelphia Experiment
2. Grover
3. Lesson #4
4. Call For All Demons
5. Trouble Man Theme
6. Ain't It The Truth
7. IIe Ife
8. The Miles Hit
9. (Re)Moved
10. Philadelphia Freedom
11. Mister Magic

Personnel:

Christian McBride_acoustic & electric basses
Ahmir Thompson_drums
Uri Caine_piano & keyboards
Pat Martino_guitar on 1,2,4
Jon Swana_trumpet on 1 & 5
Larry Gold_cello & arranger on 10
Aaron Luis Levinson_handclaps & SFX on 2 and 9

Focus - 1972 [1988] "Moving Waves"

Focus II (re-released as Moving Waves) is the second studio album from the Dutch rock band Focus. The album includes the hit "Hocus Pocus" and "Eruption", a 23-minute adaptation of Jacopo Peri's opera Euridice which tells the story of Orpheus and Euridice. Focus II was released in October 1971 to positive critical reception. It went on to reach the top ten in the UK, US and the Netherlands.

The single "Hocus Pocus" was Focus' biggest hit and gained the band international popularity. The song, similar in some regards to the riff-driven hard rock of Black Sabbath and Deep Purple, anticipated many aspects of 1980s heavy metal music, and especially the guitar work of Yngwie Malmsteen with Akkerman's use of the harmonic minor and Hungarian minor scales, uncommon in rock music in the early 1970s.
Radical departures in musical styles follow in the remaining tracks of the album. "Le Clochard" ("The Beggar" in French), also entitled "Bread", is a melancholy classical guitar piece by Akkerman with van Leer backing on Mellotron strings. "Janis", another Akkerman-penned ballad, becomes a flute showcase for van Leer with multiple tracks on that instrument. "Moving Waves", a piano and vocal solo by Thijs van Leer, features lyrics by Sufi poet/master musician Inayat Khan. "Focus II" features the entire band in a classical-jazz fusion instrumental with graceful changes of time signature.
"Eruption" is a 23 minute long instrumental piece, a hard rock version of the tale of Orpheus and Euridice and an updated and more modern version of Jacopo Peri's opera Euridice. An uncredited melody from Monteverdi's L'Orfeo opens the suite, and a later segment includes the haunting "Tommy" (after its author Tom Barlage of the Dutch fusion band Solution). The Zappa-inspired "The Bridge" is a heavily syncopated jam session, culminating in some solo guitar riffs reminiscent of "Hocus Pocus" . "Euridice", penned by Eelko Nobel, is a classical lied which segues into the Gregorian "Dayglow", then van der Linden's drum solo, "Endless Road". The suite ends with a return to its opening themes, uniting them with "Euridice" with van der Linden's freeform percussion effectively evoking the sound of fireworks for the finale.

The album that boosted Focus into at least semi-fame outside of continental Europe, Moving Waves blasts off with their hit single, "Hocus Pocus." Built around a killer guitar hook by Jan Akkerman and a series of solo turns by the band, this instrumental replaced "Wipeout" as a staple of FM radio. The bizarrely hilarious vocal and accordion solos by Thijs van Leer -- one of which absurdly concludes with rousing stadium cheers -- have to be heard to be believed. After this over-the-top performance, the other tracks seem comparatively constrained: the gentle "Le Clochard" features some gorgeous classical guitar over Mellotron strings. The album concludes with "Eruption," which while mimicking the multi-suite nomenclature of Yes and King Crimson, is essentially a side-long jam session. Stop-time Emersonian organ solos alternate with languid sections of jazzy guitar redolent of Santana, while still other sections are flat-out electric blues-rock stomps. It's impressive playing, though it comes off as a bit meandering after the tightly structured solos that began the album.

"Moving Waves" is an easy to like classic prog recording. This is my favorite FOCUS release from their repertoire. "Moving Waves" contains some killer prog moments with classical piano and outrageous guitar riffs. "Hocus Pocus" is their signature piece with the famous yodeling of Thijs Van Leer. I love the gooves these guys get into and the presence of the 'ol Mellotron and classic guitar rock gives "Moving Waves" a high ranking on my all time favorite list.

