Steve Wyzard

Steve Wyzard
JMA Jazz Reviewer ·
Registered more than 2 years ago · Last visit 4 days ago

Favorite Jazz Artists

All Reviews/Ratings

473 reviews/ratings
MIKE MAINIERI - Wanderlust Pop Jazz/Crossover
MILES DAVIS - In a Silent Way Classic Fusion
RALPH TOWNER - Matchbook (with Gary Burton) Post-Fusion Contemporary | review permalink
GARY BURTON - Crystal Silence (with Chick Corea) Post Bop
JAN GARBAREK - Witchi-Tai-To Post Bop
SONNY ROLLINS - East Broadway Run Down Avant-Garde Jazz
JEAN-LUC PONTY - Enigmatic Ocean Classic Fusion
JEAN-LUC PONTY - Open Mind Classic Fusion
BOBBY HUTCHERSON - Happenings Hard Bop
FREDDIE HUBBARD - Straight Life Post Bop
MILT JACKSON - Sunflower Bop
MILT JACKSON - Olinga Bop
EBERHARD WEBER - Yellow Fields Post Bop
DOUBLE IMAGE - Dawn Post-Fusion Contemporary
GARY BURTON - Passengers (with Eberhard Weber) Hard Bop
CHARLIE HADEN - Magico (with Jan Garbarek, Egberto Gismonti) World Fusion
CHET BAKER - Peace Cool Jazz
MIKE NOCK - Ondas Post-Fusion Contemporary
HERBIE HANCOCK - Quartet Post Bop
JOHN ABERCROMBIE - Timeless Classic Fusion

See all reviews/ratings

Jazz Genre Nb. Rated Avg. rating
1 Post Bop 127 4.19
2 Classic Fusion 85 4.22
3 Post-Fusion Contemporary 81 4.12
4 Hard Bop 54 4.32
5 World Fusion 20 4.20
6 Third Stream 18 4.11
7 Avant-Garde Jazz 17 3.91
8 Cool Jazz 16 4.22
9 Pop Jazz/Crossover 13 4.00
10 Bop 10 4.15
11 Soul Jazz 5 4.10
12 Swing 4 4.13
13 Nu Jazz 4 4.38
14 Bossa Nova 3 4.17
15 (Post-70s) Eclectic Fusion 3 4.50
16 Vocal Jazz 3 4.50
17 21st Century Modern 2 4.50
18 Jazz Related Improv/Composition 2 4.25
19 Jazz Related Rock 2 4.50
20 Jazz Related Soundtracks 1 3.50
21 Latin Jazz 1 4.50
22 Jazz Related RnB 1 4.00
23 Exotica 1 5.00

Latest Albums Reviews

ART LANDE Art Lande And Rubisa Patrol ‎: Desert Marauders

Album · 1978 · Classic Fusion
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CLASSIC FUSION IT IS!

First, let's clear up the confusion. The name of the group is Rubisa Patrol, led by pianist Art Lande. Their first album in 1976, with a different drummer, was entitled Rubisa Patrol. The opening track of 1978's Desert Marauders, their second album, is entitled "Rubisa Patrol", but this track did not appear on the similarly-titled first album. Got it?

All that being said, Desert Marauders couldn't be more different from the first album, even though the two were recorded only 13 months apart. Rubisa Patrol has become one of the classic examples of brooding ECM melancholy and could almost be labeled World Fusion. Desert Marauders, on the other hand, is a far more vigorous musical statement, and in spite of being entirely acoustic, can more than hold its own when being compared to other Classic Fusion albums from the same time period.

Opener "Rubisa Patrol" is a rhythmic 15:57 epic and a jaw-dropping stunner. New drummer Kurt Wortman's vehement flourishes let everyone know immediately that this album will be different. Lande's playing has never been so vibrant, almost reminding one of fellow ECM pianist Bobo Stenson. After a number of starts and stops, Lande and trumpeter Mark Isham both take among their longest solos ever, and then meticulously double-track one another while playing the complex, long-lined final section. Isham's only composition on this album is "Livre (Near the Sky)", a light and airy respite after the dynamic opener. "El Pueblo de las Vacas Triste" begins leisurely but soon picks up speed, while "Perelandra" (a C.S. Lewis influence, perhaps?) is the one track most reminiscent of the previous album with its Bill Douglass flute solo. And if you couldn't get enough of the spirited "Rubisa Patrol", closer "Samsara" is a mini-epic that provides more of the same.

