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jasapaal
 Into the Rhythm
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1972,1975: Julius Hemphill - 'Coon Bid'ness |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Julius Hemphill Album: 'Coon Bid'ness Label: Arista Freedom Years: 1972,1975 Format, bitrate: mp3@320kb/sec (LP-rip) Time: 42:55 Size: 98.3MB AMG Rating:  This historic LP includes a 20-minute performance with altoist Julius Hemphill, trumpeter Baikida Carroll, baritonist Hamiet Bluiett, cellist Abdul Wadud and drummer Philip Wilson ("The Hard Blues") taken from the same session that resulted in Dogon A.D. In addition, there are four briefer tracks that feature Hemphill, Bluiett, Wadud, altoist Arthur Blythe, drummer Barry Altschul and the congas of Daniel Zebulon. The music throughout is quite avant-garde but differs from the high-energy jams of the 1960s due to its emphasis on building improvisations as a logical outgrowth from advanced compositions. It's well worth several listens.~Scott Yanow, All Music Guide |
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1977: Cecil McBee - Compassion |
Music » Jazz » BeBop » Post-bop |
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 Artist: Cecil McBee Album: Compassion Label: Enja Year: 1977; release: 1983 Format, bitrate: mp3@256kb/sec (Vinyl Rip) Time: 40:37 Size: 75MB AMG Rating: Performed the day after Music from the Source (which was also recorded at Sweet Basil's in New York), this excellent post-bop set features the brilliant bassist Cecil McBee, up-and-coming saxophonist Chico Freeman (heard on tenor and soprano), trumpeter Joe Gardner, pianist Dennis Moorman, drummer Steve McCall and Don Moye on conga. They perform long renditions of a pair of McBee originals, along with Freeman's "Pepe's Samba." The excellent solos, particularly those of Freeman, are adventurous, yet still based in the hard bop/modal tradition.~Scott Yanow, All Music Guide |
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1998: Charlie Hunter & Pound For Pound - Return Of The Candyman |
Music » Jazz » BeBop » Post-bop |
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 Artist: Charlie Hunter & Pound For Pound Album: Return Of The Candyman Label: Blue Note Year: 1998 Format, bitrate: mp3@320kb/s; FLAC Time: 52:19 Size: 110,34 MB; 314 MB (with full scans) AMG rating  With add. FLAC links from Mr. hungaropitecus After releasing Natty Dread, Charlie Hunter decided to form a new band, one without horns. The ensuing Pound For Pound features Hunter with a drummer, synthesizers, and vibraphonist Stefon Harris. Removing the horns puts Hunter's guitar in the spotlight, and he rises to the occasion, fulfilling the promise he's displayed on all of his previous releases. There's a stronger groove here than on any of Hunter's previous records, but what's remarkable about the album is the way he keeps the groove rolling while pushing the music into unpredictable, adventurous territory. That fusion of groove and challenging jazz makes Return of the Candyman a thoroughly rewarding listen.~ Stephen Thomas Erlewine, All Music |
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1974: The Visitors - In My Youth |
Hard-bop, Post-bop |
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 Artist: The Visitors Album: In My Youth Label: Muse Year: 1974 Format, bitrate: mp3@256kb/sec Time: 45:06 Size: 84.9 MB AMG Rating:  Altoist Carl Grubbs and the late Earl Grubbs (who doubled on tenor and soprano) were cousins of John Coltrane and Trane's influence can be felt on this CD reissue (which adds a second version of the attractive original "In My Youth" to the original LP program). With the assistance of a fine rhythm section that includes pianist Sid Simmons and the young bassist Stanley Clarke, the Grubbs brothers dig into four of their originals plus "Giant Steps." Carl recalls Gary Bartz a bit while Earl mostly avoids sounding like Coltrane. Together the two saxophonists were very complementary (playing in similar styles) and their explorative improvisations are both unpredictable and logical. Worth picking up. (Poster's Note: The Grubbs brothers were not cousins of Coltrane. 'Trane married their cousin, Naima.)~Scott Yanow, All Music Guide |