This Netherlandish progressive masterpiece is one of the most hard rock progressive album made during that era: indeed Jan Akkerman's incisive and razor electric guitars are omnipresent: pure hard rock solos a la Led Zeppelin, and barely less timid aggressive riffs. The drums are restless, very complex and fast. The keyboards mostly consist in organ, mellotron, piano and harmonium. The intensely yodeling of Thijs Van Leer on "Hocus Pocus" is LEGENDARY: you are going to want to sing it! "Le clochard" has a beautiful floating mellotron in the background and impressive & relaxing acoustic guitar parts that should impress Steve Hackett himself. The peaceful and rhythmic "Janis" contains mellow flute parts a la Camel. The lead vocals on "Moving Waves" remind me early King Crimson. "Focus 2" is an OUTSTANDING very progressive track: Jan Akkerman "dances" with his melodic electric guitar: it seems that the other instruments follow his partitions, creating very structured and pleasant melodies through rhythm & air changes.
On side 2, the epic "Eruption" is a REAL progressive masterpiece, sometimes comparable to Jethro Tull's "Thick as a brick": the same organ sounds, tons on drums, very melodic bass, straightforward hard rock electric guitars; there are some intensely floating mellotron & backing vocals parts; there is a part which was composed by the Netherlandish fusion band Solution, coming from the "Divergence" album; there is a poignant & melodic piano part, accompanied with electric guitar and flute; the drum solo is absolutely impressive, having a bit the Neil Peart's style.
HIGHLY RECOMMENDED!

Tracks Listing

1. Hocus Pocus (6:42)
2. Le Clochard (2:01)
3. Janis (3:09)
4. Moving Waves (2:42)
5. Focus II (4:03)
6. Eruption (23:04)
-a. Orfeus, Answer, Orfeus
-b. Answer, Pupilla, Tommy, Pupilla
-c. Answer, The Bridge
-d. Euridice, Dayglow, Endless Road
-e. Answer, Orfeus, Euridice

Total Time: 41:41

Personnel

    Thijs van Leer – Hammond organ, piano, mellotron, harmonium, flutes, vocals
    Jan Akkerman – guitars, bass guitar
    Cyril Havermans – bass guitar, vocals on "Pupilla"
    Pierre van der Linden – drums, percussion

Chick Corea Elektric Band - 1987 "Light Years"

Light Years is a 1987 Album by the Chick Corea Elektric Band. It features Chick Corea with guitarist Frank Gambale, saxophonist Eric Marienthal, drummer Dave Weckl and bassist John Patitucci. Also guitarist Carlos Rios plays on some tracks. The album was nominated and received the 1988 Grammy Award for the Best R&B Instrumental Performance (orchestra,group or soloist).

 The second recording by Chick Corea's Elektric Band was the first to feature altoist Eric Marienthal and guitarist Frank Gambale in addition to bassist John Patitucci, drummer Dave Weckl and the leader/keyboardist. Unlike most other fusion groups, these musicians displayed original musical personalitites and Corea's compositions tended to be memorable. This is one of The Elektric Band's better releases.

With the classic Elektric Band lineup in place — Chick, Eric Marienthal (saxophone), Frank Gambale (guitar), John Patitucci (bass) and Dave Weckl (drums) — Chick created a masterpiece of electric jazz: powerful, swinging grooves, passionate solos and virtuosic group interplay throughout. It was a defining moment in jazz, and Light Years is a high-water mark.

Chick seems to enjoy exploring. With these players he has the perfect ensemble to do that. I get the feeling that he wraps his head around a sound or feel that he wants and just goes after it. Each album seems to point in a different direction with each track taking us further out there. Sometimes we don't know where we are going but it is sure a fun ride. I don't know if he's exploring techno or what on this one but there is so much subtle stuff going around a huge, fat beat that it's hard not to play it over wondering what you just heard. You definitely have to have a good sound system to listen to this; otherwise you miss it, like taking a scenic highway with dirty windows.

My guess is that you have probably never heard of this band, unless you are specifically looking for it, and that much I guess is unlikely. So, to describe this band I will list some bands that you may have heard of that remind me of the material on this work; those would be Liquid Trio Experiment, Bill Frisell, and John Scofield. If you can dig stuff from those artists, I highly recommend this album. One thing I will say is that you are most certainly not guaranteed to like this album from Chick and crew if you like his band Return to Forever.
By now having listened to this album in the mix for a few years, I definitely give it a thumbs up. Every track is worth many, many listens.
I guess though is that this music is music for musicians, and pretty much musicians only will buy this album, and most us are poor, so I can't imagine this album sold many copies. Chances are you will only be able to find this album on your computer, such as a used album from Amazon.com, but not at a record store. These days even record stores sometimes won't carry something this rare. That is a shame, because this is really good music.
Another way I might describe this as 1980s jazz. The musicianship is great, but the electronics aren't quite that great, and after albums like this one flopped, I can definitely understand the move to return to more of an analogue sound, such as a Hammond B3 organ. So, the hard part of this album to sell is that it is electric, and uses cheesy synthesizers from start to finish. I do believe that was Chick's aim; to explore new technology and to marry it with jazz. I believe that Chick did an excellent job of that on this album. The music on this album is great and timeless for those that love music, but someone who is interested in sound quality may turn his or her nose up at this one.

