Mike on Jazz

Joe Farrell: Penny Arcade (CTI 1973)

2009-05-15T18:28:00.000-07:00

Just about everything saxophonist Joe Farrell recorded for CTI is incredible, and Penny Arcade is no exception. Admittedly, the album gets off to a semi-weak start with the title track's somewhat generic 70's sax-funk, but even so it still features some killer syncopated runs by Farrell and drummer Steve Gadd. From then on, however, the record simply smokes. Track two is a 13+ minute version of Stevie Wonder's "Too High", which rather dazzlingly alternates between hypnotic funk sections and blistering solo segments, with keyboardist Herbie Hancock and bassist Herb Bushler shining particularly brightly. "Hurricane Jane" boasts outstanding unison melodies by Farrell and the always underrated guitar monster Joe Beck, and incorporates some intriguingly quiet moments amid the frenetic jamming. "Cloud Cream" is an incredibly infectious Latin-tinged number that sees Farrell switching to flute and features another great Bushler bassline and some killer percussion by Don Alias. For a refreshing change of pace, the final track "Geo Blue" takes us into lush bebop territory, and shows that Farrell doesn't have to always scorch the earth with lightning fast runs to get his point across. All in all, Penny Arcade is another fine example of first-class fusion from a master of the genre.

Keith Jarrett: Belonging (ECM 1974)

2009-05-09T01:59:00.000-07:00

Belonging is a rarity; an almost universally enjoyable album from a normally polarizing artist. Temporarily abandoning his avant-garde leanings, Jarrett turns in a straightforward set of bop-inspired songs that make strong melodic and rhythmic statements. Right off the bat, "Spiral Dance" demands attention as Jarrett's pulsing piano riffs work up some serious intensity; then saxophonist Jan Garbarek enters, repeating a deceptively catchy melodic figure. By the time bassist Palle Danielsson and drummer Jon Christiensen take their own awe-inspiring solos, you're hopelessly hooked. The quartet brings things down a bit on the lengthy "Blossom", a quietly reflective piece in line with the developing "ECM style" for which the label would become known. The biggest star of the show is "Long As You Know You're Living Yours", an irresistibly soulful tune that combines joyous rhythm playing and wonderful hooks, with Jarrett and Garbarek busting out several times and escalating the tune to levels of pure euphoria (Steely Dan fans will notice that the song provides the basis for the title track to their 1980 album Gaucho). The whimsical "The Windup" begins with an elegant Garbarek solo, before switching gears completely, turning into an old-fashioned hoedown before splintering into a madcap procession of solos during which you can even hear the group members whooping it up in the background! The final track, "Solstice", is another introspective piece in the same vein as "Blossom", and quite necessarily calms things down again, though not without letting the group stretch out and play quite freely. Belonging is a wonderful record sure to reward any jazz fan.

Gabor Szabo: High Contrast (Blue Thumb 1970)

2009-05-05T22:25:00.000-07:00

I've yet to hear an uninteresting Gabor Szabo record, but High Contrast may be the best of the bunch. On this outing, Szabo teams up with another guitarist who knows a little something about the groove: none other than Bobby Womack. The combination of Szabo's unique acoustic/electric sound and Womack's sparkling blues-inflected playing is curiously potent. Throw in some fine backing by a bevy of L.A. studio greats and a few well-placed, unobtrusive strings and you've got all the makings of a classic. The highlight is of course "Breezin'", without question the definitive mellow jazz jam of all time, but the entire album is filled with ebullient good-time grooves. Womack's funky riffs on "Fingers" and "Just A Little Communication" pop with a crackling energy while Szabo's graceful leads on "I Remember When", "Azure Blue", and "If You Don't Want My Love" seductively undulate with harmonious delight. The album's only misstep is "Amazon" which, while a fine tune in and of itself, features odd dissonances that are just a little out of place on this otherwise gorgeous set of songs.

