tag:blogger.com,1999:blog-108334612011-04-21T19:56:09.174-07:00Improvised thoughts on jazz music as I listen to some albums for the first time. (Impromptu reviews? Not so much... I'm not a critic. Just penning thoughts for my future reference, but feel free to browse...)jsnoreply@blogger.comBlogger1161100tag:blogger.com,1999:blog-10833461.post-10485309583594268702007-02-04T22:48:00.000-08:002007-02-04T22:56:33.518-08:00

They say it's one of the best jazz records ever, but I really hadn't paid much attention over the years. Probably that's due to two things - it being labelled free, or avant-garde jazz, and the lack of a pianist in the ensemble. I dunno, I just like to hear chords and have the warmth of a piano supporting the music.But, there comes a time when we let go a little and pick up those historical

jsnoreply@blogger.com5tag:blogger.com,1999:blog-10833461.post-1143756224698178672006-03-30T13:47:00.000-08:002006-11-07T21:26:49.734-08:00

Till Grunewald's Phonosource album was an impulse buy in a Tokyo Tower Records. They had some music playing in the jazz section and I listened while browsing, eventually deciding to buy since I liked what I heard. It worked!It starts off fun and a little funky with a sax and trumpet discussion in front of the tight rhythm section. Next comes a really nice arrangement of Caravan. What you're

jsnoreply@blogger.com2tag:blogger.com,1999:blog-10833461.post-1143478230899043802006-03-27T08:46:00.000-08:002006-11-07T21:26:49.669-08:00

Local Bay-area players get together for some relaxing soulful music on Gary Young's Visceral. Guitar, Fender Rhodes, bass, and drums - played by Dan Nieckarz, Adam Shulman, Gary Young, and Tim Bulkley* respectively.It's sort-of jam-jazz music, gets into relaxing grooves (the relaxing feeling arising initally from the sound of the warm Rhodes and jazz guitar) and puts you in a nice space for

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1143157065588867172006-03-23T15:09:00.000-08:002006-11-07T21:26:49.589-08:00

The trio here consists of tenor sax (David Murray), drums (Andrew Cyrille) and bass (Fred Hopkins). Murray is known for being a freeish, abstract player, but with some grounding to the chord changes.The first track on this album leads into a groovy sort-of calypso pattern, a bit like Sonny Rollin's St. Thomas. Murray is all over the range of the horn, squealing, honking, and making a mess of

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1131556857732168192005-11-09T09:19:00.000-08:002006-11-07T21:26:49.382-08:00

Looks like this blog got linked to from a site called Top Ten Sources today. Thanks!--Brian

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1115221842614282942005-11-01T15:20:00.000-08:002006-11-07T21:26:46.590-08:00

Great playing, good compositions, but something's not making it happen as well as I know Kikoski can do. Apparently this is his first all-original session, writing six songs which sound as if he's working on a concept album (Puddles of Memory, Shame, Disentanglement...) - are these song titles chronicling the end of a relationship, maybe?Kikoski always seems like a precise and in-control player

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1126162837573659472005-09-07T23:57:00.000-07:002006-11-07T21:26:49.316-08:00

The full title of this disc is Now & Then: A Tribute to Bill Evans, and a piano trio with Forman, bassist Eddie Gomez and drummer Jack DeJohnette is a great vehicle for clean, nicely-recorded version of some of Evans' favorite tunes, both his own and those standards he was known to play.The disc starts of with Waltz for Debby, which immediately sets the tone for what is going on here. The trio

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1125813584800092062005-09-03T22:24:00.000-07:002006-11-07T21:26:49.247-08:00

I have been a fan of Shorter's Blue Note albums for a while now. I have kind of avoided picking up Etcetera for some reason, maybe because it just seemed different and worried me for some unexplainable reason. Joining Shorter are Herbie Hancock on piano, Cecil McBee on bass, and Joe Chambers on drums.I'm listening to it now for the first time. The title track is nice, abstractish but with a good

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1125357861726843372005-08-29T16:20:00.000-07:002006-11-07T21:26:49.110-08:00

A great piano trio album. Pianist Petrucciani plays with Palle Danielsson and Eliot Zigmund for some amazingly musical jazz. This isn't a "turn on the machine, open the book, and crank em out"-type session at all: this is excellent music with thinking and consideration behind it. Petrucciani is the featured soloist, but the bassist and drummer provide more than support, adding creative musicality

jsnoreply@blogger.com3tag:blogger.com,1999:blog-10833461.post-1125011252353251122005-08-25T14:39:00.000-07:002006-11-07T21:26:49.042-08:00

Fantastic guitarist Jim Hall is paired up with different basses (er, bassists) to play a set in his lyrical, always interesting fashion. The contributing bassists are world-class musicians themselves: Scott Colley George Mraz Dave Holland Christain McBride Charlie Haden It is melodic, atmospheric, sometimes mellow, and filled with Hall's tasteful and perfectly chosen chords and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1124733705863188102005-08-22T10:58:00.000-07:002006-11-07T21:26:48.976-08:00

A straight-ahead swinging set from Getz and company (Kenny Barron, Rufus Reid, and Victor Lewis). Recorded live at the Montmarte Club in Copenhagen, Denmark, in celebration of Getz's 60th birthday. Getz's tone on ballads (I Can't Get Started, I Thought About You) is still as soft and soothing as ever, and Kenny Barron is always a pro and so enjoyable to listen to. The highlight for me on this

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1123775996710303522005-08-11T08:53:00.000-07:002006-11-07T21:26:48.351-08:00

