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YES Fragile Album Cover Fragile
YES
4.73 | 28 ratings
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PARLIAMENT Mothership Connection Album Cover Mothership Connection
PARLIAMENT
4.81 | 11 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.66 | 52 ratings
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SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.65 | 66 ratings
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YES Relayer Album Cover Relayer
YES
4.67 | 25 ratings
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YES Close To The Edge Album Cover Close To The Edge
YES
4.67 | 23 ratings
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CURTIS MAYFIELD Superfly Album Cover Superfly
CURTIS MAYFIELD
4.85 | 7 ratings
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JIMI HENDRIX Are You Experienced (Jimi Hendrix Experience) Album Cover Are You Experienced (Jimi Hendrix Experience)
JIMI HENDRIX
4.62 | 40 ratings
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NATIONAL HEALTH Of Queues and Cures Album Cover Of Queues and Cures
NATIONAL HEALTH
4.67 | 19 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.63 | 23 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.59 | 46 ratings
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STEVIE WONDER Songs in the Key of Life Album Cover Songs in the Key of Life
STEVIE WONDER
4.67 | 14 ratings
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jazz related Music Reviews

SADAO WATANABE Good Time For Love

Album · 1986 · Pop/Art Song/Folk
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js
Sadao Watanabe is one of the top alto saxophonists in the jazz world for the last six decades. He, along with Phil Woods, Eric Dolphy and Cannonball Adderly, is one of the top successors to the legacy of Charlie Parker. Sadao has put out many great records over the years and has worked with some of the best musicians that the US and Japan have to offer, but he is also known for putting on some commercial fare, more than likely to help pay the bills, which leads us to 1986’s “Good Time for Love”. The mid-80s were not a great time for jazz, commercial interests had taken over and saccharine smooth jazz was dominating the jazz charts. There is a lengthy list of musicians involved on this album and you may recognize many names from the US, Japan and Jamaica. About half the album is okay smooth jazz, with the other half just being way too sweet and vacuous for consumption.

Lets look at some of the better tracks. The album opener shares the same title as the album and is a decent reggae groove. It helps that they have some top notch Jamaican musicians on board as few things sound worse than badly played reggae. “Loving You is Easy” is a good funky soul jazz number and may be the best cut on the album except for the Caribbean groove of “Pogo”. “Pogo” is the only track on the album that just seems to end too soon. “Step Out on the Street” is okay smooth jazz RnB, but the rest of the album is pretty sappy and hits a low with “When We Make a Home”. This one actually has cringe vocals and the sort of lyrics you could imagine that would go with a song title like that. Overall, this is an okay smooth jazz record if you like that sort of thing, but if you like the real jazz, Watanabe has some much better albums out there.

JOE JACKSON Will Power

Album · 1987 · Third Stream
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Matti P
My knowledge on the British musician JOE JACKSON (b. 1954) were very limited before now. I had heard the early 80's hit 'Steppin' Out' and perhaps a late 80's weak pop album. I had a vague idea of him as a New Wave artist often compared to Elvis Costello, but I didn't really know about his musical versatility that stretches to jazz and even to classical or "serious" music. Will Power, his first foray into the latter, is cruelly bashed in All Music Guide as "a good exercise in self-indulgence but little of anything else" while the user reviews there are encouragingly positive.

Even the legendary prog or fusion musicians such as TONY BANKS, MIKE OLDFIELD or PEKKA POHJOLA (who wrote an actual symphony) usually haven't received much kudos from their orchestral works, although it feels pretty natural they should extend their already eclectic and ambitious oeuvre into that field. All the more harsh it feels to see it judged as mere self-indulgence when someone initially less oriented to classically inspired music makes an album like this one. In fact I'm indeed positively surprised by Will Power -- which I wasn't by Oldfield's orchestral albums. Perhaps it even would deserve to be performed live by a philharmonic orchestra, today. (Sadly the compositions of Contemporary Music are often forgotten after their premieres, or if they're originally albums they may never enter the concert halls, as it probably was the case with Jackson's work. Nowadays orchestral works composed by pop/rock musicians are hopefully ignored by fewer people than earlier.)

Will Power contains four shorter pieces plus a 16-minute 'Symphony in One Movement'. 'No Pasaran' is a sharp-toned and very urban-sounding 6-minute piece with hypnotical repetitive patterns slightly reminiscent of some Vangelis compositions of the 70's. Good use of percussion! The nearly 10-minute 'Solitude' has a moody atmosphere, slow tempo and lots of flute in the nuanced soundscape. Some human voices are added later. I find Jackson's arranging skills to be notable. Traditional orchestral instruments are joined by guitars, saxophones and synthesizers.

