Tuesday, November 30, 2010

Anthony Crawford: Urban Jazz (2010)

Born June 29 1981, Anthony Crawford was raised in a family of talented musicians. His father, funk and rock drummer, Hubert (H bomb) Crawford, has played with notable greats like James Brown, Mother's Finest, Mark Farner of the Grandfunk Railroad, The Bar-Kays, and then the original drummer for the Eric Gales Band, while his uncle is the legendary jazz saxophonist, Hank Crawford. With such strong musical influences in his life, Anthony began playing the drums at the tender age of 2.
It was not until Anthony reached his 12th birthday that he finally picked up the bass for the very first time. He knew, just at that moment that he was meant to be a bass player. He walked away from the drums, never looked back, and began practicing the bass night and day. When Anthony was 14, he began playing with his father and has set in with the Bette Midler Band. As a freshman in high school, he then met Derrick Dean, keyboardist, and Trevor Taylor, drummer. The trio soon became good friends and decided to form a band. Together they performed at church and for a variety of Memphis community choirs. Through these experiences, Anthony was introduced to many forms of jazz and musical genres.
Anthony began playing with the legendary R&B group Shalmar in 2004, and shortly after with Howard Hewett. He also performed with Justin Timberlake. Then he met jazz saxophonist, Kirk Whalum. Together the pair performed a few shows and collaborated to create the music for a movie commentary filmed in South Africa.
Anthony Crawford is a notable up and coming bassist inspiring generations to come with his unprecedented, eclectic musical talents. Album Urban Jazz is a rare mixture of musical genres including pop, funk, fusion, hip-hop and smooth listening.
01. Windy Days 6:29
02. Play 4 Me 3:48
03. Don't Stop The Music 4:13
04. You're All That I Need 4:31
05. Satisfied 4:19
06. Giant Steps 1:36
07. Next Phase 5:05
08. Conspiracy Theory 2:00
09. A Melody For U 4:59
10. Rhythm Unified 3:39
11. What 5:04
Urban Jazz
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Chris Brisciano: Second Take (2009)

A brand new band out of Kansas City, I do believe that this group hit it on the head on their very first try & did an excellent job.
The title track kicks off the CD with an up-tempo, moving piece that features a nice solo by saxophonist Steve Phillips. In fact the whole band gets into the groove on this one. " "E" Jam" is another groove with a memorable hook line through out which reminds me of an old Max Groove (Kansas City native) tune "Midnight Rain." "Road To Damascus" is a very up-tempo song that has the band clicking on all cylinders with the saxophone as the lead. "Mustard Seed" lets the guitar player, Chris Brisciano share the spotlight with Phillips on this tasty track. The band shows its versatility with a straight-ahead piece appropriately called "The Standard" and a Gospel feel good tune, "Blessed Assurance."
Playing this CD on the radio got instant reaction on the phones wanting to know more. Check it out, you'll be glad you did. It's better than most of the material I receive.
01. Second Take (4:12)
02. "E" Jam * (3:48)
03. eDrive (4:53)
04. Amen (3:34)
05. Cocoa * (3:52)
06. Burrito (3:55)
07. Jambourine (5:22)
08. Daily Grind (3:45)
09. Fro (3:59)
10. Rising In The East (4:10)
11. Road To Damascus (3:45)
12. Slammin' The Groove (4:02)
Chris Brisciano - Keys/Guitar
Steve Phillips - Sax
Rod Lincoln - Drums
Dave Weckl * - Drums
James Albright - Bass
Second Take
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Monday, November 29, 2010

Doug Johns: Stank (2010)

Doug's raw presence, energy, and all-around crowd-wowing prowess can be heard on numerous recordings and stages. Believing that a good musician surrounds himself with great musicians, Doug has had the privilege of working with such icons as Victor Wooten, Buddy Miles, Chuck Rainey, Dana Rasch, The LA Mass Choir, Grammy winning producer Aaron Lindsey, Steve Smith, and many others.
The culmination of these musical experiences led him to his first critically acclaimed solo CD, Doug Johns, released in 2006. Doug followed up his very well-received solo debut with his 2008 release, "Pocket Fulla Nasty,” and received an outstanding reaction from the bass community, as well as catching the ear of the general public very quickly. Bass Player Magazine on Johns: “One of the most credit–deserving bass virtuosos in America…it’s his inventiveness that’s consistently compelling.”
Doug's newest release, Stank (October 2010), brings ten stank-funk tunes with returning artists Oz Noy, Kenny Anderson, Otmaro Ruiz and drummer extraordinaire, Chris Ceja. With fat slammin' horns, intimate, artful composition and beautiful solo bass, this latest collection is a strong, healthy dose of groove for your soul. Doug Johns and company are definitely guilty of the old adage: Put some Stank on it!
Doug can also be seen on national stages with his two-man project, the Doug Johns Duo, featuring drummer Chris Ceja. In addition to numerous clubs, clinics, and festival bookings, also look for Doug playing such events as BassQuake, Bass Player Live, Bass Slam and BassBash with a host of other stellar bassists.
01. Bird's Back Yard (4:32)
02. Booty Time (3:49)
03. Funk Tree (5:18)
04. Namaste (3:48)
05. Summer Song (4:28)
06. Satchmo (4:01)
07. The Red (4:06)
08. Up The Funk (4:03)
09. Stank (4:10)
10. With You In Mind (3:47)
Doug Johns - Bass
Chris Ceja - Drums
Kenny Anderson - Soprano/Alto/Tenor/Baritone Sax/Flute
Utah Witherspoon - Vocals
Joe Miller - Trumpet
Otmaro Ruiz - Piano/Synth
Oz Noy - Guitar
Brian Davidson - Guitar
Mark Leach - Hammond
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Sunday, November 28, 2010

Ariya Astrobeat Arkestra: ST (2010)

