Jeff Golub: Do It Again (2002)

Guitarist Jeff Golub's previous outing, Dangerous Curves, edged away from the R&B format toward a more rock approach. Do It Again revisits the soulful sound that Golub has made his own. The former Rod Stewart sideman has taken a break from composing this time out and chosen a batch of classic covers, displaying the same exquisite taste evidenced in his playing. Having had a hit with the Average White Band's instrumental "Pick Up the Pieces," he returns to the well for "Cut the Cake," and while he's at it, grabs their underappreciated "If I Ever Lose this Heaven." To inform anyone wondering where he garnered his influences, Golub gives us tunes by the masters: James Brown, Marvin Gaye, Stevie Wonder, Smokey Robinson. As always, his playing demonstrates the three Ts of all great musicians: the aforementioned taste, as well as in-the-pocket time and distinctive tone. If the record doesn't "rawk," it certainly grooves, and the solo on Eddie Harris's "Cold Duck Time" definitely pushes the boundaries of polite. Do It Again offers a great listen for fans of guitar and/or great soul tunes. --Michael Ross

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Do It Again (RS) / Do It Again (DF) / Do It Again (MU) @ 320K

Cheryl Bentyne: Talk of the Town (2004)

Cheryl Bentyne is justly celebrated for her work as the soprano voice in Manhattan Transfer, but her work outside of that ensemble is just as impressive, if sometimes less flashy. This solo album, in fact, is notable for its lack of pyrotechnical wizardry, and is all the stronger for it. Focusing almost exclusively on standards, Talk of the Town finds Bentyne singing with an almost Ella Fitzgerald-like transparency, imposing little of her own ego on the material and avoiding heavy-handed interpretation. This is not to say that she sings without personality or style — simply that she sings like someone who wants to showcase the songs themselves rather than her own artistry. The result is quietly spectacular: on straightforwardly melodic fare like Cole Porter's "You'd Be So Nice to Come Home To" and the classic ballad "These Foolish Things," the songs are like jewels in simple but lush settings; on more difficult numbers, such as "Little Butterfly" (which consists of lyrics by Jon Hendricks set to the Thelonious Monk composition "Pannonica"), she negotiates the tricky changes with grace and deceptive ease. Bentyne's voice sounds the way a warm shower feels. Very highly recommended.--AMG

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Talk of the Town (RS) / Talk of the Town (HF) / Talk of the Town (DF) @ 320K

Martin Taylor: Nitelife (2001)

This English guitarist continues his transformation from British-styled bebop master to Americanized contemporary jazz trendsetter with his second major-label release. While it's not as clean a recording as his last effort, Kiss & Tell, it's a much more focused disc, with more of Taylor's graceful and tasty guitar licks, and fewer featured guests. One of the sidemen, Kirk Whalum, who also coproduced, contributes two outstanding tunes, including the smooth, funky title track, and "Beboptimism," a tune with a traditional jazz melody over contemporary jazz rhythms and harmonies. Only Taylor's own "Green Lady" can be put safely in the tame smooth-jazz category, because there's a definite sharp edge to the most of the other tracks, particularly two of the cover tunes--Earth, Wind & Fire's "That's the Way of the World," with an unexpected key change towards the end, and a sumptuous version of the Isaac Hayes/Dionne Warwick hit "Déjà Vu," which experiments with tape loops, voices, and pretty much sounds like Taylor with Art of Noise. By a conservative count, this is Taylor's 40th album, but will probably the first to make a real impact across the pond in America. --Mark Ruffin

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Nitelife (RS) / Nitelife (HF) @ 320K

Kenny Garrett: Simply Said (1999)

There's no denying that Kenny Garrett is a tremendous saxophonist, whether on alto or the much less manageable sopranino and soprano. But Garrett established this fact long before this odd mix of tunes. His Triology was a sophisticated, intricate pianoless trio date, and Pursuance was a moving, apt tribute to John Coltrane. So Simply Said isn't about Garrett's talent, and that's too bad. The music's consistently mired in what seems confusion. Does the saxophonist want to be considered an ace smooth-jazzer? Too often, there's only the acoustic band setting--with pianists Shedrick Mitchell or Mulgrew Miller, drummers Chris Dave or Jeff Watts, and even Pat Metheny--to set this apart from synth-enhanced pop jazz. If Garrett envisions this as his smooth jazz record, it's entirely stronger than most music in that genre. But if it's to be considered in light of Garrett's other work, it's a distinct disappointment. The melodies are too simply stated to be memorable, the saxophones too thin and their phrases not even dented with the convolutions Garrett's earlier work hints at. If it's the burning, creative Garrett you're after, this recording is probably going to be a bummer for you. But if you're wondering what this Kenny "G" can add to the smooth mix, then the good truth is Simply Said here. --Andrew Bartlett

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Simply Said (RS) / Simply Said (HF) @ 320K

Vishwa Mohan Bhatt With Bela Fleck and Jie Bing Chen: Tabula Rasa (1996)

Bela Fleck has successfully (even prior to this recording) taken the banjo out of its bluegrass/hillbilly context and inserted it where it seemingly should not be welcome: jazz, classical. For this performance he has taken the "twang" out of the sound of the banjo and replaced it with a rich tonal quality that can only be described as the pure, untainted sound of the instrument itself. The Master of the Banjo plays with music masters of the far east and together they have created one of my favorite cd's. Tabula Rasa is stunningly beautiful.

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Tabula Rasa (RS) / Tabula Rasa (DF) @ 320K

Billy Cobham: Drum N Voice - All That Groove (2001)

This 2001 Cobham effort was recorded in Milan with a bunch of fine musicians: Michael and Randy Brecker, Eddie Gomez and several famous Italian jazz players (Rossana Nicolosi - bass, Marco Fada - percussion, Lino Nicolosi - guitar, Fabrizio Bosso - trumpet, flugelhorn and others). Contains classics as Red Baron and I Want You Back (Ken Gold/Micky Denne) along with new material which sounds absolutely sensational and groovy.

