Jack Wilkins - "Alien Army" (1991) @320

Jack Wilkins - "Alien Army"
Editorial Reviews
...Jack Wilkins enters the realm of the certifiably slick. Long admired as a chord-melodist of the first rank...on ALIEN ARMY Wilkins demonstrates a new level of relaxation and keen sense of form and development to go along with his formidable chops, yet never whips it out simply for the sake of technical display...harmonically surprising and authentically funky.
Musician (05/01/1991)

Bio
Guitarist Jack Wilkins has been a part of the international jazz scene for more than four decades. His flawless technique and imaginative chordal approach have inspired collaborations with Chet Baker, Sarah Vaughan, Bob Brookmeyer, Buddy Rich and many others.

A native of Brooklyn, Jack began playing guitar at age ten.His mentors included Django Reinhardt, Charlie Christian, Wes Montgomery, Joe Pass, Bill Evans, Clifford Brown, Freddie Hubbard and Johnny Smith

Windows, his first album as a leader (Mainstream, 1973,) also available in transcription published by Hal Leonard Corporation, has been critically acclaimed as a dazzling, seminal guitar trio work.

Later recordings, Merge, Mexico, Call Him Reckless, Alien Army, Keep in Touch,Heading North, Bluesin', and his latest cd Reunion, feature the Brecker Brothers,Al Foster, Phil Woods, Kenny Drew, Jr., and many others. Project G7, a two CD set tribute to Wes Montgomery, features peerless chordal creativity by Wilkins.

In recent years, Wilkins has played at many festivals and played with jazz greats including Stanley Turrentine, Jimmy Heath, The Mingus Epitaph, 5 Guitars play Mingus (primary arranger) and bassist Eddie Gomez.



A consummate accompanist, Wilkins has played and recorded with renowned singers, Mel Torme, Ray Charles, Morgana King, Sarah Vaughan, Tony Bennett, Manhattan Transfer, Nancy Marano and Jay Clayton. Wilkins was awarded an NEA grant in recognition of his work and contribution to the guitar. He has been widely and prominently profiled and featured in such publications as Guitar Player, Just Jazz Guitar, Downbeat, 20th Century Guitar and Leonard Feather's Jazz Encyclopedia. Recently Wilkins was invited to the Smithsonian Institution to be part of the Blue Guitars exhibit, and appeared on the P.S.I. first live jazz internet concert. He was also featured as part of the J.V.C. festival tributes to Johnny Smith, Tal Farlow and Herb Ellis and Barney Kessel.

Wilkins lives in Manhattan. He teaches at The New School, N.Y.U., Long Island University, and Manhattan School of Music. He was recently invited to judge the Monk Institute Guitar Competitions in Washington. He also conducts seminars and guitar clinics, both in New York and abroad.

Jack Wilkins

Track Listing:

1. Happy Eyes
2. Barcelona Rising
3. Chess
4. No Time But Now
5. Fun Fat (Sweet) Fornix
6. Clean Dreamer
7. Pod Dance
8. Moon Rain
9. She's the One
10. Romance

Personnel:

Jack Wilkins (electric & acoustic guitars)
Mark Purcelli (piano, keyboards)
Michael Formanek (acoustic bass)
Mike Clark (drums).

*Includes full cover and booklet scan*

Enjoy!
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Deep Purple - "Come Taste The Band" [Japan Import] (1975) @320

Come Taste the Band is an album by the hard rock band Deep Purple recorded between August 3 and September 1, 1975 at Musicland Studios in Munich, Germany, and released in October 1975. The album was co-produced and engineered by the band and longtime associate Martin Birch. It is the only Deep Purple studio record featuring Tommy Bolin, who replaced Ritchie Blackmore on lead guitar. When Blackmore left the band, many observers and critics[who?] assumed that Deep Purple would not continue. It was David Coverdale who asked Jon Lord to keep the band together, and Tommy Bolin was asked to take the guitar slot.

Musically, the album is more commercial than previous Deep Purple releases, leaning toward a conventional hard rock focus with overtones of soul and funk. The album shows the strong funk influence from Glenn Hughes at this point, who had formed a bond with the equally funk and jazz influenced Bolin. Generally the record is considered one of Deep Purple's lesser efforts, although it did sell reasonably well on release (#19 in the UK charts, and #43 in the US). The album was certified Silver on November 1, 1975 by the BPI, selling 60,000 copies in the UK.

After tours for this album, Deep Purple broke up for eight years. Tommy Bolin died of an accidental heroin overdose in 1976.

In recent years the album has received some critical reassessment, primarily due to Bolin's contributions to the album.

Being out of print in the US for over 20 years, Come Taste the Band was re-released by Friday Music label on July 31, 2007 (Along with Made in Europe and Stormbringer). While the label's website claims that the album has been digitally remastered, it is unclear which tapes were used as a source for this remastering. This is especially significant since EMI has claimed that the master tapes of this album are missing. From Wikipedia, the free encyclopedia.

Things kick off with the fireball laden "Comin' Home". A rip roaring keyboard from Jon Lord, and David Coverdale's vocals truly define the spirit and integrity of these hard rock champions. And this is just the first song...hang on!

The multi-talented Glenn Hughes continues his resume of signature tunes as the hit single from the album "Getting' Tighter" follows a long line of Purple classics. Bolin's bluesy feel and Paice's rhythmic drum patterns made this a very good listen then, as it is today. A definitive stand- out track.

For the prog-rock crowd, the Purple develop two songs into one " This Time Around"/ "Owed To G" For the money, this dual exercise in style and world class musicianship stands as a cornerstone for this album and for this era of the band. Lord's flawless playing, Bolin's ability to create different tones and Paice's accents truly built this as one of the more defining moments from this recording.

Shortly after this recording, Tommy Bolin had died and Deep Purple took a break as a unit from recording for almost another decade. But before they moved on, they left us with one incredible recording called " Come Taste The Band" Out of print for almost two decades. By Amazon Product Description.

Purple Grooves!
Come Taste the Band was the last studio record Purple did in the 70's. And it is a great example of how a million people (and maybe a few more...) CAN be wrong... all those fans who ignored it because it didn't feature Ritchie Blackmore don't know what they're missing. You, my friends, on the other hand, if you are reading this, is because you're interested, and I can promise you that if you keep reading and ultimately decide to purchase this record, that interest will be duly rewarded!

