Alice's Restaurant", also known as the "Alice's Restaurant Massacree", is a satirical talking blues song by singer-songwriter Arlo Guthrie, released as the title track to his 1967 debut album Alice's Restaurant. The song is a deadpan protest against the Vietnam War draft, in the form of a comically exaggerated but essentially true story from Guthrie's own life: he is arrested and convicted of dumping trash illegally, which later leads to him being rejected by the draft board due to his criminal record of littering (and the way he reacted when the induction personnel brought it up). The title refers to a restaurant owned by one of Guthrie's friends, which plays no role in the story aside from being the subject of the chorus.
Despite its running time of over 18 minutes, it was a hit song, and an inspiration for the 1969 film also named Alice's Restaurant. The work has become Guthrie's signature song and he has periodically re-released it with updated lyrics. In 2017, it was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant".
The song consists of a protracted spoken monologue, with a constantly repeated fingerstyle ragtime guitar (Piedmont style) backing and light brush-on-snare drum percussion (the drummer on the record is uncredited), bookended by a short chorus about the titular diner. (Guthrie has used the brief "Alice's Restaurant" bookends and guitar backing for other monologues bearing the Alice's Restaurant name.) The track lasts 18 minutes and 34 seconds, occupying the entire A-side of the Alice's Restaurant album. Due to Guthrie's rambling and circuitous telling with unimportant details, it has been described as a shaggy dog story. For many people in the United States, listening to this song on Thanksgiving Day is a family tradition.Guthrie refers to the incident as a "massacree", a colloquialism originating in the Ozark Mountains that describes "an event so wildly and improbably and baroquely messed up that the results are almost impossible to believe". It is a corruption of the word massacre, but carries a much lighter and more sarcastic connotation, rather than describing anything involving actual death.
For many people in the United States, listening to this song on Thanksgiving Day is a family tradition.
The littering incident
The incident which Guthrie recounts in the first half of the song was reported in The Berkshire Eagle on November 29, 1965. It describes the conviction of Richard J. Robbins, age 19, and Arlo Guthrie, age 18, for illegally disposing of rubbish, and a fine of $25 each, plus an order to remove the trash. The arresting officer was Stockbridge police chief William J. Obanhein ("Officer Obie"), and the trial was presided over by Special Judge James E. Hannon. It identifies the incriminating evidence as an envelope addressed to a male resident of Great Barrington (presumably Ray Brock) rather than Guthrie. In a 1972 interview with Playboy's Music Scene, Obanhein refuted one detail: he denied handcuffing Guthrie and Robbins. He also said the real reason there was no toilet seat in the jail cell was to prevent such items from being stolen, not as a suicide deterrent as Guthrie had joked.
Track listing:
1. Alice's Restaurant Massacree 18:20
2. Chilling Of The Evening 3:01
3. Ring-Around-A-Rosy Rag 2:10
4. Now And Then 2:15
5. I'm Going Home 3:12
6. The Motorcycle Song 2:58
7. Highway In The Wind 2:40
Personnel:
Arlo Guthrie – vocals, guitar
The unknown musicians who play the electric guitar, standup bass, and drums
Thursday, November 28, 2019
Saturday, November 23, 2019
Charles Mingus - 1963 [1997] "Mingus Plays Piano"
Mingus Plays Piano is a 1963 solo jazz album by Charles Mingus. The album is notable for Mingus's departure from his usual role as composer and double-bassist in ensemble recordings, instead playing piano without any additional musicians.
This album is unique in Mingus' enormous catalog. As the title indicates, the famous bassist takes to the ivories solo to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius.
In the first piece, "Myself When I Am Real," turbulence and aching beauty merge in Mingus' spontaneous unfolding of phrases. Such standards as "Body and Soul" and "Memories of You" are given personal, harmonically intriguing readings that blend in seamlessly with a Mingus original like "Old Portrait." In many ways, it is a treat to hear the artist working in this pared-down, quieter atmosphere, as it allows one to concentrate more intently upon the range and compositional brilliance of this incomparable figure.
Mingus Plays Piano originally was released on the heels of The Black Saint And The Sinner Lady, a brilliantly orchestrated, album length composition performed by an eleven piece band of frequent Mingus collaborators. The Black Saint was a career highlight, but the year leading up to that success was a tumultuous one. In 1962, Mingus toured heavily, and for his band’s residencies in NYC, he experimented with hiring a bassist and playing piano himself. He agreed to record a live album with a big band iteration of his Jazz Workshop for United Artists. Rushed preparations for this maximalist composition resulted in an incident where he punched his longtime trombonist Jimmy Knepper in the mouth. The 31-piece band’s one night stand at Town Hall was sloppy, and Mingus raged as concertgoers walked out and demanded a refund. After that disastrous performance, Mingus was exhausted, had gained a lot of weight, and suffered from painful ulcers. His wife Judy had just delivered a stillborn baby girl. The couple retreated to the Bay Area where Farwell Taylor, Mingus’ old beatnik-guru friend, straightened him out with a weeklong juice cleanse.
By most accounts, Charles Mingus never dropped acid. But in 1962, he spent time hanging out with Timothy Leary at Millbrook, where the Harvard researcher had made a laboratory of magnate Charles Dieterich’s rococo mansion. Mingus’ pal and heir to the Mellon fortune, Peggy Hitchcock, brought him upstate to escape the bustle of Manhattan and check out Leary’s newfound spiritual drug. Instead, Mingus would stay up late carousing, ranting at tripping jet-setters, and playing the house piano. He certainly indulged in bouts of excess with all sorts of substances–late night Chinese food among them–but acid scared him. Music was religion for Mingus, and in that church he was very spiritual and devoted. His immense lust for music encompassed some impossible eccentricities and violent tempers, but all in service to a method, a history. Leary felt that the endless expanse of the unlocked mind had something in common with the generative potential of improvisation. He’d tell Mingus to “just play” the piano, to which Mingus called bullshit: “You can’t improvise on nothin’, man. You’ve got to improvise on somethin’.”
Although Mingus Plays Piano is mostly original material, he includes riffs on a few standards like “I Can’t Get Started” and “Body and Soul.” He first worked out “Myself When I Am Real” in his wife Judy’s living room, and at the beginning of “Memories of You” Mingus kids around: “I don’t think I should improvise man. It’s not like sittin’ at home, I can tell you that. It’s not like playing at home by yourself.” Far from raw or unprepared, the album bears a significant subtitle: “spontaneous compositions and improvisations.” Mingus had strong opinions about the relationship between composition and improvisation. His first love was classical music–in particular the work of Strauss, Debussy, and Stravinsky, harmonically inventive composers who ushered in the modern period of orchestral music.
Track listing:
"Myself When I Am Real" – 7:38
"I Can't Get Started" (Vernon Duke, Ira Gershwin) – 3:43
"Body and Soul" (Frank Eyton, Johnny Green, Edward Heyman, Robert Sour) – 4:35
"Roland Kirk's Message" – 2:43
"Memories of You" (Eubie Blake, Andy Razaf) – 4:37
"She's Just Miss Popular Hybrid" - 3:11
"Orange Was the Color of Her Dress, Then Silk Blue" – 4:18
"Meditations for Moses" - 3:38
"Old Portrait" - 3:49
"I'm Getting Sentimental Over You" (George Bassman, Ned Washington) – 3:46
Compositional Theme Story: "Medleys, Anthems and Folklore" – 8:35
Personnel:
Charles Mingus - piano, vocals
This album is unique in Mingus' enormous catalog. As the title indicates, the famous bassist takes to the ivories solo to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius.
In the first piece, "Myself When I Am Real," turbulence and aching beauty merge in Mingus' spontaneous unfolding of phrases. Such standards as "Body and Soul" and "Memories of You" are given personal, harmonically intriguing readings that blend in seamlessly with a Mingus original like "Old Portrait." In many ways, it is a treat to hear the artist working in this pared-down, quieter atmosphere, as it allows one to concentrate more intently upon the range and compositional brilliance of this incomparable figure.
Mingus Plays Piano originally was released on the heels of The Black Saint And The Sinner Lady, a brilliantly orchestrated, album length composition performed by an eleven piece band of frequent Mingus collaborators. The Black Saint was a career highlight, but the year leading up to that success was a tumultuous one. In 1962, Mingus toured heavily, and for his band’s residencies in NYC, he experimented with hiring a bassist and playing piano himself. He agreed to record a live album with a big band iteration of his Jazz Workshop for United Artists. Rushed preparations for this maximalist composition resulted in an incident where he punched his longtime trombonist Jimmy Knepper in the mouth. The 31-piece band’s one night stand at Town Hall was sloppy, and Mingus raged as concertgoers walked out and demanded a refund. After that disastrous performance, Mingus was exhausted, had gained a lot of weight, and suffered from painful ulcers. His wife Judy had just delivered a stillborn baby girl. The couple retreated to the Bay Area where Farwell Taylor, Mingus’ old beatnik-guru friend, straightened him out with a weeklong juice cleanse.
By most accounts, Charles Mingus never dropped acid. But in 1962, he spent time hanging out with Timothy Leary at Millbrook, where the Harvard researcher had made a laboratory of magnate Charles Dieterich’s rococo mansion. Mingus’ pal and heir to the Mellon fortune, Peggy Hitchcock, brought him upstate to escape the bustle of Manhattan and check out Leary’s newfound spiritual drug. Instead, Mingus would stay up late carousing, ranting at tripping jet-setters, and playing the house piano. He certainly indulged in bouts of excess with all sorts of substances–late night Chinese food among them–but acid scared him. Music was religion for Mingus, and in that church he was very spiritual and devoted. His immense lust for music encompassed some impossible eccentricities and violent tempers, but all in service to a method, a history. Leary felt that the endless expanse of the unlocked mind had something in common with the generative potential of improvisation. He’d tell Mingus to “just play” the piano, to which Mingus called bullshit: “You can’t improvise on nothin’, man. You’ve got to improvise on somethin’.”
Although Mingus Plays Piano is mostly original material, he includes riffs on a few standards like “I Can’t Get Started” and “Body and Soul.” He first worked out “Myself When I Am Real” in his wife Judy’s living room, and at the beginning of “Memories of You” Mingus kids around: “I don’t think I should improvise man. It’s not like sittin’ at home, I can tell you that. It’s not like playing at home by yourself.” Far from raw or unprepared, the album bears a significant subtitle: “spontaneous compositions and improvisations.” Mingus had strong opinions about the relationship between composition and improvisation. His first love was classical music–in particular the work of Strauss, Debussy, and Stravinsky, harmonically inventive composers who ushered in the modern period of orchestral music.
Track listing:
"Myself When I Am Real" – 7:38
"I Can't Get Started" (Vernon Duke, Ira Gershwin) – 3:43
"Body and Soul" (Frank Eyton, Johnny Green, Edward Heyman, Robert Sour) – 4:35
"Roland Kirk's Message" – 2:43
"Memories of You" (Eubie Blake, Andy Razaf) – 4:37
"She's Just Miss Popular Hybrid" - 3:11
"Orange Was the Color of Her Dress, Then Silk Blue" – 4:18
"Meditations for Moses" - 3:38
"Old Portrait" - 3:49
"I'm Getting Sentimental Over You" (George Bassman, Ned Washington) – 3:46
Compositional Theme Story: "Medleys, Anthems and Folklore" – 8:35
Personnel:
Charles Mingus - piano, vocals
Captain Beefheart & His Magic Band - 1967 [1999] "Safe as Milk"
Safe as Milk is the debut studio album by American rock group Captain Beefheart and his Magic Band, released in June 1967 by Buddah Records. A heavily blues-influenced work, the album featured a 20-year-old Ry Cooder, who played guitar and wrote some of the arrangements.
Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]
Underground classic, absolute genius and one of my favourite albums of all time. Crank up the volume. Yes, it's warped and weird but this is easily the most accessible of all of Beefheart's albums. It features a 20 year old Ry Cooder, who is magnificent throughout. There's a real mix on here: "Sure 'Nuff' and Yes I Do" starts off like a straightforward Delta Blues before being amplified and injected with Amphetamine, "Zig Zag Wanderer" has a heavy R&B baseline and the R&B theme continues with what has to be the most "pop" tune he has ever done, "Call on Me". Nothing is mainstream though, there's sharp jangly guitars cutting through the horns gently fading in and out as as the percussion phases from left to right. Then you're hit with the weird, grungy, heavy "Dropout Boogie", the mood totally changes for the sentimental "I'm Glad" with it's Doo-Wop backing harmonies and the side finishes with the weird, high voltage, up tempo "Electricity" which utilises the Theremin to great effect. Side Two starts with the folky- rock "Yellow Brick Road" followed by " the pure psychedelia of "Abba Zabba" - Ry Cooder takes the bass here to great effect. Next comes "Plastic Factory" which sounds like Howlin' Wolf on Acid. "Where There's Women" is a touching tune with beautiful lyrics. "Grown So Ugly" is the only cover on the album and like the opening track is like heavy, psychedelic, Delta Blues. The album closes with the trippy, beautiful "Autumns Child" which again utilises the Thremin. Everyone should know this album.
"I may be hungry, but I sure ain't weird," Don Van Vliet, a.k.a. Captain Beefheart, famously intones on this bright-sounding remastered version of the 1967 debut by Captain Beefheart and His Magic Band. Safe as Milk is a bold, tough-ass distillation of Delta blues stomp and '60s garage-punk swagger, fused with a radically polyrhythmic and tempo-shifting style that one might term "art rock." Listening to the delightfully playful, absurdist "Abba Zabba," it's easy to see why Lester Bangs called Beefheart "the only true dadaist in rock"; the song is a good indication of the intricate, rule-breaking music the Magic Band would continue to hone. But there are also formidable ballads (the psychedelic "Autumn's Child," the lachrymose "I'm Glad"), midtempo pop-soul tunes (the Otis Redding-ish "Call on Me"), and straight-ahead blues-rock workouts ("Plastic Factory"), all of which showcase the fretwork of a young Ry Cooder. Much has been made of Beefheart's multiple-octave vocal range; he sings menacingly on "Dropout Boogie" and allegedly broke a very expensive microphone on the eerie "Electricity." The last seven tracks on this reissue (for the most part fascinating, unfinished instrumentals) were recorded with a different lineup; they are outtakes from Mirror Man Sessions.
Track listing:
01. "Sure 'Nuff 'n Yes I Do" 2:15
02. "Zig Zag Wanderer" 2:40
03. "Call on Me[22]" (Van Vliet) 2:37
04. "Dropout Boogie" 2:32
05. "I'm Glad" (Van Vliet) 3:31
06. "Electricity" 3:07
07. "Yellow Brick Road" 2:28
08. "Abba Zaba" (Van Vliet) 2:44
09. "Plastic Factory" (Van Vliet, Bermann, Jerry Handley) 3:08
10. "Where There's Woman" 2:09
11. "Grown So Ugly" (Robert Pete Williams) 2:27
12. "Autumn's Child" 4:02
CD bonus tracks
13. "Safe as Milk (Take 5)" 4:13
14. "On Tomorrow" 6:56
15. "Big Black Baby Shoes" 4:50
16. "Flower Pot" 3:55
17. "Dirty Blue Gene" 2:43
18. "Trust Us (Take 9)" 7:22
19. "Korn Ring Finger" 7:26
Personnel:
Don Van Vliet – lead vocals, harmonica, marimba, arrangements
Alex St. Clair Snouffer – guitar, backing vocals, bass, percussion
Ry Cooder – guitar, bass, slide guitar, percussion, arrangements
Jerry Handley – bass (except 8, 10), backing vocals
John French – drums, backing vocals, percussion
Additional musicians
Samuel Hoffman – theremin (6, 12)
Milt Holland – log drum, tambourine, percussion
Taj Mahal – tambourine, percussion
Russ Titelman – guitar
Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]
Underground classic, absolute genius and one of my favourite albums of all time. Crank up the volume. Yes, it's warped and weird but this is easily the most accessible of all of Beefheart's albums. It features a 20 year old Ry Cooder, who is magnificent throughout. There's a real mix on here: "Sure 'Nuff' and Yes I Do" starts off like a straightforward Delta Blues before being amplified and injected with Amphetamine, "Zig Zag Wanderer" has a heavy R&B baseline and the R&B theme continues with what has to be the most "pop" tune he has ever done, "Call on Me". Nothing is mainstream though, there's sharp jangly guitars cutting through the horns gently fading in and out as as the percussion phases from left to right. Then you're hit with the weird, grungy, heavy "Dropout Boogie", the mood totally changes for the sentimental "I'm Glad" with it's Doo-Wop backing harmonies and the side finishes with the weird, high voltage, up tempo "Electricity" which utilises the Theremin to great effect. Side Two starts with the folky- rock "Yellow Brick Road" followed by " the pure psychedelia of "Abba Zabba" - Ry Cooder takes the bass here to great effect. Next comes "Plastic Factory" which sounds like Howlin' Wolf on Acid. "Where There's Women" is a touching tune with beautiful lyrics. "Grown So Ugly" is the only cover on the album and like the opening track is like heavy, psychedelic, Delta Blues. The album closes with the trippy, beautiful "Autumns Child" which again utilises the Thremin. Everyone should know this album.
