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Album · 2017 · Progressive Big Band
Cover art 4.00 | 1 rating
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On first listen you will find it hard to believe that “EE-YA-GI” is only the first album released by big band leader Hyeson Hong. Such a well developed approach to arranging is rare with a debut recording, but truth be told, Hyeson is hardly a newbie as she has been leading ensembles in both Korea and New York City for some time now. Its only appropriate that she has finally been given a chance to share her sophisticated writing and arranging with the rest of the world. There are seven tracks on “EE-YA-GI”, and each one stands as their own separate colorful world of sounds and melodies. Hong’s approach is rooted in the modern big band sounds of Thad Jones and Mel Lewis, plus some exotic colors reminiscent of Don Ellis, some modern 3rd stream influence ala Marie Schneider, and even some sophisticated pop sass in a vein similar to Quincy Jones. To all this Hong often adds melodies taken from her native Korea, the end result is an infinitely interesting orchestral extravaganza that is all her own. The talented 18 piece orchestra of New Yorkers that Hong leads on her debut album is accented by Marie Schneider alumna such as Rich Perry on tenor sax and Ingrid Jensen on trumpet. The wordless vocals of EJ Park adds much exotic color to many of the melodies, and Korean vocalist, Subin Park, leads “Boat Song” with a traditional ‘Chang’ song.

The aforementioned “Boat Song” probably carries the most Korean flavor, while album opener, “Harvest Dance”, also displays much melodic content from Hong’s homeland. “Disappearing into Foam” and “Love Song” are melodic and romantic, while “Trash Digging Queen” (an ode to Hyeseon’s misbehaving pet dog), has a hectic and almost comical arrangement that features constantly shifting rhythms. Possibly an album highlight though is “Para Mi Arrigo Distante”, which features a rib-sticking melody that recalls some of Quincy Jones best work in the 60s. Modern big band enthusiasts take note, “EE-YA-GI” is complex and challenging, but also fun and buoyant too. Such an excellent balance, lets hope there will be many more albums from Hyeseon Hong in the near future.

GERALD CLAYTON Tributary Tales

Album · 2017 · 21st Century Modern
Cover art 3.95 | 2 ratings
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I never heard about Holland-born American pianist Gerald Clayton till one autumn night in 2010 when I saw him playing on his first European tour soon after the release of his debut album as leader. Leading muscular all-acoustic groovy trio,Clayton sounded as another "cat" playing quite mainstream jazz with rare freshness and without even a touch of sentimentality or nostalgia (both often destroy great artists music turning it to archival self-parody).

Only after I listened to his both debut and soon released second album, but saying true has been a bit disappointed. Somehow recorded music obviously missed that freshness and modernity which I found such attractive on Clayton live gig.

Now, after some years to come,I gave Clayton another chance and was really pleasantly surprised. Same acoustic trio has been improved with strong 3-piece reeds section (incl. Logan Richardson and Dayna Stephens on saxes and Ben Wendel on bassoon), two percussionists, two poets/spoken word artists and singer Sachal Vasandani. What is even more important - rooted in same neo post-bop,music here is tightly composed by Clayton himself, and he demonstrates non-nonsense composition abilities.

Leading quite a big combo, Clayton never overuse arrangements and as a result tuneful and complex music sounds tasteful if not minimalist. Spoken word pieces are as always an acquired taste, but at least here them don't destroy impression from album's music in whole. Band sounds best on instrumental compositions where post bop rhythmic structures organically interweave with modern composition without becoming too lifeless or frozen-formal as on some third steam recordings. Japanese edition contains Count Basie's "Blues For Stephanie" as bonus.

Serious step ahead and one great modern jazz album containing music attractive for listeners of different tastes.

TAL COHEN Tal Cohen & Danielle Wertz : Intertwined

Album · 2017 · Vocal Jazz
Cover art 4.50 | 1 rating
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The voice of an angel, supported by an able and crafty pianist is what you will get when listening to Intertwined, joined on tracks “Beautiful Love,” and “Autumn Leaves,” by saxophonist Jamie Oehlers, the trio, which is mostly a duo, have created a deliciously engaging offering.