Milt Jackson: Sunflower (CTI 1972)

2009-04-24T15:06:00.000-07:00

His place secured as jazz royalty since his days in the legendary Modern Jazz Quartet, vibraphonist Milt Jackson continued making interesting records well into the 1970s and beyond. Produced by Creed Taylor for his own exceptional CTI label, Sunflower is one of the best of these, marrying Jackson's supremely tasteful playing to the elegant arrangements of Don Sebesky. On the first track, "For Someone I Love", the listener is instantly whisked away by Jay Berliner's stunning Spanish-styled guitar solo, which gives way to a sumptuous backdrop of sultry strings over which Jackson, pianist Herbie Hancock, trumpeter Freddie Hubbard, and drummer Billy Cobham take turns cranking out sizzling solos, all held together by Ron Carter's steady grooving, almost fuzz-toned bassline. This format continues on the simmering ballad "What Are You Doing The Rest Of Your Life?", which gives Hubbard plenty of space to shine. Then, Jackson and co. change up the pace, almost entering fusion territory on the delightfully funky "People Make The World Go Round", which is driven forward relentlessly by Carter's pulsing bass and Hancock's groovy playing on both piano and the Fender Rhodes. Finally, the group wraps things up with an absolutely stunning rendition of Hubbard's tune "Sunflower", given an otherworldly sheen by Hancock's spacey Rhodes work and Sebesky's lustrous string arrangements. Perfectly capturing the sound of an elite group of musicians flourishing in a nurturing studio environment, Sunflower is an essential 70s classic.

Jackie McLean: Destination Out! (Blue Note 1963)

2009-04-19T23:43:00.000-07:00

Hovering somewhere just beyond "in", but not quite "out", saxophonist Jackie McLean's Destination Out! is a minor masterpiece of atmosphere and mood. The stellar lineup includes trombonist Grachan Moncur III, bassist Larry Ridley, drummer Roy Haynes, and Bobby Hutcherson, whose somber vibraphone tones bring an amazing heaviness to the overall sound. The opener "Love and Hate" is a study in economy, as a couple of ominous chords fade in and out slowly until Mclean eventually enters with a carefully measured solo, followed in turn by Moncur, Hutcherson, and Ridley before retreating into the darkness. Towards the end, the combination of Hutcherson's forever resonating vibes and Haynes' slowly decaying cymbals is positively eerie. This is followed by the similarly themed "Esoteric", which begins with a odd-timed melodic figure before a flurry of Mclean, Moncur, and Hutcherson solos. "Khalil the Prophet" employs the same stop-start dynamic, and boasts some nifty unison playing by McLean and Moncur. Lastly, while outwardly the most straightforward of the album's four tracks, the boppish "Riff Raff" still packs enough inventiveness to keep you intrigued until the very end.

Kenny Burrell: Blues - The Common Ground (Verve 1968)

2009-04-16T01:21:00.000-07:00

Some records are just obviously brilliant from the first listen, and guitarist extraordinaire Kenny Burrell's Blues - The Common Ground is definitely one of them. It's cliche to say that anyone who likes music will like a certain album, but it's close to the truth here. The title Blues - The Common Ground is slightly misleading; although the feeling of the blues is pervasive throughout, it's a full-on big band jazz experience. The arrangements by Don Sebesky are big, bold, sassy and brassy, punctuating every riff with jolting horn blasts. The lineup reads like a who's who of elite players from the 1950s on up: Herbie Hancock, Ron Carter, Grady Tate, Thad Jones, and many, many more. Still, the undisputed star of the show is Burrell himself. Adept at seemingly every style of guitar playing, he thrives on the blues-based leads, not unlike early Grant Green, and treats the material with the highest degree of respect. On his cover of "Every Day (I Have the Blues)" he uncannily channels B.B. King without mimicking while Sebesky keeps the band swinging hard. It's this ability to seamlessly integrate the blues into the big band format that makes the record such a winner.