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Drum N Voice (RS) / Drum N Voice (DF) @ 320K

Kevin Toney: Strut (2001)

Keyboardist Kevin Toney is a superb contemporary jazz instrumentalist and composer who can perform a range of styles — including jazz, blues, and R&B — with equal dexterity, and his album, Strut, is a good example of his remarkable facility. For this collection of primarily upbeat compositions, Toney combined his trademark memorable melodies with a variety of grooves to create an album on which his accomplished jazz and blues stylings are spiced with a strong urban flavor. Generally, this combination works; on "Karizma" Toney layers bright, chirping keyboards over a funky rhythm, and on "Secret Agent" his irresistibly catchy melody rides atop a rapid-fire dance groove. Toney and saxophonist Ronnie Laws enjoy a little give-and-take on "Passion Dance," and the two create a haunting, gracefully grooving mid-tempo number. Toney has a way with a romantic composition, and his talent for communicating tenderness without becoming saccharine is amply in evidence on the lush and elegant "Special Occasion." On the opposite end of the musical spectrum, "Aunt Mary" is a bouncy, buoyant, completely infectious blues-flavored jam that is enhanced by quirky harmonica, courtesy of Tetsuya "Weeping Willow" Nakamuru. On a couple of tracks, the intricate arrangements might be just a little too intricate; the title track, for example, is a strong opening number and certainly sets the tone for the album, but the pulsing, bass-heavy groove and wordless vocalizing threaten to overpower Toney's delightful melody and fluid improvising. On Toney's remake of the Gap Band's "Yearning for Your Love," disco star Evelyn "Champagne" King turns in a strong vocal performance, but Toney's delicate piano fills and solo nearly get lost amid the vocals and the arrangement's powerful funk rhythm. Overall, however, Strut is a solid, richly varied, and highly engaging collection that is sure to appeal to — and lift the spirits of — music lovers of virtually every stripe.--AMG

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Strut (RS) / Strut (DF) / Strut (HF) @ 320K

Kenny Garrett: Happy People (2002)

With coproducer Marcus Miller thumping his bass on the first track on the 11-song disc, "Song for DiFang," Happy People starts off like it could be the first great contemporary jazz album of the millennium. But by the time the album ends with the Coltrane-ish tribute to saxophonist Billy Harper, "Brother B. Harper," it's obvious that this album is destined for best-of-the-year lists from hardcore beboppers and world-music lovers alike. Recorded during the week of September 11, 2001, Garrett has assembled a group of melodies nearly as haunting as some of the images from that period. The core band of bassist Charnett Moffett, former smooth-jazz pianist Vernell Brown Jr., hip-hop drummer Chris Dave, and the special guests weave a unique tapestry of songs rooted in China, Japan, and Korea, but with jazz sensibilities and pop overtones. The kudos abound here, from Garrett's soul-searching sax playing and emotional compositions to those who deliver powerful solos, including veteran vibes master Bobby Hutcherson, guitar wiz Randy Razz, and wordless vocalist Jean Norris. --Mark Ruffin

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Happy People (RS) / Happy People (HF) / Happy People (DF) @ 320K

Medeski, Martin & Wood: Invincible (2002)

It's possible to admire Medeski Martin and Wood's craft and guile in pushing against stylistic restraints while recognizing that their music isn't quite as much fun as it once was--or that this hugely popular trio may think it is. Full of shaggy cross-textures, plummy grooves, and spooky electronic underpinnings, Uninvisible is a lively sonic stew. Once a universe unto themselves, keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood continue to smartly expand their jam-band base, here featuring a brash five-piece horn section from the Brooklyn-based Antibalas Afrobeat Orchestra, turntablists DJ Olive and DJ P Love, and, for a spoken-word number, craggy-voiced Southern rock eccentric Col. Bruce Hampton. When Medeski is riding that Hammond organ and the group is taking its patented soulful detours, as on "Pappy Check" and the Booker T-ish "Smoke," all is right with the world. But even with Medeski dabbling on a roomful of other instruments, including the Mellotron, mini-Moog, and Arp, the songs don't have a lot of variety. And crowded with effects, the music can bog down in its own abstract logic--though there's no resisting the ping-pong game being played on "Off the Table." The chief rewards of Uninvisible are in the details. Until further notice, a headphone advisory is in effect. --Lloyd Sachs

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Invincible (RS) / Invincible (DF) @ 320K

Yellowjackets: Blue Hats (1997)

As they continue to evolve, the Yellowjackets have gradually gone from being an R&B-oriented fusion band to a more acoustic group that emphasizes fairly straight-ahead improvisations. Although this CD has nine originals by bandmembers and some electronics are utilized (primarily by keyboardist Russell Ferrante for color), much of the music would satisfy even hard bop listeners. Bob Mintzer's many solos on tenor, soprano, bass clarinet and EWI are excellent, but it is the tightness of the rhythm section (which also includes bassist Jimmy Haslip and drummer William Kennedy) that continues to give the Yellowjackets their own original sound. -- AMG

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Blue Hats (RS) / Blue Hats (HF) / Blue Hats (DF) @ 320K

Jeff Lorber: Kickin' It (2001)

Jeff Lorber's label debut on Samson Records is a typical jazz fusion effort that will sound familiar to fans of his band of the 1970s and '80s, the Jeff Lorber Fusion. Teaming with co-writer/producer/arranger Steve Dubin, Lorber constructs a series of upbeat rhythm tracks over which he plays melodically on either acoustic piano or Fender Rhodes electric. He is joined on nearly every track by a guest saxophonist and/or guitarist. Tenor saxophonist Gerald Albright sits in on "Snakebite," "Keep That Same Ol' Feelin'," and "Kickin' It" (with guitarist Stuart Wylen); soprano saxophonist Dave Koz on "Happy Endings" (with guitarist Michael Landau) and "The Bijou"; tenor saxophonist Steve Cole on "Chopsticks"; soprano saxophonist Gary Meek on "Reflections" (with Wylen) and "What It Is"; and tenor saxophonist Richard Elliot on "The 'In' Crowd." Lorber cedes considerable space to his guests, but he still finds room for his own improvisations. He also brings in a horn section on several cuts, notably "Keep That Same Ol' Feelin'," which sounds enough like a lost Steely Dan track that you keep expecting Donald Fagen to start singing on instead of Siedah Garrett, who intones the repeated lines "Keep on/Keep that same ol' feelin'." "Ain't Nobody" is the 1983 Rufus and Chaka Khan hit, here rendered with an appropriately funky feel, and "The 'In' Crowd" is, of course, the 1965 Ramsey Lewis Trio hit, a nod to an obvious predecessor of Lorber's. The keyboardist slows the pace for "Reflections," but most of these tracks are lively pieces with lots of interplay that is only ended when they fade out.-- All Music Guide