"I may be hungry, but I sure ain't weird," Don Van Vliet, a.k.a. Captain Beefheart, famously intones on this bright-sounding remastered version of the 1967 debut by Captain Beefheart and His Magic Band. Safe as Milk is a bold, tough-ass distillation of Delta blues stomp and '60s garage-punk swagger, fused with a radically polyrhythmic and tempo-shifting style that one might term "art rock." Listening to the delightfully playful, absurdist "Abba Zabba," it's easy to see why Lester Bangs called Beefheart "the only true dadaist in rock"; the song is a good indication of the intricate, rule-breaking music the Magic Band would continue to hone. But there are also formidable ballads (the psychedelic "Autumn's Child," the lachrymose "I'm Glad"), midtempo pop-soul tunes (the Otis Redding-ish "Call on Me"), and straight-ahead blues-rock workouts ("Plastic Factory"), all of which showcase the fretwork of a young Ry Cooder. Much has been made of Beefheart's multiple-octave vocal range; he sings menacingly on "Dropout Boogie" and allegedly broke a very expensive microphone on the eerie "Electricity." The last seven tracks on this reissue (for the most part fascinating, unfinished instrumentals) were recorded with a different lineup; they are outtakes from Mirror Man Sessions.
Track listing:
01. "Sure 'Nuff 'n Yes I Do" 2:15
02. "Zig Zag Wanderer" 2:40
03. "Call on Me[22]" (Van Vliet) 2:37
04. "Dropout Boogie" 2:32
05. "I'm Glad" (Van Vliet) 3:31
06. "Electricity" 3:07
07. "Yellow Brick Road" 2:28
08. "Abba Zaba" (Van Vliet) 2:44
09. "Plastic Factory" (Van Vliet, Bermann, Jerry Handley) 3:08
10. "Where There's Woman" 2:09
11. "Grown So Ugly" (Robert Pete Williams) 2:27
12. "Autumn's Child" 4:02
CD bonus tracks
13. "Safe as Milk (Take 5)" 4:13
14. "On Tomorrow" 6:56
15. "Big Black Baby Shoes" 4:50
16. "Flower Pot" 3:55
17. "Dirty Blue Gene" 2:43
18. "Trust Us (Take 9)" 7:22
19. "Korn Ring Finger" 7:26
Personnel:
Don Van Vliet – lead vocals, harmonica, marimba, arrangements
Alex St. Clair Snouffer – guitar, backing vocals, bass, percussion
Ry Cooder – guitar, bass, slide guitar, percussion, arrangements
Jerry Handley – bass (except 8, 10), backing vocals
John French – drums, backing vocals, percussion
Additional musicians
Samuel Hoffman – theremin (6, 12)
Milt Holland – log drum, tambourine, percussion
Taj Mahal – tambourine, percussion
Russ Titelman – guitar
Saturday, November 9, 2019
Steve Khan - 1991 "Let's Call This"
After the release in '90 of "PUBLIC ACCESS"(GRP), it seemed like
there just wasn't enough live work for the quartet, Eyewitness. So, I
decided to try working in a trio format with acoustic bass and drums.
After some months of work, I went in one afternoon and recorded a quick
8-10 tune 'demo' in about three hours with bassist Jay Anderson and
drummer Joel Rosenblatt, probably my favorite rhythm section.
Steve Khan, Al Foster, Ron CarterWhen Polydor K.K.(Japan) heard tapes of the trio, they wanted to record the music, but, they insisted that I use more well-known players. These are often times things one cannot argue about! So, I decided to call upon two old and dear friends, Ron Carter & Al Foster. "LET'S CALL THIS" was recorded in '91, and the tunes are essentially all drawn from music I used to listen to and study while attending U.C.L.A. during the mid-'60s.
If you were to go back and investigate the original versions of these tunes by Monk, Wayne Shorter, Lee Morgan, Larry Young, and Freddie Hubbard, you'd quickly hear just what I was into then. This CD begins a period of paying tribute to those years, those recordings, and those composers. "LET'S CALL THIS" was released in the USA on Bluemoon Records, and it is an especially beautiful recording by engineer Malcolm Pollack.
It features the incredible sound of Al Foster's Paiste sizzle flat-ride cymbal. Truly a key element for me, as it makes the music float and creates a sonic environment that is wonderful for a guitar trio. Believe it or not, THAT cymbal gives the music an orchestral feeling, and it's one of my favorite things about working with Al.
The CD was recorded as the Gulf War with Iraq commenced, and it was a pretty solemn time. When such things happen, they are impossible to ignore and, as global citizens, it's hard not to envision that such a chain of events could actually lead to World War III. Looking back, I sometimes feel that the grave nature of those days led to tempos which were considerably slower than where we had rehearsed the tunes, or where they had been when performed live. It only shows that, at times, it's impossible to block-out what's going on around you.
Best-known for his fusion recordings, Steve Khan (ten years after recording the purely acoustic solo date Evidence) stretches out on this pure jazz date. Accompanied by bassist Ron Carter and drummer Al Foster, Khan explores a variety of superior jazz standards (including songs by Thelonious Monk, Wayne Shorter, Larry Young, Freddie Hubbard and Lee Morgan) along with his own "Buddy System." This is one of Steve Khan's finest recordings to date and is highly recommended to those listeners not familiar with this side of his musical personality.
Fresh off his monumental work on Steely Dan's Gaucho, Steve went into the studio and cut these fabulous tracks. The three-piece really works, and Ron Carter on bass is exceptional. But it's Khan that really shines -- his creative guitar interpretation of Monk's original angular piano sound makes for heavenly listening, awash with texture, color, and personality. Highly recommended.
Off on a trip to L.A. to spend a week in a hotel, I grabbed this CD and a few others to pass some time. We listened to this one most of the way from San Francisco to L.A. I meant to put something else on, but just couldn't bring myself to take this out of the player. The tune selection is great, the players are all playing their butts off, and that's saying a lot. These guys can really play. Khan is one of my favorite guitarists. He sounds to me what Metheny might be like if he played strictly straight ahead jazz. That's a foolish thing to say, Metheny being my guitar idol and all, but I don't know how else to describe it. This CD is a revelation. The band's sense of rhythm is dead on. You might want to pick this one up.
This in my opinion Steve's Khan best release along with Ron Carter's Bass playing makes me listen to this CD from begining to end.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=Steve+Khan
Track Listing:
1. Let's Call This (Thelonious Monk)(7:01)
2. Masqualero (Wayne Shorter)(6:03)
3. Backup (Larry Young)(6:27)
4. Out Of This World (Harold Arlen-Johnny Mercer)(7:04)
5. Played Twice (Thelonious Monk)(6:05)
6. Little Sunflower (Freddie Hubbard)(8:11)
7. Buddy System (Steve Khan)(5:05)
8. Street Of Dreams (Victor Young)(7:47)
9. Mr. Kenyatta (Lee Morgan)(7:50)
Personnel:
Guitar, Producer – Steve Khan
Double Bass [Acoustic Bass] – Ron Carter
Drums – Al Foster
Steve Khan, Al Foster, Ron CarterWhen Polydor K.K.(Japan) heard tapes of the trio, they wanted to record the music, but, they insisted that I use more well-known players. These are often times things one cannot argue about! So, I decided to call upon two old and dear friends, Ron Carter & Al Foster. "LET'S CALL THIS" was recorded in '91, and the tunes are essentially all drawn from music I used to listen to and study while attending U.C.L.A. during the mid-'60s.
If you were to go back and investigate the original versions of these tunes by Monk, Wayne Shorter, Lee Morgan, Larry Young, and Freddie Hubbard, you'd quickly hear just what I was into then. This CD begins a period of paying tribute to those years, those recordings, and those composers. "LET'S CALL THIS" was released in the USA on Bluemoon Records, and it is an especially beautiful recording by engineer Malcolm Pollack.
It features the incredible sound of Al Foster's Paiste sizzle flat-ride cymbal. Truly a key element for me, as it makes the music float and creates a sonic environment that is wonderful for a guitar trio. Believe it or not, THAT cymbal gives the music an orchestral feeling, and it's one of my favorite things about working with Al.
The CD was recorded as the Gulf War with Iraq commenced, and it was a pretty solemn time. When such things happen, they are impossible to ignore and, as global citizens, it's hard not to envision that such a chain of events could actually lead to World War III. Looking back, I sometimes feel that the grave nature of those days led to tempos which were considerably slower than where we had rehearsed the tunes, or where they had been when performed live. It only shows that, at times, it's impossible to block-out what's going on around you.
Best-known for his fusion recordings, Steve Khan (ten years after recording the purely acoustic solo date Evidence) stretches out on this pure jazz date. Accompanied by bassist Ron Carter and drummer Al Foster, Khan explores a variety of superior jazz standards (including songs by Thelonious Monk, Wayne Shorter, Larry Young, Freddie Hubbard and Lee Morgan) along with his own "Buddy System." This is one of Steve Khan's finest recordings to date and is highly recommended to those listeners not familiar with this side of his musical personality.
Fresh off his monumental work on Steely Dan's Gaucho, Steve went into the studio and cut these fabulous tracks. The three-piece really works, and Ron Carter on bass is exceptional. But it's Khan that really shines -- his creative guitar interpretation of Monk's original angular piano sound makes for heavenly listening, awash with texture, color, and personality. Highly recommended.
Off on a trip to L.A. to spend a week in a hotel, I grabbed this CD and a few others to pass some time. We listened to this one most of the way from San Francisco to L.A. I meant to put something else on, but just couldn't bring myself to take this out of the player. The tune selection is great, the players are all playing their butts off, and that's saying a lot. These guys can really play. Khan is one of my favorite guitarists. He sounds to me what Metheny might be like if he played strictly straight ahead jazz. That's a foolish thing to say, Metheny being my guitar idol and all, but I don't know how else to describe it. This CD is a revelation. The band's sense of rhythm is dead on. You might want to pick this one up.
This in my opinion Steve's Khan best release along with Ron Carter's Bass playing makes me listen to this CD from begining to end.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=Steve+Khan
Track Listing:
1. Let's Call This (Thelonious Monk)(7:01)
2. Masqualero (Wayne Shorter)(6:03)
3. Backup (Larry Young)(6:27)
4. Out Of This World (Harold Arlen-Johnny Mercer)(7:04)
5. Played Twice (Thelonious Monk)(6:05)
6. Little Sunflower (Freddie Hubbard)(8:11)
7. Buddy System (Steve Khan)(5:05)
8. Street Of Dreams (Victor Young)(7:47)
9. Mr. Kenyatta (Lee Morgan)(7:50)
Personnel:
Guitar, Producer – Steve Khan
Double Bass [Acoustic Bass] – Ron Carter
Drums – Al Foster
Monday, October 21, 2019
Herbie Hancock - 1964 [1999] "Empyrean Isles"
Empyrean Isles is the fourth album by American jazz pianist Herbie Hancock, recorded in 1964 for Blue Note Records. The album was recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, on June 17, 1964. Pianist Hancock's quartet consisted of Freddie Hubbard on cornet, Ron Carter on bass, and Tony Williams on drums. The four compositions were written by Hancock.
My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams -- a trio just as young and adventurous as he was -- Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.
Even if you've never listened to "Empyrean Isles" before, you already know the track "Cantaloupe Island" off of this album, which together with its follow-up "Maiden Voyage", comprises the pinnacle of Hancock's acoustic 60s output. Listening to this set, it's almost hard to comprehend that it was recorded over fifty years ago, as it is still regularly being sampled and used in films, tv shows and commercials to this day, which is a testament to just how forward thinking this album was, and how fresh and contemporary it still sounds even today. An absolutely essential, core selection for every jazz fan's collection.
One of the great albums from the golden age of modern jazz and one of the key predecessors of post bop jazz. Empyrean Isles stuns in every way with it's variety covering hard bop (One Finger Snap), modal (Oliloqui Valley), soul (Cantaloupe Island), and free (The Egg) jazz. This is edge of your seat type stuff. Throughout the album, Herbie Hancock, Freddie Hubbard, Ron Carter, and Tony Williams stun us with astonishing inventive playing such as the shifting repetitive piano riffs of Hancock on The Egg, which are coupled by Tony Williams perfectly in sync playing, these only make up a part of The Egg which has an almost suite like structure where Hancock and Carter completely go off on their own, but not in a discordant fashion before returning to repetitive, syncopated theme with Williams. While Cantaloupe Island has Hancock repeating a single piano riff while everyone else improvises around him in true soul jazz fashion. One of Hancock's finest Blue Note era contributions, Empyrean Isles is essential.
The 60s was an exciting, inventive period in American Jazz music. And, when one looks at the line-up on this album you realize the musical strength necessary to hold up the visionary leanings of Hancock. A powerhouse of organic Jazz by the fables of the genre. 'Empyrean Isles' is a beautiful instance of the emergence of modal jazz. Those in the know will always tell you, this release is essential. Foundational. And pairs magically with 'Maiden Voyage.'
Original Album Liner Notes:
This is a quartet album for trumpet and rhythm section. In this circumstance, a problem was created for the composer-arranger, in that the lack of another instrument supporting the lower, richer register, such as a tenor saxophone, might result in a shallow sound.
With this problem in mind, Herbie Hancock, who composed and arranged all the tunes, wrote them to sound more like improvisations than ensemble melodies, so that the warmth and fullness of a supporting instrument would not be missed. Free sketches were written in such a way that each instrument is allowed great flexibility of interpretation. In many cases, no melodic line was laid out over the chords nor atonal clusters written, so that the trumpeter could supply any melody he wished.
“The Egg,” the most exemplary composition in the album, has only a short trumpet melody written out over a repeating figure in the rhythm section. This sets the mood and builds up tension; after that, the musicians’ ears do the rest!
https://jazz-rock-fusion-guitar.blogspot.com/search?q=herbie+hancock
Track listing:
1. "One Finger Snap" 7:20
2. "Oliloqui Valley" 8:28
3. "Cantaloupe Island" 5:32
4. "The Egg" 14:00
Bonus tracks on 1999 CD release
5. "One Finger Snap" (alternate take) 7:37
6. "Oliloqui Valley" (alternate take) 10:47
Personnel:
Herbie Hancock – piano
Freddie Hubbard – cornet
Ron Carter – bass
Tony Williams – drums
My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams -- a trio just as young and adventurous as he was -- Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.
Even if you've never listened to "Empyrean Isles" before, you already know the track "Cantaloupe Island" off of this album, which together with its follow-up "Maiden Voyage", comprises the pinnacle of Hancock's acoustic 60s output. Listening to this set, it's almost hard to comprehend that it was recorded over fifty years ago, as it is still regularly being sampled and used in films, tv shows and commercials to this day, which is a testament to just how forward thinking this album was, and how fresh and contemporary it still sounds even today. An absolutely essential, core selection for every jazz fan's collection.
One of the great albums from the golden age of modern jazz and one of the key predecessors of post bop jazz. Empyrean Isles stuns in every way with it's variety covering hard bop (One Finger Snap), modal (Oliloqui Valley), soul (Cantaloupe Island), and free (The Egg) jazz. This is edge of your seat type stuff. Throughout the album, Herbie Hancock, Freddie Hubbard, Ron Carter, and Tony Williams stun us with astonishing inventive playing such as the shifting repetitive piano riffs of Hancock on The Egg, which are coupled by Tony Williams perfectly in sync playing, these only make up a part of The Egg which has an almost suite like structure where Hancock and Carter completely go off on their own, but not in a discordant fashion before returning to repetitive, syncopated theme with Williams. While Cantaloupe Island has Hancock repeating a single piano riff while everyone else improvises around him in true soul jazz fashion. One of Hancock's finest Blue Note era contributions, Empyrean Isles is essential.
The 60s was an exciting, inventive period in American Jazz music. And, when one looks at the line-up on this album you realize the musical strength necessary to hold up the visionary leanings of Hancock. A powerhouse of organic Jazz by the fables of the genre. 'Empyrean Isles' is a beautiful instance of the emergence of modal jazz. Those in the know will always tell you, this release is essential. Foundational. And pairs magically with 'Maiden Voyage.'