Various Artists: Untinted: Sources For Madlib's Shades Of Blue (Blue Note 2003)

2009-04-15T23:48:00.000-07:00

My venture into jazz began by listening to Steely Dan and then delving into their influences, but hip-hop producer Madlib's 2003 Blue Note-endorsed remix project Shades of Blue also played a significant role. The great thing about Shades of Blue was how subtly Madlib reworked the music. The songs were about 90% intact, he accentuated the beats just enough to bring the groove up front and make it accessible to untrained ears. It was a great help to people like me who needed a bit of guidance, after all, you gotta crawl before you can walk. Untinted contains the original, non-remixed versions of the songs featured on Shades of Blue. It's a fine compilation of Blue Note tracks from the 60s and 70s, including a few previously unreleased takes that probably would have remained hidden had Madlib not dug them out of the vault. Many jazz compilations are too limited, focusing on only one style, e.g ballads or swing; what's unique about Untinted is its variety. Everything from the sweet soul-jazz of Bobbi Humphrey and late-period Donald Byrd to the hard bop of Horace Silver and Herbie Hancock, even a dash of the avant-garde from Andrew Hill and Wayne Shorter, it's all here. As such, it's a very effective primer for those looking to learn about the genre.

Billy Cobham: Spectrum (Atlantic 1973)

2009-04-09T01:25:00.000-07:00

Billy Cobham's Spectrum is the aural equivalent of a kid with a sugar buzz jumping around in one of those inflatable playground contraptions: unbridled kinetic energy. It is ridiculously manic from the first note. The powerhouse drummer holds nothing back, unleashing a furious array of impossibly fast fills, rolls, and solos on practically every track. The sonic barrage is further intensified by a completely over-the-top supporting cast, including keyboardist Jan Hammer and rock guitarist Tommy Bolin. Hammer's futuristic synthesizers bubble and surge, lending an almost alien feel to the soundscape, while Bolin absolutely tears it up with searing jazz-fusion solos that, quite frankly, I didn't know he had in him. Throughout, veteran session bassist Leland Sklar holds a rock-solid groove, showcased to it's finest effect on "Taurian Matador", one of the few moments where the band slows down enough to let you catch your breath. Spectrum could cause a headache if you're in the wrong mood, but if you're tuned in just right, it's positively sublime.

Wynton Marsalis: He And She (Blue Note 2009)

2009-04-08T23:30:00.000-07:00

Deservedly or not, Wynton Marsalis has gained a reputation as something of a curmudgeon in the modern jazz world, an elitist who doesn't care whom he might offend in the pursuit of purist musical ideals. However, after last year's successful collaboration with fellow musical maverick Willie Nelson, it seemed as though we might have a kinder, gentler Wynton on our hands. This trend continues on his latest release, He And She, a set of often touching ruminations on the subject of love. While there is plenty of Marsalis' typically spirited bop-infused playing on display, there are also whimsical forays into the blues, old-timey "hot" jazz, and even some Latin flavors. The album also gives us a glimpse of Marsalis' hidden sense of humor, as the songs are interspersed with a series of amusing poems about the growing pains of relationships, delivered with twinkling narration by the man himself. With He And She, Marsalis proves again that he can indeed loosen up, and is growing more and more likable as time goes by.

The New Stan Getz Quartet Featuring Astrud Gilberto: Getz Au Go Go (Verve 1964)

2009-04-07T23:58:00.001-07:00

Even among Stan Getz fans like myself there is a tendency to think of the saxophonist's Bossa Nova period a bit of whimsy, as if he was on some sort of vacation. Likewise, Astrud Gilberto is often brushed off as a lightweight who gained stardom through luck rather than ability. Thankfully there exist live recordings like Getz Au Go Go to set the record straight. As light and carefree as the songs themselves are, these guys mean business. The "New" Stan Getz Quartet features serious pros Gary Burton on vibes and Kenny Burrell on guitar, and their playing adds a wonderful depth to the material. Getz is in top form throughout, showing that his note choices and tone are just as perfect in a live setting as they are in the recording studio. Moreover, Gilberto displays much more confidence on stage than her reputation would suggest; taking liberties with melodies and switching languages mid-song without missing a beat. Along with three songs by Antonio Carlos Jobim are several popular American jazz tunes, demonstrating the group's considerable dexterity.

