Jeff Lorber Fusion: Now Is The Time (2010)

Keyboardist and producer Jeff Lorber has wrapped up production of a new CD that delves back into his early catalog and reinvents some of his compositions from the Jeff Lorber Fusion heyday. The CD, Now Is the Time, is Lorber’s follow-up to 2008’s Heard That. The new CD will be released June 1.

By the late 1970s, Lorber had become a prominent figure in the new movement known as jazz fusion – a marriage of traditional jazz with elements of rock, R&B, funk and other electrified sounds. Lorber and his band, Jeff Lorber Fusion, first honed their craft in the Portland, Ore., club scene and rapidly expanded their reach to a national and international audience.

This new incarnation of the Jeff Lorber Fusion includes bassist Jimmy Haslip (who co-produced with Lorber and Bobby Colomby), saxophonist Eric Marienthal, trumpeter Randy Brecker, guitarist Paul Jackson Jr., and drummers Vinnie Colaiuta and Dave Weckl.

“We all had a vision of what we wanted this record to be,” says Lorber, who points to a recent European tour with many of these same musicians – and the positive response that resulted from it – as the primary catalyst for the album. “We wanted a return to the sound of the Jeff Lorber Fusion, but informed by everything I’ve learned since then. All of a sudden, people seem to be interested in hearing that again. They’re ready to hear musicians who can really play, really stretch the envelope with their technique, with their songwriting, and with harmonic structure.”

Tracklist:

01. Pixel (Jeff Lorber-Jimmy Haslip-Bobby Colomby) – 5:23

02. Black Ice (Jeff Lorber) 4:22

03. Rain Dance/Wanna Fly (Jeff Lorber-Irene Bauza-Frankie Biggs) – 4:13

04. Las Rosas (Jeff Lorber) – 4:00

05. Water Sign(Jeff Lorber-Irene Bauza-Frankie Biggs) – 3:56

06. Mysterious Traveller (Wayne Shorter) – 4:55

07. Curtains/Before We Go (Jeff Lorber-Irene Bauza-Frankie Biggs) – 4:17

08. Dr. Moy (Jeff Lorber-Steve Dubin) – 3:07

09. Sugar Free (Jeff Lorber-Irene Bauza-Frankie Biggs) – 4:49

10. Chinese Medicinal Herbs (Jeff Lorber) – 4:24

11. Sumatra (Jeff Lorber) – 4:11

Now Is the Time
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De Phaz: LaLa 2.0 (2010)

De Phazz is a downtempo jazz ensemble integrating modern turntablism and elements of soul, Latin, trip hop and drum and bass into a lounge music sound. De Phazz is led by Pit Baumgartner, a German producer who changes his crew for every new album. Some of the more permanent members are Karl Frierson and Pat Appleton. Since the release of Detunized Gravity and Godsdog, De Phazz have appeared on the radar of listeners of equally innovative and sample-driven jazz by the likes of Amon Tobin and The Cinematic Orchestra. The band has released records on Mole Listening Pearls and Universal Jazz Germany along with single releases on Edel Records and United Recordings, and also remixes existing material.

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Chad Smith's Bombastic Meatbats: Meet the Meatbats (2009)

“A journey through funk, punk, and beyond”…welcome to Chad Smith’s Bombastic Meatbats. Most of you know Chad Smith as the drummer for Red Hot Chili Peppers and Chickenfoot. As if that weren’t enough diversity for one resume, he is back with a completely new project that I can’t even classify.

Introducing the Meatbats: guitarist Jeff Kollman, keyboardist Ed Roth, bassist Kevin Chown, and of course Chad Smith (on drums, duh!). Do they sound like Red Hot Chili Peppers? Do they sound like Chickenfoot? Do they sound like Red Hot Chickenfeet?

Yes and no. First of all, the big difference is that there are no vocals. That’s right, kids, this is an instrumental album. They are also calling it “jazz”. But this ain’t your daddy’s jazz. Chad Smith’s Bombastic Meatbats fuse together elements of classic rock, old school funk, blues, and 70s lounge/R&B. The CD plays almost like a long jam session that we’ve been invited to attend. Not my usual selection off the musical menu, but this is an intriguing listen and will be fun to play at parties. But like most instrumental records, ultimately I feel the band is getting a lot more enjoyment making the music than I am listening to it. A key standout, however, is the often brilliant keyboards by Roth.

I dug the funky “Need Strange”, bluesy “Bread Balls”, and the very cool David Gilmour-inspired closer, “Into the Floyd”.

“Meet The Meatbats” was just released on September 15th on Warrior Records / Universal Music Distribution. They are also holding a drum solo contest, with prizes including a drum kit, personal call from Chad Smith (whoever wins, please ask if the next Chickenfoot album will be better than the first), signed swag and more.

Meet the Meatbats

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Mike Ricchiuti: The Way I See It (2003)

Keyboardist, composer, Mike Ricchiuti is an emerging young artist with a refreshing contemporary jazz approach to his playing and writing. Mike’s playing, while grounded in the jazz piano tradition, draws upon a wide variety of influences from pop to soul and funk, giving him a unique voice as an artist. His influences include Herbie Hancock, Keith Jarrett, Stevie Wonder, and many others.

Born in Brooklyn, NY, Mike grew up on Long Island,and began taking piano lessons by the age of 7. As a young boy he studied classical music but Billy Joel was his musical hero. In his late teens Mike discovered jazz piano and decided to enroll at Berklee College of Music. In the fall of 1986 Mike left for Boston and discovered a whole new world of music. There he studied with Jeff Covell, Ray Santisi, and Herb Pomeroy, among others. In 1991 he returned to NY to embark on his career, while continuing to study with Fred Hersch and Kenny Werner.

