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jazz music reviews (new releases)

RODNEY WHITAKER Mosaic : The Music of Gregg Hill

Album · 2025 · Post Bop
Cover art 4.00 | 1 rating
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Carmel
Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

ALEX MCLAUGHLIN A Brand New State

Album · 2025 · Post Bop
Cover art 3.50 | 1 rating
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Although “A Brand New State” is bassist Alex McLaughlin’s first album as a leader, he is hardly new to the jazz scene. Some artists he has worked with include Arturo Sandoval, Kurt Elling, Matt Wilson and even comedian Sandra Bernhard. Alex’s reputation has to be strong because he was able to pull in some A-listers for help, including Tina Raymond on drums and Jeremy Siskind on piano, but probably the most well known name on here is Jeremy Pelt on trumpet. The influence of Miles’ mid 60s quintet is heavy on this outing, which could be said about many modern post bop albums, but Alex and his crew do a better job than most when it comes to matching the open-ended approach of the Davis band. Much like Miles, Alex and his band mates don’t necessarily mark steady time, instead, the drums are part of the ongoing musical conversation and the rhythm tends to ebb and flow with the soloists. Likewise, chord changes are not always adhered to strictly, as the players pick and choose notes with a certain understood freedom. This is a very conversational band that listens intently to each other.

The music is today’s post bop with fusion influences and an overall abstract approach. On “Trailhead”, the band gets into a sort of jazz-rock heavy rhythm with Jeremy Pelt channeling Freddie Hubbard style aggressive trumpet attacks. Siskind can recall Herbie Hancock at times and this is evident on “Signals” where his laid back soloing is reminiscent of Herbie’s “Speak Like a Child” opus. This number also features Pelt using a mute for more Miles type sounds. On “The Solar Punks”, Siskind gets into some large block descending chords that may remind some of Craig Taborn.

Towards the end of the album, the band gets a little more bluesy and straight ahead with “El Polvo” carrying some Thelonious Monk abrasions as well as some of Siskind’s best piano work on the album. “Trial” continues the hard bop orientation and album closer, “Elevation”, was inspired by Joe Henderson’s “Isotope”.

JEFF RUPERT It Gets Better

Album · 2024 · Hard Bop
Cover art 4.00 | 1 rating
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They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

KENNY BARRON Beyond This Place

Album · 2024 · Post Bop
Cover art 4.00 | 1 rating
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Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

JOSÉ JAMES 1978

Album · 2024 · RnB
Cover art 4.50 | 1 rating
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snobb
New York-based jazz/R'n'B singer José James's newest album, "1978" (his birth year), is a beautiful and elegant tribute to the music of his childhood. Containing all originals, the album can recall RnB sounds from the 60s and 70s, but it also has vibes that place it clearly in 2024.

The opener "Let's Get It" contains a string quartet and is a hypnotic aerial and percussive piece with a groove and vibe that may remind some of Al Green's laid back work for Stax. “Isis & Osiris” is a repetitive soul piece, sensitive and of fragile atmosphere. “Planet Nine” is funky, but still elegant, with a catchy tune. “Saturday Night (Need You Now)” is danceable and sexy,

"Black Orpheus (Don't Look Back)" is another in the Al Green direction and contains background vocals and beautiful guitar solos. "Dark Side Of The Sun" is a song with a more contemporary sound, it combines organically soul from the 70s with synth arrangements and Belgium-based poet Baloji rapping. "Place Of Worship" is a standalone piece based on international beats and containing Brazilian singer Xênia França vocals, besides José James' own.

"For Trayvon" is a ballade tribute to Trayvon Martin, with sensitive James' vocals over piano and strings. It is a beautiful and memorable melody as well. The closer, "38th & Chicago", contains Afro-Cuban percussion (from Pedrito Martinez) and another guitarist, Marcus Machado, with a lengthy solo.

The music, which connects past and present imperceptibly, may not be the most innovative, but probably the most beautiful album of this genre in the year 2024.