I picked up this CD while in Japan last week. Seems to be a Bill Evans-inspired set, a trio recording with bassist George Mraz and durmmer Billy Drummond. Recorded in 2003, and released in 2005 on the Venus label (from Tokyo).Hazeltine's trio draws almost exclusively on material that was popular with Evans, such as Alice in Wonderland, Autumn Leaves, and How Deep in the Ocean. The pianist

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1118789084531803942005-08-08T15:47:00.000-07:002006-11-07T21:26:47.838-08:00

What is the "Newborn Touch"? A good question. I would use the words accurate, deliberate, strong, determined, forceful and maybe even aggressive to describe it. Of course his touch on the piano is not all these things at all times. But I do get the impression that sometimes when he plays, it is almost like a hammer pounding nails - carefully, but with enough strength to drive the thing where it

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1123776575071462352005-07-10T09:09:00.000-07:002006-11-07T21:26:48.768-08:00

Chicago has some nice options for jazz:Andy's Jazz Club - a restaurant/bar with live jazz on stage. The restaurant is centered around the live show, so having a table is pretty near essential for enjoying it. Otherwise you are going to be crowded around the bar. Getting a table is easy though, just get on the list... even if you're only going to have dessert.The Green Mill - a smoky little bar (

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1119566694614141972005-06-23T15:39:00.000-07:002006-11-07T21:26:48.095-08:00

Guitarist/violinist Muthspiel plays with bassist Marc Johnson and drummer Paul Motian on this 1996 effort. All songs by Muthspiel. At times spacy, loose, textured, modern, agile, composed. More "modern" than "jazz", but listenable. The melancholy deep in the first track Gang of 5 reminds me, for a moment, of the same sad feelings found on Vangelis' Blade Runner soundtrack from 1982 (which itself

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1118788431196568732005-06-14T15:21:00.000-07:002006-11-07T21:26:47.774-08:00

This is a platter full of smoothy jazz, pseudo-world fusion, and soul funk music blended up together like a jazz smoothie. Featured instruments are the organ (Goldings) and guitar (Ward), with a bunch of electronics and urban-sounding drum tracks. With some world vocals, flute, bongos, and a touch of samples here and there. I suppose you can put this one on when you feel the need for relaxing but

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1118727135960049992005-06-13T21:39:00.000-07:002006-11-07T21:26:47.711-08:00

Legacy is a 4-CD box set of Coltrane's work from different time periods. What is interesting about this compilation is that Coltrane's son Ravi (also a sax player) assembled the tracks for this compilation. Each disc is titled according to a theme conceived by Ravi. The included booklet (mostly written by Lewis Porter, author of John Coltrane: His Life and Music) has nice pictures and a

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1118270646846184622005-06-08T13:34:00.000-07:002006-11-07T21:26:47.650-08:00

This is an interesting record from the young Japanese piano player Hiromi Uehara, leading a trio with bassists Tony Grey and Anthony Jackson, and drummer Martin Valihora. I wouldn't exactly call it a pure jazz record - contemporary jazz fusion? It contains a mix of electronics, rock, light jazz, funk, and pretty, melancholy piano playing in between everything else.The group plays Uehara's

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1118203771619727922005-06-07T20:38:00.000-07:002006-11-07T21:26:47.587-08:00

A good studio record from 1982, combining pianist Waldron with David Freisen (bass) and Billy Higgins (drums) - and Joe Henderson on some tenor.The set starts off with a tribute to Benny Golson titled Golden Golson that sounds similar to Golson's Whisper Not (this song, like most of this album, was composed by Waldron). The next track - One Entrance, Many Exits - is a 10-minute duo for piano and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1117604654945787382005-05-31T22:29:00.000-07:002006-11-07T21:26:47.523-08:00

An early, pre-"Standards Trio" recording of Jarrett playing with teammates Paul Motian on drums and Charlie Haden on bass.From a 1968 live recording made at Shelly's Manne-Hole in Hollywood, Jarrett churns out several interesting takes on seven originals and a couple of extras. It's nice to hear what Jarrett's conception was this early in the game... He was only 23 and was playing with Charles

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1117579905842307952005-05-31T14:44:00.000-07:002006-11-07T21:26:47.449-08:00

A bass & guitar duo set, recorded live in 1982. It's nice to hear Hall's characteristic guitar chords played against a sparce soundscape, with just Carter's bass underneath painting the landscape's foundation. Then, when roles are reversed, Carter floats above it while Hall pins down the harmonies with light strumming. It's a mostly standards set with pieces such as All the Things You Are and

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1117559267656073522005-05-31T08:50:00.000-07:002006-11-07T21:26:47.385-08:00

From 1996, trumpeter Swana's ensemble here includes Eric Alexander (sax), Steve Davis (trombone), Kenny Barron (piano), Peter Washington (bass), and Kenny Washington (drums).It's a modern jazz session, with about half the compositions being Swana's. The nice grooves, great front-line horn section, and "not just a blowing session" feel of the recording makes it seem like a Jazz Messengers-type of

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1117125450628539372005-05-26T08:48:00.000-07:002006-11-07T21:26:47.323-08:00

Stellar bassist McBride's second album features great playing from great players: Chick Corea & Kenny Barron (piano/keyboard), Steve Nelson (vibes), Jack DeJohnette (drums). Oh, yes, and Kenny Garrett & Gary Bartz (sax). Nice line-up!It's a good set with six originals by McBride, and four more (Tones for Joans Bones, Miyako, Jayne, Little Sunflower). Straight-ahead, serious but fun jazz with many

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1117058460378484902005-05-25T12:22:00.000-07:002006-11-07T21:26:47.259-08:00

