Azymuth: Outubro (1980)

Outubro is Azymuth's tribute recording, in a sense, to their Brazilian brothers and sisters. It leans heavily on José Roberto Bertami's Fender Rhodes as a direct means of communication, with gorgeous guitar and bass work by Alex Malheiros, and top-notch drumming by Ivan Conti, who engages the tonal and programming reaches of the ARP 2600. The album was recorded in 1979 and its first nine cuts were remixed in 1980 when it was finally issued. The most successful moments here are the covers, where the trio digs into spaced out, modern-day electric jazz classics such as "Light as a Feather," and "500 Miles High," both of which are closely associated with Return to Forever, its vocalist at the time Flora Purim, and her husband, percussionist Airto Moreira. In addition to beautifully rendered versions of these tunes, there are readings of Toninho Horta's "Dona Olimpia," Ivan Conti's steaming "Swamp, (Pantanal)," and Milton Nascimento's "October" ("Outubro" in Portuguese). Of the originals here, Bertami's tribal percussion workout "Carta Pro Airto" ("Letter to Airto"), the slippery late-night funk of "Partido Alto" and Malheiros' breezy postmodern pop tune "Friend" work best. The extended faux-disco monolith — compete with cheesy electronic drum effects — of "Jazz Carnival" mars the proceedings a bit, making this an imperfect but nonetheless utterly listenable and enjoyable set from this prolific trio.

Outubro (RS) / Outubro (HF) / Outubro (MU) @ 320K

Herbie Hancock: Headhunters (1973) [remastered 1997]

Keyboardist Herbie Hancock's remarkable career took a surprising turn with this funk album--one of the first jazz albums to be certified gold. Hancock's already-storied career had included an extended tenure with Miles Davis as a member of both the classic quintet of the '60s and the trumpeter's groundbreaking electric dates. As a leader, the pianist had followed a similar course, cutting both outstanding acoustic dates (Maiden Voyage, Empyrean Isles) and experimental electric sessions (Sextant, Crossings).

Head Hunters, however, was something different: a stripped-down date featuring reedman Bennie Maupin as the only horn player, and a funk-oriented rhythm section made up of Paul Jackson, Harvey Mason, and Bill Summers. Hancock traded in his sophisticated piano performances and complex compositions for simple melodies, slow-burn funk grooves, and light electric keyboard splashes. The results, particularly on the tracks "Chameleon" and "Watermelon Man," had a profound impact on other musicians, although critics charged Hancock with playing to the galleries. But the album has stood the test of time--something neither the wealth of Hancock's imitators nor his own subsequent albums in this vein have been able to do. --Fred Goodman

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

Jeff Lorber: It's a Fact (1982)

With a smooth sound bringing together elements of funk, R&B, rock, and electric jazz, keyboardist Jeff Lorber helped pioneer a genre of fusion later formatted under such names as NAC and contemporary jazz. Born in Philadelphia on November 4, 1952, he began playing the piano at the age of four, and as a teen performed with a variety of local R&B bands. Lorber's infatuation with jazz began during his stay at the Berklee College of Music, and after forming the Jeff Lorber Fusion he issued the group's self-titled debut in 1977. During the first half of the following decade, the band became one of the most popular jazz acts of the period, touring nonstop and even scoring a Best R&B Instrumental Grammy nomination for the radio hit "Pacific Coast Highway." Released in 1986, Private Passion was Lorber's most successful outing yet, but at this commercial peak he stopped recording, instead turning to production and session work. He did not issue his first proper solo LP until 1991's Worth Waiting For, remaining both a prolific performer and producer for the rest of the decade. He recorded for Verve and Zebra in the '90s before moving over to Narada in the 2000s and releasing successful smooth jazz albums like 2003's Philly Style and 2005's Flipside. He released He Had a Hat on Blue Note in 2007.