Jeff Lorber at Wikipedia

Kickin' It (HF) / Kickin' It (DF) lossless

Azymuth: Crazy Rhythm (1988)

With Crazy Rhythm, Azymuth may well have recorded its best album ever by rejecting gimmickry and focusing on what it does best — sensuous, understated yet rhythmically exciting Brazilian jazz/pop/R&B. Brazilian artists have often been quite adept at creating music that has light and delicate qualities, but never degenerates into "elevator muzak." Like the bossa nova of the '60s, Crazy Rhythm is "easy listening" music with a difference — some of it was soft enough for airplay on "quiet storm" and "smooth jazz" radio, but nothing on this CD comes across as contrived or calculated. Jose Roberto Bertrami delivers one of the finest solos of his career on the beautiful and enchanting "Diza," and special guest Joe Pass (guitar) is in fine form on "Tropical Horizon" and "Hobalala."

Crazy Rhythm (RS) / Crazy Rhythm (HF) / Crazy Rhythm (DF) @ 320K

John Scofield: EnRoute (2004)

With the live EnRoute, recorded at New York's Blue Note, guitarist John Scofield returns from the jam-band wars in challenging high style, leading a trio for the first time on record in more than 20 years. With his strong blues and funk sensibility, Scofield has always been the jazz guitarist most likely to succeed among rock listeners, and fans from both camps will be drawn to this purer improvisational enterprise. Teamed here with longtime drumming associate Bill Stewart and veteran bassist Steve Swallow (who was featured on those early-'80s trio albums), he's still jamming, but there's a sharpness of focus and a locked-in intensity among the musicians that you rarely encounter in jam-band settings--including his own. Emptying out his bag of much-imitated tricks--the sighing pedal tones, slab-like chords, shimmering lyrical lines, and controlled screams--Scofield romps through the bop classic, "Wee," and delivers a diaphanous reading of "Alfie." The album also features a pair of remakes: "Name That Tune," Swallow's bounding remake of Duke Ellington's "Perdido," and the leader's strutting "Over Big Top," based on "Bigtop" from his 1995 album, Groove Elation. From whatever perspective you choose, it's Scofield's best album since Time on My Hands, his 1990 quartet date with saxist Joe Lovano. --Lloyd Sachs

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EnRoute (RS) / EnRoute (HF) @ 320K

European Jazz Trio: Tango Notturno (2006)

The European Jazz Trio, comprising Marc van Roon on Piano, Frans van der Hoeven on bass and Roy Dackus on drums has been recording and performing since 1995, when it released a CD of Beatles’ songs in fresh arrangements.

On each album, the trio has taken songs in every style, shape and color, and has given them a jazz interpretation. For the trio ‘Jazz’ means to have the freedom to combine and mix styles, melodies, sounds and rhythms to create something fresh and surprising.

Van Roon: “A Specialty of the trio is to try and find some unusual material - unusual in a jazz setting - and to arrange it for the trio. It works both ways: You can take the sound of a jazz trio and give it a fresh voice, a new approach; likewise, you can take the music that everybody knows - pop tunes and classical tunes - and give people a chance to hear them in a different way.”

The European Jazz Trio pushes the envelope of jazz music by adding to it its own sound and rhythm, a result of the music that has influenced the trio’s members.

“We grew up in the seventies and eighties with pop, rock, classical, rap and lots of fusion music. It wasn’t only jazz anymore. Being musicians, we try to absorb everything like a sponge and use it somehow. The classical music we perform we really admire, it’s very close to us - to our European side.”

With every song the trio records the main focus is on the essence and the inner beauty of the composition.

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Tango Notturno (RS) / Tango Notturno (HF) @ 320K

Ingrid Jensen: Vernal Fields (1994)

Although trumpeter Ingrid Jensen has a wide range and a potentially fiery style, she holds a great deal in reserve on her debut recording, letting one peek at her emotional intensity now and then but mostly making lyrical statements. Her supporting cast (altoist Steve Wilson, George Garzone on tenor, pianist Bruce Barth, bassist Larry Grenadier, and drummer Lenny White) is quite impressive and adds a great deal to the CD without taking the spotlight away from the leader. Ingrid Jensen sounds particularly strong on "Marsh Blues" and the standards "Ev'rytime We Say Goodbye," "I Love You," and an ironic "By Myself," but all nine selections have their moments. The music is basically advanced hard bop, with Jensen (when she is playing open) sounding like a logical successor to Freddie Hubbard and Woody Shaw while resembling her teacher, Art Farmer, a bit when utilizing a mute. This is an impressive beginning to what should be an important career.

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Vernal Fields (RS) / Vernal Fields (DF) / Vernal Fields (HF)

Donny McCaslin Trio: Recommended Touls (2009)

After all these years, there are still some piano-loving jazz enthusiasts who resist the saxophone trio; they have a hard time getting into pianoless recordings that consist of only sax, acoustic bass, and drums. But as undeniably valuable as the piano has been to jazz, saxophone trios have a long history of doing exciting things. Sonny Rollins, John Coltrane, Joe Henderson, Branford Marsalis, Joe Lovano, and Ivo Perelman are among the many saxophonists who have excelled in a trio format, and that format definitely works nicely for Donny McCaslin on Recommended Tools. This February 2008 session finds the California-born tenor man forming a pianoless trio with acoustic bassist Hans Glawischnig and drummer Jonathan Blake; alto saxophonist Dave Binney produced Recommended Tools, and trumpeter Dave Douglas is the executive producer (although neither Binney nor Douglas actually play on the album). McCaslin enjoys a strong rapport with Glawischnig and Blake, and the influences that have served McCaslin well in the past (including Michael Brecker, Coltrane, Rollins, and Henderson, among others) continue to serve him well on Recommended Tools. But McCaslin (who was 41 when this 65-minute post-bop disc was recorded) is his own man; that is evident on his own compositions as well as Billy Strayhorn's "Isfahan," which is the only song on Recommended Tools that McCaslin didn't write. Recommended Tools doesn't go out of its way to be accessible; the album on the whole tends to be angular, cerebral, and abstract. But for those who don't demand instant gratification from music, McCaslin's trio performances with Glawischnig and Blake have a lot to offer. And while Recommended Tools isn't McCaslin's most essential release, it is a respectable demonstration of how effective the trio format can be for a skillful saxophonist.