Gustavsen's first ECM release from 2003, with bassist Harald Johnsen and drummer Jarle Vespestad. I picked this up because I enjoyed this trio's second release, The Ground, and wanted more of this kind of slow, deep music to listen to - or, when I didn't feel like listening closely, to have filling up the room with nice, graceful background music.I listened to this album and compiled a similiar

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1116350684534594692005-05-17T09:16:00.000-07:002006-11-07T21:26:47.126-08:00

A piano record from Tyner doing eight solo pieces and five duet pieces - pairing with John Scofield and tenorist George Adams. Tyner's piano playing is strong and powerful, but can also drop down to become a caressing ballad in the right places. Pretty much a standards session for Tyner.Solo piano tracks: The Greeting, Naima, Things Ain't What They Used To Be, Lush Life, Sweet and Lovely, Song

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1116277893626456512005-05-16T10:14:00.000-07:002006-11-07T21:26:47.052-08:00

Pianist's Taylor and his trio featuring Marc Johnson on bass and Joey Baron on drums. It's a mostly-calm and sometimes pensive set - overall contains a feeling of wonder and introspection, in a way. The three musicians work well together, creating music that is worthwhile, accomplishing the goals that each tune sets out to make - sending a message, telling a story, or creating a texture, an

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1115827344184086942005-05-11T08:48:00.000-07:002006-11-07T21:26:46.978-08:00

Starting off with an uptempo latinish song T.G., with an almost-smoothy feeling, at first I thought about skipping this one and checking out something else. Probably because my associations to his other album Real Book Stories - which I really like - I was expecting more mellow, deeper feeling music. But I let it play and continue and I'm glad that I did.Completing a quintet with guitarist

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1115596474773502622005-05-08T16:50:00.000-07:002006-11-07T21:26:46.777-08:00

A double-album CD from the Swedish pianist Stenson and his very compatible trio: 90 minutes of music, with bassist Anders Jormin and drummer Jon Christensen, recorded in 1999.With disc one, the music starts off very melodic and nicely, providing the sort of quiet but dramatic lyricism that Stenson's trio can create so well. Then, the next four songs take it away for me as the open-ended free

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1115462585167961792005-05-07T03:42:00.000-07:002006-11-07T21:26:46.714-08:00

I think that there will be some people who listen to this, expecting jazz, and say what is this?Yes, because it's not conventional, traditional, or even what some people consider modern jazz. It is modern, but different. This is what I've come to expect from a record with drummer Paul Motian these days - you should not expect a standard, rhythmic-driving record. He is much more into textures,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1115223774475790182005-05-04T09:11:00.000-07:002006-11-07T21:26:46.655-08:00

From 1989, a trio record from pianist Allen with drummer Paul Motian and bassist Charlie Haden.It starts off with a quick-paced bebopish tune, Oblivion - which takes off, but never really takes off for me. Maybe it's just me, everything's working, but something's not working. (This makes sense, but it doesn't make sense, right?)The next tune For John Malachi is a more mysteriously flowing song,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1115011383094167942005-05-01T22:16:00.000-07:002006-11-07T21:26:46.529-08:00

This is an exhibit of Kikoski's strong piano skills and compositional skills - he wrote all the songs on this album, mostly of a certain strong, melancholic, questioning and searchin mood. The songs are modern jazz with touches of classical, gospel blues, straight-ahead, and even dark-sounding rock of a sort (Betrayal). Track number two, Rose Part 1 & 2, is a long 11-minute song with modal

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114743620794145022005-04-28T19:53:00.000-07:002006-11-07T21:26:46.399-08:00

From 1998, Haynes in a postbop setting with some great musicians including Kenny Garrett on alto/soprano and Dave Kikoski on piano. The ensemble also includes tenor sax and flugelhorn/cornet.The first-time highlights for me were the nice version of Israel (Kikoski shines), the alto/drums duet My Little Suede Shoes, and the final drum solo called Shades of Senegal. The song The Touch of Your Lips

jsnoreply@blogger.com6tag:blogger.com,1999:blog-10833461.post-1114704683312131112005-04-28T09:04:00.000-07:002006-11-07T21:26:46.332-08:00

From 1984, with Roy Haynes and Miroslav Vitous. How could this trio do wrong? Note that these are the same players that played on the classic 1968 highwater mark Now He Sings, Now He Sobs.They start off with a fun tune in 3/4 called The Loop - by Corea, it has some of his characteristic touches: an almost childlike melody, but nice root movements and interesting emotive chords. The next three

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114582855899449452005-04-26T23:06:00.000-07:002006-11-07T21:26:46.203-08:00

This is a new release (2005) from the ECM world of somber, meditative piano trio music. With song titles such as Tears Transforming, Sentiment, Edges of Happiness, and Colours of Mercy, I think you can tell what is going on here. It's slow, calming music which sets the mood of serious contemplation or deep emotional digging. It's nice music to read by, if you're reading the right kind of book -

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114495121694143392005-04-26T22:39:00.000-07:002006-11-07T21:26:46.010-08:00

Interest modern jazz record from bassist Ugonna Okegwo and crew: Xavier Davis (piano), Donald Edwards (drums), and Sam Newsome (soprano sax). Okegwo has been playing in New York professionally during the 90's and recorded this album with his working group in 2002. Okegwo has a bit of interesting history: born in London, raised in Germany (where he studied music), and moved to NYC to join the jazz

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114572448352683092005-04-26T20:27:00.000-07:002006-11-07T21:26:46.139-08:00

Excellent studio album from 1965 with Ray Bryant on piano, Mickey Roker on drums, and bassist Walter Booker. The material is drawn from jazz standards: On Green Dolphin Street, Everything Happens to Me (11+ minutes of semi-ballad material), Hold 'Em Joe, The Blue Room, and a quick-tempo'd, toe-tapping Three Little Words to end the album. Yep, only five songs on this disc - a 34-minute recording

