snobb "uNomkhubulwane" is the new album from South African pianist Nduduzo Makhathini, dedicated to the Zulu Goddess uNomkhubulwane, and contains beautiful spiritual music. Different from some of Nduduzo's previous albums, the music here is played by a more minimalist collective - a traditional all-acoustic jazz trio with South African/American double bassist Zwelakhe-Duma Bell le Pere and Cuban drummer Francisco Mela.

The music itself is a three-movement suite, combining traditional South African jazz, well-known from works of Abdullah Ibrahim, with American bop tradition and even touches of European chamber piano jazz. Being not only a musician, but the "sangoma" - a shaman and healer - as well, Nduduzo adds a strong spiritual feeling to his music.

Nduduzo not only plays piano, but he adds poetic spoken words and sings African folk too. The album is of slow to mid-tempo music and demonstrates the great beauty of quiet intense spiritual jazz. True sounds of relief in today's world full of drama.

js Is there any jazz subgenre that is more uniquely and purely jazz than bebop, the answer is no. Any other jazz subgenre seems to have an outside comparative, (free jazz - avant-garde composers), (post bop - French composers), (hard bop - blues and RnB), (fusion - rock and funk) etc. When played correctly, bebop stands alone as one of the most singular contributions to the musical world, but very few really play it right anymore. Since bebop got reduced to college classes taught to budding young musicians, there has been a lot of mediocre bop out there, both at the universities and at the clubs. But there are still those that can play bop with the requisite crazy abandon and flippant attitude as created by Charlie Parker and then furthered by Ornette Coleman and Eric Dolphy. This leads us to Portuguese drummer Joao Lencastre and his new album “Free Celebration”, one of the hottest avant-garde neo-bop albums to come out since the last outing by Walking Distance or Anthony Braxton’s superb Parker tribute.

Frantic and crazy bop in the style of Ornette and Dolphy are the backbone of this album, but not in a retro way at all. There are plenty of current modernisms in the mix too, such as jagged Mary Halvorson type guitar from Pedro Branco and plenty of noisy analog electronics from keyboardist Joao Bernardo. Through the course of the album the band veers off into many directions from free fusion to noisy chaos and then into something sentimental such as the track “Kathelyn Gray” or grooving hard bop on “The Third World”. For the correct bebop flavor you need a high flying alto sax player, and that comes from Ricardo Toscano, easily one of the best altoists happening today.

There is an eclectic mix of musical ingredients at work here, but this album never becomes one of those John Zorn style clumsy pastiche things in which incongruent elements are slammed together just for effect. Nope, all of this music grows and changes in very organic ways and with solid musical integrity. The track “Giggin” is a great representation for this band as it opens with blazing fast bop that grows more intense with shifting tempos pushing things towards chaos as a hornet’s nest of electronics enters and multiple soloists push things to the edge. “Free Celebration” is one of the best jazz records to come out this year.

snobb About a decade ago, New Yorkers "Mostly Other People Do the Killing" made a lot of noise releasing their "Blue" album - a note-for-note reiteration of Miles Davis' "Kind of Blue". Similarly, one of the well-known abroad Polish bands, Electro-Acoustic Beat Sessions(EABS) started their career five years ago deconstructing the renowned music of the best Polish artists like Krzysztof Komeda and international jazz greats from the past as well. Today on "Reflections of Purple Sun" they play the early Tomasz Stanko album "Purple Sun" in full.

Quite often (partially in Polish media) Stanko's "Purple Sun" is qualified as avant-garde jazz work. For my ears, this album, released in 1973, is heavily influenced by early Miles Davis jazz-rock/fusion ("Silent Way" and "Bitches Brew") but sounds less American (or less groovy). Recorded in Germany (and with a German bassist on board), "Purple Sun" incorporates a lot of kraut-rock aesthetics and repetitive mechanistic rhythms instead.

EABS take on Stanko's material is very much in the spirit of today. "Reflections of Purple Sun" is a very rhythmic album, just the rhythms are different. Renowned by their love of hip-hop and electronics, EABS transforms Miles type classic fusion to quite tuneful dance-able electronic music, with some free improvisations and a noticeable touch of Polish tradition - slightly melancholic and emotionally colored.