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Recommended Touls (DF) / Recommended Touls (MU)

Reggie Hines: Live Your Life (2009)

"Live Your Life !" is a multi-colored diverse set of contemporary jazz tunes with some compelling and hip arrangements. In his career, Mr. Hines has also produced many artists in other genres of music, including rap, funk, R & B, fusion, salsa and reggae music. This background as a producer has enabled Reggie Hines to forge with a focused purpose a collage of compositions on this recording that exemplify the best of contemporary jazz.

As a saxophonist, Mr. Hines has a melodic and soulful sound which is beginning to take on some of the characteristics of a voice of his very own! He has taken special care to assemble a cast of talented backup instrumentalists and vocalists to promote a lively upbeat and soulful recording!

It is quite evident that Reggie Hines has a blessed future ahead of him, and I congratulate him and his colleagues on a fine recording!

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Live Your Life (RS) / Live Your Life (DF) / Live Your Life (HF) vbr

Randy Crawford: The Best Of (1976)

The Best of Randy Crawford highlights her jazzy urban R&B hits, including "Street Life," "Give Me the Night," and the Al Jarreau duet "Your Precious Love," among many others. Nearly all of her finest moments are included, making the compilation the perfect introduction to Crawford's career.

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The Best Of (RS) / The Best Of (HF) @ 320K

Michal Urbaniak: Atma (1974)

Atma is a studio album released in 1974 by the following musicians: Michal Urbaniak/ electric violin, vi-tar violin and soprano sax; Urszula Dudziak/ voice, percussion; Czeslaw Bartkowski/ drums; Pawel Jarzebski/ electric bass; Wojciech Karolak/ keyboards, Fender piano, Moog, Farfisa, Clavinet; Ray Mantilla/ Congas, drums, percussion. One could say that this is to some extend disappointing compared to Fusion from the year before. The songs don't really seem to get anywhere, although the ride is not unpleasant, especially when the Polish violinist weaves in Eastern themes. His wife, Urszula Dudziak, melds her supple voice perfectly with his violin.

Atma (RS) / Atma (MU) @ 320K

Yellowjackets: Lifecycle (2008)

"Lifecycle" is, in some respects, two albums in one. Seven of the ten tracks are quintet pieces featuring guitarist Mike Stern and the Jackets, while the remaining three are quartet pieces that showcase the individual and collective talents of the current Yellowjackets lineup: keyboardist Russell Ferrante, saxophonist Bob Mintzer, bassist Jimmy Haslip and drummer Marcus Baylor. Whatever the combinations and permutations, it's all good. Mintzer contributes three tracks: the energetic opener, "Falken's Maze," the rhythmically complex "Yahoo," and the easygoing "I Wonder."

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Lifecycle (RS) / Lifecycle (DF) @ 320K

Glendon Smith: Rendezvous For Intimate Dining (2005)

Indulge in a little romance with intimate jazz renditions of favorite love songs.

I found this album in a shop in the airport and liked the sound of the woman’s silky voice. The jacket lists her as Anne Lise, but Amazon’s online description doesn’t list any artists’ names. I’d like to know more about her, but can’t be sure the names that pop up during search are the same person. I can surely recommend this album for easy relaxing listening, and hope I can find another to add to my collection. (Amazon.com)

Glendon Smith - Rendezvous Jazz for Intimate Dining Tracks:

01 My One and Only Love

02 Moonlight Becomes You

03 Let's Face the Music and Dance

04 Don't Know Why

05 My Funny Valentine

06 Sweet Lorraine

07 I've Got a Crush on You
08 The Look of Love
09 Isn't it Romantic
10 Prelude to a Kiss
11 I've Never Been in Love Before
12 Kissing a Fool
----------------------------
Rendezvous (HF) / Rendezvous (RS) @ 320K

Daniel Davis: Play For Me (2009)

The creation of this record elevates the violin to the forefront to showcase its beauty and sound. Each song on this record gives a different feel and vibe, from neo-soul, jazz, R&B, and Hip Hop. The uniqueness is experienced through the artist's improvisational skills and melodic riffs. Primarily known for its classical roots the violin has the ability to cross genres. Vocals are used in many of the compositions to add more flavor.

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Play for me (RS) / Play for me (DF)

Kenny Garrett: Pursuance - The Music of John Coltrane (1996)

Pursuance: Music Of John Coltrane is Kenny Garrett's tribute to John Coltrane. Working with musicians like Pat Metheny, Brian Blade, and Rodney Whitaker, Garrett creates a loving tribute, one that is respectful to Coltrane's legacy but one that doesn't mimic his sound. It's a moving record that reveals more layers every time you listen to it.

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Pursuance (RS) / Pursuance (HF) / Pursuance (DF) @ 320K

Jay-Tee Teterissa: Jay-Tee (1999)

Bass player Jay-Tee Teterissa was born in the Netherlands and started his career in Candy Dulfer`s first Band "Funky Stuff". Jay-Tee Teterissa has performed with Mike Stern, Candy Dulfer, Jazzsick, and is featured on Bass Talk 5. This funk/fusion project features bass greats Alain Caron, and Darryl C. Anders playing with Jay-Tee on a few tracks. Jay-Tee Teterissa, 4, 5 string bass; Alain Caron, Darryl C. Anders, bass; Mike Stern, Martin Van Iterson, Jaco Abel, guitar; Jerome Van Iterson, Reyn Ouwehand, Stanislav Mitrovic, keys; Candy Dulfer, David Belmare, sax; David Garibaldi, Marcello Latupeirissa, Rolf Bremer, drums.
Jay-Tee (RS) / Jay-Tee (DF) / Jay-Tee (HF)

Dick Heckstall-Smith @ John Stevens: Bird In Widnes (1996)

Saxophonist Dick Heckstall-Smith had a major role in the British blues boom of the 1960s, playing in the bands of Alexis Korner, Graham Bond, and John Mayall. In all of his work, and particularly in the late-'60s band Colosseum, he ventured into the little-explored territory where blues, jazz, and rock meet. In addition to doing session work, he's released some solo recordings. 1995's Celtic Steppes, funded by the Arts Council of England, was an ambitious world fusion outing. ~ Richie Unterberger, AMG

This is very rare album. Some of the issued titles are excerpts from longer improvisations.

