Friday, September 30, 2011

Los Lobotomys: ST (1989)

Los Lobotomys is an American fusion group, conceived by Toto-members Steve Lukather and Jeff Porcaro and keyboarder David Garfield. A range of well-known 'session cats' worked together with the core trio.
Anyhow Los Lobotomys is an occasional band by a bunch of musical friends in California, with Steve Lukather and David Garfield as core members. This eponymous record is recorded live on april 29th 1989 at the Complex, West Los Angeles, USA, and produced by David Garfield and Alan Hirshberg for Creatchy Productions. The songs are instrumentals which vary from relaxed slow and midtempo fusion to uptempo heavy rock, like Smell Yourself (in an in memoriam on Jeff Porcaro Vinnie Colaiuta recalled: "We had so much fun when I guested briefly on Los Lobotomys. Double-drumming with Jeff was one of the high points of my career and my life").
A comic one is Purple Haze that ends right after the intro, because nobody knows the lyrics (compare this one to the Red House version on the Lukather single cd Borrowed Time and the Los Lobotomys version of Candyman, where Lukather starts yelling because a string of his guitar snaps at the end of a solo).
01. Dismemberment (Lenny Castro, David Garfield)
02. Oozer (Carlos Vega, David Garfield)
03. Purple Haze (Jimi Hendrix)
04. Big Bone (Jeff Porcaro, David Garfield)
05. Jorainbo (Joe Sample, David Garfield)
06. Lobotomy Stew (Steve Lukather, David Garfield)
07. Little Wing (Jimi Hendrix)
08. Smell Yourself (Steve Lukather)
09. All Blues (Miles Davis)
Steve Lukather: guitar
David Garfield: keyboards
Jeff Porcaro: drums
Will Lee: bass
Brandon Fields: alto sax
Lenny Castro: percussion
Joe Sample: piano
Carlos Vega: drums
Vince Colaiuta: double drums
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Charles Lloyd & Maria Farantouri: Athens Concert (2011)

Stunning performance in front of a huge audience at the open air Odeon of Herodes Atticus, as Charles Lloyd, uniquely-expressive saxophonist, and Maria Farantouri, Greece’s voice of resistance, come together. Friends for some years, this is their first recorded collaboration. Lloyd’s brilliant quartet is on hand - with Jason Moran in especially creative mode - augmented by lyra player Socratis Sinopoulos and second pianist Takis Frazio in a marvelous programme that includes songs by Mikis Theoedorakis, suites of Greek traditional music, Eleni Karaindrou’s “Journey to Kythera” and Lloyd originals including his classic “Dream Weaver”. “Athens Concert” is a major event, a very special live album indeed.
CD101. Kratissa ti zoi mou - I Kept Hold of My Life
02. Dream Weaver - Hyfantis oneiron
03. Blow Wind - Fyssa ayeri
04. Requiem Greek Suite, Part I
05. Hymnos stin Ayia Triada - Hymn to the Holy Trinity
06. Epano sto xero homa - In the Dry Soil
07. Messa Stous paradissious kipous - In the Paradise Gardens
08. Taxidi sta Kythera - Voyage to Cythera
CD201. Prayer - Prosefhi Greek Suite, Part II
02. Vlefaro mou - Oh Eyelid
03. Margaritarenia
04. Thalassaki Mou - My Little Sea Greek Suite, Part III
05. Epirotiko Meroloi - Lament from Epirus
06. Kaegomae kae Sigoliono - I Burn and
07. Mori kontoula lemonia - Little Lemon Tree
08. Alismono kae haeromae - I Forget and I Am Glad
09. Tou hel' to kastron - The Castle of the Sun
10. Yanni Mou - My Yanni
Charles Lloyd - tenor saxophone, flute, tarogato
Maria Farantouri - voice
Jason Moran - piano
Reuben Rogers - double-bass
Eric Harland - drums
Socratis Sinopoulos - lyra
Takis Farazis - piano
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Thursday, September 29, 2011

Bill Frisell: All We Are Saying (2011)

Consummate guitarist, composer and musical interpreter Bill Frisell has assembled a trusted ensemble consisting of Jenny Scheinman (violin), Tony Scherr (bass), Greg Leisz (guitars) and Kenny Wollesen (drums) to record his definitive take on the classic songs of John Lennon. Titled "ALL WE ARE SAYING," the project has long been in the works--one could go as far back as the first time he heard the Beatles at the age of 13. Fast forward a few decades and Frisell is asked to put together an impromptu set in honor of John Lennon as part of a special event in Paris. The preparation, performances and reception to these compositions was an inspiration nurtured to fruition with this project. Recorded at Fantasy Studios in Berkeley and produced by Lee Townsend, "ALL WE ARE SAYING" has been released on Savoy Jazz on September 27.
Bill Frisell - guitar
Jenny Scheinman - violin
Tony Scherr - bass
Greg Leisz - guitars
Kenny Wollesen - drums
1. Across the Universe
2. Revolution
3. Nowhere Man
4. Imagine
5. Please Please Me
6. You've Got Hide Your Love Away
7. Hold On
8. In My Life
9. Come Together
10. Julia
11. Woman
12. #9 Dream
13. Love
14. Beautiful Boy
15. Mother
16. Give Peace a Chance
17. Strawberry Fields

Wednesday, September 28, 2011

Brad Mehldau: Modern Music (2011)

Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli is out this week on Nonesuch Records. The album features pieces written by each of the three musicians as well as works by Steve Reich, Ornette Coleman, and Philip Glass, performed by the two pianists in arrangements by Zimmerli.Mehldau and Hays have been friends for some years and both played early in their career with Joshua Redman, a musical friendship Mehldau has rekindled lately on tour and on last year’s album Highway Rider. Zimmerli is a mutual friend and played in the same high school programme as Mehldau back in their Connecticut days, with Zimmerli going on to make a career within the parameters of the contemporary - classical music world. Brought in to the project initially as producer he offered repertoire ideas including settings of Steve Reich’s ‘Music for 18 Musicians’ and Glass’ ‘String Quartet No 5’, and contributed title track ‘Modern Music’ plus other tunes. Mehldau’s ‘Unrequited’ which appears on the recently released Live In Marciac album is also on Modern Music but Mehldau in publicity material comments that this album was a challenge in that the improvisation was often not in his or Hays’ comfort zone. “On ‘Modern Music’ there’s a part that calls for us to improvise in the right hand while playing something written in the left hand.
1. Crazy Quilt
2. Unrequited
3. Generatrix
4. Celtic Folk Melody
5. Excerpt from Music for 18 Musicians
6. Lonely Woman
7. Modern Music
8. Elegia
9. Excerpt from String Quartet #5
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Tuesday, September 27, 2011