Probably there is no sense in comparing Stanko's original work with EABS' new release. First, "Purple Sun" was quite a rare album and was mostly known and popular among Stanko's hot followers. Second, and more importantly - a few new generations of music listeners have already grown up during that half of a century, separating these two releases, so for many younger jazz fans, the EABS album sounds just like new music.

There are no guests here on "Reflections of Purple Sun", as on some of the band's more current albums. As usual, band members demonstrate a high level of interplay with great keys and sax soloing, imaginative electronic loops, and in general music of the highest level. What else do we need from our jazz?

Carmel In the vast universe of jazz, where the echoes of the past continually meld with the explorations of the present moment, Michael Dease's "Found in Space: The Music of Gregg Hill" is a journey through the mind of one of America's most idiosyncratic composers. Dease, a formidable trombonist and educator, is no stranger to innovation. Yet, with this album, he boldly ventures into the uncharted territories of Gregg Hill's compositions, offering an album inspired by Hill's musical cosmos and reflecting Dease's artistic vision.

The album's title, a playful nod to the 1960s sci-fi series Lost in Space, indicates the tone for what lies within—a collection of compositions inspired by a journey into the unknown. Hill's music, often described as a confluence of Zappa's ambitious orchestrations, the structural elegance of 20th-century classical music, and the freewheeling spirit of jazz, finds a perfect interpreter in Dease. Through this album travelers traversing the sonic landscapes Hill has crafted over decades of relentless creativity.

At the heart of this cosmic exploration is an ensemble as diverse and dynamic as the music they bring to life. Led by Dease, the group features some of today's most formidable talents in jazz, bringing their unique voice to the project. Alto saxophonist Rudresh Mahanthappa, known for his fiery improvisations and innovative approach, joins forces with the lyrical clarinetist Virginia MacDonald, the virtuosic flutist Sharel Cassity, and the versatile tenor saxophonist Jason Hainsworth. Trumpeter Matt White, whose arrangements on the album are as intricate as they are bold, adds a sharp, brassy edge, while trombonist Nanami Haruta provides a sensitive counterpart to Dease's earthy and technically striking tones.

The rhythm section, anchored by bassist Katie Thiroux and drummer Colleen Clark, is always creating a pocket regardless of the groove and subtlety, with pianist Bill Cunliffe's deft touch on both acoustic piano and Fender Rhodes adding harmonic depth. Rounding out the ensemble is Gwendolyn Dease on marimba and percussion, whose contributions evoke the adventurous spirit of Zappa's iconic bands, making this a truly stellar assembly of musicians.

From the opening track, "The Last Pop Tune," it is clear that this is no ordinary jazz album. Trumpeter Matt White, a long-time collaborator of Dease, arranges this piece with an almost mathematical precision, navigating through shifting time signatures with the deftness of a seasoned explorer. The tune's playful complexity—oscillating between meters of five, six, three, and four—is a microcosm of the album's broader narrative: one of constant evolution and surprise. Dease's trombone weaves through White's well-crafted arrangement like a seasoned traveler guiding us through Hill's ever-changing terrain.

The title track, "Found in Space," arranged by Cunliffe, exemplifies the fusion of structured composition and spontaneous improvisation that defines Hill's music. Cunliffe paints with the sonic pallet of the ensemble to clearly present Hill's motifs. The composition has a series of dynamic feels and form components. Dease's baritone saxophone playing is featured prominently, alongside standout solos from White, Mahanthappa, and Cunliffe. This is a piece that feels grounded and celestial, with each soloist working with the rhythm section to contribute to the emphasis of various rhythmic constructions to create a powerful soundscape.

"One for Rodney," a tribute to bassist and Hill enthusiast Rodney Whitaker, is perhaps the album's most eclectic offering. The opening section, with its nods to Monk's angular melodies and the spy-thriller suspense of "Mission Impossible," gives way to a swinging section that showcases bassist Katie Thiroux's lyrical prowess. The piece's unpredictable structure—shifting from quirky motifs to fierce alto saxophone duels—mirrors Hill's compositions' unorthodox yet deeply compelling nature.

