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Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2 by Sonny Stitt (CD - 01/26/1999)
 

Legends of Acid Jazz: Sonny Stitt/Don Pa...

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Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2 by Sonny Stitt (CD - 01/26/1999)
"Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2" (01/26/1999) Jazz Instrument Stitt, Sonny, Prestige RecordsOriginally released as two separate albums, Sonny Stitt's SOUL ELECTRICITY! and Don Patterson's FUNK YOU! Personnel includes: Sonny Stitt (saxophone); Don Patterson (organ); Charles McPherson (saxophone). Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Pat Martino, Billy Butler (guitar); Charles McPherson (alto saxophone, tenor saxophone); Don Patterson (organ); Billy James (drums). Liner Note Author: Joe Segal. Recording information: Englewood Cliffs, NJ (09/23/1968-09/24/1968); New York, NY (09/23/1968-09/24/1968). Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package -- Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category -- but for fans of either artist, the material is worth hearing. ~ Richie Unterberger

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When I Fall in Love by Chris Botti (CD - 09/28/2004)
 

When I Fall in Love by Chris Botti (CD -...

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When I Fall in Love by Chris Botti (CD - 09/28/2004)
"When I Fall in Love" (09/28/2004) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (vocals, trumpet); Chris Botti; Jill Zadeh (vocals); Mitch Dalton (acoustic guitar); Fiona Hibbert (harp); Julian Leaper, Dave Woodcock, Deborah Widdup, Jonathan Evans Jones, Maciej Rakowski, Tom Bowes, Paul Willey, Rolf Wilson, Steve Morris, Roger Garland, Patrick Kiernan, Boguslaw Kostecki, Rita Manning, Kenneth Sillito, Cathy Thompson, Jackie Shave (violin); Ivo Jan Vanderwerff, Vicci Wardman, Edward Vanderspar, George Robertson, Peter Lale, Bruce White (viola); Frank Schaefer, David Daniels , Caroline Dearney, Paul Kegg, Anthony Lewis , Anthony Pleeth (cello); Karen Jones, Helen Keen, Stan Sulzmann, Philip Todd (flute, alto flute); Andy Panayi (bass flute); Nick Rodwell, Anthony Pike (clarinet); Jamie Talbot (bass clarinet, tenor saxophone); David Theodore (oboe); Bob Sheppard (saxophone); Nigel Hitchcock (alto saxophone); John Barclay, Guy Barker, Derek Watkins (trumpet, flugelhorn); Mike Thompson , Richard Bissill, David Pyatt (French horn); Pete Beachill, Mark Nightingale, Richard Edwards (trombone, tenor trombone); Dave Stewart (bass trombone, euphonium); Billy Childs Trio (piano, Fender Rhodes piano); Greg Phillinganes (piano, keyboards); Federico Gonzalez Pe?a, Billy Childs (piano); Brian Bromberg (bass instrument); Patrick Lannigan, Alec Dankworth, Chris Laurence, Mary Scully (double bass); Ralph Salmins (drums); Paula Cole, Sting (vocals); Dean Parks, Dominic Miller, Shane Fontayne (guitar); Gil Goldstein (accordion); Jeff Lorber (keyboards); Billy Kilson, Vinnie Colaiuta (drums); Paulinho Da Costa (percussion). Audio Mixer: Al Schmitt. Recording information: Air Lyndhurst Hall, London, England; Avatar Studio, New York, NY; Capitol studios, Los Angeles, CA; JHL Sound, Los Angeles, CA. Photographer: Fabrizio Ferri. Arrangers: Bobby Colomby; Jeff Lorber; Brian Bromberg; Jeremy Lubbock; Mark Schulman. Although the most popular contemporary jazz tends to fall into the "lite" category, trumpeter Chris Botti avoids painting himself into this corner by sticking with an approach more reminiscent of Chet Baker. For his 2004 album, WHEN I FALL IN LOVE, Botti takes it a step further by employing the London Session Orchestra to provide him with lush accompaniment on a program predominantly made up of standards. The Oregon native adds further layers to the album's sound by calling on singer Paula Cole, whose burnished vocals provide a fine foil on a brush-stroked version of Irving Berlin's "What'll I Do?" and "How Love Should Be," with its subtle mix of piano and strings. Along with exquisite takes on Rodgers & Hart ("My Romance") and the Gershwins ("Someone to Watch Over Me"), Botti also shows a knack for the cinematic nuance of Ennio Morricone ("Cinema Paradiso") and the pop-jazz of Sade ("No Ordinary Love"). The handsome horn player even ropes old employer Sting and bandmates Dominic Miller and Vinnie Colaiuta into lending their talents on the samba-flavored "La Belle Dame Sans Regrets" (composed by Sting and Miller). With its dusky mood, WHEN I FALL IN LOVE serves as the perfect soundtrack for a late-night cocktail party or a romantic evening by the fireplace.