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1999: Billy Bang - Big Bang Theory |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Billy Bang Album: Big Bang Theory Label: Justin Time Year: 1999; release: 2000 Format, bitrate: mp3 @ VBR(~240kb/sec) Time: 66:32 Size: 115 MB Billy Bang long ago earned his reputation as an engaging leader and violin soloist in avant-garde circles. Luckily that has not stifled his abilities and ambition to play in more straight-ahead settings as he does on Big Bang Theory. Bang's assembled drummer Codaryl Moffett, pianist Alexis Pope, and bassist Curtis Lundy -- musicians easily capable of improvisation while maintaining a cohesive balance. Bang scored five originals including "At Play in the Fields of the Lord" providing Pope and Lundy ample solo space to shine and "One For Jazz," a tribute to drummer Dennis Charles that starts with voice and drum and hauntingly falls into full quartet momentum. The inclusion of Freddie Hubbard's exuberant composition "Little Sunflower and a joyous funky version of the traditional "Swing Low, Sweet Chariot" sum up the projects overt statement of spirituality that borders on experimentation while maintaining conventional structures.~Al Campbell, All Music Guide |
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1999:Wynton Marsalis - The Marciac Suite |
Mainstream, Post-bop |
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 Artist: Wynton Marsalis Album: The Marciac Suite Label: Columbia Year: 1999 Format, bitrate: mp3@320kb/sec Time: 76:30 Size: 180.8 MB The eighth installment in Marsalis' exhaustive series of 1999 releases, this disc was originally offered as a freebie in the mail only if you bought the previous seven, and it didn't appear in the shops on its own until 2000. It was a strange marketing scheme, and one that unnecessarily muted the fanfare for the most artistically successful of Marsalis' original works in his 1999 series. Marciac, a small town in France, hosts an internationally renowned jazz festival and even erected a statue of Marsalis, which moved the composer/trumpeter to conceive this 76-minute suite for his favorite septet lineup. For personnel, Marsalis draws from his usual stable -- Wycliffe Gordon (trombone), Wessell Anderson (alto sax), Victor Goines (tenor and soprano saxes, bass clarinet), Rodney Whitaker (bass), Herlin Riley (drums), Roland Guerrero (percussion), and a tag team of pianists -- with his own effortlessly fluent trumpet reverting to the neo-bop style of his early recordings. There are no programmatic pretensions ("Big Train"), no PC pronouncements about slavery ("Blood on the Fields"), no overt homages to Ellington, Monk, or Morton -- just Marsalis sounding mostly happy, buoyant, and, in the musical portraits of his friends, even warm-hearted, hugely enjoying himself as a composer. The sunny atmosphere is quickly established in the first loosely swinging number, "Loose Duck," and though the music is often difficult, encompassing all 12 keys, the musicians seem to scale the hurdles without an audible care. Best of all is the finale, "Sunflowers," a long, carefree, handclapping number with a jaunty repeated bassline. If Marsalis' entire Swinging Into the 21st series can be considered an eight-course meal, this is the tasty dessert.~Richard S. Ginell, All Music Guide |
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1993: Marvin "Hannibal" Peterson - One with the Wind |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Marvin "Hannibal" Peterson Album: One with the Wind Label: Muse Year: 1993 Format, bitrate: mp3, VBR- 232 kb/s Time: 57:16 Size: 106 MB AMG Rating: Sessions led by the flexible avant-garde trumpeter Marvin Peterson are so infrequent that they tend to be special events. This set matches Peterson with Joe Ford (doubling on alto and soprano), pianist Michael Cochrane, bassist Lonnie Plaxico, drummer Cecil Brooks III and percussionist Jeff Haynes. Hannibal somehow makes "God Bless the Child" and "Misty" sound fresh; his diverse originals often utilize strong melodies, and the post-bop date contains plenty of exciting moments along with bits of variety. One of Peterson's best blowing dates.~Scott Yanow, All Music Guide Hannibal made some mighty wonderful music in the 70s – and he really carries that tradition strongly forward on this overlooked gem from the early 90s! The album's not as boldly righteous as some of Peterson's dates for MPS, but it's still got a hell of a lot of soul – a well-blown trumpet line right out in front, and a soaring, spiritual undercurrent that makes even familiar tunes sparkle with a subtle sense of power. As always with Hannibal's records, the choice of players is great – Joe Ford on alto and tenor, Michael Cochrane on piano, Lonnie Plaxico on bass, Cecil Brooks III on drums, and Jeff Haynes on percussion – players that fit the Muse Records setting of the date, but seem to rise to new levels in Peterson's company.~Dusty Groove America |
