Jazz Archives

Charlie Haden brings back yet another incarnation of his Liberation Music Orchestra to tape. This intermittent project began at the height of the Vietnam War in 1969 and was recorded for Impulse. Carla Bley has been the only constant member of this project. She plays piano and does the arranging of these eight tunes. Other members include trumpeter Michael Rodriguez, Curtis Fowlkes on trombone, guitarist Steve Cardenas, drummer Matt Wilson, Miguel Zenon on alto, Chris Cheek on the tenor horn, Joe Daley playing tuba, and Ahnee Sharon Freeman playing French horn. The music is a lively and diverse set of covers, except for the title track -- composed by Haden -- and "Blue Anthem" by Bley. The seamlessness with which Bley melds her aesthetic to Haden's is remarkable. The tone and timbre is warm throughout. The reggae-fueled "This Is Not America" -- written by Pat Metheny, Lyle Mays, and David Bowie -- dryly quotes from "Battle Hymn of the Republic" at its end. The hinge piece of the album is the nearly-17-minute "American the Beautiful" that contains a wondrous, stately, if somewhat dissonant, read of Samuel Ward's famous tune, bursts into post-bop before a fine solo by Zenon, and then slips into Gary McFarland's jazz opus by the same name. The tune travels -- with solos by virtually everyone -- then to the African-American gospel church where it stops at "Lift Every Voice and Sing" by James Weldon Johnson, and winds up at a cross between the original tune and Ornette Coleman's elegiac slipstream dream anthem "Skies of America" before returning full circle to the original theme. The Liberation Music Orchestra goes even deeper into the national consciousness with a bluesy, New Orleans brass band-inspired version of "Amazing Grace." Then they dig into the gorgeous "Goin' Home," Antonin Dvorak's largo theme from the New World Symphony -- with jazz liberties taken, of course. The set ends with the adagio from Samuel Barber's "Adagio for Strings." Again, Bley's arrangement is stunning, understated, and finessed, yet full of dynamic reach. This is a beautiful album, one that makes a case for vision, creativity, and concern. Not in Our Name pulls together a wide range of aesthetic possibilities that all reflect the American consciousness and simultaneously mourns the passage of it while resisting with a vengeance that nadir. While a jazz recording, this album crosses the boundaries of the genre and becomes a new world music, a new folk music: one to be celebrated, perhaps even cherished.

1. Not In Our Name (6:19) Written-By - Charlie Haden

2. This Is Not America (6:39) Written-By - David Bowie , Lyle Mays , Pat Metheny

3. Blue Anthem (7:49) Written-By - Carla Bley

America The Beautiful (Medley) (16:54)

4A. America The Beautiful Written-By - Gary McFarland , Augustus Ward*

4B. Lift Every Voice And Sing Written-By - Weldon Johnson*

4C. Skies Of America Written-By - Ornette Coleman -

5. Amazing Grace (7:12) Written-By - John Newton (2)

6. Goin' Home (From The Largo Of The New World Symphony) (7:49) Written-By - Antonín Dvořák

7. Throughout (8:55) Written-By - Bill Frisell

8. Adagio (The Adagio For Strings) (7:25) Written-By - Samuel Barber

Bass - Charlie Haden

Drums - Matt Wilson

Engineer [Assistant] - David Abbruzzese

Engineer [Assistant], Mixed By [Assistant] - Nicolas Baillard

Engineer, Mixed By - Gérard De Haro

Executive Producer - Daniel Richard

French Horn - Ahnee Sharon Freeman

Guitar - Steve Cardenas

Mastered By - Thomas Verdeaux

Other [Art Director] - Patrice Beauséjour

Photography - Thomas Dorn

Piano - Carla Bley

Producer - Charlie Haden , Ruth Cameron

Producer, Arranged By, Conductor - Carla Bley

Saxophone [Alto] - Miguel Zenon

Saxophone [Tenor] - Chris Cheek , Tony Malaby

Trombone - Curtis Fowlkes

Trumpet - Michael Rodriguez , Seneca Black

Tuba - Joe Daley

Recorded July 19-22, 2004 at Studio Forum Music Village, Rome Italy. Mixed July 27-29, 2004 and mastered October 22, 2004 at Studio La Buissonne, Pernes Les Fontaines, France.