The Ariya Astrobeat Arkestra formed in late 2007 when members of the Kidkanevil live show and First Word stalwarts Homecut began a series of late night afrobeat sessions at Leeds’ Sela Bar. It was out of these jam sessions that The Ariya Astrobeat Arkestra was born, combining their love of afrobeat with their appreciation of the space jazz pioneers of the 70’s and the free jazz trailblazers of the 60’s, coupled with a hefty nod towards James Brown. Individually they have been lucky enough to Perform with the likes of Yarah Bravo, Gilad Atzmon, Jehst, The New Mastersounds, The Haggis horns, Kidkanevil, Homecut, Kissey Asplund and Ty, to name a few.
More info: http://www.myspace.com/
1. African Kings (7:24)
2. Put Leg To Road (5:34)
3. Sankofa Feat. Testament (7:33)
4. Re-Education, Mis-Education (7:14)
5. Big Grammar (4:07)
6. Body No Be Firewood (5:50)
7. Conflict Arise Feat Shara Meek (4:58)
8. Crosstown Traffic (4:06)
9. Lost In Kinshasa (7:26)
10. Same Same (12:34)
Ariya Astrobeat Arkestra
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Saturday, November 27, 2010

Steve Lukather and Edgar Winter: An Odd Couple Live (2010)

Some called it the coming together of two musical giants, others the pairing of an odd couple. Fact is that when Steve Lukather and Edgar Winter, two extraordinary musicians, with more differences than similarities, both with a distinctive style, came together on stage at the North Sea Festival in 2000, they had already achieved near-legendary status during the course of their own individual careers. The odd couple dipped into each other's repertoire; performing Winter's "Fly Away" and "Frankenstein", with breathtaking guitar highlights on some Lukather-penned tracks, exemplified by "Song For Jeff", his tribute to deceased Toto - drummer Jeff Porcaro.
1. Smell Yourself
2. Texas
3. Song For Jeff
4. Redhouse
5. Fly Away
6. Rock Medley: Johnny B. Goode / Whole Lotta Shakin' Going On / Long Tall Sally
7. Tobacco Road
8. Frankenstein
Odd Couple Live
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David Sanborn: As We Speak (1982)

It was about this time in his career that one sensed David Sanborn was getting a bit tired of the formula he was using on his records. However, his great popularity kept him from changing direction much. As usual, the highly influential altoist blows his heart out over a lot of funky rhythms on As We Speak, but surprisingly, he switches to his less notable soprano on four of the nine tunes. Bassist Marcus Miller is a key force in the background, leading the expanded rhythm sections through some pop-oriented material that is appealing but not too substantial. ~ Scott Yanow
01. Port Of Call 04:28
02. Better Believe It 03:31
03. Rush Hour 04:43
04. Over And Over 04:12
05. Back Again 03:52
06. As We Speak 04:17
07. Straight To The Heart 03:26
08. Rain On Christmas 04:47
09. Love Will Come Some Day 06:17
Personnel: David Sanborn (soprano & alto saxophones); Michael Sembello (vocals, guitar); Bill Evans (saxophone); Robert A. Martin (French horn); Bob Mintzer (bass clarinet); Spike (IRT strings, synthesizer); James "Sugar Bear" Skelton (Hammond B-3 organ); George Duke (Clavinet); Don Freeman (keyboards, synthesizer); Marcus Miller (synthesizer, bass); Lance Ong (synthesizer); Buzz Feiten (guitar); Omar Hakim (drums, tambourine); Malando Gassama, Paulinho Da Costa (percussion); Cruz Baca Sembello (background vocals).
As We Speak
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Friday, November 26, 2010

Nate White: So Beautiful (2006)

At the tender age of 16, Nate started playing his Bass Guitar, he went on to work with the popular 70’s group R.A.M.P. centered around onetime Spinners utility player John Manuel (drums) and Landy Shores (guitar), Saturday Night Special -- presumably named after Norman Connors' Reggie Lucas-written song of the same name -- played in and around its hometown of Cincinnati during 1975 and 1976, along with Nate White (bassist), Sibel Thrasher and Sharon Salter (vocals) bases live sets on reimagined versions of R&B hits that leaned toward sophisticated funk. RAMP’s remake of "Everybody Loves the Sunshine", has been sampled by numerous hip-hop artists including 'Queen Of Hip-Hop Soul', Mary J. Blige's multi-platinum, "My Life", "Wake Up (Reprise in the Sunshine)" by hip hop group, Brand Nubian, as well as "Amerykahn Promise", spun by Erykah Badu straight over RAMP’s obscure seventies funk track "American Promise." "Daylight", RAMP's most noted song is due to the sampling by A Tribe Called Quest for their mega hit 'Bonita Applebum', also appears on the high-selling video game Grand Theft Auto 4.
"Everybody Loves the Sunshine", "American Promise", and the acclaimed "Daylight" appeared on 1977's Come into Knowledge, an album which was recorded by RAMP, (sometimes known as Roy Ayers Musical Productions.)
The National Tour Dates and Billboard success has surely paid off. Mr. White, the producer, arranger, writer, and performer has opened up for: Kool & The Gang, Roy Ayers, and Grover Washington with his group "RAMP." Nate has also performed with many artist such as Michael Henderson, George Johnson of "The Brothers Johnson", Reggie & Vincent Calloway, and the Jazz Quartet "Gratitude". Nate’s current release titled "That’s The Way It Is", is surely a MUST HAVE for all music lover’s around the world. Nate is also planning a tour to follow.
01. Happy Days Ahead (6:05)
02. I Need You (5:17)
03. Salute to Moot (6:30)
04. Somewhere in Time (5:39)
05. I Feel You (3:16)
06. It's You I Desire (5:47)
07. South Beach (5:59)
08. So Beautiful (6:10)
09. Right Before Midnight (5:54)
10. Is This Love? (5:42)
11. Keep It Coming (5:40)
12. Traveler (5:18)
13. Lonely Nights (5:21)
14. Hello Mr. White (4:18)
So Beautiful
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Thursday, November 25, 2010

Didier Lockwood: Storyboard (1996)