Original Album Liner Notes:
This is a quartet album for trumpet and rhythm section. In this circumstance, a problem was created for the composer-arranger, in that the lack of another instrument supporting the lower, richer register, such as a tenor saxophone, might result in a shallow sound.
With this problem in mind, Herbie Hancock, who composed and arranged all the tunes, wrote them to sound more like improvisations than ensemble melodies, so that the warmth and fullness of a supporting instrument would not be missed. Free sketches were written in such a way that each instrument is allowed great flexibility of interpretation. In many cases, no melodic line was laid out over the chords nor atonal clusters written, so that the trumpeter could supply any melody he wished.
“The Egg,” the most exemplary composition in the album, has only a short trumpet melody written out over a repeating figure in the rhythm section. This sets the mood and builds up tension; after that, the musicians’ ears do the rest!
https://jazz-rock-fusion-guitar.blogspot.com/search?q=herbie+hancock
Track listing:
1. "One Finger Snap" 7:20
2. "Oliloqui Valley" 8:28
3. "Cantaloupe Island" 5:32
4. "The Egg" 14:00
Bonus tracks on 1999 CD release
5. "One Finger Snap" (alternate take) 7:37
6. "Oliloqui Valley" (alternate take) 10:47
Personnel:
Herbie Hancock – piano
Freddie Hubbard – cornet
Ron Carter – bass
Tony Williams – drums
Tuesday, October 15, 2019
John Coltrane - 1963 [2000] "Live At The Half Note"
Despite the inaccurate information given on this three-LP box set (which states that all of the music was recorded at the Half Note in 1963; none of it actually was), these rare performances are quite fascinating. "I Want to Talk About You" and "One Up, One Down" actually originated from Birdland on Feb. 23, 1963 and, although the other performances are from Half Note, they date from May 7 ("Brazilia," "Song of Praise" and "My Favorite Things") of 1965. Coltrane is in particularly fiery form on the later tracks and with four of the eight selections being over 19 minutes long, there is plenty of room for him to stretch out. It's recommended despite the erratic packaging but sure to be hard-to-find.
John Coltrane's "Live At The Half Note" on the Laserlight label is an excellent look at what is arguably jazz's greatest quartet - the "Classic Quartet" of Trane, McCoy Tyner, Jimmy Garrison and Elvin Jones - in an intimate club setting. It is during performances like these, where Coltrane had the ability to stretch out and play at length, improvising and creating on the spur of the moment, that he further developed his signature, searching style. According to the liner notes, these four tunes - "I Want To Talk About You," "Brazilia," "Song Of Praise" and "One Up, One Down" - were recorded in 1963 at the Half Note. However, someone is lying! The reason I say this is I also have a live Coltrane CD called "Live At Birdland And The Half Note," and three of these exact same recordings are featured on that disc (only "Brazilia" is not). This CD on the Cool & Blue label credits "I Want To Talk About You" and "One Up, One Down" as being from a 2/23/63 date at Birdland, not the Half Note, while "Song Of Praise" was documented at the Half Note, but from 5/7/65, and not 1963 as the Laserlight disc claims. I tend to believe the information on the Cool & Blue disc is correct, not only because the liner notes are more detailed, but because "Song Of Praise" and "Brazilia" are better quality recordings, and clearly not from the same date as "I Want To Talk About You" and "One Up, One Down." Potential historical inaccuracies aside, the Laserlight disc will be a welcome addition to any Coltrane collection. The sound is excellent and the performances are first rate.
Because of the absence of information about dates and personnel as well the uneven quality of the recorded sound, not to mention Coltrane's performance itself, this album cannot be recommended for the uninitiated. Spend a couple of extra bucks and purchase "Live at Birdland" or "A Love Supreme."
But if you're a student of Coltrane, this particular recording of "I Want to Talk about You"--not at all like the version on "Live at Birdland"--offers a fascinating glimpse at Coltrane's creative process. It begins with cracked notes and unsustained tones, as Coltrane quickly yields to an extended solo by the pianist (McCoy? clearly so on the other 3 tracks but not necessarily on this). Then Coltrane reenters the fray, rejuvenated and ready for action. When he restates the melody and gets to the final dominant chord, scene of his virtuosic cadenza on the "Live at Birdland" recording, he submits himself to a greater challenge than on that date. Instead of exploring all of the chord substitutions, extensions, harmonics on the dominant chord alone, he touches base with the entire song--refrain, bridge, closing refrain--in the midst of another unaccompanied cadenza extraordinaire. It's not the unfaltering pyrotechnical display of the "Birdland" date, but in it's own way it's no less impressive and belongs in the collection of any true believer.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+coltrane
Track listing:
1 I Want To Talk About You 10:23
2 One Up And One Down 14:42
3 My Favorite Things 14:01
4 Body And Soul 9:57
5 Song Of Praise 19:08
Personnel:
Saxophone – John Coltrane
Bass – Jimmy Garrison
Drums – Elvin Jones
Piano – McCoy Tyner
John Coltrane's "Live At The Half Note" on the Laserlight label is an excellent look at what is arguably jazz's greatest quartet - the "Classic Quartet" of Trane, McCoy Tyner, Jimmy Garrison and Elvin Jones - in an intimate club setting. It is during performances like these, where Coltrane had the ability to stretch out and play at length, improvising and creating on the spur of the moment, that he further developed his signature, searching style. According to the liner notes, these four tunes - "I Want To Talk About You," "Brazilia," "Song Of Praise" and "One Up, One Down" - were recorded in 1963 at the Half Note. However, someone is lying! The reason I say this is I also have a live Coltrane CD called "Live At Birdland And The Half Note," and three of these exact same recordings are featured on that disc (only "Brazilia" is not). This CD on the Cool & Blue label credits "I Want To Talk About You" and "One Up, One Down" as being from a 2/23/63 date at Birdland, not the Half Note, while "Song Of Praise" was documented at the Half Note, but from 5/7/65, and not 1963 as the Laserlight disc claims. I tend to believe the information on the Cool & Blue disc is correct, not only because the liner notes are more detailed, but because "Song Of Praise" and "Brazilia" are better quality recordings, and clearly not from the same date as "I Want To Talk About You" and "One Up, One Down." Potential historical inaccuracies aside, the Laserlight disc will be a welcome addition to any Coltrane collection. The sound is excellent and the performances are first rate.
Because of the absence of information about dates and personnel as well the uneven quality of the recorded sound, not to mention Coltrane's performance itself, this album cannot be recommended for the uninitiated. Spend a couple of extra bucks and purchase "Live at Birdland" or "A Love Supreme."
But if you're a student of Coltrane, this particular recording of "I Want to Talk about You"--not at all like the version on "Live at Birdland"--offers a fascinating glimpse at Coltrane's creative process. It begins with cracked notes and unsustained tones, as Coltrane quickly yields to an extended solo by the pianist (McCoy? clearly so on the other 3 tracks but not necessarily on this). Then Coltrane reenters the fray, rejuvenated and ready for action. When he restates the melody and gets to the final dominant chord, scene of his virtuosic cadenza on the "Live at Birdland" recording, he submits himself to a greater challenge than on that date. Instead of exploring all of the chord substitutions, extensions, harmonics on the dominant chord alone, he touches base with the entire song--refrain, bridge, closing refrain--in the midst of another unaccompanied cadenza extraordinaire. It's not the unfaltering pyrotechnical display of the "Birdland" date, but in it's own way it's no less impressive and belongs in the collection of any true believer.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+coltrane
Track listing:
1 I Want To Talk About You 10:23
2 One Up And One Down 14:42
3 My Favorite Things 14:01
4 Body And Soul 9:57
5 Song Of Praise 19:08
Personnel:
Saxophone – John Coltrane
Bass – Jimmy Garrison
Drums – Elvin Jones
Piano – McCoy Tyner
Monday, October 14, 2019
John Coltrane - 1961 [1987] "My Favorite Things"
My Favorite Things is the seventh studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue SD-1361. It was the first album to feature Coltrane playing soprano saxophone. An edited version of the title track became a hit single that gained popularity in 1961 on radio. The record became a major commercial success. In 1998, the album received the Grammy Hall of Fame award. It attained gold record status in 2018, having sold 500,000 copies.
In March 1960, while on tour in Europe, Miles Davis purchased a soprano saxophone for Coltrane. With the exception of Steve Lacy's late 1950s work with the pianist Cecil Taylor, the instrument had become little used in jazz at that time. Intrigued by its capabilities, Coltrane began playing it at his summer club dates.
After leaving the Davis band, Coltrane, for his first regular bookings at New York's Jazz Gallery in the summer of 1960, assembled the first version of the John Coltrane Quartet. The line-up settled by autumn with McCoy Tyner on piano, Steve Davis on bass, and Elvin Jones on drums. Sessions the week before Halloween at Atlantic Studios yielded the track "Village Blues" for Coltrane Jazz and the entirety of this album along with the tracks that Atlantic would later assemble into Coltrane Plays the Blues and Coltrane's Sound.
The famous track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. The melody is heard numerous times throughout, but instead of playing solos over the written chord changes, both Tyner and Coltrane take extended solos over vamps of the two tonic chords, E minor and E major, played in waltz time. In the documentary The World According to John Coltrane, narrator Ed Wheeler remarks on the impact that this song's popularity had on Coltrane's career:
In 1960, Coltrane left Miles [Davis] and formed his own quartet to further explore modal playing, freer directions, and a growing Indian influence. They transformed "My Favorite Things", the cheerful populist song from 'The Sound of Music,' into a hypnotic eastern dervish dance. The recording was a hit and became Coltrane's most requested tune—and a bridge to broad public acceptance.
Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane's Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet -- which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) -- allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio -- most notably Tyner -- gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments.
An essential modal jazz album and an important precursor to post bop. My Favorite Things is wonderfully hypnotic collection of modal and post-modal reinterpretations of standards, best epitomized by the 13 minute title track, which of course gets all the attention. On the title track, Coltrane expertly turns the sound of music chestnut into a swirling, sprawling dervish of modal jazz track where he and McCoy Tyner manage to keep up an expertly melodic and mellow performance even as Steve Davis and Elvin Jones drum up a storm (pun intended) that swirls around the two with rhythm section work that undoutedly informed much of what we would hear in post-bop tracks from later in the decade. Coltrane shows off his pretty ballad side on the weepy, melancholic ballad that is Cole Porter's Every Time We Say Goodbye. Much like with Naima on Giant Steps, this proves to be the only serene oasis in what is a pretty upbeat, rhythmically driving album. Side two, while more in the hard bop style than the first side, is just as if not more energetic than the first side and is frankly just as good, even though it unfortunately gets overlooked by the magnificent side one. Coltrane transforms the often times eerie and sensual Gershwin classic Summertime into a joyous, driving anthem featuring some of Tyner's best piano playing on the album not on the title track and as an added bonus, a fantastic drum solo from Jones. George and Ira Gershwin's usually solemn and melancholic But Not For Me also get's an upbeat treatment to round out the album, complete with some wonderfully playful, dancing piano work from Tyner.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+coltrane
Track listing:
1. My Favorite Things 13:41
2. Everytime We Say Goodbye 5:39
3. Summertime 11:31
4. But Not For Me 9:35
Personnel:
John Coltrane – soprano saxophone on side one and bonus tracks; tenor saxophone on side two
McCoy Tyner – piano
Steve Davis – double bass
Elvin Jones – drums
In March 1960, while on tour in Europe, Miles Davis purchased a soprano saxophone for Coltrane. With the exception of Steve Lacy's late 1950s work with the pianist Cecil Taylor, the instrument had become little used in jazz at that time. Intrigued by its capabilities, Coltrane began playing it at his summer club dates.
After leaving the Davis band, Coltrane, for his first regular bookings at New York's Jazz Gallery in the summer of 1960, assembled the first version of the John Coltrane Quartet. The line-up settled by autumn with McCoy Tyner on piano, Steve Davis on bass, and Elvin Jones on drums. Sessions the week before Halloween at Atlantic Studios yielded the track "Village Blues" for Coltrane Jazz and the entirety of this album along with the tracks that Atlantic would later assemble into Coltrane Plays the Blues and Coltrane's Sound.
The famous track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. The melody is heard numerous times throughout, but instead of playing solos over the written chord changes, both Tyner and Coltrane take extended solos over vamps of the two tonic chords, E minor and E major, played in waltz time. In the documentary The World According to John Coltrane, narrator Ed Wheeler remarks on the impact that this song's popularity had on Coltrane's career:
In 1960, Coltrane left Miles [Davis] and formed his own quartet to further explore modal playing, freer directions, and a growing Indian influence. They transformed "My Favorite Things", the cheerful populist song from 'The Sound of Music,' into a hypnotic eastern dervish dance. The recording was a hit and became Coltrane's most requested tune—and a bridge to broad public acceptance.
Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane's Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet -- which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) -- allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio -- most notably Tyner -- gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments.
An essential modal jazz album and an important precursor to post bop. My Favorite Things is wonderfully hypnotic collection of modal and post-modal reinterpretations of standards, best epitomized by the 13 minute title track, which of course gets all the attention. On the title track, Coltrane expertly turns the sound of music chestnut into a swirling, sprawling dervish of modal jazz track where he and McCoy Tyner manage to keep up an expertly melodic and mellow performance even as Steve Davis and Elvin Jones drum up a storm (pun intended) that swirls around the two with rhythm section work that undoutedly informed much of what we would hear in post-bop tracks from later in the decade. Coltrane shows off his pretty ballad side on the weepy, melancholic ballad that is Cole Porter's Every Time We Say Goodbye. Much like with Naima on Giant Steps, this proves to be the only serene oasis in what is a pretty upbeat, rhythmically driving album. Side two, while more in the hard bop style than the first side, is just as if not more energetic than the first side and is frankly just as good, even though it unfortunately gets overlooked by the magnificent side one. Coltrane transforms the often times eerie and sensual Gershwin classic Summertime into a joyous, driving anthem featuring some of Tyner's best piano playing on the album not on the title track and as an added bonus, a fantastic drum solo from Jones. George and Ira Gershwin's usually solemn and melancholic But Not For Me also get's an upbeat treatment to round out the album, complete with some wonderfully playful, dancing piano work from Tyner.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+coltrane
Track listing:
1. My Favorite Things 13:41
2. Everytime We Say Goodbye 5:39
3. Summertime 11:31
4. But Not For Me 9:35
Personnel:
John Coltrane – soprano saxophone on side one and bonus tracks; tenor saxophone on side two
McCoy Tyner – piano
Steve Davis – double bass
Elvin Jones – drums
Thursday, October 3, 2019
California Guitar Trio - 1998 "Pathways"
"Pathways" is the California Guitar Trio's 1998 release and bestselling album to date, featuring original compositions and amazing arrangements of the works of Beethoven. InsideOut, who have released numerous CGT recordings, write, "The California Guitar Trio consists of three revered musicians who aren't actually natives of the "Golden State." Actually, two of the members aren't even from the United States! Bert Lams is from Brussels, Belgium; Hideyo Moriya is a native of Tokyo, Japan; and Paul Richards hails from Salt Lake City, Utah. The technical wizardry of the California Guitar Trio is breathtaking, and so is the wide range of instrumental music the group performs -- everything from unique originals to dazzling, cleverly arranged reinterpretations of classical, jazz and surf rock pieces. Elements of blues and country are blended into the California Guitar Trio's style too. Their diversity is unparalleled. There's simply nothing the California Guitar Trio can't do musically."
The California Guitar Trio was formed by Bert Lams, Hideyo Moriya and Paul Richards. All three perform acoustic guitar, on this CD, in unedited live studio performances. This 1998 recording is their third work together as a trio, after the 1995 disc "Invitation" and 1993's "Yamanashi Blues".
Before their formation as a trio, Bert, Hideyo and Paul had previously appeared in various configurations of The League of Crafty Guitarists and had also served as three of the five members of the Robert Fripp String Quintet.
On "Pathways", a significant level of performance maturity is clearly in evidence. Thankfully, such maturity has been assigned to a repertoire consisting of classical arrangements along with original, intelligent progressive compositions that match well to their classical sensibility.
In addition to the guitar trio configuration, a number of tracks include saxophone played by Bill Janssen and Roger Lambson. The touch tapped Warr Guitar, performed by Trey Gunn, is included on a few of the tracks as well.
"Pathways" will serve as a beautiful introduction to the work of the California Guitar Trio. It showcases some of the finest examples of their warmly sensitive musical expression.