Also the title track has a colourful, vivant soundscape. All in all, one can sense some stylistic relation to the minimalism of PHILIP GLASS. The orchestral suite "Hjuvi" (1992) by the Dutch art-pop band NITS -- in practise it was an effort of their keyboardist Robert Jan Stips -- comes to my mind, too. The tender, ballad-like 'Nocturne' focusses on the acoustic piano. I like its introspective and emotionally deep melodies.

In the winter of 1985 Jackson was commissioned to write a 20-minute score for a Japanese film, "Shijin No Ie" (House of the Poet), and the orchestral piece was recorded with the Tokyo Symphony Orchestra. He adapted the music into 'Symphony in One Movement' to start this album project. His symphonic vocabulary is quite clearly of the 20th century. I like the way various instruments come to the fore in this dynamic and yet thoughtful composition.

Definitely one of the best orchestral works, if not the best, I've ever heard from an artist with a popular music background.

JUKKA PERKO Jukka Perko & Mikko Kuustonen : Profeetta

Album · 2008 · Pop/Art Song/Folk
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Matti P
Again I review an album rooted on the writings of Lebanon-born Kahlil Gibran (1883-1931). Both are Finnish works witnessing a collaboration between a jazz musician and a vocalist who's not exactly connected to the jazz genre; the first one was by pianist and composer Olli Ahvenlahti (b. 1949) and actor-singer Vesa-Matti Loiri.

Saxophonist Jukka Perko (b. 1968) is among the best known Finnish jazz musicians of his generation. His large discography contains several collaborative works, including a poem-based album sung by the mentioned Loiri -- which I'll review some day. This Gibran themed album is undoubtedly one of the least jazz-oriented albums Perko has co-composed. It is thoughtful, serene Vocal Music with an emphasis on the meaningful lyrics. Composing credits are shared by Perko, vocalist Kuustonen and guitarist Timo Kämäräinen, who is equally at home in jazz and rock.

Mikko Kuustonen (b. 1960) is a renowned pop/rock-oriented singer-songwriter whose musical past includes blues-rock and gospel. One can sense some gospel-reminding spirit here, which is understandable due to the "Prophetic" essence of Gibran's poetry. The arrangements are sensitive with a minimum amount of a rocking edge, only the rhythm section accompanying saxes and guitars. Kuustonen's warm barytone voice carries the lyrics with heartfelt depth.

Now, if my words make you think this is a very SONG based, vocal oriented album, I wish to point out that the music has a lot of space and nuances created by the playing, which is not there for merely backing the vocalist. And besides that, there's not much of the tight chorus-refrain structure. Instead it all flows beautifully. If the vocals were replaced by instruments, this could function as a slightly New Agey instrumental album for relaxating and introspective listening.

I'm not going through the eleven tracks in detail. The entire album works very well for a listener who appreciates introspective thoughtfulness. Understanding of Finnish is of course needed for full artistic reception.

STING Duets

Boxset / Compilation · 2021 · Pop/Art Song/Folk
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Matti P
Sting has been among my fave artists ever since my teenage years when The Police frontman started his solo career, but frankly I have minor interest towards his more recent output. I very strongly prefer the first three albums, and I even find the mid-period albums such as Brand New Day (1999) and Sacred Love (2003) rather boring.

Although my expectations for this compilation of duets recorded over the years weren't very high, I was initially surprised of how bad most of this stuff sounded to my ears; this is the question of the production style, no duet partners are to be blamed. [BTW, the CD's inner cover features Sting's brief liner notes for each performance which is nice, but I miss more accurate info about the original releases of these duets.] In short, too many tracks sound like lazy modern r&b with a sticky beat, starting from the opener 'Little Something' with Melody Gardot. Artists such as Mary J. Blige or Shaggy don't make me expect something else in the first place. Take for instance 'Rise & Fall' with Craig David: I truly hate that r&b thumping. I like Mylene Farmer's cute vocals in French on 'Stolen Car' but the Sacred Love song itself is quite poor and the sonic production in this version awful.

Annie Lennox is one of the collaborators I generally appreciate as individual artists, but alas, I have never liked the Nothing Like the Sun track 'We'll Be Together', and this version is even worse. The world music oriented 'Desert Rose' f. Cheb Mami was released on Brand New Day. All in all the 17-track set list offers only a few songs familiar from Sting's discography, and mostly not well chosen from my point of view, either. One of my personal highlights is 'Fragile' beautifully dueted with Julio Iglesias. The set's earliest recording 'It's Probably Me' (1992, f. Eric Clapton on guitar) exceptionally predates the album version on Ten Summoner's Tales (1993) and is clearly poorer.