Gonzalo Rubalcaba: Fe…Faith (2011)

It’s been ten years since pianist Gonzalo Rubalcaba teamed up with Charlie Haden on Nocturne (Universal, 2001). Then a twenty-something Cuban virtuoso, Rubalcaba already had a decade of recordings behind him and was being compared to Keith Jarrett and Cecil Taylor. Now a Florida resident and with his own newly minted label, 5Passion, Rubalcaba releases Fe … Faith, a solo collection and his finest work to date.Rubalcaba’s playing style has typically been energetic and fiery and while those elements are present, this is a more refined and melodic collection, mixing original compositions with the works of Dizzy Gillespie, Miles Davis and Bill Evans. Underlying the melody is an ever present tension that slightly distorts familiar patterns. It’s more like looking through a fishbowl than a prism. “Maferefun” is a perfect example of Rubalcaba’s inventiveness. At times he appears to be two steps ahead of his own composition, with a multilayered backdrop complimenting a minimalist lead. The up-tempo “Improvisation 2? follows a similar model but the melody is weighted more lyrically.Rubalcaba has set the bar high for his new label. Technically, he is not exploring areas that are new to him, but his maturity has added new dimension to his playing. Rubalcaba’s nomadic left hand is alternately aided or supplanted by his ability to intertwine complex melodies with the right. His sense of harmony owes as much to African elements as it does to European chord progressions. Rubalcaba’s ability to incorporate those diverse components while flavoring the music with native Cuban ingredients is the combination that makes his music truly unique and consistently interesting.
1. Derivado 1
2. Maferefun
3. Improvisation 2 (Based On "Coltrane Changes")
4. Derivado 2
5. Con Alma 1
6. Preludio Corto #2 (Tu Amor Era Falso)
7. Blue In Green 1
8. Oro
9. Joan 10:14 $0.99
10. Joao
11. Yolanda
12. Blue In Green 2
13. Con Alma 3
14. Improvisation 1 (Based On "Coltrane Changes")
15. Derivado 3
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Electromagnets: ST (1975)

Electromagnets are best known as the launching ground for Eric Johnson, one of the great guitarists of the '80s and '90s. Johnson was known for his clear tones and amazing technical skill -- two things that are apparent on the Electromagnets' first and only album. The group followed the path of such trailblazing fusion groups as the Mahavishnu Orchestra, creating an amalgam of rock, jazz, blues and the avant-garde. Unlike many of their peers, the Electromagnets were loose, letting themselves bend the beat and have fun. As a result, their album is more enjoyable than most '70s fusion records -- even when they venture into prog cliches, or when vocalist Chris Geppert becomes overbearing, their musicianship pulls them through. And of those musicians, Johnson stands out with his crystal clear guitar and tasteful solos. His presence makes Electromagnets the curiosity it is, but also makes it more than an odd historical item.
01. Hawaiian Punch (6:00)
02. Motion (4:45)
03. Dry Ice (5:05)
04. Blackhole (6:51)
05. Salem (4:30)
06. Minus Mufflers (7:36)
07. Novia Scotia (3:38)
08. Crusades (8:01)
CD Bonus Tracks:
09. Hawaiin Punch (Live) (8:14)
10. Dry Ice (Live) (7:40)
Stephen Barber (vocals, clarinet, piano, electric piano, keyboards, synthesizer)
Eric Johnson (guitar, acoustic guitar, electric guitar)
Kyle Brock (bass)
Bill Maddox (drums, percussion)
Additional personnel:
Chris Geppert (Christopher Cross) (vocals)
Tomas Ramirez (saxophone)
John Treanor (percussion)
Originally released- tracks 1 to 8- in 1975 on EGM Records
CD: Rhino Entertainment Company R2 75331 (US, bonus tracks,1998)

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Monday, September 26, 2011

Club Des Belugas feat.Anna Luca & Brenda Boykin [Live] (2010)

Club des Belugas is one of the leading lounge & nujazz projects in Germany, perhaps in Europe. They combine Contemporary European Lounge & Nujazz Styles with Brazilian Beats and American Black Soul of the fifties, sixties and seventies, using their unique creativity and intensity.
Main members are Maxim Illion & Kitty the Bill, with such exquisite guests as the Californian Jazz Lady Brenda Boykin, trumpeter Reiner Winterschladen (Nighthawks), Swedish singer anna.luca, London based Jazz singer Iain Mackenzie, Anne Schnell from Jojo Effect, Dean Bowman from New York and trumpet player Thomas Siffling.
Club des Belugas started their career in 2002 with their first album “Caviar at 3 a.m.”
In 2003 they released their 2nd album “Minority Tunes”, which included the German Club Charts no.1 hits “hiphip chinchin” and “Gadda Rio”.
In 2006 Club des Belugas enriched the world of music with a real masterpiece called “apricoo soul”. The 12” vinyl “Wildcats gotta move” reached German Club Charts #3 and stayed in the Top Ten for 8 weeks (march & april 2006). The Album included Club des Belugas’ Remix of Dean Martin’s “Mambo Italiano” and was the first worldwide legal remix of any Dean Martin track, authorized by Capitol/EMI and the Dean Martin Family themselves .
Club des Belugas tracks have been licensed for compilations more than 220 times. They have also been licensed for advertisements and TV commercials from companies like: Mercedes-Benz, BMW, Lexus (Toyota), Ford Mondeo, Smart, KIA motors, Campari, Martini, Strenesse, The German National Soccerteam, Kaufhof, Burlington, Unilever, Telekom Germany, Telekom South Korea, IGEDO…
The album “Apricoo Soul” was chosen for “Best CD of the year 2006” by
In 2008 CdB released SWOP (wordplay from Swing and Pop) which again won “Best CD of the year 2008” from
This time the stress is more on jazz, less on electronics with use of interesting samples, and featuring vocalists Dean Bowman, Iain Mackenzie, Anna Luca, and Brenda Boykin.
CD 1
01. Wildcats Gotta Move [live] (9:34)
02. It's a Beautiful Day [feat. Anna Luca] (5:18)
03. Too Late [live] (4:13)
04. Be My Lover [feat. Brenda Boykin] (8:18)
05. Hard Swing Travellin Man [feat. Brenda Boykin] (8:51)
06. My Hunger Hurts [feat. Anna Luca] (5:08)
07. Passing On The Screen [feat. Anna Luca] (5:27)
08. Dibidy Dop [live] (8:07)
09. Cat's N Boys [feat. Anna Luca] (4:54)
10. The Road Is Lonesome [feat. Anna Luca] (4:13)
11. What Is Jazz [live] (6:49)
12. Nuthern Like Thuthern [live] (7:08)
CD 2
01. Peace Will Come With Sleep [feat. Anna Luca] (7:01)
02. Take Three [feat. Anna Luca] (5:01)
03. Kissez In Gallop [live] (7:00)
04. Some Like It Hot [live] (5:55)
05. She Said No [feat. Brenda Boykin] (6:25)
06. Floating On Air [feat. Anna Luca] (4:01)
07. Desperately Trying [feat. Anna Luca] (4:32)
08. Chocolate & Chilli [feat. Brenda Boykin] (6:03)
09. Kiss Me [feat. Brenda Boykin] (6:20)
10. Love Is In Town [feat. Brenda Boykin] (5:41)
11. Glorious Beach Living [feat. Anna Luca] (4:41)
12. Hip Hip Chin Chin [feat. Brenda Boykin] (11:23)
Buy at Amazon
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The Duke Robillard Band: Low Down & Tore Up (2011)