Why is it special you ask? This answer is found in Wertz voice, she has a pure and crystalline tone, each word is given meaning. As a listener, I found myself constantly being entranced by her voice. Unlike many of her contemporaries there is truth in her voice, it’s not prattled with theatrics, or acrobatics, hers is a voice that just speaks through beauty, as if each word is like honey dripping from her lips. Many of the vocalists that are so long lasting in our minds, exhibit these same qualities, it is their ability to honestly convey the lyric that is so appealing. Though young in age, Wertz is matured in her delivery, rounded in her ideas, and savory in her lines.

Fine examples of this are exhibited on tunes like “Beautiful Love,” opened by saxophonist Jamie Oehlers, whose tone is refined and unaffected. Augmented by pianist Tal Cohen, the three work through the nuances of the tune, with hits and accents that embellish the lyric with interest. Wertz uses her voice as a vehicle that conveys the lyric, but also as a unified instrument contributing to the overall success of the track.

The title track “Intertwined,” is a wordless melody that Wertz works with the dynamics of her voice, just as a horn in a duo setting. She opens and closes her voice and uses swells to create useful texture changes, passages and solo lines with pianist Tal Cohen, which I might add are very effective. The two meld as a perfect instrument of song. Many times, with duo recordings, you find yourself noticing the spaces a bit too much. Cohen’s colorizations support and add interest and Wertz interacts with seamless resolve.

A bit father into the program we stop at “Manhattan in the Rain,” a moody reflective piece written by Duncan Lamont. Wertz’ delicate treatment is convincing, while Cohen creates a canvas of beautiful flowing lines, almost like a windy day with raining streams. You can hear the smile and joy in Wertz voice as the blossom of love, is in the air.

Overall, Intertwined is a delightful intertwining of what is best about young artists. Untarnished by the politics of music, what is brought forth is pure, innocent and simply beautiful. The promise of the moment, and being able to be free enough to live it, in the moment. This is a lasting work for a debut offering, and certainly it makes sense why Wertz was semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition. She certainly has won me over.

MARQUIS HILL Marquis Hill, Jeff Parker, Joachim Floren, Denis Fournier : Escape Lane

Album · 2017 · Avant-Garde Jazz
Cover art 4.50 | 1 rating
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There was a time when the idea of a relaxed or even ‘mellow’ approach to free jazz improvisation would have been quite the oxymoron in a genre usually given to intense emotional outbursts, but those days have long passed. It was the Art Ensemble of Chicago and other AACM artists who introduced the idea of free improv as a collection of minute events that could easily move from quiet to very intense, depending on the intent of the performer. Since then, the innovations of this Chicago Ensemble have taken root and today’s free jazz improviser is freer than ever, and welcome to explore his craft in any mood desired, including this mostly very mellow set by the new ensemble, Escape Lane, on their equally new release of the same name. This may be somewhat relaxed sounding music, but the concentration of these performers, and their imaginative approach to their instruments is just as intense as a room full of screaming tenor saxophonists of times past, or present.

There is an interesting mix of approaches here amongst the four musicians involved. Trumpeter Marquis Hill remains mostly melodic throughout, recalling similar approaches by fellow trumpeters such as Booker Little and Don Cherry, who also kept a melodic approach while often being surrounded by a maelstrom of activity. Drummer Dennis Fournier often recalls Paul Motian’s ability to sound vaguely busy, yet relaxed, while on cuts like “Lever de Soliel…” he introduces a Billy Higgins style African influenced groove, only to let it go halfway through the proceedings. Guitarist Jeff Parker can recall Jim Hall, but also is the one most apt to go for pure sounds and noises, which he finds without any effects or devices by using the physical quality of his strings and the volume knobs on his guitar. Bassist Joachim Florent, like many a jazz bassist, is a bit in the background and could have used a little more boost in the mix, but he still gets a few moments to step forward.

Most of the music played on here is truly ‘free’ in that the band rarely gets on a shared groove except for the aforementioned opening to “Lever de Soliel …”, as well as the closing of that same lengthy (20 minutes plus) track when Fournier goes into a bit of a post bop ride. “Rough Grooved Surface” is a break from their usual relaxed approach as the band builds to a climax driven by Fournier’s free bop drive and capped by Jeff Parker’s frantic guitar solo that recalls AACM’s Michael Gregory Jackson. After this, the album closes with “Une Petit”, which ends things with Hill soloing melodically over Parker’s sparse string noises.