Sonny Rollins: Saxophone Colossus (Prestige 1956)

2009-04-06T01:27:00.000-07:00

Like his contemporary Stan Getz, Sonny Rollins possesses an impossibly heavy sax tone that can blast through bedrock. Saxophone Colossus is a straightahead jazz record perched somewhere between bop and hard bop, executed with a conviction rarely seen right from the first cut, the rollicking "St. Thomas". The economical trio behind Rollins primarily lends support, but pianist Tommy Flanagan and drummer Max Roach do get to step out a bit here and there. "You Don't Know What Love Is" is a moody slice of jazz noir that sounds like it should be playing in the office of a shady 50's private detective. The short track "Strode Rode" revels in an exotic melody, and "Moritat" is actually a 10-minute version of "Mack the Knife" that cleverly mixes the familiar riffs with several striking solos. Rounding out the set is "Blue 7", a carefree bop number anchored by Doug Watkins' walking bassline. Carrying all of the tunes is the supremely confident playing of Rollins, who more than lives up to the title of Saxophone Colossus. Another classic record.

Charlie Rouse: Bossa Nova Bacchanal (Blue Note 1962)

2009-04-04T22:26:00.000-07:00

Saxophonist Charlie Rouse's Bossa Nova Bacchanal is an interesting hybrid of hard bop and Brazilian jazz; faster paced than most pure bossa records but stopping short of turning into samba. Rouse has great fun zipping through the tunes, which have a lively tropical feel. Although he plays beautifully all over the record, there are few extended solos and the tunes themselves are relatively short so things never get dull. Adding a wonderful dimension is the inclusion of two guitarists; the always sterling Kenny Burrell and the somewhat obscure Chauncey Westbrook. The pair really drives the music forward with their frenetic rhythm playing and crisp acoustic solos. The song selection includes two Luiz Bonfa compositions, but the album's highlight is Haitian composer Frantz Casseus' "Meci Bon Dieu" with it's spooky chord changes and synchronized guitar/sax lines. Bossa Nova Bacchanal is an interesting variation on the Brazilian jazz formula, and is sure to delight curious listeners.

Bobby Hutcherson: Montara (Blue Note 1975)

2009-04-04T12:55:00.000-07:00

Bobby Hutcherson, that moody master of the vibraphone, incorporates strong R&B and Latin influences on 1975's stellar Montara LP. The opening track "Camel Rise" struts like a champ, with Hutcherson playing twisting unison lines with trumpeter Oscar Brashear. The melancholy title track crafts a deceptively intricate circular melody that continually builds upon itself to create an almost hypnotic effect. Elsewhere, "La Malanga" and "Oye Como Va" give themselves over entirely to the burgeoning Latin jazz movement, while still retaining Hutcherson's personality. "Love Song" is another fascinating mood piece in the same vein as the title track, given some nice atmosphere by Ernie Watts' flute. If there is any quibble to be had with Montara, it's that the songs almost sound like they come from two different sessions. The more introspective material tends to clash with the boisterousness of the hard grooving Latin cuts, but when both styles are pulled off this well it's a mismatch that can be forgiven.

Idris Muhammad: Power of Soul (CTI 1974)

2009-04-03T15:55:00.000-07:00

A rare drummer-led session for Creed Taylor's outstanding CTI label, Idris Muhammad's Power of Soul is for the most part a surprisingly subtle affair. After the opening sonic boom of Jimi Hendrix's "Power of Soul", which spotlights Joe Beck's fiery guitar, we are treated to "Piece of Mind", and "The Saddest Thing"; a couple of breezy tracks guided by the steady hand of the groovemaster himself, keyboardist Bob James. The final cut, "Loran's Dance", is the real treat, however. Featuring an on-the-rise Grover Washington Jr. on sax, it's a smoky, sensual babymaker of a slow jam. Although dismissed as lite-jazz fluff by some, Power of Soul is actually a very rich and rewarding album.