I've been following The Duke Robillard Band for about 25 years now, and Low Down & Tore Up just reminded me why. With a voice that congers Howlin' Wolf, and gutbucket rockin' blues delivered with a live feeling, this is good times get-on-the-floor or "order another round of beers while I dance with your baby" music.
This is not an academic study of blues history, nor an exploration of the different genre of the blues. This is gritty, honking sax, honkytonk piano and screaming guitars. It makes you want to comb your hair in a DA, and put some grease in it. Dust off your best kicks and knot up a skinny tie and grab your baby, we're going to get Low Down & Tore Up tonight.
All the usual suspects are here, of course. Duke Robillard is on vocals and is the guitarist that B.B. King called "one of the greatest players, one of God's guitarists." Bruce Bears is on honkytonk piano, Brad Hallen plays the "dog-house bass," Mark Teixeira bangs the skins and covers vocals on one track, and Matt McCabe contributes piano on a few tracks. Laying down the honk on tenor sax is Sax Gordon.
There was a time in America, back in the late '40s and early '50s when bands like this were making the best "singles" around, and it was made just like this, on small labels. That was the birth of rhythm and blues. Then a young guitar virtuoso named Ike Turner released a single called "Rocket 88," and they called it rock n' roll. A truck driver from Memphis channeled that sound and brought it to white audiences and it became the most popular music in the world. In the late '50s and early '60s, English kids name John, Paul, George, Ringo, Mick, Keith, Brian, Alan Price, Eric Burdon, Chas Chandler and a host of others gave a new voice to that down home feeling. A the spirit still lives some 70 years later.
This latest installment in the legacy of Duke Robillard affirms that it was no fluke he was Grammy-nominated for the album Stomp The Blues Tonight. It'll also give you a hint of why Duke has been a session player for more mainstream artists like Bob Dylan, Dr. John, John Hammond, has shared a stage with B.B. King and toured with Tom Waits' band. This is rousing and rocking roots music, at it's lowdown best.
01. Quicksand (3:12)
02. Train Fare Home (4:35)
03. Mercy Mercy Mama (3:04)
04. Overboard (3:18)
05. Blues After Hours (4:33)
06. Want Ad Blues (3:58)
07. Do Unto Others (2:27)
08. It's Alright (3:22)
09. Let Me Play With Your Poodle (2:35
10. Tool Bag Boogie (3:10)
11. What's Wrong (3:35)
12. I Ain't Mad At You (3:30)
13. Twelve Year Old Boy (4:31)
14. Later For You Baby (3:18)
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Wednesday, September 21, 2011

Chikenfoot: III (2011)

Reluctantly dubbed as a supergroup, Chickenfoot (consisting of former Van Halen members Sammy Hagar (vocals) and Michael Anthony (bass), solo musician Joe Satriani (guitar) and Red Hot Chili Peppers drummer Chad Smith) released their eponymous debut in early June of 2009. I had the good fortune of seeing the band play two weeks prior to the album dropping, and was instantly a fan despite that I had not yet heard the music. It was hard not to be impressed with the talent, enthusiasm, and sheer spirit funneled into their catchy, hard rockin’ yet melodic tunes. Needless to say, the album itself has since received countless plays and I’ve been anxious for a follow-up. Well, its here… almost… with a scheduled release of September 27th.
Much in the same ‘just for the hell of it’ kind of way the band chose the moniker of Chickenfoot, their second album has been named much in the same vein, calling it Chickenfoot lll (three). Hagar has mentioned that it’s just so on-point they feel as though they’ve skipped album number two. And clearly he’s onto something, because it’s GOOD. With the foursome getting to know each other better over the past two years, its surely lent a hand in getting tighter as a band and experimenting a bit more along the way. Clearly that shows on this release, as it’s not entirely the Chickenfoot sound that was developed on their first outing. Instead, in addition to the familiar rockers fans have grown to love, they’ve also added some slower tempo tracks and have incorporated some blues and pop. Essentially, it’s Chickenfoot and then some.
Surprisingly, Satriani’s renowned guitar prowess takes a bit of a backseat on some of the tracks, but the sweet harmonies of Hagar and Anthony still shine and lend familiarity.
“Last Temptation”, “Up Next”, "Lighten Up", and “Alright, Alright” come off as classic Chickenfoot, as does the lead single and video of the instantly catchy, “Big Foot”. I can see this one as being a staple on the set list of all live performances, as it’s in the same realm as “Oh Yeah” from the band’s debut. However, “Come Closer” manages to slow things down considerably as it explores some R&B terrain and the funked-up “Dubai Blues” features some blues-rock along with a memorable riff.
Along the line of experimental comes “Something Gone Wrong” which offers up some unanticipated banjo along with acoustical guitar, as well as “Three and a Half Letters”, a song prompted by Hagar’s late manager who asked if they could write something pertaining to the current economic situation. Instead, Hagar chose to tackle the subject by reading some poignant letters written to him by fans as they described their suffering. Although the chorus is pure Chickenfoot, those looking for a song that sounds like “Sexy Little Thing” or “Down the Drain” certainly won’t find it here and might choose to skip over it, whereas others might embrace it for what it is and find it well worth a listen.
All in all, it’s a varied album that offers a LOT more than the band’s debut. Really, it’s no wonder they decided to call it Chickenfoot lll.
01.Last Temptation
02.Alright Alright
03.Different Devil
04.Up Next
05.Lighten Up
06.Come Closer
07.Three And A Half Letters
08.Big Foot Chickenfoot
09.Dubai Blues Chickenfoot
10.Something Going Wrong
11.(Hidden Bonus Track)
Buy at Amazon
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Tuesday, September 20, 2011