In 1975, shortly after completing an european tour in support of "Stormbringer", founding member, guitarist and resident tyrant (don't get me wrong, i'm a huge fan of his music, but the guy has serious issues...) Ritchie Blackmore left the band. An established act like Purple has 2 choices in such a situation: call it a day, or soldier on with a replacement. Purple chose the latter, and faced with that, they had 2 ways to go too: either choose an imitator and try to recapture the original sound and glory of the band, or forge ahead in a new direction. Again, they chose the latter, bravely enough. Rumor has it they originally set their sights on Jeff Beck, but unable to get him, went with a rather "risky" choice: a young yank named Tommy Bolin, with more of a background in Jazz/blues/funk/fusion than (hard) rock.

What did they come up with? Instead of telling you first what you're gonna find here, i'm gonna tell you what you are NOT gonna find here: you're not gonna find "Highway Star", or "Space Trucking", or "Burn" or even "Stormbringer" for that matter. Meaning that those songs driven by a big, nasty guitar riff are gone. That's not a bad thing, it just IS. With the departure of Blackmore, the remaining members were given ample space to unfold their talents, and they certainly show it here: Paice never drummed better, Lord is there filling in for Ritchie with his ever immortal Hammond B3, Hughes is in fine shape both as a bassist and singer, Coverdale sings his lungs off and Bolin, while not sounding like Ritchie Blackmore (he didn't even try, which was a bold decision...) makes a strong impresion throughout.

The band was, at least at the moment of the writing and recording of this album, rejuvenated and reinvigorated, and it really shows. My only observation would be about the vocals: how come there are only a few tandem vocals here? Coverdale sings the lion's share while Hughes sings two solo numbers ("Getting Tighter" and "This Time Around"), but the only song where they truly sing together is "You Keep on Moving". The tandem vocals are one of the features that originally fascinated me about Mk III, so I was hoping to get some more of those here. Still, their individual performances are consistently top-notch.



Try to imagine a cross between "Strange Kind of Woman" and "Might Just Take your Life" and you are halfway there! Most of the songs are rather carried through by the monster grooves that the band creates: "Coming Home", "Lady Luck", "Getting Tighter" and "I need love" (the latter being one of my favorites) are the best examples of this. Then you have a few songs that are a little more guitar driven, but here again they are different: instead of big classical scales (a trademark of Blackmore), the guitar riffs have a bluesier, "Hendrix-ier" feel to them, like the case of "Dealer", "Drifter" and "Love Child" (which is a bit reminiscent of Zeppelin's "Heartbreaker"). And then you have 2 succesive HUGE songs to top it all: "This time around/owed to G" , which is a two part song, the latter being an awesome instrumental that takes us back to those jams the band became famous for, and "You Keep on Moving", a song that can remind you a bit to "Child in Time" by its atmosphere, with the harmonies of Coverdale and Hughes being a high point. This album is awesome!!!

So what was the problem, then? Was it too funky? Nope, actually Stormbringer is way funkier than this. Was it too soft? Nope, the record rocks big time. Was it "less good" than previous records? Most definitely not! The reason is very simple: any band that experiences that many lineup changes is bound to lose (at least some of...) its identity, whether they realise it or not. And that's what happened here. Add to that the substance abuse issues that both Bolin and Hughes had, that would end up causing the implosion of the band and the death of Bolin shortly thereafter, and you realise that it just wasn't meant to be.

The bottom line: if you liked Stormbringer, you will LOVE this record! So if you don't have Stormbringer, i would recommend you to get that first. If your favorites are albums such as Burn and Machine Head, this may be a little odd for you. But i honestly recommend you to get it either way. If you like good, groovy rock, you should love this one too! Great music is great music, and you should give it a try! And the timing for you all to get this CD couldn't be better, either: thanks to this Friday Music release, you won't have to shell out any extra money to get the import version(s). I'm a diehard, and this is without a doubt one of my favorites. Go ahead and give this band a taste...By Erick Bertin (Santo Domingo, Heredia Costa Rica)

WHAT PURPLE COULD HAVE BEEN AND SHOULD HAVE BEEN!
That is where the true problem with this albums lies with true DP fans, and causes the raging debates that you'll hear from all the warring Purple factions. This album is not DEEP PURPLE MARK II, AND IT NEVER WOULD HAVE BEEN. I'm sure most Deep Purple fans would have been happy it the band had changed it's name to reflect something new and didn't have the moniker Deep Purple since most fans have a hard-on for Gillan or Blackmore ( both of whom I love to death but I think of Deep Purple as an institution, not as a band ) but most fans probably don't know that the band was actually founded by Jon Lord and the first musician he approached to join was Blackmore, and that little tidbit has been lost over time and later on Blackmore took over more and more and Lord went along. The power struggles with Gillan and Blackmore led to the Mark III phase and while most people didn't initially know how to react to Coverdale subbing in for Gillan it was Glenn Hughes who made a more capable and better bass player than Roger Glover, so this thing went on and on until Blackmore finally had enough and founded Rainbow. This could have marked a new era in Deep Purple's history, but tragically this final, tragic album was their last until the Mark II reformation in 1984. Bolin breathed new life into Deep Purple just like Steve Morse did in 1996, and his flailing guitar playing and thrashing style should be emulated more today ( IF at all possible, cos NOBODY comes close to playing like this guy, NOBODY. ) For anything else, BUY THIS ALBUM TO HEAR TOMMY BOLIN SLAY YOU WITH HIS GUITAR! By MarieLover "Roxin'Forever" (California)

Deep Purple

Track listing:

1. "Comin' Home" (David Coverdale, Tommy Bolin, Ian Paice) – 3:55
2. "Lady Luck" (Coverdale, Jeff Cook) – 2:48
3. "Gettin' Tighter" (Bolin, Glenn Hughes) – 3:37
4. "Dealer" (Coverdale, Bolin) – 3:50
5. "I Need Love" (Coverdale, Bolin) – 4:23
6. "Drifter" (Coverdale, Bolin) – 4:02
7. "Love Child" (Coverdale, Bolin) – 3:08
8. "This Time Around/Owed to 'G' " (Jon Lord/Hughes)/ "Owed to 'G'" (instrumental) (Bolin) – 6:10
9. "You Keep on Moving" (Coverdale, Hughes) – 5:19

Personnel:

* David Coverdale: lead vocals
* Tommy Bolin: lead guitar, vocals, bass guitar on "Comin' Home"
* Glenn Hughes: bass guitar, lead vocals on "Gettin' Tighter" and "This Time Around"
* Jon Lord: organ, piano, keyboards, synthesizer, bass guitar on "This Time Around"
* Ian Paice: drums

*Includes full cover and booklet scan*

Related items:

Deep Purple - "King Biscuit Flower Hour" [1976] (1995)

Deep Purple - 'Live & Rare' (1970)

Tommy Bolin - "From The Archives Vol.1" (1996)

Tommy Bolin "The Ultimate" (2 CD Box Set) (1989)

