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YES Fragile Album Cover Fragile
YES
4.77 | 17 ratings
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STEVIE WONDER Songs in the Key of Life Album Cover Songs in the Key of Life
STEVIE WONDER
4.82 | 12 ratings
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PARLIAMENT Mothership Connection Album Cover Mothership Connection
PARLIAMENT
4.81 | 11 ratings
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JIMI HENDRIX Are You Experienced (Jimi Hendrix Experience) Album Cover Are You Experienced (Jimi Hendrix Experience)
JIMI HENDRIX
4.66 | 33 ratings
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SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.63 | 56 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.63 | 44 ratings
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SANTANA Caravanserai Album Cover Caravanserai
SANTANA
4.58 | 46 ratings
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CURTIS MAYFIELD Superfly Album Cover Superfly
CURTIS MAYFIELD
4.85 | 6 ratings
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STEELY DAN Aja Album Cover Aja
STEELY DAN
4.58 | 26 ratings
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JIMMY SMITH Back at the Chicken Shack Album Cover Back at the Chicken Shack
JIMMY SMITH
4.63 | 15 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.54 | 35 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.64 | 13 ratings
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jazz related Music Reviews

TAKUYA KURODA Fly Moon Die Soon

Album · 2020 · RnB
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snobb
Japanese jazz is traditionally accepted as an unorthodox deviation from predominantly Western (or being more precise - Western of African roots) genre. Still fans familiar with at least some of the Japanese scene know that there was an extremely creative period of time there lasting from the end of 60s and up to mid 70s, which gave to the international jazz world such artists as pianists Yosuke Yamashita, Masahiko Satoh or sax player Akira Sakata among others. Still, from the late 70s partially influenced by the wave of fusion popularity, Japanese jazz for decades became better known by its quantity than quality.

There are a few name players of world level there on the Japanese scene, incl. Satoko Fujii, fusion pianist Hiromi and still active Akira Sakata among others, but they are shamefully rare for one of the world's biggest jazz lover nations. And even more rare are brighter jazz artists coming from a younger generation.

With "Fly Moon Die Soon" Kobe-born forty year old trumpeter Takuya Kuroda makes a serious request to the A-list. New York-based from early 00'. Kuroda already released five albums before playing music ranging from hard bop to funk jazz and electronics. On "Fly Moon..." he brings all of his influences together mixing them in one stylish cocktail of old and new without plagiarism.

From the very first second of album's opener "Fade", the listener is invited to dreamy neo-soul with flying soloing trumpet and Corey King's vocals. Richly arranged and instrumented piece sounds as you're in 70s and in today's world at once."ABC" with horn section, African rhythms and funky groove is again something what comes from Earth Wind & Fire golden era, or today's vibrant London scenes.

Many pieces are funky, but not physically deep, more flat and electronically danceable, but that more modern sound is heavily influenced by the Moog, not 21st century electronics. Ohio Players "Sweet Sticky Thing" cover (with Russia-born singer Alina Engibaryan) sounds as brass-decorated pop-soul song. Herbie Hancock's "Tell Me a Bedtime Story", coming right after, will remind you the fusion of the late 60s and Miles Davis.

Title track is more nowadays music, with electronic rhythms, neo-soul vocals and Kuroda soloing trumpet over it. Being very versatile in genres, this album doesn't sound as an overly eclectic collection at all. Kuroda successfully mixes different influences to new music with respect to tradition and a touch of modernity. This album is for a much wider circle of listeners than just regular jazz fans, and one of the rare great releases from today's Japanese jazz.

* UK vinyl edition, released month or so later after original Japanese release contains one song less comparing with the Japan edition.

MARKUS REUTER Markus Reuter, Mannheimer Schlagwerk ‎: Sun Trance (World Premiere Performance)

Live album · 2017 · Jazz Related Improv/Composition
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js
Its funny how synchronistic events can be sometimes. I was halfway through reading Mark Prendergast’s informative book on minimalism and ambient music, “The Ambient Century”, when this excellent CD of contemporary minimal music arrived in the mail, Markus Reuter’s “Sun Trance”. For those not yet aware of Markus, he is an imaginative electric guitarist and sound sculptor known mostly for his work with ex-King Crimson alumni in The Stick Men, where he displays his affinity for innovative guitarists such as Robert Fripp, Terje Rypdal and Sonny Sharrock. “Sun Trance” is very much in the minimalist tradition with its repeating motifs and slowly unfolding structure, but thanks to some inventive compositional techniques and inspired playing this CD rises above the sameness that can sometimes mar more generic offerings in the minimal approach.