Be prepared for something very exciting - "Storyboard" is a unique journey in Lockwood's penchant for fusion, free-jazz, ethnic and classical music. Finding musicians who master the same styles to its full, was probably a difficult exercise for the production team for "Storyteller". The choice of musicians was a bold choice, but not a surprising one. Didier Lockwood violin virtuosity has been undisputed since '70's, Joey DeFrancesco's dexterity on the Hammond B-3 organ (and trumpet) is widely known even within the fusion world through his collaborations with John McLaughlin & The Free Spirits, drummer Steve Gadd is perhaps the most versatile musician on the planet, James Genus are very familiar in nearly the majority of settings, both on acoustic bass and electric bass guitar, and if that was not enough, saxophonist Steve Wilson from Chick Corea's Origin is the disc's guest musician on both alto and soprano sax. The variety in styles of music through some obscure compositions and Lockwood self-penned melody options, makes this 71-minute CD is a listening experience of rare quality.
French cafe music tradition is a fundamental element of "Tableu d'une Composition", the beautiful ballad "Mathilde" conduct Lockwood / DeFranceso with elegant organ accompany behind string improvisations, "Storyboard" solo violin introduction recalls the "cold Nordic sound" before the fast hill-billy rhythms takes over and encouragement for dancing lessons are evident. Joey DeFrancesco is heard more often on the trumpet on several albums, and thank our Lord for that, because it sounds right nice on "Spirits Of The Forest" in interaction with the oriental-inspired free jazz playing from Lockwood, with his left hand firmly anchored on the upper manual on the B-3 organ for coloring with a "Larry Young" sound. On "Back to the Big Apple," a straight ahead post-bop tunes, we are experiencing hard swinging violin and alto saxophone in creative interaction. Hard to pick the best tune on this album since they are all great, but one highlight is "Serie B"; a moving slow tune where Lockwood uses the electric violin synthesizer sounds with great innovation. All the tunes on the album have its own story to tell through the five brilliant musicians in the ensemble. The recording sound and quality is excellent with an airy openness like we have on many ECM recordings, which is perfect balancing the the violin sound. Certainly the right accessible entry album to explore the music world of Didier Lockwood. My Lockwood journey has started with this great album. -- Terje Biringvad
1. Thought of a First Spring Day
2. Back to the Big Apple
3. En Quittant Kidonk
4. Mathilde
5. Tableau d’Une Exposition
6. “Series B”
7. Storyboard
8. Irremediablement
9. Spirits of the Forest
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Howland, Laug, Morrison, Pinnick and Babko: Won't Give Up (2010)

This is the long awaited follow up CD to the first HLMP CD released back in 2003. The band features guitarists Keith Howland and Chris Pinnick, both from different eras of the legendary band Chicago, Lance Morrison on bass (Alanis Morrisette, Don Henley), Matt Laug on drums (Alanis Morrisette, Slash), and Jeff Babko on keys (James Taylor, Toto, Jimmy Kimmel Band). The band was born back in 2003 when two guitarists sharing the same band (Chicago) were introduced by the band's guitar tech Hank Stieger. Keith and Chris hit it off immediately and decided to make a CD of all instrumental guitar songs. Keith enlisted the help of longtime friends Lance Morrison and Matt Laug on bass and drums. The result was "friendly competition" amongst the two guitarists and a live energy that is hard to miss.
Fast forward a few years and it felt like time to jump into another CD with the band. Jeff Babko originally had lent his keyboard services to the first record and had performed with the band on the "Live At The Baked Potato" CD. His contributions were so great that it warranted making him part of the "band" this time around. Thus the "B" in HLMP B was added. Jason Scheff, vocalist and bassist from the band Chicago offered his studio and production skills to the project and the stage was set. Once again, the rhythm section was tracked live, even with some of the solos and melodies making the final cut. Jeff Babko's keys are much more prominent on the new CD with REAL B3, Rhodes, and Whirly as well as great retro synth sounds throughout. The great Ray Herrmann (Brian Setzer Orchestra, Toto, Chicago) added some Tenor and Soprano sax, adding even more sonic diversity. The end result is a more "mature" offering from the band with much of the same energy of the original but with a wider range of textures and styles. The cut "Won't Give Up" was originally going to be an instrumental tune but Jeff's catchy riff just screamed for a vocal. As a result, the first vocal tune from the band was born. Chris Pinnick brought a concept song idea to the table in which each of the three soloists (Keith, Chris, Jeff) would compose a song over the same exact rhythm track that never deviates from a static F vamp. The result is three completely different songs with very different approaches. From the Dregs like opener "Berlin Wall" to the 70s retro tune "Say So" there is something for everyone here.
1. Berlin Wall (4:25)
2. Auntie Em (6:37)
3. Phonographic Spaceship (3:24)
4. Sydney Sizzles (4:00)
5. Don't Squeeze The Cha Cha (4:42)
6. The H Is Silent (5:20)
7. F Bomb (3:19)
8. Won't Give Up (5:40)
9. Say So (3:50)
10. KeefBomb (4:11)
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Anat Fort Trio: And If (2010)

Pianist Anat Fort's ECM debut, A Long Story (2007) may have featured her "dream team"—and was all the better for it—but there's something to be said for the comfort and chemistry of longtime collaborators. Bassist Gary Wang and drummer Roland Schneider may not have the cachet of Ed Schuller or Paul Motian, but having worked with the Israeli expat since 2004, they clearly get what she's about, making And If a fine follow-up to A Long Story that, in many ways, is even more indicative of Fort's intrinsic strengths and undeniable charm.
Motian's spirit continues to loom large. As on A Long Story, Fort uses two readings of the same song—in this case, the aptly titled "Paul Motian"—to bookend another set of original compositions. The drum icon's textural breadth and suggestive temporal elasticity imbue both takes, though Schneider's softly rolling toms lend a more orchestral feel to the opening version—his sticks foreshadowing the stronger trio performance to come—in contrast to his brushes on "Paul Motian (2)," which help close the album on a more gently conclusive note.
And If could only come from a group that has spent time together rehearsing and gigging. The neoclassical leaning of the buoyantly beautiful "Clouds Moving"—with stops and starts, shifting meters, and harmonic changes—transcends mere interpretation, placing greater demands with its more complex construction. Wang plays a purely supportive role, as Fort moves gradually towards greater extrapolation, always keeping her eye on the thematic ball and working in and around its relative confines. Some comparisons could be drawn to ECM label mate Ketil Bjørnstad, but Fort largely eschews the Norwegian pianist's rubato predilections for a more direct approach and different kind of freedom.
And If may possess more structural immediacy, but the album's longest track and positional centerpiece revisits A Long Story's "Something 'Bout Camels," proving Fort's working trio capable of looser, more open-ended contexts, albeit with less jagged angularity. Beginning in near-silence with Wang's delicate arco harmonics, a Middle Eastern-inflected modal vamp insistently builds to a soft climax, and a rare bass solo that ultimately comes full circle, as Wang returns to his bowed harmonics and a gradual fade to black. "If" follows; a miniature where Fort's thematic structures are bolstered by Schneider's firmly defined yet strangely sideways pulse to pianist's implicit emphasis.
The back-to-back "Lanesboro" and "Minnesota" turn from Mid-East to Midwest; a hauntingly beautiful ballad followed by a tune of greater insistence, as Wang becomes an economical, folkloric foil for Fort's profound melodism. With a set that runs the gamut from delicate balladry ("En If") to more assertive, idiosyncratic stance ("Nu"), Fort doesn't completely desert A Long Story's more intrinsic structural freedom. But with the empathic interplay of her longstanding working unit, she's able to explore more detailed writing, more direct rhythm, and a more satisfying confluence of her cultural upbringing and relatively newfound American home.
01. Paul Motian (1) (4:04)
02. Clouds Moving (5:39)
03. En If (5:56)
04. Some (5:41)
05. Something Bout Camels (9:52)
06. If (1:19)
07. Lanesboro (5:17)
08. Minnesota (7:37)
09. Nu (2:54)
10. Paul Motian (2) (4:01)
Personnel: Anat Fort: piano; Gary Wang: double-bass; Roland Schneider: drums