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1967:Joe Torres - Latino con Soul |
Music » Jazz » Latin |
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 Artist: Joe Torres Album: Latino con Soul Label: Pacific Jazz Year: 1966 ; release: 1967 Format, bitrate: mp3@320kb/s Time: 34:36 Size: 81.2MB Though Joe Torres recorded only one LP, Latin fans of several generations were later introduced to him through a succession of legal and extra-legal nuggets compilations, including Soul Cargo ("Nightwalk"), Latino Blue ("Soul Cha"), and Broasted or Fried ("Get Out of My Way"). Recorded in 1966 for World Pacific, Latino con Soul is a cooker of an album, one that blends the hot boogaloo of Johnny Colon with the steamy, jazzier sound of Willie Bobo or the Jazz Crusaders (the latter courtesy of great interplay between trumpeter Gary Barone and tenor Bill Hood). "Get Out of My Way" is the perfect opener and one of the prime boogaloo cuts of the era, a viciously swinging female fend-off with vocalist Ric DeSilva leading the chorus. DeSilva returns for another highlight, the moody "Nightwalk," playing up the persona of the dark Latin balladeer. The trials of releasing a record on a major label probably forced Torres to contribute covers of Bobby Hebb's "Sunny" and the Beatles' "Eleanor Rigby," but the latter shines on this treatment. ~John Bush, All Music Guide |
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1970: Sonny Simmons - Burning Spirits |
Freejazz, Avantgarde |
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 Artist: Sonny Simmons Album: Burning Spirits Label: Contemporary Records Year: 1970 Format, bitrate: mp3@320kb/sec Time: 79:18 Size: 182.9MB AMG rating: When Lester Koenig produced Burning Spirits for Contemporary in 1970, jazz was moving in many different directions. Commercially, jazz had lost a lot of ground to rock and R&B, but creatively, it was incredibly healthy and offered a wide variety of options -- everything from fusion, soul-jazz, and funky organ combos to bossa nova, Afro-Cuban jazz, modal post-bop, cool jazz, and Dixieland revivalists. Sonny Simmons represented free jazz, which was considered jazz's lunatic fringe (certainly in bop circles) but was exciting and invigorating if you understood what was going on. Many listeners, unfortunately, didn't comprehend free jazz back then and don't comprehend it now; however, those who do understand free jazz will find Simmons to be in top form on this CD. The saxman -- who is heard on tenor and alto as well as the English horn -- leads a passionate, highly inspired band that boasts Barbara Donald on trumpet, Richard Davis and Cecil McBee on upright bass, Lonnie Liston Smith on acoustic piano, and Clifford Jarvis on drums. That doesn't sound like a terribly avant-garde lineup -- most of those improvisers have played inside more often than they've played outside -- but make no mistake: Burning Spirits is a shining example of avant-garde expression. Although "New Newk" (which was written for Sonny Rollins) favors an inside/outside approach and offers a modal post-bop groove along the lines of John Coltrane's "Impressions," Burning Spirits is generally more free jazz than post-bop. But regardless of whether Simmons is playing inside or outside (usually outside), the saxman plays with tremendous conviction on this album (which was out of print for a long time but came back into print when Fantasy reissued it on CD in 2003).~Alex Henderson, All Music Guide |