Dease's trombone shines exceptionally bright on "The Stray Moonduck," which captures the earthy, blues-drenched essence of his playing and the more deliberate touch of his fellow trombonist Nanami Haruta. Their interplay, reminiscent of the legendary J.J. Johnson and Kai Winding duets, brings a sense of dialogue to the music.

Throughout "Found in Space: The Music of Gregg Hill," Hill's music is brought to life by Dease's trombone but by an ensemble of musicians who understand the intricacies and nuances of his compositions. Virginia MacDonald's clarinet, in particular, adds a lyrical, almost vocal quality to pieces like "Chillin' with Wess," where her instrument's warm, woody tones contrast beautifully with the more percussive marimba of Gwendolyn Dease.

As the album draws to a close with "A Wrinkle in Time," arranged by White, we are reminded of the cyclical nature of time and space—a fitting metaphor for Hill's music, which constantly circles back on itself, revisiting themes and ideas in new and unexpected ways. Dease's extended trombone solo in this final track encapsulates the essence of the album: a journey through familiar yet ever-changing landscapes, where each step reveals a new vista, a new possibility.

"Found in Space: The Music of Gregg Hill" is brought to life through the power of collaboration, the importance of mentorship, and the unending quest for artistic expression. Michael Dease and Gregg Hill have charted a course for exploration—our vehicle is jazz, and we travel through the waves of the album's cosmos. This musical journey, "Found in Space: The Music of Gregg Hill," offers a richly rewarding experience.

Carmel In "Being," Chris Rottmayer explores jazz's rich dialogue, melding the wisdom of the past with the vibrancy of the present. This album, released on March 6, 2024, via Shifting Paradigm Records, showcases Rottmayer's deep engagement with the legacy of Mulgrew Miller and Woody Shaw while also painting vivid soundscapes of Parisian life. The album is a journey through ten original compositions, each demonstrating Rottmayer's gift as a composer, pianist, and jazz educator.

Rottmayer, a seasoned jazz artist and lecturer at the University of Wisconsin-Madison, has garnered attention for his previous albums, "So in Love" and "Sunday at Pilars," reaching notable positions on jazz radio charts. With "Being," he continues to carve his niche, this time accompanied by a stellar quartet: Russ Johnson on trumpet and flügelhorn, Matt Endres on drums, and the legendary Rufus Reid on acoustic bass. This ensemble brings a rich tapestry of sound, blending technical fluidity with emotive storytelling.

The album opens with "On The Street Where Woody Lives," a vibrant homage to the interplay between Shaw's and Miller's musical languages. The piece starts with a jaunty piano and bass figure, immediately setting an upbeat tone. The interplay between the straight-eighth feel of the A sections and the swinging B section is seamless, highlighting the quartet's tight cohesion. Johnson's trumpet solo is particularly attention-grabbing, flowing with a lyrical grace that complements the beauty of Rottmayer's textured piano lines in his solo.

"Re-United" offers a fresh take on Wayne Shorter's "United," reimagined in 4/4 time. The track also offers a subtle three-against-four polyrhythmic feel, with Reid's steady bass pulse anchoring the composition. Rottmayer's solo is a sophisticated blend of bluesy licks and intricate jazz lines, playing cleverly with the rhythmic polyrhythmic tension. The trading between Endres and the rest of the quartet before the head adds a conversational element, making the piece feel like a lively jazz dialogue.

The Parisian-inspired tracks provide a fascinating counterpoint to the Miller-Shaw study. "Pigalle" is a lush ballad that captures the moodiness of the famous Parisian district, with Rottmayer's lyrical piano playing and Johnson's warm flügelhorn tones creating a poignant atmosphere. The ensemble's dynamic interplay shines in "Châtelet," an up-tempo swinger that channels the bustling energy of the Paris Metro. Rottmayer's interaction with Reid and Endres during his solo is particularly striking, showcasing his deep listening skills and responsiveness.