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GUNESH Вижу Землю (I See The Earth)

Album · 1984 · World Fusion
Cover art 4.48 | 5 ratings
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FunkFreak75
The second album fusing East-West musical styles and sounds from this Turkmenistani band. Funky, proggy Jazz-Rock World Fusion from Turkmenistan, the band's self-titled debut album from four years before is a personal favorite of mine, happily straddling several musical genres with their native folk melodies and instruments woven integrally into their jazz-oriented music, making them a real pioneer of World Fusion.

Side 1 1. "Байконур / Baikonur" (5:02) fast-moving funk-clavinet opens this one, alone, before flanged dynamic fretless electric bass and the rest of the band join in. The motif is fast and repetitive, with stop and go restarts almost every six or seven seconds over the song's first two minutes, and some cutesie percussion noises topping things off from time to time. Early in the third minute the funk motif shuts down and we're left with a spacey synth and electric piano sound over which percussives, rhythm guitar, and native traditional accordion-sounding instrument play a slow and frozen theme before horn section, bass, and the rest of the full band rejoin to celebrate a kind of mariachi-sounding ethnic jazz theme. Interesting! These musicians are definitely competent and dialed in! (9/10)

2. "Бу Дерды / Bu Derdy" (7:44) drums and percussive synth sound duet for the speedy, demanding opening half minute of this one. Then we interlude with some long "distant" sax notes over spaced-out chord hits following an unpredictable progression. It's like we're on a journey: first speeding down the road, then climbing up the arduous mountain, then enjoying the sights from the lofty, even above clouds heights--this latter performed by pixie dust synth flourishes over angelic synth washes. A god-like voice enters to make some announcement or proclamation (in a language I have no experience with) before backing off for an ensuing conversation between pixies and vocoder-fed voice. Then we transition into a synth- and electric piano-supported hand drum motif over which male vocalist sings in an style that sounds more akin to Islamic religious or Arabian dance music (sometimes I cannot distinguish between the two: both seem so celebratory, even religiously-charged). The melodies of the synth tracks are cleverly integrated into a weave with the vocalist's melody--which is later picked up by what sounds like a sarod or swarmandal before yielding back to the vocalist for the finish. Another very interesting song whose compositional construction leaves me a bit baffled--especially since I don't know the translations of the song title; they sound as if they're trying to compose something that conveys a variety of scenes from a journey. It is a very intriguing, entertaining, and even enjoyable song if a bit poorly recorded. (13.375/15)

3. "Восточный Экспресс / Oriental Express" (3:32) How would citizens of Turkmenistan know of the Oriental Express? Drums and flanged keyboard bass open this before horn section joins in to set up the next motif--which includes a flanged electric bass with all of the horns and big band. Halfway through there is a stoppage after which the band launches into a speedy funky space tune that sounds somewhat imitative of both Jean-Luc Ponty and German bands like ELOY. The bass lines are great, western-style kit drumming tight, and the native guitar playing quite melodic. (8.75/10)

Side 2 4. "Ритмы Кавказа / Rhythms Of The Caucasus" (8:25) another thickly grounded funk bass and drum tune over which violin, electrified guitars and native guitars take turns playing the rapid-fire riffs that make up the traditional-sounding folk-melodies. In the third or fourth minute things stop and a more faith-based tune is set in motion: with violin and male voice picking up the plaintive dirge while a subtly shifting chord of synth-male choir "aah/oohs" drone in the background. I really love this kind of music: it sounds so mystical and devotional. At the 5:00 mark there is another stop and reset, this time into a motif with a fast two-step rhythmic foundation over which violin, local percussion instruments, and guitars speed through their locally popular melodies. An extended hand drum solo in the seventh minute sets up a dynamic return of all of the other folk instruments for the high speed finish. Nice stuff but, again, how/why the three totally different motifs? (17.5/20)