Track listing

1.    "Light Years" – 3:51
2.    "Second Sight" – 4:12
3.    "Flamingo" – 4:08
4.    "Prism" – 3:29
5.    "Time Track" – 5:02
6.    "Starlight" – 3:51
7.    "Your Eyes" – 3:56
8.    "The Dragon" – 5:31
9.    "View from the Outside" – 6:33
10.   "Smokescreen" – 4:24
11.   "Hymn of the Heart" – 6:40
12.   "Kaleidoscope" – 8:03

Tracks 10-12 are omitted from the original release and appear only on CD reissues.

Line-up / Musicians

- Chick Corea / Keyboards
- Frank Gambale / Guitars
- John Patitucci / Bass
- Eric Marienthal / Saxophone
- Dave Weckl / Drums

Al Di Meola - 1977 "Elegant Gypsy"

Elegant Gypsy is the second album by American jazz fusion guitarist Al Di Meola. It was released in 1977 on Columbia Records.
Elegant Gypsy was a follow-up album to Di Meola's debut release, Land of the Midnight Sun. The distinctive music on the album is a speedy fusion of jazz and rock, with lightning-fast guitar riffs intermixed with lyrical acoustical passages. The songs include explorations of Latin music themes, including acoustic genres like flamenco
 Elegant Gypsy won an annual award for Best Guitar Album in Guitar Player Magazine.

Guitarist Al di Meola's second record as a leader is generally an explosive affair, although it does have a fair amount of variety. With Jan Hammer or Barry Miles on keyboards, electric bassist Anthony Jackson, drummer Lenny White (Steve Gadd takes his place on the "Elegant Gypsy Suite"), and percussionist Mingo Lewis on most of the selections, di Meola shows off his speedy and rock-ish fusion style. He was still a member of Return to Forever at the time and was a stronger guitarist than composer, but di Meola did put a lot of thought into this music. The brief "Lady of Rome, Sister of Brazil" (an acoustic guitar solo) and "Mediterranean Sundance" (an acoustic duet with fellow guitarist Paco de Lucía) hints at di Meola's future directions. A near classic in the fusion vein. 

Al Dimeola, at the time of this release, was the best fusion guitarist on the planet. (Mclaughlin lacked the energy that he had before Mahavishnu broke up and Holdsworth had yet to reach the great heights that he would find in the eighties). Dimeola is at his best composition wise as well as in his playing. "Flight Over Rio" and "Midnight Tango" are examples of this. Al and a Les Paul are meant to be together. "Mediterannean Sundance" is a duet with Paco DeLucia and a complete acoustic extravaganza.The guitar artistry displayed by both is unbelievable. This is a piece that can be listened to over and over. "Race With the Devil on Spanish Highway" is the electric extravaganza and a favorite of anybody that has heard it. Unison 32nd note lines are just a part of this Dimeola classic. The writing is amazing and Al has never sounded better. The rest of the disc consists of a percussion piece and then finally there is the title track which is another Dimeola masterwork. The band on this disc is incredible. Jan Hammer, Steve Gadd, Anthony Jackson, and Mingo Lewis all are phenomenal musicians in there own right and Dimeola has all of them playing at their usual amazing heights. If you are only familiar with RTF and are wondering why Al would leave them for a solo career this disc has the answers. A must have for any jazz/fusion fan or guitar enthusiast.

Al DiMeola was certainly the Jimi Hendrix of the 70's Jazz Fusion movement. And, this is his best disc from that period. Di Meola's music was also a precursor to the best World and New Age music of the 80s and 90s. Just because Jazz-fusion is out of fashion with the Jazz intelligentsia, doesn't mean DiMeola needs to be discounted. On the contrary, he inspired many to seek a new path for jazz's survival into the late 20th century and beyond. He also helped the uninitiated understand that Jazz is a cross-pollinating "bastard" musical form (in the best sense of the word) that is beyond musical category. I love Dixieland Jazz, Stride, Swing, Bebop, Afro-Cuban Jazz, West Coast Cool, Jazz Funk, 80s Neoclassic, Third Wave, etc, etc. I also love the best of Jazz Fusion. This is it! 

Back when I was in junior high school, I subscribed to Guitar Player magazine, and in their annual awards issue, Al DiMeola won best jazz guitarist and this album won best guitar album. I'd never heard of him or it, I knew nothing about jazz or fusion, but hey, 'best guitar album', what did I have to lose? What I heard simply blew my mind, it was unlike anything I was prepared for. It changed my life. It even changed the way I play guitar. Al DiMeola remains my favorite guitarist, and this remains my favorite of his albums. You absolutely cannot go wrong with it.