The 3rd album from the California Guitar Trio. Fresh from recent tours with King Crimson and John McLaughlin they have recorded a heady brew of classics and contemporary material. Everything from Beethoven's 5th symphony, the theme tunes to Pulp Fiction, thought to newly-commissioned avant-grade pieces, all performed on 3 guitars. Track highlights includes: "Arroyo," "Leap," "Adagio for Strings (Barber)," "Moonlight Sonata (Beethoven)," and more!
Track listing:
01 Allegro Con Brio, Symphony No. 5 5:26
02 Arroyo 3:39
03 Pathways 4:29
04 Leap 2:53
05 Adagio Opus11 4:00
06 Great Divide 2:32
07 Scramble 2:01
08 Classical Gas 2:55
09 Kaleidoscope 0:55
10 Ananda 2:49
11 Adagio Sostenuto, Moonlight Sonata 2:42
12 Presto Agitato, Moonlight Sonata 4:45
13 Jesu, Joy Of Man's Desiring 2:40
14 Misirlou 1:55
Personnel:
Hideyo Moriya Guitar, Production
Bert Lams Guitar, Production, Mixing
Paul Richards Guitar, Production
Bill Janssen Saxophone (tracks: 3, 7, 9, 10, 13)
Trey Gunn Warr Guitar (tracks: 3, 7, 9, 10, 13)
Roger Lambson Saxophone, Engineering (tracks: 9, 13)
The California Guitar Trio was formed by Bert Lams, Hideyo Moriya and Paul Richards. All three perform acoustic guitar, on this CD, in unedited live studio performances. This 1998 recording is their third work together as a trio, after the 1995 disc "Invitation" and 1993's "Yamanashi Blues".
Before their formation as a trio, Bert, Hideyo and Paul had previously appeared in various configurations of The League of Crafty Guitarists and had also served as three of the five members of the Robert Fripp String Quintet.
On "Pathways", a significant level of performance maturity is clearly in evidence. Thankfully, such maturity has been assigned to a repertoire consisting of classical arrangements along with original, intelligent progressive compositions that match well to their classical sensibility.
In addition to the guitar trio configuration, a number of tracks include saxophone played by Bill Janssen and Roger Lambson. The touch tapped Warr Guitar, performed by Trey Gunn, is included on a few of the tracks as well.
"Pathways" will serve as a beautiful introduction to the work of the California Guitar Trio. It showcases some of the finest examples of their warmly sensitive musical expression.
The 3rd album from the California Guitar Trio. Fresh from recent tours with King Crimson and John McLaughlin they have recorded a heady brew of classics and contemporary material. Everything from Beethoven's 5th symphony, the theme tunes to Pulp Fiction, thought to newly-commissioned avant-grade pieces, all performed on 3 guitars. Track highlights includes: "Arroyo," "Leap," "Adagio for Strings (Barber)," "Moonlight Sonata (Beethoven)," and more!
Track listing:
01 Allegro Con Brio, Symphony No. 5 5:26
02 Arroyo 3:39
03 Pathways 4:29
04 Leap 2:53
05 Adagio Opus11 4:00
06 Great Divide 2:32
07 Scramble 2:01
08 Classical Gas 2:55
09 Kaleidoscope 0:55
10 Ananda 2:49
11 Adagio Sostenuto, Moonlight Sonata 2:42
12 Presto Agitato, Moonlight Sonata 4:45
13 Jesu, Joy Of Man's Desiring 2:40
14 Misirlou 1:55
Personnel:
Hideyo Moriya Guitar, Production
Bert Lams Guitar, Production, Mixing
Paul Richards Guitar, Production
Bill Janssen Saxophone (tracks: 3, 7, 9, 10, 13)
Trey Gunn Warr Guitar (tracks: 3, 7, 9, 10, 13)
Roger Lambson Saxophone, Engineering (tracks: 9, 13)
Saturday, September 14, 2019
Richie Kotzen - Greg Howe Project - 1997 "Richie Kotzen - Greg Howe Project"
Once again, "Project" teams up Richie Kotzen with Greg Howe for another set of crazy guitar. Recorded in a 90's kind of way, Kotzen and Howe sent their ADAT tapes same studio at the same time. A somewhat darker album than their first collaboration, "Tilt" (a notable exception - the lively "Present-Moment"), the songs on "Project" exude more creativity, while delivering the expected intensity and virtuosity. Kozten has stated, "Making these records with Greg is always a musical challenge."
Great jazz rock fusion from two masters of the guitar. Listen to Howe and Kotzen's "Tilt" album, Richie Kotzen’s “Acoustic Cuts” album and Greg Howe’s “Howe 2: High Gear” album. Buy The Aristocrat’s “Culture Clash” album featuring the unbelievable guitarist, Guthrie Govan who has an unparalleled technical ability with a mastery of almost all styles
This and Tilt I think are Greg's best work, although the new. Soundproof album is really great too. Greg and Kotzen are just fantastic on this album, one guy panned left and the other right.
Greg is like a mixture of Alan holdsworth, George Benson and Eddie all rolled into one. Kotzen is more 70's Rock/bluesy with a twist of fusion and mind boggling lines also.
If you play guitar you should own this album, the Tilt album also.
Track listing:
01 One Function
02 Retro Show
03 Present-Moment
04 Trench
05 Groove Epidemic
06 Space
07 Led Boots
08 Crush
09 Accessed
10 Noise
Personnel:
Guitar, Bass Guitar, Engineer, Drum Programming, Mixed By – Greg Howe
Guitar, Keyboards, Bass Guitar – Richie Kotzen
Bass Guitar – Kevin Vecchione (tracks: 5, 7)
Drums – Atma Anur (tracks: 2, 4, 6, 8, 10)
Great jazz rock fusion from two masters of the guitar. Listen to Howe and Kotzen's "Tilt" album, Richie Kotzen’s “Acoustic Cuts” album and Greg Howe’s “Howe 2: High Gear” album. Buy The Aristocrat’s “Culture Clash” album featuring the unbelievable guitarist, Guthrie Govan who has an unparalleled technical ability with a mastery of almost all styles
This and Tilt I think are Greg's best work, although the new. Soundproof album is really great too. Greg and Kotzen are just fantastic on this album, one guy panned left and the other right.
Greg is like a mixture of Alan holdsworth, George Benson and Eddie all rolled into one. Kotzen is more 70's Rock/bluesy with a twist of fusion and mind boggling lines also.
If you play guitar you should own this album, the Tilt album also.
Track listing:
01 One Function
02 Retro Show
03 Present-Moment
04 Trench
05 Groove Epidemic
06 Space
07 Led Boots
08 Crush
09 Accessed
10 Noise
Personnel:
Guitar, Bass Guitar, Engineer, Drum Programming, Mixed By – Greg Howe
Guitar, Keyboards, Bass Guitar – Richie Kotzen
Bass Guitar – Kevin Vecchione (tracks: 5, 7)
Drums – Atma Anur (tracks: 2, 4, 6, 8, 10)
Thursday, September 12, 2019
John Abercrombie - 1994 "Speak of the Devil"
Speak of the Devil is an album by jazz guitarist John Abercrombie with organist Dan Wall and drummer Adam Nussbaum that was recorded in 1993 and released by ECM in 1994.
The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.
It's a fusion of feelings, and those moods -- many times dark -- lie beneath the surface only to rise at their behest. The snarly, stealth, and swirling sound is evident on the introductory cut "Angel Food," courtesy of Abercrombie, Wall, and Nussbaum, respectively, going to a tick-tock beat that is positively blackened on the closer "Hell's Gate." In between you get two free, seemingly unstructured pieces: the unhurried "Now & Again" and the more reverent but interactive "Farewell." "Dreamland" is like "Angel Food" in attitude, while the collective improvisation "Mahat" has hopping 2/4 tom tom beats from Nussbaum moving into full drum kit swing.
The melodies are either nonexistent or harder to grasp; Abercrombie's searing or lilting guitar sound requires close attention. Skating around a melody for "Chorale," you actually get the impression the leader is building disparate, multiple, chameleonic changes within a more definite swing. A true melodic motif, albeit slight, informs "BT-U" in a more rock/R&B beat, while the waltz "Early to Bed" suggests a lovely, extrapolated Bill Evans line, perhaps from "Very Early." Though "While We're Young" was a definitive recording for Abercrombie's vaunted trio, this CD simply offers a different slant. It's the sign of a group either in transition of evolution, and whatever the case, it's an intriguing step for these three uncanny sonic explorers.
Despite all of this, it's an album of deep grooves, a searching and mysterious atmosphere, and above all some fabulous playing. Dan Wall and Adam Nussbaum play really great, but then they always do. In fact I really dig Adam Nussbaum's drumming in this music. He's the one lighting fires under this trio; and yes, I deliberately borrow that line from Miles. What he said of Tony Williams' amazing playing in his fabulous 60's quintet really comes to mind when I hear Adam Nussbaum's drumming bringing life to this particular music. It is inspired playing, and is probably the highlight of the album for me.
What's significant about the playing of John Abercrombie is that in my opinion his playing here is way ahead of anything he's done since. Purely on a guitar-playing level this one is right up there. There's some great solos from JA, and his rhythmic, chordal playing is also absolutely superb. For just one example, check out the wonderful comping behind Dan Wall's solo on 'Early to Bed'. It's an absolute master class! I don't think he's ever played better, but if he has someone please let me know!
On the down side, 'Speak of the Devil' does not contain many memorable compositions, if any; even though there are four JA originals. In fact the weak link, if there is one, is that none of these tunes really stick in your memory for long - I can't hum or recall any of the tunes beyond the time of actually listening to it. It's probably more a case of the abstract treatment than any inherant weaknesses in the compositions though, and this music, though not pretty, is absolutely engaging and totally captivating nonetheless. Though it may not be to everyone's tastes, it is absolutely great Jazz.
Guitarist John Abercrombie is joined by Adam Nussbaum on drums and Dan Wall on the Hammond B-3 organ in a trio recording that really does sound like three musicians making music together rather than a soloist and rhythm section. As always, Abercrombie plays with fluid grace, while Wall alternately simmers and flat-out burns on the B-3, with Nussbaum propelling things right along with his imaginative drumming, all captured with ECM's traditional attention to sound quality. This is a CD that will put your mind in a deep groove for 68 minutes, and as soon as it is over, you just might find yourself hitting the play button for another 68 addictive minutes, and then another...
Track listing:
1. Angel Food (7:55)
2. Now And Again (6:16)
3. Mahat (8:27)
4. Chorale (8:21)
5. Farewell (6:16)
6. BT-U (6:22)
7. Early To Bed (8:20)
8. Dreamland (9:12)
9. Hell's Gate (7:07)
Total time 68:16
Personnel:
John Abercrombie – guitar
Dan Wall – Hammond organ
Adam Nussbaum – drums
The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.
It's a fusion of feelings, and those moods -- many times dark -- lie beneath the surface only to rise at their behest. The snarly, stealth, and swirling sound is evident on the introductory cut "Angel Food," courtesy of Abercrombie, Wall, and Nussbaum, respectively, going to a tick-tock beat that is positively blackened on the closer "Hell's Gate." In between you get two free, seemingly unstructured pieces: the unhurried "Now & Again" and the more reverent but interactive "Farewell." "Dreamland" is like "Angel Food" in attitude, while the collective improvisation "Mahat" has hopping 2/4 tom tom beats from Nussbaum moving into full drum kit swing.
The melodies are either nonexistent or harder to grasp; Abercrombie's searing or lilting guitar sound requires close attention. Skating around a melody for "Chorale," you actually get the impression the leader is building disparate, multiple, chameleonic changes within a more definite swing. A true melodic motif, albeit slight, informs "BT-U" in a more rock/R&B beat, while the waltz "Early to Bed" suggests a lovely, extrapolated Bill Evans line, perhaps from "Very Early." Though "While We're Young" was a definitive recording for Abercrombie's vaunted trio, this CD simply offers a different slant. It's the sign of a group either in transition of evolution, and whatever the case, it's an intriguing step for these three uncanny sonic explorers.
Despite all of this, it's an album of deep grooves, a searching and mysterious atmosphere, and above all some fabulous playing. Dan Wall and Adam Nussbaum play really great, but then they always do. In fact I really dig Adam Nussbaum's drumming in this music. He's the one lighting fires under this trio; and yes, I deliberately borrow that line from Miles. What he said of Tony Williams' amazing playing in his fabulous 60's quintet really comes to mind when I hear Adam Nussbaum's drumming bringing life to this particular music. It is inspired playing, and is probably the highlight of the album for me.
What's significant about the playing of John Abercrombie is that in my opinion his playing here is way ahead of anything he's done since. Purely on a guitar-playing level this one is right up there. There's some great solos from JA, and his rhythmic, chordal playing is also absolutely superb. For just one example, check out the wonderful comping behind Dan Wall's solo on 'Early to Bed'. It's an absolute master class! I don't think he's ever played better, but if he has someone please let me know!
On the down side, 'Speak of the Devil' does not contain many memorable compositions, if any; even though there are four JA originals. In fact the weak link, if there is one, is that none of these tunes really stick in your memory for long - I can't hum or recall any of the tunes beyond the time of actually listening to it. It's probably more a case of the abstract treatment than any inherant weaknesses in the compositions though, and this music, though not pretty, is absolutely engaging and totally captivating nonetheless. Though it may not be to everyone's tastes, it is absolutely great Jazz.
Guitarist John Abercrombie is joined by Adam Nussbaum on drums and Dan Wall on the Hammond B-3 organ in a trio recording that really does sound like three musicians making music together rather than a soloist and rhythm section. As always, Abercrombie plays with fluid grace, while Wall alternately simmers and flat-out burns on the B-3, with Nussbaum propelling things right along with his imaginative drumming, all captured with ECM's traditional attention to sound quality. This is a CD that will put your mind in a deep groove for 68 minutes, and as soon as it is over, you just might find yourself hitting the play button for another 68 addictive minutes, and then another...
Track listing:
1. Angel Food (7:55)
2. Now And Again (6:16)
3. Mahat (8:27)
4. Chorale (8:21)
5. Farewell (6:16)
6. BT-U (6:22)
7. Early To Bed (8:20)
8. Dreamland (9:12)
9. Hell's Gate (7:07)
Total time 68:16
Personnel:
John Abercrombie – guitar
Dan Wall – Hammond organ
Adam Nussbaum – drums
Saturday, September 7, 2019
Captain Beyond - 1972 [1997] "Captain Beyond" [Remastered]
Captain Beyond is an American rock band formed in Los Angeles, California in 1971.
Captain Beyond is the self-titled debut album by Captain Beyond, released in 1972, featuring former members of Iron Butterfly, Deep Purple, Johnny Winter, and Rick Derringer. The album cover for the U.S. release included 3-D artwork (using lenticular printing). The album was dedicated to the memory of Duane Allman, who Captain Beyond drummer Bobby Caldwell had played with in an informal capacity.
Captain Beyond is unique among guitar-driven hard rock albums in that it contains a wide range of influences, including Latin and jazz, often with various time signatures and a broad range of dynamics within the same song. Most of the album consists of three medleys of tightly arranged interconnected songs. The first starts with "Dancing Madly Backwards (on a Sea of Air)" and ends with "Myopic Void". The second starts with "Thousand Days of Yesterdays (Intro)" and ends with "Thousand Days of Yesterdays (Time Since Come and Gone)". The third starts with "I Can't Feel Nothin' (Part 1)" and finishes the album. Songs flow directly into each other without any lag time between selections, a feature that is shared with other more progressive bands of the era such as Moody Blues and Jethro Tull.
All of the songwriting was credited to lead vocalist Rod Evans and drummer Bobby Caldwell. However, the songs were in fact written by the group as a whole. Due to their still binding contracts with Iron Butterfly, guitarist Larry "Rhino" Reinhardt and bassist Lee Dorman could not be listed as songwriters on this record for legal reasons.
What is it about Rod Evans ? He gets slated left, right and centre for the Tom Jones limitations in his voice, yet two of my favourite albums involve him, "Shades of Deep Purple" and this one. Perhaps he was just one of those guys that knew how to start something but couldn't sustain it because he was involved in two of heavy rock's greatest debut albums in my view.
This is a sizzling album, also featuring the mighty Bobby Caldwell {who later went on to do sterling drum work on Armageddon's first and only LP} knocking out some of the funkiest, jerkiest, heaviest most dynamic drumming in heavy rock. The two guys from Iron Butterfly that made up the group on guitar and bass {Rhino Reinhardt and Lee Dorman} are two hugely under rated players in the heavy rock ouvre.