5. "Ветер С Берегов Ганга / Wind From The Gang" (4:32) reverbed violin plays over tabla-like drums giving the opening of this song a rather early-Shakti sound--the main difference here is that keyboard synths are the other contributing soloist instead of a John McLaughlin guitar. Then Middle Eastern synth chords back sarod-like instrument before the synth strings takeover by themselves. Nice electric piano base takes over with the tabla before Indian- or Chinese-sounding bowed string instrument takes the lead. Very pleasant, engaging, and enjoyable song. (I'm a real sucker for this kind of music.) (9.25/10)

6. "Вьетнамские Фрески / Vietnamese Frescoes" (4:20) despite the electric bass and Western drums and electric violin presence, the melodies explored here by the violin, keyboard artist, and traditional string and percussion instruments definitely succeeds in the imitation of what sounds to my uneducated ears like music and melodies that could come from Vietnam. The choppy staccato keyboard-synth sounds taking over the song's second half are interesting--sounding more space-industrial like something from a Larry Fast SYNERGY or Patrick Moraz I album, but then full drum play rises into the mix and then the rest of the rock instruments, letting the song end strongly like something from a BRAND X or JEFF BECK Wired album. I adore the final motif, am intrigued by the middle synth one, and am impressed by the successful capture in the opening section of of Southeast Asian sounds and melodies. (8.875/10)

Total time 33:35

The music of these highly-skilled musicians is all over the place: with funky bass and drums, proggy electric keyboards, jazz-rock horns, and lots of local/ethnic instrumentation and melodies integrated into the music. At times it feels more a celebration of Islam, at others like we're watching Weather Report and Herbie's Head Hunters performing on stage together. It's often quite engaging melodically, rhythmically, and at others feels cheezy and contrived to show off rather than demonstrate song writing cohesion. I enjoy this album and it's diverse music but not quite so much as their previous album from 1980.

89.0 on the Fishscales = B+/four stars; another excellent collection of folk and traditional music infused Jazz-Rock Fusion from these excellent Turkmenistani musicians. I love the successful blending of Eastern traditional music melodies, instruments, and styles with those of modern technologized Western innovations coming from the 1970s Jazz-Rock Fusion world.

JEFF BECK Wired

Album · 1976 · Fusion
Cover art 4.02 | 27 ratings
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FunkFreak75
The bromance continues between Jeff and producer extraordinaire George Martin and the whole Mahavishnu scene. The results were amazing with the previous album, the Grammy Award winning Blow by Blow, but for this project it's the Jazz-Funk side of the Jazz-Rock Fusion scene that has Jeff enamored and excited, thus the employ of Narada Michael Walden--who has written four of the album's eight songs.

1. "Led Boots" (4:03) hard rockin' and funky, this oddly-timed and syncopated music credited by bassist Wilber Bascomb is a bit tough to access. The bass, drums, and clavinet play are so aggressive and, at the same time, syncopated to almost form a line of defense preventing any listener inside the melodies or structures. Jeff's guitar playing, both rhythmically and in the lead passages, are about as hard and aggressive as you've ever heard them--and they're impressive!--but there is very little melody to grab onto. The same goes for Jan Hammer's Moog solo in the final minute. An impenetrable wall of sound. (8.75/10)

2. "Come Dancing "(5:55) this layered presentation of coordinated instruments from Narada Michael Walden comes across as a mega-funked pseudo dance tune that will attract neither sing-a-long listeners or dancers. It's as if The Ohio Players tried to play Bob James' jazz-rock. (Max Middleton's Fender Rhodes play reminds me, over and over, of Bob James' approach to that same instrument.) Wilbur Bascomb's bass remains true to the funk without ever getting funky (no embellishments) while Jeff and Jan's leads are impressive, interesting, and, at times, "cute" (generating smiles). (8.875/10)

3. "Goodbye Pork Pie Hat" (5:31) Jeff displaying his one-of-a-kind incredible touch on the guitar while Max Middleton, Richard Bailey, and Wilbur provide the support for their rendition of this Charles Mingus classic. The the rhythm section is awesome--each filling the space with brilliantly creative nuances--this is Jeff's show, pure and simple. (9.125/10)

4. "Head for Backstage Pass" (2:43) Wil Bascomb's second contribution to Jeff's album sees another rockin' funk jam on which Jeff's rock skills are on full display while Wil and Narada flail away on their prospective instruments. Interesting to hear Jeff duelling with himself in the second minute. I don't think I've ever heard that before! It's a very solid and surprisingly engaging tune despite it's syncopated rhythm track. (9/10).