Tommy Bolin - "Teaser" (1975)

Tommy Bolin - "Live at Ebbets Field 1974 [1999]"

Enjoy!
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Pat Metheny - "Quartet" (1996) @320

Music for the soul, body, and mind
This CD is definitely a departure from the other Pat Metheny Group albums of recent. Being roughly half improvisation or near improvisation and half carefully crafted songs like we're used to hearing from the Group, we get to see a side of the band we haven't seen before. And the result is extremely worthwhile, even if not always immediately pleasant. The fact that it is music played solely by the four core members and recorded in a live fashion with little or no overdubs and almost exclusivly on acoustic instruments lends uniqueness to this Group recording. While still a very large leap away from Pat's Zero Tolerance for Silence, this CD contains some stretching material for casual Group listeners. I for one, however, grew musically through repeated listens, and over time found myself placing this CD right up there with my top favourites by Pat and the group. In addition to some of the "out-there" stuff (music for the mind, ie. Dismantling Utopia, Badla! nd, etc.), it contains in my opinion some of the Group's most heartfelt and beautiful ballads (so satisfying to the soul, ie. As I Am, Oceania, etc.), and a couple of very grooving tunes bearing the label of jazz more fittingly than what we've been hearing from them lately (the stuff for the body, ie. When We Were Free, Montevideo, Language of Time). I would recommend this underrated CD as the most complete and satisfying musical ride I've ever taken part in. And if you're like me, you'll also grow as a result of it!

Return to Bright Size Life
There will be many members of Metheny's fan club who are still struggling to digest 'Song X', the avant-garde album that he made with Ornette Coleman in the 1980s. The improvised content of 'Quartet' may not be as uncompromising as that, nor as grating as the industrial noise of the more recent 'Zero Tolerance ...'.

Nevertheless, the group's performances here travel a long way from the saccharine jazz-rock that has brought Pat and his loyal keyboardsman Lyle Mays such a huge international following. Instead of the usual lush, overblown rhapsodies, Quartet reminds me of the stark, ambient textures of Pat's early work for ECM. By Gavin Wilson.

Caught me by complete surprise!
Before buying this recording I had my sights set low, thinking that less (e.g. the absence of vocals by someone like Mark Ledford or Pedro Aznar, and the emphasis on acoustical instruments) would indeed lead to less. But nothing can be further than my truth about this brilliant recording. For one, having the band captured playing in a more loose, spontaneous format provides a rare glimpse, albeit just as creative and poetic in vision as the more standard pmg sound we tend to expect. It's hard to know where to begin describing this work, so here's a short list some of things I love about this recording:
i) The beautiful "oceania" (in particular Steve Rodby's bass playing and Metheny's brilliant use of the synth guitar)

ii) The musical silence and space that one hears (or does not hear!) in "mojave", "badland", and "glacier". These are three of my favorites, and if you've ever been to the badlands or mojave desert, you'll hopefully better appreciate these tunes and realize the genious behind them. Compare these tracks to some of the stuff from Coltrane's "meditations". In some sense they will seem like opposites (in that Coltrane was trying paint every spot on the canvass) but the expansiveness and meditative nature of both works for me at least imply a vast similarity. Note also how these longer, contemplative tunes complement so well the celebratory "language of time", and the gorgeous guitar solo provided by Metheny on that track.

iii) "double blind" for many of the same reasons for ii). Again note Coltrane's and Ornette Coleman's influence here.
iv) The last two tunes, "sometimes i see" and "as i am" are good examples of Metheny at his lyrically best on guitar.

With all this said, I can also see why many PMG fans may not enjoy this cd, simply because not every (in fact most) listener wants to hear something that demands so much attention and takes time to absorb and appreciate. I love Coltrane's "meditations", but I know that many listeners believe this is where he went of the deep end. No, it's where he went deep, searching for his personal musical truth which has no end. By Todd Ebert (Long Beach California)



One of Metheny's Finest
I've had a love/hate relationship with Metheny's work for about twenty five years. I don't care a bit for his Trio work and his Brazilian influenced recordings are a bit too sweet for me. Having seen him in concert a half dozen times I can attest that even the stuff I don't like on CD is excellent in concert. The Group is simply that good! However, he and Lyle have done some things which I've considered to be utterly sublime: Travels, Offramp, Imaginary Day, AFWSFWF, Pat Metheny Group and Bright Size Life. I consider all these to be HIGHLY original works and would not hesitate to classify them as masterpieces. And....I put "Quartet" in this category. Yes friends, I think VERY highly of Quartet. I can understand why some would dislike, or even hate, this recording. The music is "seemingly" unstructured. The recording contains some dissonant passages here and there. All of this is true. HOWEVER, this recording should be viewed as ambient jazz at its finest! Something along the lines of Miles' "In a Silent Way"; but better. The way that the "Quartet" blends improvisation with structure is nothing short of incredible. This is one of the few Metheny CDs which I could NOT stop playing when I first bought it. I played it once, then replayed it again and again until I became fascinated by it and eventually fell in love with it. I view this recording as ONE looooooong piece. I find that "Quartet" flows more seamlessly than ANY other PMG release(with the exception of perhaps AFWSFWF). The spacing between the pieces is short enough that one cannot tell when one piece ends and another begins. I love when recordings flow like this. I would HIGHLY recommend this recording to anyone who likes Jazz; REAL JAZZ.............and.........to anyone who's a fan of ambient music, whether acoustic or electronic. "Quartet", in my opinion, is one of the VERY best recordings that PM has ever been a part of. This is one where the marketing department did not interfere with the creative process. Kudos to the Quartet for this modern masterpiece! By J.R. (Colorado)

Track listing:

01 Introduction
02 When We Were Free
03 Montevideo
04 Take Me There
05 Seven Days
06 Oceana
07 Dismantling Utopia
08 Double Blind
09 Second Thought
10 Mojave
11 Badland
12 Glacier
13 Language Of Time
14 Sometimes I See
15 As I Am.

Personnel:

Pat Metheny: acoustic and electric guitars, 12-string guitar, 42-string pikasso guitar; e-bows and slide, soprano guitars, fretless guitar, guitar synth
Lyle Mays: piano, non-tuned spinet piano, celeste, pedal harmonium, autoharps, electric piano, clavinet
Steve Rodby: acoustic bass, piccolo bass
Paul Wertico: drums, percussion.

*Includes full cover and booklet scan*

Related items:

Pat Metheny, Dave Holland & Roy Haynes - "Question And Answer" (1989)

Pat Metheny - 'Bright Size Life' (1975)

Pastorius / Metheny / Bley / Ditmas - 'Jaco' (1974)

Pat Metheny - "The Pat Metheny Group" (1978)

Jack Dejohnette - "Parallel Realities" (1990)

Enjoy!
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Wes Montgomery - "Movin' Wes" (1964) @320

A superb Verve/Creed Taylor recording first produced in 1965.