As a unit Captain Beyond were pretty dynamic and wrote a series of superb songs. The songs on this album are packed with melody, loud guitars, wild yet controlled drums and sympathetic booming bass.
Captain Beyond is a one-of-a-kind progressive album with rock, heavy metal, and jazz influences with a "space rock" lyrical bend. Formed by former members of Deep Purple (Rod Evans, vocals), Iron Butterfly (Rhino, lead guitar, and Lee Dorman, bass), and Johnny Winter (Bobby Caldwell, drums) Captain Beyond is an album that flows from riff to riff, drumbeat to drumbeat, often with various time signatures within the same song. Taking a tip from the Moody Blues, songs flow directly into each other without benefit of any lag time between selections. Taken as a whole, the album is kind of a rush, as quick, riff-laden guitar lines predominate for a few songs before slowing down temporarily into a lull until the next takeoff. Lyrically, the album differentiates itself by exploring themes of the outer world and meanings of existence, often with references to the moon, sea, sun, and so on. Listeners may get the feeling of taking a journey to space in a rocket ship headed for destination unknown. Musically, the album is superior in all aspects. Rod Evans has a strong rock voice, Rhino plays an enormous amount of hook-laden guitar lines, and Lee Dorman plays complex basslines (for example, at the end of "As the Moon Speaks-Return") that lead to typically rhythmic, nimble Bobby Caldwell drumming. The tightness between musicians is enormous, never lets up for long, and leaves the listener feeling like the ride should continue for the indefinite future.
Track listing:
01. "Dancing Madly Backwards (on a Sea of Air)" 4:02
02. "Armworth" 1:48
03. "Myopic Void" 3:31
04. "Mesmerization Eclipse" 3:48
05. "Raging River of Fear" 3:47
06. "Thousand Days of Yesterdays (Intro)" 1:16
07. "Frozen Over" 3:46
08. "Thousand Days of Yesterdays (Time Since Come and Gone)" 3:57
09. "I Can't Feel Nothin' (Part 1)" 3:06
10. "As the Moon Speaks (to the Waves of the Sea)" 1:27
11. "Astral Lady" 0:58
12. "As the Moon Speaks (Return)" 1:57
13. "I Can't Feel Nothin' (Part 2)" 1:46
Personnel:
Rod Evans – lead vocals
Larry "Rhino" Reinhardt – guitars
Lee Dorman – bass guitar, backing vocals, piano
Bobby Caldwell – drums, all percussion instruments (including bells and vibraphone), backing vocals, piano
Captain Beyond is the self-titled debut album by Captain Beyond, released in 1972, featuring former members of Iron Butterfly, Deep Purple, Johnny Winter, and Rick Derringer. The album cover for the U.S. release included 3-D artwork (using lenticular printing). The album was dedicated to the memory of Duane Allman, who Captain Beyond drummer Bobby Caldwell had played with in an informal capacity.
Captain Beyond is unique among guitar-driven hard rock albums in that it contains a wide range of influences, including Latin and jazz, often with various time signatures and a broad range of dynamics within the same song. Most of the album consists of three medleys of tightly arranged interconnected songs. The first starts with "Dancing Madly Backwards (on a Sea of Air)" and ends with "Myopic Void". The second starts with "Thousand Days of Yesterdays (Intro)" and ends with "Thousand Days of Yesterdays (Time Since Come and Gone)". The third starts with "I Can't Feel Nothin' (Part 1)" and finishes the album. Songs flow directly into each other without any lag time between selections, a feature that is shared with other more progressive bands of the era such as Moody Blues and Jethro Tull.
All of the songwriting was credited to lead vocalist Rod Evans and drummer Bobby Caldwell. However, the songs were in fact written by the group as a whole. Due to their still binding contracts with Iron Butterfly, guitarist Larry "Rhino" Reinhardt and bassist Lee Dorman could not be listed as songwriters on this record for legal reasons.
What is it about Rod Evans ? He gets slated left, right and centre for the Tom Jones limitations in his voice, yet two of my favourite albums involve him, "Shades of Deep Purple" and this one. Perhaps he was just one of those guys that knew how to start something but couldn't sustain it because he was involved in two of heavy rock's greatest debut albums in my view.
This is a sizzling album, also featuring the mighty Bobby Caldwell {who later went on to do sterling drum work on Armageddon's first and only LP} knocking out some of the funkiest, jerkiest, heaviest most dynamic drumming in heavy rock. The two guys from Iron Butterfly that made up the group on guitar and bass {Rhino Reinhardt and Lee Dorman} are two hugely under rated players in the heavy rock ouvre.
As a unit Captain Beyond were pretty dynamic and wrote a series of superb songs. The songs on this album are packed with melody, loud guitars, wild yet controlled drums and sympathetic booming bass.
Captain Beyond is a one-of-a-kind progressive album with rock, heavy metal, and jazz influences with a "space rock" lyrical bend. Formed by former members of Deep Purple (Rod Evans, vocals), Iron Butterfly (Rhino, lead guitar, and Lee Dorman, bass), and Johnny Winter (Bobby Caldwell, drums) Captain Beyond is an album that flows from riff to riff, drumbeat to drumbeat, often with various time signatures within the same song. Taking a tip from the Moody Blues, songs flow directly into each other without benefit of any lag time between selections. Taken as a whole, the album is kind of a rush, as quick, riff-laden guitar lines predominate for a few songs before slowing down temporarily into a lull until the next takeoff. Lyrically, the album differentiates itself by exploring themes of the outer world and meanings of existence, often with references to the moon, sea, sun, and so on. Listeners may get the feeling of taking a journey to space in a rocket ship headed for destination unknown. Musically, the album is superior in all aspects. Rod Evans has a strong rock voice, Rhino plays an enormous amount of hook-laden guitar lines, and Lee Dorman plays complex basslines (for example, at the end of "As the Moon Speaks-Return") that lead to typically rhythmic, nimble Bobby Caldwell drumming. The tightness between musicians is enormous, never lets up for long, and leaves the listener feeling like the ride should continue for the indefinite future.
Track listing:
01. "Dancing Madly Backwards (on a Sea of Air)" 4:02
02. "Armworth" 1:48
03. "Myopic Void" 3:31
04. "Mesmerization Eclipse" 3:48
05. "Raging River of Fear" 3:47
06. "Thousand Days of Yesterdays (Intro)" 1:16
07. "Frozen Over" 3:46
08. "Thousand Days of Yesterdays (Time Since Come and Gone)" 3:57
09. "I Can't Feel Nothin' (Part 1)" 3:06
10. "As the Moon Speaks (to the Waves of the Sea)" 1:27
11. "Astral Lady" 0:58
12. "As the Moon Speaks (Return)" 1:57
13. "I Can't Feel Nothin' (Part 2)" 1:46
Personnel:
Rod Evans – lead vocals
Larry "Rhino" Reinhardt – guitars
Lee Dorman – bass guitar, backing vocals, piano
Bobby Caldwell – drums, all percussion instruments (including bells and vibraphone), backing vocals, piano
Tuesday, September 3, 2019
Bob Mintzer John Abercrombie Marc Johnson Peter Erskine - 1990 "Hymn"
Robert Alan Mintzer (born January 27, 1953) is an American jazz saxophonist, composer, arranger, and big band leader.
Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '90 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising.
Track listing:
1 Duo 2:50
2 Hymn 8:24
3 Re-Re 5:45
4 Modern Day Tuba 4:34
5 Children's Song 6:19
6 Little Motif 4:47
7 Weird Blues 5:32
8 Improvisation 7:27
9 The Dark Side 7:16
Personnel:
Tenor Saxophone, Bass Clarinet, Liner Notes – Bob Mintzer
Bass – Marc Johnson (2)
Drums – Peter Erskine
Guitar – John Abercrombie
Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '90 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising.
Track listing:
1 Duo 2:50
2 Hymn 8:24
3 Re-Re 5:45
4 Modern Day Tuba 4:34
5 Children's Song 6:19
6 Little Motif 4:47
7 Weird Blues 5:32
8 Improvisation 7:27
9 The Dark Side 7:16
Personnel:
Tenor Saxophone, Bass Clarinet, Liner Notes – Bob Mintzer
Bass – Marc Johnson (2)
Drums – Peter Erskine
Guitar – John Abercrombie
Friday, August 30, 2019
Eric Burdon and War - 1970 [1992] "Eric Burdon Declares War"
Eric Burdon Declares "War" is the first of two original albums by funk band Eric Burdon and War, released on MGM Records in April 1970. It peaked at number 18 on record charts in the USA, number 50 in the UK, and number 7 in Australia.[citation needed] The back cover includes this declaration: "We the People, have declared War against the People, for the right to love each other". The album received a gold record award.
Capturing the improvisational energy the band would soon become famous for, WAR's debut with Animals frontman Eric Burdon burst on the scene and on the charts with the erotic, Latin-tinged hit "Spill The Wine." For rock icon Burdon it was a dream come true, blending his powerful vocal style with a raw and creative blues band. Standout tracks include "Vision Of Rassan," "Blues For Memphis Slim," and the simmering soul revamp of John D. Loudermilk's blues classic "Tobacco Road."
You are probably familiar with 'Spill the Wine', the great single and best song from this album; but there are other interesting nuggets here. This is a tough album to review. I really like it; but it's probably not for everyone. Recorded / released in 1970, this album reflects some of the musical trends that were prevalent at the time: Blues, Rock, Jazz, Latin, Psychedelic... There are others, Santana to name one, that married these influences to greater success; but this album deserves a listen if only for the quality of the musicianship. Eric Burdon is an excellent vocalist; but it's really WAR that carries the weight here. Eric Burdon was still in a Trippy Psychedelic phase during this time - probably a little out of sync with the direction of WAR - so you get an interesting hybrid. This album might have the greatest appeal to fans of the early 70's music, where there we so many musical styles being explored / merged. In the context of the period, this is an interesting and mostly enjoyable album.
The debut effort by Eric Burdon and War was an erratic effort that hinted at more potential than it actually delivered. Three of the five tunes are meandering blues-jazz-psychedelic jams, two of which, "Tobacco Road" and "Blues for Memphis Slim," chug along for nearly 15 minutes. These showcase the then-unknown War's funky fusion, and Burdon's still-impressive vocals, but suffer from a lack of focus and substance. "Spill the Wine," on the other hand, is inarguably the greatest moment of the Burdon-fronted lineup. Not only was this goofy funk, shaggy-dog story one of the most truly inspired off-the-wall hit singles of all time, it was War's first smash -- and Eric Burdon's last. The odd closing track, a short piece of avant-garde sentimentality called "You're No Stranger," was deleted from re-releases of this album for years.
The cover, credited to The Visual Thing (with Burdon credited for the concept), depicts two disembodied but joined arms, one white and one black, both giving a three finger salute, similar to the peace sign which uses two fingers. The three fingers may represent the letter "w" in the word "war". This salute was also used on the cover of a future album, War. The use of a background sun also appears as a recurring theme on both front and back covers of The Black-Man's Burdon and the innersleeve of Deliver the Word.
Track listing:
All tracks written by War (Papa Dee Allen, Harold Brown, Eric Burdon, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard E. Scott) except where noted. Note: Memphis Slim composed music under the name of Peter Chatman which was actually his father's name; on the original album the composer credit is misprinted as "P. Chapman".
1. "The Vision of Rassan" - 7:40
"Dedication"" – 2:33
"Roll on Kirk" – 5:07
2. "Tobacco Road" - 13:44
"Tobacco Road" (John D. Loudermilk) – 3:47
"I Have a Dream" – 6:39
"Tobacco Road" (Loudermilk) – 3:58
3. "Spill the Wine" – 4:38
4. "Blues for Memphis Slim" - 13:30 (individual times not accurate)
"Birth" – 1:31
"Mother Earth" (Peter Chatman) – 2:46
"Mr. Charlie" – 3:05
"Danish Pastry" – 3:18
"Mother Earth" (Chatman) – 2:28
5. "You're No Stranger" (Thomas C Carter) – 1:55
Personnel
Eric Burdon – lead vocals
Lee Oskar – harmonica
Charles Miller – tenor sax, flute
Howard Scott – guitar, backing vocals
Lonnie Jordan – organ, piano
Bee Bee Dickerson – bass, backing vocals
Harold Brown – drums
Dee Allen – conga, percussion
Capturing the improvisational energy the band would soon become famous for, WAR's debut with Animals frontman Eric Burdon burst on the scene and on the charts with the erotic, Latin-tinged hit "Spill The Wine." For rock icon Burdon it was a dream come true, blending his powerful vocal style with a raw and creative blues band. Standout tracks include "Vision Of Rassan," "Blues For Memphis Slim," and the simmering soul revamp of John D. Loudermilk's blues classic "Tobacco Road."
You are probably familiar with 'Spill the Wine', the great single and best song from this album; but there are other interesting nuggets here. This is a tough album to review. I really like it; but it's probably not for everyone. Recorded / released in 1970, this album reflects some of the musical trends that were prevalent at the time: Blues, Rock, Jazz, Latin, Psychedelic... There are others, Santana to name one, that married these influences to greater success; but this album deserves a listen if only for the quality of the musicianship. Eric Burdon is an excellent vocalist; but it's really WAR that carries the weight here. Eric Burdon was still in a Trippy Psychedelic phase during this time - probably a little out of sync with the direction of WAR - so you get an interesting hybrid. This album might have the greatest appeal to fans of the early 70's music, where there we so many musical styles being explored / merged. In the context of the period, this is an interesting and mostly enjoyable album.
The debut effort by Eric Burdon and War was an erratic effort that hinted at more potential than it actually delivered. Three of the five tunes are meandering blues-jazz-psychedelic jams, two of which, "Tobacco Road" and "Blues for Memphis Slim," chug along for nearly 15 minutes. These showcase the then-unknown War's funky fusion, and Burdon's still-impressive vocals, but suffer from a lack of focus and substance. "Spill the Wine," on the other hand, is inarguably the greatest moment of the Burdon-fronted lineup. Not only was this goofy funk, shaggy-dog story one of the most truly inspired off-the-wall hit singles of all time, it was War's first smash -- and Eric Burdon's last. The odd closing track, a short piece of avant-garde sentimentality called "You're No Stranger," was deleted from re-releases of this album for years.
The cover, credited to The Visual Thing (with Burdon credited for the concept), depicts two disembodied but joined arms, one white and one black, both giving a three finger salute, similar to the peace sign which uses two fingers. The three fingers may represent the letter "w" in the word "war". This salute was also used on the cover of a future album, War. The use of a background sun also appears as a recurring theme on both front and back covers of The Black-Man's Burdon and the innersleeve of Deliver the Word.
Track listing:
All tracks written by War (Papa Dee Allen, Harold Brown, Eric Burdon, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard E. Scott) except where noted. Note: Memphis Slim composed music under the name of Peter Chatman which was actually his father's name; on the original album the composer credit is misprinted as "P. Chapman".
1. "The Vision of Rassan" - 7:40
"Dedication"" – 2:33
"Roll on Kirk" – 5:07
2. "Tobacco Road" - 13:44
"Tobacco Road" (John D. Loudermilk) – 3:47
"I Have a Dream" – 6:39
"Tobacco Road" (Loudermilk) – 3:58
3. "Spill the Wine" – 4:38
4. "Blues for Memphis Slim" - 13:30 (individual times not accurate)
"Birth" – 1:31
"Mother Earth" (Peter Chatman) – 2:46
"Mr. Charlie" – 3:05
"Danish Pastry" – 3:18
"Mother Earth" (Chatman) – 2:28
5. "You're No Stranger" (Thomas C Carter) – 1:55
Personnel
Eric Burdon – lead vocals
Lee Oskar – harmonica
Charles Miller – tenor sax, flute
Howard Scott – guitar, backing vocals
Lonnie Jordan – organ, piano
Bee Bee Dickerson – bass, backing vocals
Harold Brown – drums
Dee Allen – conga, percussion
Sunday, August 25, 2019
Larry Carlton - 2006 "Fire Wire"
Fire Wire is an album by Larry Carlton that was released in 2006. It received a nomination for Best Pop Instrumental Album at the 49th Annual Grammy Awards which took place in 2007.
If veteran session guitarist Larry Carlton's Sapphire Blue (Bluebird, 2004) was a first shot at the bow of those who'd written him off as too smooth, Fire Wire is a veritable volley. Sapphire Blue found Carlton in a more energetic, blues-based context, but his trademark singing tone still spoke the language of jazz. Leaving all such references behind, Fire Wire is more rock instrumental than jazz fusion—and the rawest album he's made in his forty-year career.