Recorded between April and June of 1971, Alice Coltrane's Universal Consciousness stands as her classic work. As a testament to the articulation of her spiritual principles, Universal Consciousness stands even above World Galaxy as a recording where the medium of music, both composed and improvised, perfectly united the realms of body (in performance), speech (in the utterance of individual instrumentalists and group interplay), and mind (absolute focus) for the listener to take into her or his own experience. While many regard Universal Consciousness as a "jazz" album, it transcends even free jazz by its reliance on deeply thematic harmonic material and the closely controlled sonic dynamics in its richly hued chromatic palette. The set opens with the title track, where strings engage large washes of Coltrane's harp as Jack DeJohnette's drums careen in a spirit dance around the outer edge of the maelstrom. On first listen, the string section and the harp are in counter-dictum, moving against each other in a modal cascade of sounds, but this soon proves erroneous as Coltrane's harp actually embellishes the timbral glissandos pouring forth. Likewise, Jimmy Garrison's bass seeks to ground the proceedings to DeJohnette's singing rhythms, and finally Coltrane moves the entire engagement to another dimension with her organ. Leroy Jenkins' violin and Garrison's bottom two strings entwine one another in Ornette Coleman's transcription as Coltrane and the other strings offer a middling bridge for exploration. It's breathtaking. On "Battle at Armageddon," the violence depicted is internal; contrapuntal rhythmic impulses whirl around each other as Coltrane's organ and harp go head to head with Rashied Ali's drums. "Oh Allah" rounds out side one with a gorgeously droning, awe-inspiring modal approach to whole-tone music that enfolds itself into the lines of organic polyphony as the strings color each present theme intervalically. DeJohnette's brushwork lisps the edges and Garrison's bass underscores each chord and key change in Coltrane's constant flow of thought.

On side two, "Hare Krishna" is a chant-like piece that is birthed from minor-key ascendancy with a loping string figure transcribed by Coleman from Coltrane's composition on the organ. She lays deep in the cut, offering large shimmering chords that twirl -- eventually -- around high-register ostinatos and pedal work. It's easily the most beautiful and accessible track in the set, in that it sings with a devotion that has at its base the full complement of Coltrane's compositional palette. "Sita Ram" is a piece that echoes "Hare Krishna" in that it employs Garrison and drummer Clifford Jarvis, but replaces the strings with a tamboura player. Everything here moves very slowly, harp and organ drift into and out of one another like breath, and the rhythm section -- informed by the tamboura's drone -- lilts on Coltrane's every line. As the single-fingered lines engage the rhythm section more fully toward the end of the tune, it feels like a soloist improvising over a chanting choir. Finally, the album ends with another duet between Ali and Coltrane. Ali uses wind chimes as well as his trap kit, and what transpires between the two is an organically erected modal architecture, where texture and timbre offer the faces of varying intervals: Dynamic, improvisational logic and tonal exploration become elemental figures in an intimate yet universal conversation that has the search itself and the uncertain nature of arrival, either musically or spiritually, at its root. This ambiguity is the only way a recording like this could possibly end, with spiritual questioning and yearning in such a musically sophisticated and unpretentious way. The answers to those questions can perhaps be found in the heart of the music itself, but more than likely they can, just as they are articulated here, only be found in the recesses of the human heart. This is art of the highest order, conceived by a brilliant mind, poetically presented in exquisite collaboration by divinely inspired musicians and humbly offered as a gift to listeners. It is a true masterpiece.

 

A1 Universal Consciousness (5:05)

A2 Battle At Armageddon (7:22) Drums - Rashied Ali

A3 Oh Allah (4:54)

B1 Hare Krishna (8:16) Drums - Clifford Jarvis

Tamboura - Tulsi

B2 Sita Ram (6:12) Bells - Clifford Jarvis

Drums - Clifford Jarvis

Percussion - Clifford Jarvis

Tamboura - Tulsi

B3 The Ankh Of Amen-Ra (4:48) Drums - Rashied Ali

Wind Chimes - Rashied Ali

Bass - Jimmy Garrison (tracks: A1, A3, B1, B2)

Drums - Jack DeJohnette (tracks: A1, A3, B1)

Harp - Alice Coltrane

Organ - Alice Coltrane

Producer - Ed Michel

Violin - Joan Kalisch (tracks: A1, A3, B1) , John Blair (tracks: A1, A3, B1) , Julius Brand (tracks: A1, A3, B1) , Leroy Jenkins (tracks: A1, A3, B1)

This 1976 release features Chick Corea in what was then, and remains, a unique musical setting. While it is truly an electric jazz fusion record, it is also the only solo recording of Corea's on which he attempted to truly explore the Latin side of his musical heritage. My Spanish Heart marks a full-scale, yet thoroughly modern, exploration in the musical lineage Corea sprang from. Making full use of synthesizer technology, a string section, and synth-linked choruses -- of two voices, his own and that of Gayle Moran -- as well as percussionist Don Alias, drummer Steve Gadd, a full brass section, and the sparse use of Jean Luc Ponty ("Armando's Rumba") and bassist Stanley Clark, Corea largely succeeded in creating a Spanish/Latin tapestry of sounds, textures, impressions, and even two suites -- "Spanish Fantasy" and "El Boro." The string quartet performs its intricate and gorgeously elegant arrangements with verve and grace on "Day Danse" and on the suites, with Corea's contrapuntal pianism creating a sharp yet warm contrast to the shifting tempos, wild interval leaps, and shimmering timbral balances that occur. The only pieces that sound dated on this double-album-length set are the fusion pieces, which are, with their production and knotty stop-and-start modulations and key signature equations -- omplete with aggressive arpeggios and scalar linguistics -- destined to be limited in expression by the voice of their use of technology. Thus, "Love Castles," "The Gardens," and "Night Streets" suffer from their rather cheesy production despite their tastefully done double fusion semantics (jazz to rock to Latin music). There is no doubt that Corea's musicianship was up to any task he chose at this point in time. Simply put, he was compositionally and intellectually at the top of his game, and this record, despite the many of his that haven't aged well, still surprises despite its production shortcomings.

