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Showing only albums and live's | Based on members ratings & JMA custom algorithm

PARLIAMENT Mothership Connection Album Cover Mothership Connection
PARLIAMENT
4.89 | 9 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.67 | 33 ratings
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SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.62 | 47 ratings
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STEVIE WONDER Innervisions Album Cover Innervisions
STEVIE WONDER
4.77 | 11 ratings
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STEELY DAN Aja Album Cover Aja
STEELY DAN
4.67 | 20 ratings
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CURTIS MAYFIELD Superfly Album Cover Superfly
CURTIS MAYFIELD
4.99 | 5 ratings
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FRANK ZAPPA One Size Fits All (as Frank Zappa And The Mothers Of Invention) Album Cover One Size Fits All (as Frank Zappa And The Mothers Of Invention)
FRANK ZAPPA
4.61 | 31 ratings
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MARTIN DENNY Exotica Album Cover Exotica
MARTIN DENNY
4.94 | 5 ratings
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TERRY RILEY In C (Members of the Center of the Creative and Performing Arts in the State University of New York at Buffalo feat. conductor & saxophone: Terry Riley) Album Cover In C (Members of the Center of the Creative and Performing Arts in the State University of New York at Buffalo feat. conductor & saxophone: Terry Riley)
TERRY RILEY
4.94 | 5 ratings
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JOHN ZORN Magick Album Cover Magick
JOHN ZORN
4.86 | 6 ratings
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FRANK ZAPPA Over-Nite Sensation (The Mothers) Album Cover Over-Nite Sensation (The Mothers)
FRANK ZAPPA
4.58 | 25 ratings
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STEELY DAN Countdown to Ecstasy Album Cover Countdown to Ecstasy
STEELY DAN
4.63 | 16 ratings
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jazz related Music Reviews

YUSEF LATEEF The Blue Yusef Lateef

Album · 1968 · Jazz Related Blues
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Sean Trane
Yusef’s generally most acknowledged second half of the 60’s album, The Blue Yusef, indeed the album has some credential at being among his better works in a very prolific career, though some jazz purists would probably beg to differ. As you’ll guess by the title, the album features much blues, a good deal of it being 12 bars, and a rarer 16 bars one, which sounds more mysterious. This could Ysef’s first album for Ahmet Ertegun’s Attlantic label (coming after from his impulse period), as well.

Opening on the bluesy Juba, Yusef brings immediate depth by mixing harmonica (courtesy of Buddy Lucas) and highly evocative from The Sweet Inspirations. The following 8-mins Like It Is has a highly haunting melody, first opening on an enchanted flute, then segueing in a delightful sax, then the underlying Lawson piano unleashes and a string quartet concludes in a masterful way. The exotic sounding (I’d say far-east, mixed with south-eastern Asia roots) Moon Cup is based on Phrygian scales, and it’s probably the least accessible track on the album. Othelia is a rather standard boogie blues with little interest, unlike the train-like rhythms of Back Home, where the harmonica returns, along some demented sax and percussions. Get Over and the rest of the flipside are different versions of blues. Not really YL’s most representative album, but the first and third tracks are among my faves of his.

YUSEF LATEEF Hush 'n' Thunder

Album · 1973 · Jazz Related RnB
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Sean Trane
This HnT release might seem somewhat of an oddball to YL fans, maybe because most of the tracks are attributed to pianist Kenny Barron, who happens to be all over it. Recorded at Atlantic’s studio in 72, the album is fairly representative of those days’ 60’s jazz artistes trying to find their way through a changed music landscapes where they had lost their spot.

Opening with Duke’s Come Sunday with only Yusef’s flute and a cello, the album veers fusiony with the following funky The Hump that prefigures the later-70’s jazz-funk - and YL’s own APP release four years later. The two-parts 8-mins Opus is much more of a pure fusion piece, despite opening very softly, but Barron’s Rhodes and Yusef’s flute, both underlined by a lovely cello, are pure bliss; the second movement slowly gains momentum and we can hear YL’s heavy air intake to blow in the flute, much like what Jethro Tull’s Ian Anderson did and included it in his music. Closing the A-side is a weird semi-gospel and NO jazz This Old Building piece that opens on construction machine noises. Definitely out of context, if you ask me.

The flipside opens on the funky Prayer that features the shannai (that’s an Indian wind instrument that looks like a kazoo – its spelling varies) and a pneumatic flute (wtf is that?? ;-), but we’re again dealing in the region of The Hump. The almost 8-mins Sunset is dissonant and could be compared to Mwandishi’s calmer moments. The Sparrow cover piece is a return to the gospel thing, and personally, I find it insufferably long and overstaying its welcome by the third of its duration (gospel is really not the thing of this atheist). The closing Destination Paradise is an atmospheric piece that relates well with the Opus and Sunset fusion pieces.

I’m not sure I would define this album as post-bop, because it’s an extremely varied affair, ranging from gospel-soul to pure fusion. I personally fully endorse its adventurous fusion part and to an extent its funk extension, but personally can’t stand the gospel part, which I not only find intrusive, but ruining the album’s cohesiveness.

YUSEF LATEEF Autophysiopsychic

Album · 1977 · Jazz Related RnB
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Sean Trane
By the later half of the 70’s, most 50’s and 60’s jazz artistes that wanted to survive had to go commercial and do albums that were into soul-jazz or jazz-funk, and one had to wonder how willingly they did so. Certainly YL’s APP was a border case, despite Yusef writing four of the five tracks on the present album, the last one being by producer Matthews – probably an arrangement between him and YL, because of the heavy arrangements on that track and others on the album. This could’ve also been a CTI album (actually it is one, but via the Epic label), as it was produced by Creed Taylor and Eric Gale plays guitar, but don’t expect the soft jazz fusion of the earlier CTI albums: we’re rather dealing with a solid funk album, but the main solo instrument is Art Farmer’s flugelhorn - he gets a special mention on the album’s sleeve. This writer is not particularly familiar with the other musicians on the album, but one would assume that they’re pure funk people: certain bassist Gary King and drummer Madison (the CD booklet surprisingly also mentions Steve Gadd) sound like it’s their main background.