Much has been said of the so-called 'selling out' of jazzists--Wes was a hard-bopper, originally--and this was to have been his white washing or sell out album. That whole labeling thing, of course, is a bunch of B.S. Even hip hoppers would not mind being accompanied by a full orchestra and rhythm section. This is Wes' first with Verve, accompanied by an orchestra arranged and conducted by the great Johnny Pate: the recording was engineered by Phil Ramone and Creed Taylor.

"Theodora" is pure heaven, and "Born to Be Blue" is simply perfect. But I'm quite sure you'll find favorites among the nice selection presented here....La Barb's "People", Wes' "Moving Wes". The CD is like I said. Excellent, per-i-od.

In the liner notes by Gene Lees, he tells how Wes developed his style of playing. It is said he had an epiphany one day after listening to a Charlie Christian record. So much so that he went out and purchased a guitar and amp post haste and proceeded to strum the darn thing. He solicited the aid of a buddy to show him some chords and he commenced to playing--loudly, clumsily--with the aid of a guitar pick. His wife, being the person that she was, did not share in the epiphany and did not want Wes to be making that noise in the living room. Can you imagine that? So she requested that he move elsewhere in the house. He finds a corner and He plays some more. Nope--still too loud for the lady of the house. So, he turns the amp down a little. Nope, still too loud. So, he turns the amp down a lil more, gets rid of the pick and finds that thumb strumming style we hear in all his recordings. Talk about epiphany!

His wife finally, FINALLY approves and the rest is, as they say, history.

Thank God for that because the next step for ol' Wes may have been out on the curb with nothing but a guitar, an amp and a guitar pick...and no electricity! And we probably would have missed out of his greatness...

So, the moral of the story is, always, always give your spouse one more chance, even if it is hard on the ears.... By yygsgsdrassil "yygsgsdrassil" (Crossroads America)

This album contains some fine understated guitar work from Wes - He doesn't get the long extended solos of some of his more traditional jazz albums - nevertheless, one gets a magnified look at his approach as he sounds very relaxed against the Creed Taylor arrangements. Wes has the distinction of being one of the few instrumentalists who aren't ruined by this more commercial setting - Charlie Parker is one of the other immortals who strangeley benefitted from orchestration. I am blown away by Wes' octave and chordal work on this as well as some single line play on 'Caravan'. He is the envy of all guitarists! By Stalwart Kreinblaster "SK2008" (Xanadu).

This is a good CD by the late Wes Montgomery. I fully expected it not to be his signature guitar Jazz that he had become famous for, so I was not dissapointed. The titles of the songs on this CD are "Pop" originated and so I knew this wouldn't be purely jazz. However, I was happily suprized by Wes Montgomery's renditions of the songs from "People" to "Born to Be Blue" are suprizingly well done. No, they may not be enjoyed by Jazz purists but as with all Wes Montgomery's work, they are enjoyable to listen to, and his renditions have great improvisation that is backed nicely with a small orchestra. All fans of Wes Montgomery will not be dissapointed with this CD, which was remastered very nicely. Recommended! By historyone (Republic of Texas, USA)

Lets face it. Wes was one unique guitarist/musician, maybe even a genius. On this venture he is featured with some wonderful brass backing creating a colorful palette of sound. His blistering solo in "Caravan", to the subtle chord melody of "People", and the fantastic interpretation of "West Coast Blues",this album provides some interesting and creative outlets. Sure people will argue and suggest his straight ahead jazz records, but this album has a special atmosphere to it. It was recorded well, has great moments on every track,and even has great packaging to.( I love the venetian cutaway Gibson L-5 he is carrying on the cover!) I recommend this to seasoned Wes fans, and for new fans as well. By Frank Gi (NJ United States)



Recorded in late 1964 for Verve, this effort brought Wes Montgomery the backing of three trumpets, four trombones, two tubas, plus piano, bass, drums and percussion. Quite a bit different than his small-group work on the Riverside label. While I like the Riverside release "The Incredible Jazz Guitar of Wes Montgomery" better than this CD, this one grew on me with each listen. Producer Creed Taylor deliberately tried for a sound that could make Wes and Verve some money, and largely succeeded. Wes made some later Verve recordings which sold even better than this one, but he died less than four years after these tracks were laid down. If jazz-flavored instrumental pop music is your bag, you will love this. By William E. Adams (Hobbs, NM USA)

Together with Tequila, this is Wes's best Verve album and his Verve albums are loads better than the 'purist' stuff he released on Riverside! To me, talking of purism in jazz is a contradiction in itself - jazz has always been integrative. On this record, Wes presents a collection of perfectly played guitar sounds in a bigband context. Listen, for example, to the perfectly arranged 'Born to be blue' or to the Latin passion of Wovin' Wes parts I and II. An excellent introduction to the music of t h e classical jazz guitarist. By 6XERVANTES (Dortmund, Ruhr Valley, Germany)

Wes Montgomery

Track listing:

01 Caravan (2:36)
02 People (4:20)
03 Movin' Wes (Part I) (3:29)
04 Moca Flor (3:10)
05 Matchmaker, Matchmaker (2:50)
06 Movin' Wes (Part II) (2:52)
07 Senza Fine (3:25)
08 Theodora (3:55)
09 In And Out (2:51)
10 Born To Be Blue (3:38)
11 West Coast Blues (3:12)

Personnel:

Wes Montgomery (guitar); Johnny Pate (arranger, conductor); Ernie Royal, Clark Terry, Snooky Young (trumpet); Jimmy Cleveland, Urbie Green, Quentin Jackson, Chauncey Welsch (trombone); Tom Butterfield, Harvey Phillips (tuba); Jerome Richardson (woodwinds); Bobby Scott (piano); Bob Cranshaw (bass); Grady Tate (drums); Willie Bobo (percussion). Recorded at A&R Studios, New York, New York, on November 11 & 16, 1964. Originally released on Verve (8610).

*Includes full cover and booklet scan*

Related items:

Wes Montgomery - "California Dreaming" (1966)

Enjoy!
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John Scofield - "Shinola" (1981) @320

'Shinola' is half of a live club recording John Scofield cut in Munich--the other one titled 'Out Like A Light'--on of the eve of his career-enhancing stint with the Miles Davis Band. Ably backed only by Steve Swallow's electric bass and Adam Nussbaum's drums, Sco had already refined his guitar playing significantly since his first lp's from just a few years earlier.