1. Love Castle (4:47)

2. The Gardens (3:11)

3. Day Danse (4:29)

4. My Spanish Heart (1:37)

5. Night Streets (6:02)

6. The Hilltop (6:15) Composed By - Stanley Clarke

7. Wind Danse (4:55)

8. Armando's Rhumba (5:19) Handclaps - Narada Michael Walden Violin - Jean-Luc Ponty

9. Prelude To El Bozo (1:36)

10. El Bozo, Part I (2:49)

11. El Bozo, Part II (2:06)

12. El Bozo, Part III (4:56)

13. Spanish Fantasy, Part I (6:07)

14. Spanish Fantasy, Part II (5:11)

15. Spanish Fantasy, Part III (3:09)

16. Spanish Fantasy, Part IV (5:04)

Arranged By, Piano [Acoustic, Fender], Synthesizer [Moog 15, Mini-moog, Arp Odessy, Polymoog], Organ [Yamaha], Handclaps - Chick Corea

Bass [Acoustic] - Stanley Clarke

Composed By - Chick Corea (tracks: 1 to 5, 7 to 19)

Drums - Steve Gadd

Engineer - Bernie Kirsh

Percussion - Don Alias

Producer - Chick Corea

Strings - Arriaga Quartet

Trombone - Ron Moss

Trumpet - John Rosenberg , Stuart Blumberg

Trumpet [Lead] - John Thomas (3)

Vocals, Choir - Gayle Moran

Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingus and Max Roach. Not in a mood to simply rework older compositions, the bulk of the LP focused on music he wrote specifically for the session. "Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde. The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. "Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be quite catchy. Ellington also revisits "Warm Valley" (a lovely ballad indelibly associated with Johnny Hodges) and an almost meditative "Solitude." Thunderous percussion and wild basslines complement a wilder-than-usual approach to "Caravan." Every jazz fan should own a copy of this sensational recording session.

1. Money Jungle 5:27

2. Fleurette Africaine 3:33

3. Very Special 4:23

4. Warm Valley 3:31

5. Wig Wise 3:17

6. Caravan 4:11

7. Solitude 5:31

8. Switch Blade 5:21

9. A Little Max (Parfait) 2:57

10. Rem Blues 4:15

11. Backward Country Boy Blues 6:30

12. Solitude 4:42

13. Switch Blade 5:11

14. A Little Max (Parfait) 2:56

15. Rem Blues 5:44

Bass - Charles Mingus

Drums - Max Roach

Piano - Duke Ellington

Recorded at Sound Makers, New York City on September 17, 1962

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty. Both Giant Steps [Deluxe Edition] and the seven-disc Heavyweight Champion: The Complete Atlantic Recordings offer more comprehensive presentations of these sessions.

1. Giant Steps (4:43)

2. Cousin Mary (5:45)

3. Countdown (2:21)

4. Spiral (5:56)

5. Syeeda's Song Flute (7:00)

6. Naima (4:21)

7. Mr. P.C. (6:57)

8. Giant Steps (Alternate Version 1) (3:40)

9. Naima (Alternate Version 1) (4:27)

10. Cousin Mary (Alternate Take) (5:54)

11. Countdown (Alternate Take) (4:33)

12. Syeeda's Song Flute (Alternate Take) (7:02)

Bass - Paul Chambers (3)

Drums - Art Taylor (tracks: 1 to 5, 7) , Jimmy Cobb (tracks: 6)

Engineer [Recording] - Phil Iehle , Tom Dowd

Piano - Tommy Flanagan (tracks: 1 to 5, 7) , Wynton Kelly (tracks: 6)

Producer [Supervision] - Nesuhi Ertegun

Saxophone [Tenor] - John Coltrane

Written-By - John Coltrane

1. Introduktion - Ta Er I Brasan

2. Den Dan Vi Sket I Hugo

3. Teryleneblus 13 50 EPa

4. En Mäktig Eldaregesäll

5. Right On - Kliv På

6. Va Då Rå - Va E', Reö

7. Undrar Om Mona Och Kent Spelar

8. Riff á La Lindström

Arranged By - Bengt Lindqvist
Bass - Jan Bergman
Drums - Nils-Erik Slörner
Engineer - Gert Palmcrantz
Guitar - Bengan Karlsson , Janne Schaffer
Organ, Piano - Bengt Lindqvist
Producer - G. Palmcrantz , Janne Forsell , Svenska Löd
Saxophone [Tenor] - Kalle Lundborg , Olle Wirén
Trombone - Mats Eriksson (3)
Trumpet - Lennart Axelsson , Åke "Jocke" Johansson

"Dedicated To The Living" Weather Report's ever-changing lineup shifts again, with the somewhat heavier funk-oriented Leon "Ndugu" Chancler dropping into the drummer's chair and Alyrio Lima taking over the percussion table. As a result, Tale Spinnin' has a weightier feel than Mysterious Traveller, while continuing the latter's explorations in Latin-spiced electric jazz/funk. Zawinul's pioneering interest in what we now call world music is more in evidence with the African percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on the previous two albums and Alphonso Johnson puts his melodic bass more to the fore. While not quite as inventive as its two predecessors, this remains an absorbing extension of WR's mid-'70s direction.