In 1995, after playing for a few years in clubs around NYC , Mike met and started playing in the band of jazz guitarist Chuck Loeb. Since then they have worked together on a variety of live and studio prodjects, touring in the US, Europe, and as far as South Africa. Most recently, Mike has been on the road with Chuck, supporting his current release, “Love Is All”. On this Cd, Mike is featured as a pianist, writer, as well as co-producer on several of the tracks. Other recent recording credits include pianist, Bob James (Mike played organ), saxophonist, Gato Barbieri, vocalist Michael Franks, Spyro Gyra, David Mann, Kim Waters, Walter Beasley, and the soundtrack to “State and Main”.

Mike’s talents have also been sought out by a variety of other artists. In 2000, Mike toured in the US and Europe with legendary funk saxophonist Maceo Parker, playing organ. More recently Mike was hired to play in the house band for the “I Love NY” benefit concert held at the Beacon Theater in NYC for victims of the World Trade Center tragedy. On this special night, Mike backed up artists such as Al Jarreau, Natalie Cole, Phoebe Snow, Jeff Golub, Russ Freeman, and many others. In addition, Mike has worked with Michael Brecker, Patti Austin, David Foster, Chieli Minucci, and Nelson Rangell. He also continues to perform with his own band in NYC where he lives with his wife Cathy and dog, Nicky.

Tracklist:
1. Forward Motion 5:26
2. Up All Night 6:19
3. Embrace 6:56
4. The Way I See It 5:32
5. Still Standing 5:25
6. Just So You Know 6:07
7. Dogs in the Neighborhood 4:44
8. Changes 6:42
9. Slow Roller 5:54
10. And Then Peace 5:50
The Way I See It
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Kurt Rosenwinkel: Reflections (2009)

On Kurt Rosenwinkel’s Reflections, the innovative and iconic guitarist isn’t playing any tricks. The melodic phrases are even and tuneful, the harmonies are familiar, and the rhythmic underpinnings and formal architecture are simple and subtle. But, despite a barefaced lack of complexity, Reflections is one of the most exciting albums of the year.

Unlike The Remedy: Live at the Village Vanguard, Rosenwinkel’s previous album featuring genre-defying originals, Reflections contains almost exclusively standard jazz tunes. In a trio including bassist Eric Revis and drummer Eric Harland, Rosenwinkel hits upon a beautiful intersection of progression and tradition. The freshness comes from the guitarist’s unconventional (but now ubiquitous) style. The warmth and familiarity is due to the straightforward and easy presentation.

A melancholia permeates the album, which consists mainly of ballads, including “You’ve Changed,” “More Than You Know,” “You Go to My Head,” which were all written before 1942, and “East Coast Love Affair,” the disc’s one original tune (although it has the feel of a standard).

Two Thelonious Monk tunes are perhaps the highlights of the recording. “Reflections” begins and ends with celestial and yet quirky solo guitar musings. “Ask Me Now” combines a jaunty bounce with an air of veiled wistfulness. Although not formally a blues, the track captures that hard-to-define blues sentiment that makes great jazz what it is.

Two works by Wayne Shorter provide contrast from the predominant swing feels of the album. “Fall” is played with a nonchalant hip hop beat with feint disco undertones. Along with “Ana Maria,” which has a bossa nova vibe, these pieces provide the most overtly modern harmonic content.

Reflections will please just about any listener. It’s simplicity and conventional approach will endear it to people who love jazz for its songs and its deep tradition, and progressive jazz fans will be pleased by the way Rosenwinkel retains his distinctive style in a long-established setting.

Personnel:
Kurt Rosenwinkel – Guitar
Eric Revis – Bass
Eric Harland – Drums
Tracklist:
1.Reflections
2.You Go To My Head
3.Fall
4.East Coast Love Affair
5.Ask Me Now
6.Ana Maria
7.More Than You Know
8.You’ve Changed
Reflections
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Jonathan Fritzen: VIP (2009)

Smooth Jazz get ready to embrace your next star... VIP, Jonathan Fritzén s follow up album to his debut LOVE BIRDS, is a solid smash! According to the 26-year-old Swedish pianist, VIP has a groovier, deeper urban sound, while keeping the elegance I aimed for on my first album. Couldn t agree more! Jonathan covers eight different instruments on VIP, this time round he s recruited some assistance. Guests include NuGroove artists, guitarist Jay Soto and saxophonist Michael Lington, Swedish artists Laila Adéle and Greger Hillman, and some of Sweden s top studio musicians. Jonathan also brought in Ollie Olsson for mixing (Snoop Dogg, Robyn) and Björn Engelmann for mastering (Backstreet Boys, Cardigans). This recording is one of the most exciting new Smooth Jazz releases I ve heard all year, maybe even last year, and I m thrilled to tell you that this incredible talent grew up listening to SmoothJazz.com Radio in Sweden and now is in fact, one of our brightest stars. VIP is filled with 11 sizzling hot tunes that will fill your world with groove and joy! It is a Very Important Project! ~SANDY SHORE --SmoothJazz.com

VIP
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Christian McBride Band: Vertical Vision (2003)

Vertical Vision is bassist Christian McBride's Warner Bros. debut. Equally adept on acoustic and electric, McBride is a long-running Sting sideman, as well as a member of the late Ray Brown's inspirational SuperBass trio. Christian's own band is a very stable unit, its rapport thoroughly road-tested. The disc opens with a brief burst of 78rpm crackling, before McBride abruptly rips that old shellac off the player and substitutes the heavy-rockin' funk of his "Technicolor Nightmare." Both McBride and keyboardist Geoffrey Keezer are fond of convoluted melody lines, but their prettiness is usually scarred by the serrated surfaces turned out by saxophonist Ron Blake and guitarist David Gilmore (not the member of Pink Floyd). It's Keezer's ballad tendencies that most retain their smooth sheen. McBride's "The Wizard of Montara" is short and boppish, while his "Ballad of Little Girl Dancer" is the funkiest number, loaded up with chirping synths. Other highlights are the intricate "Lejos de Usted" and Joe Zawinul's "Boogie Woogie Waltz," where McBride gets to burn up his own fingers. This whole disc is very much in thrall to swirling 1970s fusion, and given a hard, dense production style that sometimes errs towards dulled and muted, particularly with the brutal rock heaviness of Terreon Gully's drums. This muscular delivery of sometimes lightweight tunes manages to convey a mixed message of risk-taking danger and commercial adaptability.