While Scofield's music at this time is still best described as mostly straight-ahead electric jazz with rock overtones, the overall level of musicianship is a notch higher than earlier efforts; not entirely due to a maturing Scofield, but also a product of Swallow's incredible bass. Perhaps jazz's most under-recognized great bassist, he masterfully plays counter to Scofield, seeming to willfully play at a different tempo at times without disrupting the guitarist or the flow of the song. Mr. Swallow, like fellow bass player Dave Holland, is noticeable to even the most casual listener without stepping outside his instrument's traditional role.

Scofield's song selection ranges from the mellow ("Yawn") to the all-out rocker ("Shinola"), but save of one tune, a head-spinning rendition of "Dr. Jackle", they are all originals, and good ones at that. It was no doubt that the versatility and confidence displayed by a blossoming young American guitarist touring Europe in late 1981 got the attention of jazz's foremost pioneer looking to restart his career with fresh new John McLaughlin's and Bill Evans'. John Scofield evidently passed the audition.

A hard to find record, but a must-have for any Scofield enthusiast.

This is great Scofield. Although this may be a relatively early date, I have never heard the guitarist be more musical and captivating than on this record. Scofield's idiosyncratically sparse style lends itself well to power trio. I highly recommend this record to anyone who wants to hear what great Sco sounds like.



This is a nice and breezy set from what is officially the John Scofield Trio, recorded live in Munich, Germany in 1981. The vibe is very similar to that I enjoy on another John Scofield Trio live album, 2004's brilliant EnRoute. If you like that, then you definitely need this (and vice versa), though I should mention that Adam Nussbaum plays the drums on this set (while Bill Stewart is the drummer on the other). Bassist Steve Swallow plays on both.

Personally, I can never get enough of Scofield's guitar and if ever I picture myself chilling with a cold drink on a nice sunny day (or a warm summer night), with a gentle breeze blowing the curtains, this is the kind of music that I'll have playing in the background. It's truly beautiful.

John Scofield

Track listing:

1. Why'd You Do It?
2. Yawn
3. Dr. Jackle
4. Jean the Bean
5. Rags to Ritches
6. Shinola


Personnel:

John Scofield (electric guitar)
Steve Swallow (bass guitar)
Adam Nussbaum (drums).

*Includes full cover and booklet scan*

Related items:

John Scofield - "Bump" (2000)

John Scofield - "The Blue Note Years" (1996)

John Scofield - "Liquid Fire" (1994)

John Scofield, Jack Dejohnette, Larry Goldings - Lifetime and Beyond: 'Celebrating Tony Williams' Live (2004)

Jack Dejohnette - "Music For The Fifth World" (1992)

Gary Burton & Friends - "Six Pack" (1992)

Chris Potter - Traveling Mercies (2002)

Billy Cobham - "A Funky Thide Of Sings" (1975)

Enjoy!
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Jack Dejohnette - "Parallel Realities" (1990) @320

This CD features the legendary drummer paired with Pat Metheny and Herbie Hancock. It is a very interesting CD and takes much of its flavor from Pat Metheny's composing style. The interplay between all three is great with particular interest arising in the musical relationship between DeJohnette and Metheny. Hancock plays fantastic as do the rest. For those of you who wondered what Metheny would sound like with more drums going on underneath, this is your CD.

For most jazz artists, the desire to reach a pop constituency short-circuits the very creative impulses that inspired them in the first place. Happily, there are exceptions, and one of them is drummer and composer Jack DeJohnette. DeJohnette originally emerged as a member of the Charles Lloyd Quartet and went on to become an influential jazz-rock innovator through his virtuoso rhythm work on Miles Davis's breakthrough recordings Bitches Brew and Live-Evil and later as a session ace and a bandleader.



Now, on Parallel Realities, DeJohnette has created an instrumental tour de force brimming with lyrical grace and propulsive energy. The drummer's collaborators – Pat Metheny and Herbie Hancock – are old hands at satisfying vox populi without subverting their jazz roots. Some of DeJohnette's tunes bear more than a passing resemblance to Metheny's jazz-rock arrangements, but on a whimsical, upbeat tune like "Nine Over Reggae," DeJohnette revels in his own dancing, rhythmic style. Elsewhere, DeJohnette pushes Metheny to the limit on the exotic title tune, the boppish "Dancing" and the bluesy "John McKee." In its impeccable balance of romance and revelation, Parallel Realities is what fusion was meant to be: a contemporary melding of attitudes and styles, not simply highbrow elevator music.

Jack Dejohnette

Track listing:

1 Jack In
2 Exotic Isles
3 Dancing
4 Nine Over Reggae
5 John Mcgee
6 Indigo Dreamscapes
7 Parallel Realities

Personnel:

Jack DeJohnette - Drums
Pat Metheny - Electric Guitar, Acoustic Guitar, Keyboards
Herbie Hancock Acoustic Piano, Keyboards

*Includes full cover and booklet scan*

Related items:

Jack Dejohnette - "Music For The Fifth World" (1992)

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Frank Gambale, Stu Hamm, Steve Smith - "The Light Beyond" (2000) @320

The second collective side project from a trio of jazz-rock veterans, The Light Beyond yields nothing revelatory but does serve up a fairly entertaining fusion variety pack. Frank Gambale, guitarist on past Chick Corea Elektric Band projects and a longtime mate of drummer Steve Smith in Vital Information, both rattles and hums on this disc. Most memorable is the complex, whipsawing mix of industrial shards and blues-rock textures he juxtaposes in "Lumpy's Lament," a daunting piece that is counterbalanced by stretches of handsome jazz riffing on "The Throne of Savitar" and the shimmering, desertlike atmospheres he concocts on "Fugitive Aspirations." Stu Hamm, who has logged time with Joe Satriani and Steve Vai, reliably sustains the group's challenging metric framework. While sometimes annoyingly light on melody, The Light Within is more structured and graceful than the trio's debut disc (Show Me What You Can Do), and, consistent with a group objective formed for this recording, reminiscent of the eclectic jazz-rock panache demonstrated in years past by Return to Forever. --Terry Wood

"Fine Fusion"
This outing with Frank Gambale, Stewart Hamm, and Steve Smith is the followup to the 1998 album, "Show Me What You Can Do", both on Tone Center. And while the "Show Me" had fine musicianship, this album is more structured with far better material. In fact, this is a fine fusion album.

There is plenty of variety here, from hard fusion to delicate accoutic. Each of the players are outstanding, showing the full range of their talents.

My favroites are: the first track, Katahdin, which is a kind of anthem, allowing the whole band to let out the stops (Gambale plays a fine lead on this one); track four, The Throne of Saviata, sounding very much like Return to Forever from the 1970s (with a fine solo by Hamm); and Lumpy's Lament, sounding like a cross between Gentle Giant and Brand X. By Gregory Edwards (Fremont, CA USA).