Christian McBride Band: Sci-Fi (Verve 2000)

2009-04-03T14:14:00.000-07:00

Like the dawning of a new day, Christian McBride's Sci-Fi perfectly encapsulates the feeling at the turn of a new millennium. Things mostly look like they did yesterday, but there is a palpable sense that everything has changed. Doubling on upright and electric bass, McBride leads his band through a diverse group of originals and covers that are all unified by a strong sense of modernity. Hauntingly wondrous McBride compositions like "Xerxes" and "Uhura's Moment Returned" sit alongside The Police's "Walking on the Moon", which reveals it's hidden jazziness, while Steely Dan's classic "Aja" becomes a teasing springboard for improvisation before exploding in a cathartic climax. There has never been a more appropriate title for an album than Sci-Fi, as the unison of forward-thinking ideas and time-tested jazz maxims sounds downright biomechanical at times. The star-studded band provides engaging performances that transcend their egos for the greater good. Herbie Hancock is typically outstanding on piano and Diane Reeves provides some lovely wordless vocalizing, but it's Shedrick Mitchell who almost steals the show with his icy Fender Rhodes playing. A real achievement, there's little doubt that Sci-Fi will prove to be an important link in the evolution of modern jazz.

Lou Donaldson: Gravy Train (Blue Note 1961)

2009-04-02T23:40:00.000-07:00

Alto saxophonist Lou Donaldson's Gravy Train is the epitome of feel-good 60's jazz. It just dares you to play it and not have a good time, right down to its playful cover. What's that, a hot dog there, Lou? Donaldson and his band of lesser known but very able sidemen keep the groove loose throughout, flirting with the soul-jazz style he would adopt whole hog in future years. Tracks like "Gravy Train" and "South of the Border" were made to be enjoyed on hot summer days (or nights). Also, Donaldson's version of the classic "The Glory of Love" is catchy to the point of addictiveness. Not a boundary pusher by any means, Gravy Train definitely resides on the lighter side of hard bop. But on those days when you don't want to think too much and just need a little recess, throw this one on. You'll be smiling in no time, guaranteed.

The Dave Brubeck Quartet: Time Out (Columbia 1959)

2009-04-01T22:54:00.000-07:00

Easily one of the most definitive jazz albums of all time, Time Out often gathers dust on shelves like some sort of antique. This is a shame because it's more than deserving of its benchmark status. The trick that Brubeck and co. accomplish here is nothing short of amazing; they take extremely complex music and make it attractive to the public at large. Working with complex time signatures (especially within the constraints of popular music forms) throughout the record, Brubeck's quartet still makes every track imminently listenable, with enough catchy melodies to fill a dozen lesser albums. It's the equivalent of giving a tailor only the most exotic and difficult fabrics to work with and watching as he effortlessly produces a beautiful garment with no seams showing. Whether its the bombastic stops and starts of "Blue Rondo a la Turk", the stately swing of "Strange Meadow Lark", or saxophonist Paul Desmond's quietly assured phrasing on his standard "Take Five", every cut is memorable, even hummable. Even non-jazz fans recognize "Take Five", and it's this ability to make art appealing without watering it down that makes Time Out an unmitigated classic.

Luiz Bonfa: Plays and Sings Bossa Nova (Verve 1962)