Embryo: Rache (1971)

Embryo's second album is just as good and important in Germany's early prog history. Largely instrumental and constantly surprising , Rache is a very worthy follow-up to their groundbreaking debut. Those eastern influences meddled in their excellent jazz-rock makes want to create another sub-movement that I would call Folk-jazz-prog (just kidding) but the fact that this is from 71 (the term Fusion did not exist back then ) is certainly of of the earliest examples of World-Fusion music.
01. Tausendfu?ler
02. Time
A) You Can't Wait
B) Eva's Nuvola
03. Revenge
04. Spain Yes, Franco Finished
05. Try To Be
06. Change
07. Tabarinman's Return Pt. 1 (Live, Bonus Track)
08. Tabarinman's Return Pt. 2 (Live, Bonus Track)
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Monday, September 19, 2011

Ben Williams: State of Art (2011)

The baddest new bassist on the block, Ben Williams steps forth from Juilliard by way of our nation’s capital with a point to make. State of Art, the title of his debut release, is just the exclamation point on a body of work that bodes well for the prospect of creativity as career choice. Sufferance and relative poverty included, if this kind of ingenuity is what exists at the other end of the spectrum, then the art world is in pretty good shape. Though Williams is taking his first major turn as front man, this venture to the fore can hardly be construed as a well-earned exercise in selfishness.
What you recognize very quickly is how important the voices of the other players are to Williams, who provides the foundation upon which melody and rhythm are undoubtedly edified. As a bassist, he is likely used to playing that role, but the two differentiations that make this debut effort stand out are how subtly good he is at showcasing the talents of others, and how well he manages to stand out despite what seems like a very deliberate choice to take the back seat on some tracks. What Williams may have discovered is a secret that some musicians miss; a spotlight is not necessarily synonymous with leadership. At no point does he allow his own talent to go unnoticed, which lends to the idea that he is indeed secure enough in his ability to work with the collective potential of his group in mind.
The album begins strongly with “Home”, a track that is ardent and very much concerned with the proliferation of minor chords and funk; this piece quickly becomes a clinic on the beauty in simplicity and gives a sly nod to the aesthetic of Williams’ homebrew, D.C. Go Go music. Whether playing within the the theme or out toward the other musical sensibilities informing it, Williams has melded his influences within jazz in some glaring but very satisfying ways. The track becomes less concerned with deviating from the familiar, and it is at that point within the several seconds before the song fades that Williams and his band display their brilliance.
Over the course of the entire recording, it becomes clear that Williams may have a habit of taunting you with his taste for texture, pocket breaks, and vibrant chords; imagine The Roots’ “Sandwiches” at about an eighth of the standard track length. This, if nothing else, is fuel for the fire that Williams’ band is building. The nuances of these compositions is what will sell albums, sell out shows, and keep patrons in their seats for fear of missing something during a performance. “Moontrane”, the second composition, is equal parts Coltrane and “Crush on You” – the remixed Lil’ Kim classic that exploded in the late 90’s. Foremost is a marriage of saxophones that is pretty phenomenal, if it is okay to be trite for a moment. Marcus Strickland and Jaleel Shaw parallel in the slightly competitive way that suggests they have a lot of fun onstage. The band quiets long enough for Williams to make waves with an unassuming solo; a huge asset being the amount of cool he adds to the group’s performance. Matthew Stevens rounds the track out with a beautiful series of guitar licks.
What is curious is whether Williams and his cohorts are aware of how effortlessly their performance expands into other genres, contracting back into jazz with very little attention to the formality of an official segue or some other sort of signifying departure. If Williams’ band is working within any discernible confines, they are likely to avoid acknowledging them publicly. Testing limitation by abandoning the idea altogether allows this band to work at pleasing their collective ear first. In doing so they infuse a healthy dose of reckless abandon into the creativity driving the effort. The project stands alone and is not beholden to the conservatism of specific definition, which is extremely important for any releases Williams and company have up their sleeves in the future.
“Lee Morgan Story” is an ode to the Sidewinder himself, speaking to the prolific life and untimely death of Lee Morgan with great charm, thanks in large part to the words of emcee John Robinson. “Dawn of A New Day” continues as the meeting of a contemplative moment and a sweet gesture. Channeling Mingus’ monologue at the start of “Hora Decubitus” in a roundabout sort of way, Williams offers the “Little Susie Intro” before the band delves into a very emotionally charged piece, with a cover of Michael Jackson’s “Little Susie”. The track moves from sparse bass riffs to a driving orchestral tour de force fronted by saxophone. Pain seeps through the track in a fashion similar to Terence Blanchard’s scoring of “When The Levees Broke”, Spike Lee’s post-Katrina opus. The standout amongst many bright spots in the composition is Gerald Clayton’s work on piano combined with the deliberate and equally adept hand of Jamire Williams on drums. By the end of this track, it is clear that none of the musicians playing on this album are rookies. Other standouts include “November” and “Moonlight In Vermont.”
“November” begins and ends at the helm of Williams’ bass as he plows through a stomping piano chord, propping the horns up quite nicely. “Moonlight In Vermont” is a bit eery and sounds ripe for the remixing talents of someone like Flying Lotus. Williams’ D.C. upbringing becomes an interesting footnote in this case, considering how much this track is reminiscent of the fellow District native, Me’Shell Ndegeocello’s sound. The last few tracks are where Williams and his mates make quick work of stretching their legs, getting comfortable, and showing the diversity of their chops – something it seems they have only just begun to do.
Personnel: Ben Williams (bass); Matthew Stevens (guitar); Marcus Strickland (soprano saxophone, tenor saxophone); Gerald Clayton (piano, Fender Rhodes piano); Jamire Williams (drums); Etienne Charles (percussion).
01. Home (Williams)
02. Moontrane (Shaw)
03. The Lee Morgan Story (Robinson)
04. Dawn of a New Day (Williams)
05. Little Susie (Intro) (Williams)
06. Little Susie (Jackson)
07. November (Williams)
08. Part-Time Lover (Wonder)
09. Things Don't Exist (Bhasker, Goapele)
10. Mr. Dynamite (Williams)
11. Moonlight in Vermont (Blackburn, Suessdorf)

Warren Wolf: ST (2011)