Reuter composed this piece for the Mannheimer Schlagwerk, an eleven person ensemble that uses a variety of tuned and non-tuned percussion, electronic instruments and a bass clarinet to produce interweaving melodies that Markus eventually begins to solo over. Fripp fans will recognize Reuter’s solo guitar sound as it bears a strong resemblance to Robert’s beautifully sustained tone on “The Heavenly Music Corporation”. The trick to good minimal and ambient music is not letting the use of repetition and slow movement become trite or boring. One clever technique that Markus uses is to occasionally supply complete breaks in the music so that the ensemble can return with a different set of melodic figures. Another helpful element is the drum beat, a very down tempo dub influenced part that is played with enough syncopation and shifting accents that it totally disguises the time signature and keeps things from being too predictable.

WYNTON MARSALIS Wynton Marsalis & Jazz at Lincoln Center Orchestra : The Ever Fonky Lowdown

Album · 2020 · Third Stream
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js
After an incredibly long and productive buildup, it looks like Wynton Marsalis has hit the apex of his career with “The Ever Fonky Low Down”, a tour de force of spoken word, music and dance that speaks volumes against the negative forces that have been on the rise in recent times. The album itself is excellent, but I do hope someday he makes the filmed performance of this more available because with dancers, a large music ensemble and a charismatic narrator in Wendall Pierce, much of the appeal of this opus is visual. The real star of the show here is the lengthy text read by Pierce as the hustling character, Mr Game (“Sell you a loan that will take your home“). Mr Game is part insincere wealthy preacher, corrupt politician and conniving criminal hustler all rolled into one as he attempts to brainwash his audience. The words were all written by Wynton, who is apparently just as talented at libretto as he is with music as he displays the background for the cynical logic that threatens our world today. I won’t try to give out too many details about Mr Game’s rap as he tries to deride ‘they’ and buildup ‘his people’, but you will hear similarities to Hitler’s speech about the Polish people, Trump’s exaggerated and fabricated claims about illegal immigrants and the twisted logic of those who try to justify, or deny, the evils of slavery, genocide and ‘ethnic cleansing’. But its not just about the Mr Games of the world, instead, Wynton is challenging us to look deeper at how we react to Mr Game and his opponents. Do we let them manipulate and divide us, or are we able to think for ourselves and keep our moral compass on track.

The rhythms on here are pure New Orleans in many flavors such as RnB, Dixieland, odd metered modern jazz, post bop modal grooves, street marches and more. On top of this rhythmic foundation Wynton interjects his orchestrations that show similarities to Ellington, Mingus, Stravinsky, Bernstein and Sun Ra. There are plenty of hot solos from the all-star band and lots of free form interaction during the longer jams. It's very telling that the music is based in New Orleans, that fertile birthplace of creativity from which a subjugated people ended up spreading their culture and changing much of the world. As mentioned before, this is a very visual production and its great watching the three male dancers improvise and move in synchronicity with methods taken from jazz ballet and New Orleans street dancing. Also enjoyable is Wendall Pierce’s very charismatic performance, especially when his eyes flash like the devil when Mr Game moves in for the ‘closer‘. Wynton's hand picked musicians bring much personality to the proceedings as well, particularly the three female singers and blues/country guitarist and vocalist Doug Wamble, whose southern drawl can sound charming and also ironically troubling.

What makes ‘Fonky Lowdown’ so powerful is that Marsalis has very thoroughly laid out what dangers lay in wait in today’s world. In a recent interview Wynton pointed out, “This is no time to be sleep walking”. I was already aware of much of what Marsalis relates here, but I have never heard it all illustrated in such a cohesive manner, once again, in Wynton’s own words, “showing us a blueprint on how to rise above populist propaganda”. Don’t expect easy answers or liberal platitudes on how to make things better. Also don't expect cliche shaming and a roll call of past grievances. Instead, Marsalis is shooting for bigger game as he displays the thinking that allows those that should know better to stand by while the 'Mr Games' of the world go about their business. 'Fonky Lowdown' is a call for everyone to pay attention and be ready to act if needed.

ANDREA MORELLI Andrea Morelli e Silvia Belfiore : DIFFRAZIONE

Album · 2020 · Third Stream
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snobb
Since the introduction of the term "third stream" in the early 60s, there were many recordings released trying to combine jazz and classical music, with mixed success. Way too often the two genres crossover sounded like classic compositions adaptating to more modern sound by adding jazzy rhythms and arrangements, or contrarily - moving jazz bands to the music hall and extracting from their music groove and joy, leaving bloodless sterile compositions.