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Time Out [4/11]
 

Time Out [4/11]

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Time Out [4/11]
"Time Out" (04/11/2006) Jazz Instrument Brubeck, Dave, Legacy RecordingsDave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race. Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon. The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on TIME OUT, an album everyone should own.

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Land of the Midnight Sun by Al di Meola (CD - 07/01/1986)
 

Land of the Midnight Sun by Al di Meola ...

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Land of the Midnight Sun by Al di Meola (CD - 07/01/1986)
"Land of the Midnight Sun" (07/01/1986) Jazz Instrument DiMeola, Al, Columbia (USA)One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career. ~ Scott Yanow

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A Thousand Kisses Deep by Chris Botti (CD - 09/30/2003)
 

A Thousand Kisses Deep by Chris Botti (C...

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A Thousand Kisses Deep by Chris Botti (CD - 09/30/2003)
"A Thousand Kisses Deep" (09/30/2003) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Chantal Kreviazuk, Bridget Benanate (vocals); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer piano, keyboards, shaker); Keefus Ciancia (piano, keyboards, Moog synthesizer); Jim Cox (organ, keyboards); Mark Goldenberg (keyboards, programming); Printz Board (synthesizer, programming); Dean Parks (acoustic & electric guitars); Smokey Hormel (electric guitar); Doyle Bramhall (guitar); Chuck Berghofer, Mike Elizondo (bass); Joey Waronker, Abe Laboriel, Jr. (drums); Lenny Castro (bongos, percussion). Personnel: Bridget Benenate, Chantal Kreviazuk (vocals); Dean Parks (guitar, acoustic guitar); Doyle Bramhall (guitar); Matthew Gerrard (electric guitar, keyboards, bass synthesizer, drum programming); Smokey Harmel (electric guitar); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer organ, keyboards, shaker); Keith Ciancia (piano, keyboards, bass synthesizer, Moog synthesizer); Billy Childs Trio (piano); Jim Cox (Fender Rhodes piano, organ, keyboards); Mark Goldenberg (keyboards, drum programming); Chuck Berghofer (acoustic bass); Abe Laboriel, Jr. (drums, hi-hat); Joey Waronker (drums); Lenny Castro (bongos, percussion). Audio Mixer: Dave Way. Recording information: Bill Schnee Studios, N. Hollywood, CA; Capitol Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Sunset Sound Studios, Los Angeles, CA; The Green Room, Los Feliz, CA; The Lab, Santa Monica, CA; World Famous Flamingo Studios, Los Angeles, CA. Photographer: Fabrizio Ferri. Chris Botti's sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a jazz and pop musician. Botti's phrasing is very keen, uncanny in the way it works with simple rhythmic structures, and his tone is rich and warm. His use of keyboards and drum loops is pretty much up to the minute in terms of its hip factor, and his arrangements appeal to serious jazz fans and are something akin to blessed-out ecstasy to smooth jazz aficionados. Therein also lies the problem. Botti hasn't significantly developed his sense of artifice since his debut album and, if anything, has delved deeper into its oh-so-cool bachelor pad faux elegance than ever on A Thousand Kisses Deep. The title track, a very moving song written by Leonard Cohen, is the finest moment on the disc. A spare guitar backdrop is adorned simply; Botti plays the melody in short, clipped staccato phrases for an entire full verse before the rhythm section enters. The effect is haunting, lushly romantic, and full of a sensual warmth that is as spooky as it is silky. The spare keyboards and brushed drums offer the song as something slightly Latin (thanks to the gorgeous guitar playing by Dean Parks). It could have been the love theme in Robert Rodriguez's Once Upon a Time in Mexico -- yes, it really does feel slightly mariachi! Burt Bacharach's "The Look of Love," despite a marvelous vocal by Chantal Kreviazuk, suffers from cute syndrome -- as does "The Last Three Minutes," another Bacharach tune. The straight pop stuff, such as "Ever Since We Met" with Bridget Benenate's breathy vocals, work very well. Botti's solo entwines the refrain and carries the singer's voice along into the ether. A duet with pianist Billy Childs on "My Funny Valentine" feels a tad stilted, but there is great tension resolution in the third chorus. "If I Could," another original, with the great Smokey Hormel on guitar in addition to Parks, is a true mood-setter. Smoky, slightly steamy with just a hint of a funk backdrop and Botti whispering through the pastel keyboard sounds with his own shade of deep blue and gauzy elegance, it's the babymaker on the album. In all, as with each of Botti's recordings, there is nothing inherently wrong here, and the formula is successful; it's one of the better mood records out there, but it's still formula, contrived and calculated to establish and keep the listener paying some degree of attention, but not too much. ~ Thom Jurek

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The Colors of Latin Jazz: Cha Cha Soul! by Various Artists (CD - 04/27/2004)
 

The Colors of Latin Jazz: Cha Cha Soul! ...