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114408865634117392005-04-24T22:53:00.000-07:002006-11-07T21:26:45.947-08:00

Hazeltine is a pianist who has led several dates with his trio since the 90's. This lineup puts Alexander, the up-and-coming tenorist who has pretty much come into his own, right up front for most of the tunes on this album from 2002. But, Hazeltine gets plenty of space to do his thing and makes it his date. A nice, mid-tempo version of O Grande Amor is featured, and I don't hear that song enough

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114237894051227812005-04-22T23:29:00.000-07:002006-11-07T21:26:45.885-08:00

From 1987, pianist Miller is joined by:Kenny Garrett - alto saxSteve Nelson - vibesCharnett Moffett - bassTony Reedus - drumsFeatures modern compositions by Miller, often quick-tempoed, exercising the skills of all the players as well as the ears of the listener. It's dynamic, pulsating, exciting, and doesn't leave much room for rest for anyone. Pushes the boundaries, but keeps it musical the

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114205661027828932005-04-22T14:33:00.000-07:002006-11-07T21:26:45.818-08:00

Bobo Stenson is a piano player from Sweden. How to describe this kind of jazz? Free, meditative, flowing, exploratory, spacey, thoughtful, sometimes serene. To me, it almost reflects how musical thoughts may be felt by non-humans, such as birds or giraffes. It is like listening to a translation of musical thoughts which makes sense even though you may not speak the original language, or the

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114204207389761122005-04-22T12:26:00.000-07:002006-11-07T21:26:45.759-08:00

I am a big fan of Stanko's other recent album, Suspended Variations, and his trio's first album Trio. So I have been expecting to like this one as well.The Soul of Things, from 2002, is another ECM record with a roomy, spacious sound as if the quartet has recorded in an old cavernous church, or maybe a museum. This is the perfect setting for this group's sound though. It is melodic, delicate,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114153179531644672005-04-21T23:46:00.000-07:002006-11-07T21:26:45.700-08:00

The Balance of Probability (disc 3)Uhmm... ok... It starts off with a noisy song (song?) with percussion and violins, sounding as if something is loose in the garage. It's a formless structure, just sounds and noises in a very, very free way. Cacophonous. Ugh. (The interesting thing to me is that after the song is done, there is enthusiastic applause from an audience! Not for everyone, I guess.)

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114058356956763402005-04-20T21:17:00.000-07:002006-11-07T21:26:45.642-08:00

Steve Davis is a trombone player who played with Art Blakey's Jazz Messengers. I almost wrote hard-bop trombone player, but then I caught myself: aren't all trombone players hard-bop trombone players? Maybe that is the only place for the trombone in jazz... I'm not sure.David is joined by tenor player Eric Alexander and the rhythm section Bruce Barth (piano), Ugonna Okegwo (bass), and Eric

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1114015063720286252005-04-20T08:54:00.000-07:002006-11-07T21:26:45.579-08:00

M.T.B. stands for Mehldau, Turner, Bernstein, who are the lead voices on this quintet session from 1994. The front-line consists of piano, tenor sax, and guitar. The rhythm section is rounded out by Larry Grenadier and Leon Parker.The quintet plays a mix of originals and standards, including Wayne Shorter's Limbo, Cole Porter's From This Moment On (very uptempo), and Jackie McLean's Little

jsnoreply@blogger.com2tag:blogger.com,1999:blog-10833461.post-1113976967733665212005-04-19T22:50:00.000-07:002006-11-07T21:26:45.516-08:00

This starts out to be a more straight-ahead, swinging-but-modern-sounding jazz album compared to The Art of Rhythm. Joining Harrell on horns is Phil Woods (alto sax) and Joe Lovano (tenor). Danilo Perez shines on piano, joining the rhythm section of Peter Washington (bass) and Bill Goodwin (drums), supporting the compositions and equaling the front-line for strength-of-improvisation.Harrell has

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113975105050819642005-04-19T22:19:00.000-07:002006-11-07T21:26:45.442-08:00

Ok... I was expecting a totally different start to an album titled The Art of Rhythm... This album starts softly with Brazilian-style guitar and soft overlaid melodies created by a clarinet and string trio (Harrell joins on trumpet later). I'm now understanding that it's a subtle sort of rhythm that is being used to make art here.From 1997, The Art of Rhythm is frequently listed as a first-pick

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113947452913080352005-04-19T14:04:00.000-07:002006-11-07T21:26:45.381-08:00

A funny name for a jazz album, but it's a nice piano trio recording of Barron joined by bassist Dave Holland and drummer Daniel Humair. Humair... is that an abbreviation for Human Hair? Or the brand-name of an air-conditioning unit?From 1985, the disk is mostly filled with Barron's original songs, which vary between the moods of exciting, interesting, and reflective. Some of it sounds modern and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113939706909263962005-04-19T12:38:00.000-07:002006-11-07T21:26:45.118-08:00

A live duet album from a great pair: pianist and alto saxophonist Barron and Robert play beautifully together from this concert from 2002, recorded live in Geneva. Barron works perfectly to fill out the entire rhythm section, creating a perfect platform from which Robert sails his improvisations through the air. Tracks include I Didn't Know What Time It Was, and Softly, As In A Morning Sunrise (

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113802592170219372005-04-17T22:17:00.000-07:002006-11-07T21:26:45.060-08:00

It has taken me a while to give this one a listen... the name of the album can be important, so why imply that this jazz piano record may have anything to do with surf music? Erg, not a great idea.This album starts right with nice sounding piano trio music, very modern but nice and with a good solid (almost rock?) time on the drums. Immediately I like it. From 2001, Kikoski is joined by Jeff "