Tracks Listing

1. Flight Over Rio (7:16)
2. Midnight Tango (7:28)
3. Mediterranean Sundance (5:14)
4. Race With Devil On Spanish Highway (6:18)
5. Lady Of Rome, Sister Of Brazil (1:46)
6. Elegant Gypsy Suite (9:16)

Total Time: 37:18

Personnel

    Al Di Meola: Electric guitars, acoustic guitars, piano, synthesizer, percussion.
    Paco de Lucía: Acoustic guitar (track 3).
    Anthony Jackson: Bass guitar (tracks 1, 2, 4, 6).
    Jan Hammer: Keyboards, synthesizer (tracks 1, 6).
    Barry Miles: Piano, keyboards, synthesizer (tracks 2, 4).
    Steve Gadd: Drums (tracks 1, 6).
    Lenny White: Drums (tracks 2, 4).
    Mingo Lewis: Congas, synthesizers, organ, percussion (tracks 1, 2, 4, 6).

Steve Hackett - 1978 "Please Don't Touch!"

Please Don't Touch! is the second solo album by English guitarist Steve Hackett, and his first after leaving Genesis in 1977.
The album featured several guests including R&B singer Randy Crawford on "Hoping Love Will Last", American folk icon Richie Havens on two songs, the drummer and vocalist for the progressive rock band Kansas (Phil Ehart and Steve Walsh respectively), Frank Zappa alumnus Tom Fowler, Genesis concert drummer Chester Thompson (also a Zappa alumnus), and Van der Graaf violinist Graham Smith.
This was also Hackett's first album to feature his pioneering use of the Roland GR-500 Guitar Synthesizer.

Please Don't Touch! was the first solo album that Hackett released after leaving Genesis during the mixing of the 1977 live album Seconds Out.
Hackett had previously released a solo album, Voyage of the Acolyte, while still a member of Genesis, but he was frustrated by the collaborative process of Genesis which left much of his creative work unreleased. He wrote a song, "Please Don't Touch", that Genesis rehearsed but ended up setting aside, partly because the other members of the band did not want to use it. He also wrote a second song, "Hoping Love Will Last", that he felt was appropriate only for a female singer, which was something that the band could not use. Eventually, the track Wot Gorilla? was decided on as the last track on the first side of Wind and Wuthering, and this decision sealed Hackett's decision to leave Genesis. Hackett quit Genesis and began to record the album Please Don't Touch, using the rejected Genesis song as the title track.

"Narnia" is based on the children's book "The Lion, the Witch and the Wardrobe" by C.S. Lewis. Singer Steve Walsh and drummer Phil Ehart of the American rock band Kansas appear on the song. According to Hackett in the liner notes of the 2005 re-release, "Narnia" had been considered as a possible single. "Unfortunately," Hackett stated, "we weren't allowed to release the version featuring Steve on vocals as his record company objected. No-one at Charisma felt the alternative version [a version with vocalist John Perry and a bonus track on the 2005 remaster] was strong enough to release as a single without Steve's contribution."
"Carry On Up the Vicarage" is a musical tribute to Agatha Christie. It features vocals from Hackett himself. The vocals during most of the song consist of a double line of an artificially high pitched voice and an artificially low pitched one. Hackett has often used similar distorting effects on his vocals in his solo career.
"Racing in A" also features Steve Walsh on vocals. The song is electric for most of its duration, but the last 1:15 is a classical guitar piece which decreases in pace throughout, finishing on a relaxing note to set up for the fully acoustic instrumental track "Kim". Which consists of Steve Hackett on classical guitar with his brother John on flute, it was largely inspired by Erik Satie's "Gymnopédie No 1".
"How Can I?" is the last track on side one of the original vinyl. It is a slow song which features Richie Havens on vocals.

Side two of the vinyl consists of a suite of songs which flow directly into each other. It begins with "Hoping Love Will Last" with Randy Crawford on vocals. It has a heavy R&B/soul influence but with some classical style guitar parts as well as atmospheric sections featuring synthesisers. The second of these sections segues into "Land of a Thousand Autumns", an instrumental, atmospheric track which contains references to the main theme of the title track. A sudden drum fill leads into the next track.
"Please Don't Touch" itself is an instrumental track with many time signature changes that features prominent use of Hackett's Roland GR-500 Guitar Synthesiser. The track was originally offered by Hackett to Genesis for Wind and Wuthering, but was rejected by the rest of the band. This rejection contributed to Hackett's eventual decision to leave Genesis in 1977. The track was written as a variation on the main theme heard in the Wind and Wuthering track "Unquiet Slumbers for the Sleepers...". This theme was also eventually incorporated into the song "Hackett to Bits", which was included on the 1985 GTR album featuring Yes guitarist Steve Howe. Owing to the Genesis connection, Hackett included a re-recording of "Please Don't Touch" in his 2012 album Genesis Revisited II.
"Please Don't Touch" abruptly transitions into "The Voice of Necam". This track also features references to the "Please Don't Touch" theme at the beginning, but in the middle it becomes more of an ambient piece featuring a computer called Necam. The last 1:20 of the track is a classical guitar piece backed by the aforementioned computerised chords.
"Icarus Ascending" is the last track on the album and is sung by Richie Havens.