"EXCELLENT! - Can't stop spinning this CD"
I bought this one enticed by the incredible acrobatics of Stu Hamm (I'm a bass player myself) and found an absolutely different thing from "Show me what you can do", the previous record by this same trio.

This one features more thorough composition, less jamming and more melody. And it is beautiful. At first I couldn't get into it, I wanted more acrobatics, but suddendly it clicked and now I can't stop it, I take it everywhere (maybe I should see the doctor :)

The guitar work is incredible, excellent work of playing melodies and keeping the chord structure at the same time. It is so good I'm looking at buying a Frank Gambale CD right now.

Steve Smith shows again that he is one of the top drummers. His drumming is powerful yet subtle, and he takes quite a number of solos in this album. Drummers should drool over this one.

Stu Hamm does an AMAZING work with the bass. It is not as flashy as the double-handed tapping solos in the previous record, but an incredible show of laying down the groove, locking air-tight with the drums and inspirational playing. The word "tasteful" comes to mind before "incredible" (although there ARE bass solos, but they are more melodic than flashy, and VERY emotional, especially his solo piece "Nostalgia")

I love this record. Amazing chops, incredibly tight, beautiful melodies, it has it all. This CD is worth every penny and then some more. By "fenring" (Santiago, CHILE).

I originally purchased this disc as I have all the Vital Information c.d.s.I have always been a fan of Steve Smith's
drumming and Frank Gambale's guitar playing.Frank G. has some nice solo efforts as well,but I enjoy this disc quite a bit as the input of Stuart Hamm is so tight and it adds nice dimension to two great players.I found this cd to be full of energy and
complex arrangements which carry the listener to far away places and every time I listen there is something else to discover.

I would highly recommend this cd along with these sugguestions if you enjoy this type of jazz/fusion:any of the Vital Information body of work or c.d.s being produced out of the Tone Center in Marin Ca..There is a c.d. from there called the Strangers Hand with Steve Smith,Jerry Goodman,Howard Levy and Oteil Burbridge which has some fun with some cajun/zydeco style tunes.

I am also a fan of Simon Phillips the drummer and he has a great c.d. very
similar in nature to The Light Beyond called Another Lifetime. I would highly recommend it for those who like this type of music. By chris (Gilbert, Arizona United States).

With THE LIGHT BEYOND, Frank Gambale, Stuart Hamm, and Steve Smith pick up where they left off on their first release, SHOW ME WHAT YOU CAN DO. Aside from the usual bouts of chops-driven mania, LIGHT is tempered with a slightly gentler edge ... Full Descriptionoverall. More advanced planning and the participants' greater experience as a unit has yielded works of more intense harmonic complexity and musicality. Make no mistake, however, as these fusion giants are perfectly capable of pushing the limits of their instruments at any given moment.

With the opening tones and train-like groove of "Katahdin," it is evident that the music here is of a higher plane than most fusion. Gambale, along with his signature soloing style, turns in some of the most sonically colorful work of his career. Smith, too, is at the top of his game, pulling off death defying licks and complex time grooves with both crystal precision and a deep foundation. Anchoring it all is Hamm, long known as a rock monster with Joe Satriani, who pulls off the masterful solo piece "Nostalgia." Other intriguing works include Gambale's "Yin" and "Yang," the thundering "Lumpy's Lament," and the soaring closer, "Fugitive Aspirations."

Gambale, Hamm, Smith

Track listing:

01. Katahdin
02. Yang
03. First Look
04. The Throne of Savitar
05. Nostalgia
06. Yin
07. The Spirit of Dundun
08. Lumpy's Lament
09. Isle of Few
10. Fugitive Aspirations

Personnel:

Frank Gambale (guitar)
Stu Hamm (bass)
Steve Smith (drums).

*Includes full cover and booklet scan*

Related items:

Frank Gambale - "Show Me What You Can Do" (1998)

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Dave Weckl - "Master Plan" (1990) @320

"Master Plan" is an upbeat melodic monster fusion album. Dave's drumming is killer as usual; he makes complex grooves sound so simple and effortless while he lays down a solid rhythm that blends with and never overpowers the other musicians. He also shows he is a good composer and co-wrote four of the tunes. Every song on here is tasty but the highlight for me is the title track where Steve Gadd joins Dave for a dual drumming delight. When they play together, neither is tripping over the others beats and they work together to create a really full sounding rhythm section. They even have a solo drum break and take turns going back and forth playing off each other. Very cool! Definitely a similar style of music and as good as the Elektric Band's output, and if you're a drummer this really is essential.

This was Weckl's debut as a leader after years as a session musician and member of Chick Corea's Elektric and Akoustic Bands, and it's an arresting display of his drum chops and rhythmic know-how, whether he's playing or matching parts with a drum program. The rhythms range from Latin-techno on "Festival de Ritmo" to the light swing of acoustic jazz on "Softly, As in a Morning Sunrise." Weckl is joined by a number of eminent associates, including Michael Brecker and Eric Marienthal on saxophones. Chick Corea himself plays on his tune "Master Plan," and fellow drummer Steve Gadd joins Weckl for some particularly complex polyrhythms. The music sometimes takes a backseat to Weckl's pyrotechnics, but that's in keeping with a musician initially inspired by Buddy Rich. Weckl has effectively extended that aggressive approach to embrace technology, and Master Plan is full of the same kind of inspiration for younger drummers. --Stuart Broomer

This is Dave's first solo album and my personal favorite. All of the songs are well written and the musicianship is nothing less than superb!! Dave Weckl is definitely one of the greatest drummers out there today. Any jazz, drum, or just plain music fan owes it to him or herself to check out this great CD. A must for all drum fans. Dave Weckl is a Master at his art.

I can't say enough for Dave. On one hand, I think of him as the Mr. Smooth of fusion drumming for how super-human his playing/sound is (I could swear it's a computer with a soul playing). Then again, I prefer drumming that breathes a tiny bit more, i.e. a groove where every triplet or 16th note isn't played on (ghost or regular). But then again, this is Dave Weckl and I should not/would not expect anything else. My favorite track is easily Master Plan, for the legendary Chick Corea and Steve Gadd (my favorite drummer) are playing with Weckl, and it produces a stunning piece overall. The first track (Tower of Inspiration) is quite funky and features a brass section playing the melody (Tower of Power?) and track seven (Softly, as in a Morning Sunrise) shows Weckl playing bop in a jazz trio, different for him, but he can do it while still sounding like himself. Overall, I am extremely impressed, can't wait to pick up his new "Transition" CD. And you gotta love the amazing sound he gets from his drums and cymbals.