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1976: Rahsaan Roland Kirk - The Return of the 5000 Lb.Man |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Rahsaan Roland Kirk Album: The Return of the 5000 Lb. Man Label: Warner Brothers Year: 1975, 1976; release: 1976 Format, bitrate: mp3@256kb/sec Time: 42:58 Size: 79.3MB AMG Rating:  The Return of the 5000 Lb. Man was Rahsaan Roland Kirk's first album for Warner Brothers, recorded before the stroke that impaired him. Kirk is at full creative and musical strength. These seven tracks are an utter astonishment. Kirk's playing of saxophones, harmonica, flutes, and euphonium is deep, soulful, and even profound in places. "Theme for the Eulipions" (which opens the album), "Giant Steps," and "There Will Never Be Another You" features an all-star band that includes Charlie Persip, a young Hilton Ruiz, bassist Buster Williams, Romeo Perique on baritone saxophone, and Howard Johnson on tuba. The version of "Sweet Georgia Brown," with its wacky percussion and whistling, is so utterly joyful and funky it's perhaps the definitive jazz version of the tune. But it's the readings of Minnie Riperton's "Loving You" and Charles Mingus' "Goodbye Porkpie Hat" that take the album to an entirely new place. They are, though very different from one another, so utterly moving and aesthetically beautiful, they elevate music to the level of poetry. This is one that's utterly necessary for fans, and a very fitting intro for the novice.~Thom Jurek, All Music Guide |
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1962: Prince Lasha Quintet featuring Sonny Simmons - The Cry! |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Prince Lasha Quintet featuring Sonny Simmons Album: The Cry! Label: Contemporary Year: 1962 Format, bitrate: mp3@256kb/sec Time: 42:55 Size: 73.18 MB AMG rating In the early '60s, flutist Prince Lasha's work with alto saxophonist Sonny Simmons was often compared to the trailblazing free jazz that Ornette Coleman was exploring at the time. To be sure, Coleman was a major inspiration to both of them. And yet, The Cry! demonstrates that Lasha's work with Simmons had an avant-garde energy of its own. Coleman is a strong influence on this 1962 session -- which Lasha co-led with Simmons -- but The Cry! isn't an outright imitation of Coleman's work any more than Phil Woods' recordings are outright imitations of Charlie Parker's. For one thing, The Cry! (which Fantasy reissued on CD in 2001) is slightly more accessible than the albums that Coleman recorded for Atlantic in the early '60s. Free jazz performances like "Bojangles," "A.Y.," and the rhythmic "Congo Call" are abstract, cerebral, and left-of-center, but they're still a bit more accessible than Coleman's harmolodic experimentation. The same thing goes for the Latin-influenced "Juanita" and the bluesy "Red's Mood," which is Coleman-minded but also has a strong Charlie Parker influence -- in fact, the tune successfully bridges the gap between Bird and Coleman and shows listeners what those altoists had in common. It should be noted that, even though The Cry! (which employs Gary Peacock or Mark Proctor on acoustic bass and Gene Stone on drums) is free jazz, it isn't the blistering, ferocious stuff that Albert Ayler, Cecil Taylor, and late-period John Coltrane were known for in the 1960s. This album is quirky and dissonant, but it isn't harsh or confrontational. In avant-garde circles, The Cry! went down in history as one of Lasha's finest accomplishments -- and deservedly so.~Alex Henderson, All Music Guide |
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1973: Pharoah Sanders - Izipho Zam (My Gifts) |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Pharoah Sanders Album: Izipho Zam (My Gifts) Label: Sunspots (Originally issued on Strata East) Year: 1969; release: 1973 Format, bitrate: mp3@256kb/sec Time: 50:33 Size: 93.4MB Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time -- and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet -- Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since. Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others. The set begins with a gorgeous soul tune in "Prince of Peace," with Leon Thomas doing his trademark yodel, croon, and wail as Smith, McBee, and Hart back him and Sanders fills the gaps. Next is "Balance," the first blowing tune on the set, with the African drums, the modal horns, and Sanders' microtonal investigations of sonic polarity contrasted with Johnson's tuba, leaving the rhythm section to join him as Sharrock and Smith trade drone lines and Sanders turns it into a Latin dance from outer space about halfway through to the end -- it's astonishing. Finally, on the 28-minute title track, the band members -- all of them -- begin a slow tonal inquiry, a textured traipse into the abyss of dissonance and harmonic integration, with Thomas as the bridge through which all sounds must travel on their way to the ensemble. From here, percussion, bells, whistles, Sharrock's heavily chorded guitar -- all provide rhythm upon interval upon tonal figure until the horns enter at about 12 minutes. They move slowly at first and gather force until they blast it right open at 20 minutes and the last eight are all free blowing and an endurance ride for the listener because, with four minutes left, Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience.~Thom Jurek, All Music Guide |