Magnus Broo Quartet: Painbody (2008)

This is only the fourth release in the last decade by Swedish trumpet player Magnus Broo, all featuring his quartet. With a distinctive voice and phrasing it's not surprising, considering his busy schedule as a prominent player in the Stockholm new jazz scene, his central role in the Scandinavian super-group Atomic, frequent collaborations with Ken Vandermark related outfits such as 4 Corners and work with Peter Brötzmann's Tentet. On the other hand, Broo has managed to keep his quartet intact all these years—Torbjorn Gulz (piano), Mattias Welin (bass) and Jonas Holgersson (drums). All excellent musicians, their common rapport and experience as a working group shines throughout this release.
As is typical of Broo's quartet releases, the composition credits are shared between Broo and Gulz and are highly rhythmic, with extrovert playing by all. Broo's opening "Africa" revolves around a spare rhythm, gently referencing an African string instrument, based on Gulz's hammering of the piano strings. It evolves into a free-bop suite with Broo and Gulz almost telepathically reading each other's musical ideas. Broo's "Painbody" and "Das Boot" are faster, featuring tight and muscular rhythmic interplay and Broo's soaring trumpet. His solos are gifted with clarity and wide emotional articulation and a distinct, melodic and swinging tone, developed with memorable phrases and themes reminiscent of the late Don Cherry and Lester Bowie.
Gulz's short "Vera Li," a gentle duet with Holgersson, serves as a short break before returning to the quartet's usual extroverted style. Broo's "Second Wind" begins with a contemplative spirit where he opts for a sensitive breathy tone, as if preaching a gospel lament; his playing gains its sweeping momentum and is backed beautifully by everyone. "Koba" and "Smolk" feature free-bop structures, complete with recognizable swinging beats that leave enough room for Broo to outline impressive and well-articulated solos. The concluding composition, "Don Don," a clear tribute to Cherry's almost anthemic playing, is a funkier piece, featuring Wellin on electric bass, trading short and fast solos with Broo.
Here's hoping it won't be too long until the next release from this excellent quartet.
01. Africa Broo
02. Painbody Broo
03. Das Boot Broo
04. Vera Li Gulz
05. Second Wind Broo
06. Clockwise Gulz
07. Koba Broo
08. Smolk Gulz
09. Don Don Broo
Personnel: Magnus Broo: trumpet; Torbjorn Gulz: piano; Mattias Welin: bass; Jonas Holgersson: drums.
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Wednesday, November 24, 2010

Neural Code: ST (2009)

Neural Code presents a thrilling mixture of instrumental rock and jazz, creating a contemporary Brazilian sound. Among these three major Brazilian musicians you will find Cuca Teixeira, a drummer trained in jazzistica, he has worked with geniuses of jazz such as Joe Lovano, Michel Brecker and George Benson as well as artists such as Paula Lima, and Maria Rita, Marina Lima, Kiko Loureiro, guitar virtuoso of a rock and fusion, Kiko has been with the band Angra for the past 17 years. Thiago Espirito Santo, the renowned bass instrumentalest of contemporary Brazilian music joins the trio with his distinctive style of playing and has worked alongside musicians such as the Hamilton Holland, Yamandu Costa, Toninho Horta and Hermeto Pascoal.
In their first work the trio presents eight novel compositions designed in a series of informal meetings. Creating a unique experience for all. It was possible to develop a completely new language, drawing the best from each musician and his influences in the course of each of their respective careers. Thus was born the sound of the Neural Code.
1. Drenal (3:36)
2. For All (6:40)
3. Ilusao de Otica (5:03)
4. Miro (4:58)
5. Equacao do Tempo (5:09)
6. Sombra da Lua (5:29)
7. Cangaceiro Marroquino (5:32)
8. Pensativo (4:59)
Neural Code
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Tuesday, November 23, 2010

Larry Coryell: Live from Bahia (1992)

As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock's myopically low level of status in the CD era (although that mindset is slowly changing).
According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965, he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year, he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-68 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel and Steve Marcus formed a group called Foreplay in 1969 (no relation to today's Fourplay), and by 1973, this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.
In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco DeLucia, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton and John Abercrombie for the Jazzvisions series. Coryell has also recorded with Stephane Grappelli, Charles Mingus, Sonny Rollins and Kenny Barron, and has taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov. In other words, Coryell will probably remain as eclectic as ever throughout his career, which will no doubt make life difficult for musicologists with a yen for pigeonholing. Coryell's career in the 21st century has been just as active. 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006, he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle.
1.The Harbor (5:41)
2. Old City new City (4:48)
3. The Crab Peddler (3:42)
4. Oshum, Goddess Of Love (4:09)
5. Bloco Loco (7:08)
6. Panama (3:37)
7. Bahian Night Walk (10:13)
8. Gabriela's Song (3:00)
9. Vera Cruz (9:01)
Larry Coryell / acoustic and electric guitars
Dori Caymmi / acoustic guitar and vocals
Romero Lubambo / acoustic and electric guitar
Billy Cobham / drums
Donald Harrison / soprano and alto sax
Marcio Montarroyos / trumpet
Luiz Avellar / keyboards
Nico Assumpcao / electric bass
Monica Millet / percussion
Tiao Oliveira / percussion
Bashiri Johnson / additional percussion
Francisco Centeno / additional electric bass
Live from Bahia
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Nico Morelli: ST (2003)