Recorded at Hendrix’ old studio Electric Lady in October 77, the album is definitely more of a funk album with slight jazz overtones - mostly the wind instruments (Yussef’s sax and flute and Farmer’s horns) - and there are plenty of vocals (mainly Yussef’s, apparently. To be honest, while this album may attract your curiosity through a promise of adventurous musical escapades, I find it very repetitive (and weak in terms of lyrics) and relatively shallow; but then again leter-70’s funk albums with an eye onto the disco scene tend to be that way. Does this mean that this is a bad album? Most likely, this is an excellent pure funk album, but if you’re expecting the usual YL albums, you could be in for a solid disappointment. The relatively lengthy songs are just straightforward funk with little deviance from the groove installed and boring lyrics repeated endlessly (“say in touch with your mind” ) and only the (very good) quality of the wind instrument solos to really present interest. Only the YL song present more interest (IMHO, of course) with its slightly different sonics (the arrangements), but even then, it remains very funky.

The album’s title is reminiscent of his Psychicemotus he’d recorded for the Impulse label back in 65, but there aren’t any sonic links between the two. Given YL’s prolific discography and the wide sonic variety he indulged in, this APP release might just be one of his most WTF release, and you might want to approach it carefully, despite the luscious 70’s sounds and production values. Clearly looking for a direction he would feel comfortable with, this was to be the second last album he’d release for a few years, the next one coming in the mid-80’s.

KORLA PANDIT The Universal Language Of Music, Volume 1

Album · 1954 · Exotica
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js
Our review today involves a talented young African-American jazz pianist from the US south who decided to boost his fledgling career by fabricating for himself a far away exotic birthplace, and an equally exotic new name and attire to go with that alleged birthplace. Now you may be thinking this must be Sonny Blount aka Sun Ra, but instead it is the lesser known John Roland Redd, otherwise known as Korla Pandit from ‘New Delhi‘. Redd was a promising young piano player who was actually from Hannibal Missouri before he decided to move to Los Angelas, first re-naming himself Juan Rolando, and then settling on becoming Korla Pandit, an ‘Indian’ man complete with jeweled turban and all. In the early 50s, Pandit would appear on TV in LA playing a mix of classical excerpts, jazz standards and exotic originals on the Hammond organ while staring directly at the camera without saying a word. For the US in the early 50s, this was unique to say the least. Some credit Pandit with being the creator of the strange genre that became known as exotica and certainly his records, along with the first records by Les Baxter, are some of the earliest recordings in this style.

“The Universal Language of Music Volume 1” is typical of an early Pandit record as it contains some classical excerpts (Clare de Lune" etc), a couple standards ("Somewhere Over the Rainbow" etc) and a few supposed “Indian” tunes composed by Pandit. The alleged Indian tunes don’t sound much like music from India, but more like cheezy belly dancing music from a 50s LA nightclub. Korla often accompanies these exotic melodies by playing the lower keyboard on the Hammond with an open palm producing a sort of electronic bongo drum beat. No matter what Pandit plays, he provides the sort of melodramatic swoops and swells that were common to lounge organ players during that time period. In between the tunes, an unidentified dramatic voice recites corny poetry and trite stories that pre-date new age snake oil 'gurus'.

Getting back to our Sun Ra comparison, I would not be surprised if Sonny pulled some influence from Pandit. For example, on the track “Stormy Weather”, Korla precedes the tune with his idea of a chaotic storm on the keyboard with lots swelling dissonant chords, its avant-garde music gone dramatically cornball and its just humorously excessive enough to sound like Ra himself.

I am sure you have already determined that this record is not for everyone, even some exotica fans may be disappointed in the murky recorded sound, but to some collectors of odd music, that murky sound can only add to this record’s strange appeal. No doubt Pandit’s playing is not a joke, he was an extremely talented performer who could have played whatever he wanted, he’s just one of those quirky individuals who took the path less traveled.

JACK BRUCE Harmony Row

Album · 1971 · Jazz Related Rock
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Sean Trane
Third album from JB, but this time, he drops the Colosseum connection to snatch some Nucleus (Ian Carr’s band) members, just at the time where the band’s original line-up was imploding. To say the least, despite both having played on JB’s Tailor album, John Marshall and Chris Spedding are relatively odd choices, given the album’s shorter song format. I’ve always failed to see the link of the album’s relatively positive title and its dreary artwork, and to be honest, the album’s all-too-wordy nature (it seems that Pete Brown was never this loquacious) always discouraged me of investigating further. As usual, JB sings, plays keys and bass.

A few songs have a hard time hiding their inspiration (or is it that they inspired someone else’s?) and sometimes, JB evens sounds a tad Cat Stevens-ish in Folk Song; while some songwriting is definitely kistchy and disputable: Royal Wood and the closing almost-stinky Spanish-crooner Consul At Sunset. And it’s in the simpler more RnR songs that JB’s often-too busy bass playing is mostly evident, as Letter Of Thanks proves. Among the album’s highlights is the impressive and adventurous Morning Story, and while the vocals of Smiles And Grins might just be a little rough/harsh, the playing is brilliant.

Harmony Row has always been an album I’ve felt uncomfortable with, partly because it isn’t all that accessible, too much all over the map, and even noisy in parts. To be honest, if it wasn’t for the album’s two longer songs, I’d give it a much smaller rating.

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 Jazz/Crossover
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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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