 

1. Man in the Green Shirt (6:28)

2. Lusitanos (7:24)

3. Between the Thighs (9:33)

4. Badia (5:20)

5. Freezing Fire (7:29)

6. Five Short Stories (6:56)

Bass - Alphonso Johnson

Drums - Leon Ndugu Chancler

Keyboards - Joe Zawinul

Percussion - Alyrio Lima

Saxophone - Wayne Shorter

P 1975 Sony Music Entertainement Inc.

No Jewel Box - This CD-Package looks like a miniature version of a Vinyl album.

JOE ZAWINUL : (Melodica, Rhodes Piano, TONTO, ARP 2600 Synthesizer, Organ, Oud, Mzuthra, Vocal, West African Xylophone &Acoustic Piano / Composer of Tracks 1, 3, 4 & 6) and WAYNE SHORTER (Tenor & Sopran Saxophones / Composer of Tracks 2 and 5) = WEATHER REPORT

with the Rhythm Section from SANTANA (Borboletta 1974) : 

'Ndugu' Leon Chancler (Drums, Tympani &Marching Cymbals) 

Alphonso Johnson (Electric Bass).

plus :

Alyrio Lima (Percussions)

Recorded January & February 1975 in L.A. at Wally Heider

Orchestration : Joe Zawinul

Recording Engineer : Bruno Botnick

Guitarist John Abercrombie's first in a long line of recordings for ECM was also his debut as a leader. Teamed up with Jan Hammer (who here plays organ, synthesizer, and piano) and drummer Jack DeJohnette, Abercrombie plays four of his originals, plus two by Hammer. These performances differ from many of the guitarist's later ECM dates in that Hammer injects a strong dose of fusion into the music, and there is plenty of spirited interplay between those two with fine support by DeJohnette. Thought-provoking and occasionally exciting music that generally defies categorization.

1. Lungs (12:08)

2. Love Song (4:34)

3. Ralph's Piano Waltz (5:21)

4. Red In Orange (5:21)

5. Remembering (4:32)

6. Timeless (11:57)

Artwork By - Robert Masotti , Rolf Liese

Drums - Jack DeJohnette (tracks: 1, 3, 4, 6)

Engineer - Tony May

Engineer [Mixing Engineer] - Jan Erik Kongshaug

Guitar - John Abercrombie

Organ, Synthesizers, Piano - Jan Hammer

Producer - Manfred Eicher

Recorded June 21 and 22 1974 at Generation Sound Studios, New York

Although Brilliant Corners is Thelonious Monk's third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk's playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax). Although a compromise, the selection of Miles Davis' bassist, Paul Chambers, and Clark Terry (trumpet) on "Bemsha Swing" reveals what might be considered an accident of ecstasy, as they provide a timeless balance between support and being able to further the cause musically. Likewise, Roach's timpani interjections supply an off-balanced sonic surrealism while progressing the rhythm in and out of the holes provided by Monk's jackrabbit leads. It's easy to write Monk's ferocity and Forrest Gump-esque ingenuity off as gimmick or quirkiness. What cannot be dismissed is Monk's ability to translate emotions into the language of music, as in the freedom and abandon he allows through Sonny Rollins' and Max Roach's mesmerizing solos in "Brilliant Corners." The childlike innocence evoked by Monk's incorporation of the celeste during the achingly beautiful ode "Pannonica" raises the emotional bar several degrees. Perhaps more pointed, however, is the impassioned "I Surrender, Dear" -- the only solo performance on the album. Brilliant Corners may well be considered the alpha and omega of post-World War II American jazz. No serious jazz collection should be without it.

1. Brilliant Corners (7:44)

2. Ba-Lue Bolivar Ba-Lues-Are (13:06)

3. Pannonica (8:50)

4. I Surrender, Dear (5:27)

5. Bemsha Swing (7:40)

Bass - Oscar Pettiford (tracks: 1 to 4) , Paul Chambers (3) (tracks: 5)

Drums - Max Roach

Piano - Thelonious Monk

Producer - Orrin Keepnews

Saxophone [Alto] - Ernie Henry

Saxophone [Tenor] - Sonny Rollins

Trumpet - Clark Terry (tracks: 5)

Recorded in New York, December 1956

After several years off records, pianist Cecil Taylor finally had an opportunity to document his music of the mid-'60s on two Blue Note albums (the other one was Conquistador). Taylor's high-energy atonalism fit in well with the free jazz of the period but he was actually leading the way rather than being part of a movement. In fact, this septet outing with trumpeter Eddie Gale, altoist Jimmy Lyons, Ken McIntyre (alternating between alto, oboe and bass clarinet), both Henry Grimes and Alan Silva on basses, and drummer Andrew Cyrille is quite stunning and very intense. In fact, it could be safely argued that no jazz music of the era approached the ferocity and intensity of Cecil Taylor's.