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113500461284379422005-04-14T10:38:00.000-07:002006-11-07T21:26:44.765-08:00

First of all, this album starts right with one of my favorite songs: You'd Be So Nice To Come Home To. Stan Getz is in typically top-notch form, playing all Getz-y in this 1989 live date. He's playing at an international jazz festival in Glasgow, Scotland. He's joined by cohorts Kenny Barron, Ray Drummond, and Ben Riley on drums. It's great classic swing-laden jazz (a great sign for the late-date

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113410930415837582005-04-13T09:46:00.000-07:002006-11-07T21:26:44.705-08:00

Ray Drummond is a bassist who recorded this hard-bop album in 1994 for the Arabesque label. Joining him on this release are the following amazing musicians: vibrophonist Steve Nelson pianist Kenny Barron guitarist John Scofield trumpeter Randy Brecker drummer Marvin "Smitty" Smith flutist Thomas Chapin They do a great version of Scott LaFaro's Gloria's Step, as well as some modern,

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1113409844332539582005-04-13T09:27:00.000-07:002006-11-07T21:26:44.648-08:00

This is a Prestige recording from 1957. It's a piano trio album with Bryant on piano joined by bassist Ike Isaac and drummer Specs Wright. Very nice stuff. The playing is from the mid-bebop era and recalls to my mind some of the feel of Hampton Hawes' trio or (stretching a bit) even Vince Guaraldi in some ways.The trio plays standards such as Golden Earrings, Django, Angel Eyes, and Daahoud, and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1113404517502641912005-04-12T13:29:00.000-07:002006-11-07T21:26:44.587-08:00

The legendary drummer Roy Haynes plays a Charlie Parker tribute album from 2001. The band is made up with Haynes, Dave Holland, Kenny Garrett, Roy Hargrove, and pianist Dave Kikoski. Most of the tunes are Parker standards, such as Diverse, Moose the Mooch, Now's the Time, and Yardbird Suite, and for the most part are played in the Parker straight-ahead bebop style. There are a few arrangements

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112897942268023602005-04-07T09:35:00.000-07:002006-11-07T21:26:44.526-08:00

Motian plays "Broadway" songbook standards with Joe Lovano, Bill Frisell, Charlie Haden, and Lee Konitz. It is very pretty music, a little strange, but nothing wrong with that. Instead of hard-driving, straight-ahead jazz, they play something which could be called art-jazz... meaning music which tries to portray more colors, shapes, textures, and feelings than what is normally found in standards

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112855712736014272005-04-06T23:26:00.000-07:002006-11-07T21:26:44.459-08:00

Paul Motian, with Bill Frisell and Joe Lovano, playing live at the Village Vanguard in 1995. It's hard to find good information on this album. Anyhow, this disc contains a wandering, exploratory collection of tunes, typical of Motian's general conception: challenging sound textures, adventures in improvised melodies, and musical freedom (although it is clear that some melodies and ideas have been

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1123776549096492672005-04-06T09:08:00.000-07:002006-11-07T21:26:48.699-08:00

I attended a Kenny Garrett (sax) concert at Yoshi's recently. This was an amazing show! Garrett was playing with a quartet, three younger musicians who really knew their stuff. The unexpected star of the night was the young drummer, who was loud and intense- the entire audience was so wrapped up in his expressions and what he was doing that he stole the show - despite Garrett's front-line

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112694230115088672005-04-05T02:26:00.000-07:002006-11-07T21:26:44.397-08:00

I am not a big fusion fan at this point: I used to listen to Chick Corea's Electrik Band and some Al DiMeola when I was a guitarist, but for many years now, I've been primarily interested in acoustic, natural-made sounds in jazz. Electric bands just don't seem warm enough. Plus, fusion bands get highly technical and arranged and precise and so are interesting in that way, but just don't get to

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112692433139698842005-04-05T01:51:00.000-07:002006-11-07T21:26:44.340-08:00

Marc Johnson is a bass player who is most famous for playing with the Bill Evans trio (the "last Bill Evans trio", the articles always say) during the years 1978 - 1980. He was featured on Bill Evans' recording We Will Meet Again, which was won a Grammy.This album is a modern, fusiony work, featuring the guitars of Bill Frisell and John Scofield (I don't know if I'll ever get used to Frisell's

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112467358907458572005-04-02T10:30:00.000-08:002006-11-07T21:26:44.282-08:00

Ugh.. I wanted to like it, but it just sounds cheesy. They start off with Stevie Wonder's Isn't She Lovely, which is a great song, and it's hard to beat Stevie's version of this. Unfortunately Rollins and band don't match up. It's just almost embarrasing to hear this on record. Played live, it may be a different story, with everyone getting into it and the audience reacting. But...The band moves

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1112373309760075782005-04-01T08:30:00.000-08:002006-11-07T21:26:44.224-08:00

Scott Colley is a bassist who has worked as a sideman with great jazz musicians such as Joe Henderson, Andrew Hill, and John Scofield (just to name a few). This record comes from 1998 and features Chris Potter (sax), Bill Carrothers (piano), and Bill Stewart (drums).Most of the tunes are by Colley, and are not exactly straight-ahead, but modern sounding and interesting. They keep the beat going,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1111471388318461812005-03-21T21:58:00.000-08:002006-11-07T21:26:44.110-08:00

Album from Hancock, with Ron Carter and Tony Williams, released in Japan. Starts off with two long versions of Watch It and Speak Like A Child. They are played heavy with vamps and fusion-y and funky type attitutes for an acoustic trio. Ron Carter's bass has that elastic rubber-band type quailty like he's smearing the notes all up and down the fretboard. Closing out the album is Milestones. It's

jsnoreply@blogger.com3tag:blogger.com,1999:blog-10833461.post-1111302021695998992005-03-19T22:52:00.000-08:002006-11-07T21:26:44.047-08:00