Vertical Vision
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Ibrahim Maalouf: Diachonism (2010) [2 cd]

Trumpeter Ibrahim Maalouf is the son of Lebanese trumpeter Nassim Maalouf and pianist Nada Maalouf, a nephew of the writer Amin Maalouf, and the grandson of journalist, poet and musicologist Rushdi Maalouf. He is currently the only trumpet player in the world to play Arabic music with the trumpet in quarter-tones, which his father invented in the 1960s. Ibrahim is also the winner of some of the greatest classical trumpet competitions in the world.

On this remarkable 2CD set, Ibrahim Maalouf brings together a fascinating combination of jazz, classical, world music & pop - with guest artists : pianist Jacky Terrasson; Bijan Chemirani on saz; M. on vocals & bass; Adrian Jubran on oud; Loliibob, rap vocals; plus, guitarist Eric Lohrer, Caroline Hatem, vocals; & Sacha Sieff, decks, scratching.

Tracklist:
CD1
1. Pouh Hia
2. Naga (Featuring Adnan Jubran)
3. Ya Ha La
4. Trumpet & Saz Improvisation (Featuring Bijan Chemirani)
5. Hyu Man
CD2
1. Intro (Old Radio Of A Lebanese Mountain)
2. Esse Emme
3. Intro (winners of 2007-2009 tour)
4. Bizarre (Featuring Matthieu Chedid)
5. Make Ce (Featuring Lollibob)
6. Trumpet & Piano Improvisation (Featuring Jacky Terrasson)
7. Souma Hia (Featuring Jacky Terrasson)
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Chieli Minucci: East of the Sun (2009)

Chieli Minucci is the leader of the Grammy-nominated contemporary jazz group Special EFX, which formed in 1982. Minucci & Special EFX have recorded a combined 25 CDs, 8 of those being solo releases. In addition Minucci has recorded and performed with top pop artists such as Celine Dion, Lionel Richie, Jennifer Lopez, Jewel, Mark Anthony, Jessica Simpson, Anastasia and others, as well as jazz artists Marion Meadows, Jay Beckenstein, Gerald Veasley, Lao Tizer, Nestor Torez, Bob Baldwin, Jeff Lorber, and many others. His father, Ulpio Minucci (concert pianist/composer) wrote the now 'standard' 1955 hit song "Domani," as well as "A Thousand Thoughts of You," and "Felicia" (both sung by Nat King Cole).

Also known as a composer for television and film, Minucci was nominated for several Daytime Emmy Awards and has won three, in 1998, 2007, and most recently in 2008, for his compositional work on CBS's The Guiding Light. He has written music for well-known programs such as Good Morning America (theme), Bloomberg Radio (theme), Access Hollywood, The 700 Club, and others. He also contributed music to the soundtracks of Bowfinger (1999) and Panic (2000), as well as most recently to 'Lifted' (2007).

Minucci composed and produced the soundtrack for the Live Nation/Nickelodeon live stage productions of the hit TV series, Dora the Explorer (both 'Dora's Pirate Adventure ,' and 'The City of Lost Toys') which are currently touring internationally. He also wrote and recorded songs for the live stage production of the long-running British children's television show, Thomas & Friends Live!

Tracklist:

01. Asian Sunrise (5:06)
02. The Meditator (5:11)
03. East Of The Sun (8:17)
04. Tranquility (5:19)
05. Night Of The Crickets (6:48)
06. Winds Of Java (5:38)
07. The Dream (6:30)
08. Eyes Of Love (5:09)
09. Eastern Spirit (6:34)
10. Gamelan Games (5:05)
East of the Sun
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John Pizzarelli: Rockin in Rhythm - A Tribute to Duke Ellington (2010)

Singer/guitarist John Pizzarelli, a master in the art of reinventing jazz classics, celebrates the music of Duke Ellington, undeniably one of the most prominent musical icons of the 20th century. Rockin' In Rhythm: A Tribute to Duke Ellington is Pizzarelli's first ever Ellington recording.

Pizzarelli was still a very young musician when Ellington died in May 1974, but thanks to his father - veteran guitarist Bucky Pizzarelli - he would eventually learn much about jazz's most important composer. "Duke's music was an integral part of any set my father played," says Pizzarelli. "I heard a tremendous amount of his music listening to my Dad and then through performing with him. There are some many beautiful melodies and so many discoveries to be made on any given night."

Like Ellington, Pizzarelli crafts his performances to spotlight the talents of his band members. In addition to a solo track ("Just Squeeze Me"), four songs on Rockin' In Rhythm showcases his quartet - pianist Larry Fuller, bassist/brother Martin Pizzarelli and drummer Tony Tedesco - and seven tracks include the Swing Seven horns with arrangements by Don Sebesky.

Rockin' In Rhythm combines the enduring work of Duke Ellington with John Pizzarelli's incredible ability to reinterpret the Great American Songbook. Pizzarelli says, "Don Sebesky surprised us all at the session when, after the `keeper' take of `C Jam,' he said that we should `thank Pizzarelli for getting us all together to play Duke Ellington.' Well, I am grateful that when I chose to salute such an American icon as Duke Ellington, I had such tremendous friends and associates to help realize my dream."

Rockin in Rhythm: A Tribute to Duke Ellington

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Breckers Brothers Out of the Loop (1994)

OUT OF THE LOOP won the 1995 Grammy Award for Best Contemporary Jazz Performance, and "African Skies" won the Grammy for Best Instrumental Composition. "African Skies" was also nominated for Best Jazz Instrumental Solo.