Dave Weckl is surely a phenomenon drummer, he plays amazingly and has a thuderous style. The strength of his drumming is overwhelming but still very very enjoyable. He is surrounded by a group of great musicians and the only other thing I can say is: "You MUST buy this CD" because you'll have a great pleasure every time you will listen to it. Have fun!

This CD was distributed by GRP label.That' why total sound design is so polished and sophisticated.Dave's rhythmic approach is so complicated but sharply totalized and well-organized.The songwriting sense is brilliant enough too demonsrate his talents. In Japan ,for example,his tunes are used in the sports program on TV many times.I don't think this is a elevator music.This maybe best described as a instructional CD for drum beginners.Fine techniques and BIG NAMES guest appearances also help this CD to be a well-balanced high tech FUSION ALBUM ever.

Dave Weckl

Track Listing:

1) Tower Of Inspiration
2) Here And There
3) Festival de Ritmo
4) In Common
5) Garden Wall
6) Auratune
7) Softly, As In A Morning Sunrise
8) Master Plan
9) Island Magic

Personnel:

Dave Weckl - Drums
Eric Marienthal - Saxophone
Jay Oliver - Keyboards, Piano
Chick Corea - Synthesizer
Michael Brecker - Tenor Saxophone
Steve Gadd - Drums
Anthony Jackson - Bass
Jerry Hey - Trumpet
Bill Reichenbach - Trombone
Tom Kennedy - Bass
Ray Kennedy - Piano
Peter Mayer - Guitar
Scott Alspach - Trumpet

*Includes full cover and booklet scan*

Courtesy Lance, aka Gretsch/Zildjian

Related items:

Dave Weckl Band - "Perpetual Motion" (2002)

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Atomic Rooster - "Death Walks Behind You" (1970) @320

Atomic Rooster was Vince Crane, a very talented musician, one of the best keyboard players in rock, and certainly one of the best composers, sadly underrated, whose life was cut short few years ago, by his suicide due to his illness (manic depression).
On every Rooster album, his songs shine the most, in melodic virtuiosity, and emotional expressions, whereas the songs that the guitarist John Ducann did the writing, the difference is felt, and what we have instead are average 70s rock songs.

But Crane, had a vision, a passion for his music and his instrument and it shows in all his writing, which are very melodic, with very catchy tunes that are guaranteed to stay with the listener for a long time.
Death Walks Behind You is an example of Crane on top form.
The title track, is one the best rock songs ever written..It is a very dark song, that starts with a haunting piano..can even be a scary song!!VUG is an instrumental melodic piece that has excellent interplay between keys and guitars, and a touch of prog rock..
Other tracks on the albums, show Ducann 's influence in cowriting, as they tend to be rockier, but they still have the power and brilliance and touch of Crane, and are very melodic.
The other classic on this album is Nobody Else, a very touching song, with a lovely piano, that offer the listener in the middle a good time change a la prog rock tradition, with brilliant guitar solo.
Atomic Rooster did some great stuff afterwards, esp. In Hearing Of and Made In England, but could not acquire the recognition they deserve.
Crane did another classic 'Headline News' his most progressive and personal/solo album, with a guest appearance by none other than Dave Gilmour. This album sadly remained largely unheard, and Vincent Crane died soon afterwards.
BUY THIS ALBUM on all account, and i guarantee 'Death Walks Behind You' will truly haunt you like no other song can manage to do!!

Atomic Rooster - This is a band today if you mention them to most of the record buying public; the response will be "who's that?" Pity this band didn't receive the promotion they deserved in the early 1970's. This LP is flat out amazing. Vincent Crane (vocals,piano,organ), John Cann (vocals, guitar)and Paul Hammond (drums)deliver a dark and gothic sounding LP. Musically its inspired and the guitars and organ blaze. The title track starts of with dark piano solo and builts into foreboding rocker that is like a horror movie put to rock music. "Vug" is a great instrumental that reminds of ZZTop's "La Grange" minus the vocals with gothic organ touches. "Tommororow Night" sticks with the dark themes and its a nice tune. "Sleeping for years," the album cover states that it was one of their most requested pieces. For good reason, its a song that would be at home on any classic rock station in the US. Uptempo and great guitar work make this one to definetly enjoy over and over. Another notible on the album is "Gershazter" for its organ/drum solo. If you buy one album of AR's, let this be the one. Its a classic, little known and goth before goth was cool. Buy it and share it with a friend. You'll be turning them onto one of the greatist underrated LP's of the 1970's.

So who and what were "Atomic Rooster"? They were formed in mid 1969 by keyboard wizard Vincent Crane and Carl Palmer, one of the most bombastic drummers on the planet, after the collapse of "The Crazy World of Arthur Brown" and in the middle of an American tour. (Arthur Brown had one hit which was a number one "Fire", but that was it. Brown went on to lead Kingdom Come and released three very weird albums in the mid-seventies. He still makes a living to this day as a celebrity, hosting parties and festivals whilst singing the odd verse of "Fire".) Adding Nick Greenwood on bass, an album was recorded and released with the confusing title of "Atomic Ro-O-oster" . After a period on the road they had built a strong cult following, but then started a revolving door of musicians coming and going. (Mostly going in the early days. John Paul Jones was asked to join, but wisely took the offer of Jimmy Page's to join 'Led Zeppelin'. Jack Bruce decided to stick with his solo career, although fellow Cream band mate Ginger Baker turned up in "Atomic Rooster" in the eighties. Rick Grech was also asked, but he had just joined Ginger Baker along with Eric Clapton and Steve Winwood in "Blind Faith". Most bizarrely a meeting was set up between The Rooster boys and Brian Jones, who had just left the Rolling Stones. He was found drowned in his swimming pool the day before the meeting was set for.)

First to abandon ship was bass player Nick Greenwood. He was replaced by guitarist Paul Ducann, whilst Crane took up bass duties using the bass pedals of his trusty Hammond organ. Then prior to going into the studio to record the all important second album, Carl Palmer was lured away from the Rooster to be the "P" in E.L.P. Are we talking Spinal Tap here or what? To any other band this would of been the death knell, but not to the Rooster. Vincent Crane simply recruited gangly powerhouse drummer Paul Hammond (possibly influenced by his surname), dived into the studio, and came out with this classic slab of awe inspiring music. One of the forerunners to form the music that is now called Heavy Metal. Although it was really Crane's band and the sound of the keyboards is dominant in the same way as say Jon Lord was in Deep Purple or Ken Hensley in Uriah Heep, there was still room for the other two to shine. In fact, Ducann wrote three songs on the album as well as getting a credit for the title song. Paul Hammond got to show his spurs on final track "Gershatzer", a number written specially for him by Crane with a fine three minute drum solo. Still today probably one of the best drum solos recorded specifically in the studio by a Rock 'n' Roll drummer .