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2010:Trombone Shorty - Backatown |
Jazz-Rock, Modern Jazz, Funk-Jazz |
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 Artist: Trombone Shorty Album: Backatown Label: Verve Forecast Year: 2010 Format, bitrate: mp3@256kb/sec Time: 43:14 Size: 80.3MB AMG rating:  ~Thom Jurek, All Music Guide |
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1978: Sun Ra and His Arkestra - Live at Montreux |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Sun Ra and His Arkestra Album: Live at Montreux Label: P-Vine Year: 1976; release: 1978, 2003 Format, bitrate: mp3@ 192kb/sec Time: 1:21:24 Size: 111.53 MB AMG rating The excellent Live at Montreux set from 1976 was released on vinyl by both Saturn and Inner City before disappearing from print for many years. In 2003, the set was reissued by both Universe/Akarma and P-Vine. A full 20-member Arkestra (plus dancers) turns in a typically freewheeling set. From "Take the 'A' Train" (featuring a killer solo from Marshall Allen), to the gospel-influenced "El Is a Sound of Joy," to the almost exotica "Lights on a Satellite," to the free and raucous "Gods of the Thunder Realm," and on to "We Travel the Spaceways," the Arkestra covers as much musical territory in this set as anyone would expect from a live Sun Ra show. This is considered to be another classic in a vast discography. [Completists take note: the Universe edition inexplicably fades out the last four minutes of "On Sound Infinity Spheres," which are present on the P-Vine edition.]~ Sean Westergaard, All Music Guide |
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1973: Billy Harper - Capra Black |
Music, Jazz, Hard-bop, Post-bop |
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 Artist: Billy Harper Album: Capra Black Label: Strata East Year: 1973 Format, bitrate: mp3@320kb/sec Time: 44:31 Size: 102.6MB AMG Rating: Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.~Jason Ankeny, All Music Guide |
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1972: Donny Hathaway - Live |
Music » Soul » Soul-Jazz |
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 Artist: Donny Hathaway Album: Live Label: EastWest Year: 1972 Format, bitrate: mp3@320kb/sec Time: 52:39 Size: 120.8MB AMG Rating  Donny Hathaway's 1972 Live album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group. The results of shows recorded at the Troubadour in Hollywood and the Bitter End in New York, the record begins with Hathaway's version of the instant soul classic "What's Going On," Marvin Gaye's original not even a year old when Hathaway recorded this version. His own classic "The Ghetto" follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano. "Voices Inside (Everything Is Everything)" is another epic (14-minute) jam, with plenty of room for solos and some of the most sizzling bass work ever heard on record by Willie Weeks. Any new Donny Hathaway record worth its salt also has to include a radical cover, and Live obliges nicely with his deft, loping version of John Lennon's "Jealous Guy." The audience is as much a participant as the band here, immediately taking over with staccato handclaps to introduce "The Ghetto" and basically taking over the chorus on "You've Got a Friend." They also contribute some of the most frenzied screaming heard in response to any Chicago soul singer of the time (excepting only Jackie Wilson and Gene Chandler, of course). Hardly the obligatory live workout of most early-'70s concert LPs, Live solidified Hathaway's importance at the forefront of soul music.~John Bush, All Music Guide |
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1973: Clifford Jordan Quartet - Glass Bead Games |
Music » Soul » Soul-Jazz |