Personel:
Dick Heckstall-Smith - saxes
John Stevens - drums
Bird in Widnes (RS) / Bird in Widnes (DF) @ 224K

Dee Dee Bridgwater: Keeping Tradition (1993)

After performing a wide variety of music (much of it commercial) for 15 years, in the mid-'80s Dee Dee Bridgewater returned to jazz. The highly appealing vocalist, although still involved in theater work and other areas of music, has mostly recorded straight-ahead jazz ever since, carving out a niche for herself. This set with her regular French quartet has Bridgewater exploring and swinging some of her favorite standards. She makes such veteran songs as "Just One of Those Things," "What Is This Thing Called Love," "Autumn Leaves," and "Lullaby of Birdland" sound fresh and new. Bridgewater's next project would be a set of Horace Silver songs, and two of the pianist's originals ("Love Vibrations" and "Sister Sadie") are included and point toward the singer's future. This CD is highly recommended, as are all of Dee Dee Bridgewater's Verve recordings.

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Keeping Tradition (RS) / Keeping Tradition (HF) @ 256K

Bola Sete: At the Monterey Jazz Festival (1966)

Nine months before a certain other guitarist made a huge splash at a Monterey music festival, Brazilian acoustic guitarist Bola Sete left his own mark on an American jazz audience still feeding its voracious appetite for all things Brazilian. To be sure, Bola Sete didn't sneak up on the American public quite like Jimi Hendrix did--after all, Sete had made waves as part of Vince Guaraldi's ensemble in the years leading up to this historic 1966 performance. The classically trained Sete wowed fans with a unique style that seemed to fall somewhere between Andres Segovia's elegance and Django Reinhardt's exuberance, a space not as wide as you might think. By the summer of '66, Sete had graduated to his own trio with bassist Sebastiao Neto and percussion master Paulinho Da Costa.The centerpiece of this performance is the three-song "Black Orpheus Medley," but Sete adds a pair of noteworthy originals. "Soul Samba" has subtle blues inflections that remind you that Barney Kessel was the first jazz guitarist to catch his ear. "Flamenco" is a simply stunning solo performance that blends challenging chording with incredibly speedy single-note runs, and offers the most overt example of his comfort with the folk traditions of his homeland. At some points, he amazingly plays his own bass accompaniment to his upper-register notes. This long-overdue 2000 CD reissue fleshes out the original LP release by adding 4 minutes to the medley as well as 2 unreleased cuts (with poorer sound quality) from the show, including a bossa nova arrangement of Ellington's "Satin Doll." ~ by Marc Greilsamer

Personnel:
Bola Sete (Guitar)
Sebastiao Neto (Bass and Percussion)
Paulinho Da Costa (Drums)
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Bola Sete (RS) / Bola Sete (HF) @ 320K

Artur Dutkiewicz Trio: Niemen Improwizacje (2009)

This CD includes jazz improvisations  from the repertoire of the famous Polish musician Czeslaw Niemen. Here can be found his hits such as: Dream of Warsaw, Under the Papugami, Memorial, Memorial Funeral Bem Rhapsody, One Heart, etc.

In addition to this CD recording attend, along with the main gigure - the pianist Artur Dutkiewicz: Darek Oles Oleszkiewicz - Polish bass player living in the U.S., ranked among the world's finest jazz basses and Sebastian Frankiewicz - excellent drummer of the younger generation.

The album is an expression of respect for what was a great artist Czeslaw Niemen. Majority of pieces appearing on the album was treated here as jazz standards. They constitute an excuse for playing music and improvise with the modern means of expression.

Artur Dutkiewicz is a pianist with an established position on the Polish jazz scene. For several years he performed at concerts with his trio and solo a few songs from the repertoire of Czeslaw Niemen, which enjoyed a special interest of jazz fans and fans of Niemen.

Artur Dutkiewicz Trio (RS) / Niemen Improwizacje (MU) / Niemen Improwizacje (DF) @ 256K

Jerry Stucker: It's All A Groove (2008)

Long time sideman and session player/producer Jerry Stucker has worked with some of the Funkiest people on the planet. It's All A Groove (Urbanzone Records CD 1022) is his first solo album and is scheduled for a summer 2007 release. "At a time when so many players claim to be funky, Jerry Stucker is not only FUNKY, but he's a one-man encyclopedia of slinky, skanky, rock steady, and greasy rhythms. He knows a gazillion funky guitar inversions, his guitar tone is sparkling, and his parts always stab and dance all over the rhythm, finding ways to propel, accent, and add excitement to a song's groove. If you really want your tunes to dance, this is the cat you need playing guitar for you." -- Michael Molenda, Editor in Chief, GUITAR PLAYER magazine/www.myspace.com/jerrystucker

The players on this album:

Jerry Stucker - guitar, James Gadson - drums, Paul van Wageningen - drums, Mike Clark - drums, Kenneth Nash - percussion/vocals, Roberto Quintana - percussion, Freddie Washington - bass, Paul Jackson - bass, John Costalupes - bass, Gary Brown - bass, Neil Larsen - organ/piano, Shota Osabe - piano, Rodney Franklin - piano, Mark Kaye - clavinet, Eddie Henderson - trumpet, Mic Gillette - trumpet/trombone, Ernie Watts - sax, Skip Mesquite - sax, Doc Kupka - bari sax, Tony Adamo -vocals/spoken word, Sandy Griffith - background vocals.