Pianist, composer Nico Morelli was born in Taranto, Italy, in 1965. After graduating from the Taranto National Conservatory, he went to Rome for more advanced classical training with Aldo Ciccolini. He specialized in jazz at the Italian schools "Siena Jazz", "Berklee School of Boston", "Manhattan School". His teachers included Franco D'Andrea.In 1991, an encounter with Steve Lacy and Glenn Ferris gave rise to the album Nella Sala Delle Arcate. In the years that followed, Nico Morelli performed with Flavio Boltro, Enrico Rava, Paolo Fresu, Marc Johnson, Roberto Gatto, Bruno Tommaso, Roberto Ottaviano, Bob Mover, and Stefano D'Anna, to name a few.In 1994, he released his first album, Behind the Window.The following year, he earned a diploma in Jazz from the Bari Conservatory and participated in a workshop led by Paul Bley. In 1996, Nico Morelli recorded with Roberto Gatto and Marc Johnson. The Dream, the fruit of these recordings, was released in January, 1998. In early 1997, he formed the Jazz Air Trio with double bassist Paolo Ghetti and drummer Vincenzo Lanzo. For several years, the trio has performed regularly throughout Italy. At the same time, Nico Morelli continues to collaborate with other musicians, such as Roberto Gatto, Giovanni Tommaso and Paolo Fresu. Isole Senza Mari, by the Jazz Air Trio, was released in July, 1998. In May, 1999, he was awarded first prize at the 'Viva il Jazz' international competition in Milan. The same year, he won third prize at the "Piano Jazz A Vanves" international competition. In 2000, he won second prize in composition at the La DA©fense competition in Paris. In 2002, Aldo Romano invited him to participate on his album Because of Bechet (Universal Music).Since moving to Paris in 1998, Nico Morelli has come to be known as one of the most promising jazz musicians of his generation. He is highly sought-after by the most distinguished musicians on the international scene because of his virtuosic and sensitive style, and the demand for his own groups is also increasing. He performs regularly in prestigious clubs in and outside of Paris, and is often called upon to participate in festivals in France and abroad.
01. Tarante (5:43)
02. Blues Zen (3:53)
03. Il Canto di Sadone (6:40)
04. Pezzo X (5:50)
05. Sogno (5:47)
06. Love for Sale (5:23)
07. Findings (5:11)
08. …chi legge (4:58)
09. Alba di Millenno (7:08)
Nico Morelli — piano
Aldo Romano — drums
Bruno Ziarelli — drums
Federic Delestre — drums
Luc Isenmann — drums
Marc Boronforsse — bass
Stefano di Batistta — sax
Stephane Kerecki - bass
Nico Morelli
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Contact: Five on One (2010)

"Five on One": the work of five friends. Five musicians who can find each other in the dark and thereby have developed an intense interplay characterized by an intimate warmth. These are gorgeously harmonious, masterful recordings played by musicians who could care less about what happens to be in vogue. Five radical individuals who play as one.

Dave Liebman tenor & soprano saxophone
John Abercrombie guitar
Marc Copland piano
Drew Gress bass
Billy Hart drums
01. Sendup - 5:56
02. Like It Never Was - 6:47
03. Childmoon Smile - 6:39
04. Four On One - 4:14
05. Lost Horizon - 5:31
06. Retractable Cell - 7:32
07. My Refrain - 6:42
08. Lullaby For Imke - 6:36
09. You And The Night And The Music - 9:11
Contact 5 on One
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Monday, November 22, 2010

Roberto Gatto: Live at Casa Del Jazz (2009)

Roberto Gatto is an Italian jazz drummer, born in Rome. His professional debut was in 1975 with the Trio di Roma (Danilo Rea piano, Enzo Pietropaoli bass). He has been playing all over the world with his own groups as well as together with international artist. All of the groups in his name are charaterized, in addition to first class technique and a refined research of timbre, by a great "warmth", typical of the mediterranean culture. This surely makes Roberto Gatto one of the most interesting and original drummer and composer in Europe and the world.
As a leader he has recorded the follows albums: Notes (feat. M.Brecker), Ask (feat. J.Scofield), Luna, Jungle Three, Improvvisi, L'Avventura, 7.., Sing Sing Sing, Roberto Gatto plays Rugantino, Deep, Gatto-Rea Live at Villa Celimontana, Roberto Gatto Special Quintet "A tribute to Miles Davis Quintet 64-68, Gatto-Bollani Gershwin and more, Traps, Roberto Gatto Omaggio al progressive rock, The music next door. Roberto Gatto has also played in numerous pop albums of international artist: Mina, Gino Paoli, Lucio Dalla, Pino Daniele,Ivano Fossati, Domenico Modugno, Ornella Vanoni,Teresa de Sio.
He also work and recorded with Ennio Morricone, Armando Trovajoli, Riz Ortolani, Piero Umiliani, Franco Piersanti, Lalo Shifrin
In the last few years he also composed music for films. Togheter with Battista Lena he wrote the music who won five Davide di Donatello: Mignon e partita, Verso Sera, Il grande cocomero.With Maurizio Giammarco he composed the music of Nudo di donna by Nino Manfredi.
01. Deep (6:07)
02. Dado's Theme (5:03)
03. Ode To Max Roach (2:59)
04. Lysergic (5:22)
05. Ostile (5:42)
06. Ode To Ed Blackwell (2:01)
07. Octagonal (5:16)
08. Canzone (Woodie Song) (5:27)
09. Ode To Elvin Jones (1:59)
10. A Night In Salzau (6:54)
11. Catch The Drums (6:49)
12. Valse Laconique (4:59)
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Sunday, November 21, 2010

Pat Martino: Think Tank (2003)