Opener and title track "Death Walks Behind You" has a haunting spaced out piano intro before breaking into its sledgehammer riff and demonic vocals. It also features the first of musical jousting between guitar and keyboards, again drawing comparisons to Deep Purple. Second in is "Vug", a studio jam that was fortunate to be played whilst the tapes were rolling, so caught in all its fresh excitement. Next up was the much desired hit single "Tomorrow Night", a catchy little number played here to its frantic climax, whereas for the single the record company had faded out to make it a round little three minutes for radio play. The three Ducann songs follow, giving beautiful light and shade to the album whilst retaining Rooster's hard edge, before returning for two more Crane numbers with "Nobody Else" being as close to a ballad as Rooster were ever likely to get. Then "Gershatzer" brings us to a rousing conclusion.

"Death Walks Behind You" reached the top twenty in England, putting the Rooster alongside Black Sabbath and the Rolling Stones. Peter French was then recruited as vocalist for the next album, "In The Hearing Of", which also charted "Tomorrow Night" peeking at no 11 and follow up single "Devils Answer", charging past that to reach no 4. The table seemed laid for world domination, but no in true Strange Fruit style, they even managed to bodge it up from there. Within twelve months of recording this classic, French, Ducann, and Hammond left claiming Crane's impossibly high standards as impossible to live up to. In the eighties Crane was quoted as "I always demand a band that's got a pretty A-plus standard every night". Crane recruited new guys and carried on, but the magic was gone. They reformed in the mid eighties, but the timing was wrong and they ended up being little more than a nostalgia act with Ducann and Crane being the only stable part of the lineup.

Tragically Vincent Crane, who had always suffered from bouts of manic depression, took his own life on Valentine's Day in 1989. A sad story of "If Only"...

But when the Roosters strutted their stuff, they were magnificent. Enjoy a bit of Atomic energy.

Atomic Rooster

Track listing:

1. Death Walks Behind You (7:24)
2. VUG (instrumental) (5:03)
3. Tomorrow Night (4:02)
4. 7 Streets (6:47)
5. Sleeping For Years (5:30)
6. I Can't Take No More (3:36)
7. Nobody Else (5:04)
8. Gershatzer (instrumental) (8:01)

Personnel:

- Vincent Crane / Hammond organ, piano, backing vocals
- John Cann / acoustic & electric guitars, lead vocals
- Paul Hammond / drums, percussion

*Includes full cover and booklet scan*

Enjoy!
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John Mclaughlin, Chick Corea - "Five Peace Band" [Live] (2009) @320

Chick Corea and John McLaughlin first encountered each other in Miles Davis's group in the late '60s before taking his electric-jazz lessons and going on to invent fusion with Return to Forever (Corea) and the Mahavishnu Orchestra (McLaughlin). But Five Peace Band represents their first official electric collaboration, and this double CD, recorded live in Europe, is the first fruit of the union.

Superstar collaborations often look good on paper but don't pan out in reality, so it's a real pleasure to see that the pairing of two modern legends—keyboardist Chick Corea and guitarist John McLaughlin—is far more than some marketing representative's wet dream. Teaming with three younger players who add their own cachet—saxophonist Kenny Garrett, bassist Christian McBride and drummer Vinnie Colaiuta—Five Peace Band Live captures the group on the first leg of a nearly year-long tour, hot on the heels of Corea's much-lauded Return to Forever reunion, documented on Returns (Eagle Records, 2009). While FPB Live isn't as pedal-to-the metal fusion as Returns, there's no shortage of high-octane playing, as the quintet works through a number of originals, a couple of standards and a fine tribute to Miles Davis, who brought Corea and McLaughlin together for the first time 30 years ago on In a Silent Way (Columbia, 1969).

Comparing FPB with McLaughlin's 4th Dimension group, the two tracks covered by both bands yield significant differences. The fiery "Raju" doesn't change much, though Garrett nearly blows the roof off whatever venue it was recorded in, lending considerably more weight to the song. Colaiuta and McBride are equally powerful, while Corea's personality gives the tune some additional harmonic movement.

"Senor C.S.," on the other hand, is reimagined as a high velocity samba, beginning with a Corea/McLaughlin duet that demonstrates the simpatico bond that makes this pairing long overdue. Despite McLaughlin's lightning-fast yet always lyrical delivery, it recalls Corea's early, Latin-esque Return to Forever—although the late Joe Farrell never played with as much unbridled passion as Garrett, who comes close to stealing the show from Corea and McLaughlin on more than one occasion. Meanwhile, "New Bruise, Old Blues," from Industrial Zen (Verve, 2006), is as funky as FPB gets, with one of Corea's most visceral synth solos of the set.



If McLaughlin's tunes are more fusion-centric, Corea's two contributions take FPB closer to the modern mainstream, with "The Disguise" more down-the-middle, but proof—as if any was needed—that McLaughlin can still work that turf with ease. "Hymn to Andromeda" begins freely, Corea working in and out of the piano box as McBride enters to deliver a poignant arco solo before the rest of the group joins to gradually move into modal territory, with Garrett delivering another set highlight, gradually building his solo as the band coalesces and intensifies behind him.

Alongside a quirky rearrangement of Jackie McLean's "Dr. Jackle" and a closing Corea/McLaughlin duet on "Someday My Prince Will Come," the group pays tribute to Miles on a lengthy, more open-ended rework of "In a Silent Way/It's About That Time," with Herbie Hancock guesting to create an ethereal electric piano cushion before the band enters in the more propulsive second half, with McLaughlin proving himself as able an accompanist as he is an evocative soloist.

Running the gamut from straight-ahead to balls-out fusion, Five Peace Band Live is a rare opportunity to hear two masters create something that references both of their careers but combines to create something with its own distinct personality.

Visit Chick Corea and John McLaughlin on the web.

Five Peace Band

Track listing:

CD1:
01 Raju
02 The Disguise
03 New Blues, Old Bruise
04 Hymn to Andromeda.

CD2:
01 Dr. Jackle
02 Senor C.S.
03 In a Silent Way/It's About That Time
04 Someday My Prince Will Come.

Personnel:

Chick Corea: piano, keyboards
John McLaughlin: guitar
Kenny Garrett: saxophone
Christian McBride: acoustic and electric basses
Vinnie Colaiuta: drums
Herbie Hancock: piano (CD2#3).

*Includes full cover and booklet scan*

Enjoy!
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