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The Colors of Latin Jazz: Cha Cha Soul! by Various Artists (CD - 04/27/2004)
"The Colors of Latin Jazz: Cha Cha Soul!" (04/27/2004) Jazz Instrument Various Artists, Concord Special ProductsConcord's The Colors of Latin Jazz series rounds up Latin jazz sounds originally released by their Concord Picante offshoot. The tunes on Cha Cha Soul! are a mix of Latin styles, but mainly focus on the cha cha and guajira rhythms, and are taken from records released between 1982 and 2003. Tracks by Mongo Santamaria, Ray Barretto, Eddie Palmieri, Cal Tjader (with the great Carmen McRae), and Tito Puente provide marquee drawing power, and the rest of the performers aren't exactly unknowns in the Latin jazz field. None of the aforementioned performers are at the peak of their powers, but they turn in credible and often exciting dance music. Standout performances include McRae's gritty take on Santana's "Evil Ways" and Tito Puente and his band going to town on a live take of their classic "Oye Como Va." So while the sound of the record certainly reflects the time the songs were recorded, very clean and with most of the grease wiped away, this collection will satisfy fans of Latin jazz looking for a smooth and easy selection of modern sounds. ~ Tim Sendra

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Smooth Jazz Essentials
 

Smooth Jazz Essentials

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Smooth Jazz Essentials
"Smooth Jazz Essentials" (01/27/2004) Jazz Instrument Various Artists, Native Language MusicIn the early days of smooth jazz, labels would regularly release samplers to introduce listeners to their artists, which worked both artistically, and as a marketing tool. The practice is a bit less common in these times, but the success of this all-star collection proves that it's still an effective way to promote artists. Most of the artists here are or have been on the Native Language roster, and a good handful of the tunes have been huge radio hits, including Jeff Kashiwa's instant classic "Hyde Park (The 'ah ooh' Song)," Steve Oliver's infectious "High Noon," and Everette Harp and Brian Bromberg's likeable cover of "Rock With You." It was good logic to lead with a great cut from Dan Siegel's just-released label debut. Juan Carlos Quintero's samba "Jobim" shows that the label isn't afraid to take risks outside the mainstream of the genre. The real joys here, however, are three stellar tracks that we haven't heard before -- keyboardist Theo Bishop's lush "Tonight's the Night" (from a forthcoming album), bassist Jennifer York's brass-splashed funkfest "405 Jam," and the urban intensive "Big City," Marc Antoine's track with label owner Joe Sherbanee. These tracks have all been, or will at some point, be essential to the smooth jazz format. ~ Jonathan Widran

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Straight, No Chaser [Remaster] by Original Soundtrack/Thelonious Monk (CD - 08/27/1996)
 

Straight, No Chaser [Remaster] by Origin...