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It's All A Groove (RS) / It's All A Groove (MU)

John Scofield: This Meets That (2007)

Following celebrated runs on the Enja, Arista, Gramavision, Blue Note and Verve labels, Scofield is proud to release his first project for Emarcy, This Meets That. The album finds Scofield once again in the company of what he calls his "A-Team"--bassist Steve Swallow and drummer Bill Stewart--the trio that released En Route in 2004. Added to that, the four-part horn section of Roger Rosenberg on baritone sax and bass clarinet, Jim Pugh on trombone, Lawrence Feldman on tenor sax and flutes and John Swana on trumpet and flugelhorn. A special treat, one tune also features special guest Bill Frisell on tremolo guitar-- a cover of "House of the Rising Sun."

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This meets that (RS) / This meets that (HF) @ 320K

Kirwan Brown: Cool Grooves (1994)

All songs written or co-written by Kirwan Brown except "For Now" (Eric Gunnison) and "The Suitcase" (Steve Khan/Anthony Jackson/Steve Jordan/Manolo Badrena).

Recorded at Colorado Sound, Westminster, Colorado.

Personnel: Kirwan Brown (synthesizer, bass, slide bass); Darrin Johnson (vocals, drums, percussion); Bob Rebholz (soprano saxophone, alto flute); Nelson Rangell (tenor saxophone); Kevin Bollinger (trumpet); Mike Turnbull (trombone); Eric Gunnison (piano, keyboards, synthesizer); Jeff Jenkins (keyboards); Tom Capek (synthesizer); Randy Chavez, Steve Sykes (guitar); Alan Joseph (guitar, synthesizer); Steve Ivey (drums); Mark Marlier (drums, percussion); Brad Evilsizer (percussion). Track List : 1. Slay it ~~~ 2. Tell me who you are ~~~ 3. To let go ~~~ 4. Sparks ~~~ 5. Quiet Distance ~~~ 6. For Now ~~~ 7. Certifiable ~~~ 8. No Pressure ~~~ 9. Scooter ~~~ 10. Suitcase

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Cool Grooves (RS) / Cool Grooves (HF) @ 256K

Masayoshi Takanaka: Rainbow Goblins (1981)

This album is released on CD in 1995 by King Records (Japan). Absolutely great recording which presents to the best possible aspects the timeless skills and techniques of Takanaka. The Japanese guitarist plays with the style and grace of a truely great master. Based upon "The Rainbow Goblins" by Ul de Rico.

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Rainbow Goblins (RS) / Rainbow Goblins (HF) @ 320K

Dream Power: ST (2009)

I do not have info about the artist but this CD presents very interesting fusion with elements of smouth jazz and jazz rock. The tracks are:
01. Taylor 08:58
02. Sweterson 06:01
03. 384 08:55
04. S.F.K. 07:44
05. Krzywy Blues 06:11
06. Niue 09:12
07. QJ 08:06
08. Jobim 06:00
Dream Power (HF) / Dream Power (RS) vbr

Theodosii Spassov: Bratimene(1998)

This is a compilation of Theodosy's best work from 1983 to 1998. Best described as Bulgarian ethnic jazz, this features Theodosy accompanied by some of the finest jazz musicians in Bulgaria: Theodosy Spassov - kaval; Yildaz Ibrahimova - vocals; Stoyan Yankulov - percussion; Milcho Leviev - piano; Vesselin Nikolov - sax; Simeon Shterev, Peter Petrov, Stefka Onikian. Reliased in 1998.

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Bratimene (RS) / Bratimene (HF) @ 320K

Michal Urbaniak: Heritage (1978)

Recorded in 1977 in Stuttgart, Germany and released 1978. Personnel: Michal Urbaniak, Urszula Dudziak, Kenny Kirkland, Tony Bunn, Lurenda Featherstone. Never released on CD.
Tracks:
1. Heritage
2. Prayer
3. Vio-lines
4. Stick it in
5. Cucu's nest
6. Gaby's mood
7. Storks
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Heritage (RS) / Heritage (MU) / Heritage (HF) @ 256K

Trio Beyond: Saudades (2006) [2 cd]

With the exception of Miles Davis's Bitches Brew, Tony Williams's group Lifetime--the pioneering late '60s trio featuring organist Larry Young, and guitarist John McLauglin--wrote the book on jazz-rock fusion. This 2004 London concert features two former Miles sidemen as well as Jack DeJohnette, John Scofield, and Larry Goldings, who was contacted by Williams to join his band before his untimely death in 1997. It brilliantly updates music from Lifetime's seminal recordings Emergency! and Turn it Over. DeJohnette succeeded Williams in Davis's band, and his articulated drumming drives Scofield's blues-trenched, Hendrixian guitar licks and Goldings's evocative organ voicings, electric piano, and digital sampling. Their rewiring of the combustible blues "If," the spacey ballad "As One," and the rock-out numbers "Spectrum" and "Emergency" shows that this music is as durable as it is dynamic. The cooperatively composed title track further highlights Williams's never-ending influence and the exceptional improvisational acumen of these musicians. --Eugene Holley, Jr.

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Saudades - Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF) @ 320K

Joshua Redman: Timeless Tales (1998)

On Timeless Tales, saxophone hero Joshua Redman examines ten popular standards from a variety of musical eras. Opening with a expansive version of "Summertime," Redman's tone is both hearty and buoyant. With the tasteful accompaniment of Brad Mehldau on piano, Larry Grenadier on bass, and Brian Blade on drums, he covers a range of once-contemporary pop and rock classics including "Eleanor Rigby," "The Times They Are A-Changin," and even a tune by Prince. Using the tenor, alto, and soprano saxophones in his instrumental arsenal, Redman reveals a vibrant imagination while staying solidly within the mainstream of jazz. Embracing beautiful ballads like "How Deep Is the Ocean" and jaunty old compositions like "Love for Sale," Joshua Redman exhibits discerning taste in his chosen selections and distinctive playing style. --Mitch Myers

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Timeless Tales (RS) / Timeless Tales (HF) @ 320K

Euge Groove: ST (2000)