"Ballerina Dance" and "Song of Modes" delve into the more exotic and modal aspects of Shaw and Miller's work. The former piece evokes a sense of mystique through its flowing six-eight feel. The latter track features Reid's expressive arco bass work, adding an ethereal quality to the album. Rottmayer's modern voicings and Johnson's fiery soloing explore the modal landscape, making "Song of Modes" a memorable track.

The album's quieter moments, such as "Autumn Evening" and "La Seizième," provide a space for introspection. The trio format in these pieces allows for a more intimate exploration of melody and harmony. "La Seizième," in particular, is a beautiful showcase of Endres' elegant brushwork and Rottmayer's sensitive touch on the piano, in his soloing and accompanying.

"Being" culminates with "Rue des Lombards," a medium-up tempo swinger that brings the album to a lively close. Johnson's playful solo, paired with Rottmayer's swinging lines, encapsulates the joy and vitality of live jazz performance. The ensemble's chemistry is palpable, making this final track a fitting end to an album that feels timeless and timely.

With "Being," Chris Rottmayer honors the legacy of jazz greats like Mulgrew Miller and Woody Shaw with a thoughtful exploration of jazz's musical language, its rich history, and a personal reflection on the places and people that inspire Rottmayer's artistry. It's an album that invites repeated listening, revealing new layers of depth and nuance each time.

FunkFreak75 Rich Third or Fourth Wave Jazz-Rock Fusion from a short-lived French band that is notable for the prominence of trombones and flutes as well as for the presence of a core of three highly-skilled multi-instrumentalists. How can this band (and album) have no reviews posted here?!!!

1. "Ali Baba" (5:10) quite solid and sophisticated Jazz-Rock Fusion that occasionally slips over into Smooth Jazz and instrumental rock. I like the prominent use of trombones as well as the core trio of band members' willingness to switch between multiple instruments during the course of a single song. (8.875/10)

2. "Trop Tard" (4:45) funk from the perspective of the Soul/R&B bands like the JBs, Tower of Power, and, more, Herbie Hancock's Headhunters. Well done! (9.5/10)

3. "Paysages D'Ur" (4:15) nice, smooth yet eminently sophisticated jazz-rock (9/10)

4. "Octopus" (2:48) back to the R&B-grounded Jazz-Rock Funk of the Listen to the electric bass play of Gilles Douieb! as well as the contributions of the horn section! Wow! (9/10)

5. "Cello" (4:48) funny to name a song after an instrument (one of the only) that does not exist in the repertoire of the band or their guests! A beautifully composed and "orchestrated" song that definitely continues the display of absolutely top notch Jazz-Rock Fusion. (9.25/10)

6. "E 330" (5:00) Oh. I get it! Alternating songs deeply rooted in the funk with other sophisticated yet-smoother song constructs. Me like! Here we have yet another amazingly superb funk song, this one founded well within the Latin traditions. The song's only weakness is that it gradually becomes smoother, more Latin melodic and less R&B funky as it progresses--especially as Olivier Hutman's piano takes the lead. It's not bad--the piano play is pretty--especially when woven with the acoustic guitar and flute--but it gets a little bland when he becomes the sole soloist (despite his similarity of style and sound to that of my well-loved favorite, Chick Corea). (9/10)

7. "Flipper Nana" (4:36) a song that has both swing and funk elements to it also presents more of that lovely trombone in the lead while the rest of the band actively and creatively supports from beneath (and beside). The oddly-muted horn section blasts at the two minute mark are awesome, preceding a nice flute solo, then, 30 seconds later the band shifts into a more traditional jazz motif with some excellent double bass walking from Denis Barbier and some great piano soloing from Olivier. Another switch in the second half of the fifth minute leads to some rock electric guitar shredding as the song heads slowly into its long fadeout finish. (9/10)