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Straight, No Chaser [Remaster] by Original Soundtrack/Thelonious Monk (CD - 08/27/1996)
"Straight, No Chaser [Remaster]" (08/27/1996) Jazz Instrument Original Soundtrack, Legacy RecordingsOriginal score composed by Thelonious Monk. Producer: Orrin Keepnews. Reissue producers: Didier C. Deutsch and Darcy M. Proper. Includes liner notes by Orrin Keepnews and Charlotte Zwerin. All tracks have been digitally remastered. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Larry Gales (bass); Ben Riley (drums). Recorded at Columbia Studios, New York, New York on November 14-15, 1966 and January 10, 1967. Originally released on Columbia (2651/9451). Includes liner notes by Orrin Keepnews. This is a Super Audio CD playable only on Super Audio CD players. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Larry Gales (bass); Ben Riley (drums). Recorded at Columbia Studios, New York, New York on November 14-15, 1966 and January 10, 1967. Originally released on Columbia (2651/9451). Includes liner notes by Orrin Keepnews. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Ben Riley (drums). Audio Remasterer: Mark Wilder. Audio Remixer: Mark Wilder. Liner Note Author: Orrin Keepnews. Recording information: Colubia Records, New York, NY (11/14/1966-01/10/1967); Columbia 30th Street Studio, New York, NY (11/14/1966-01/10/1967); Columbia Records 30th Street Studio, New York, NY (11/14/1966-01/10/1967). Photographers: Don Hunstein; Lee Tanner. Unknown Contributor Roles: Laszlo Kubinyi; Mark Wilder. "I'm famous, ain't that a bitch." Thus opens the soundtrack of the only documentary on the life of Thelonious Sphere Monk. Monk is an immensely important figure in 20th century music, not only as a virtuoso jazz pianist, but also one of the most innovative composers of any musical form. Although far from comprehensive, the soundtrack nevertheless achieves a satisfying cross-section of Monk tunes, from the infectious clunkiness of "Pannonica" and "Trinkle, Tinkle" to the painfully beautiful blue tones of the aptly named "Ugly Beauty." Interspersed with narration, as well as unreleased rehearsals and snatches of unguarded conversation gathered during the making of the film, these selections do an admirable job of capturing the complexity of Monk's life and music in fairly limited space. The biographical data provided in the narration, along with the accessible selections, makes the soundtrack an excellent introduction to Monk's larger body of work, while the inclusion of out-takes and audio snapshots of the man himself makes STRAIGHT NO CHASER desirable even to Monk connoisseurs. This CD reissue of one of Thelonious Monk's most accessible (and commercially successful) albums differs greatly from the 1967 LP. Besides previously unavailable takes of Duke Ellington's "I Didn't Know About You," Monk's own "Green Chimneys" and the rare and exquisite piano solo "This Is My Story, This Is My Song," the CD includes previously unheard takes of three of the album's original six tracks. The time differences in these versions are substantial: the title track is lengthened by nearly a minute, the classic "We See" by 2:47 and "Japanese Folk Song (Kojo No Tsuki)" by a whopping 5:41. (For purists, Columbia reissued the original album on vinyl in 1998.) As always, the more Monk the better, but the added material is particularly welcome in this case, as STRAIGHT NO CHASER finds the pianist and his quartet partners--tenor Charlie Rouse, drummer Ben Riley and brilliant bassist Larry Gales--at the height of their considerable powers.

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Straight, No Chaser [Remaster] by Original Soundtrack/Thelonious Monk (CD - 08/27/1996)
 

Straight, No Chaser [Remaster] by Origin...

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Straight, No Chaser [Remaster] by Original Soundtrack/Thelonious Monk (CD - 08/27/1996)
"Straight, No Chaser [Remaster]" (08/27/1996) Jazz Instrument Original Soundtrack, Legacy RecordingsOriginal score composed by Thelonious Monk. Producer: Orrin Keepnews. Reissue producers: Didier C. Deutsch and Darcy M. Proper. Includes liner notes by Orrin Keepnews and Charlotte Zwerin. All tracks have been digitally remastered. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Larry Gales (bass); Ben Riley (drums). Recorded at Columbia Studios, New York, New York on November 14-15, 1966 and January 10, 1967. Originally released on Columbia (2651/9451). Includes liner notes by Orrin Keepnews. This is a Super Audio CD playable only on Super Audio CD players. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Larry Gales (bass); Ben Riley (drums). Recorded at Columbia Studios, New York, New York on November 14-15, 1966 and January 10, 1967. Originally released on Columbia (2651/9451). Includes liner notes by Orrin Keepnews. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); Ben Riley (drums). Audio Remasterer: Mark Wilder. Audio Remixer: Mark Wilder. Liner Note Author: Orrin Keepnews. Recording information: Colubia Records, New York, NY (11/14/1966-01/10/1967); Columbia 30th Street Studio, New York, NY (11/14/1966-01/10/1967); Columbia Records 30th Street Studio, New York, NY (11/14/1966-01/10/1967). Photographers: Don Hunstein; Lee Tanner. Unknown Contributor Roles: Laszlo Kubinyi; Mark Wilder. "I'm famous, ain't that a bitch." Thus opens the soundtrack of the only documentary on the life of Thelonious Sphere Monk. Monk is an immensely important figure in 20th century music, not only as a virtuoso jazz pianist, but also one of the most innovative composers of any musical form. Although far from comprehensive, the soundtrack nevertheless achieves a satisfying cross-section of Monk tunes, from the infectious clunkiness of "Pannonica" and "Trinkle, Tinkle" to the painfully beautiful blue tones of the aptly named "Ugly Beauty." Interspersed with narration, as well as unreleased rehearsals and snatches of unguarded conversation gathered during the making of the film, these selections do an admirable job of capturing the complexity of Monk's life and music in fairly limited space. The biographical data provided in the narration, along with the accessible selections, makes the soundtrack an excellent introduction to Monk's larger body of work, while the inclusion of out-takes and audio snapshots of the man himself makes STRAIGHT NO CHASER desirable even to Monk connoisseurs. This CD reissue of one of Thelonious Monk's most accessible (and commercially successful) albums differs greatly from the 1967 LP. Besides previously unavailable takes of Duke Ellington's "I Didn't Know About You," Monk's own "Green Chimneys" and the rare and exquisite piano solo "This Is My Story, This Is My Song," the CD includes previously unheard takes of three of the album's original six tracks. The time differences in these versions are substantial: the title track is lengthened by nearly a minute, the classic "We See" by 2:47 and "Japanese Folk Song (Kojo No Tsuki)" by a whopping 5:41. (For purists, Columbia reissued the original album on vinyl in 1998.) As always, the more Monk the better, but the added material is particularly welcome in this case, as STRAIGHT NO CHASER finds the pianist and his quartet partners--tenor Charlie Rouse, drummer Ben Riley and brilliant bassist Larry Gales--at the height of their considerable powers.