In the old days — say, up till five years ago — up and coming artists seeking to build a grass-roots following as a means to a record deal had to hit the road, sell home-pressed CDs from the bandstand, and pray that an A&R guy might catch them one night. Nowadays, websites like MP3 make it possible to reach literally thousands of people simultaneously; all one has to do is upload songs and a photo to the site, fill out an information form, sit back, and await responses. Upon recording eight songs in the hopes of someday getting a deal, veteran touring saxman Steve Grove sought out the mixing expertise of genre hitmeister Paul Brown. While waiting three months for Brown to clear two days in his schedule for mixing the tracks, Grove threw his home mixes onto MP3. Soon he built a following of over 100 thousand downloading fans. For all the amazing back story to Euge Groove, it's pretty much a straightforward smooth jazz ride: catchy hooks, seductive rhythms, and an occasional splash of fiery horn doubling and tripling that brings Grove back to his days playing with Tower of Power. It's also highly intriguing how he resembles other sax players that Brown helped make successful. "Romeo & Juliet" — which smacks of Boney James' gently soulful flow — finds his irresistibly catchy soprano melody soaring above a moody, atmospheric synth harmony line, as the programmed drums roll steadily beneath. Grove's rich, low-toned tenor line floating over the cool, chunky bass driven groove of "Sneak a Peak" brings back warm memories of Sam Riney; the tune is given considerable color by a self-created horn section that urges the main melody line to greater heights. On the retro-soul minded "Vinyl," Grove's emotional soprano line surfs gracefully over a swirl of Danny Jacob's wah-wah guitar clicks and co-producer Michael Egizi's hypnotic and spacy synth swirls. For all his ubiquitousness and soulful demeanor, Brown has been labeled "The Babyface of Smooth Jazz," so it's no surprise to find him producing a twist on the Babyface composed Toni Braxton hit "Another Sad Love Song," with Grove blending soprano and tenor in spots to make the chorus much more in your face than the verse. Grove shows more genuine emotion here and on the dramatic, gospel-tinged closer "The Last Song" than in most other places. Gospel? Did someone say Kirk Whalum?

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Euge Groove (RS) / Euge Groove (MU)

Euge Groove: Sunday Morning (2009)

Euge Groove — a pseudonym for saxophone journeyman Steve Grove — began playing piano in the second grade and turned to the saxophone at the age of nine or ten. His teacher gave him a classical education on the instrument, which he followed at the University of Miami's School of Music, where he became interested in jazz. Upon graduation, he initially remained in Miami doing sessions and playing in bands such as Expose, where he can be heard on the group's #1 1987 single "Seasons Change." He then moved to Los Angeles and joined Tower of Power, remaining with the group about four years. Following this experience, he freelanced, doing sessions and working in backup bands, his clients including Joe Cocker, the Eurythmics, the Gap Band, Huey Lewis and the News, Elton John, Bonnie Raitt, Aaron Neville, Eros Ramazotti, and Richard Marx. His saxophone appeared on Marx's Top 20 pop and #1 AC hit "Keep Coming Back" in 1991. At the end of the '90s, Grove developed the persona of Euge Groove, a corruption of his real name, and recorded a demo that attracted the attention of various labels. This demo soon landed him with Warner Bros. Records. Euge Groove, his debut album, was released in May 2000. At the time, the saxophonist toured in Tina Turner's backup band. Sunday Morning is his latest effort released in 2009.

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Sunday Morning (RS) / Sunday Morning (MU)

Laço Tayfa: Hicaz Dolap (2002)

Laço Tayfa is a Turkish musical ensemble led by clarinetist Hüsnü Şenlendirici. They combine Turkish folk music with jazz, improvisational styles, and other traditions of world music (including Indian, North African, and Middle Eastern styles). Hicaz Dolap is Laço Tayfa's third full release, featuring many guest musicians. Recommended.

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Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF) flac

Michal Urbaniak: Fusion III (1975)

With song structures similar to Mahavishnu Orchestra and electric-era Return to Forever, Michal Urbaniak's Fusion III appealed to the same fusion-buying clientele. What most distinguishes this music from that of its contemporaries was the unique vocalizing of Urbaniak's wife, Ursula Dudziak. She could sound at times like a Polish Flora Purim, at other times like a synthesized presence from another world. On this recording, Urbaniak's playing is fresh and engaging, and his compositions occasionally sound like Frank Zappa's instrumental work from this same era. John Abercrombie and Larry Coryell turn in blistering guitar passages, and bassist Anthony Jackson and drummer Steve Gadd provide a funkified rhythmic foundation.
Fusion III (RS) / Fusion III (MU) @ 256K

Masayoshi Takanaka & Kazumi Watanabe: Fantastic Guitar World (1982)

In 1982 Japan guitar heroes Masayoshi Takanaka and Kazumi Watanabe unites for this momorable release. The label is Invitation Records.

Fantastic Guitar World (RS) / Fantastic Guitar World (MU) @ 320K

Jeff Coffin: Mutopia (2008)

Jeff Coffin's work with Béla Fleck's Flecktones has only been somewhat reflective of his efforts as a leader. The saxophonist/composer is quite able in a more progressive, accessibly contemporary style to express his personalized music, which is in many ways substantive and cleverly rendered. While recent efforts have veered toward a commercialized approach, this CD with his Mu'tet bears distinct elements of the Jazz Crusaders and the first bands of Derek Trucks. No doubt the addition of a stout horn section on a few selections, and collaboration with the keyboardist and flute player Kofi Burbridge — well known for his work with the Trucks band — has a lot to do with how this group reacts and responds. All in all, there's some very hip music here, ranging from the 7/4 funk with dual electric bass guitarists on "Al's Greens" including a banjo solo from boss man Fleck, to "Move Your Rug" with varying beats in six and seven mixing up the complicated and simplistic horns with a New Orleans beat. The outstanding, developed, dramatic, Middle Eastern flavored "L'Esperance" is introduced by Coffin's resplendent, floating mbira, then his tenor sax and flute foreshadowed Burbridge's desert-to-jungle flute solo. "Turiya" is a calm, serene, and beautiful tribute to the late Alice Coltrane with Coffin on soprano sax and Burbridge on acoustic grand piano. The molasses slow "Sweet Magnolias" offers a legitimate blues framework for Coffin's legato tenor, and a bonus track, "Emma Ya," is a soul deep, light reggae tune. Trombonists Barry Green or Roy Agee are added for the funk-with-a twist track "Tag" or the Stax style soul pop cut "One In, One Out" respectively, with Burbridge jammin' on the Hammond B-3 organ. Agee, trumpeter Rod McGaha, and sousaphonist Joe Murphy expand the horizons of "Move Your Rug." Also present is electric bass guitarist Felix Pastorius, one of the twin sons of the legendary Jaco Pastorius, and fellow Flecktone, drummer Roy "Future Man" Wooten. The collective energy, team work, and top-drawer ability of Coffin, not to mention the diversity of the recording, is hard to deny. This might be the best effort yet for the Mu'tet, top to bottom.
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Mutopia - Part 1 - Part 2 (RS) Part 1 - Part 2 (HF) lossless