With OUT OF THE LOOP, the Brecker Brothers once again affirm their spot at the front of modern jazz. Besides presenting the expected mixed plate of jazz and funk, with this album the Brothers definitively prove that hip hop and swing are of the same groove.

The Breckers' trademarks abound. Solid composition, shiny production and superb talent qualify OUT OF THE LOOP as vintage Breckers with performances that rise to the strength of the arrangements. Their characteristic rhythmic twists and harmonic turns are held in check by a powerful yet sensitive rhythm section. Bassist James Genus links burning percussion and drums to the Brother's pure melodic expression and colorful harmonic invention.

What jumps up from OUT OF THE LOOP is its succesful incorporation of hip hop sounds into jazz. Amidst today's deluge of hip hop artists appropriating the token jazz riff, it's inspiring to hear the Brecker Brothers show how it's done on tracks like "Scrunge" and "When It Was."

In a world of jazz purists, easy listening, and confused genres, The Brecker Brothers have thankfully spun a loop of their own.

Recorded at Skyline Studios, New York, New York.

Personnel: Eliane Elias (vocals, keyboards); Armand Sabal-Lecco (vocals); Larry Saltzman (guitar, acoustic guitar); Robbie Kilgore (guitar, keyboards); Dean Brown (guitar); Dennis Brown (acoustic guitar); Michael Brecker (soprano saxophone, tenor saxophone, EWI); Randy Brecker (trumpet, flugelhorn); George Whitty (keyboards, percussion programming); Maz Kessler (keyboards); Chris Botti, Andy Snitzer (drums, keyboard programming); Steve Jordan , Rodney Holmes, Shawn Pelton (drums); Steve Thornton (percussion); Mark Ledford (background vocals).

Out of the Loop

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George Benson: While the City Sleeps (1986)

The transformation of George Benson, guitar icon, into George Benson, pop singer, is completed here, on While the City Sleeps, for there are no instrumentals at all on this hard-sell, synth-laden series of ballads and dance tunes. This is marginally better than 20/20, for at least Michael Walden's high-tech production (with added tracks by Kashif and Tommy LiPuma) has more punch, and the material, though still mostly lame, is easier to take. There is very little guitar to be heard, and what little there is can usually be found hidden behind Benson's scatting or the pulsating electronics. The best bet for ferreting out some strong guitar is on "Love Is Here Tonight," but it's deep within the mix. For those who care, an animated Kenny G turns up on "Did You Hear Thunder." -- AMG

While the City Sleeps

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Ahmad Jamal: It's Magic (2008)

Ahmad Jamal's tenth US release on the French label Birdology/Dreyfus Jazz, It's Magic, was published on June 10, 2008. It has been three years since After Fajr, the critically acclaimed album The New York Times declared "one of his best" (Ben Ratliff, May 30, 2005), and Ahmad Jamal has been keeping very busy.

The 77-years old pianist, composer, arranger, producer, manager, and officier (more on that later) has been touring the world, writing new compositions, selling out concert halls, and discovering, producing, and nurturing new talent. Mr. Jamal, who has always known how to get attention and keep it, has been continuously improving his repertoire, never once resting on his laurels.

The eagerly awaited new album, from one of the most revered pianist on the international music scene, is all about remembering the past while continuing to develop new territory. Dedicated to Jean-François Deiber, his friend and producer who passed away just before After Fajr's release, It's Magic features six originals, two of which have never been recorded, and three standards with celluloid connection.

From the opening track, "Dynamo," Ahmad Jamal signals a new direction almost immediately. Often cited for his brilliant and expansive work in a trio format, Ahmad augments his sonic landscape with the percolating beats of percussionist Manolo Badrena, backed by his long-time rhythm section featuring drummer Idris Muhammad and bassist James Cammack. He revisits "Swahililand," his hauntingly beautiful composition, a concert favorite previously heard on After Fajr (also on 1974's Jamal Plays Jamal and 1987's Crystal), with exquisite styling and impressive command. Rarely heard "Back to the Island" is dynamic, showcasing Ahmad's faultless technique.

Ahmad Jamal delivers an unforgettable interpretation in the title track, "It's Magic," the Academy Award nominated song by Sammy Cahn and Jule Styne from the film Romance on the High Seas. Ahmad shines, stunningly backed by his trio, traversing the comic highs and lows in a romance of mistaken identities, and elevates the breezy musical number to a lyrical poem.

No stranger to hit songs (Ahmad is one of the few jazz artists to score a Top 10 Pop hit with an instrumental - "Poinciana"), Ahmad has also been sampled extensively by hip-hop artists such as Jay-Z, Nas, and Common, among others. On "Wild is the Wind/Sing," Ahmad sends up a rollicking take on the popular song "Wild is the Wind" by Ned Washington and Dimitri Tiomkin from Wild is the Wind and "Sing" written by Joe Raposo for Sesame Street (a hit for The Carpenters); and offers an inventive and unusual interpretation of the Academy Award winner for Best Original Song "The Way You Look Tonight" by Jerome Kern and Dorothy Fields from the Fred Astaire and Ginger Roger's film Swing Time.

Ahmad Jamal may be one of the last living titans of jazz's so-called-Golden-Era who continues to redefine modern jazz. Nowhere is this more evident than in "Fitnah" and "Papillon", two new compositions which have never been recorded.

It's Magic

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Stanton Moore: Groove Alchemy (2010)

In medieval times, alchemy was a mystical pursuit based on a belief that gold could be created from common raw materials. It's an ancient practice, an idea that has long since been debunked by centuries of scientific evidence to the contrary. Or has it? Attempts to derive precious substances from lead or tin may have been dismissed by modern-day science as a fool's errand, but the belief that something of great value can come from something common persists. For drummer Stanton Moore, it's just a matter of finding the right groove.