“Escape Lane” is a highly creative and focused album and one of the best jazz albums of 2017, avant-garde or otherwise. Its also one of the better free jazz records in the entire 55 plus years of the genre. Listening to the unobtrusive approach of these musicians might have you wondering, is this the sound of lounge music in the new century, now that would be something.

LARRY NEWCOMB Larry Newcomb Quartet with Bucky Pizzarelli : Living Tribute

Album · 2017 · Swing
Cover art 3.50 | 1 rating
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kev rowland

Mostly an instrumental album, this captures the Larry Newcomb Quartet with Bucky Pizzarelli working through a series of numbers that vary in age from covers dating as far back as 1932 and brand-new originals. Each of the eleven songs are dedicated to individuals who have had an immensely positive impact on Larry, most particularly Dick Hall who passed away in June 2016. Larry is an incredibly thoughtful guitarist, never using a multitude of notes when just a few will do, concentrating instead on the tone he is getting out of his instrument, and fitting in with the music around him.

Although he has studied with many jazz masters, including Bucky Pizzarelli himself, he has also looked further afield so that Hank Marvin can be heard to have been an influence, as well as B.B. King. He is a complete master of his instrument, and the result is an album that is incredibly easy to listen to, with drummer Jimmy Madison, bassist Dmitri Kolesnik and pianist Eric Olsen all as one, creating a sound that the listener wants to dive into and immerse themselves with. Melodic, improvisational, and always in control, this is an album where the music is far more important than any individual player. A wonderful piece of work.

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Album · 2010 · Avant-Garde Jazz
Cover art 4.00 | 1 rating
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Sax player Jon Irabagon is better known as co-founder and co-leader of funny no-nonsense avant-garde jazz parody-circus Mostly Other People Do The Killing (MOPDTK). Irabagon as his own projects leader is usually more serious, more innovative, more experimental and in moments not less humorous.

"Foxy" is a great example. Just looking on the album's cover one can easily recall Sonny Rollins' "Way Out West" from 1957. Irabagon runs on "Foxy" same tenor-double bass-drums trio as Rollins did more than half of a century ago, just Jon's drummer is Barry Altschull (not Rollins' Shelly Manne) and the bassist is Peter Brendler (instead of Rollins' Ray Brown). Than, album's title "Foxy" can issue some association with Rollins' tune "Doxy", but similarities finish here.

Irabagon's "Foxy" is one 78-minutes long improvised jam (separated to twelve "songs"),rooted in blues, bop standards, Ornette Coleman's groovy harmolodics and presented with style and grace. There are no common theme in album's music but Irabagon skilfully adds tuneful snippets here and there all album long. As a result the listener gets album which doesn't sound too monotonous, boringly repetitive or too "out". There are lot of swing, bluesy structures and melodic groove which make this fully improvised album sound almost danceable and really accessible.

Great example of serious modern jazz which doesn't sound too serious, good entry for fans of MOPDTK interested in similar but slightly more experimental music.

BLUE EFFECT Conjunctio

Album · 1970 · Jazz Related Improv/Composition
Cover art 3.71 | 8 ratings
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siLLy puPPy
There were two great early prog rock bands that emerged in the former Czechoslavakia in the city of Prague, capital of the current Czech Republic. MODRY EFEKT (or Blue Effect) began merely as a blues rock band but displayed meagre progressive touches on their debut “Meditace (Kingdom Of Life)” whereas JAZZ Q PRAHA formed all the way back in the early 60s were predominantly inspired by the late 50s avant-garde jazz greats such as Ornette Coleman, Cecil Taylor and the great Sun Ra. While MODRY EFEKT managed to release their debut album the same year, this collaborative effort between the two groups would be JAZZ Q PRAHA’s debut appearance and the album had such an impact on both bands that it would forever steer their cross-pollination efforts into entirely unforeseen musical arenas. This album is unusual in many ways.

First of all only the first and last tracks are the only collaborative efforts that feature both bands playing together. The second track is a MODRY EFEKT only affair and the same goes for JAZZ Q performing the third. Secondly, this album came out all the way back in 1970 behind the Iron Curtain where almost every aspect of an artist’s creative process was controlled by the state. It is an astounding miracle that these two bands could have created something this utterly wild and complex at this early stage of progressive rock’s history when many of these tracks remind the listener of contemporary and future acts. Most likely this is because the album is entirely instrumental with no lyrics so censorship was unneeded since there are no references to politics. This music is insanely advanced and is one of those crazy complex prog albums that will require many jazz, prog and classical appreciation classes to master any intelligible understanding on much of the album’s run.

