Spyro Gyra: Down the Wire (2009)

Creatively, Spyro Gyra have certainly had their ups and downs over the years. Leader/saxophonist Jay Beckenstein and his colleagues have recorded some real gems along the way, but they have also recorded their share of boring, forgettable "elevator muzak." Thankfully, there isn't an iota of "elevator muzak" to be found on Down the Wire, which is among the studio albums that captures the sort of energy and vitality Spyro Gyra are known for projecting on-stage. There are no misguided attempts to emulate Kenny G, Richard Elliot, or Najee on this 2009 release; Down the Wire is a legitimate fusion album — accessible and melodic, but risk-taking, edgy, and faithful to jazz' improvisatory spirit. Beckenstein offers plenty of inspired solos, and Spyro Gyra (whose 2009 lineup also includes keyboardist Tom Schuman, guitarist Julio Fernandez, bassist Scott Ambush, and drummer/percussionist Bonny B.) aren't afraid to let loose on memorable selections like the Afro-Cuban-flavored "La Zona Rosa," the mysterious "Unspoken," and the vibrant "Ice Mountain." Down the Wire detours into straight-ahead post-bop territory on "The Tippin' Point," but most of the material combines jazz with elements of rock, funk, and soul — which, of course, is what fusion is all about. Spyro Gyra's roots are Weather Report, Return to Forever, electric Miles Davis, and Herbie Hancock's Headhunters — in other words, the adventurous, gutsy fusion of the '70s — and their early albums reflected that. But sadly, Spyro Gyra's willingness to pander to commercial smooth jazz/NAC radio in the '90s resulted in an abundance of embarrassing fluff. However, there is no fluff on this 65-minute CD, which finds the Spyro Gyra of 2009 acting a lot like the freewheeling Spyro Gyra of the '70s and early '80s. Down the Wire is an engaging disc that Beckenstein should be proud to have in Spyro Gyra's catalog.

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Down the Wire (RS) / Down the Wire - Part 1 - Part 2 (MU) @ 320K

Various Artists: To Grover with Love (2002)

Arguably, only David Sanborn has had as much influence on the current crop of smooth-jazz sax stars as Grover Washington Jr., and on this tribute album, we get ample proof of Washington's impact. It's a testament to his talent that Gerald Albright, Dave Koz, and Everette Harp, playing three different horns--alto, soprano, and tenor, respectively--all sound exactly like the G-Man. His sway over the three younger players is so dominant on many of their own recordings, particularly Albright's, that the licks that are nods to Washington are indistinguishable from the originals. All of the instrumental tracks on this 14-song set play like Grover Washington Jr.'s greatest hits, with outstanding arrangements by the producer, keyboardist Jason Miles. On a couple of numbers, the arrangements are stronger than the performances. Tracks that work best are Regina Belle, Steve Cole, and George Duke doing "Just the Two of Us"; Herbie Mann working out on "Mister Magic"; and the Brecker Brothers teaming up with Joe Sample and Joey DeFrancesco on "Loran's Dance." Ronnie Laws and Richard Elliot, two players not influenced by Washington, also offer interesting performances. --Mark Ruffin

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To Grover with Love

Gumbi Ortiz: Miami (2006)

The hot chick on the album cover with the blond hair holding a cigar really has nothing to do with the feisty, multifaceted jazz whirlwind created by veteran percussionist Gumbi Ortiz, but along with the neon flamingo, it beautifully represents the ultra-hipness of this shimmering, joyfully eclectic collection. Have congas, will travel — that pretty much defines funky and frenetic world of Ortiz, who brings his rich Puerto Rican/Cuban heritage and a lifetime of eclectic musical influences and experiences — from jazz fusion, pop and funk to retro-soul, samba and even a hint of Irish jig — to Miami. Renowned throughout the world for his nonstop tours over the past 19 years with fusion guitar legend Al DiMeola, the charismatic conguero gathered a powerful ensemble of jazz greats in fashioning a multicultural tribute to the New York native's adopted home state of Florida, where he has lived since 1980. The first two tracks perfectly capture Ortiz's multiple music sensibilities. The sizzling "South Beach" begins with a lighthearted Brandon Fields flute solo and a laid-back Latin groove before evolving into a wacky, way out jazz free for all (highlighted by Walt Fowler's brash flugelhorn solo). The Jeff Lorber-produced, smooth jazz friendly "T-Back" captures Ortiz's spirited pop side. That smooth side comes out again on "In the Groove" (featuring Jay Beckenstein) but in the middle are some serious fusion excursions that will please everyone who loves "real jazz" and can't stand the pop stuff. There are also a few irresistibly seductive nods to what Ortiz calls "the Herbie Hancock funk thing," some tasty samba excursions, a touch of retro-soul and even a taste of gospel. Whether he's going wild and banging his congas on free-form jazz jams, showing his mastery of more subtle rhythmic nuances, or simply supporting the rhythm section behind more straightforward melodies, Ortiz proves to be an incredible lead performer in his own right. Highly recommended!