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From Paris to Rio by Karrin Allyson (CD - 07/26/2004)
 

From Paris to Rio by Karrin Allyson (CD ...

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From Paris to Rio by Karrin Allyson (CD - 07/26/2004)
"From Paris to Rio" (07/26/2004) Jazz Instrument Allyson, Karrin, Concord JazzPersonnel: Karrin Allyson (vocals, piano, percussion); Gil Goldstein (accordion, piano); Grigori Sandomirsky, Paul J. Hatton (violin); John Adams (viola); Steven Elisha (cello); Paul Smith (piano, synthesizer); Danny Embrey, Rod Fleeman (acoustic guitar); Bob Bowman (bass); Doug Auwarter (drums, surdo); Todd Strait (drums, percussion). Recorded at Sountrek, Kansas City, Missouri from March 15-19 & 28, 1999. Includes liner notes by Karrin Allyson. Allyson gets it all together once again for this lovely selection of mostly French and Portuguese tunes, which the vocalist generally sings in the original language. While there is a lesser jazz element than in some of her other recordings, Allyson is a proven stylist who knows how to make each tune hers alone. Sometimes sounding like Susannah McCorkle, Allyson floats through more than a dozen carefully picked melodies, including "Te Amo (I Love You)," "That Day (From Cinema Paradiso)," and Bud Powell's "Parisian Thoroughfare." While she scats highly effectively on occasion, most of the songs are interpreted by her rather than used as vehicles to improvise. A tasteful group of rhythm and strings (including Gil Goldstein on accordion) provides a notable backdrop. ~ Steven A. Loewy

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The K?ln Concert by Keith Jarrett (CD - 11/16/1999)
 

The K?ln Concert by Keith Jarrett (CD - ...

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The K?ln Concert by Keith Jarrett (CD - 11/16/1999)
"The K?ln Concert" (11/16/1999) Jazz Instrument Jarrett, Keith, ECM Records (USA)Solo performer: Keith Jarrett (piano). Recorded live in Koln, Germany on January 24, 1975. Composer: Keith Jarrett. Personnel: Keith Jarrett (piano). Recording information: K?ln, Germany (01/24/1975); The Opera, Kolin Germany (01/24/1975). Albums that sell vast quantities are not always to be recommended. This exceptional example of solo piano is the biggest selling record in the 25 year history of the pioneering jazz label ECM. It is an almost perfect recording of the art of piano dynamics, full of emotion, and throughout the hour or so duration the listener is never bored. Jarrett has repeated his concerts of improvisation hundreds of times, many have been recorded, and presumably, many routes of his spontaneity have led to blind alleys of jazz doodling. This is the best recorded example of the art, unlikely to be bettered.

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Heavy Weather [Remaster] by Weather Report (CD - 09/23/1997)
 

Heavy Weather [Remaster] by Weather Repo...