The full title is The Roy Haynes Trio Featuring Danilo Perez and John Patitucci. Recorded in 1999, Haynes was 74 when this was recorded, and sounds superb along with the rest of the trio. The opening to Monk's Green Chimneys is a long drum solo demonstrating what he can do in front of a live audience, keeping everyone enthralled for several minutes at a time, then moving smoothly into the

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1111294922451979122005-03-19T20:20:00.000-08:002006-11-07T21:26:43.986-08:00

Guitarist Peter Bernstein plays straight-ahead jazz with pianist Brad Mehldau, bassist Larry Grenadier, and drummer Bill Stewart. A nice session with tasteful guitar - not too much, not too overbearing. And the rhythm section sounds great as well. From 2003, it is a Japanese import CD as far as I can tell.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1111078010331658902005-03-17T08:42:00.000-08:002006-11-07T21:26:43.932-08:00

Trio record with Steve Swallow (elec bass) and Paul Motion (drums) means you have to like sax/bass/drums with no supporting piano (or guitar) to fill out the rhythm section and harmonic progressions. It starts off with a brief statement by each member then they get into a 4/4 swing on It's You. The album is filled with mostly originals from the Three Guys. At least one is based on a standard jazz

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110951574177950612005-03-15T20:09:00.000-08:002006-11-07T21:26:43.875-08:00

Although I'm not immediately drawn to guitar-led trios, this album caught my interest almost immediately. It may be because of the sound of the trio - the space, the mix, the tastefulness used in the arrangements. Also, the idea to use tunes from the "Real Book" (the musician's collection of jazz sheet music for common tunes) is intruiging... These songs have been played thousands of times over

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110907507995321882005-03-15T09:23:00.000-08:002006-11-07T21:26:43.793-08:00

This is a sax-drums duet record with Aldo Romano. I have to admit at first listening, to the first couple of tracks, this isn't too interesting to my ears - because there is no bassist and no pianist or other chordal instrument. maybe I'm too traditional at this point, but to me it just sounds too far out there, with no foundation or roadmap or apparent song structure (maybe more careful

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1123776522637094982005-03-14T09:08:00.000-08:002006-11-07T21:26:48.622-08:00

Last night, March 13th, I saw an incredible live concert in San Francisco... probably the best big jazz concert I've been to. Normally I prefer to watch jazz in small, cozy jazz clubs (like the Elephant Room in Austin, Texas), but this large-auditorium event really was amazing.Featuring:Roy Haynes - drumsChick Corea - pianoGary Burton - vibesChristian McBride - bassJoshua Redman - tenorKenny

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110818652162810412005-03-14T08:27:00.000-08:002006-11-07T21:26:43.736-08:00

Another album full of Carla Bley originals (see Songs With Legs, below), this one is a record from 1975 with Burton on the vibes and this supporting group:Pat Metheny: guitarMick Goodrick: guitarSteve Swallow: bassBob Moses: drumsIt's nontraditional progressions and strange other-worldy, but musical, offerings that you will find on this album. It's got a beat, and it moves around nicely, and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110747059219746602005-03-13T12:40:00.000-08:002006-11-07T21:26:43.667-08:00

A co-led album from 1961 with Bud Powell and Don Byas, produced by Cannonball (who even sits in on one track). This a bebop album with strong playing from the two leaders. They play bebop standards such as Just One Of Those Things, All The Things You Are, and Cherokee. Also includes the Duke Pearson tune Jeannine, one of Cannonball's greatest hits. Kenny Clarke on drums.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110692420495445742005-03-12T21:29:00.000-08:002006-11-07T21:26:43.607-08:00

This is the one album from Alexander that I've listened to that actually disappointed me at first. Maybe it's the recording mix (not as good as Nightlife In Tokyo, for instance) or maybe something else, but it feels like something is just not clicking. The album starts off slowly with a ballad, followed by a funk-jazz song, then a third song which starts like it's going to be another slow ballad.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110594781174259992005-03-11T16:19:00.000-08:002006-11-07T21:26:43.549-08:00

From 2001, with bassist Boris Kozlov, drummer Jeff 'Tain' Watts, and tenorist Seamus Blake, Combinations contains a variety of ensembles: some with sax, some with piano trio, some duos, and some solo - including a bass interlude. The solo piano does sound a bit classical in performance, but with an emotional, jazz feeling which works well. This is an excellent disc which I've really enjoyed. All

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110526486797688202005-03-10T23:27:00.000-08:002006-11-07T21:26:43.491-08:00

With Steve Swallow on electric bass, and Andy Shephard on sax, Bley plays piano in a live setting from 1994. All songs are originals (Bley's) except for one Monk tune. Interesting compositions, a little out, jazzy, and a bit of gospel blues. The writing style and the absence of a drummer makes it feel light and modern, like modern art party music. Some pretty moments, and some "leggy" moments.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1123776489609771842005-03-10T09:07:00.000-08:002006-11-07T21:26:48.556-08:00

I saw Jarrett's trio with Peacock and DeJohnette last night at Zellerbach Hall on UC Berkeley campus. The hall is big, but not too big. I was in the very last row on the highest balcony (nosebleed seats), but still the view was not bad. The trio played well together, sounding pretty much just like one of their recent CDs. Songs they played included several blues, Countdown, and as many ballads as

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110299701271825132005-03-08T08:34:00.000-08:002006-11-07T21:26:43.194-08:00