The album is only 39 minutes and 45 seconds in length but the beginning track “Coniunctio I” swallows up 19 minutes and 15 seconds of its real estate. This is by far the most demanding track on the entire album as it begins with screeching saxes and erupting organs swirling around in a cacophonous din before it finally cools down into a bass driven groove with a 60s psychedelic rock vibe complete with echo effects and ghostly guitar licks. After a couple minutes or so it turns into a heavy rock sequence that offers a taste of heavy blues rock with a sizzling sax that spirals out of control into free jazz territory along with some kind of whistling noises and frenetic organ counterpoints. Wow! There’s nothing i can think of from this period of prog history that matches the intensity of this track and were only about five minutes in which enters i swear a louder version of Miles Davis’ “Bitches Brew” which ironically came out the same year only half a globe away (before the internet or even legal access to American music) as a bass groove chugs along and keyboards dance Voodoo rituals around the bass driven campfire. After seven minutes it erupts into a bluesy guitar rock frenzy as Radim Hladík delivers one of the most demanding guitar solos of the era. Even Jimmy Page or Hendrix didn’t get this heavy. After eight minutes it changes abruptly to a pastoral symphonically embellished flute solo that slowly ratchets up the tension into a jazzified melody with an oscillating keyboard effect and some kind of bells. The mood remains placid and subdued for a while as a jazz bass line finally enters and eventually sounds more like hard bop but then a Thelonious Monk style piano run casually strolls into the picture and then goes plain nuts but finally at the 14 minute mark an ostinato bass line hypnotically entrances while a fluttery flute line plays over it but after a couple minutes it ventures into a segment that reminds me of that frenetic part of Pink Floyd’s “Saucerful Of Secrets” before the organ solo part begins. This track is phenomenal! At this early stage it has everything prog all rolled up into one. It has symphonic aspects, psychedelia, dissonance, heaviness, pastoral segments, blues, jazz, classical. Wow! A masterpiece of the ages.

“Návštěva u tety Markéty, vypití šálku čaje“ is performed only by MODRY EFEKT and along with the next track by JAZZ Q PRAHA provides a centrifuge effect that allows the listener to distinguish which elements of the first track were provided by each band. It also allows a break in the freneticism and over-the-top complexity with a significantly more light-hearted bluesy rocker in a psychedelic rock framework that utilizes a beautiful flute to weave a melody like a fluttering butterfly through the track’s shorter six minute time run. If you are familiar with MODRY EFEKT’s debut then you will realize that the blues rock, the melodies and the psychedelic parts of CONIUNCTIO are in their camp and this second track provides all of those musical elements and creates a beautiful flute dominated psychedelic rock track that also becomes heavy with guitar and soloing. In fact, it sounds a lot to me like many of those Focus tracks such as “Eruption” on their second album only with more erratic rocking parts.

“Asi půjdem se psem ven“ is solely performed by JAZZ Q PRAHA and like the MODRY EFEKT track gives an insight into which aspects of CONIUNCTIO belong to the band’s signature sound. This track is straight out of the jazz playbook which starts off somewhat straight forward but soon spirals out into avant-garde jazz heaven and reminds me a lot of some of the space jazz that Sun Ra & his Space Arkestra were pumping out in the mid to late 60s. The time signatures of each instrument all exist in their own musical world and the combo thereof results in a cacophonous din that apexes in a frenetic John Zorn type of saxophone frenzy a good decade or so before he was assaulting eardrums with his own similar style.

“Coniunctio II” continues the collaboration of the first track but is completely different. It begins with a sumptuous flute melody but is backed up by a jarring dissonant guitar counterpoint and quickly picks up and becomes a rather Hendrix-esque guitar jam type sound with a Tullish flute accompaniment and at this point is the most normal sounding track of the album. It remains jammy sounding but ratchets up the tempo, dynamics and finds more instruments joining in until it reaches a cacophonous crescendo but at the heart of it remains a bluesy rock jam despite all the horns whizzing away at light speed.