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Heavy Weather [Remaster] by Weather Report (CD - 09/23/1997)
"Heavy Weather [Remaster]" (09/23/1997) Jazz Instrument Weather Report, Legacy RecordingsWeather Report: Joe Zawinul (vocals, piano, synthesizer, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Weather Report: Joe Zawinul (vocals, acoustic & Fender Rhodes pianos, synthesizer); Jaco Pastorious (vocals, fretless bass, mandocello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by Peter Keepnews. Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system. This is a Super Audio CD playable only on Super Audio CD players. Weather Report: Joe Zawinul (vocals, piano, synthesizers, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Composers: Jaco Pastorius; Joe Zawinul. Personnel: Joe Zawinul (vocals, guitar, melodica, piano, Fender Rhodes piano, keyboards, synthesizer, Oberheim synthesizer, drums, tabla); Jaco Pastorius (vocals, mandocello, mandolin, drums, steel drum); Manolo Badrena (vocals, congas, tambourine, timbales, percussion); Wayne Shorter (saxophone, soprano saxophone, tenor saxophone); Tom Oberheim (synthesizer); Alex Acu?a (drums, congas, tom tom, hand claps, percussion). Liner Note Author: John Ephland. Recording information: Devonshire Sound Studios, North Hollywood, CA (1977). Directors: Seth Rothstein; Kevin Gore; Steven Berkowitz. Illustrator: Lou Beach. Photographers: Don Hunstein; Keith Williams; Keith Williamson; Keith Williams. Unknown Contributor Role: Brian Risner. Probably the best fusion album ever made, and the coming together of five precociously talented musicians. Joe Zawinul and Wayne Shorter assembled the unit with little knowledge that the complex music would become so accessible. Two compostions stand out; the graceful 'A Remark You Made', an evocative love song without words, and the hit single 'Birdland' (so successful it was even used by Akai for a major advertising campaign). On these two Zawinul compostions their genius bass player Jaco Pastorius gives a taste of what he was capable of. He bent the notes to make them talk, and that high octave solo on 'Birdland' is still a treasured moment.

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Heavy Weather [Remaster] by Weather Report (CD - 09/23/1997)
 

Heavy Weather [Remaster] by Weather Repo...

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Heavy Weather [Remaster] by Weather Report (CD - 09/23/1997)
"Heavy Weather [Remaster]" (09/23/1997) Jazz Instrument Weather Report, Legacy RecordingsWeather Report: Joe Zawinul (vocals, piano, synthesizer, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Weather Report: Joe Zawinul (vocals, acoustic & Fender Rhodes pianos, synthesizer); Jaco Pastorious (vocals, fretless bass, mandocello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by Peter Keepnews. Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system. This is a Super Audio CD playable only on Super Audio CD players. Weather Report: Joe Zawinul (vocals, piano, synthesizers, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Composers: Jaco Pastorius; Joe Zawinul. Personnel: Joe Zawinul (vocals, guitar, melodica, piano, Fender Rhodes piano, keyboards, synthesizer, Oberheim synthesizer, drums, tabla); Jaco Pastorius (vocals, mandocello, mandolin, drums, steel drum); Manolo Badrena (vocals, congas, tambourine, timbales, percussion); Wayne Shorter (saxophone, soprano saxophone, tenor saxophone); Tom Oberheim (synthesizer); Alex Acu?a (drums, congas, tom tom, hand claps, percussion). Liner Note Author: John Ephland. Recording information: Devonshire Sound Studios, North Hollywood, CA (1977). Directors: Seth Rothstein; Kevin Gore; Steven Berkowitz. Illustrator: Lou Beach. Photographers: Don Hunstein; Keith Williams; Keith Williamson; Keith Williams. Unknown Contributor Role: Brian Risner. Probably the best fusion album ever made, and the coming together of five precociously talented musicians. Joe Zawinul and Wayne Shorter assembled the unit with little knowledge that the complex music would become so accessible. Two compostions stand out; the graceful 'A Remark You Made', an evocative love song without words, and the hit single 'Birdland' (so successful it was even used by Akai for a major advertising campaign). On these two Zawinul compostions their genius bass player Jaco Pastorius gives a taste of what he was capable of. He bent the notes to make them talk, and that high octave solo on 'Birdland' is still a treasured moment.

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$5
Bitches Brew [Remaster] by Miles Davis (CD - 06/08/1999)
 

Bitches Brew [Remaster] by Miles Davis (...