Moore proves his theory many times over with the release of Groove Alchemy. The 12-track set is the culmination of Moore's multimedia project that also includes an instructional book and DVD of the same name. All three facets of the project are designed to explore the roots of funk drumming by examining the work of pioneers like Jabo Starks, Clyde Stubblefield, and Zigaboo Modeliste - each of whom made their mark at different times throughout the 1960s as the engines driving James Brown's and the Meters' legendary rhythm sections - and in turn tracing their influences back to the rhythms coming out of New Orleans in the earlier part of the 20th century.

"I'm showing how to not only understand the roots of funk and the history of funk," says Moore, "but also how to understand the creative processes behind it, and then how to learn from those creative processes so you can begin to make new grooves with the drums out of what was done in the past. With this project, I've kind of lifted the lid off the process that I go through and what's involved whenever I put together a record."

But Groove Alchemy is anything but a strictly academic exercise. "If you're just a listener and a music fan, you can pick up the record and totally dig it for the music itself," says Moore. "There's nothing about that experience that has to be instructional. But if you're a drummer, and you want to understand how I came up with these beats and understand the history of the music as I know it, in the hopes that you might deepen your knowledge and come up with new grooves as a result, then you can check out the book and the DVD."

Groove Alchemy runs the gamut of emotions - from the upbeat and festive to the broken-hearted and even spooky. It's a cache of precious material that results from the mating of traditional and timeless elements with new and fresh musical ideas. "This is the process I go through with any record I make, although the process has been more in-depth this time," says Moore. "I've explained it in detail so that people can hopefully learn something from witnessing the steps that I go through. I guess what I've tried to do is pull back the curtain a little bit and show what's going on in my mind as I make a record."

Groove Alchemy

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Mike Stern: Time in Place (1988)

Guitarist Mike Stern's music has often been a little difficult to classify, featuring strong improvisations, the sound and power of rock, and elements of funk, R&B and sometimes pop. For his second recording as a leader, Stern is joined by either Bob Berg or Michael Brecker on tenor, keyboardist Jim Beard, electric bassist Jeff Andrews, drummer Peter Erskine and percussionist Don Alias; Don Grolnick sits in on organ during "No Notice." The music (seven Stern originals) ranges from the rhythmic to the more sophisticated and features plenty of the leader's high-powered guitar.
Tracklist:
1. Gossip
2. Time in Place
3. Before You Go
4. No Notice
5. After All
6. Four Shades
7. Chromazone
Time in Place

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Timo Lassy: Round Two (2010)

Sax man Timo Lassy, one of the leading lights in the vivid Helsinki jazz scene has released his second album on Ricky-Tick Records. The LP, “Round Two”, is a trip deeper into Lassy’s world, complete with the contemporary vocal jazz great José James featured on two of album’s eight tracks.

Timo Lassy has been a prominent figure in the field of contemporary jazz with firm roots and a strong rhythmic presence ever since the early 2000’s. His work with the Blue Note recording U-Street All Stars, the ever-so-successful The Five Corners Quintet, and of course his own ensemble, the Timo Lassy Band, has gained the man a steady international following in addition to domestic success. His 2007 debut “The Soul & Jazz of Timo Lassy” ranks among the most celebrated releases on the Ricky-Tick label, and Lassy himself, pre “Round Two”, is noted as a force to be reckoned with in any given setting.

The cast of characters on the new album is strictly A-list. The hard-hitting drummer on board, Teppo “Teddy Rok” Mäkynen also co-produced the album with Lassy, and the ensemble is larger than usually heard in both size and effect. Jukka Eskola on trumpet, Georgios Kontrafouris on piano, and Antti Lötjönen on bass are just some of the canny players heard on “Round Two”. The vocalist in residence in none the lesser in importance. In fact, he’s the go-to guy of 21st century vocal jazz, José James.

James, hailing from Minneapolis, connected with Timo Lassy whilst on the ranks of Nicola Conte’s jazz combo. During his brief visit to Helsinki, he both gave the album an undisputable edge on the two collabo tracks, ‘The More I Look at You’ and ‘Ya Dig’, and dipped into the local culture at large by visiting a traditional Finnish sauna.

Even with all the top-notch supporting cast, there is no denying that “Round Two” is Timo Lassy’s masterpiece thus far. Building on the success of his first album, Lassy takes big steps forward as a composer, arranger, producer, plus instrumentalist here. The material on the LP meanders effortlessly, while possessing the fingerprint of its creator all the way through. The able-bodied soloists have sufficient room for manouvre, while maintaining a compact and dynamic sonic presence at all times.

When considering the message of Timo Lassy and his music, one cannot omit the realisation of just how deeply immersed in innovation yet easily approachable his sound is. The roots of jazz with attitude are there, but the execution is distinctively 21st century without sounding selfrighteously retro.

This is pure high-quality jazz “post” the “modern” age.

Round Two

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Klaus Wunderlich: Golden Sound of Hammond (1971)

Wunderlich played the Hammond organ during the first half of his career, and later switched to Wersi organs and Moog synthesizers with which he created his own unique electronic sound. He was open to different music styles and played classical, operetta, Broadway musical, as well as popular music. He sold more than 20 million records all over the world and received 13 golden albums as well as one golden cassette. He has something of a cult following, and pops up from time to time in the playlists of contemporary DJs.