THINK TANK was nominated for the 2004 Grammy Award for Best Jazz Instrumental Album. "Africa" was nominated for Best Jazz Instrumental Solo.
Despite a serious condition in the late 1970s that left him with the sketchiest of memories of his past, Pat Martino rehabilitated his life and his formidable career with superhuman determination. Claiming that the people his music attract--players, students, fans--are ultimately what is important to him, and that his chosen instrument is "just an apparatus," this guitar master re-learned his instrument from his own earlier recordings and climbed back to the top of his game.
Martino's considerable musical palette includes Coltrane (they met through the legendary teacher Dennis Sandole), Tristano, modalism, and, finally, ersatz psychedelia, which in his oeuvre, often stands in for balladry (yes, Pat likes to play fast). On THINK TANK, he is joined by a group of New York-based players with enough cache to make any producer greedily rub their hands together in anticipation. This music, largely Martino originals, combines a floating lyricism with sharp, clean-cut corners. Worthy contributions come from the solid rhythm section of Christian McBride and Lewis Nash and the driving, uncompromising solos of Gonzalo Rubalacaba and Joe Lovano.
1. The Phineas Trane (Harold Mabern)
2. Think Tank (Pat Martino)
3. Dozen Down (Pat Martino)
4. Sun On My Hands (JIm Rid
5. Africa (John Coltrane)
6. Quatessence (Pat Martino)
7. Before You ASk (Pat Martino)
8. Earthlings (Joe Ford)
Pat Martino - guitar
Joe Lovano - tenor saxophone
Gonzalo Rubalcaba - piano
Christian McBride - bass
Lewis Nash - drums
Think tank
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Saturday, November 20, 2010

Soriba Kouyate: Live in Montreux (2003)

"Ladies and gentlemen, for the final part of the Act World Jazz Night, I am very proud to present to you a very special group of people, including this wonderful artist who has created such an incredible impact, Soriba Kouyatй, ". These words set off one of the most exciting journeys through the world of musical beauty and rebellion at the 2000 Montreux Jazz Festival. Soriba Kouyate overwhelmed both public and press with his passion, technical brilliance, and amazing sound. You can hear it for yourself - this live recording is proof that the Senegalese's reputation as an important innovator of the Kora is justified.
Soriba Kouyate was born on December 23rd 1963 in Senegal's capital, Dakar. He was born to be a musician: he is the son of Senegal's most famous Kora player, and playing music is a family tradition. Soriba's father Mamadou Kouyate has not only performed regularly for Senegalese president Senghor, he also founded the country's first Kora school. His father felt a debt to his ancestors; they were all Griots, wise men of the Mali empire who carried with them the oral history of the people, sang the praises of and gave council to kings and nobles. The Griots with their Koras were living libraries who handed down the wisdom and tradition of the land through song, strengthening the community's morality and sense of self-worth.
To Soriba, the pride of being the heir to a Griot family is combined with a critical attitude towards the protective part the Griots are playing in African society. Kouyate is critical of traditional values, an attitude that early on left its mark on his approach to the "sacrosanct" instrument. So it was no accident that severe conflicts arose even at his father's Koraschool, concerning the correct approach to playing the Kora. With the body carved from a large calabash gourd, 21 strings, and a tonal range of three octaves, the Kora is able to produce multifold interlacing patterns both as a percussive and a melodic instrument. The music itself is passed on from father to son, from one generation to the next. The first rifts in the edifice of tradition appeared in the 1980's when Gambia's Foday Musa Suso, Mali's Toumani Diabate, and Mory Kante (who made a name for himself through his hit "Ye Ke Ye Ke'') inserted the sound of the Kora into the context of jazz, rock, and pop, causing a furor.
But no one has taken it as far as the Kora virtuoso from Senegal. Soriba electrically amplified the instrument. He reset the pegs so that he could quickly re-tune the pentatonic-tuned strings, plucked the strings like a guitar, slapped them like a bass. And his repertoire had little to do with his forefathers: "Early on I had listened to the music of Miles Davis, George Benson, and Wes Montgomery; and when I start to play a song from James Brown, the audience is astounded. That's when I get more applause than father". While the traditionalists scoffed at him as a screwball, Soriba was confident of the public's acclaim. After his involvement with such musical giants as Dizzy Gillespie, Hugh Masekela, Peter Gabriel, Youssou N'Dour, along with two highly praised studio productions, Kanakassi (ACT 9272- 2, 1999), and Bamana (ACT 9288-2, 2001), his assent to the world stage was assured - as was the applause and acclaim of the world public.
And there would be no lack of applause during his performance at Montreux. With his perfectly-meshed band, the Kora-rebel outdid himself, playing with a lyrical enthusiasm that combined a seldom-heard alliance between European jazz and African innovation. It's an exhilarating nine-composition performance, a mixture of funk and fusion in which two continents find a musical equilibrium. Soriba frees the Kora from the straight-jacket of African tradition and, in the context of jazz, gives it an equal role as a front-line instrument. After the brilliant Montreux 2000 concert, the Kora's use in Western music as an exotic-sounding atmospheric filler is relegated to the past - thanks to Kouyate!
Soriba Kouyate - kora
Matthieu Michel - trumpet
Linley Marthe - bass
Joel Allouche - drums
01 Diarabi
02 Mariama
03 All Blues
04 Deli Guelema
05 Autumn Leaves
06 Afrilude
07 St Louis-Dakar
08 Kaпra
09 Bani

Friday, November 19, 2010

Taylor Eigsti: Daylight at Midnight (2010)

Concord Jazz is proud to announce the release of Daylight at Midnight, the newest album from the pianist/composer Taylor Eigsti. This innovative collection includes original Eigsti compositions, as well as other remarkable musical renditions by composers such as Nick Drake, Imogen Heap, Elliot Smith and Rufus Wainwright. The 11-track collection marks Eigsti's third Concord Jazz release.On Daylight at Midnight, Eigsti continues to challenge the norms of what constitutes jazz today. While Eigsti pays full respect to the jazz tradition, he also exercises his passion for melodies of esteemed songwriters from his generation and explores a variety of music that piques his curiosity. In this collection, he not only finds resonance in the aforementioned top-tier, pop-oriented composers... but also brings to light a doubleheader of personal revelation: 20th-century Catalonian classical pianist Federico Mompou and up-and-coming vocalist/songwriter Becca Stevens, who sings five of the 11 tunes and adds her own flavors of the ukulele and charango. As fitting for an adventurous repertoire, the young pianist augments his unique and lyrical style with the Fender Rhodes, Rhodes PianoBass, Wurlitzer electric piano and Mellotron samples to add color and texture to the tunes.
Tracklist01. Daylight
02. Magnolia
03. The Art Teacher
04. The Water
05. Pink Moon
06. Little Bird
07. Secreto
08. Chaos
09. Between The Bars
10. Speaking Song
11. Midnight After Noon
Daylight at Midnight
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Thursday, November 18, 2010