5. "Blue Wind" (5:54) this Jan Hammer tune is a duet: there are only two musicians performing here (thanks to multi-tracking and the engineering genius of George Martin). The composer plays drums, bass (a cool wobbly synth), and leads on multiple synths--all of which are quite impressive--while Mr. Beck plays a lot of rhythm guitar in support with some lead time using an unusually treated guitar sound. It's actually quite good--quite accessible and enjoyable. (9.125/10)

6. "Sophie" (6:31) Narada Michael Walden's second song contribution sounds very much like the music that Michael will be putting together for the next five to ten years for his solo projects: very accessible, melodic and rock-oriented. It starts out very slow and sparsely populated but then slowly builds in both instrumental palette and intensity until 1:00 when Narada leads the band into a jump start into another rollicking cruising song based on a slowly ascending arpeggiated five or six note chord progression. Max's clavinet and Rhodes and Wilbur's staccato bass playing do an excellent job pairing up with Narada Michael to hold down a very dynamic rhythm track beneath the lead performances of Max's keyboard synth (a Moog?) and Jeff's guitar. In the third minute the band stops to restart, same motifs only performed in more abbreviated fashion. This next section is where the individual band members really shine--all of them--while supporting Jeff left-channel electric guitar dynamics and Max's excellent Moog(?) soloing. Again, the instrumental performances are much better, more interesting, than the overall song--plus, Jeff's guitar play is not his usual mind-blowing "how does he come up with that" stuff. (8.875/10)

7. "Play with Me" (4:10) Narada's third contribution to Jeff's album is a funky rocker with some stunning soloing from both Jan, Max, and Jeff--often together, at the same time. A typical catchy Narada Walden melody keeps one engaged and interested. Very solid but, like a lot of NMW compositions, the song is rather one-dimensional--relying more on the hopes that its heavily-repeated main melody will be a winner. (8.875/10)

8. "Love Is Green" (2:30) the fourth and final song composed by Jeff's drummer is slow and melodic, with Narada's piano doubling up the isolated main melody lines with Jeff's acoustic guitar while woven beneath is Wilbur's bass. There is, of course, some wailing electric guitar and synth taking over the melody for a bit in the second minute, but mostly it's a fully formed and quite lovely piano and guitar duet. (9.125/10)

Total Time: 37:17

This is one of those albums that impresses without conjuring up a desire to come back for the joy of the listening experience.

B+/4.5 stars; a near-masterpiece of funky power Jazz-Rock Fusion. The musicianship is amazing--everybody firing on all cylinders--but the compositions are often lacking multiple dimensions and/or engaging chord and diversified melodies: the producers are banking on impressing you with the dynamic performances of the individuals more than constructing engaging grooves that might make your feet and hips want to move.

BRIAN AUGER Streetnoise (Brian Auger, Julie Driscoll And The Trinity)

Album · 1969 · Jazz Related Rock
Cover art 4.08 | 7 ratings
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FunkFreak75
The Julie Driscoll/Brian Auger Trinity collaboration comes to an end with this double album: which is a perfect testament to an amazing singer and her wonderful support crew musicians. I think it only just that this "support crew" is given their due: their own Side (Three); time to shine on their own.

