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Review: Thunder from Stanley Clarke, Marcus Miller, and Victor Wooten

John Luciano — Wed, 30 Jul 2008 01:42:10 +0000

Thunder. Rhythmic, melodic, rock you out, funk you up. Thunder! Back in the spring when I interviewed Marcus Miller, I asked him what was in the pipeline. He mentioned that there was a bass trio recording that he Stanley and Victor were working on – and oh what a recording it’s turned out to be. I can’t imagine a better name for this all-star collaboration between these three Bass Masters of the Universe. The thunderous power that is conjured up by SMV is awe-inspiring, not just in the low and middle registers, but in the compositions and arrangements as well. This isn’t some ego driven free-for-all that’s all chops and no meat. In my opinion, it’s the compositions that drive this recording, with each bassist unselfishly contributing for the benefit of the whole. I have to admit that of the three players, I’m least familiar with Victor Wooten; but I was easily able to identify each distinctive voice, in fact, this is probably the best setting I’ve heard Stanley play in in quite sometime. To have three of today’s leading bassists, each of which bring much more to the table than just being a recording artist, creating such a cohesive project, speaks volumes of their talents and obvious kinship. One could only hope that this doesn’t end up being a one-off project. Also, kudos to Heads Up for having the guts to release this project, in a year that has been extremely lean for anything remotely approaching quality jazz, yet alone fusion. One last opinion if I may: I’ve purchased maybe five actual physical CDs this year, but I’ve purchased at least 60 downloadable, complete jazz recordings thus far. How come they don’t come with downloadable digital booklets?

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Review: The Dixon-Rhyne Project – Reinvention

Sean Miller — Sun, 22 Jun 2008 22:35:09 +0000

Hammond B-3 master Melvin Rhyne garnered himself a place in jazz history for his work with the legendary Wes Montgomery. Thus it was with caution that saxophonist Rob Dixon approached him about creating and recording a modernized approach to the jazz organ quartet. This Reinvention was to take place with the help of drummer Kenny Phelps and the renowned player and instructor of guitar Fareed Haque (Garaj Mahal). To Dixon’s pleasant surprise Rhyne was receptive to the idea and the Dixon-Rhyne project was born. From start to finish the disc presents the listener with an energetic groove that’s clearly captured on tracks such as “Mind’s Eye” and “Fantastic Prizes”. I particularly enjoyed the drum ‘n bass number “Shadow and Light” which features Rhyne on the Mini-Moog along with some fantastic tenor work by Dixon. Another standout is the fusion scorcher “Tomorrow Sierra” on which Haque shines on electric guitar. The disc also includes a soulful cover of Kenny Burrell’s “Chit’lins Con Carne” as well. While it might be tempting to write this off as just another organ quartet outing, Reinvention is anything but. If you’re looking for a fresh perspective on the traditional organ quartet be sure to give this one a listen.

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The Grace of Summer Light from Ken Navarro

John Hilderbrand — Tue, 03 Jun 2008 22:06:38 +0000

One of your summer listening highlights this year will likely be the new recording from Ken Navarro, The Grace of Summer Light. I’ve heard the majority of the now 18 recordings of the guitarist and he continues to impress. This latest release continues to demonstrate Navarro’s growth as a composer. In fact, I’ll have to remember to refer to him as composer/guitarist Ken Navarro, or even more accurately: storyteller Ken Navarro. The compositions obviously inspired the musicians, including Joel Rosenblatt on drums, Tom Kennedy on acoustic and electric bass, and Jay Rowe on keyboards. Find out for yourself: Ken is offering the entire recording, all 57 minutes, for you to listen to. It’s not background music that you can listen to while you work. This music demands your attention. And, as he did with his previous effort, The Meeting Place, he’s blogged about the making of the new album.

The Grace of Summer Light will be in stores on June 17 on Ken’s Positive Music label. You can pre-order it now through Amazon.com. Join the discussion about it in The Forum!