Golden sound of hammond [Vinyl-LP]

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Bobby McFerrin: VOCAbuLarieS (2010)

Ten-time Grammy Award winner/vocal innovator Bobby McFerrin surprises us yet again with VOCAbuLarieS, his first new release in eight years. Like his #1 worldwide hit song Don't Worry Be Happy and his multi-platinum duo album Hush with cellist Yo-Yo Ma, VOCAbuLarieS is based on Bobby's experiments with multi-track recording and his ceaseless exploration of the potential of the human voice. VOCAbuLarieS is Bobby McFerrin music for the 21st century. A collaboration with the composer/arranger/producer Roger Treece, VOCAbuLarieS features over fifty of the world's finest singers, recorded one at a time and in small groups to create a virtual choir made up of over 1,400 vocal tracks. Constructed as meticulously as a Mozart symphony or a Steely Dan album, intricately synthesized from countless stylistic elements, VOCAbuLarieS may be unlike any album anyone has ever recorded. Yet the music is always accessible, joyous, and inviting. VOCAbuLarieS celebrates Bobby's love of all musical genres, from classical to world music, R&B to gospel and beyond, building upon McFerrin's past explorations and journeying into bold new territory. If the song Don't Worry Be Happy is all you know about Bobby McFerrin, sit back and prepare to be amazed.

Tracklist:

1. Baby 8:04

2. Say Ladeo 8:44

3. Wailers 10:26
4. Messages 11:22
5. The Garden 8:34
6. He Ran To The Train 10:30
7. Brief Eternity 6:13
VOCAbuLarieS
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Dee Dee Bridgwater: Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee (2010)

Over the course of a multifaceted career that has spanned four decades, Dee Dee Bridgewater has risen to the top tier of today's jazz vocalists, putting her own unique spin on standards as well as taking intrepid leaps of faith in re-envisioning jazz classics. For her latest recording, Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee, Bridgewater honors an iconic jazz figure, Billie Holiday, who died tragically at the age of 44 a half-century ago. Ms. Bridgewater states that Eleanora Fagan goes far deeper than being a tribute album of retreaded Holiday tunes. "Billie deserves to have her music heard in another light," she says, "and I definitely didn't set out to imitate her." Key to the fresh approach is pianist Edsel Gomez, Bridgewater's longtime band mate who wrote new arrangements for the 12 songs on the album, including the African polyrhythmic-charged interpretation of "Lady Sings the Blues, " a reharmonized version of "All of Me" and the gospel-tinged "God Bless the Child." Says Bridgewater: "Edsel is an extremely gifted, talented arranger with very modern ideas. Edsel has the ability to be modern and work in a tasteful fashion." Gomez took on the daunting challenge of bringing new life to the music with enthusiasm. "I listened to everything Billie Holiday ever recorded," he says. "I let her music speak to me." He also kept in mind the personalities of the all-star band Bridgewater had assembled for the recording: dynamic reeds player James Carter, bassist Christian McBride and drummer Lewis Nash. "This was my dream band," says Bridgewater. "I got to work with these musicians who I'd been dying to play with. I thought, I can't miss. With this band I can have a hard-swinging, touching celebration of Billie's music."

Bridgewater sings into the nuances of such songs as "Good Morning Heartache," "Lover Man" and "Fine and Mellow" with an allure that's equal parts sexy, spunky and sublime. "This was the first time when I wasn't concerned about having a particular sound of voice," Bridgewater says. "I was just singing from my gut. It was all so swinging and so soulful." Other highlights include the haunting "You've Changed" with Carter blowing smoky soul to complement Bridgewater's moving vocals, the spunky "Mother's Son-in-Law" with McBride dueting with the coquettish singer, and the uptempo "Miss Brown to You" featuring Nash's drumming prowess. Over the course of her career, Bridgewater has paid homage to monumental figures of the music world, recording albums dedicated to Ella Fitzgerald (the Grammy Award-winning Dear Ella, 1997), Horace Silver (Love and Peace: A Tribute to Horace Silver, 1995) and Kurt Weill (This Is New, 2002). But with Eleanora Fagan--the follow-up to 2007's brilliant Red Earth: A Malian Journey that melded the music of Mali with jazz--Bridgewater delivers one of the most remarkable recording performances of her career. "Dee Dee is a spirited dynamo and a soulful balladeer," says liner note writer Dan Ouellette. "She sings with a razor-edged voice; she scats with abandon; she makes you cry. She even chokes up herself upon descending into the ghoulish drama of `Strange Fruit,' which serves as the album's poignant finale. She gives a moving read with a sparse arrangement supporting her." Instead of playing it safe and recreating her performance in Lady Day, on Eleanora Fagan, Bridgewater reacquaints herself with Holiday, shining a new ray of love on the often-misunderstood jazz icon. "I wanted the record to be a collection that would not be like the music of the show," she says. That philosophy is in keeping with Bridgewater's approach to all of her projects: "I want to move forward, just as I've done with each of my albums. To not go backwards, but progress. Constantly."

Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee

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World Drummer Ensemble: A Coat of Many Colors (2006)

Four percussion masters, global leaders in their respective disciplines, come together for a highly-charged musical exchange; explosive, unpredictable, and unusual. Doudou N’Diaye Rose ( Senagalese master of the sabar ), Chad Wackerman, ( Frank Zappa, Allan Holdsworth ), Luis Conte ( Madonna, Michael Jackson ), and Bill Bruford ( Yes, King Crimson, Earthworks ), are known internationally as the World Drummers Ensemble. For those unfamiliar with, or unpersuaded by, the astonishing and increasing grip of the percussive arts as an innovative force in music across continents, this Dual Disc CD / DVD offers conclusive proof, were any needed, that rhythm beats at the heart of all things.

A true cultural ambassador for Senegal, Doudou N'Diaye Rose is today considered as one of the great musicians of his time. Chief drum major, founder of the Drummers of West Africa, he is the most famous griot in Sengal. Both guardian of the tradition and untiring innovator, this virtuoso of percussion is now perceived as a true conductor, the African equivalent of a great conductor of a symphony orchestras, regularly leading groups of from 20 to 100 drummers. As part of the World Drummers Ensemble he has immersed himself in less familiar ideas of odd-metered rock, jazz improvisation and small group interplay. Born 1928 into a griot family, he soon rose from the shadow of traditional drum major to become the rising darling of the Senegalese drumming community. With Independence in 1960 he joined the Senegalese National Ballet, propelling him to international stardom. For many years his ensembles of varying sizes have toured world capitals to huge acclaim. In 1996 he was the center of attention at the opening of the National Black Arts Festival in Atlanta, Georgia, and he has invented more than 500 new rhythms in African percussion.