1. Steps

2. Enter, Evening (Soft Line Structure)

3. Enter, Evening [alternate take]

4. Structure / As Of A Now / Section

5. Tales (8 Whisps)

Bass - Alan Silva , Henry Grimes

Drums - Andrew Cyrille

Piano, Bells, Written-By - Cecil Taylor

Recorded By [Recording By] - Rudy Van Gelder

Saxophone [Alto] - Jimmy Lyons

Saxophone [Alto], Oboe, Clarinet [Bass] - Ken McIntyre

Trumpet - Eddie Gale Stevens Jr.

Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter's Ju Ju was the first really great showcase for both his performance and compositional gifts. Early in his career as a leader Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane's rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones' playing at the time was almost otherworldly. He seemed
to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter's compositions. McCoy Tyner's role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be.
JuJu rests in the uphill portion of Shorter's creative peak. While the sidemen may have been an even better match for him than the ensembles he would put together for later albums, he was just beginning to find his footing as a leader. His performances were already showing evidence of great originality -- yes, they were influenced by Coltrane, but only in the way that they broke apart the structures of the bop sound to create a sound that had all of the variety and flexibility of the human voice. On later albums like Speak No Evil and The Soothsayer, however, Shorter would rise to an even higher level as a performer with more powerful, confident playing that reached farther afield in its exploration of melodic textures.

What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on "Mahjong," the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions.

1. Juju Shorter 8:35

2. Deluge Shorter 6:53

3. House of Jade Shorter 6:53

4. Mahjong Shorter 7:44

5. Yes or No Shorter 6:39

6. Twelve More Bars to Go Shorter 5:31

7. Juju [alternate take/] Shorter 7:50

8. House of Jade [alternate take/] Shorter 6:39

Bass - Reginald Workman

Drums - Elvin Jones

Engineer - Rudy Van Gelder

Piano - McCoy Tyner

Producer - Alfred Lion

Tenor Saxophone - Wayne Shorter

One of Stan Getz's all-time greatest albums, Sweet Rain was his first major artistic coup after he closed the book on his bossa nova period, featuring an adventurous young group that pushed him to new heights in his solo statements. Pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate were all schooled in '60s concepts of rhythm-section freedom, and their continually stimulating interplay helps open things up for Getz to embark on some long, soulful explorations (four of the five tracks are over seven minutes). The neat trick of Sweet Rain is that the advanced rhythm section work remains balanced with Getz's customary loveliness and lyricism. Indeed, Getz plays with a searching, aching passion throughout the date, which undoubtedly helped Mike Gibbs' title track become a standard after Getz's tender treatment here. Technical perfectionists will hear a few squeaks on the LP's second half (Getz's drug problems were reputedly affecting his articulation somewhat), but Getz was such a master of mood, tone, and pacing that his ideas and emotions are communicated far too clearly to nit-pick. Corea's spare, understated work leaves plenty of room for Getz's lines and the busily shifting rhythms of the bass and drums, heard to best effect in Corea's challenging opener "Litha." Aside from that and the title track, the repertoire features another Corea original ("Windows"), the typically lovely Jobim tune "O Grande Amor," and Dizzy Gillespie's Latin-flavored "Con Alma." The quartet's level of musicianship remains high on every selection, and the marvelously consistent atmosphere the album evokes places it among Getz's very best. A surefire classic.

1. Litha (9:00)

2. O Grande Amor (4:43)

3. Sweet Rain (7:08)

4. Con Alma (8:00)

5. Windows (8:52)

Bass - Ron Carter

Drums - Grady Tate

Engineer - Rudy Van Gelder

Piano - Chick Corea

Producer - Creed Taylor

Saxophone [Tenor] - Stan Getz

Recorded March 30, 1967 at Rudy Van Gelder Studio, Engelwood Cliffs, New Jersey.

The seven sides that make up the all-star outing Picture of Heath (1961) might be familiar to fans of co-leads Chet Baker (trumpet) or Art Pepper (alto saxophone), as Playboys (1956). Perhaps owing to trademark-related issues with the men's magazine of the same name, Picture of Heath became the moniker placed on the 1961 Pacific Jazz vinyl re-release, as well as the 1989 compact disc. Regardless of the designation on the label, the contents gather selections recorded on October 31, 1956 -- the third encounter between Baker and Pepper. Backing Baker and Pepper are the sizable quartet of Carl Perkins (piano) [note: not to be confused with the '50s and '60s rockabilly star], Larance Marable (drums), Curtis Counce (bass), and Phil Urso (tenor sax). Although Pepper supplied "Minor Yours" and "Tynan Time," the majority of the material can be traced to Heath Brothers trio member, Jimmy Heath (sax/flute), who was himself an acclaimed instrumentalist, composer, and arranger. The aggregate provide essential interpretations of his work, adding their own unique earmarks on to what is arguably the best and most playful interaction involving Baker and Pepper. Notable occurrences can be heard on "Picture of Heath" where Pepper sonically salutes Thelonious Monk, quoting recognizable passages from "Rhythm-A-Ning" on a number of occasions -- initially during a fierce exchange with Baker on the title track and then again prominently in the commencement of the aforementioned Pepper composition "Tynan Time." One of the more striking elements coalescing the partnership between the combo's soloists is the seemingly innate abilities that
Baker and Pepper share as they propel themselves through the limber lines of "For Minors Only." The level of musicianship is evident as Counce, Perkins, and Marable effortlessly banter with youthful verve. Both the studied bop enthusiast and average jazz lover will find much to enjoy and revisit on Picture of Heath.