LP Side One: 1. "Tropic of Capricorn" (5:32) syncopated cymbal play with matching organ, piano and bass notes leads into the establishment of a kind of ELP/"Take Five" jazzy blues-rock motif, which then smooths out with vocals into what sounds very much like something from THE SOFT MACHINE's second album. The ensuing instrumental section adds some Ray Manzarek-style organ soloing while Clive Thacker and David Ambrose keep the rhythm section very interesting yet very tight. This is really cool stuff--including a really impressive (and so well-recorded) drum solo in the fifth minute! (9.5/10)

2. "Czechoslovakia" (6:21) rockin' music that sounds like both a Sandy Denny-led JEFFERSON AIRPLANE and a pissed-off Grace Slick-led RENAISSANCE (and even Canterbury bands like EGG and The Soft Machine). This Julie Driscoll is a force! The stripped down guitar + Julie center passage is so powerful--so much like the very best of the strong-Mama female singers of the second half of the 1960s. It's important to remember the Czechoslovakian uprising of 1968 that was so brutally suppressed by the Soviet army. (9.25/10)

3. "Take Me to the Water" (4:17) the "Negro spiritual" (that must surely have influenced Al Green's "Take Me to the River") here done in a fairly standard (for the time) gospel blues style in which it opens as a dirge before shifting into gear as a wake-like celebration. Very powerfully rendered. As I said above, this Julie Driscoll is a force! (This is really my first fully-focused exposure to her singing.) (8.875/10)

4. "Word About Colour" (1:38) Julie's anguished voice, here accompanied by a lone acoustic guitar, delivers another very powerful vocal. More bluesy folk than jazz-rock but that's okay. (4.625/5)

LP Side Two: 5. "Light My Fire" (4:21) Yep, The Trinity did a cover of the Doors' monster hit. Stripped down, bluesy, with some awesome funk/R&B bass from David Ambrose and virtuosic blues organ from the band leader. Julie gives a very passionate rendering and interpretation to the Jim Morrison vocal and Clive Thacker is rock solid. (9/10)

6. "Indian Rope Man" (3:22) here The Trinity take on a rather obscure Richie Havens song and give it the SPENCER DAVIS GROUP treatment. Stevie Winwood could not have done it better. The band is so tight! And what an organ solo by Brian! (9.125/10)

7. "When I Was a Young Girl" (7:03) droning organ softly cushions and floats Julie's plaintive vocals on their version of this 1952 Tex Galdden song that had been made famous by Feist and, more recently, Nina Simone. Tom's and gentle arpeggiated bass chords are added as the song goes on. Man! I find it hard to imagine anyone recording/performing this song better than Julie does here. Incredible! Makes Grace Slick's most impassioned vocals pale in comparison. Still, these amazingly emotional vocal performances do not help make either Jazz-Rock Fusion or Progressive Rock music launch. (14/15)

8. "Flesh Failures (Let the Sunshine In)" (3:04) a version of this song far more attuned to the stage performance from Hair than any of the pop versions that had been made by the likes of The Fifth Dimension and The Spencer Davis Group in the first years of its existence. Great performance from Julie but also from Brian's loud organ. (8.875/10) (Hair premiered on Broadway on April 11, 1968. It had premiered the year before [on October 17] Off Broadway [at Joseph Papp's Public Theater] but was such an immediate hit that it was moved to Broadway within six months. Its first soundtrack recording was released on May 6, 1968, as performed by the original Broadway cast. Within the first two years of its existence, the song was covered by other artists on vinyl recordings no less than 20 times. Hair was, by the way, the first rock musical to play on Broadway.)