Chad Wackerman’s drumming combines the power and conviction of rock with the sensitivity and finesse of jazz. His playing is remarkably free of predictable patterns and licks, relying instead on invention and interplay with the musicians around him Phenomenally skilled, he has amassed a remarkable body of work including a seven year association with Frank Zappa, with whom he toured and recorded 26 albums including the London Symphony recordings. He has also recorded and /or toured with, among others, Allan Holdsworth, Barbra Streisand, Steve Vai, Andy Summers, Men At Work, Albert Lee, James Taylor, John Patitucci , Joe Sample, and most recently with another ex -Zappa drummer , Terry Bozzio. As a band leader and composer Chad has four critically acclaimed CDs titled 'Forty Reasons', 'The View', 'Scream', and his latest release 'Legs Eleven'.

Grammy-winner Luis Conte is an acknowledged master of Afro-Cuban percussion. His celebrated career includes working with some of the greatest names in contemporary music, including Madonna, Eric Clapton, Phil Collins, Santana, Jackson Browne, Celine Dion, Barbara Streisand, Ray Charles, Tony Bennett, James Taylor, Shakira, Ozzy Osborne, Queen Latifah and Cuban legends Arturo Sandoval and Cachao. He can also be heard on the scores and/or soundtracks to such box office smashes as Mission Impossible, Rain Man, Waiting To Exhale, Coming To America, and countless others. His percussion clinic tours take him around the world teaching musicians the essentials and history of Afro-Cuban rhythm, and he has recently just released his signature line of congas, timbales and shakers for the Meinl Company.

By the tender age of 27, Bill Bruford’s musical character had already been forged in the fiery furnace of four of the biggest progressive rock groups of all time; Yes, King Crimson, Genesis, and UK. Early success propelled Bill, by nature a restless innovator uncomfortable with the well-worn path, into a fascinating 30 year career as a band leader and writer. Groups such as Bruford and Earthworks led the way with advanced harmony in electric rock in the 70s & 80s; samples, electronics, and odd-metres in electric jazz in the 90s; and stylistic innovation with strong compositional identity in his current acoustic jazz. His taste for the unpredictable in live performance has led him to collaborations with countless of the world’s top musicians, not least the World Drummer’s Ensemble, in an endless search for the innovative, the unusual, and the unlikely. 30 years after Progressive rock, Bruford remains a vital force in all things percussive, and his life’s work is well documented on CD and DVD at Summerfold and Winterfold Records.

Tracklist:

01. Conundrum

02. Majorette
03. Prism
04. Baye Kene N'Diaye
05. Ritm Komposisyon
06. A Coat of Many Colors
07. Self Portrait
08. Sa N'diaye
A Coat of Many Colours
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Bob Mintzer Big Band: Latin from Manhattan (1998)

Bob Mintzer has a wonderful sense of a big band as a living, breathing entity. He knows how to make it feel good, how to arouse, to tickle, and when to let it go. All of this and more comes through in this set focused on the leader's gleanings from 25 years of working in and around the Latin music scene in New York. Plenty picante, no heartburn: a highly satisfying musical meal.

Tracklist:

1. Oye Como Va

2. Caborojeno

3. Acha
4. Ellis Island
5. Carla
6. New Rochelle
7. Chant
8. San Juan Shuffle
9. New Mambo
10. Mambone
Latin from Manhattan
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Dave Holland Octet: Pathways (2010)

In his latest release, Pathways, bassist Dave Holland shapes his octet into a groove-heavy, blue-flame intensity with writing that is state-of-the-art hard bop. "Pathways" opens the album with the horns setting the pace as Smuylan’s baritone leads the melody with commanding solos. The horns riff hard while Nelson plays the vibraphone with a modernistic feel. Next up is “How’s Never?” Holland starts it off with a bass solo as Nate Smith eases in with some rhythm. The marimba gives it a sophisticated feel but the horns — specifically Hart on alto sax backed by Smulyan’s baritone — gets into the groove vein of greasy funk.

Personnel:

Dave Holland - bass

Antonio Hart - Alto Sax and Flute
Chris Potter - Tenor Sax and Soprano Sax
Gary Smulyan - Baritone Sax
Alex "Sasha" Sipiagin - Trumpet & Flugelhorn
Robin Eubanks - Trombone
Steve Nelson - Vibraphone and Marimba
Nate Smith - drums
Tracklist:
01 Pathways
02 How's Never?
03 Sea of Marmara
04 Ebb and Flow
05 Blue Jean
06 Wind Dance
07 Shadow Dance
Pathways
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Wayne Shorter: Adam's Apple (2003)

"Adam's Apple" finds tenor saxophonist Wayne Shorter returning to a quartet setting after the avant-garde, multi-horn experiments of "The All-Seeing Eye" (see my review). Recorded during two sessions in February 1966, the album features Wayne with the rhythm trio of Herbie Hancock on piano, Reggie Workman on bass and Joe Chambers on drums. These players all knew each other well as Wayne and Herbie had been members of the Miles Davis Quintet for more than a year, not to mention their prior Blue Note collaborations. Furthermore, Wayne and Reggie had both been in the Jazz Messengers in the early 60s, and Wayne had partnered with Joe Chambers on his previous two Blue Note sessions. All this added up to a great deal of musical rapport and chemistry that translated directly to the tunes. Of Wayne's three quartet albums for Blue Note, this is arguably the best. As great as "JuJu" and "Etc" are, they have their flaws -- "JuJu" comes off sounding a little too Coltrane-like (it's hard not to when you play with both McCoy and Elvin) while "Etc" was often uneven (it did sit in the vaults for years). With "Adam's Apple," Wayne had reached the pinnacle of his style and expression in modal jazz, and shortly he would go searching for new frontiers both with Miles and on his own. But at this stage in his career he simply gets an A+ for "Adam's Apple."