The laid-back minor blues of "The Prince" is a respite from the energy of the rest of the record. Carlton restricts himself to acoustic guitar and demonstrates, once again, his debt to legendary bluesman B.B. King. "Inkblot 11," on the other hand, is a flat-out, pedal-to-the-metal rocker. Even the inclusion of the Sapphire Blue Horn Section does little to soften the wide-legged rock stance of Carlton's gritty tone and searing lines.
Carlton's writing on Fire Wire is his most direct, least complicated to date. Complex harmonies are nowhere to be found, nor are there any odd bars to break up the pulsing rock groove of songs like the four-to-the-floor "Double Cross." His language may be simpler, but his ability to squeeze the most out of every bend, and phrase in ways that maximize every note, keeps Fire Wire in context with the rest of his nearly two dozen solo records. If Blow by Blow (Epic, 1975) proved Jeff Beck's ability to transfer his visceral rock style into a jazz fusion setting, Fire Wire shows Carlton's ability to move in an opposite direction. The changes are simpler, but Carlton remains ever an inventive player, even when speaking in those terms.
The core quartet's other members, drummer Matt Chamberlain, bassist Michael Rhodes and keyboardist Jeff Babko, get little solo space. Still, they're the perfect rhythm section—loose and responsive when required, tight and completely in synch behind Carlton elsewhere.
One could argue that by moving away from the smooth leanings of his more recent work, Carlton runs the risk of alienating a core fan group. But anyone who's followed Carlton's forty-year career knows that his tastes run wide. On first glance Fire Wire may appear to be an anomaly, but given Carlton's ever-present less-is-more approach, its raw lyricism and avoidance of excess place it completely in context.
Issued in Japan in 2005, Larry Carlton's Fire Wire was issued stateside in March of 2006. This is a kind of continuation the Sapphire Blue session from 2004. Where the former album used a textured approach to the blues, many of the tunes here are in your face. They are mostly uptempo, funky, and tough, though some of them are moody and dark. And while "blues" are ever present here, they seem to inform Carlton's more rocking style on this offering. What's more, unlike some of his more commercial and fusion oriented projects, this one engages rock directly with a keen lyrical sensibility.
Keyboardist Jeff Babko seems to be a key collaborator on these tracks. His big fat synthetic backdrop provides ballast for the rhythm section -- bassist Michael Rhodes and drummer Matt Chamberlain -- and a big enough jump-off point for Carlton to do his considerable stuff both riffing and filling the spaces. "Inkblot 11" roars out of the gate with Carlton stereo riffing alternately with the four-piece horn section that makes it groove. "Double Cross" touches on the blues, but it's funkier, especially when the guitar lines and Babko's Rhodes play in tandem and then Carlton goes for the power chords. "Surrender" is a smoky little blues rocker that sounds like a postmodern tribute to Peter Green. "Naked Truth" references Jimi Hendrix's "Castles Made of Sand" in the opening moments and becomes its own distorted lyric ballad.
The big crunch returns in "Big Trouble," courtesy of Carlton's stereo guitar, and Csaba Petocz's in-the-red production. This is one of those tracks where the guitar just screams and screams of simple heavy rock vamps but who cares? It kicks butt. The funk returns on "Dirty Donna's House Party," with horns and keyboards popping all over the mix. Carlton's in the high register doing some serious string bending. The record closes with the abstractly moody jazz-funk number. It's an odd cut, but when it hits its groove, one can see why it was chosen to end the set. Carlton is simply loose, pushing the dials up and Babko supports him in the same way Jan Hammer supported Jeff Beck, filling spaces for the rhythm section to jump on, putting the vamp in the back instead of the front, and accelerating things in the middle so Carlton can just let loose -- and he does. Fire Wire isn't the most imaginative or creatively challenging record Carlton has ever made, but it is loose, reckless, and fun; he must have had a ball making it, but you'd never know it by the cover.
A departure from this heavy-duty program is “Sunrise,” a melancholy acoustic ballad in the tradition of his Grammy-winning album from 20 years ago, Alone/But Never Alone. Other highlights include Carlton’s stinging, Albert King-flavored licks and wah-wah wailing over the top of the funky “Dirty Donna’s House Party” (reminiscent of Billy Cobham’s “Stratus”) and his liquid harmonic sensibility on the lyrical ballad “Naked Truth” (inspired by Jimi Hendrix’s “Little Wing”).
https://jazz-rock-fusion-guitar.blogspot.com/search?q=larry+carlton
Track listing
01 "Inkblot 11 – 3:18
02 "Double Cross – 4:36
03 "Naked Truth" – 3:49
04 "Surrender" – 5:01
05 "Big Trouble" – 3:42
06 "Goodbye" – 4:40
07 "Dirty Donna's House Party" – 5:37
08 "The Prince" – 4:35
09 "Sunrise" – 5:11
10 "Mean Street" – 6:48
Personnel
Larry Carlton – guitar
Mike Haynes – trumpet
Barry Green – trombone
Mark Douthit – saxophone
Doug Moffet – baritone saxophone
Jeff Babko – keyboards
Michael Rhodes – bass guitar
Matt Chamberlain – drums
If veteran session guitarist Larry Carlton's Sapphire Blue (Bluebird, 2004) was a first shot at the bow of those who'd written him off as too smooth, Fire Wire is a veritable volley. Sapphire Blue found Carlton in a more energetic, blues-based context, but his trademark singing tone still spoke the language of jazz. Leaving all such references behind, Fire Wire is more rock instrumental than jazz fusion—and the rawest album he's made in his forty-year career.
The laid-back minor blues of "The Prince" is a respite from the energy of the rest of the record. Carlton restricts himself to acoustic guitar and demonstrates, once again, his debt to legendary bluesman B.B. King. "Inkblot 11," on the other hand, is a flat-out, pedal-to-the-metal rocker. Even the inclusion of the Sapphire Blue Horn Section does little to soften the wide-legged rock stance of Carlton's gritty tone and searing lines.
Carlton's writing on Fire Wire is his most direct, least complicated to date. Complex harmonies are nowhere to be found, nor are there any odd bars to break up the pulsing rock groove of songs like the four-to-the-floor "Double Cross." His language may be simpler, but his ability to squeeze the most out of every bend, and phrase in ways that maximize every note, keeps Fire Wire in context with the rest of his nearly two dozen solo records. If Blow by Blow (Epic, 1975) proved Jeff Beck's ability to transfer his visceral rock style into a jazz fusion setting, Fire Wire shows Carlton's ability to move in an opposite direction. The changes are simpler, but Carlton remains ever an inventive player, even when speaking in those terms.
The core quartet's other members, drummer Matt Chamberlain, bassist Michael Rhodes and keyboardist Jeff Babko, get little solo space. Still, they're the perfect rhythm section—loose and responsive when required, tight and completely in synch behind Carlton elsewhere.
One could argue that by moving away from the smooth leanings of his more recent work, Carlton runs the risk of alienating a core fan group. But anyone who's followed Carlton's forty-year career knows that his tastes run wide. On first glance Fire Wire may appear to be an anomaly, but given Carlton's ever-present less-is-more approach, its raw lyricism and avoidance of excess place it completely in context.
Issued in Japan in 2005, Larry Carlton's Fire Wire was issued stateside in March of 2006. This is a kind of continuation the Sapphire Blue session from 2004. Where the former album used a textured approach to the blues, many of the tunes here are in your face. They are mostly uptempo, funky, and tough, though some of them are moody and dark. And while "blues" are ever present here, they seem to inform Carlton's more rocking style on this offering. What's more, unlike some of his more commercial and fusion oriented projects, this one engages rock directly with a keen lyrical sensibility.
Keyboardist Jeff Babko seems to be a key collaborator on these tracks. His big fat synthetic backdrop provides ballast for the rhythm section -- bassist Michael Rhodes and drummer Matt Chamberlain -- and a big enough jump-off point for Carlton to do his considerable stuff both riffing and filling the spaces. "Inkblot 11" roars out of the gate with Carlton stereo riffing alternately with the four-piece horn section that makes it groove. "Double Cross" touches on the blues, but it's funkier, especially when the guitar lines and Babko's Rhodes play in tandem and then Carlton goes for the power chords. "Surrender" is a smoky little blues rocker that sounds like a postmodern tribute to Peter Green. "Naked Truth" references Jimi Hendrix's "Castles Made of Sand" in the opening moments and becomes its own distorted lyric ballad.
The big crunch returns in "Big Trouble," courtesy of Carlton's stereo guitar, and Csaba Petocz's in-the-red production. This is one of those tracks where the guitar just screams and screams of simple heavy rock vamps but who cares? It kicks butt. The funk returns on "Dirty Donna's House Party," with horns and keyboards popping all over the mix. Carlton's in the high register doing some serious string bending. The record closes with the abstractly moody jazz-funk number. It's an odd cut, but when it hits its groove, one can see why it was chosen to end the set. Carlton is simply loose, pushing the dials up and Babko supports him in the same way Jan Hammer supported Jeff Beck, filling spaces for the rhythm section to jump on, putting the vamp in the back instead of the front, and accelerating things in the middle so Carlton can just let loose -- and he does. Fire Wire isn't the most imaginative or creatively challenging record Carlton has ever made, but it is loose, reckless, and fun; he must have had a ball making it, but you'd never know it by the cover.
A departure from this heavy-duty program is “Sunrise,” a melancholy acoustic ballad in the tradition of his Grammy-winning album from 20 years ago, Alone/But Never Alone. Other highlights include Carlton’s stinging, Albert King-flavored licks and wah-wah wailing over the top of the funky “Dirty Donna’s House Party” (reminiscent of Billy Cobham’s “Stratus”) and his liquid harmonic sensibility on the lyrical ballad “Naked Truth” (inspired by Jimi Hendrix’s “Little Wing”).
https://jazz-rock-fusion-guitar.blogspot.com/search?q=larry+carlton
Track listing
01 "Inkblot 11 – 3:18
02 "Double Cross – 4:36
03 "Naked Truth" – 3:49
04 "Surrender" – 5:01
05 "Big Trouble" – 3:42
06 "Goodbye" – 4:40
07 "Dirty Donna's House Party" – 5:37
08 "The Prince" – 4:35
09 "Sunrise" – 5:11
10 "Mean Street" – 6:48
Personnel
Larry Carlton – guitar
Mike Haynes – trumpet
Barry Green – trombone
Mark Douthit – saxophone
Doug Moffet – baritone saxophone
Jeff Babko – keyboards
Michael Rhodes – bass guitar
Matt Chamberlain – drums
Wednesday, August 14, 2019
Jeff Beck - 1977 [2008] "With The Jan Hammer Group (Live)"
Jeff Beck with the Jan Hammer Group Live is a live album by Jeff Beck, released in 1977 on Epic Records.
This album is definitely an epic performance of Jeff and Jan, I have it in all the formats available, it is music that can be listened many times and never get old!
Starting with Freeway Jam, that's exactly the way an improvised song should sound, you can just feel how the power of these two monsters of music is just waiting to be unchained, and when the time comes, their soloing travels giving so much dimension to the song.
Later Jeff sings She's a Woman flooding the air with a guitar so sensual that it feels he is singing to her, and her moaning to the touch of his master hand, monumental version!
The album closes with a no less great tune, Jeff Beck at his higher, Blue Wind still has the flavor of The Jeff Beck Group, agressive, dynamic, taking music to the next level with a so revolucionary sound only Beck can project.
Jan Hammer's uncanny ability to simulate the pitch-bending qualities of an electric guitar on his Minimoog synthesizer made him an explosive duet partner with rock's Jeff Beck on this live album -- the third of Beck's successful flirtations with jazz-rock. While leaning toward the Mahavishnu Orchestra brand of jazz-rock, with the word "rock" heavily emphasized, this is a looser, less lockstepped variant. The song selection is split almost equally between Hammer and Beck's repertoires, with Hammer's remake of his techno/mechanized "Darkness/Earth In Search of a Sun" making the biggest splash.
Beck is a marvel, his stinging guitar darting in and out from everywhere like a hit-and-run guerrilla fighter, and Hammer matches him blow by blow, so to speak, with his purer yet equally agile tone quality on shootouts like "Full Moon Boogie." Hammer is a terrible vocalist, but that indulgence fortunately is limited to one track; Beck himself only vocalizes through a gauzy electronic filter on a reggae-like treatment of the Beatles' "She's a Woman." Though the jazz-rock idiom seemed almost spent by the time this was released, Hammer and Beck happily pretended not to notice.
No precise dates and locations are given for the live recordings. The tour began in June 1976 and ended in February 1977, with 117 shows performed.
A&R man Tom Werman suggested[2] that the date at the Astor Theater in Reading, PA (31 August 1976) yielded the best performances, and was going to provide the bulk of the album at the time of his involvement in the project. Beck mixed this along with other recordings at Allen Toussaint's studio in New Orleans.
Then Jan Hammer decided to mix the album himself, and did so with Dennis Weinreich at Scorpio Sound Studios in London, England.
The stereo spectrum of this album duplicates the stage set-up with guitar positioned center right, keyboards center left, violin right and drums and bass center.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=jeff+beck
https://jazz-rock-fusion-guitar.blogspot.com/search?q=jan+hammer
Tracks Listing:
1. Freeway Jam
2. Earth (Still Our Only Home)
3. She's A Woman
4. Full Moon Boogie
5. Darkness /Earth In Search Of A Sun
6. Scatterbrain
7. Blue Wind
Total time 44:30
Personnel:
Jeff Beck - guitar, bass guitar, special effects
The Jan Hammer Group
Jan Hammer - Moog, Oberheim and Freeman string symphonizer synthesizers, electric piano, timbales; lead vocal on "Earth (Still Our Only Home)"
Tony "Thunder" Smith - drums; lead vocal on "Full Moon Boogie"
Fernando Saunders - bass, harmony vocals; rhythm guitar on "She's A Woman"
Steve Kindler - violin; string synthesizer on "Darkness"; rhythm guitar on "Blue Wind"
This album is definitely an epic performance of Jeff and Jan, I have it in all the formats available, it is music that can be listened many times and never get old!
Starting with Freeway Jam, that's exactly the way an improvised song should sound, you can just feel how the power of these two monsters of music is just waiting to be unchained, and when the time comes, their soloing travels giving so much dimension to the song.
Later Jeff sings She's a Woman flooding the air with a guitar so sensual that it feels he is singing to her, and her moaning to the touch of his master hand, monumental version!
The album closes with a no less great tune, Jeff Beck at his higher, Blue Wind still has the flavor of The Jeff Beck Group, agressive, dynamic, taking music to the next level with a so revolucionary sound only Beck can project.
Jan Hammer's uncanny ability to simulate the pitch-bending qualities of an electric guitar on his Minimoog synthesizer made him an explosive duet partner with rock's Jeff Beck on this live album -- the third of Beck's successful flirtations with jazz-rock. While leaning toward the Mahavishnu Orchestra brand of jazz-rock, with the word "rock" heavily emphasized, this is a looser, less lockstepped variant. The song selection is split almost equally between Hammer and Beck's repertoires, with Hammer's remake of his techno/mechanized "Darkness/Earth In Search of a Sun" making the biggest splash.
Beck is a marvel, his stinging guitar darting in and out from everywhere like a hit-and-run guerrilla fighter, and Hammer matches him blow by blow, so to speak, with his purer yet equally agile tone quality on shootouts like "Full Moon Boogie." Hammer is a terrible vocalist, but that indulgence fortunately is limited to one track; Beck himself only vocalizes through a gauzy electronic filter on a reggae-like treatment of the Beatles' "She's a Woman." Though the jazz-rock idiom seemed almost spent by the time this was released, Hammer and Beck happily pretended not to notice.
No precise dates and locations are given for the live recordings. The tour began in June 1976 and ended in February 1977, with 117 shows performed.
A&R man Tom Werman suggested[2] that the date at the Astor Theater in Reading, PA (31 August 1976) yielded the best performances, and was going to provide the bulk of the album at the time of his involvement in the project. Beck mixed this along with other recordings at Allen Toussaint's studio in New Orleans.
Then Jan Hammer decided to mix the album himself, and did so with Dennis Weinreich at Scorpio Sound Studios in London, England.