Vibraphonist Warren Wolf has a light and dexterous sound that makes this album an appealing mainstream jazz experience. He in joined on this recording by Christian McBride on bass, Peter Martin on piano, Greg Hutchinson on drums, Tim Green on alto and soprano saxophone, and Jeremy Pelt sits in on trumpet for a few tracks. Opening with “427 Mass. Ave." the music is upbeat with a touch of funk and nice drumming. Pelt adds some punchy trumpet to the festivities, and there is a fine elastic bass solo in addition to vibes and drums interplay. The fast paced hard-bop continues on “Sweet Bread" with deeply swinging vibes and strong saxophone. Deeply rounded saxophone and drums with vibes accenting carries “Eva" with potent saxophone and percussive vibe solos highlighted. The dynamic “Katrina" begins appropriately with a haunted melancholy feel, before developing dynamically with fast and percussive vibraphone. Powerful saxophone and a deeply elastic bass feature drive the music through to its conclusion. Full blast bebop oriented jazz is the order of the day on “One for Lenny" opening with a rapid bass solo, and then moving into a lightning fast vibes and bass feature. After a fast and nimble saxophone solo, McBride gets a nice bowed bass feature backed by light mallet accents. This was a fine all around album, sure to appeal to mainstream jazz enthusiasts. The band was comfortable and impressive at any speed from bop to ballads and worked very well together.
Warren Wolf endearingly admits to being "kind of flashy" and he certainly does get around on both vibraphone and marimba. There's a lot more than mere flash about his playing, though. No matter how fast and complex his improvisations, there is a clear thread of unfolding melody, spiced with harmonic ingenuity. At 31, this is his debut album as a leader, although he's been attracting attention with Christian McBride's band since 2007. Wolf is a forceful, even rugged, player compared with, say, Gary Burton and just listening to him can leave you a bit boggle-eyed, but he's a musician to be reckoned with, no doubt about it.
01. 427 Mass Ave
02. Natural Beauties
03. Sweet Bread 6:03
04. How I Feel At This Given Moment
05. Eva
06. Senor Mouse
07. Emily
08. Katrina
09. One For Lenny
10. Intimate Dance
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Saturday, September 17, 2011



Prisma X: Instantes (2006)

Prisma-X is a Chilena band that enthusiatically delivers a powerful prog-jazz sound, patently influences by LTE, Tribal Tech, CAB and, perhaps to a degree, Planet-X and Colosseum II. There's plenty of room for guitar expansions (riffs, melodies, harmonies), with leading lines that may remind us sometimes of Holdsworth, or Satriani or Steve Howe. The rhythm duo manages to make soft transitions between fynky vibes to hard rock foundations whenever the specific track's mood demands it. Alejandro Gajardo is the current Prisma-X keyboardist, but this recording was done with the former one, Mauricio Nader, who was practically the one in charge of preserving the band's progressive aspect all throughout its preferentially jazz-rock ambiences. 'Despertar del Sol' is a solid intro based on chord progressions that are developed with a constrained pomposity, that is, before the agile 'Slick Groove' reveals the first explosion of sounds, being as it is a catchy mixture of jazz-rock and symphonic prog. 'Pero No Importa' keeps up with the climax created by the previous track, albeit with a slight predominance of the jazz-fusion factor. 'Polos' simultaneously brings an enhanced rocking manifestation of the dual guitars and a groovy funky spirit. Sometime before the arrival of minute 2 things get a bit prog- metallic, although keeping things ordained, never falling into exaggerated pyrotechnics. A great synth solo and a top-notch fina lguitar lead for this one. There is no way that the attention of the jazz-rock friendly progressive listener wanders on with this album so far: the amounts of energy and catchiness have just been captivating. The mid-tempo 'Si Volase' turns things into a more melancholic moodt: the main motif is compositionally simple, with the musicians providing soft arrangements in order to make the music flow naturally. 'Kalos Eidos' (Ancient Greek for the Platonic absolute beauty) goes on with the air of solemnity already introduced in the preceeding track, with a slower tempo and a clever use of keyboard layers, in this way, giving the band's sound a cosmic nuance that feels new in this repertoire. Even though for the last minute the band's sound gest a bit more intense, the fact is that the track's mood remains consistently introspective. 'Plenitud' is a pian osolo augmented by a multi-synth orchestration, a sort of Nader's tribute to Wakeman that works as a prelude to 'Simplest Word', yet another serene track. 'Aqui Les Va' finds the band returning to their extroverted facet in full swing, making good use of their jazz, hard rock and funky chops in a consistent progressive guise. This track creates a special momentum that is immediately capitalized by the more energetic 'Sopapo', an electrifying number that would have made Scott Henderson or John Petrucci proud if any of them would have written it. Well, it's a Prisma-X composition, ladies and gents! 'Misiva' is less pompous and more refreshing than any of the previous two tracks, which is only natural since it heavily relies on the confluence of funk and melodic rock. The albums is wrapped up by the longest track, 'Ancestros', which is also the most complex one regarding composition and arrangements. The set of contrasts is well constructed and the instrument's dialogues are mutually well-oiled: the keayboardist really shines in some dramatic moments comprised in the middle section. IMO, tracks 2, 3, 10 & 12 are the album's definitive climaxes, with a special mention to 'Kalos Eidos' concerning the band's introspective side. Instantes is an excellent prog-jazz album that shows how well Latin American bands are assuming foreign influences and making their own thing out of them: Prisma-X is a very goos example of this.
01. Despertar Del Sol (1:44)
02. Slick Groove (4:15)
03. Pero No Importa (4:12)
04. Polos (5:31)
05. Si Volase (4:20)
06. Kalos Eidos (4:32)
07. Plenitud (1:59)
08. Simplest Word (4:40)
09. Aqui les Va (4:12)
10. Sopapo (5:56)
11. Misiva (3:39)
12. Ancestros (7:09)
- Jose Tomas Mujica / guitar
- Felipe Moroni / guitar
- Alejandro Gajardo Repetto / keyboards
- Felipe Leyton / bass
- Eduardo Moroni / drums
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Friday, September 16, 2011

Stick Men: Absalom (2011)

Stick Men is a new Eclectic Prog supergroup - a power trio with members that do not need special introductions: they're Tony Levin and Michael Bernier (both, of course, on Chapman Sticks and vocal duties; Bernier occasionally occupying the drummer's stool as well) and Pat Mastelotto on drumsticks. Needles to say, the fans of crimsonian prog will love it; there's also a lot of jazz and heavy chugging bursts, as well as avant moments and African soundscapes. A school example of Eclectic Prog that will most likely became a household name.
1. Absalom (5:20)
2. Smudge (5:15)
3. Big Dog (4:44)
4. Crack In The Sky (6:06)
5. Time’s Insane Ashes (3:50)
6. Pomegranate (5:44)
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Thursday, September 15, 2011