A sextet record from 1991 with Gary Burton (vibes), John Scofield (guitar), Steve Kuhn, and others. All the compositions are by Swallow, and overall, they aren't very interesting. Mostly the album has a light, easy-listening jazz feel to it, with soft keyboards and an urban-living groove. Not much jazz content, in my opinion. Commercial music? One of the songs is titled Doin' It Slow, and that

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110266643056931612005-03-07T23:23:00.000-08:002006-11-07T21:26:43.073-08:00

A live recording of a trio with Chris Potter (tenor) and Adam Nussbaum (dr). The first track gets things going, although it can be strange to hear a sax flying all over the place, with an equally active bassist, and drummer too for that matter - but no chordal instrument such as a piano or guitar to provide harmonic foundations and extensions. But after getting into what this album is about, and

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110264288584057662005-03-07T22:34:00.000-08:002006-11-07T21:26:42.841-08:00

Ditmas is a drummer who plays free jazz, on this album with guitarist John Abercrombie, pianist Paul Bley, saxophonist Sam Rivers, and bassist Dominic Richards. This is from 1995 on the Postcard label.The album starts off with a noisy song which doesn't sound very arranged, as if the musicians just started playing in order to see if anything would happen. The next couple of songs sound like there

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110217393958596072005-03-07T09:42:00.000-08:002006-11-07T21:26:42.784-08:00

From 1999, RCA. Interesting take on modern-sounds for big band. Not atonal, not traditional, but interesting. Lots of creative compositions, but not much of a blowing session. Obviously the guy has talent and a nice group of players. Exciting songs.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1110008094117831732005-03-04T23:31:00.000-08:002006-11-07T21:26:42.726-08:00

A live trio date with Brad Mehldau and Charlie Haden (no drummer). Mostly slow- to mid-paced, relaxing strolls through some standards. Very nice sounding and obviously comfortable material for the players. Nice ideas are played throughout, with nice technique and what sounds like a good room and audience. From 1999, recorded at the Jazz Bakery in L.A.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109888964652140882005-03-03T14:29:00.000-08:002006-11-07T21:26:42.615-08:00

This is a pretty great Green album with Larry Young on organ, the great Elvin Jones on drums. 5 songs, 2 of which are ballads. If you like the jazz organ, or like hearing a organ/guitar/drums trio sound, you'll like this.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109869908798019602005-03-03T09:11:00.000-08:002006-11-07T21:26:42.560-08:00

Interesting recording. Lots of other-than-jazz type explorations on this one. I skipped right past the song with vocals... I don't think I will listen to this all the time, but it's interesting to see what sometime is trying to do to get away from just an 'all jazz' CD. From MaxJazz, 2003.

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1109803530359812682005-03-02T14:44:00.000-08:002006-11-07T21:26:42.503-08:00

Kind of interesting, but not really engaging. I will give it another listen sometime.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109785572849299902005-03-02T09:36:00.000-08:002006-11-07T21:26:42.437-08:00

Another duet record with guitar (elect) and bass. The guitar is Frisell's usual electric effects sound. The songs are free and don't follow regular progressions or rhythms. This isn't really too interesting to me as jazz music, more like experimental abstract art. From 1994. Nice cover. At this point, I probably would keep this is the back of my musical collection and only reach for it in those

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109784740821681362005-03-02T09:12:00.000-08:002006-11-07T21:26:42.367-08:00

A guitar/bass duet from ECM, 1993. Low-key, melodic ideas to create original song textures and repeated-phrase-based songs. Interesting stuff but less jazz than I would have liked. Reminds me a little of the DiMeola/DeLucia/McLaughlin guitar trio stuff.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109723324077594052005-03-01T16:26:00.000-08:002006-11-07T21:26:42.312-08:00

This is an album from a relatively new post-bop pianist. I recently watched this guy play amazingly fast on the new Branford Marsalis quartet DVD performing John Coltrane's A Love Supreme. He not only plays fast, but he plays extremely well - creative, melodic ideas. Because of the material on the DVD, he was playing heavily like McCoy Tyner, but with his own characteristics too. The guy blew me

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109620007285807692005-02-28T11:42:00.000-08:002006-11-07T21:26:42.257-08:00

Scott Wendholt is a name I was unfamiliar with at first (like several of the new players I've been writing about here). Wendholt is a trumpet player who plays in a mostly straight-ahead and modern style. It's a good album, from 1995, with several nicely-arranged pieces for the horn harmonies. It's a studio recording made in NYC with some great songs like Dear Old Stockholm and I Remember You and

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1109614408642632952005-02-28T10:08:00.000-08:002006-11-07T21:26:42.203-08:00

From 2002, a straight-ahead jazz session with Sam Yahel (organ), Peter Bernstein (guitar) and Brian Blade (drums). Sounds pretty good!

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109612379852419472005-02-28T09:15:00.000-08:002006-11-07T21:26:42.150-08:00

From 1990 with Charlie Haden and Paul Motion. Many moments of free, non-regular beat going on, going for an open, spacey sound with lots of room to explore (for example, it can sound as if the pulse is beating, but it is implied subtly and expertly by each of the three players in a way that makes you feel Aha, I've got it!).I have the feeling that brief composed themes and ideas had been worked

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109574919348122632005-02-27T23:11:00.002-08:002006-11-07T21:26:42.094-08:00

A crossover approach to jazz. He's perhaps trying to get a wider audience by appealing to funk and soul listeners - this record has a lot of that, but little of what I would call jazz. Not recommended as a jazz record, but probably stands on its own for what it is.Slow grooves, jams, some 70's funk sounds, and hip hop and soul vocals here and there. Party and chillin' music.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109400524409454302005-02-25T22:45:00.000-08:002006-11-07T21:26:41.928-08:00

From 1985, with: Barry Altschul DrumsPaul Bley PianoJohn Scofield Guitar (Electric)Steve Swallow Bass (Electric)Pretty interesting, little out-there in places, but it moves along and is not hard at all to listen to. I might listen to this here and there...