The cover was designed by the artist Kim Poor, as were many of Hackett's album covers. It shows a Victorian couple being attacked by automata in a toy shop. This became the inspiration for a scene in Blade Runner, where the character Rick Deckard (played by Harrison Ford) is attacked in a flat full of replicant toys.

Steve Hackett left Genesis in June 1977 (following the tour that would be documented on Seconds Out), and started his solo career in earnest with Please Don't Touch. Unlike Voyage of the Acolyte, which was a largely instrumental concept album steeped in the progressive rock idiom, this record is primarily a collection of songs featuring guest vocalists Richie Havens, Randy Crawford, and Kansas' Steve Walsh (their Phil Ehart also chips in here on drums). Although the sum effect is something of a patchwork, the individual pieces are often lovely. Over his career, Hackett has shown a propensity for extremes, in this case letting the jazzy and sentimental "Hoping Love Will Last" segue into the musical maelstrom of "Land of a Thousand Autumns" and "Please Don't Touch" (which will delight fans of Hackett's first record, although the Caroline CD inexplicably pauses too long between the two). In a nod to King Crimson (specifically Lizard), the title track is quickly cut off with the quirky carousel sounds of "The Voice of Necam," which itself dissolves into a mix of airy voices and acoustic guitar. The best tracks belong to Richie Havens: "How Can I?" ("Hackett"'s take on Peter Gabriel's "Solsbury Hill") and the conclusive "Icarus Ascending." Hackett is no singer, so he wisely masks his voice in a "laughing gnome" effect on the delightful "Carry on Up the Vicarage" and hides behind Walsh's lead on "Narnia" and "Racing in A." Perhaps taking his cue from Gabriel (whose debut had appeared in 1977), Hackett seems eager to show his range as a songwriter. While he clearly has a closet full of good ideas and a genuine knack for interesting arrangements, Hackett is too much the eccentric Englishman to appeal to broad commercial tastes. Please Don't Touch remains a uniquely effective amalgam of progressive rock and pop; like his first album, he never made another one quite like it, perhaps because he again taps the concept's full potential here.

Track listing

All tracks written by Steve Hackett.

    "Narnia" – 4:05
    "Carry On Up the Vicarage" – 3:11
    "Racing in A" – 5:07
    "Kim" – 2:13
    "How Can I?" – 4:38
    "Hoping Love Will Last" – 4:23
    "Land of a Thousand Autumns" – 1:38
    "Please Don't Touch" – 3:39
    "The Voice of Necam" – 3:11
    "Icarus Ascending" – 6:27

Personnel

    Steve Hackett – Electric guitar, acoustic guitar, Roland GR-500 Guitar Synthesizer, vocals (2), backing vocals (1, 3, 9, 10), keyboards, percussion
    John Hackett – flute, piccolo, bass pedals, keyboards
    John Acock – keyboards, engineer
    James Bradley – percussion
    Phil Ehart – drums, percussion
    Tom Fowler – bass
    Richie Havens – vocals (5, 10), percussion
    Dave Lebolt – keyboards
    Hugh Malloy – cello
    Graham Smith – violin
    Chester Thompson – drums, percussion
    Steve Walsh – vocals (1, 3)
    Maria Bonvino – guest female soprano (6)
    Randy Crawford – vocals (6)
    Feydor – vocals on "The Voice of Necam"
    Dan Owen, Dale Newman – guest vocals on "Icarus Ascending"

Gary Husband - 2010 "Dirty & Beautiful" Vol. 1

Fusion isn't as plentiful as it was back in the 1970s, which was the golden age of fusion just as the '30s and early '40s were the golden age of swing and the mid- to late '40s and '50s were the golden age of bop. But noteworthy fusion can still be found if you know where to look for it, and Gary Husband's Dirty and Beautiful, Vol. 1 is an example of noteworthy 21st century fusion. An impressive cast of fusion icons joins the British keyboardist/drummer/composer on this 2010 release, including guitarists Allan Holdsworth and John McLaughlin and keyboardist Jan Hammer; guitarist Robin Trower, who is best known for hard rock and blues-rock, is also on board. With such a cast, one would expect five-star results. But Dirty and Beautiful, Vol. 1 falls short of exceptional, although it's still an enjoyable, solid outing as well as a fairly diverse one. This 51-minute CD, which is dominated by Husband's original material, has its more aggressive moments (including "Ternberg Jam" and "Dreams in Blue"), but many of the tunes are on the reflective, contemplative side; that is certainly true of "Bedford Falls," "Afterglow," "The Maverick," "Averstone Jam," and the mysterious "Boulevard Baloneyo." And Husband reminds listeners that quality fusion, like quality bop, quality Dixieland, or quality swing, isn't just about pyrotechnics -- which is why there is a lot of lyricism on this album to go with all the chops and technical proficiency. Fusion enthusiasts will appreciate the amount of nuance that Husband and his soloists bring to Dirty and Beautiful, Vol. 1.