8. "Canaan Part 1" (4:20) more high-speed Jazz-Rock Fusion of the Headhunters kind with the skills on display that the Mahavishnu Orchestra would certainly have been proud if not envious. All I can say is, Wow! How can it be that this band has received absolutely no attention on either ProgArchives or JazzMusicArchives.com? Even the song-ending drum solo that begins in the second half of the fourth minute is done so tastefully--and does not feel like wasted time or space. (9/10)

9. "Canaan Part 2" (4:14) the band uses a chill, smooth funk motif as if to recover (or let the listener recover) from Part 1. The horn section sets the band up for an extended electric guitar solo backed by some wonderful electric piano chord play and intermittent riff-blasts from the horn section. While electric guitarist Patrice Cinelu does not, in my estimation, stand up to the mind-blowing expressions of the bass, drums, percussionists, and horns, he is quite good. (8.875/10)

Total Time 39:56

This is an album (and band) that has caught me TOTALLY off guard! Who knew France had instrumentalists, composers, engineers, and record companies that not only rivaled but equalled anything that was going on in the U.S. of A?!?! Not like this!

A-/five stars; a minor masterpiece of incredibly high quality funky Third Wave Jazz-Rock Fusion that definitely rivals anything coming out of the United States.

snobb "Asian Games" is an odd album. Japanese pianist Yosuke Yamashita beside of Masahiko Satoh is the most respectable country's creative piano jazz master who started his career playing in the renowned Akira Sakata's avant-garde jazz trio in the early 70s. Here on "Asian Games" he is mentioned as leader/co-leader playing in an all-star international quintet with Japanese (non-jazz) keyboards/electronic star Ryuichi Sakamoto, Senegalese percussionist Aiyb Dieng, and two Americans - bassist Bill Laswell and synth player Nicky Skopelitis. Recorded in 1988 in New York and Tokyo studios, the album was released for the first time only five years later, in 1993.

As one can expect from the line-up, "Asian Games" differs from Yamashita's early acoustic trio's avant-garde jazz or even more current post-bop works. The album's music is heavily based on Fairlight industrial sounds, programmed by Nicky Skopelitis with the addition of Aiyb Dieng's metal percussion and bells. Yamashita for the first time plays keyboards beside his regular piano. Bill Laswell adds bass and different effects.

Laswell is responsible for the final album's sound very much since all recorded material was mixed, overwritten, and arrangements made by him on SSL studio computer. As a result, on this album we have quite typical Laswell's electronic jazz with overdubs with danceable Sakamoto keys and adjective Yamashita's "organic" piano soloing over it. In his memoirs, the studio session's technician wrote: "The piano playing, the guide through this sonic land of the dead is Yosuke".

The album's opening track "Melting Pot" features a sample from Music in the World of Islam, Volume One: The Human Voice, which was also used in Regiment and Qu'ran on the seminal album My Life In The Bush Of Ghosts by Brian Eno & David Byrne. In general, some things in the album's music could attract fans of Bill Laswell, or to a lesser degree, Ryuichi Sakamoto's fans too. Yamashita's piano doesn't sound authentically here and quite often there's a feeling that without it all music would be more organic.

js Although Gabor Szabo was one of the first jazz artists in the mid 60s to play what we now call ‘fusion’, his name has just about disappeared into obscurity, which is a real shame. Gabor was a top notch guitarist and innovator combining different elements in his music and joining with Chico Hamilton to make some of the very first jazz fusion albums. Unfortunately, Gabor had long running problems with drugs and alcohol, which is why his life ended at a fairly young age, and also possibly why he is not honored and remembered as much as he should be. His life just ended too soon for him to make a lasting impression on the jazz world. Although he made many excellent albums in the 60s and early 70s, by the time 1976 rolled around, he was being pressured by the disco fad to come up with something more commercial, which led to this very well made, but also very commercial album, “Night Flight”.

In 1976, fellow jazz guitarist George Benson came out with his hugely successful album, “Breezin”. I don’t think it’s a coincidence that Gabor‘s “Night Flight” soon followed. Obviously Gabor and the people around him thought they might have a chance to come up with a similar success following the Benson formula of orchestrated art pop with a touch of disco and plenty of tasty guitar solos to go around. Those CTI/Don Sebesky arranged lush orchestrated pop jazz records of the time were probably an influence as well. “Night Flight” is not a cheap hastily arranged album at all. A lot of work went into the arrangements, orchestrations and production of this album. It really has a nice full sound, but the music is fairly commercial and not what the average Gabor fan is looking for.