LP Side Three (the "no Julie" side): 9. "Ellis Island" (4:10) a flat-out crazy display of solo organ play over a tight blues-rock motif. And the organ is recorded so cleanly! I have to reward the band, and especially Brian, for this one. (9.125/10) 10. "In Search of the Sun" (4:22) gentle-yet-insistent psychedelic blues-rock with Brian singing the lead vocal. He's really good! Not unlike Spurogyra's Martin Cockerham. Solid if unspectacular song. It's just so solid, so mature and well-polished that I have to reward it. (9/10)

11. "Finally Found You Out" (4:12) more great blues-rock with great organ play--not as up-front in-your-face as his work on "Ellis Island" but definitely more dynamic and passionate. The guy is massively good! Piano and a more laid back background motif provided by the "cool" rhythm section. Song fades out. Apparently, there "wasn't time" to add the vocal/singing track before the song/album had to go to press. (9.25/10)

12. "Looking in the Eye of the World" (5:02) a real "old"feeling blues piano-and-voice tune that sounds like something right out of Mark Isham and Charlélie Couture's music from the 1988 film, The Moderns. (One of my all-time favorite soundtracks.) (9/10)

LP Side Four: 13. "Vauxhall to Lambeth Bridge" (6:31) Julie is back with a more blues-folk-Americana-like performance that rivals anything Sandy Denny, Maddie Prior, Laura Nyro, Grace Slick, Karen Dalton, or even Nina Simone were doing at the time. The instrumental accompaniment is solely Dave Ambrose's MASON WILLIAMS-like acoustic guitar. Wonderful song with a vocal performance that stands out, for me, as one of the greats. (9.75/10)

14. "All Blues Davis" (5:41) piano, bass, and drums launch into a unified march through a MILES DAVIS song with Julie Driscoll providing a true blues vocal over the top (something that is not present in Miles' original version from the 1959 masterpiece, Kind of Blue). Julie's performance sounds very much like the kind of highly-individualistic take Nina Simone would put on a classic song like this. Brian's piano work is great though the way the piano's sound is rendered on the record leaves a lot to be desired. (9/10)

15. "I've Got Life" (4:28) the weirdest and weakest song on the album, sounding far too much like an aberrant white Baptist corruption of a Negro Spiritual. The organ and other instrumental performances are awesome; it's just Julie's misfitted performance that grates. Too bad. I hate to see this amazing album with so many incredible Julie performances maligned and diminished. (8.375/10)

16. "Save the Country" (3:58) Julie's cover of Laura Nyro's peacenik anthem. The blues-jazz bent that Dave and Brian give the song is awesome. Julie's vocal seems a little loose and haphazard--not as well versed or invested as her other performances. Plus, it's poorly recorded. Then there's the unfortunate circumstance of giving little room or for the voices of the instrumentalists--other than David's excellent electric bass. Brian and Clive seem relegated to orchestra pit musicians for a rock musical. (8.5/10)

Total Time: 74:02

Though this album is by no means a straight up jazz-rock fusion, prog, or even jazz-rock album, it has many elements throughout the album that would make strong representation to all three of the newly-emerging musical genres. Where the album's music clearly stands out is in the stunningly powerful performances by singer Julie Driscoll, the dynamic organ play of Brian Auger (both in support and in lead capacities) as well as the near-virtuosic performances of the rhythm section performers, Clive Thacker and David Ambrose. Too bad about the album's final two songs.

A-/five stars; a masterpiece of folk- and psychedelic-tinged jazzy blues rock that happens to present some of the finest female vocal performances of the 1960s.

AZTECA Azteca

Album · 1972 · Latin Rock/Soul
Cover art 4.50 | 1 rating
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FunkFreak75
Another San Francisco band out of and in the vein of a funked up Latin-Cubano/SANTANA sound (including the contributions of several of Carlos' key collaborators like the Escovedo family).