CONIUNCTO is one of my favorite albums ever to have emerged from the old Soviet dominated Eastern European block. This album titillates not only in a musical sense as it simultaneously pleases and assaults the senses but is fascinating to experience such a great work from the “forbidden” part of the world where the likelihood of a prog masterpiece emerging was virtually nil and only mere months after King Crimson, East Of Eden, High Tide, Marsupilami and other British prog bands were getting started. This album also shows the strong promise of collaborative efforts. Often these sorts of projects end up becoming watered down but the two bands found the right dynamic synergy to push each other further, the results of which steered MODRY EFEKT’s path more towards jazz and likewise JAZZ Q added more rock elements when they would finally release their debut three years later. This one is an absolute under the radar masterpiece. Be warned though that this is nearly a 10 on the progometer as it is dense, complex and often impenetrable especially when the JAZZ Q elements are on full steam. This album has all the elements of early prog rolled into one package. It’s heavy at times, it’s pastoral and symphonic at times, it’s psychedelic, it’s jazzy, it’s bluesy. It can be highly melodic with happiness inducing hooks or it can be dismally frightening with dissonant avant-garde jazz outbursts. One of my faves.


Album · 1970 · Jazz Related Rock
Cover art 3.46 | 4 ratings
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siLLy puPPy
Formed in the late 60s in what was the former Czechoslavakia which was very much behind the Iron Curtain and musically speaking a million miles away, yet certain bands not only kept up with the times with underground bootleg albums but also managed to weather the political storms and emerge as one of the most successful bands of the era from Eastern European nations. MODRY EFEKT (in the Czech language) or BLUE EFFECT (but have also gone by M. EFEKT, MODRý EFEKT and THE SPECIAL BLUE EFFECT) formed in Prague (now the Czech Republic) in 1968 and led by vocalist and guitarist Radim Hladík who would remain the constant member in the band’s initial two decade plus run. While soon becoming one of Czechoslavakia’s major jazz-fusion and progressive rock bands of the ages.

MEDITACE is a fine mix of Czech language 60s type sounding music primarily based in blues rock not unlike early Led Zeppelin but even at this stage they were showing traces of progressive rock as they were recording this in 1969 with many track including the opener “Paměť lásky” showing less influence from blues and rock and more Western classical elements dominating whether it include choral vocal arrangements, symphonic atmospheres or instrumentation. MODRY EFEKT were masters at creating strong catchy pop rock hooks even at this early stage in their development and although there is no progressive touches of the jazz-fusion type, tracks like “Blue Efect Street” show extremely strong ear worms with bluesy guitar workouts and clever arrangements including the use of a sitar. Most of all MODRY EFEKT demonstrate how beautiful rock music can sound in their native Slavic language tongue although side two was recorded in English which proves that the band had their sites on cracking into the international market from the beginning.

While MEDITACE is laced with excellent rock and pop tracks for their time and place, what’s really lacking at this point is a sense of cohesiveness for an album style as the tracks flounder back and forth from blues rock to classically symphonic and then to folky with almost Motown type walls of sound and then back to more Western generic sounding blues rock. Overall not a bad debut at all especially for being in a region of the world that controlled every aspect of artistic integrity however it would take the soon to be released second album with their country’s other progressive rock giants Jazz Q to steer the band into the more familiar jazz oriented progressive rock that they would stick with for the rest of their days. While i wouldn’t call this debut essential by any means, it certainly shouldn’t be skipped over either. It is quite the pleasant listen if not polished into perfection.

TONY WILLIAMS The New Tony Williams Lifetime ‎: Believe It

Album · 1975 · Classic Fusion
Cover art 3.88 | 4 ratings
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Steve Wyzard

When the great fusion albums (such as In a Silent Way and Enigmatic Ocean) are being discussed, Tony Williams' Believe It outright demands to be mentioned with them. This might come as a surprise to some, as there are some caveats that should be addressed:

1) Its length. The original LP ran a little over 33 minutes. Later CD re-issues have added extra tracks that don't really add to the album's greatness. Don't think of Believe It as "short", think of it as "succinct" and "visceral".

2) Electric bassist Tony Newton. With a soul/r'n'b background, he's not the first person you'd think of when you imagine who should play bass on a "fusion masterpiece". He acquits himself quite admirably with this line-up, and adds effects to his two compositions that, while hip for 1975, do not ruin the album.

3) Too rock/too jazz. On Believe It, guitarist Allan Holdsworth and keyboardist Alan Pasqua give two of their best performances EVER in their long and checkered careers. If you're a fan of these two, you will LOVE this album. Holdsworth's snarly, distorted tones, however, have alienated many, leading to the "too rock for jazz, too jazz for rock" dismissal he is all-too-often tagged with.