There is one killer track on here, the very funky “Baby Rattle Snake”. This would be a great cut for that DJ looking for something that no one else has. The rest of the album is okay, but not particularly remember-able. On the plus side, all through the album Szabo lays down an endless stream of guitar solos with a mix of bop swing and RnB rhythmic punch.

Atavachron While most listeners may associate or even confuse Michel Colombier's craggy, soulful voice and compositions with Blood, Sweat & Tears and their famous frontman David Clayton-Thomas (or by way of influence The Buckinghams), Colombier was an artist unto himself as well as a more rounded and realized progressive/jazz musician who not only sung-up a storm, but developed some of the best progressive brass-jazzrock ever recorded. And with some very good help from the brilliant songsmith Paul Williams, singer-lyricist Lani Hall, and a fully orchestrated ensemble that brought the power, his 1971 extravaganza 'Wings' is a shamefully ignored LP.

Brimming with theater and stage-set mellodramatics, the '71 release is a fully realized example of the deep possibilities of what progressive popular music had become, Colombier gingerly reaching out with 'Freedom and Fear's dizzied arrangements hitting on myriad forms, setting the bold tone of this LP, merging seamlessly into instrumentals 'Earth' and 'Thalassa'. Paul Williams' fabulous nasal toy-doll vocals lead the moody & slightly Beatlesesque 'Doesn't Anybody Know?', both a product of its era and yet setting itself apart with unexpected darkness and Herbie Hancock piano play circa '71.

'Pourquoi Pas?' and 'Morning is Come Again' sneaks up on us without warning, has surprising frenetic horn-play and deep chorales, one of the best passages here, and 'For Those Who Cannot Hear' is troubled reflection as is Lani Hall's 'We Could be Flying' putting us squarely in the audience of some experimental theater piece that surely closed the same week hosting tiny but appreciative onlookers. Morose 'Emmanuel' and Herb Alpert's 'All in All' say goodbye with some sweet sentiment and a touch of Hair as our nightcap.

One day almost every fan of symphonic jazz/pop will come around to this sort of rarefied time in merged music, and this effort will hit them suddenly, tragically, surprising them with its startling brilliance and with a moment missed but loved all over again.

snobb Patrice Rushen is known to many as a singer for her early 80s R'n'B and disco hits. Possibly her just reissued debut album from 1974 will surprise a lot - she is an inventive and capable jazz pianist/keyboardist here.

"Prelusion", originally released on Prestige label, is a product of its time. It contains five pieces that vary stylistically from post-bop to groovy jazz fusion. Rushen's octet is of the highest class and includes such stars as tenor Joe Henderson and drummer Ndugu (member of Santana at the time) among others.

Patrice plays piano and electric keys/synth with energy and precision. In contrast with some popular jazz fusion artists of the time, her roots are obviously in mainstream jazz, not rock music.

The opener, "Shortie's Portion", contains heavy brass arrangements and in moments sounds just like a progressive big band piece. Bassist Tony Dumas builds a groovy background, sax solos come right from the better post-bop albums of the time. Percussive "7/73", the album's longest song, recalls the grace of Return To Forever's debut album, just scented with rich brass arrangements. Both above-mentioned compositions (which complete side A of the vinyl album) are quite complex compositionally.

Side B opener "Haw-Right Now" is a funky piece very much in a key of Hancock's Headhunters. "Traverse" is a percussive mid-tempo post-bop ballad. The closer "Puttered Bopcorn" is full of electric keys and synths anchored by a rich bass line.

"Prelusion" demonstrates a less-known side of Patrice Rushen as a jazz fusion pianist/keyboardist. There were not many female band leaders in the early fusion era, the album itself is a strong work for the fans of classic fusion from the 70s.