Steve Khan: Parting Shot (2011)

Parting Shot represents a most special moment for Steve, because it is the first time that he has felt ready to present an entire recording dedicated to Latin Jazz. Anthony Jackson, Manolo Badrena, and Steve are together yet again, alongside their bandmate of 20 years, Dennis Chambers, where, joined by master Latin musicians, Marc Quinones and Bobby Allende, they have crafted these 10 pieces of music. It is their hope that everyone will enjoy the recording to the fullest, Vaya!!!
1. Chronology
2. Los Gaiteros
3. Change Agent (El Catalizador)
4. Bye-ya
5. Maria Mulambo
6. Influence Peddler (Traficante de Influencias)
7. When She s Not Here (Cuando Ella no Esta)
8. Blues Connotation
9. Zancudoville
10. Just Deserts
Steve Khan: guitar
Anthony Jackson: contrabass guitar
Dennis Chambers: drums
Manolo Badrena: percussion, voice (5, 10)
Marc Quinones: timbale, bongo, percussion
Bobby Allendes: conga
Rob Mounsey: keyboards (9), orchestrations (2, 4, 6 7)
Tatiana Parra: voice (6)
Andres Beeeuwsaert: voice (6)
Buy at Amazon
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Ana Popovic: Unconditional (2011)

Ana Popovic is widely regarded as one of world's very best female guitar-players. Her new album, "Unconditional," was recorded at the famous Piety Street recording studios in New Orleans and is Ana's sixth studio release. It was produced by Ana Popovic and Grammy Award winning producer John Porter. Of the album's twelve songs, eight are originals by Popovic, from which two are co-written by writing partner Mark van Meurs. Also on the album are songs gleaned from the rich blues history done by some of Ana's favorites, including Koko Taylor, Buddy Guy, Otis Spann, Nina Simone and Sugar Pie DeSanto. "The title 'Unconditional'," Ana explains, "describes what I feel on stage. That place is simply unconditional. It is magical. It's just me and my guitar, notes, sounds and drum grooves. I let the band lift me up, and I feed off of their energy. I hate to think when playing. I only feel. Unconditional is how I stand towards my music - it's mine, it's sacred, and it's with no boundaries – absolute, definite. I tend to put everything I have into it and don't let anything or anyone get in between, except the people that truly inspire me."
The modern blues world has its share of artists who excel in some areas but fall short in others. For example, someone who excels as a guitarist might be merely adequate as a singer; or, someone who excels as a songwriter might be merely an average singer and not play an instrument particularly well. But Ana Popovic is a triple threat: she is an excellent singer, an excellent guitarist, and an excellent songwriter. And her strength in all of those areas is evident on Unconditional. The native of Belgrade, Serbia (formerly Belgrade, Yugoslavia) includes one instrumental on this 2011 release: the intense "Slideshow," which gives her a chance to really let it rip on her electric guitar and show just how strong her chops are on that instrument. Popovic rocks aggressively hard on "Slideshow," and there is also plenty of hard-rocking intensity on "Count Me In" (a Popovic original) and Cora Taylor's "Voodoo Woman." Meanwhile, Popovic's love of classic soul comes through loud and clear on "Your Love Ain't Real," "Reset Rewind," and "Summer Rain" (all of which she either wrote or co-wrote). She is blues-oriented, but she has never claimed to be a purist or made any secret of her passion for rock, soul, and jazz, and speaking of jazz, she gives us a very pleasant surprise on a burning performance of Nat Adderley's "Work Song." The Adderley standard has often been performed as instrumental soul-jazz/hard bop, but the lyrics that Oscar Brown, Jr. wrote for "Work Song" have been performed by quite a few jazz vocalists; Popovic's version is unusual in that it rocks so hard, and isn't without an awareness of jazz, but she definitely adds plenty of blues-rock muscle to an Adderley classic. Listeners who have enjoyed Popovic's previous releases will find that her high standards are very much intact on the consistently absorbing Unconditional.
01. Fearless Blues [03:14]
02. Count Me In [04:54]
03. Unconditional [03:52]
04. Reset Rewind [03:38]
05. Slideshow [05:21]
06. Business As Usual [03:22]
07. Your Love Ain't Real [04:15]
08. Work Song [04:01]
09. Summer Rain [04:36]
10. Voodoo Woman [04:11]
11. One Room Country Shack [06:32]
12. Soulful Dress [02:53]
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Tuesday, September 13, 2011

Ari Hoenig: Lines of Oppression (2011)

“He swam toward reggae and away from it; he played patterns between snare and high-hat that distantly suggested drum-and-bass rhythm, but didn’t stick around long enough to be identified; he sped through disco and parade rhythms in five-second stretches; he used his sticks to add extra hits to the bass drum; with mind over matter, he played a melodic solo on the rims of his drums.” -The New York Times
Tracklist:1. Lines of Oppression
2. Arrows and Loops
3. Wedding Song
4. Rhythm
5. Rhythm-A-Ning
6. Moanin'
7. Love's Feathered Nails
8. Ephemeral Eyes
9. How High the Moon
10. Higher to Hayastan
Ari Hoenig - drums, vocals
Tigran Hamasyan - piano, vocals, beat box
Gilad Hekselman - guitar, vocals
Orlando Le Fleming - bass
Chris Tordini - bass, vocals

Monday, September 12, 2011

Luguzi Atkins: Emotions Of My Heart (2011)

A dynamic debut album from an up and coming Jazz musician, featuring something flavorful for every musical palate. Contains love songs, songs that will make you bob your head, and songs to make you smile... There's something for everyone on this CD!!
1. Feel Me (3:14)
2. Hypnotic (2:49)
3. Take Me There (3:46)
4. Angelic Jazz (4:00)
5. Emotions Of My Heart (4:57)
6. Getting To You (3:50)
7. In the Mood (3:08)
8. Take Your Time (3:29)
9. All I Ever Think About (4:06)
10. Quietly Waiting (4:31)
11. Psalm 145 (5:26)
12. Your Love (4:56)
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Friday, September 9, 2011

Federico Parmolella: Keep on Groovin' (2011)