So, the first half of this CD was a disappointment for me especially for the r&b sounds, but things get notably better towards the end. Who's not to like the chanson ballad 'L'amour c'est comme un Jour' with Charles Aznavour, or the jazz ballad 'My Funny Valentine' featuring Herbie Hancock on piano? I also enjoy 'September', Sting's collaboration with Zucchero. The final piece is a decent version of 'In the Wee Small Hours of the Morning' featuring the trumpet of Chris Botti.

The "Duets" album was meant to be released in november 2020 but was delayed due to covid-19. The same release date, 19 March 2021, saw also the digital-only release of 'Englishman/African in New York' f. Shirazee, and IMHO that track should have been included on this album as well. My rating remains pretty low, estimated against Sting's overall discography. But remember, my ratings for his latest studio albums would hardly be much better.

DAVE GRUSIN The Fabulous Baker Boys: Original Motion Picture Soundtrack

Album · 1989 · Jazz Related Soundtracks
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Matti P
The American pianist, composer and band leader Dave Grusin (b. 1934, still alive!) was highly active in the field of film music. The movies I'm familiar with include e.g. Pollack's "Three Days of the Condor" (1975), Warren Beatty's "Heaven Can Wait" (1978), Oscar-magnet "On Golden Pond" (1981), the gender comedy "Tootsie" (1982), and - perhaps my favourite film of these - "The Fabulous Baker Boys" (1989), a musical drama with romantic undertones, starring real life brothers Beau and Jeff Bridges as a jazz piano duo of brothers, and Michelle Pfeiffer as a singer joining them.

The most memorable musical moments in the film are definitely those where Pfeiffer performs with the Baker brothers: 'Makin' Whoopee' and 'My Funny Valentine'. They are the highlights of the soundtrack as well. Pfeiffer's vocal abilities were surprisingly good. Grusin's original soundtrack music is fairly enjoyable too, although some of it hasn't aged so well. The core combo - featuring e.g. Grusin on keyboards, guitarist Lee Ritenour, a tenor saxophone and a trumpet - is often accompanied by strings. Occasionally the arrangements lean towards big band stuff.

'Main Title (Jack's Theme)' is a nice, groovy and elegantly arranged jazz piece. 'Welcome to the Road' is among the most eighties sounding tracks. The drumming is too loud in the mix and synths sound rather thin. 'Suzie and Jack' is a pleasant, slow-tempo romantic piece. Even more beautiful is the melancholic and moody ballad 'The Moment of Truth'.

The album also contains Grusin's arrangement of 'Lullaby of Birdland, and 'Moonglow' performed in 1936 by the Benny Goodman Quartet. The album is a bit uneven to listen to, and sometimes the original music is terribly 80's, but the highlights justify sympathetic three stars.

jazz related movie reviews

KING CRIMSON Neal And Jack And Me

Movie · 2004 · Jazz Related Rock
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Sean Trane
This DVD will please many of the third Crimson phase fans combines two tours: the Beat tour and the Three Of A Perfect pair. Oddly enough, they are presented in a non- chronological order, but this is a very minor point. One of the things I was particularly uneasy about was Bruford's use of electronic percussions and drums and we get a load of those "things" and like all technology novelty, the risk is that it ages poorly and sadly here, it is the case. Another point I had not appreciated is the stage presence of Adrian Belew, which is clearly copied from David Byrne from his collaborations with The Talking Heads - I love the T Heads, but Belew's stage antics are too derivative and ill fitted for Crimson. There are a few tracks present twice and most notably the boring Mate Kusadai.

Strictly on the visual front, Crimson was clearly making efforts to look hip and appeal to a more new-wave-ish public. Those were the days! But I never said that they were good, either!

Among the bonuses, are a video clip and a few titbits, but sadly still missing is that mini- concert footage filmed for the Discipline release and them playing four tracks in front of a red curtain. I may be severe with my rating of this DVD but I am not a real fan of that era.

GONG Classic Rock Legends

Movie · 2000 · Jazz Related Rock
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seyo
This video contains live performances from 1990 Live on TV album. Four original members of GonG are present: Pip Pyle, Didier Malherbe, Gilli Smyth and an oddball-harlequin persona of the spiritus movens, Daevid Allen.

Performance is focused on their legendary Radio Gnome Invisible trilogy, with 3 starters from Camembert Electrique. Since I have no idea what GonG looked like on scene back in the early 1970s (that is, before I took a peek at several Youtube clips recently), I guess this DVD makes up a lot for that, the age of the performers notwithstanding.