4) The follow-up. This line-up recorded just one other album, Million Dollar Legs. With a hideous cover, vocals, strings, and horns, it is in EVERY way inferior to Believe It and led Holdsworth to bolt for Bill Bruford's new group.

If you can overlook the above and have acquired the taste for classic fusion, Believe It will become a (ahem) LIFETIME listening experience. While very much of its age, this fiery recording session has transcended its contemporaries and will never grow old. There are no weak moments, and the songs and amazing solos are all out of this world. And needless to say, Tony drums up a storm. While he put out many albums and sat in on many sessions, you'd be hard-pressed to find a more dynamic Williams performance recorded after this one. And let it be said here that "Fred" is one of Holdsworth's greatest moments ever!


Album · 1966 · Exotica
Cover art 3.50 | 1 rating
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siLLy puPPy
Now here’s a little oddity from the 60s in celebration of the life of the great Adam West who played the first BATMAN on the 60s campy tongue-in-cheek TV series. Due to the popularity of the series it seems that everyone was trying to make a buck off of it and this relic from 1966 was brought to life by a New Jersey toy company trying to get in on the action. After all everyone was getting a piece of this pie by latching on to that catchy theme song riff and and that famous na-na-na-na-na-na-na-na sing-along theme track. Amongst those copping a feel were Neal Hefti, The Who, The Kinks, Jan and Dean, Link Wray, Nelson Riddle, The Marketts, The Ventures, Bruce & The Robin Rockers, The “V” Rangers, The Revengers, Bob Kuban & The In-Men, Al Caiola & His Orchestra, The Standells and Sun Ra. Wait a minute? Whaaaat? SUN RA?

Yes! Sun Ra but only under the guise of THE SENSATIONAL GUITARS OF DAN & DALE which included Sun Ra himself along with members of his Arkestra. Together they teamed up Al Kooper’s Blues Project and created this album marketed towards children with catchy surf guitar rhythms based around themes on the BATMAN TV series and the album title being BATMAN AND ROBIN. Although anonymous on the album it is known that Sun Ra performed on the organ, along with his Arkestra mates John Gilmore and Marshall Allen on saxes, Jimmy Owens on trumpet and Tom McIntosh on trombone. From the Blues Project Steve Katz and Danny Kalb played guitars.

Since this was a money grab of sorts, the Tifton label taylor made for this project decided in order to keep licensing fees as well as royalties to a minimum, all the tracks except for the “Batman Theme” itself were based on whatever was in the public domain therefore everything from Chopin’s “Polaise Op. 53,” Tchaikovsky’s “Fifth Symphony” and the love theme from Romeo and Juliet were pirated and arranged into generic rock ’n roll and surf guitar riffs that sometimes sounded suspiciously too close to contemporary popular music icons like The Beatles (“The Riddler’s Retreat” comes a little too close to “She Loves You’s” signature melodic touches.) While most of the tracks are instrumental rock ’n roll jams, there are a couple tracks including the “Batman Theme” that have an uncredited vocalist who hits all the right notes so gracefully that i wish she were included on more of the tracks!

The whole incarnation known as DAN & DALE is a little murky as they released a whole slew of substandard releases and it’s unknown but rather dubious that either Sun Ra or Blues Project had anything to do with them. Don’t in anyway expect anything close to the extraterrestrial space jazz that Sun Ra & His Arkestra were churning out by the minute in the same time period of the 60s. This album was designed for kids and is nothing more than kitschy garage rock mixed with surf rock and space age pop albeit with some jazzy touches but what a fun little collection of numbers they churned out as the band takes bland and seemingly uninspired titles such as “Batman and Robin Over The Roofs” and add life to them with a tasteful masterful musicianship that adds a zest to the simple songs like only true professionals can.

While i wouldn’t call this a long lost masterpiece by any stretch of the imagination, i can recommend this if you want to feel like you’ve fallen into an Austin Powers movie that simulates the era and in the midst of the groovy light shows in a smoked filled nightclub setting you can imagine this groovy music playing in the background while wild stoned-out hippie chicks are dancing the Watusi, the Hully Gully or just free floating across the dance floor! For a kids’ based album this one is real treat to listen to and one that has all the sweeter taste having the great Sun Ra & his Arkestra members involved.

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