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It's a Fact - Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF) lossless

Dave Weckl Band: Transition (2000)

Dave Weckl's third release for the Stretch Records label reflects a new direction; seven newly penned compositions, new techniques, and new personnel. Aptly titled as Transition, the drummer benefits tremendously from his longstanding musical relationships with saxophonist Brandon Fields, bassist Tom Kennedy, and, the newest member of the band, keyboardist Steve Weingart. In addition to the four-piece lineup, Weckl jams with new percussive techniques; the incorporation of bongos, a tombek, wind chimes, and metal percussion into his drum setup. Just as the chart maker Synergy showcased the leader's ability to groove as well as to cut loose, Transition provides generous doses of high-energy drumming that characterized Weckl's days in Chick Corea's Elektric Band and the Akoustic Band, with the two approaches revealing a marked convergence. "Mild Hysteria" has a bluesy melody that changes gears harmonically for the solo sections and features the artist drumming in a fast double-time while the rest of the band is almost in half-time. Brandon Fields' "Group Therapy" features the saxophonist's swinging groove and great blowing. "Passion" is an emotional number that features the Steve Weingart great keyboards in tandem with Weckl's delicate, percussive ambience. Fields' beautiful sax is resonant and alluring on his solo and deepens the impact on the listener. "Crossing Paths" is another great song with a catchy melody that is marked by the consistent bass playing of Tom Kennedy. Together, the Dave Weckl Band is an ensemble that has blurred the line between soloist and accompanist and creates layers of sound that flow between several distinct moods.

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Transition (RS) @ 320K

Dave Weckl Band: Synergy (1999)

After being dismissed by some as a mere "chops meister," former Chick Corea Elektric Band drummer Dave Weckl purposely sought to reinvent himself as a groove player on his previous solo outing, Rhythm of the Soul, which also marked the debut of his own band. While the group toured, soundcheck jams evolved into tunes, and the resulting music on Synergy provides the most balanced document yet of weckl's drumming and his strongest musical statement.

Tracks such as "Panda's Dream," which features some of the fattest backbeats Weckl has ever played, and the New Orleans-inspired "Swamp Thing" are strong on pure groove. But tunes such as the African-influenced "High Life," the salsa/funk-informed "Synergy," and the solo drum/percussion tour de force "Cultural Concurrence" bear all the syncopated complexity of Weckl's original fame. He also displays a subdued, sensitive side with brushes and coloristic cymbals on the ballads "A Simple Prayer" and "Where's My Paradise?" A particularly definitive track is "Tower '99," a rewrite of "Tower of Inspiration" from Weckl's first solo album, Master Plan. It has all the technical mastery of the original but a deeper groove and a lot of soul.

On Weckl's four previous solo albums, he and Jay Oliver keyboardist composed just about everything. But on Synergy, the songwriting credits are shared among Weckl, Oliver, guitarist Buzz Feiten (a major asset to this band), saxophonist Brandon Fields, and bassist Tom Kennedy. The result is Weckl's broadest level of self-expression.--- Rick Mattingly, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

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Synergy (RS) / Synergy (HF) / Synergy (MU) @ 320K

McCoy Tyner: Sahara (1972)

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection.

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

Oscar Peterson: Meets Roy Hargrove and Ralph Moore (1996)

Down Beat (2/97, p.48) - 4 Stars (out of 5) - "It's not so rare finding an elder statesman in the studio with young veterans, but it is uncommon to have a session turn out as well as Oscar Peterson's encounter with Roy Hargrove and Ralph Moore did....another album worth hearing again and again..."

Recorded at Manta/Eastern Studio A, Toronto, Canada on June 11 & 12, 1996.

Personnel: Oscar Peterson (piano); Roy Hargrove (trumpet); Ralph Moore (tenor saxophone); Niels-Henning Orsted Pederson (bass); Lewis Nash (drums).

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Meets Roy and Ralph (RS) / Meets Roy and Ralph (HF) @ 320K