1. Picture of Heath Heath 6:43

2. For Miles and Miles Heath 6:23

3. C.T.A. Heath 5:09

4. For Minors Only Heath 3:59

5. Minor Yours Pepper 6:41

6. Resonant Emotions Heath 5:40

7. Tynan Time Pepper 5:31

Alto Sax - Art Pepper

Bass - Curtis Counce

Drums - Lawrence Marable

Piano - Carl Perkins

Producer - Richard Bock

Tenor Sax - Phil Urso

Trumpet - Chet Baker

Originally released in 1961 by World-Pacific Records.

A Richard Bock Production.

Notes by Lars Werner, Stockholm, Sweden, January 1957.

Cover design by Woody Woodward.

Photos by William Claxton.

This is a great starting place for anyone wanting to Experience Holdsworth. Eddie Van Halen secured a record deal with Warner Brothers for Allan. After spending nearly twenty years in the WB vaults, Road Games finally made it to CD. This disc features some awesome bass work from Jeff Berlin, "Water on the Brain" sizzles. Jack Bruce, Cream, guests on two tracks. Chad Wackerman, former Zappa drummer, turns in a stellar performance. The star of this show, however, is Allan's pyrotechic guitar work. "Tokyo Dream" and "Three Sheets to the Wind" are firestorms of blazing fretboard magic, twists, dips, chills and pure excitement. An amazing statement from one amazing guitarist.

1. Three sheets to the wind (4:12)

2. Road games (4:07)

3. Water on the brain - Pt. II (2:43)

4. Tokyo dream (4:01)

5. Was there? (4:04)

6. Material real (4:40)

- Jeff Berlin / bass

- Jack Bruce / vocals

- Allan Holdsworth / guitar

- Paul Korda / backing vocals

- Joe Turano / backing vocals

- Chad Wackerman / drums

- Paul Williams / lead vocals, backing vocals

Extrapolation - Construction of new data points outside of a discrete set of known data points

Having played as a session/sideman in a number of R&B bands as well as with pop artists which included DAVID BOWIE and the ROLLING STONES in and around London, England for the better part of the 1960`s, McLaughlin played onJACK BRUCE`S 1968 album THINGS WE LIKE which served as a springboard for his first album as leader/composer. Sounding more like a group effort EXTRAPOLATION featured the already prominent saxman John Surman on soprano and baritone saxes, Bill Odges on bass who later attracted the attention of Miles Davis and the underrated Tony Oxley on drums. McLaughlin himself switched back and forth on an acoustic guitar with a pickup and an electric hollow body.
Overshadowed for many years by McLaughlin`s firebreathing MAHAVISHNU ORCHESTRA formed a scant few years later, this debut is one of McLaughlin`s finest recordings and demonstrates his prowess as a Jazzman. It was perhaps the closest Mclaughlin came to playing straight jazz with the resulting ten tracks, all of which were composed by Mclaughlin himself, having a very bright post-bop experimental free jazz sound to them crammed with solos and interplay from both McLaughlin and Surman. The fact that it was recorded straight with no overdubs gives it a " jam session" feel to it and every crisp track flows nicely into the next thanks partially to engineering by Eddie Offord who would produce future ELP and YES projects.
EXTRAPOLATION is a monumental jazz recording which is also a brilliant foreshadowing of the various musical paths McLaughlin would follow over the next decade. From his participation with MILES DAVIS` and TONY WILLIAMS`proto-fusion projects, through the ferocity of THE MAHAVISNU ORCHESTRA and on to East Indian explorations with Shakti. A timeless gem from the vaults.

1. Extrapolation (2:57)

2. It's Funny (4:25)

3. Arjen's Bag (4:25)

4. Pete The Poet (5:00)

5. This Is For Us To Share (3:30)

6. Spectrum (2:45)

7. Binky's Beam (7:05)

8. Really You Know (4:25)

9. Two For Two (3:35)

10. Peace Piece (1:50)

Baritone And Soprano Saxophone - John Surman

Bass - Brian Odges

Drums - Tony Oxley

Electric And Acoustic Guitar - John McLaughlin

Producer - Giorgio Gomelsky

Originally released 1969.

All titles composed by John McLaughlin.

Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. More progressive than groove-oriented, three of the four compositions were written by Chick Corea and certainly reflect that knotty, angular, almost mathematic penchant of his for soaring arpeggios in the solos and contrapuntal basslines that circle DeJohnette's drumming. Nowhere is this truer than on the opener, "Great George," where Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost insufficient. On the title track there is more of a funk backdrop, but still, there are the knotty runs and insane harmonic reaches Farrell attempts on his soprano that crack, falter, and ultimately turn into something else even more satisfying that what Mr. Math (Corea) wanted, though the sheer business of the track is dizzying. "Bass Folk Song" is by Clarke, and is the only thing on the record that actively engages melody rather than harmonic structures. Farrell uses his flute and Hancock strides into the same kind of territory his explored with Miles Davis, chopping up chordal phrases into single lines and feeding them wholesale to the running pair frontmen in Clarke and Farrell. DeJohnette uses a Latin backdrop to hang his drumming on and pursues a circular and hypnotic groove on the cymbals and toms. It's a gorgeous piece of music and utilizes an aspect of space within the melodic frame that the rest of the firebrand tunes do not, though it's no ballad. This is sci-fi Farrell at his most intense.

1. Great Gorge (11:40)

2. Moon Germs (7:23)

3. Times Lie (8:25)

4. Bass Folk Song (9:50)

Bass - Stanley Clarke

Drums - Jack DeJohnette

Flute - Joe Farrell

Piano - Chick Corea

Saxophone - Joe Farrell

This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European -- not just German or British -- jazz recording. Originally self-released by Peter Brötzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and "energy music" that few have approached since. Brötzmann is joined on sax by British stalwart Evan Parker and Dutch reedsman Willem Breuker (before Breuker moved away from free music, his lungs were as powerful as Brötzmann's). The rest of the group consists of drummers Han Bennink (Dutch) and Sven-Åke Johansson (Swedish), Belgian pianist Fred van Hove, and bassists Peter Kowald (German) and Buschi Niebergall (Swiss). Brötzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Brötzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that's timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it's just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding -- much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill.

 

1. Machine Gun (Second Take) 14:58

2. Machine Gun (Third Take) 17:16

3. Responsible (for Jan van de Ven) (First Take) 10:01

4. Responsible (for Jan van de Ven) (Second Take) 8:17

5. Music For Han Bennink (First Take) 11:22

Double Bass - Buschi Niebergall  , Peter Kowald
Drums - Han Bennink , Sven-Åke Johansson
Piano - Fred Van Hove

Saxophone [Baritone, Tenor], Producer, Photography, Artwork By [Booklet Layout] - Peter Brötzmann
Saxophone [Tenor] - Evan Parker
Saxophone [Tenor], Clarinet [Bass] - Willem Breuker

"Erotic Cakes" is a listening and inspirational jewel. Guthrie's exquisite playing will undoubtedly become the benchmark for Guitar. Equally Seth Govan and Pete Riley have raised the bar with their Bass and drum virtuosity. The performances here are truly amazing. The one thing that will separate this recording from the mainstream is the musicality of the song writing and the production.

Here are some kind words about Guthrie from some amazing players we really respect and whos music we love.

Joe Satriani:

Totally freakin awesome!!! this CD put a grin on my face a mile wide.

Richie Kotzen:

Guthrie Govan can do anything he wants as a guitarist. He has total command over the instrument; I love to watch Guthrie live as he always plays something new that the rest of us would never have thought of. He is truly a gifted musician and I am honored to be a part of Guthrie's 1st album. (Guest solo from Richie on "Ner Ner")

Greg Howe:

Guthrie is a brilliant guitarist whose super high level of proficiency does not seem to be limited to any one particular genre or style

Dweezil Zappa:

Every time I hear Guthrie play I feel like I have to fasten my seatbelt. He is an alien. His technique and execution is staggering. Ultimately what is most impressive about him is his musicality. He has total freedom on guitar...

BASTARD!

Rob Balducci:

Guthrie is the most versatile guitarist/musician I have ever heard. His music reaches new heights and he can be one scary technical monster or be the sweetest thing you tasted.

Bumblefoot, a.k.a. Ron Thal:

I've known Guthrie since the days before email, when we'd write each other trading riffs. In the past years, we'd have long jams at NAMM conventions in California, and gigged together in the UK. And for all these years, I, and the rest of the world-wide guitar community have harassed him incessantly to please please release a full-length CD. Well, he's done it, and it's inspiring and mind-blowing and beautiful, as expected. Guthrie is the most-talented guitarist I've ever known,a great friend, and I'm honored to havecontributed to his album. Thank you Guthrie, for the wonderful music and all you are. (Guest solo from Ron on "Rhode Island Shred")

Doug Aldrich:

"I just recieved Guthie's new record Erotic Cakes and I am floored! Its been a long time since I heard playing and a record that cool. Amazing songs and sick playing from the whole band on every track. The song Waves is on my daily playlist now. Its one of those melodies that you wont forget and you will crave to hear again and again. I had the pleasure to meet Guthrie on tour in '05 and aside from being one of the most gifted players I have heard, he is just a top guy. Nice one Guthrie!....Thank you bro!"

Steve Stevens:

"Steve Stevens salutes you." For a whole new generation of geetar players...Guthrie's got the ball and he's off and running with that sucker!

Reb Beach:

“The 'Erotic Cakes' CD is excellent. It doesn't get much better than that, does it? I stopped trying to improve years ago because of people like him. I love his melodies, which is rare for me when I hear other guitarists: so effortless.