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109385335623484632005-02-25T18:17:00.000-08:002006-11-07T21:26:41.871-08:00

From the late sixties, this album sounds good so far. It's a piano trio recording with Paul Motian on most of it and Billy Elgart playing drums on the rest. The recording quality is a little sub-par (the bass sounds clipped in some places, or the bass speaker vibrating) but the musical content sounds nice. The last three songs (with Bill Elgart) have a nicer-produced sound.The songs are not

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109278835725076502005-02-24T12:58:00.000-08:002006-11-07T21:26:41.815-08:00

Meeting of the masters: Burton (vibes), Chick Corea (pn), Pat Metheny (gtr), Dave Holland (bs), and Roy Haynes (dr). Very exciting and professional-quality music from real professionals. Recorded in 1987. Everyone is fun to listen to on this recording - it has many highlights and is loaded with quality musical moments. Five of Metheny's songs, three of Coreas, two of Burton's, and one Gershwin (

jsnoreply@blogger.com1tag:blogger.com,1999:blog-10833461.post-1109277384921673682005-02-24T12:10:00.000-08:002006-11-07T21:26:41.755-08:00

From 1972, Hermosa Beach, CA.Elvin Jones : drumsGene Perla : acoustic bassDave Liebman : soprano saxophone, tenor saxophoneSteve Grossman : tenor saxophoneKind of avant-garde music. You get a lot of wailing, searching saxophone lines flying above a bass and drums riff-based rhythm section. Works on building a groove and setting a plane from which the melodic flight navigates the terrian,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109263986726267312005-02-24T08:44:00.000-08:002006-11-07T21:26:41.701-08:00

From 2001, with Harold Maeburn (pn), Peter Washington (bs), and Joe Farnsworth (dr). More impressive hard-bop from the tenor player.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109227636408143032005-02-23T22:41:00.000-08:002006-11-07T21:26:41.593-08:00

This album from 1990 is a somber soundtrack-y type affair which pays tribute to Bill Evans' compositions such as Turning Out the Stars, Very Early, and Walkin' Up. Guitarist Bill Frisell, tenor Joe Lovano, and bassist Marc Johnson join Motion to make a quartet.The music is almost trance-y or even hypnotic in places with Frisell's delayed guitar effects and sound-swelling style. The music is

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109215073296044682005-02-23T19:12:00.000-08:002006-11-07T21:26:41.541-08:00

The guest star on this 1963 album is a Brazilian guitar player who plays rhythm and some solos alongside Getz, who is still the star of this session. There are also several percussionists, pianist, bassist, and drumset. This is a very bossa-sounding record with the acoustic guitar turned up pretty loud and focused. A nice-sounding but very-live-sounding recording. A few Jobim tunes are featured,

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109213461573385402005-02-23T18:48:00.000-08:002006-11-07T21:26:41.486-08:00

Lovely album from 1982, with pianist Jim McNeely, Marc Johnson bass, and drummer Billy Hart. Gets off to a slow but nice beginning. Track 4 is really the only uptempo tune on the album. Mostly a mood album, but what a nice mood it is.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109177051264788292005-02-23T08:40:00.000-08:002006-11-07T21:26:41.424-08:00

Each of Eric Alexander's albums that I listen to, I like. This is a good example of how modern-day jazz is keeping jazz alive and doing it right.This is a sextet date (tenor, guitar, trumpet, piano, bass, drums) recorded in 1994 with pianist Kenny Barron and others. So far the music is great! I am becoming a big Alexander fan. However, there has got to be better photo for a CD cover!

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109092281943710922005-02-22T09:09:00.000-08:002006-11-07T21:26:41.364-08:00

From 1991, bassist Richard David played a live set at the NYC club Sweet Basil. Only 4 tunes on this set, each over 10 minutes. The first track, Dealin', has a rock/funk type groove. Next, Samba Para Ustedes Dos has a latin groove. Rest of the CD sounds ok. Not stellar, but not bad. Maybe it will grow on me...

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109091579947545372005-02-22T08:53:00.000-08:002006-11-07T21:26:41.311-08:00

If you like R&B-styled jazz, or fusion-flavored jazz, or would like to hear what a modern classical violin player might do in a jazz setting, then you may want to listen to this album. Reminded me of some of Al DiMeola's old fusion records, but not as intense. This is pretty close to smooth jazz... The vocals on this album are also a little embarrassing. I dunno, to me the violin just sounds

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109045245436878872005-02-21T20:02:00.000-08:002006-11-07T21:26:41.255-08:00

This is another great record. From 2001 - the MaxJazz piano series, which has been releasing some nice jazz lately. This album is strong on the trio sound but also has horns making it more interesting. Lots of originals from Barth, with the concept being eastern and western sounds - or is it East and West coasts? But it doesn't sound too exotic, it still sounds like jazz, and I like it.

jsnoreply@blogger.com0tag:blogger.com,1999:blog-10833461.post-1109036661146156572005-02-21T17:44:00.001-08:002006-11-07T21:26:41.204-08:00

Now this is more like it. Straight-ahead hard-bop jazz. From 2003. Terrific, terrific! I love these sounds so far. Featuring Eric Alexander on tenor, Jim Rotundi (trumpet), pianist David Hazeltine, Steve Davis trombone, Joe Farnsworth on drums, Peter Washington bass.

jsnoreply@blogger.com0