Jeff Coffin: Commonality (1999)

If you are searching for the next upcoming original saxophonist in modern jazz, Coffin may be your man. He plays alto and tenor in a manner very reminiscent of a young Sonny Rollins; savvy, brawny, unabashed, and fearless. Four of the nine cuts are with sax-bass-drums, again evoking favorable comparison to the legendary hard bop-edged Rollins-Wilbur Ware-Elvin Jones triad. Trumpeter Rod McGaha is on the other five, and he adds a lot — his saucy Don Cherry-like smeared solos and pungent harmonic lines run in tandem with Coffin, making a formidable team and an arresting sound. The trio takes on some stiff challenges: a moderate New Orleans shuffle ("First Comes Last"), a fanfare intro to head noddin' bluesy swing to free boppin' title track, and a sweet and sour blues ("Espoo You"). The finale is a hymnal reverent "Prayer" with jingle bell threads woven throughout. But "Angle of Response" is a lengthy barnburner, a modal bassline in five and four beats alternately providing the foundation for Coffin to play alto and tenor simultaneously. The following piece, "Something Quick" (another workout at over ten minutes), has the band chewing up everything in its path, a tour de force hard bop epic. Seamless free sections are included here and there, and the ensemble, with bassist Chris Enghauser and drummer Tom Giampietro, keep the music percolating no matter the tempo. Coffin has a tiger by the tail on this extraordinary, highly recommended disc.

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Commonality (RS) / Commonality (HF) @ 320K

Everette Harp: First Love (2009)

On First Love, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent My Inspiration. Whereas on that album, he was still digging deeply into his own brand of funky jazz, he was also looking for something. His soloing on the album was sharper, brighter, and more complex, but his arrangements and production style were slick enough to get his jams on the radio. On First Love, it sounds like Harp found what he was seeking. In the liners, he mentions some of his heroes like John Coltrane and Dave Brubeck, and how his first hearing records like Soultrane and Time Out made him fall in love with the music. Produced by George Duke, this set is one of the most remarkable and thought-provoking recordings to come out of the contemporary jazz genre in ages. The meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and don't always fit the C-jazz cookie-cutter mold. Check his original "The Council of Nicea," one of the most satisfying things here. Harp's tenor is accompanied by James Genus' acoustic bass, and some spot-on breaks by Terri Lyne Carrington, a beautiful bluesy, hard bop trumpet solo by Michael "Patches" Stewart, and Lenny Castro's hand percussion. Directing the band is Duke on Fender Rhodes with help from the exquisite if understated electric guitar work from Dwight Sills. The ballad "Before You Leave" follows suit with Carrington providing elegant brushwork. These are pretty basic straight-ahead numbers. This is not to suggest that there isn't some funky work here, too. Check Duke's "Soul Fries" with Genus on electric bass. The funkiness of the Rhodes is smokin' and the blues factor in Harp's playing with Stewart gets a solid groove going behind a tight, sophisticated arrangement. Duke contributes one more cut to the set, the killer Latin-ized fusion funk of "Departure." It's a midtempo ballad, but its knotty bridges and Genus' electric bass work turn it all inside out. The biggest surprise here, however, is in the beautifully restrained but intensely soulful reading of Coltrane's "Central Park West." Here is the place where Harp's mastery of the tenor horn is on full display with an abundance of warmth and depth. It is an absolutely gorgeous reading of the tune. Given the half-acoustic/half-electric division of the tracks here, the originals are easily the most sophisticated, confident, and masterfully played of Harp's career thus far, and the covers fit in seamlessly, making this his finest recording to date.
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First Love (RS) / First Love (MU)

Fairy Tale Trio: Jazz Across the Borders (1998)

Traditional Bulgarian folk music commands an exceptionally rich heritage. Approximately 260,000 folk-songs are archivized in Sophia, 137,000 of which have been musically notated and over 5,000 folk-melodies are documented on tape recordings. One could logically assume that a trio so strongly rooted in the great Bulgarian music tradition would reproduce at least one of these melodies in their repertoire. Astonishingly, the Fairy Tale Trio does not. All of. the themes and pieces improvised upon by the three musicians are original compositions.

Actually the Fairy Tale Trio incorporates in its music many elements common to Bulgarian folklore : the irregular, asymmetrical meters, produced by the combination of different meters; the melodic and rhythmic allusions to the khoro-dance, and the use ofdiminished thirds and sevenths, so reminicent of the blue notes injazz. And yet Bulgarian folklore does not appear here verbatim, but is transformed through the dialogues of this trio into something exciting and new: a modern and contemporary Bulgarian music.

Folklore is not the objective here. It is not manipulated to conform to the needs of jazz. Quite intentionally the Fairy Tale Trio does not revert to known themes of traditional Bulgarian music. They are not allegated to a source of material to improvise upon. Even so, the roots of Bulgarian folk music are omnipresent - as spirit, as allusion, as a point of departure in a stylistic tour horizon, in which many strains and styles stand side by side in equality.

The centrifugal force of the trio lives and breathes from the idea of musical dialogue. Equality as the basis of musical partnership is the fundament of their improvisations. Within this consensus everything is allowed: clashes and frictions as well as convergences; musical excursions above and beyond the limitations of style and hybridization.

The Fairy Tale Trio creates a new, modern Bulgarian music which defies the usual definitions of jazz and folklore. Even the term "imaginary folklore", which nearly describes their style of music, is still insufficient. Most remarkably, the music of the Fairy Tale Trio is infused with the ongoing dialogue between three musicians of extremely varied life experiences.

THE FAIRY TALE TRIO

Theodosii Spassov - Kaval, Vocal
Anatoly Vapirov - Saxophon
Stoyan Yankoulov - Tupan, Percussion

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Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF) flac