He is the most well rounded yet stunning guitarist I've ever heard.

Lyle Workman:

"Guthrie is an unbelievable guitarist, especially in light of his depth as a musician who is clearly inspired by various genres, harmony and rhythm extending far beyond technique-driven guitar music. The man is cooking with a lot of ingredients. He is supremely gifted and simply astounding. Once again, I have been reduced to guitar OWNER."

Brett Garsed:

"An amazing debut! I can't wait to see where Guthrie will go with future projects as I'm sure it'll be a great and unpredictable ride!"

1. Waves (5:08)

2. Erotic Cakes (3:50)

3. Wonderful Slippery Thing (3:20)

4. Ner Ner (8:04)

5. Fives (4:35)

6. Uncle Skunk (5:28)

7. Sevens (5:56)

8. Eric (5:05)

9. Slidey Boy (4:34)

10. Rhode Island Shred (2:17)

11. Hangover (6:31)

Arranged By, Performer - Erotic Cakes

Artwork By [Design] - Jonathan Parkin

Bass - Seth Govan

Drums - Pete Riley

Engineer - Alex Todorov

Guitar, Written-By - Guthrie Govan

Mastered By - Matthew Denny

Photography - Richard Ecclestone

Producer, Mixed By, Photography, Artwork By [Controversial Front Cover] - Jan Cyrka

Guitars recorded at Headroom studios, North Hollywood.

Drums recorded in Pete Riley's studio

Bass recorded in a small flat somewhere in Darkest Chelmsford.

Mastered at Masterblaster.

With the cheers and huzzahs from their 1976 one-off reunion still resounding, the reconstituted Miles Davis Quintet minus Miles went on the road in 1977, spreading their 1965-vintage gospel according to the Prince of Darkness to audiences in Berkeley and San Diego, CA. In doing so, Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams, plus interloper Freddie Hubbard seem to pick up where they left off, with a repertoire mostly new to the five collectively and developed from there. It isn't exactly the same -- you miss Miles' brooding presence and sense of space in Hubbard's busy, fiery playing, and Hancock is a more harmonically daring, assertive player than he was with Miles -- but the interlocking telepathy and individual virtuosity of the musicians is pretty amazing. This also isn't the best tape from the tour; they were even tighter and more volatile in Japan five days later on Sony's Tempest in the Colosseum. The V.S.O.P. tours amount to a pit stop in the general shape of Hancock's evolution, but their influence upon the direction of jazz as a whole in the '80s and '90s would be staggering.

 

1. One Of A Kind

2. Third Plane

3, Jessica

4, Lawra

5. Introduction Of Players, Darts

6. Dolores

7. Little Waltz

8. Byrdlike

Ron Carter (Bass), Herbie Hancock (Synthesizer), Herbie Hancock (Piano), Herbie Hancock (Keyboards), Herbie Hancock (Vocals), Herbie Hancock (Main Performer), Bennie Maupin (Percussion), Bennie Maupin (Wind), Julian Priester (Trombone), Wayne Shorter (Saxophone), Wayne Shorter (Sax (Soprano)), Wayne Shorter (Sax (Tenor)), Tony Williams (Drums), Eddie Henderson (Percussion), Eddie Henderson (Trumpet), V.S.O.P. (Performer), Conrad Silvert (Liner Notes), Bryan Bell (Engineer), Bryan Bell (Audio Engineer), Fred Catero (Engineer), Jeffrey Cohen (Associate Producer), Freddie Hubbard (Trumpet), Freddie Hubbard (Flugelhorn), Paul Jackson (Bass), James Levi, Chris Minto (Assistant Engineer), Shawn Murphy (Remote Recording Crew), David Rubinson (Producer), Ray Thompson (Remote Recording Crew), Wah Wah Watson (Guitar), Buster Williams (Bass), Buster Williams (Percussion), Herbie Green (Design), Paul Sandweiss (Remote Recording Crew), Bruce Talamon (Photography), Dennis Mays (Remote Recording Crew), Russ Anderson (Design), Les D. Cooper (Remote Recording Crew)

Recorded live at: The Greek Theatre University of California, Berkeley, July 16, 1977 and The San Diego Civic Theatre, July 18, 1977.

This unusual set (reissued on CD by Blue Note) was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that also includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career.

 

1. Elijah 9:21

2. Beast Of Burden 10:07

3. Cristo Redentor 5:43

4. The Black Disciple 8:12

5. Chant 7:31

Arranged By - Duke Pearson

Bass - Butch Warren

Drums - Lex Humphries

Guitar - Kenny Burrell

Other [Voices Directed By] - Coleridge Perkinson

Photography - Reid Miles

Piano - Herbie Hancock

Recorded By - Rudy Van Gelder

Saxophone [Tenor] - Hank Mobley

Trumpet - Donald Byrd

Vibraphone - Donald Best

Cat no. printed on the cover as BLP-4124/84124, on the spine as 81424, on the label as BST-84124 and in the run-out groove as BNST-84124-A-1/B-2. This is a United Artists pressing with no reissue date listed on the cover or label.