Adam's Apple
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Dhafer Youssef: Abu Nawas Rhapsody (2010)

Dhafer Youssef new album Abu Nawas Rhapsody (Jazzland/ Universal) was released in February 2010 and features three exciting musicians: Tigran Hamasyan, the young Armenian shooting star on piano, Chris Jennings, a Canadian double bass player living in Paris, and New York drummer Mark Guiliana. On the new album we can hear Mark’s trademark combination of energetic rhythmic multiple layers with a sense of calm and serenity and Dhafer’s voice echoing the immensity of divine bliss.1. Sacre "The Wine Ode Suite"

This very special mix of musical elements and creative talent produces a soundscape that is new and original. With the musicians’ commitment to exploring and experimenting paired with their subtleness and courage to be silent, this is sure to catch the attentive ear of any listener.

Tracklist:

1. Abu Nawas Rhapsody
2. Les Ondes Orientales
3. Khamsa "The Khamriyyat of Abu Nuwas"
4. Interl'oud
5. Odd Elegy
6. Ya Hobb "In The Name Of Love"
7. Shaouk
8. Shata "Shatahat"
9. Mudamatan "The Wine Ode Suite"
10. Sabaa "Hayastan Dance"
11. Sura
12. Profane "The Wine Ode Suite"
Abu Nawas Rhapsody
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Kenny Burrell: Lotus Blossom (1995)

Kenny Burrell has been a very consistent guitarist throughout his career. Cool-toned and playing in an unchanging style based in bop, Burrell has always been the epitome of good taste and solid swing. Duke Ellington's favorite guitarist (though he never actually recorded with him), Burrell started playing guitar when he was 12, and he debuted on records with Dizzy Gillespie in 1951. Part of the fertile Detroit jazz scene of the early '50s, Burrell moved to New York in 1956. Highly in demand from the start, Burrell appeared on a countless number of records as a leader and as a sideman. Among his more notable associations were dates with Stan Getz, Billie Holiday, Milt Jackson, John Coltrane, Gil Evans, Sonny Rollins, Quincy Jones, Stanley Turrentine, and Jimmy Smith. Starting in the early '70s, Burrell began leading seminars and teaching, often focusing on Duke Ellington's music. He toured with the Phillip Morris Superband during 1985-1986, and led three-guitar quintets, but generally Kenny Burrell plays at the head of a trio/quartet. ~ Scott Yanow, All Music Guide

Lotus Blossom
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David Benoit: Earthglow (2010)

The words coming out of the press offices regarding pianist, composer and film scorer David Benoit’s several last releases have all read the same.They have consistently trumpeted his return to the roots of his jazz style, as seen on the incredible releases Every Step Of The Way and Urban Daydreams, that made him so instantly unique, vitally influential and exciting to spin in CD players. With each release fans of his contemporary jazz days have, for nearly a decade, hoped, he would turn away from the more overtly commercial style he’s promulgated during the last 15 or so years and just “sit down and play some piano in his own style. Unfortunately, for the last decade plus, that hasn’t been the case.Benoit’s strength used to be his slip-n-slide harmonic leanings and clean pianistic technique wrapped within his own tightly constructed formal conventions that move in directions not always expected. That his melodies were not hindered by repetitive hooky-oriented principles made him, at the beginning of the smooth jazz movement, stand out. Once smooth jazz, however, got its hooks into the record industry, company executives started to dictate what they thought should be on the releases so as to aim for airplay and higher record sales with any thought of what direction the artist’s jazz leanings might be pushed to the side. One need only read the interview with Paul Taylor (Saxophone Journal, September/October 2005) for just such a description, as well as note how different most of the smooth jazz artists played when performing live as opposed to the sound of their recordings. The result was Benoit became just another artist who sounded like everyone else. Now, with the downfall of smooth jazz upon us, interestingly predicted by Marion Meadows six years ago (see Saxophone Journal, July/August 2004), it’s up to the artists to find their own way again. Fortunately for Benoit, as demonstrated on Earthglow, he hasn’t forgotten how to make the piano sing and, with a few minor exceptions, his melodic leanings show a marked return to music for the sake of music. As if to underscore his return to making real contemporary jazz the first track, "Botswana Bossa Nova,";which begins with a radio-friendly repeated motivic groove, is altered shortly into the first section with a rhythmic displacement well beyond what Les McCann would have imagined. Then, as if to further the stark new direction, an out-of-time held synth patch breaks up any radio-oriented simplicity. The total effect is to focus one’s attention on the upcoming music as the opening track now functions as more of an overture. While radio leanings do show up in the next track, “Will’s Chili,” the straight-up introduction of improvised solos from guitarist Pat Kelley and saxophonist Jeff Kashiwa quickly into the track, followed by a masterful improvised turn on the keys not heard from the Benoit in way-too-long, as well as an incredibly suave and thrillingly exciting ending piano solo, quickly forgives any too-simplistic notions one may have initially felt. By the time “Unbelievable” has kicked in any died-in-the-wool lover of contemporary jazz will welcome Benoit back, like the prodigal son after being away and lost for way too long, to the world of thinking jazz artists with open arms. Neither orchestrally oriented nor syrupy-smoothly-redundant nor straight-ahead like Standards, this recording locks Benoit into the format for which his masterful mind is truly most suited. It’s easily the best he’s released in the last decade-plus and will certainly show up on critics top 10 contemporary jazz albums of the year list.

Tracklist: Botswana Bossa Nova, Will's Chili, Unbelievable, Easy Day, Straightaway, New Creation, Earthglow, Sneaky As A Cat, Downtime, Brownie's Gone and Freedom At Midnight (The Schroeder Variations)

Earthglow
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