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 Artist: Clifford Jordan Quartet Album: Glass Bead Games Label: Bomba Records (Originally Issued on Strata East Records) Year: 1973; release: 2006 Format, bitrate: mp3@320kb/sec Time: 63:41 Size: 146.8MB Clifford Jordan's two volumes of sessions under the title Glass Bead Games have long been heralded as some of the most important work of his career. These once rare recordings, previously issued as individual albums and as a two-LP set by Strata East, feature the late tenor saxophonist leading two separate quartets. The first, with pianist Stanley Cowell, bassist Bill Lee and drummer Billy Higgins, consists of seven powerful originals by the band. The portraits include Jordan's well-named "Powerful Paul Robeson" and Cowell's driving post-bop tribute "Cal Massey." But it is Lee's moving "John Coltrane" which opens with a solo chorus by its composer and includes a vocal chant by Jordan, Higgins and Lee, that leaves the most lasting impression, with influences from throughout several of Coltrane's landmark recordings made during the '60s. Lee's "Biskit," which follows his piece "Eddie Harris," sounds as if Harris himself could have written it. The second quartet has Cedar Walton taking over on piano and Sam Jones on bass. This session is not quite as adventurous but is every bit as enjoyable, with stimulating compositions by Walton, Cowell, Higgins and Jones. Jordan devours his drummer's "Alias Buster Henry" whole with his far-reaching solo. Jones' blues "One for Amos" was the only established piece recorded for the album, having received wide exposure during the previous decade; this updated arrangement ranks among its finest interpretations. Long out of print and fetching high prices at auctions, this Harvest Song reissue, which combines all issued tracks on one disc, returns a legendary release to print at a much more affordable price. Highly recommended! ~Ken Dryden, All Music Guide |
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2004:Joe Zawinul & The Zawinul Syndicate - Vienna Nights/Live at Joe Zawinul's Birdland |
Music, Jazz, Fusion |
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 Artist: Joe Zawinul & The Zawinul Syndicate Album: Vienna Nights/Live at Joe Zawinul's Birdland Label: BHM Productions Year: 2004; release: 2005 Format, bitrate:mp3@VBR Time: 1:38:13 Size: 153.6MB Considering the stunning array of jazz fusion talent that legendary composer and keyboardist Joe Zawinul has employed as leader of the pioneering Weather Report and his ever-evolving Zawinul Syndicate, our expectations should be raised when he says of his current multi-national lineup, "It's the best band I've ever had." Recorded at his Birdland Club in his hometown of Vienna over two engagements in 2003, this explosive, multi-faceted disc is a wonderful showcase for the largely African-leaning sounds of the current Syndicate. The most fascinating aspect of Zawinul over his decades in the spotlight has been his desire to play it cool in the shadows as he showcases brilliant young talent; he does this immediately here, as African vocal pop star Salif Keita shines on the rumbling, heavy grooving "Y'elena" (which Zawinul originally produced in 1991) and which features an irrepressible groove by drummer Nathaniel Townsley and Linley Marthe, a native of Mauritius who is the latest of the leader's post-Jaco Pastorius bass discoveries. The African express continues on the bubbly "Two Lines," which blends the exotic drumming of Algerian native Karim Ziad and frenetic soloing by the familiar electric guitar genius Scott Henderson. The joyful moodswinging spirit of the rest of the set is summed up in wacky, locomotive jams like "Rooftops of Vienna" contrasted by more mystical, rhythmically varied excursions like "Do You Want Some Tea, Grandpa?" and "Café Andalusia." Zawinul eventually takes more of a spotlight on the Argentine-flavored "Borges Buenos Aires," and pays homage to his jazz roots on a dreamy, impressionistic Ellington classic, "Come Sunday." Zawinul fans will eat this dual set up instantly, but lovers of fusion and world music will come around quickly thereafter.~Jonathan Widran, All Music Guide |
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2001: Poncho Sanchez - Latin Spirits |
Music » Jazz » Latin » Afro-Cuban Jazz |