F.P.: Keep on Groovin´ was made in memorie of Ezequiel Iturrieta, one of my best friends who past away resently, and was the principal
inspiration of it. The meaning of Keep on Groovin´is the friendship, love and respect for all, and a motive for continuing.
Federico Martin Palmolella - Composer/Arranger, Bassist & Contrabassist of Jazz/Tango player, he participate in various national and international festivals with the "Typical Cerda Negra Orchestra", Youth International Tango Festival in 3 opportunities, International Buenos Aires Tango Festival VII, VIII and IX issues, sharing the stage with artist likes Mariano Mores, Leopoldo Federico, Sexteto Mayor, Juanjo Dominguez, among others. Elected as the orchestra tribute to the Maestro Horacio Salgan for the awards TEA. Justo Daract Festival (San Luis-Argentina) I, II and III issues, International Tango Festival Pto Madryn 07, among others... In 2006 traveled on behalf of music Argentina to Germany to participate in different festivals, International Youth Festival in Stuttgart and Waldorf Uberliguen Festival, among others. In 2008; he played in France for the festival "Ma ville est Tango" held in the city of Menton. Also participated in various National and International Festivals of Jazz, the International Jazz Festival Vte Lopez sharing the stage with greats Mussicans like Walter Malosetti, Roxana Amed and National and International Sadaic´s Festivals of Jazz with Walter Malosetti, Palo Pandolfo, Kevin Johansen, Soledad Pastoruti, Raly Barrionuevo, Argentino Luna, Adriana Varela, Ruben Juarez, among others. Actually he is presenting his first albumn soloist, KEEP ON GROOVIN´, edit in this year 2011, with all new compositions, Federico Palmolella Jazz Sextet if formed with, Horacio Leotta on trumpet, Rafael Noceti on guitar, Mariano Casanovas on drums, Tomás Fares on piano and Francisco de Rosa on sax. He study in different conservatories in the country, Conservatory Popular of Avellaneda, Conservatory Juan Jose Castro (Classic) and the Argentine Union of Musicians (SADEM). In particular shape also studied with Robert Seitz, Carlos Madariaga (in 2 chances) (Peysere Sebastin bassist, among others), Marcelo Torres (ex-Spinetta Socios del desierto ), Norberto Planas (contrabassist of the Orchestra of the Teatro Colon and Camerata Bariloche) and Guillermo Ferrer (Final contrabassist of the Orchestra of Osvaldo Pugliese), is currently studying with Alfredo Remus (contrabassist of Vinicius Morais do, Lalo Schifrin, Tony Bennett, among others)... His big influences are Jaco Pastorius, Miles Davis, Bill Evans, Pat Metheny, Keith Jarrett, John Coltrane, Charlie Parker, John Scofield, among his favorites and untouchable in the jazz and tango, Osvaldo Pugliese, Horacio Salgan, Anibal "Pichuco" Troilo, and Astor Piazzolla.
01. Blues for Ez (Take No1)
02. Microhisteria
04. Printuk
05. A1 (Batalla Naval)
06. Pupo's song
07. Blues for Ez (take No2)
Federico Parmolella - bass
Horacio "Kidory" Leotta - Trumpet (1-3-5-7) & Flugelhorn (2)
Francisco de Rosa - Tenor sax (2-3-5)
Rafael Noceti - Guitar (1-2-3-5-7)
Mariano Casanovas - Drums (1-2-3-5)
and the Special guests:
Pablo Elorza - Electric bass & loops (4)
Santiago Hernández - Drums (4) & Percussion (6)
Carlos Riganti - Drums (7)
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Thursday, September 8, 2011

Bernard Harris: Basses Covered Two Favour (2004)

Just when you think you've heard it all in music, along comes Bernard Harris, a young, gifted artist who delivers an entirely unique ensemble-performance concept as a lead bass guitarist. Bernard Harris appropriately in the new millennium has advanced the creative envelope to develop the bass melodically into a strikingly rich group sound. A naturalist at making the Piccolo Bass come alive Harris is a product of Raleigh, NC, one of the South's geographical mixing bowls of Black culture. Now residing in Nashville, Tennessee, his musical creativity has soared and has opened up a pathway of opportunity beyond an instrumentalist on Bass to a Solo artist, with rhythm and style beyond his years! Having grown up amid a flux of influences from quartet to choir, his first musical experience began with the piano and drums, to the bass guitar, where he was destined & belongs, Harris has wasted no time in performing around the region, quickly becoming a name attraction and gaining a substantial fan following. And with the debut release of his CD, Basses Covered, momentum is in his favor. Harris isn't the first young Turk to come along and unlock the secrets of a musical instrument. But he has grasped the baton and is delivering a flavor, flair, and undeniable passion that could make him one of the industry's most sought after musicians. He made his mark here in the States, and pretty soon he'll be treading International waters.
1. When the Battles Over
2. People Get Ready
3. Loving You
4. Generosity
5. Goin' Up Yonder
6. Available To You
7. Bass City
8. Favour
9. Amazing Grace
10. Leaning
11. Just Another Day
12. O Happy Day Bonus Track
13. Goin' up Yonder Bonus Track
14. Christmas Prayer Hidden Track
Basses Covered Two Favour
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Brett Garsed: Dark Matter (2011)

Brett Garsed is an Australian guitar player. He plays with, among others, John Farnham and T. J. Helmerich and is a former member of the band Nelson. Garsed was featured on Derek Sherinian's debut solo release Planet X (1999).
"With chops and phrasing that most guitarists only dream of attaining, Garsed shows yet again why he deserves to be a household name in the world of rock-fusion."- Michael Mueller, Guitar Instructor, July 2011
"This is bold, brave stuff, rife with adventurous arrangements, tones both cool and crass, and fret-burning solo work, and you aren’t likely to hear many guitar records like this."- Ric Hickey,, July 2011
""Dark Matter" is the second solo release from this Australian guitarist, one of the finest fusion based releases you will come across - maybe ever!"- @b2jazz, July 2011
"I knew it was going to be good but in fact it’s way better than that."- Jon Guitar Noize, July 2011
1.Dark Matter
3.If Only
4.Avoid The Void
5.James Bong (License To Chill)
7.Poison Dwarf
8.Be Here Now
Brett Garsed - guitar
Ric Fierabracci - bass
Phil Turcio - keyboards
Gerry Pantazis - drums
Virgil Donati - drums on "Dark Matter"
Craig Newman - bass on "Enigma"
Ric Fierabracci - bass solo on "Enigma"
Dark Matter
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Wednesday, September 7, 2011

Wynton Marsalis & Eric Clapton: Play The Blues: Live From Jazz At Lincoln Center (2011)