After making one of the stand-out albums of 1978, this group never recorded for ECM again, although they continued to perform together into the early 1980s. Lande would go on to record with Gary Peacock, Paul McCandless, and a heavily-synthesized duet with Isham, but never again did anything approaching Desert Marauders. The real mystery still to be solved is the reason why this album and its predecessor have never been released on CD.

KEITH JARRETT Bye Bye Blackbird

Album · 1993 · Hard Bop
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"We will never forget Miles."

Miles Davis died on September 28, 1991. The Keith Jarrett Trio rushed into the studio on October 12, 1991 and recorded this tribute album. As Miles Davis tribute albums go, it's really very good. The potential purchaser is advised that this album ranks rather high on the infamous Keith Jarrett vocalization spectrum. If you're a long time Jarrett listener and familiar with his singing, you should have no problem enjoying the album.

Among the highlights are "For Miles", an 18:39 improvisation with an utterly amazing Jack DeJohnette percussion performance, and one of the best ballads this group has ever done, "You Won't Forget Me". After 10:42 of awe-inspiring poignancy, however, a major sequencing mistake is made by following this up with the hard-driving "Butch and Butch": the juxtaposition of the two is simply too harsh. Other than this, I have no further complaints and can highly recommend this album to fans of the performers. Special accolades must go to the aforementioned DeJohnette, as this is one of his best as part of this trio.

BOBBY HUTCHERSON Live at Montreux

Live album · 1974 · Hard Bop
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LIVE MASTERPIECE

It's now been a full year since we lost the late, great Bobby Hutcherson, and for all those who enjoy his acclaimed mid-1960's albums, you really owe it to yourself to track down his 1974 album Live at Montreux. Not only is it Bobby's best release of the 1970's, but it's also one of the best (in a very crowded field) live albums in that decade by ANYBODY.

Recorded at the 1973 Montreux Jazz Festival and originally released only in Japan and Europe, this disc restores the full 51-minute set to its fiery glory ("Farallone" did not appear on the LP). No ballads, just two long Hutcherson compositions not available anywhere else, and two of the best by trumpeter Woody Shaw. One awe-inspiring solo follows another, and the crowd's response is electric! Don't let the "no name" rhythm section discourage you: they all keep things moving and acquit themselves admirably, especially drummer Larry Hancock who continuously threatens to steal the show.

Since being restored and reissued in 1994, this album's availability has been "spotty" to say the least. With great recorded sound and phenomenal performances, Live at Montreux should be far better known than it is, especially by Hutcherson and Shaw fans. If you are even mildly familiar with the performers and this one crosses your path, spare no expense!

STAN GETZ Blue Skies

Album · 1995 · Post Bop
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A QUIET MIRACLE

Why did Concord Records wait 13 years to release this magnificent album? Recorded in 1982 at the same sessions that produced the Pure Getz album, Blue Skies did not see release until 1995, four years after Stan's death. The label did an impeccable job with a superlative package, a slipcover, and an endorsement from Stan's son Steve, but the mystery remains as to why it was held back.

Don't for a moment believe this is an "outtakes" album. The six tracks work perfectly together and the four standards all figured prominently in concert performance over the last 10 years of Stan's life. While listening to Blue Skies, adjectives such as light, airy, ruminative, and leisurely may come to mind, but don't dismiss this as an easy-listening, MOR album. Yes, the emphasis is on beautiful ballads, but the uptempo Jim McNeely composition "There We Go" will quickly awaken those who may find themselves "drifting off". Pianist McNeely easily receives just as much soloing space as Stan does, and bassist Marc Johnson makes major contributions throughout, with solos on three tracks. Accusations of austerity are brushed aside with the whimsical take of the title track: the group is clearly having a good time.