Review: Yellowjackets featuring Mike Stern – Lifecycle

John Luciano — Mon, 26 May 2008 20:41:55 +0000

The Yellowjackets – where do I start? How about at the beginning, when they were the back-up band for Robben Ford? Much has been written and chronicled about this early chapter of their history, especially in light of their 2006 anniversary release, Twenty-Five. I bring all this up because of the inevitable comparison that will be made between the current Yellowjackets line-up on Lifecycle and the original group with guitarist Ford – all because of the prescience of the telecaster-wielding Mike Stern. Let me start by saying that I think this current band of Haslip, Ferrante, Mintzer and Baylor along with guest Stern are by far the strongest iteration of this storied group. Ford, Russo, Lawson, Kennedy, and Erskine all contributed mightily when they were in the band but, somewhere in the late eighties, Ferrante and Haslip started to take the band, both sonically and compositionally, in a different direction. This culminated with Mintzer joining the Jackets for both Greenhouse and his own One Music in 1991 and 1992 respectively. Which leads us to Lifecycle, and the inclusion of Stern, who first joined the Yellowjackets on stage in Montreal last year. Whereas Ford has always had that blues sound, Stern’s playing is decidedly more horn-like in both his phrasing and attack which makes him the perfect foil for Mintzer. In fact, I feel that Stern could have felt right at home on any of the last four or five Jackets’ releases – his sound and compositional style are so incredibly suited to this band. I remember a night in 1990 when I was listening to the local late night jazz radio broadcast and I heard what I thought was the Yellowjackets. It turned out to be a tune from the Mike Stern-Bob Berg band, something from one or the other’s recordings, which at the time were virtually the same personnel. My point: this collaboration has been a long time coming and this version of the Yellowjackets has never sounded better or stronger. As a fan, the courage that the Yellowjackets display on Lifecycle to keep evolving the band is certainly a comfort for future endeavors.

Buy the CD, MP3 downloads, and watch a behind-the-scenes interview at Amazon.com.
Download Lifecycle from iTunes.

Review: Chris Standring – Love & Paragraphs

Sean Miller — Mon, 12 May 2008 20:50:27 +0000

Acid jazz was the hip new style taking the States by storm in the 90s. While much of it was created by producers and deejays from abroad, two west coast musicians decided to tackle the genre themselves by fusing jazz melodies with hip hop stylings on the release Solar System (1996). The musicians responsible for that funky outing are none other than guitarist Chris Standring and his longtime co-collaborator and keyboardist Rodney Lee. Today Standring is well known for his retro-soul compositions on releases such as Hip Sway (2000) and Groovalicious (2003). On Love & Paragraphs, we find Standring exploring chill and ambient sounds while maintaining the soulful mood that his fans have come to expect. The album’s opener “Qwertyuiop” is a funky bass-driven groove featuring a smooth blend of Standring’s Fender Strat along with Everette Harp’s tenor. The title track is a snappy midtempo piece with a hook that you’ll likely find yourself humming after a few listens. I also enjoyed the more ambient pieces on the release such as “Liquid Soul” and “Have Your Cake And Eat It” which is co-written by Lee and features an interesting talk box solo by Standring. If you like your contemporary jazz with a retro-soul vibe, do yourself a favor and take a listen to Love & Paragraphs. You’ll be glad you did.

Review: Miles from India

John Luciano — Sat, 03 May 2008 21:00:03 +0000

Amazing! There have been a number of Miles Davis tribute recordings released over the years, covering various periods of his storied career; both with and without alumni of his numerous bands and configurations. I’m pretty sure that I own most of them but this one, organized and led by producer Bob Belden, covering songs from Miles’ controversial first forays into fusion via electricity, is just amazing. If you can get your head around the opening track, “Spanish Key” from Bitches Brew with tabla, soaring flute and konnakol (Indian vocalization), then you’ll be in for a sub-continental treat. Belden and the musicians he’s assembled – American, Indian and alumni of Davis’ bands – take 12 songs, all but one of which are associated with Davis, and interpret them as if Miles donned a Nehru Jacket. Traditional Western instrumentation meets Indian ideals; complementing sitar, electric mandolin, flute, tabla, konnakol and a whole host of Indian drums and percussion are; Dave Liebman and Gary Bartz on sax, Mike Stern, John McLaughlin and Pete Cosey on guitar, Marcus Miller, Ron Carter, Michael Henderson and Benny Rietveld on bass, Chick Corea, Adam Holzman and Robert Irving III on keys, Ndugu, Lenny White, Vince Wilburn and Badal Roy on drums – all alumni, complemented by the great Wallace Roney on trumpet. To hear “All Blues” open with sitar or “So What” open with konnakol is both amazing and liberating at the same time. If you’re a fan of Miles, especially his early electric and later periods, you’re going to be blown away by this recording. I haven’t been able to stop listening to this recording since I downloaded it. Call me star-struck, but this just might be the best release I’ve heard thus far in 2008. I haven’t been this taken aback since Alan Pasqua’s The Antisocial Club.