United by dalliances with purism as young men and an abiding love of classic blues and jazz, Eric Clapton and Wynton Marsalis are a more comfortable fit than it may initially seem. Both musicians are synthesists, not innovators, stitching together elements from their idols in an attempt to preserve the past while bringing it into the present, so their sensibilities are aligned and, in 2011, they're amenable to a partnership that explores their common ground. So, Clapton and Marsalis held a series of concerts at New York City's Jazz at Lincoln Center in April of 2011, the guitarist selecting the songs (apart from "Layla," performed upon the request of bassist Carlos Henriquez), the trumpeter picking the band and working up the arrangements, using King Oliver's Creole Jazz Band as his template yet finding room for piano and, of course, guitar. Clapton's choice of songs leans heavily toward the '20s -- so much so that the dip into postwar electric blues via Howlin' Wolf's "Forty Four" feels a bit of a shock -- and the arrangements are faithful to classic New Orleans jazz yet loose, never quite hidebound to tradition and finding plenty of space for every one of the players to roam; Clapton and Marsalis surely solo plenty, but so do trombonist Chris Crenshaw, clarinetist Victor Goines, and pianist Dan Nimmer. There's not much ego on display -- even the inclusion of "Layla" doesn't feel forced, thanks to Marsalis' inventive New Orleans funeral arrangement of this overly familiar tune -- but the joy is palpable and the chemistry natural. Compared to Wynton's duet albums with Willie Nelson, this is both more traditional and riskier, and compared to Clapton's latter-day duets with B.B. King and J.J. Cale, this finds the guitarist none too deferential. These are consummate musicians united by playing music they love, and their passion resonates so strongly it's hard not to enjoy Clapton and Marsalis playing the blues. ~ Stephen Thomas Erlewine
New York City's premier jazz venue got the blues last April when Wynton Marsalis and Eric Clapton performed together in Rose Theater at Frederick P. Rose Hall, home of Jazz at Lincoln Center for two sold-out shows dedicated to vintage blues. The extraordinary collaboration, billed as Wynton Marsalis & Eric Clapton Play the Blues, paired these musical virtuosos with members of the Jazz at Lincoln Center Orchestra as they brought to life a repertoire of songs selected by Clapton and arranged by Marsalis. This CD/DVD combo features selections taken from the two public concerts (April 8-9), as well a special performance for Jazz at Lincoln Center's annual gala (April 7). Wynton Marsalis & Eric Clapton Play The Blues - Live From Jazz At Lincoln Center.
01. Ice Cream ( 7:38)
02. Fourty-Four ( 7:12)
03. Joe Turner's Blues ( 7:48)
04. The Last Time ( 4:18)
05. Careless Love ( 7:43)
06. Kidman Blues ( 4:20)
07. Layla ( 9:08)
08. Joliet Bound ( 3:50)
09. Just A Closer Walk With The (Feat. Taj Mahal) (12:20)
10. Corrine, Corrina (Feat. Taj Mahal) (10:21)
Wynton Marsalis & Eric Clapton Play The Blues
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Adam Rafferty: I Remember Michael (2011)

Relive the magic of "MJ" as guitarist Adam Rafferty performs 15 of Michael Jackson's most well loved songs on solo acoustic fingerstyle guitar. Adam started the "Michael Jackson Fingerstyle Explosion" with his solo guitar YouTube version of "Billie Jean" which is up to 1.3 million hits at the time of this writing. Beautifully recorded and mastered, this CD will get you singing along, tapping your feet, grooving, and maybe even dancing!
1. I Want You Back
2. Rock With You
3. Human Nature
4. The Way You Make Me Feel
5. I’ll Be There
6. Thriller
7. Liberian Girl
8. ABC
9. Ben
10. Don’t Stop Till You Get Enough
11. Lady In My Life
12. Billie Jean
13. She’s Out of My Life
14. Off the Wall
15. Man In the Mirror
I Remember Michael (a Michael Jackson Solo Guitar Tribute)
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Friday, September 2, 2011

Dave Liebman: The Seasons (1993)

David Liebman is at his best in pastoral, ethereal situations. This trio session, recorded in 1992 and '93, contains both lengthy tunes and shorter works in which Liebman's intense soprano sax and flute and more robust tenor solos are nicely supported by Billy Hart's sensitive yet assertive drumming and Cecil McBee's bass work, which provides whatever is necessary, from interaction to competition. The three never become detached or predictable and don't allow the music to lose its edge. The songs don't have a propulsive rhythmic quality, but never lack appeal or distinction. - AMG
1. Sunrise 3:33
2. Fall 11:01
3. Dawn 3:39
4. Winter 7:56
5. Dusk 3:08
6. Spring 9:49
7. Summer 10:01
8. Sunset 3:23
David Liebman — Flute, Sax (Soprano)
Cecil McBee — Bass
Billy Hart — Drums, Percussion
The Seasons
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Nucleus: Snakehips Etcetera (1975)

Nucleus began its long jazz-rock journey in 1969, when it was originally formed by trumpeter Ian Carr. They attracted a following after a successful performance at the Montreux International Festival in 1970, which led to the critical success of albums Elastic Rock and We'll Talk About It Later. The other members consisted of saxophonist Karl Jenkins, drummer John Marshall, and guitarist Chris Spedding. Spedding split after the first two albums, but the rest of the lineup lasted until 1972, when Jenkins and Marshall both left to join Soft Machine. Belladonna was the first album with only Carr, and although he enlisted the help of guitarist Allan Holdsworth, the band eventually became a solo venture for his music. They finally broke up in the mid-'80s after several Carr-only albums.
01. Rat's Bag
02. Alive And Kicking
03. Rachel's Tune
04. Snakehips Etcetera
05. Pussyfoot
06. Heyday
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Thursday, September 1, 2011

Richie Kotzen: I'm Coming Out (2011)

This is 2011 compilation of 16 tracks from his first four Japan only solo albums.
One of numerous virtuoso electric guitarists to debut on Mike Varney s cult favorite Shrapnel label in the late 80s, Richie s versatility rapidly distinguished him from the pack, allowing him to build a remarkably diverse career as a guitarist, singer, and songwriter over the last 20 years.
01. I'm Coming Out
02. Moonshine
03. No Reason
04. World Affair
05. Something To Say
06. What Makes a Man
07. Holy Man
08. Camoflage
09. What is
10. Locked Out
11. Cross the Line
12. I'm Loosing You
13. The Feelin's Gone
14. You Don't Know
15. I Don't Belong
16. My Addiction
Im Comin Out
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