Lalle Larsson: Waveworld (2009)

For a prog fan, LALLE LARSSON (Lars-Egon Larsson, born in 1974 in Malmö) is perhaps the best known as a keyboard player from Swedish Symphonic giants KARMAKANIC. He also played in 3RD WORLD ELECTRIC, ELECTROCUTION 250, and had collaborated with THE ALCHEMISTS and Virgil Donati; to name only a few.
However, from 1994 up to this day he had released a handful of albums - all eclectic in nature and worth checking. This Scandinavian soul is deeply rooted in fusion,coloring with strong shades of various Western Academic musics, a teaspoon (or more) of avantgarde approach - and of course, with a pretentious (in a good sense) bow to his old love, heavy metal.
We might argue about a degree of homogeneity in his variously-influenced music, but while it's certainly true to a degree (his ability to smoothly shift from jazz to romanticism is comparable to the biggest legends of prog rock), but that's beside the point. Larsson is an extremely versatile artist, a true professional with high degree of technicality, but also with spirit. His versatility might vary from old-fashioned jazz-rock to the complex orchestral pieces accompanied with metal band (his skills as a composer should be mentioned as well, as they're occupying a good chunk of his agenda) -- and everything in between aforementioned styles.
Lalle Larsson — Acoustic and electric keyboards
Mickael "Walle" Wahlgren — Drums & Perc
Jan Karlsson — Acoustic bass
Andreas Palsson — Vibraphone
Stefan Rosqvist — Guitar
Jonas Reingold — Bass
01. Marrionette
02. Dance of the Dead
03. Newborn Awakening
04. Adagio
05. Weaveworld
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Wednesday, November 17, 2010

Passport: Iguacu (1977)

Reissue and first U.S. release of the German jazz-fusion groups 1977 album that made the Billboard top LP charts. The leader of Passport, Klaus Doldinger worked with Donald Byrd and Kenny Clarke early in his career.
1. Bahia do sol (5:53)
2. Aguamarinha (4:10)
3. Bird of paradise (5:36)
4. Sambukada (4:30)
5. Iguacu (8:42)
6. Praia lame (2:58)
7. Heavy weight (4:30)
8. Guna Guna (4:28)
Curt Cress - drums, berimbau
Klaus Doldinger - soprano & tenor saxes, organ, Moog, flute
Elmer Louis - percussion
Roy Louis - electric guitar
Wolfgang Schmid - bass
Guest musicians:
Mats Bjorklund - guitar (8)
Wilson Das Neves - atapaques, pandeiro (4)
Roberto Bastos Pinheiro - surdo (4)
Noel Manuel Pinto - cuica (3-4)
Clelio Ribeiro - berimbau (4)
Marcello Salazar - percussion (4)
Pedro Santos - percussion, whistles (3-4)
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Lalle Larsson’s Weaveworld: Infinity of Worlds (2010)

Instrumental extravaganza from super keyboardist Lalle Larsson. Featuring Richard Hallebeek - guitars, Stefan Rosquist - guitars, Walle Wahlgren - drums, Jonas Reingold - bass. Any lover of instrumental progfusion will love this to bits. Fans of bands like UK, Bruford, Mahavishnu Orchestra, Return To Forever and Allan Holdsworth will celebrate!
1. A Demon’s Kiss 6:11
2. Otherworldly 6:23
3. City of Lost Souls 10:29
4. Beyond Shadows 8:55
5. Lemuria 7:41
6. Infinity Of Worlds 11:44
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Erik Truffaz: In Between (2010)

Erik Truffaz has covered a lot of ground - both literally and metaphorically – since releasing his first album on the Blue Note label in 1997.
Over the course of a single decade -and after selling a total of 400,000 albums – the trumpeter’s life has been a blur of planes, trains and automobiles transporting him from concert to concert on his never-ending world tours. This naturally led him to new artistic landscapes and fruitful encounters.
The Erik Truffaz Quartet is above all a collective, a sound, a group dynamic. Starting in 1997 the group was Marcello Giuliani on bass, Marc Erbetta on drums, and Patrick Muller on keyboards for a seminal album, “Out of a Dream”, on the legendary Blue Note label.
In June 2010, Benoit Corboz takes Patrick Muller’s place, after having been the studio sound engineer for the group, starting with “The Dawn”. A new tribute to slow, the group takes on silence and stretching things out.
Sophie Hunger, with her marvellous voice, is invited to join the quartet on two tracks (a Dylan cover and an original composition). Marcello Giuliani brings his double bass back and records a track on banjo, and the group is off again for more great adventures.
Benoit Corboz: Hammond, Fender Rhodes, Piano
Marcello Giuliani: bass, double bass
Marc Erbetta: drums, vocals
Erik Truffaz: trumpet, vocals
Sophie Hunger: on Tracks 2 & 5, vocals
1. The Secret Of The Dead Sea 10:07
2. Let Me Go ! (Feat. Sophie Hunger) 03:11
3. Mechanic Cosmetic 05:48
4. Fujin 04:09
5. Dirge (Feat. Sophie Hunger) 03:41
6. In Between 04:38
7. Lost In Bogota 05:08
8. Balbec 06:13
9. BC One 04:29
10. Les Gens Du Voyage 05:08
11. Giuseppe 02:48
12. Dead Sea Stones 03:20
In Between: Special Edition
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John Moulder: Bifröst (2009)