For some, recruiting an all-star cast means nothing more than a budget to support it, but in the case of Gary Husband's Dirty & Beautiful Volume 1, it reflects the many friendships the keyboardist/drummer has built over the years—all clearly happy to help deliver the album that should, by all rights, put him more squarely on the map as a leader in his own right. John McLaughlin, Allan Holdsworth, Robin Trower, Level 42...all well-known names in jazz and rock/pop circles; and yet, Husband has never managed the same cachet. Since focusing on making his keyboard work an equal to the reputation he's built as a powerhouse drummer, through albums including his wonderful solo piano tributes to Holdsworth and McLaughlin—The Things I See (Angel Air, 2004), and A Meeting of Spirits (Alternity, 2006)—as well as his ensemble-driven Aspire (Jazzizt, 2004)—Husband has, however, been achieving greater visibility, most recently in McLaughlin's 4th Dimension, whose To The One (Abstract Logix, 2010) is the overdue studio debut of a group that's been impressing audiences on the road since 2007.

If for nothing else—and there are plenty of other reasons, to be sure—Dirty & Beautiful is notable as the album that reunites McLaughlin with Mahavishnu Orchestra keyboardist Jan Hammer and violinist Jerry Goodman. That the three don't actually play together becomes irrelevant, as each turns in a stunning performance, from Hammer's guitaristic synth work on Holdsworth's potent opener, "Leave 'Em On," a longtime live staple for the guitarist's trio with Husband and bassist Jimmy Johnson, to McLaughlin's extended fireworks on Husband's "Dreams in Blue," the album's longest track at over ten minutes that, in addition to Husband's effervescent kit work, features a set-defining piano solo. Goodman's equally incendiary performance on the greasier "Between the Sheets of Music" also comes close to being an early set-stealer; an old Hammer tune on which the keyboardist doesn't play, leaving it to Goodman, Husband, Holdsworth and Johnson. It's been decades since the first Mahavishnu Orchestra imploded, but every one of these players has never sounded better.

Elsewhere, Husband engages in some bluesy, Jimi Hendrix-ian psychedelic jamming on a retro look at Miles Davis' riff-based "Yesternow," courtesy of Trower, while ex-Genesis guitarist Steve Hackett turns in a surprisingly fusion-esque performance on drummer's laidback "Moon Song," and Level 42 bassist Mark King brings out the funk on the closing "Alverstone Jam."

Throughout, Husband is a multiple threat: a drummer capable of laying a meaty groove while, at the same time, ratcheting up the energy level with his interpretive interaction; a keyboardist who delivers finely honed melodism as much as expansively textured landscapes; and a broad-reaching writer, from the Joe Zawinul-esque "Bedford Falls" to the brooding "Boulevard Baloneyo," an alternate version of which is included as a bonus track on the Japanese edition. The debut of Husband's post-bop Drive, on Hotwired (Abstract Logix, 2009), may have been tragically overlooked, but the all-star cast and fusion leanings of Dirty & Beautiful Volume 1 should push Husband up into radar range, and hopefully lead to the second volume promised by its title.

