Victor Bailey: Slippin' N' Trippin' (2010)

One of the greatest bass guitar players of all time. As fine an example of funky jazz fusion and virtuoso bass guitar playing as you will ever hear.

Bassist Victor Bailey returns with his strongest and most consistent effort to date,titled Slippin’ N’ Trippin’. Bailey states “on this record I wanted to feature more of my bass guitar than on my other cd’s. I’m also a versatile keyboardist,vocalise a little, and play a little drums too”.

As usual Bailey serves up a variety of great feels,grooves and of course incredible bass playing. Standouts include the opener “Ape School” wth some innovative slapping and tapping over a surprising supple dance/funk feel. We follow that up with the title track “Slippin’ N’ Trippin’,with a shockingly strong vocal performance by Bailey and a great drum track by the legendary Billy Cobham. Next is an incredible rendition of John Coltrane’s Countdown,featuring Ron Carter on acoustic bass. Then he slows things down with his lovely ballad “I Wonder”,and displays exceptional arranging skills on the classic song Alfie, featuring a rare performance on fretless bass. He puts in a fine vocal performance on “Like A Horn” featuring some of the best bebop bass playing ever heard anywhere.Included is an innovative rendition of the Prince classic “Kiss” recorded with all bass guitars. We get a little gospel feel with “If You Say So” and finish off with the classic funk/fusion jam “Lucky Punch” featuring an amazing drum solo by Bailey’s former Weather Report bandmate Omar Hakim.With names like Hakim, Cobham, Lenny White and Ron Carter you can be sure this is music of the highest order.

Tracklist:
1. Ape School [02:11]
2. Slippin' N' Trippin' [07:07]
3. I Wonder [05:11]
4. Countdown [02:26]
5. Alfie [04:22]
6. Like A Horn [05:38]
7. If You Say So [05:22]
8. Slippin' N' Trippin' Part 2 [01:58]
9. Lucky Punch [06:49]
Slippin' N' Trippin'
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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

Tracklist:
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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Bobby McFerrin: Beyond Words (2002)

Creative vocalist Bobby McFerrin's return to Blue Note after a nearly ten-year absence indicates a possible desire for a return to improvised jazz, and in a way distancing himself from the classical works he had become increasingly associated with. Working again with pianist Chick Corea and producer Linda Goldstein, his 2002 album, Beyond Words, is reminiscent of the other McFerrin/Corea collaborations (Play, The Mozart Sessions), but somehow these mostly improvised works lack the spark that their previous partnerships have created. Ably backed by Corea's bright piano, Omar Hakim on drums, and Richard Bona on bass, the songs feel to be all the same texture for the most part, never reaching any kind of a peak throughout the album. Beyond Words is a moody and dark affair, with subtle layers of McFerrin's undulating vocals weaving in and out of the musical bed, but instead of sounding earthy and natural, the album is punctuated by synthesized instruments that pull the recordings dangerously close to smooth jazz territory. Unfortunately, by taking one of the most articulate players of man's earliest instrument and layering it in slick, fretless basslines and synthetic Roland XP-80 chords, it almost defeats the purpose of hearing his voice altogether. Still, it is an excellently performed and cleanly produced document of both McFerrin and Corea's abilities, ideal for gentle background textures on a night in alone. -- AMG

Tracklist:
01. Invocation (Goldstein/McFerrin) — 7:10
02. Kalimba Suite (McFerrin) — 3:40
03. A Silken Road (McFerrin) — 4:28
04. Fertile Field (Goldstein/McFerrin) — 5:44
05. Dervishes (McFerrin) — 2:15
06. Ziggurat (Goldstein/McFerrin) — 5:20
07. Sisters (McFerrin) — 1:22
08. Circlings (McFerrin) — 1:14
09. Chanson (McFerrin) — 1:30
10. Windows (Corea) — 4:01
11. Marlowe (McFerrin) — 4:08
12. Mass (McFerrin) — 2:40
13. Pat & Joe (McFerrin) — 2:11
14. Taylor Made (McFerrin) — 4:22
15. A Piece, a Chord (McFerrin) — 3:46
16. Monks/The Shepherd (McFerrin) — 2:48
Beyond Words
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