A longtime member of ex-Pat Metheny Group drummer Paul Wertico's trio, enough has already been written about John Moulder's double life as jazz guitarist and ordained priest. Bifröst is Moulder's follow-up to the ambitious and eclectic Trinity (Origin, 2006), where the guitarist's spirituality became a touchstone for music ranging from the ethereal to the grounded, and from elegant folklore to potent, angst-driven fusion. What makes Bifröst even more satisfying is its narrowing of focus down from a larger cast of characters to a quintet, bringing together old friends Wertico and fretless electric bassist Brian Peters with new Norwegian ones, double-bassist Arild Andersen and saxophonist Bendik Hofseth.
That Andersen collaborated, early in his career, with Terje Rypdal makes this transatlantic first encounter all the more successful, given that Moulder's visceral, overdriven and often whammy bar-centric electric playing is unmistakably influenced by the Norwegian guitar legend. And while he certainly possesses his own voice, the sound of another Norwegian notable and early Andersen cohort, saxophonist Jan Garbarek, is an equal touchstone in Hofseth's tone and approach.
Here, Moulder's high energy electric is juxtaposed and combined with six- and twelve-string acoustic guitars to to create a context that hints, in some ways, back to Ralph Towner and Solstice (ECM, 1975). Bifröst's opening title track, in fact, speaks deeply of Towner's harmonic language and, with Wertico's light cymbal work and Hofseth's soaring lines, could easily fall into similar territory were it not for Andersen's in-the-gut double-bass and Moulder's searing electric solo. Moulder's serpentine melody weaves around ambiguous harmonies, as the piece builds dramatically—and inevitably.
Moulder may drive some of Bifröst with hard-edged electricity, but he's also capable of softer lyricism; his solo acoustic intro to the ultimately more buoyant "Watch Your Step"—where his acoustic melody is bolstered in strong, lilting unison by Hofseth and Peters— sounding like an outtake from Metheny's One Quiet Night (Nonesuch, 2003). "Echoes of Home," driven gently by Wertico's percussion, is another acoustic feature, with Moulder recalling Windham Hill's Alex DeGrassi, but with greater depth.
Andersen's remarkable combination of deep, resonant tone and lithe dexterity is a fundamental throughout the disc, with his solo intro to "Magical Space" a highlight as he builds phrase-after-phrase over a looped chordal wash. Once the group enters, setting a dark context for solos by Moulder (again, on acoustic) and Hofseth, its temporal elasticity recalls ECM classics like Bill Connors' Of Mist and Melting (1978). Wertico's restraint here is as impressive as his more powerful bent on the closing part of Moulder's episodic "Time Being," a 15-minute epic that ends with a repeating series of ascending chords, bringing the album to a strong and definitive close.
Quietly, and with little fuss, Moulder has built his voice as writer and performer, and a rare ability to conceptualize broader narratives. With Bifröst he leverages Trinity's ambitious nature into an album that may appear smaller in focus, but is ultimately even more expansive in overall sound, vision and chemistry.
Personnel: John Moulder: electric guitars, 12-string and 6-string acoustic guitars; Bendik Hofseth: tenor saxophone; Arild Andersen: double-bass; Paul Wertico: drums, percussion; Brian Peters: electric fretless bass, programming.
01. Bifrost
02. Watch Your Step (introduction)
03. Watch Your Step
04. Magical Space (introduction)
05. Magical Space
06. Echoes of Home
07. Cold Sea Triptych: Part 1
08. Cold Sea Triptych: Part 2
09. Cold Sea Triptych: Part 3
10. Time Being
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Monday, November 15, 2010

Dimension: 23 (2010)

The brand new studio  album of fusion legends Dimension shows perfect sound and inventive music, as always. With guest musicians: Paul Wertico, Hiroyuki Noritake, Satoshi Bendoh, Taro Yoshida on drums and Tappei Kawassaki on bass, this stuff is not to be missed.
1. After the rainbow
2. Evolution
3. Steppin out!
4. Slash
5. Red moon
6. Story
7. You never know
8. Change
9. Yellow line
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The Clayton Brothers: Expressions (1997)

Although released under the name of "The Clayton Brothers" and featuring John Clayton on bass and as producer, the main star throughout this quartet outing (with pianist Bill Cunliffe and drummer Herlin Riley) is Jeff Clayton. Whether playing (his main ax), tenor, alto flute or his atmospheric English horn, Clayton is in top form. In addition to a few standards -- including a surprisingly uptempo version of Horace Silver's "Song for My Father," "Summertime," a cooking "I Love You" and a rendition of "The Star-Crossed Lovers" that finds Clayton recalling Johnny Hodges -- there are several worthwhile originals (three by Jeff Clayton). The music overall is boppish, but with plenty of surprising moments, one of the best Jeff Clayton showcases to date. ~ Scott Yanow
1.Tonight I Won’t Be Singing No Blues 0:05:27
2.Jazzy Bluesy Bossa Nova 0:10:16
3.Song For My Father T 0:07:04
4.Here Today, Here Tomorrow 0:06:04
5.Londonderry Aire/Lift Every Voice And Sing 0:03:29
6.Saturday Night Special 0:05:42
7.Summertime T 0:04:19
8.Sometimes I Feel Like A Motherless Child 0:02:32
9.I Love You T 0:09:05
10.The Star 0:05:40
11.There Is Music Where You’re Going My… 0:06:11
Bill Cunliffe (Piano)
Herlin Riley (Drums)
Jeff Clayton (Flute, Horn, Alt Saxophone, Tenor Saxophone)
John Clayton (Double Bass)
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Santa Fe and the Fat City Horns: When the Curtain Goes Up (2009)

Santa Fe & the Fat City Horns, the most known UNKNOWN horn band in the world. Ask musicians anywhere in the world about this band and you're likely to get a surprised look that says "How did YOU know about them"! The Crown Jewel of Las Vegas Nevada, this band has re-set the bar for "horn bands". Although known and revered as one of (if not THE) most original and prolific of the horn bands in this genre, they are also admired and loved as an extremely talented and versatile vocal group. With complex yet catchy harmonies and "hooks" this new CD by the band shows their writing, singing and arranging prowess to the world in a pristine studio recording.
1. When the Curtain Goes Up
2. Indian Summer Day
3. Dat Greazy Thang
4. Si Te Vas
5. Into the Light
6. My Land of the Sun
7. Love Jungle
8. This Time
9. Wishing Well
10. I'll Pack It Up
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