The stereo spectrum of this album duplicates the stage set-up with guitar positioned center right, keyboards center left, violin right and drums and bass center.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=jeff+beck
https://jazz-rock-fusion-guitar.blogspot.com/search?q=jan+hammer
Tracks Listing:
1. Freeway Jam
2. Earth (Still Our Only Home)
3. She's A Woman
4. Full Moon Boogie
5. Darkness /Earth In Search Of A Sun
6. Scatterbrain
7. Blue Wind
Total time 44:30
Personnel:
Jeff Beck - guitar, bass guitar, special effects
The Jan Hammer Group
Jan Hammer - Moog, Oberheim and Freeman string symphonizer synthesizers, electric piano, timbales; lead vocal on "Earth (Still Our Only Home)"
Tony "Thunder" Smith - drums; lead vocal on "Full Moon Boogie"
Fernando Saunders - bass, harmony vocals; rhythm guitar on "She's A Woman"
Steve Kindler - violin; string synthesizer on "Darkness"; rhythm guitar on "Blue Wind"
Monday, August 12, 2019
Super Funky Sax - 1980 [2014] "Super Funky Sax"
Couldn't find a lot of information on this CD except a 4.5 rating and all titles were written and arranged by David Matthews but he does not play on it.
Track listing:
01 - Super Groove (David Matthews)
02 - Mika (David Matthews)
03 - Noches Calientes (David Matthews)
04 - Seditty (David Matthews)
05 - Black River Rhapsody (David Matthews)
06 - The Return Of Zorro (David Matthews)
Musicians :
David Sanborn : Alto Saxophone
Michael Brecker : Tenor Saxophone
Ronnie Cuber : Baritone Saxophone
David Spinozza : Electric Guitar
Don Grolnick : Electric Piano
Clifford Carter : Synthesizer
Neil Jason : Electric Bass
Andy Newmark : Drums
Sammy Figueroa : Percussion
Track listing:
01 - Super Groove (David Matthews)
02 - Mika (David Matthews)
03 - Noches Calientes (David Matthews)
04 - Seditty (David Matthews)
05 - Black River Rhapsody (David Matthews)
06 - The Return Of Zorro (David Matthews)
Musicians :
David Sanborn : Alto Saxophone
Michael Brecker : Tenor Saxophone
Ronnie Cuber : Baritone Saxophone
David Spinozza : Electric Guitar
Don Grolnick : Electric Piano
Clifford Carter : Synthesizer
Neil Jason : Electric Bass
Andy Newmark : Drums
Sammy Figueroa : Percussion
Tuesday, August 6, 2019
Emerson, Lake & Palmer 1972 [2007] "Trilogy"
Trilogy is the third studio album by English progressive rock band Emerson, Lake & Palmer, released in July 1972 on Island Records. The cover, designed by Hipgnosis, depicts a combined bust of the three members, while the interior of the original gatefold sleeve features a photomontage of the three in Epping Forest.
Trilogy increased ELP's worldwide popularity, and included "Hoedown", an arrangement of the Aaron Copland composition, which was one of their most popular songs when performing live.
References to a quad version of this album appeared in 1974 Harrison or Schwann record and tape guides, listing Trilogy in the Quadraphonic 8-track tape cartridge format. Collectors report never seeing a Trilogy Q8 at retail, despite its having a catalogue number "Cotillion QT-9903."
In September 1971, the band took a break in their summer North American tour promoting Tarkus (1971) and Pictures at an Exhibition (1971) to record new material for their next studio album. In a May 1972 magazine report, the album had yet to have a title. Emerson was pleased with the album after it was completed, noting its varied and difference in style to Tarkus.
The artwork was designed by Hipgnosis. Spanish artist Salvador Dalí was approached to design it, but he requested $50,000 to do it and was subsequently turned down. The front cover depicts each of the band members' faces; Emerson said this was so as their previous albums had not featured them.
After the heavily distorted bass and doomsday church organ of Emerson, Lake & Palmer's debut album, the exhilarating prog rock of epic proportions on Tarkus, and the violent removal of the sacred aura of classical tunes on Pictures at an Exhibition, Trilogy, ELP's fourth album, features the trio settling down in more crowd-pleasing pastures. Actually, the group was gaining in maturity what they lost in raw energy. Every track on this album has been carefully thought, arranged, and performed to perfection, a process that also included some form of sterilization. Greg Lake's acoustic ballad "From the Beginning" put the group on the charts for a second time. The adaptation of Aaron Copland's "Hoedown" also yielded a crowd-pleaser. Prog rock fans had to satisfy themselves with the three-part "The Endless Enigma" and "Trilogy," both very strong but paced compositions. By 1972, Eddie Offord's recording and producing techniques had reached a peak. He provided a lush, comfy finish to the album that made it particularly suited for living-room listening and the FM airwaves.
Greg Lake considered "Trilogy" ELP's masterpiece and he isn't to far off in that assessment. "Trilogy" demonstrates a maturity to their work. While there's a bit less fire here compared to some of their previous albums (or the live performances), the songwriting demonstrates a new level of depth.
Tracks Listing
1. The Endless Enigma (Part One) (6:42)
2. Fugue (1:57)
3. The Endless Enigma (Part Two) (2:05)
4. From The Beginning (4:17)
5. The Sheriff (3:23)
6. Hoedown (Taken from Rodeo) {Aaron Copland, arranged by E, L & P} (3:47)
7. Trilogy (8:54)
8. Living Sin (3:14)
9. Abaddon's Bolero (8:08)
Total Time: 42:29
Line-up / Musicians
- Greg Lake / vocals, bass, electric & acoustic guitars, addit. keyboards (9), lyricist & producer
- Keith Emerson / grand piano, Hammond C3, synths (Moog IIIC & Mini Moog model D), zukra (1)
- Carl Palmer / drums, percussion
Trilogy increased ELP's worldwide popularity, and included "Hoedown", an arrangement of the Aaron Copland composition, which was one of their most popular songs when performing live.
References to a quad version of this album appeared in 1974 Harrison or Schwann record and tape guides, listing Trilogy in the Quadraphonic 8-track tape cartridge format. Collectors report never seeing a Trilogy Q8 at retail, despite its having a catalogue number "Cotillion QT-9903."
In September 1971, the band took a break in their summer North American tour promoting Tarkus (1971) and Pictures at an Exhibition (1971) to record new material for their next studio album. In a May 1972 magazine report, the album had yet to have a title. Emerson was pleased with the album after it was completed, noting its varied and difference in style to Tarkus.
The artwork was designed by Hipgnosis. Spanish artist Salvador Dalí was approached to design it, but he requested $50,000 to do it and was subsequently turned down. The front cover depicts each of the band members' faces; Emerson said this was so as their previous albums had not featured them.
After the heavily distorted bass and doomsday church organ of Emerson, Lake & Palmer's debut album, the exhilarating prog rock of epic proportions on Tarkus, and the violent removal of the sacred aura of classical tunes on Pictures at an Exhibition, Trilogy, ELP's fourth album, features the trio settling down in more crowd-pleasing pastures. Actually, the group was gaining in maturity what they lost in raw energy. Every track on this album has been carefully thought, arranged, and performed to perfection, a process that also included some form of sterilization. Greg Lake's acoustic ballad "From the Beginning" put the group on the charts for a second time. The adaptation of Aaron Copland's "Hoedown" also yielded a crowd-pleaser. Prog rock fans had to satisfy themselves with the three-part "The Endless Enigma" and "Trilogy," both very strong but paced compositions. By 1972, Eddie Offord's recording and producing techniques had reached a peak. He provided a lush, comfy finish to the album that made it particularly suited for living-room listening and the FM airwaves.
Greg Lake considered "Trilogy" ELP's masterpiece and he isn't to far off in that assessment. "Trilogy" demonstrates a maturity to their work. While there's a bit less fire here compared to some of their previous albums (or the live performances), the songwriting demonstrates a new level of depth.
Tracks Listing
1. The Endless Enigma (Part One) (6:42)
2. Fugue (1:57)
3. The Endless Enigma (Part Two) (2:05)
4. From The Beginning (4:17)
5. The Sheriff (3:23)
6. Hoedown (Taken from Rodeo) {Aaron Copland, arranged by E, L & P} (3:47)
7. Trilogy (8:54)
8. Living Sin (3:14)
9. Abaddon's Bolero (8:08)
Total Time: 42:29
Line-up / Musicians
- Greg Lake / vocals, bass, electric & acoustic guitars, addit. keyboards (9), lyricist & producer
- Keith Emerson / grand piano, Hammond C3, synths (Moog IIIC & Mini Moog model D), zukra (1)
- Carl Palmer / drums, percussion
Thursday, August 1, 2019
Joe Henderson - 1981 [1993] "Relaxin' at Camarillo"
Relaxin' at Camarillo is an album by American jazz saxophonist Joe Henderson recorded in 1979 and released on the Contemporary label.
Henderson had been doing quality work for years on numerous independent and foreign labels, and 1979's Relaxin' at Camarillo, is just one among many examples of that. There are five selections, only one less than eight minutes long, with the usual Henderson attributes: full, deep tone, keen ideas, and an ability to sweep through registers and across octaves with ease. Chick Corea made an excellent partner, playing with none of the self-consciousness that crops up repeatedly in his fusion and electric fare. Bassists and drummers were interchangeable, although you can certainly tell Tony Williams from Peter Erskine (and that's no knock on Erskine).
Joe in his good mood is receiving a packet in velvet and lace, indigo-blue and tomato-red. Gets in the vanes and the bones, gets in, good for relaxing, working, cardriving and...saying it to someone.., it all is there, yeah. Muscular, straight ahead Joe like I've never heard him before. met him back in days of my military career in Norfolk, Virgia where he was playing. Like its title, this album is really the one to listen to if you want to relax. joe henderson's version of my one and only love is simply beautiful and the rest of the album are just equally great.
Joe Henderson's Relaxin' at Camarillo I recommend, not only for Joe Henderson's tenor saxophone playing, he is one of my favourites, but Chick Corea's piano playing, interpreting the lone Joe Henderson composition, first cut on the album, as if he wrote it himself and of course on the two Corea wrote for this album, his playing stands out. Charlie Parker and George Gershwin composed the other two tracks making five enjoyable compositions. Henderson and Corea are great musicians but Tony Williams on drums (on some tracks its Peter Erskine) is always welcome by me. Richard Davis and Tony Dumas take turns on bass.
FANTASTIC SAXOPHONE RECORD! On here Joe Henderson is every bit as good as Sonny Rollings, Dexter Gordon and other all time great saxophonists. He reminds me of John Coltrane before he went Free Jazz (ca. My Favorite Things Album). There is also an excellent backing band supporting him. (chick corea not only plays the piano but also wrote two of the songs here).
https://jazz-rock-fusion-guitar.blogspot.com/search?q=joe+henderson
Track listing:
"Y Todavia la Quiero" (Joe Henderson) – 11:42
"My One and Only Love" (Robert Mellin, Guy Wood) – 9:59
"Crimson Lake" (Chick Corea) – 5:26
"Yes, My Dear" (Corea) – 8:44
"Relaxin' at Camarillo" (Charlie Parker) – 9:21
Personnel:
Joe Henderson - tenor saxophone
Chick Corea - piano
Tony Dumas - Bass (tracks 1, 2, 5)
Richard Davis - Bass (tracks 3, 4)
Peter Erskine - Drums (tracks 1, 2, 5)
Tony Williams - Drums (tracks 3, 4)
Henderson had been doing quality work for years on numerous independent and foreign labels, and 1979's Relaxin' at Camarillo, is just one among many examples of that. There are five selections, only one less than eight minutes long, with the usual Henderson attributes: full, deep tone, keen ideas, and an ability to sweep through registers and across octaves with ease. Chick Corea made an excellent partner, playing with none of the self-consciousness that crops up repeatedly in his fusion and electric fare. Bassists and drummers were interchangeable, although you can certainly tell Tony Williams from Peter Erskine (and that's no knock on Erskine).
Joe in his good mood is receiving a packet in velvet and lace, indigo-blue and tomato-red. Gets in the vanes and the bones, gets in, good for relaxing, working, cardriving and...saying it to someone.., it all is there, yeah. Muscular, straight ahead Joe like I've never heard him before. met him back in days of my military career in Norfolk, Virgia where he was playing. Like its title, this album is really the one to listen to if you want to relax. joe henderson's version of my one and only love is simply beautiful and the rest of the album are just equally great.
Joe Henderson's Relaxin' at Camarillo I recommend, not only for Joe Henderson's tenor saxophone playing, he is one of my favourites, but Chick Corea's piano playing, interpreting the lone Joe Henderson composition, first cut on the album, as if he wrote it himself and of course on the two Corea wrote for this album, his playing stands out. Charlie Parker and George Gershwin composed the other two tracks making five enjoyable compositions. Henderson and Corea are great musicians but Tony Williams on drums (on some tracks its Peter Erskine) is always welcome by me. Richard Davis and Tony Dumas take turns on bass.
FANTASTIC SAXOPHONE RECORD! On here Joe Henderson is every bit as good as Sonny Rollings, Dexter Gordon and other all time great saxophonists. He reminds me of John Coltrane before he went Free Jazz (ca. My Favorite Things Album). There is also an excellent backing band supporting him. (chick corea not only plays the piano but also wrote two of the songs here).
https://jazz-rock-fusion-guitar.blogspot.com/search?q=joe+henderson
Track listing:
"Y Todavia la Quiero" (Joe Henderson) – 11:42
"My One and Only Love" (Robert Mellin, Guy Wood) – 9:59
"Crimson Lake" (Chick Corea) – 5:26
"Yes, My Dear" (Corea) – 8:44
"Relaxin' at Camarillo" (Charlie Parker) – 9:21
Personnel:
Joe Henderson - tenor saxophone
Chick Corea - piano
Tony Dumas - Bass (tracks 1, 2, 5)
Richard Davis - Bass (tracks 3, 4)
Peter Erskine - Drums (tracks 1, 2, 5)
Tony Williams - Drums (tracks 3, 4)
Sunday, July 28, 2019
King Crimson - 2016 "Collectors' Club - Mainichi Hall, Osaka Japan 12.13.1981"
Limited live release from the art/prog rock icons' Collectors Club
series. This set was recorded on December 13, 1981 in Osaka, Japan. King
Crimson formed in London in 1968. The band has undergone numerous
formations throughout it's history of which 21 musicians have been
members. Robert Fripp is the only consistent member of the group, and is
considered the band's leader and driving force. The band has earned a
large cult following. Developed from the unsuccessful trio Giles, Giles
and Fripp, the band were seminal in the progressive rock genre in it's
first five years with it's standard of instrumentation and complex song
structures. King Crimson's debut album, In the Court of the Crimson King
(1969), remains it's most successful and influential, with it's
elements of jazz, classical, and experimental music. Their success
increased following an opening act performance for The Rolling Stones at
Hyde Park, London, in 1969. The group reached a new creative peak with
Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red
(1974). Fripp has dismantled and reformed the band throughout the
years. Their early '80s recordings introduced them to an entirely new
audience.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=king+crimson
Track listing:
01 Discipline
02 Thela Hun Ginjeet
03 Red
04 Matte Kudasai
05 The Sheltering Sky
06 Frame By Frame
07 Neal And Jack And Me
08 Manhattan
09 Elephant Talk
10 Indiscipline
11 Larks’ Tongues In Aspic Part II
Personnel:
Robert Fripp - Guitar
Adrian Belew - Guitar, Vocal
Tony Levin - Bass, Chapman Stick
Bill Bruford - Drums
https://jazz-rock-fusion-guitar.blogspot.com/search?q=king+crimson
Track listing:
01 Discipline
02 Thela Hun Ginjeet
03 Red
04 Matte Kudasai
05 The Sheltering Sky
06 Frame By Frame
07 Neal And Jack And Me
08 Manhattan
09 Elephant Talk
10 Indiscipline
11 Larks’ Tongues In Aspic Part II
Personnel:
Robert Fripp - Guitar
Adrian Belew - Guitar, Vocal
Tony Levin - Bass, Chapman Stick
Bill Bruford - Drums
Saturday, July 27, 2019
Bill Bruford with Ralph Towner & Eddie Gomez - 1997 "If Summer Had Its Ghosts"
On If Summer Had Its Ghosts, a primarily acoustic trio recording, drummer Bill Bruford, bassist Eddie Gómez, and pianist/guitarist Ralph Towner create some lush, wondrous, spontaneous and melodic music. It has jazz roots, improvisational branches, and elfin extensions. There's no gimmickry or pretension, although Bruford does add some sampled colors, and Towner overdubs his instruments as well as throwing in a pinch of electronic keyboards. What you basically hear is Bruford's newest and freshest music, interpreted and extrapolated upon by three virtuosos in mellifluous interactive conversation. At their most swinging, as on the lively, four/four, tick-tock, light rimshot, mid-tempo swing of the title track, they are telepathic, with Towner effortlessly switching from acoustic 12-string to piano and Gómez laying down soulful, full, deep bass punctuations. In a more ethnocentric bag, Bruford samples mbira for the folk-ish "Thistledown," Indonesian bells for the minimalistic, dancing "Splendor Among Shadows," and clay pots for "Silent Pool"; Towner emulates Peruvian wooden pan flutes on his synth for "The Ballad of Vilcabamba," replete with ostinato bass and quiet electronic handclaps. The drummer pays homage to Joe Morello's classic five/four "Take Five" drum solo on "Some Other Time" (not the standard) with an accent on the fourth beat, while slowly grooving in six/eight on the ballad "Forgiveness." "Never the Same Way Once" (an old Shelly Manne adage) is the showstopper, a time-shifting, bluesy, swing to bop and back again rhythm with the spritely Chick Corea-like piano-guitar melody that is completely unpredictable and delightful. It reflects an easygoing, loose, carefree attitude that defines this entire session. If summer really does have its ghosts, they would evoke echoes of spring, full of renewal, hope, and joyful anticipation. It is that spirit with which this music is made, and it is some of greatest music, collectively or otherwise, that these three have conjured in their lengthy, storied careers.