There still have been some successful examples of the concept, and Italian reedist Andrea Morelli's "Diffrazione" is one of them. Taking twelve compositions, written by two grands of the transition era from classic music era to modern days, Frenchman Eric Satie and American Duke Ellington. He adapted them for modern chamber sax/flute - piano duo with great success.

Eric Satie, French composer known from his compositions for piano, written in the end of the 19th century, isn't all that often cited by jazz musicians. Recognized as an avant-garde composer of sorts by his contemporaries, Satie wrote many short pieces where he rejected the classic idea of musical development, building the basis for coming soon minimalism, but still leaving a lot of romanticism elements in it.

"Diffrazione" contains eight short Satie pieces (mostly all popular "Gnossiennes","Gymnopedies" plus "Sarabande" and "Je te veux", all written between 1887 and 1913), all played by the duo of Andrea and Italian pianist Silvia Belfiore. All of them are musical pieces of exceptional beauty, sounding slightly melancholic but without nostalgia, with an excellent level of emotional taste. Warm and deep chamber sound brings the listener to characteristic atmosphere of European salon on the edge of nineteen and twenties centuries, leaving the old world for soon coming modern one, with all its expectations and troubles.

The album content's other half - five Ellington songs (written between 1928 and 1967). They are ambassadors of a new world here - more rhythmical, obviously less related with old-European classic legacy, and - much more optimistic. Still, adopted for chamber duo, Ellington songs sound softer, better rounded and with many emotional colors, more common for European music.

Placed in the album's program as almost always interchanging, Satie and Ellington musical compositions always differ by their mood, but surprisingly well fit, balancing each other. Altogether, they build that fragile form of jazz and classic crossover which balances on the edge between two genres never crossing the borders and producing music of new quality.

On the album's closer - Ellington's "Angelica" - duo is extended to trio, adding drummer Alessandro Garau. This gives more rhythmic qualities to the composition, which is quite playful itself, and perfectly closes the program on joyful, optimistic note.

Album's title "Diffrazione" means "diffraction", or deviation of waves from main trajectory (the effect, first observed by Italian Francesco Maria Grimaldi, by the way). On Morelli "Diffrazione" the listener can observe the deviation from classical and jazz main trajectories with an elegance and big respect to the source.

You don't need to be a fan of jazz or classics, or both, you don't even need to know all this music terms and tags - this is the music for everyone, excellent combination of taste and master ship.

TOWER OF POWER Step Up

Album · 2020 · Funk
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snobb
Tower Of Power were a true giant of funk in the seventies, and even if they celebrated their 50th anniversary in 2018, they are not going to slow down. Their previous release "Soul Side of Town" was a perfect one, presenting rich sound of funky brass band with excellent vocals and quality songwriting. From very first seconds, their most current album "Step Up" sounds as continuation of that previous one, and it's not strange at all.

The opener "East Bay! All the Way!" jumps right on the dance floor but unexpectedly disappears after less than a minute (very same way as on their previous album). What comes after is "Tower Of Power" at their best - beautiful vocal harmonies, memorable tunes and groovy perfectly arranged music, on the level of their best releases, coming from the 70s.

Under the skin, new album is not actually all that new - it contains solely tracks from the same sessions which gave us their previous release, "Soul Side of Town". Then, its pros and cons lay right in its origin. The material is surprisingly strong since we're speaking about the album of outtakes, some songs are possibly even stronger than some numbers included in "Soul Side of Town". From the other hand, there are no visible difference in sound, arrangements or compositions between current and the previous release. "Step Up" could easily be a second half of imaginary double "Soul Side of Town" set.

Both albums represent best funk and groovy r'n'b coming right from the 70s, the genre's golden age. After many line-up changes, the band still is rooted in their founders Emilio Castillo lead vocals/tenor sax and Stephen ‘Doc’ Kupka bari, and the full sound of a twelve-piece band with some guests. There is no particular use of electronics, and no traces of more modern arrangements, but for fans of big sound of funk/r'n'b bands from 70s, (like Earth,Wind & Fire), this music is a real pleasure. If you like it that way, and still didn't listen to "Soul Side of Town", better start there. If you already like "Soul Side of Town", take "Step Up" for another doze of excellent music.

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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