2009-03-31T23:05:00.000-07:00

In my opinion, Luiz Bonfa's Plays and Sings Bossa Nova is one of the two finest Brazilian jazz albums ever made, the other being Antonio Carlos Jobim's Stone Flower, nominated for completely different reasons sure to be discussed in a future post. Plays and Sings was cut in 1962, very early in Bossa Nova's entry into the American consciousness, predating even the seminal Getz/Gilberto LP, and yet it already encompasses all the beauty and excitement of the fascinating "New Trend" that was soon to sweep the nation. The lilting rhythms, delicate guitars, and the ever-present feeling of longing, or saudade. It's all present here. The album is split into two distinct sections; the first half vocal, the second instrumental. Both sections are as well recorded as any session I've ever heard. Bonfa sounds like he's singing from a stool in your living room, and you can literally hear his every pluck of the classical guitar. Though it's rarely mentioned, Bonfa possesses an affecting vocal style, weightier than say, Joao Gilberto's, which can give the songs a quality not too far removed from American blues. And without a doubt, he is the absolute king of Bossa Nova guitar (do a quick search on YouTube and prepare to have your jaw dropped). Lalo Schifrin provides wonderfully stirring string arrangements on several songs, including Bonfa's own "Manha de Carnaval" from the Black Orpheus soundtrack, which has never sounded more glorious than it does here. Plays and Sings Bossa Nova is an absolute classic, and a cornerstone of the Bossa Nova style.

Bobbi Humphrey: Fancy Dancer (Blue Note 1975)

2009-03-30T22:32:00.000-07:00

Although a bit more reliant on synthesizers and slick R&B choruses than her previous Blue Note recordings, flautist Bobbi Humphrey's Fancy Dancer is nevertheless a solid effort, chock-full of deep jazz-funk grooves. The opening track "Uno Esta" makes it impossible to sit still with insistent percussion and some super-tight rhythm guitar pushed way up in the mix. The dynamite rhythm section of bassist Chuck Rainey and drummer Harvey Mason are a real asset here and throughout the record. The gorgeous "Mestizo Eyes" shimmers like only a fine soul ballad can, and even boasts a cameo from the always welcome Dorothy Ashby on harp. "Fancy Dancer" and "Sweeter than Sugar" offer a more relaxed, chilled groove, and the album's gentle closer "Please Set Me at Ease" completely entrances with soft, bubbling synths and touching narration. There are moments where Humphrey's flute is unfortunately relegated to near-background status, but the jams are so exhilarating that it's hard to complain. The production team of the Mizell brothers have a tendency to go over the edge into vapid commercialism on their lesser efforts, but on Fancy Dancer they prove that when they are on, there are few who can touch them.

The Bad Plus: For All I Care (Heads Up 2008)

2009-03-30T00:40:00.001-07:00

It is only natural to approach the new album from The Bad Plus with a bit of skepticism, since their piano-bass-drums format is augmented for the first time by vocals. However, it is clear straight from the skittering drumbeats and new vocalist Wendy Lewis' detached reading of the opening track, Nirvana's "Lithium", that this is a match made in music geek heaven. By no means is this a half-measured move to attract new fans; indeed Messrs. Anderson, Iverson, and King aren't hindered in the slightest by the addition. While it is true that on the surface Lewis' vocals may make the music more accessible to the uninitiated, what it actually accomplishes is adding an entirely new dimension to the band, adding depth to an already dense sound. Whether they are covering songs by Wilco, Yes, The Bee Gees, or pieces by composers Igor Stravinsky and Gyorgy Ligeti, the new lineup makes each track an immersive experience, with the perfect mixture of gristle and grace. Long since earning their stripes as much more than just a "jazz band doing rock covers", For All I Care might be The Bad Plus' most rewarding effort yet.

Donald Byrd: A New Perspective (Blue Note 1963)

2009-03-28T14:46:00.000-07:00

A hauntingly beautiful album, trumpeter Donald Byrd's A New Perspective is a unique pairing of a jazz septet with an 8-voice choir. The choir's wordless harmonizing lends an incredible heaviness to the music, a weight that leaves a deep impression in the mind of the listener. Although the group features such stars as Herbie Hancock and Kenny Burrell, they take care to act in support of the overall concept and not overplay, while Byrd's solos provide a perfect compliment to the choir, often quoting the same melodies. While some cuts like the opener "Elijah" swing jubilantly, the album works best on slow, somber numbers like "Beast of Burden" and "Cristo Redentor", the languid paces of which allow them to resonate with an almost unbearable degree of solemnity. An absolute must-have album.