Lineup / Musicians: - Paul Jackson / Acoustic Bass, Electric Bass [Fender] - Victor Pantoja / Congas, Vocals - Lenny White / Drums, Vocals - George Muribus / Electric Piano - Flip Nuñez / Organ - George DiQuattro / Piano [Acoustic], Clavinet - Mel Martin / Soprano Saxophone, Tenor Saxophone, Baritone Saxophone, Flute, Piccolo Flute - Bob Ferreira / Tenor Saxophone, Flute, Piccolo Flute - Coke Escovedo / Timbales, Producer - Tom Harrell / Trumpet - Jules Rowell / Valve Trombone - Wendy Haas / Vocals - Errol Knowles / Vocals - Pete Escovedo / Vocals - Rico Reyes (SANTANA) / Vocals With: - Jim Vincent / Guitar (tracks: A3, A5, B1) - Neal Schon / Guitar (A3, A5, B1)

A1. "La Piedra Del Sol" (1:13) definitely a polite introduction to the sound palette the rest of the album will hold: horns, percussion, and electric keys, guitars, and bass, here given an orchestral form. (4.5/5)

A2. "Mamita Linda" (3:40) like a professionally-crafted Latin drum-line from Havana or Panama City, this one flows pretty well (Paul Jackson's bass sound is a little incongruous) and then the Cuban-style piccolo, timbales, piano, and group male vocals are awesome! (Now I see where the Miami Sound Machine got their sound.) Excellent music! Who says musica Cubano isn't full-fledged jazz?! (9/10)

A3. "Ain't Got No Special Woman" (5:59) a little Curtis MAYFIELD flair for vocalist Rico Reyes to sing over. More blues-based R&B than J-R fusion. Nice guitar work from Jim Vincent and Neal Schon in the third and fourth minutes which is then followed by a sudden shift into a purely-Latin section to close. (8.875/10)

A4. "Empty Prophet" (5:27) a very soulful male vocal performance is supported as if by a studio orchestra giving this song more of a Lou Rawls or Coleman Hawkins feel. Very well done though definitely not belonging in the domain of Jazz-Rock Fusion. (9/10)

A5. "Can't Take The Funk Out Of Me" (4:22) again I am so reminded of the music of CURTIS MAYFIELD's debut albums despite the Parliament-like funk horns and vocal arrangements. Errol Knowles' raspy soul/R&B vocal is wonderfully supported/accented by the gospel-like background choir. Lenny White is a real standout as is the clavinet play from George DiQuattro, and this is one of the better Paul Jackson performances on the album. Rated down for not being as fusiony as the others. (8.75/10)

"Peace Everybody" (4:30) Paul and Lenny open this one as if in a competitive race. And then the rather crisp and well-arranged horns join in with the percussionists and rest of the band to support a choral vocal of the title words. The anti-war vocals in between the choral chants are quite like those of The Fifth Dimension or a Stephen Schwartz Broadway musical. This reminds me a lot of Billy Cobham's first band, DREAMS--even when the AVERAGE WHITE BAND section that supports Mel Martin's dynamic saxophone solo in fourth minute. (9/10)

"Non Pacem" (6:39) an excellent multiple motif song with choir vocals like Giants with some excellent solos from Tom Harrell on trumpet and Mel Martin on Soprano Saxophone as well as super solid contributions to the rhythm track from multiple percussionists. Latin jazz-rock funk rarely gets better than this! (10/10)

"Ah! Ah!" (3:24) a repetitious blend of Cubano-style horn-and-percussion-based structure with R&B electric instruments and a very Caribbe-sounding vocal arrangement. (8.875/10)

"Love Not Then" (5:00) such a pretty R&B groove--right up there with The Fifth Dimension, Dionne Warwick, Gladys Knight & The Pips, and even Marvin Gaye. Great instrumental performances of an awesome arrangement. I love both the smooth female lead and boy choir background vocals. This could have/should have been a radio hit! (9/10)

"Azteca" (4:45) a scrum of horns, percussion and bass notes opens this before all falling into line for a fairly smooth and melodic, almost Curtis Mayfield R&B-like jam. I love the structure of this with its shifts into Cubano and more-straightforward jazz motifs. Love the enthusiastic piano play from George DiQuattro as well as the drumming of Lenny White! (9.25/10)

"Theme: La Piedra Del Sol" (1:52) as if the opening song had been veritably cut in two, this feels as if it picks up in the middle of something and then proceeds to usher (and march) us into the night. Nice. Very professional. (4.625/5)

I'm surprised at how often I find myself finding Paul Jackson's bass play (and sound) to be the weak link in the individual songs on this album. The compositions are superlative with all of their Caribbean influences

A-/five stars; a minor masterpiece of Latin-grounded music of a variety of styles (not all jazz or Jazz-Rock Fusion oriented). Still, highly recommended for the sake of the highly sophisticated conpositions and arrangements.