Over the course of a remarkable, still-unfolding career, Gary Husband has defined himself as the ultimate musician's musician: a fiery, perceptive presence who elevates every scenario -from the tightly arranged to pure, open-ended improvisation. Whether focusing on his intricate, propulsive drumming or unleashing his nimble, harmonically astute keyboard abilities, Husband never fails to make his presence felt, while always remaining sympathetic to his fellow musicians and to the composition at hand. His vast range of experience allows him to balance the technical and the intuitive with rare grace, earning him the opportunity to perform and record alongside such maverick, inventive talents as John McLaughlin, Jeff Beck, Allan Holdsworth, Jack Bruce, Mike Stern, Robin Trower, Billy Cobham, Gary Moore, Level 42, Andy Summers, and many, many more.
In addition to his prolific career as a sideman, the British-born Husband has recorded seven of his own albums, featuring his multi-instrumental, compositional, and bandleading skills in an array of contexts. He is now poised to release his most ambitious project yet, the two-volume Dirty & Beautiful, volume one of which is to be made available by Abstract Logix on November 16, 2010, with volume two to follow in Spring of 2011. A visionary exercise years in the making, recorded in studios around the world, Dirty & Beautiful Volume One is a riveting showcase for the many gleaming facets of Husband's musical imagination, featuring an enviable cast of supporting musicians, among them John McLaughlin, Allan Holdsworth, Robin Trower, Steve Hackett (Genesis), Jerry Goodman (Mahavishnu Orchestra), Jimmy Herring (Widespread Panic, the Dead, Allman Brothers Band), Jan Hammer (Mahavishnu Orchestra and Miami Vice TV series soundtrack), Mark King (Level 42), and more.
"I feel this album to be rich, full of extremes, and passionate," Husband reflects. "It's not at all my first album, but it feels a little like a debut album, in that it heralds a return to my jazz/rock roots." The album's title hints at the unique co-existence that defines his music: for all its sophistication, technique, and facility, there is an underlying grit and intensity that somehow only enhances the luminous beauty at the core of these performances. "If I think about what it actually is to play -what the feeling is in what I chase -there's a quest for a profound beauty there, certainly. But it can't really be whole, to me, without the grunge, and the dirt. Like picking a fresh raspberry in the woods and eating it."

Despite its kaleidoscopic range of styles, textures, and grooves -not to mention the various globe-spanning locales in which it was recorded -this first instalment of Dirty & Beautiful is powerfully coherent, thanks to both the consistent quality of its contributors and to Husband's careful curatorial instinct. "As with any album I make," he explains, "I concerned myself directly with the overall curve of the record -the journey it presents, how it travels from track to track, and the overall coherency. But, as I strongly hoped for since the beginning, and in spite of the fact there are a lot of artists from very different realms here, there is a definite, very particular kind of coherency going on through the several different lineups just doing what we do together -everything and everyone towards the same cause. The whole thing plays as I'd hoped -as one message, with everyone concerned conveying the same level of commitment, energy and heart from track to track through their performances. After all, the artists involved here are all so great, a lot of factors kind of end up taking care of themselves anyway!"

From Robin Trower's churning, wailing post-Hendrix guitar on the brief visit to Miles Davis's "Yesternow", to Steve Hackett's stirring interpretation of the wistful "Moon Song" through to Mark King's slithering bass on the refracted second-line funk of the closing "Alverstone Jam," Dirty & Beautiful Volume One is an explosive, evocative celebration of the of the mutual respect between Husband and his collaborators, and instantly heightens the anticipation for the second volume. "It's predominantly a record just about playing the kind of material I feel like playing right now with people, friends, and musical colleagues that I feel like playing with," Husband concludes. "In a big way, it also documents my perpetual activity as a touring musician. This album is what my diary frequently looks like and it portrays very much the fulfilment I experience playing with all of these various people on a pretty consistent basis, in the many and various musical worlds and situations that I do or have done. It's got my stamp on it, but we all speak and tune in to basically the same common language. Friendship binds it. Respect and harmony are also elements that bind it. There is the fact that I know most of these gentlemen extremely well and feel a deeply special closeness and bond with them as individuals and musicians. That binds it in an ultimate way for me." 

Tracks Listing

1. Leave 'Em On (4:32)
2. Bedford Falls (3:20)
3. Between the Sheets of Music (3:32)
4. Yesternow - Preview (0:57)
5. Afterglow (2:15)
6. Dreams in Blue (10:12)
7. Ternberg Jam (3:01)
8. Moon Song (4:32)
9. Swell (0:45)
10. The Maverick (4:53)
11. Boulevard Baloneyo (7:42)
12. Alverstone Jam (5:22)

Total Time: 51:03

Line-up / Musicians

- Allan Holdsworth / guitar (track 1,3,11)
- Jan Hammer / keyboards (track 1)
- Jimmy Johnson / bass (track 1,3,6,7,11)
- Gary Husband / drums, keyboards
- Laurence Cottle / bass (track 2,4,8)
- Jerry Goodman / violin
- Robin Trower / guitar (track 4)
- John McLaughlin / guitar (track 6)
- Steve Hacket / guitar (track 8)
- Steve Topping / guitar (track 10)
- Steve Price / bass (track 10)
- Mark King / bass (track 12)

John Scofield - 1989 "Flat Out"