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$12
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Bitches Brew [Remaster] by Miles Davis (CD - 06/08/1999)
"Bitches Brew [Remaster]" (06/08/1999) Jazz Instrument Davis, Miles, Legacy RecordingsPersonnel: Miles Davis (trumpet); John McLaughlin (guitar, electric guitar); Harvey Brooks (electric guitar, electric bass, bass guitar); Bennie Maupin (bass clarinet); Wayne Shorter (soprano saxophone); Joe Zawinul (electric piano, organ); Chick Corea, Larry Young (electric piano); Don Alias (drums, congas, percussion); Jack DeJohnette, Lenny White (drums); Jumma Santos (congas, shaker, percussion); Airto Moreira (cuica, percussion); Jim Riley, Jimmy Riley (percussion). Recording information: Columbia Recording Studio B., New York, NY (08/19/1969-01/28/1970). Illustrator: Mati Klarwein. Among the most controversial recordings in the history of jazz, BITCHES BREW was Miles Davis' shot across the bow of jazz insularity, a bold statement about jazz's ability to draw upon elements of popular culture, without mitigating its spirit of spontaneous invention. Much as Ornette Coleman's THE SHAPE OF JAZZ TO COME set a new standard for harmonic and melodic freedom a decade before, BITCHES BREW signaled a sea change in jazz. Davis became a lightning rod for jazz's transformation, by mixing the best elements of '60s free jazz with dancing funk rhythms, electric rock textures, blues phrasing and his own breakthroughs in harmony and modality. Davis employed the Electric Flag's Harvey Brooks to double up with upright bassist Dave Holland on the Fender bass, and he is the modal heartbeat of every tune, freeing up the multiple drummers and keyboardists to weave a complex polytonal/polyrhythmic web of volatile chords and colliding rhythms. Joe Zawinul's "Pharaoh's Dance" and Davis' "Bitches Brew" treat their multiple themes in a ritualistic manner, as several strata of voices engage the lead melody in exciting exchanges. "Spanish Key" offers a thrilling sense of tension and release, as the trumpeter navigates a "Sex Machine"-styled vamp with a terse, brilliantly constructed solo, revelling in his new guitar-like phrasing. "John McLaughlin" is Davis' tribute to the innovative guitarist; "Miles Runs The Voodoo Down" is a spooky, visceral melange of funk, blues and third world sources; and Shorter's "Sanctuary" is a moody ballad that builds to a fever pitch. The savage emotional power of BITCHES BREW and Davis' subsequent recordings cries out for a fresh critical reassessment.

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$12
Oxygene by Jean Michel Jarre (CD - 10/19/1993)
 

Oxygene by Jean Michel Jarre (CD - 10/19...

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$6
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Oxygene by Jean Michel Jarre (CD - 10/19/1993)
"Oxygene" (10/19/1993) Jazz Instrument Jarre, Jean-Michel, Dreyfus Records (France)NOTES Solo performer: Jean-Michel Jarre (sythesizer, Farfisa organ, Mellotron). Recorded from August to November 1976. Composer: Jean Michel Jarre. Personnel: Jean Michel Jarre (organ, Farfisa, Mellotron, keyboards, synthesizer). Audio Mixer: Jean-Pierre Janiaud. Liner Note Author: Scott Hull. Recording information: Jean-Michel Jarre Private Studio (08/1976-11/1976); Studio Prive De Jean Michel Jarre (08/1976-11/1976). Editors: Francis Dreyfus; Jean Michel Jarre. Photographer: Charlotte Rampling. Released in 1976, OXYGENE proved to be a massive hit for French electronic musician Jean-Michel Jarre. The son of film composer Maurice Jarre, the synthesizer player sought to create warmer sonic textures through the technology of the time, and the result was this pioneering six-part album. OXYGENE's bizarrely creepy cover, featuring a skull underneath the peeled-away surface of the globe, belies the music's lush beauty, though it does point to haunting moments such as "Oxygene III." The record's most recognizable track is the majestic "Oxygene IV," which features percolating synth lines and spare, nearly imperceptible beats. While the album would lead Jarre to international fame, especially in his native France and the rest of Europe, it also proved to be a recording that he struggled to top, even going so far as to release a sequel, OXYGENE 7-13, more than 20 years later. For aficionados of late-'70s electronic acts such as Tangerine Dream and Vangelis, this bold outing is essential. One of the pioneers of electronic music, Jean Michel Jarre has arguably done more to popularize the use of synthesizers than any other artist. Liberating synthesized sound from the esoteric preoccupations of academic composers, Jarre was among the first to explore the instrument's melodic and rhythmic possibilities--key innovations that went on to become significant influences for ambient electronica, synth pop, and techno. OXYGENE, released in 1977, pushed the young composer into the international spotlight, charting his meteoric rise from obscure film composer to stadium-packing superstar. Contrasting with the hard, clinical sound of his contemporaries, Kraftwerk and Giorgio Moroder, OXYGENE is bathed in distinctive melodies and warm string pads (courtesy of vintage keyboards like the Synthi VCS3 and Eminent organ). On the now iconic space synth epic "Oxygene (Part IV)," a percolating drum machine patters away as sweeping synth melodies form dramatic arcs of counterpoint. Likely to be Jarre's best known composition, the track evokes vast unexplored spaceways and cosmic vistas like few songs can.