JAZZ Q PRAHA /JAZZ Q Symbiosis

Album · 1974 · Jazz Related Rock
Cover art 4.62 | 7 ratings
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FunkFreak75
A band from Czechoslovakia that I'd not heard of before this album. How such wonderful and creative music was coming out of Communist countries is a bit of a mystery to me--as well as how they were gaining access behind the "Iron Curtain" to the "Western" music that was obviously inspiring is equally curious. I might need to bone up on my 20th Century history a little.

1. "Ze tmy do světla (From Dark to Light)" (6:05) plodding, cinematic music that is suddenly disrupted by an androgenous, at-times almost Janis Joplin ("Pearl")-like vocal from Joan Duggan: singing Portia's famous "The quality of mercy is not strained, …" from William Shakespeare's Merchant of Venice. while employing a little of John McLaughlin's "Resolution" beneath parts of it. (8.75/10)

2. "Ztracená láska (Lost Soul)" (6:05) a much-more-blues-rock song with raspy Pearl-like vocals singing what sounds like more famous poetry over some Jeff Beck like heavy blues-rock music. Joan Duggan's voice is strong, powerful, confident, and definitely the best part of these songs, but it's raw, bluesy style is not usually one of my favorites. Maybe the excellent musicianship beneath her helps elevate her performances. (8.875/10)

3. "Hvězdný pták (Starbird)" (7:25) opens as a beautiful, heavily emotional song to support the gorgeous vocal (in English) from Joan Duggan. Though slow and sometimes simple (and plodding) the music of the first three and a half minutes is filled with so many wonderfully interesting and engaging nuances and flourishes, and then there is an all-instrumental period in the fifth and sixth minutes in which electric guitar and electric piano get the chance to solo--and then the shift to Latin rhythms and scatting for the final 0:45 is totally wonderful. Not your usual prog lover's jazz-rock fusion song, but an excellent song anyway: great melodies (14/15)

4. "Čaroděj (The Wizard)" (16:25) opens with 75 seconds of gentle electric piano play before bass line, rhythm guitar line, and drums and percussion line up to set up the Latinized rock foundation over which Joan Duggan again sings. She is quite a talent! After a couple of minutes supporting the vocal, the rhythm section continues on in the same SANTANA-like vein in support of a nice Martin Kratochvíl electric piano solo. In the seventh minute we see the return of Joan Duggan in the spotlight. I really like her vocal style: it reminds me a bit of Annette Peacock. Guitarist Frantiek Francl gets a little shine in the eighth minute before the music completely stops to allow some spacious electric piano chords to support electric bassist Vladimr Padrůněk's solo over the next two minutes. I really enjoy the dynamic range exhibited in this one: the upbeat happy-go-lucky parts supporting Joan's fun vocal contrasted with the heavier, more serious passage given to the bass solo and beyond. The musicians fall a little into more rudimentary blues-rock toward the end, but it's still a great listen. (27.5/30)

5. "Epilogue" (3:25) dreamy electric piano, electric bass, and "distant" horns and percussion populate this instrumental's sonic field as we bring the album to a close. It's a cross between Rainer Brüninghaus and "Auld Lang Syne." (8.75/10)

Total Time 39:25

To my mind (and ears), this is album's music is a step backwards for this band--or, at least, as step away from Jazz-Rock Fusion (which is, I have to admit, what I'm always hoping to find) and more into heavy blues-rock.

A-/4.5 stars; a minor-masterpiece of interesting and unusual vocal jazz-rock music.

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