Flat Out is a studio album by jazz guitarist John Scofield. It was recorded in December 1989 and his sixth and last release on Gramavision.
The album marks a shift from his latter funk oriented fusion recordings to hard swinging tracks with "almost bobbish" solos and a new focus on New Orleans rhythm and blues covering two songs by The Meters and Huey "Piano" Smith and an original with a second line groove ("In the Cracks").
The quartet featured Don Grolnick exclusively on Hammond B-3 organ, double bassist Anthony Cox and either Johnny Vidacovich or Terri Lyne Carrington on drums. Don Grolnick already played keyboards on his 1986 album Still Warm (and would later produce his 1991 album Meant to Be). With Anthony Cox Scofield was part of a recording by Gary Thomas' a few months earlier (By Any Means Necessary). And with Terri Lyne Carrington he first played together on a recording session led by Niels Lan Doky in September 1988 (Daybreak). Johnny Vidacovich "is the quintessential New Orleans jazz drummer." Scofield recorded with him once before in 1988 for Ray Anderson's album Blues Bred in the Bone. Scofield and Ray Anderson also recorded with saxophonist Bennie Wallace on his New Orleans R&B influenced albums Twilight Time (1985) and Bordertown (1987) both featuring Dr. John. Scofield would later come back to New Orleans based grooves on his 1995 album Groove Elation and most explicitly in 2009 with Piety Street.

The basic facts on this album are that Sco returned to a more traditional sound here after spending most of the 1980s playing jazz-rock fusion with Miles Davis and his own bands. For this session, he mixed post-bop jazz with elements of New Orleans R&B. One might jump to the conclusion that this was a contractual-obligation blowing session, based on the presence of musicians he has not recorded with since and the fact that about half the record is comprised of jazz and R&B standards. But what you get is far from a routine affair tossed off to wind up his fruitful 1980s stint with Gramavision Records. This is an album that wears very well. Better, for my money, than "Hand Jive" and "Groove Elation," two mid-1990s Blue Note albums where he also mixed swing and r&b. It's a more stripped-down affair than either of those two records, having no horns, piano, or auxiliary percussion. And then there are the standards. For the first three decades of his career (up until his Ray Charles tribute of 2005), Scofield mostly avoided recording material not written by him or, in a few cases, musical associates like Steve Swallow. This record is something of an exception, with stunning versions of All the Things You Are, Secret Love, and the classic New Orleans R&B tunes "Rockin' Pneumonia" (Huey 'Piano' Smith)and "Cissy Strut" (The Meters). For whatever reason--the more relaxed grooves, the presence of familiar favorites on the set list, or who knows what--he turned in a record that is greater than the sum of its parts. That can't always be said for the string of Blue Notes records that were to follow (save the first, the consistently wonderful Time on My Hands), which often seemed to be exactly the sum of their parts. Never less than professional and well-crafted, but only sporadically inspired at the level that he maintains through this whole session. Almost any Scofield record has a few exceptional moments that stand the test of time, but this one is at a different level, sounding almost like a live concert set, but with all the sonic benefits of a studio recording.

Scofield"s swan song for Gramavision and the best of the lot! I bought this cd in 1989 and this music really hits the spot every time I put it on the stereo. The tunes are memorable, and John's playing is inspired by the two excellent drummers including Johnny Vidacovich, and Terri Lynn Carrington. With the exception of the late Don Grolnick playing organ on a few tracks, it's an extroverted trio affair with a big sound. Anthony Cox is on bass. If you're craving more of Sco's guitar, do yourself a favor and order this cd.

In his final trip to the recording studio for Gramavision, jazz fusionist John Scofield once again shifted gears and showed his ever-growing legion of fans a glimpse of his new direction on his 1989 CD entitled "Flat Out". The grooves here are greasier, more redolent of New Orleans, and they anticipate where Scofield arrived with his Hand Jive quartet five years later. The supporting band of Don Grolnick on Hammond B-3 organ, Anthony Cox on bass and Terri Lyne Carrington and Johnny Vidacovich sharing drum chores is an inspired acoustic/electric blend that allows Scofield to cover "Cissy Strut" and "Rockin' Pneumonia" as well as burn on six originals and a couple of Tin Pan Alley standards. 

Track listing

1.    "Cissy Strut" (George Porter, Jr., Ziggy Modeliste, Art Neville, Leo Nocentelli) – 2:56
2.    "Secret Love" (Sammy Fain, Paul Francis Webster) – 5:55
3.    "All the Things You Are" (Oscar Hammerstein, Jerome Kern) – 7:37
4.    "In the Cracks" (Scofield) – 4:48
5.    "Softy" (Scofield) – 4:34
6.    "Science and Religion" (Scofield) – 4:42
7.    "The Boss's Car" (Scofield) – 6:59
8.    "Evansville" (Scofield) – 5:52
9.    "Flat Out" (Scofield) – 3:40
10.   "Rockin' Pneumonia" (Huey "Piano" Smith) – 3:57

Personnel

    John Scofield - electric guitar
    Don Grolnick - Hammond B-3 organ
    Anthony Cox - double bass
    Johnny Vidacovich - drums (exc. tracks 3, 7, 8)
    Terri Lyne Carrington - drums (tracks 3, 7, 8)