Here's yet another excellent album among many Bill Bruford has been associated with. He's the only ex-member of Yes to have produced consistently high-quality work for the past 30 years. Bruford may not have the super-chops of a Colaiuta, Weckl or Gadd but he's more clever than all of them. Far from being "out-of-his-league" as another reviewer suggests, he creates his own league and unique field of play for his formidable accomplices. He could easily try to show off with flash or worse yet try to play like a typical jazz drummer and have this record sound like so many hundreds of others and put all the pressure on Towner to make it work. Instead he penetrates these tunes like a Swiss watch that can melt and bend as in a Dali painting. Bruford sticks firmly to his calculated and finely-tuned un-loose style but this is the restraint he needs to slowly unwind his drumming art besides providing a unique strict-timed background for Towner and Gomez, especially Towner to feed off. This makes the record sound 'one-of-a-kind,' a perfect fusion and blend of styles rather than tied to any one discipline. All that wouldn't matter if the compositions weren't excellent and here you have them. Every track is a great piece played with consummate skill by all three players with just the right amount of looseness and improvisation to maximize its potential, if not quite maximizing it to the transcendent masterpiece level you might hear on Towner's "Solstice." The last track is kind of out-of-place with the rest of the material and a bit more rock-oriented and closer to the late-70s Bruford-Band material but still a fun listen and nice way to close the album with a bit of a bang. The sound quality on the album is way above the average and on par with ECM recordings although without the often suffocating sameness of high quality recording you hear on some of the ECM albums.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=bill+bruford
Track listing:
01 If Summer Had Its Ghosts 6:20
02 Never The Same Way Once 5:04
03 Forgiveness 5:15
04 Somersaults 3:27
05 Thistledown 4:11
06 The Ballad Of Vilcabamba 5:00
07 Amethyst (For Carmen) 4:18
08 Splendour Among Shadows 4:52
09 Some Other Time 3:01
10 Silent Pool 3:35
11 Now Is The Next Time 4:03
Personnel:
Bill Bruford - Drums, Percussion
Eddie Gomez - Bass
Ralph Towner - Twelve-String Guitar, Classical Guitar, Piano, Keyboards [Electronic Keyboards]
Here's yet another excellent album among many Bill Bruford has been associated with. He's the only ex-member of Yes to have produced consistently high-quality work for the past 30 years. Bruford may not have the super-chops of a Colaiuta, Weckl or Gadd but he's more clever than all of them. Far from being "out-of-his-league" as another reviewer suggests, he creates his own league and unique field of play for his formidable accomplices. He could easily try to show off with flash or worse yet try to play like a typical jazz drummer and have this record sound like so many hundreds of others and put all the pressure on Towner to make it work. Instead he penetrates these tunes like a Swiss watch that can melt and bend as in a Dali painting. Bruford sticks firmly to his calculated and finely-tuned un-loose style but this is the restraint he needs to slowly unwind his drumming art besides providing a unique strict-timed background for Towner and Gomez, especially Towner to feed off. This makes the record sound 'one-of-a-kind,' a perfect fusion and blend of styles rather than tied to any one discipline. All that wouldn't matter if the compositions weren't excellent and here you have them. Every track is a great piece played with consummate skill by all three players with just the right amount of looseness and improvisation to maximize its potential, if not quite maximizing it to the transcendent masterpiece level you might hear on Towner's "Solstice." The last track is kind of out-of-place with the rest of the material and a bit more rock-oriented and closer to the late-70s Bruford-Band material but still a fun listen and nice way to close the album with a bit of a bang. The sound quality on the album is way above the average and on par with ECM recordings although without the often suffocating sameness of high quality recording you hear on some of the ECM albums.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=bill+bruford
Track listing:
01 If Summer Had Its Ghosts 6:20
02 Never The Same Way Once 5:04
03 Forgiveness 5:15
04 Somersaults 3:27
05 Thistledown 4:11
06 The Ballad Of Vilcabamba 5:00
07 Amethyst (For Carmen) 4:18
08 Splendour Among Shadows 4:52
09 Some Other Time 3:01
10 Silent Pool 3:35
11 Now Is The Next Time 4:03
Personnel:
Bill Bruford - Drums, Percussion
Eddie Gomez - Bass
Ralph Towner - Twelve-String Guitar, Classical Guitar, Piano, Keyboards [Electronic Keyboards]
Sunday, July 21, 2019
Brian Bromberg - 2004 "Choices"
In his career, Brian Bromberg has recorded bop, fusion, and smooth with equal fluency and creativity on acoustic and electric basses. Choices is somewhat commercial, with funky rhythms, R&B-ish solos, and fade-outs. In general, the solos are more memorable than Bromberg's originals and grooves. While the material is mostly routine, the improvisations of Bromberg and altoist Eric Marienthal are excellent and the musicianship is impressive. But no real surprises occur, making this a lesser and generally easy listening effort by the hugely talented Brian Bromberg.
If you are a fan of bassist jazz then this CD is a superb example of contemporary jazz at its bassiest... Simply put this CD is a rare gem. I was unfamilar with Brian Bromberg, but now I'm an instant fan.. There also are some excellent contributions from some perhaps more popular jazz artists, but Brian stands on his own. This CD should be a part of every Comtemporary jazz fan's collection. How does such good music go underplayed or overlooked... I'd love to see Brain in concert Defintely will check out the rest of his catalog.. I'm hooked.
One of my favorite CDs. A real surprise, this one. Heard a song from it on the radio and took a shot-wow am I glad I did! This guy is now my favorite bass player. You know what you hear is a guitar but don't be too sure what kind, it's just incredible. Everyone I've played it for can't believe their ears. Modern jazz/fusion at its best.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=brian+bromberg
Track listing:
01 Never Give Up
02 Choices
03 Bobblehead
04 Snuggle Up
05 Relentless
06 B Squared
07 Why?
08 Bass Face
09 When I Look In Your Eyes
10 Lazy Afternoon
11 Audubon Park
12 Hear Our Cry
Personnel:
Brian Bromberg - Acoustic Piccolo Bass, Acoustic Bass, Tenor Bass
Jeff Lorber - Keyboards
Eric Marienthal - Alto Sax
Joel Taylor - Drums
Alex Acuna - Percussion
Tom Zink - Keyboards
Dave Kochanski - Keyboards
Gary Meek - Tenor Sax
Billy Armstrong - Trumpet (9)
Dave Ryan - Trombone
Dave Benoit - Piano (10)
Brian Culbertson - Piano (6)
Kelly Moneymaker, Roger Treece, Lisa Fischer - Vocals
David Bromberg - Drums (2)
Strings – Alwyn Wright (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Benedikt Fischer (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Erika Walczak (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Eugene Mechtovich (tracks: 1, 2, 5, 7, 9, 10, 12, 14), J' Anna Jacoby* (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Sarah O'Brien (tracks: 1, 2, 5, 7, 9, 10, 12, 14).
If you are a fan of bassist jazz then this CD is a superb example of contemporary jazz at its bassiest... Simply put this CD is a rare gem. I was unfamilar with Brian Bromberg, but now I'm an instant fan.. There also are some excellent contributions from some perhaps more popular jazz artists, but Brian stands on his own. This CD should be a part of every Comtemporary jazz fan's collection. How does such good music go underplayed or overlooked... I'd love to see Brain in concert Defintely will check out the rest of his catalog.. I'm hooked.
One of my favorite CDs. A real surprise, this one. Heard a song from it on the radio and took a shot-wow am I glad I did! This guy is now my favorite bass player. You know what you hear is a guitar but don't be too sure what kind, it's just incredible. Everyone I've played it for can't believe their ears. Modern jazz/fusion at its best.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=brian+bromberg
Track listing:
01 Never Give Up
02 Choices
03 Bobblehead
04 Snuggle Up
05 Relentless
06 B Squared
07 Why?
08 Bass Face
09 When I Look In Your Eyes
10 Lazy Afternoon
11 Audubon Park
12 Hear Our Cry
Personnel:
Brian Bromberg - Acoustic Piccolo Bass, Acoustic Bass, Tenor Bass
Jeff Lorber - Keyboards
Eric Marienthal - Alto Sax
Joel Taylor - Drums
Alex Acuna - Percussion
Tom Zink - Keyboards
Dave Kochanski - Keyboards
Gary Meek - Tenor Sax
Billy Armstrong - Trumpet (9)
Dave Ryan - Trombone
Dave Benoit - Piano (10)
Brian Culbertson - Piano (6)
Kelly Moneymaker, Roger Treece, Lisa Fischer - Vocals
David Bromberg - Drums (2)
Strings – Alwyn Wright (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Benedikt Fischer (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Erika Walczak (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Eugene Mechtovich (tracks: 1, 2, 5, 7, 9, 10, 12, 14), J' Anna Jacoby* (tracks: 1, 2, 5, 7, 9, 10, 12, 14), Sarah O'Brien (tracks: 1, 2, 5, 7, 9, 10, 12, 14).
Michael Brecker - 1987 "Michael Brecker"
Michael Brecker is the debut album by American saxophonist Michael Brecker. It was released on the Impulse! record label in 1987.
Although he had been a major tenor saxophonist in the studios for nearly 20 years and was quite popular for his work with the Brecker Brothers, this MCA/Impulse set was Michael Brecker's first as a leader. Playing in a quintet with guitarist Pat Metheny, keyboardist Kenny Kirkland, bassist Charlie Haden, and drummer Jack DeJohnette, Brecker performs three of his originals, two by producer Don Grolnick, and Mike Stern's "Choices." The music in general is straight-ahead but far from predictable; the tricky material really challenges the musicians and Michael Brecker is in consistently brilliant form, constantly stretching himself. Highly recommended.
I had this record on vinyl when it came out in 1986. Just added it to my collection on disc and it has me wondering where I've been all this time. This was the first solo release by Brecker, and he can only be termed a GIANT of the tenor sax. I saw him live four or five times, and all his genius is on display here. So sorry to say that Brecker succumbed to cancer last year, and that brilliant pianist Kenny Kirkland, who is all over this record, succumbed to a heroin overdose in 1998. The musicians, also including guitarist Pat Metheny and drummer Jack DeJohnette, are uniformly stupendous on this record, but more than that, the compositions are simply inventive jazz genius. Curious about jazz? Want to check out a great saxophone record? BUY IT. Robert Orme.
A truly unbelievable album - wow! And what a band - Methemy, Haden, Dejohnette, Kirkland.. every piece is exceptional. And Cost of Living - my favorite - powerful! MJJ.
I hadn't heard this recording in a long while and lost sight of how awesome a player Michael Brecker was. This is one of the best examples of a recording that is simultaneously contemporary and tradition-rooted. It still sounds as special as it did when I walked in a record store and stopped in my tracks to listen to the entire recording. Alan R.
Michael Brecker's Tenor playing is so rich and warm. His speed and clarity are extraordinary.
The line up on this album top notch. It is really a "best of the best" with Jack de Johnette on Drums, Charlie Haden on Bass, Kenny Kirland on Piano and Pat Metheny on Guitar. I always enjoy Jack de Johnette's fast and sweet drumming; a particular feature on the album for me. The entire group is really "tight" and it is really impossible to say anyone is better than the other. It works!
I enjoyed a very interesting rendition of "My One and Only Love" which is on Track 7. On this track there is a solo by Pat Metheny that is sublime. Track 5 The Cost Of Living is a slower number, but is a nice change of pace that is well performed and allows Charlie Haden to shine.
This is a terrific album. It showcases Michael Brecker's virtuoso sound. Frizzante.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=michael+brecker
Track listing:
1. "Sea Glass" (Michael Brecker) 5:49
2. "Syzygy" (Brecker) 9:44
3. "Choices" (Mike Stern) 8:06
4. "Nothing Personal" (Don Grolnick) 5:29
5. "The Cost of Living" (Grolnick) 9:04
6. "Original Rays" (Brecker, Grolnick, Stern) 9:04
7. "My One and Only Love" (Robert Mellin, Guy Wood) 8:16
Total length: 53:02
Personnel:
Michael Brecker – tenor saxophone, EWI
Pat Metheny – guitar
Kenny Kirkland – keyboards
Charlie Haden – double bass
Jack DeJohnette – drums
Although he had been a major tenor saxophonist in the studios for nearly 20 years and was quite popular for his work with the Brecker Brothers, this MCA/Impulse set was Michael Brecker's first as a leader. Playing in a quintet with guitarist Pat Metheny, keyboardist Kenny Kirkland, bassist Charlie Haden, and drummer Jack DeJohnette, Brecker performs three of his originals, two by producer Don Grolnick, and Mike Stern's "Choices." The music in general is straight-ahead but far from predictable; the tricky material really challenges the musicians and Michael Brecker is in consistently brilliant form, constantly stretching himself. Highly recommended.
I had this record on vinyl when it came out in 1986. Just added it to my collection on disc and it has me wondering where I've been all this time. This was the first solo release by Brecker, and he can only be termed a GIANT of the tenor sax. I saw him live four or five times, and all his genius is on display here. So sorry to say that Brecker succumbed to cancer last year, and that brilliant pianist Kenny Kirkland, who is all over this record, succumbed to a heroin overdose in 1998. The musicians, also including guitarist Pat Metheny and drummer Jack DeJohnette, are uniformly stupendous on this record, but more than that, the compositions are simply inventive jazz genius. Curious about jazz? Want to check out a great saxophone record? BUY IT. Robert Orme.
A truly unbelievable album - wow! And what a band - Methemy, Haden, Dejohnette, Kirkland.. every piece is exceptional. And Cost of Living - my favorite - powerful! MJJ.
I hadn't heard this recording in a long while and lost sight of how awesome a player Michael Brecker was. This is one of the best examples of a recording that is simultaneously contemporary and tradition-rooted. It still sounds as special as it did when I walked in a record store and stopped in my tracks to listen to the entire recording. Alan R.
Michael Brecker's Tenor playing is so rich and warm. His speed and clarity are extraordinary.
The line up on this album top notch. It is really a "best of the best" with Jack de Johnette on Drums, Charlie Haden on Bass, Kenny Kirland on Piano and Pat Metheny on Guitar. I always enjoy Jack de Johnette's fast and sweet drumming; a particular feature on the album for me. The entire group is really "tight" and it is really impossible to say anyone is better than the other. It works!
I enjoyed a very interesting rendition of "My One and Only Love" which is on Track 7. On this track there is a solo by Pat Metheny that is sublime. Track 5 The Cost Of Living is a slower number, but is a nice change of pace that is well performed and allows Charlie Haden to shine.
This is a terrific album. It showcases Michael Brecker's virtuoso sound. Frizzante.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=michael+brecker
Track listing:
1. "Sea Glass" (Michael Brecker) 5:49
2. "Syzygy" (Brecker) 9:44
3. "Choices" (Mike Stern) 8:06
4. "Nothing Personal" (Don Grolnick) 5:29
5. "The Cost of Living" (Grolnick) 9:04
6. "Original Rays" (Brecker, Grolnick, Stern) 9:04
7. "My One and Only Love" (Robert Mellin, Guy Wood) 8:16
Total length: 53:02
Personnel:
Michael Brecker – tenor saxophone, EWI
Pat Metheny – guitar
Kenny Kirkland – keyboards
Charlie Haden – double bass
Jack DeJohnette – drums
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