Perhaps knowing Stan didn't live to see this album released lends the music a sense of haunted nostalgia. Drummer Billy Hart's brushes are all over these sessions, but that doesn't entirely explain the ethereal, summer-afternoon stillness that's almost palpable. Comparisons with Pure Getz will find Blue Skies more introverted and quieter, yet this album seems far more definitive and intrinsic to Stan's personal style. There are no dirges on Blue Skies, but anyone looking for an aural punch in the gut like Pure Getz's "On the Up and Up" have come to the wrong place.

Posthumous albums still get a bad rap. If the recordings were so good, the skeptic wonders, why weren't they released immediately? There are thousands of reasons/explanations/excuses, and the situations may vary, but when dealing with an iconic yet polarizing figure like Stan Getz, the answers grow even more complicated. Stan recorded so much with a multitude of players in a multitude of locations for a multitude of labels in widely varying genres. To this day he still has a devoted following, but his erratic recorded legacy has not made him hip with the trendsetters and namedroppers. That we still have in print today a quiet masterpiece like Blue Skies (despite its inauspicious start and late release date) is quite simply a minor miracle. Regardless of availability or popularity, this will always be an album to cherish, and one for the ages.

JOHN ABERCROMBIE 39 Steps

Album · 2013 · Post Bop
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SUBTLE, CALM, MEASURED

In a world of perpetual change, it's nice to know there are some things you can continue to count on. Take, for instance, the much-discussed "ECM Records sound": the haunted, melancholy, "wide open spaces" atmosphere that can be heard as far back as its early-1970s releases. If it's beautiful, autumnal, heartland, Sunday-afternoon chamber jazz you're looking for, you've come to the right place with longtime ECM guitarist John Abercrombie's 39 Steps.

Recorded in April 2013 with Marc Copland on piano, Drew Gress on double bass, and Joey Baron on drums, 39 Steps is much more, well, "down to earth" than his last few releases. Albums such as Class Trip, The Third Quartet, Wait Till You See Her, and Within a Song were more on the noir-ish, late-night side of Abercrombie's guitar-playing spectrum, while 39 Steps will prove to be much more compatible with those who enjoy the classic ECM sound. It should be stated from the outset that those looking for more of his fiery 1970s soloing or his 1980s experimental freak-outs may find this album somewhat pale in comparison. Tracks such as "Vertigo", "Bacharach", "Greenstreet", and "As It Stands" are best described as subdued, peaceful, or even relaxing. The compositions are strong, the solos are solid, and interest is always sustained, but this is not music that will disturb your neighbors. Copland's two compositions, "LST" and "Spellbound", are both much busier and simultaneously more mysterious. Long-time Abercrombie listeners are sure to enjoy "Another Ralph's". Quoting directly from "Ralph's Piano Waltz" (which appeared on both 1975's Timeless and 1986's Current Events), this song has Abercrombie out in front rather than just another player in the quartet. While the soloing spotlight is consistently shared amongst all the players, 39 Steps remains unequivocally a John Abercrombie album. "Shadow of a Doubt" is a group improv (another ECM trademark), and "39 Steps" is a mini-epic, appropriately summing up all that's come before. An offbeat, jesting cover of "Melancholy Baby" closes the album, leaving a smile on the face of all but the most determined listeners. And after a not-too-long (59:42) meandering journey, we're right back where we started.

With all the references to past glories, there's no doubt many will consider this a "long-past-his-prime, career-achievement" album. As a 30+ year listener to Abercrombie's fluid fretwork, I can only urge others to give the introspective and atmospheric textures of 39 Steps a real chance. Newbies may not be impressed, but they are gladly referred to the earlier albums (such as the two mentioned above) of one of the greatest jazz guitarists of our time. While 39 Steps may be lacking in intensity, it more than compensates in true artistry, and not just on cloudy Sunday afternoons.

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