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$6
Oxygene by Jean Michel Jarre (CD - 10/19/1993)
 

Oxygene by Jean Michel Jarre (CD - 10/19...

starting at

$6
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Oxygene by Jean Michel Jarre (CD - 10/19/1993)
"Oxygene" (10/19/1993) Jazz Instrument Jarre, Jean-Michel, Dreyfus Records (France)NOTES Solo performer: Jean-Michel Jarre (sythesizer, Farfisa organ, Mellotron). Recorded from August to November 1976. Composer: Jean Michel Jarre. Personnel: Jean Michel Jarre (organ, Farfisa, Mellotron, keyboards, synthesizer). Audio Mixer: Jean-Pierre Janiaud. Liner Note Author: Scott Hull. Recording information: Jean-Michel Jarre Private Studio (08/1976-11/1976); Studio Prive De Jean Michel Jarre (08/1976-11/1976). Editors: Francis Dreyfus; Jean Michel Jarre. Photographer: Charlotte Rampling. Released in 1976, OXYGENE proved to be a massive hit for French electronic musician Jean-Michel Jarre. The son of film composer Maurice Jarre, the synthesizer player sought to create warmer sonic textures through the technology of the time, and the result was this pioneering six-part album. OXYGENE's bizarrely creepy cover, featuring a skull underneath the peeled-away surface of the globe, belies the music's lush beauty, though it does point to haunting moments such as "Oxygene III." The record's most recognizable track is the majestic "Oxygene IV," which features percolating synth lines and spare, nearly imperceptible beats. While the album would lead Jarre to international fame, especially in his native France and the rest of Europe, it also proved to be a recording that he struggled to top, even going so far as to release a sequel, OXYGENE 7-13, more than 20 years later. For aficionados of late-'70s electronic acts such as Tangerine Dream and Vangelis, this bold outing is essential. One of the pioneers of electronic music, Jean Michel Jarre has arguably done more to popularize the use of synthesizers than any other artist. Liberating synthesized sound from the esoteric preoccupations of academic composers, Jarre was among the first to explore the instrument's melodic and rhythmic possibilities--key innovations that went on to become significant influences for ambient electronica, synth pop, and techno. OXYGENE, released in 1977, pushed the young composer into the international spotlight, charting his meteoric rise from obscure film composer to stadium-packing superstar. Contrasting with the hard, clinical sound of his contemporaries, Kraftwerk and Giorgio Moroder, OXYGENE is bathed in distinctive melodies and warm string pads (courtesy of vintage keyboards like the Synthi VCS3 and Eminent organ). On the now iconic space synth epic "Oxygene (Part IV)," a percolating drum machine patters away as sweeping synth melodies form dramatic arcs of counterpoint. Likely to be Jarre's best known composition, the track evokes vast unexplored spaceways and cosmic vistas like few songs can.

starting at

$6
Essential Collection: 24 Smooth... [7/12] *
 

Essential Collection: 24 Smooth... [7/12...

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$14
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Essential Collection: 24 Smooth... [7/12] *
"The Essential Collection: 24 Smooth Jazz Classics" (07/12/2005) Jazz Instrument James, Bob, Koch Records (USA)Personnel: Bob James (keyboards); Richie Resnicoff (guitar); Harold Kohon, Charles Libove, David Nadien, Gene Orloff, Max Ellen, Paul Gershman, Emanuel Green, Harry Lookofsky, Joe Malin (violin); Seymour Barab, Jesse Levy, Charles McCracken, Alan Shulman, George Ricci, Anthony Sophos (cello); George Marge, Romeo Penque (alto flute, recorder); Jon Faddis, Alan Rubin, Lew Soloff, Marvin Stamm, Victor Paz, Thad Jones (trumpet); Wayne Andre (trombone); Jack Gale, Alan Raph, Paul Faulise (bass trombone); Gary King (bass instrument); Steve Gadd (drums); Ralph MacDonald (percussion); Dave Friedman. Issued by the U.K.-based Metro Doubles label in 2002, Essential Collection: 24 Smooth Jazz Classics only overlaps 2001's Restoration anthology with eight of the same tracks, and concentrates on material originally released from 1974 to 1984 (apart from 1995's "Ensenada Madness," everything fits into that time frame). A fine chronological overview of James' most productive period, this is a very attractive package that includes informative and insightful liner notes. "Nautilus," "Westchester Lady," "Take Me to the Mardi Gras," "Angela (Theme From Taxi)," "Touchdown," and "Sign of the Times" are among the inclusions. Naturally, this double-disc set can serve any number of purposes: as pleasant, occasionally funky background music, as proof of your extensive knowledge of hip-hop samples, or as cruel torture for your jazz purist peers. ~ Andy Kellman

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$14
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