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 Artist: Poncho Sanchez Album: Latin Spirits Label: Concord Jazz Year: 2001 Format, bitrate: mp3, 192 kb/s Time: 62:26 Size: 86.9MB AMG Rating: Much marketing ado will no doubt be made over the wonderful dream-come-true nature of the legendary conguero's pairing with jazz piano great Chick Corea, in a setting which brings the latter back to his roots playing with Mongo Santamaria in the '60s. And the two Corea-touched tracks are definite highlights. He wrote the jumpy, heavy-chorded jam title track, which finds him doing call and response with feisty horns as Sanchez pitter patters fancifully in the background; the piano improvisations between these interactions are characteristically mind-boggling, as Corea switches off from bebop to hardcore Latin ivory sweeps. He also tackles the frisky Wayne Shorter piece "Juju," dipping and swooping over and under the horns as, once again, Sanchez works up a frenzy all around him. But Sanchez' vision extends way beyond just the Corea songs, as he creates an exciting travelogue through various styles that go beyond just Latin jazz. "Sambia" is sassy Havana salsa all the way, but the bluesy "Next Exit" -- featuring David Torres on piano -- is what might happen if Ramsey Lewis found himself at a Latin jazz party. The fun part of being a percussionist is surrounding yourself with brilliant soloists, and Sanchez picks a true winner in saxman Scott Martin, whose rich baritone drives "Next Exit." "Going Back to New Orleans" is all party blues with shouting voices and a Dr. John-like vocal by Dale Spalding. "Quieres Volver" is a dreamy romance set firmly in San Juan, with strings and Sanchez' own raspy vocals. Tucked deep into the disc are two other can't-miss spots on the itinerary: the festive Manhattan-styled jaunt "Tito in the City" (an obvious tribute to the mastery of Tito Puente) and the funky, struttin' "Early in the Morning," which recalls Louis Jordan's Calypso jive circa the mid-'40s (also featuring Spalding on lead vocals). Just when you think this disc can't get any better, Sanchez delights in making every next note and tour stop a surprise.~ Jonathan Widran, All Music Guide |
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1999: Larry Goldings - Moonbird |
Jazz, Contemporary Jazz |
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 Artist: Larry Goldings Album: Moonbird Label: Palmetto Year: 1999 Format, bitrate: mp3@192kb/sec Time: 55:07 Size: 76.2MB This empathetic organ trio (with drummer Bill Stewart and guitarist Peter Bernstein) forged its chemistry in a regular weekly gig at Augie's, a bar on New York's Upper West Side that caters to the Columbia University crowd. The three have had various occasions over the years to renew their special musical bond by playing on each other's albums and on mutual side projects (Goldings and Stewart toured together with guitarist John Scofield). Moonbird brings them all together once again for some heightened stretching, as on the Larry Young-inspired title track, and comfortable grooving, as on the aptly-titled "Comfort Zone."
Goldings' liberated sense of time, soulful phrasing, rich harmonic palette and heavy grooving basslines make him one of the most progressive practitioners of the Hammond B-3 organ on the scene. Bernstein brings an inherent bluesiness and a hip, Grant Green-styled sense of phrasing to the trio and Stewart demonstrates the flexibility to swing, funk and color the proceedings with equal aplomb. Together they have that loose-tight thing that takes a band years to develop.
After opening on a swampy note with the New Orleans second line groover, "Crawdaddy," they drift into some engaging melodic territory on "Moonbird." Stewart takes a decidedly Elvin Jones-ish approach to the beat here, driving the piece while simultaneously playing against the grain. Bernstein contributes a beautiful, cascading solo and Goldings gradually builds momentum through his solo, holding to the bouncy melody before double timing and finally opening up harmonically.
Their 10-minute meditation on Joni Mitchell's "Woodstock" is a darkly compelling vehicle for some real spontaneous searching by Goldings on the B-3. "Christine," for Goldings' wife, is unapologetically giddy on the lightly swinging Neal Hefti-ish opening theme. As the band shifts nimbly back and forth from 4/4 to 3/4, their old chemistry prevails. The most evocative piece is the hypnotic ballad "Empty Oceans" while the most surprising piece is a singular remake of Randy Newman's "I Think It's Going To Rain Today." And they hold nothing back on the all-out burner, "Xoloft," which features Stewart in a brilliant, extended drum solo.
As far as organ trios go, it ain't greasy. But there's no more sophisticated, swinging and probing B-3 band around.~ Bill Milkowski, JazzTimes |
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