In fact, seeing these unique art-performers in their senior age can just assure you how the music and art in general can surpass generations, years and ages if you wish. Musicianship is great, movie direction very good with several cameras shooting from different angles, while only the engagement of the dancers to invoke the mystical gnomey creatures may be seen as too over-stressed.

The finale presents perhaps too long goodbye with the extended "I Am You" jam, but when Daevid jumps down into the audience you can actually see the highly emotional and spiritual connection between the band and the people, done in an almost religious-like chanting. This is excellent video and should be seen by all those who have at least some knowledge of the Planet GonG trilogy repertoire!

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Dick Heath
I remember seeing this originally on BBC 2 a few weeks after it was recorded in one of the canteens of Oxford Poly, and getting a mix of intense pleasure. In particular pleasure from the tour de force that Holdsworth had developed into (and screamed out at me on Feels Good To Me)and the unknown bass-wiz Jeff Berlin. But there was disappointment over Annette's contribution to the set - when her husky voice breathed sex at me on the album.

Now here from the Beeb's archives is the original 70's video quality footage as originally shown on 625 lines. The pleasure points remain, with some details emphasised. However the disappointment is worse, in particular there is a promise of something special as Peacock flounces on part way through the set, dressed as the fashion queen,(thereby drawing the contrast with the blokes in the band). However,again the expectation of something special evaporates quickly - the diva can't 'deave' live in sympathy with the music, the band i.e. her vocals are poor. Fortunately we don't have to suffer this for long and thank goodness for the skip button.

Yes this is a short recording*, and isn't there a missed opportunity here? One DVD burn (of a copy of a copy, etc.) of this gig I saw some years ago and suffering horribly from colour dropout, had the addition of two extra numbers by Bruford recorded off from the Old Grey Whistle Test - here with I think Neil Murray deputing for Jeff Berlin. Surely the Beeb could had offered these as well?

*Interesting to see another Rock Goes To College recording of Herbie Hancock & the Headhunters recorded at the now defuncted Chelsea College, that had resurfaced on BBC 4 2 years ago, was an hour long.

STING Bring On The Night

Movie · 2005 · Pop/Art Song/Folk
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Slartibartfast
The concept here is a documentary of a band forming, The Blue Turtles Band, rather than a band at their peak or breaking up. Fortunately it is heavier on the music than the documentary.

The first half takes place in a French countryside chateaux and consists of presentable songs from nine days of practice sessions for what was to be their first show. Everyone in the band seems to be having a good time. The chateaux provides nice a nice backdrop to the sessions. The second half is the show itself.

Since this was Sting's first post Police effort, there's a lot of reworked Police songs mixed in with tracks from the first album. It's sort of like the Police meets jazz with Andy Summers ejected so Sting could play guitar. The band line up is primarily younger jazz musicians that already had a good reputation for work they had done before hooking up with Sting.

There are interview excerpts between the songs. One of the more interesting ones was Miles Copeland, Sting's manager and Stewart's brother going on about negotiations with the rest of the band. He was extremely dismissive of the band in relation to Sting when it came to monetary compensation. I suspect that was more about himself getting a bigger piece of the pie than a reflection on Sting, although I do recall him guest appearing on a Saturday Night Live show with Steve Marting and Steve introducing him as Stin-gy.

I originally saw this one in a theater and was really pleased to see it released being reworked with "high definition digital anamorphic picture transfer and digitally remastered surround audio." It actually does look a little sharper than I recall and I think the orginal sound was just stereo.

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Slartibartfast
This is incredible. I had the good fortune of seeing Bruford, unfortunately post Holdsworth, at the now defunct Atlanta Agora. I did get to catch Holdsworth touring for his I.O.U. album, but that's another story. My first pass through this concert really gave me the goosebumps.

It is unfortunate that this DVD is only 41 minutes, but the set list is excellent. Four tracks from Bruford's best album, One of a Kind. Annette Peacock even shows up for a couple of songs. I always thought that she didn't fit in well with this kind of music, but it's nice to see her all the same. I hope I'm wrong, but I don't think there's any live video out there of Alan Holdsworth, so seeing him in action is a special treat. One of the things I remember most from seeing Bruford was that at times Jeff Berlin's picking fingers were a blur and seeing him again live, I know I wasn't imagining it. Dave Stewart, or as I like to call him, The Dave Stewart, not that Eurythmics guy, is also a lot of fun to see in action. I noticed he had a music stand with no sheet music, but a synthesizer diagram, interesting. And then of course there's Bill. Those of you who may dislike his electronic drum work, I'm not one, will be happy to him playing strictly acoustic. What can I say? He's really one of best drummers around. The audio quality is excellent and sometimes the camera man crop off Holdsworth's left hand when I'd like to see it, but other than that, this is really nice for a concert captured in 1979.

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