Review: Palmystery from Victor Wooten

Sean Miller — Tue, 15 Apr 2008 21:18:01 +0000

Victor Wooten is a musician with a penchant for creativity and this is clearly heard on his latest release, Palmystery. The disc captures this versatile artist in his element as he succinctly takes listeners on a genre-bending tale during which themes of mysticism and spirituality are explored. This premise is shared in Wooten’s concurrently released novel The Music Lesson which tells the story of a young musician’s encounter with a mysterious music teacher who expounds upon him spiritual lessons in music and life. The album opens with the playful and energetic “2 Timers” featuring Derico Watson and JD Blair on drums. The piece is further aided by Howard Levy’s harmonica, Eric Silver’s violin and a full horn section. On “Left Right & Center” guitarist Mike Stern shares the spotlight with Wooten and Neal Evans (Soulive) on the Hammond B3. Perhaps the track’s biggest accomplishment lies in the enlistment of Dennis Chambers, Will Kennedy, and Blair on drums whose combined force provides a fluid backbeat that keeps things moving along at a steady clip. A lively cover of Horace Silver’s “Song For My Father” is included on the release as well. Wooten states that “A song is just an idea until someone brings it into the world,” adding “That’s the great mystery of music or any creative endeavor. The power is in the palm of your hand. You just have to release it to the world.” And release it to the world he did on the satisfying and eclectic Palmystery. Keep an ear out for this one.

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Review: Tequila Moon from Jessy J

John Luciano — Sat, 12 Apr 2008 15:03:51 +0000

Wow! What a discovery! I was at the Berks Jazz Festival last week. Unfortunately, I was only able to spend two of the festival’s ten days taking in music. Simultaneously I realized that Peak has released the debut of 26-year-old saxophonist Jessy J, who also was to appear at Berks as part of the Guitars & Saxes show. What a debut, from the opening throaty chords of “Tequila Moon,” I knew I was going to like this woman. I’m not sure the last time I’ve gotten this excited over a debut by a young sax player. Jessy J, under the ever-watchful eye of Paul Brown, exhibits maturity on her instrument beyond her age. I can’t help but make the comparison to Grover Washington, Jr. – and that’s a good thing! The album Tequila Moon has a definite Latin lean to it, but in a very sophisticated, intense, contemporary jazz way. This album just feels different – unlike anything that’s been released the last few years – smoky, intense, throaty, complex, and sexy. On top of the blowing, this girl can sing as well! This just might be the best all around contemporary jazz release of the year so far.

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Review: Rhythm and Romance from Kenny G

John Luciano — Thu, 13 Mar 2008 02:31:33 +0000

It’s hard to believe that Kenny G is 51 years old but, after releasing 26 albums for Arista, he is starting a new relationship with Concord Records. Concord, by the way, is about the only record company supporting jazz in a big way these days (thank God for an independent label!). I haven’t really listened to Kenny G since his Kenny G Live album from 1989, and if it wasn’t for my emusic subscription, I probably wouldn’t have picked this release up. But Concord has been on a pretty good roll with their releases, so I decided to give the smooth one a shot. This is actually a good album, and this is coming from someone who felt Kenny’s best years were when he was still using his last name and playing along side a guy named Lorber. The album starts off with a “Sax-o-loco” that sounds a lot like “Tequila,” a real upbeat Latin number, but it’s on the next tune, “Ritmo y Romance” that I really sat back and listened hard. Kenny’s as good as anyone in contemporary jazz on this one – maybe even better; no repetitive, simple smooth (boring) jazz here. There’s a little Samba, some Salsa, Spanish and Latin flavorings all tossed together to create a very seductive sounding album, where the energy is bubbling just beneath the surface ready to breakout. There was a time, 40 or so years ago, when the jazz labels, routinely put their stars in a Latin or Bossa setting, even Concord did it 20 and 30 years ago. Listen to Kenny tackle the standard “Besame Mucho” and you’ll understand why it was such a popular idea. If you haven’t listened to Kenny G in awhile, or got tired of all the holiday songs and standards he was putting out, or just gave upon him as I did, give Rhythm & Romance a listen. You just might be as pleasantly surprised as I am.

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Review: It Remains To Be Seen from Afro Elements

John Luciano — Tue, 26 Feb 2008 02:19:14 +0000

I hadn’t heard Afro Elements, but while digging around the web, I came across a link to their site from Down To The Bone’s website. Later, after I mentioned in a post on my blog that the album art on It Remains To Be Seen was a replica of Jeff Lorber’s Wizard Island, Simon from the group dropped me a note. In all honesty, even though I never listened to a track from these guys,I was looking forward to reviewing this release – just based on the balls needed to co-op the album art from one of the all-time great contemporary jazz releases.

Essentially, Afro Elements is Simon Bramley on bass, Phil Nelson on drums and Neil Burditt on keyboards. According to their bio, this core group of three, when not in the studio, expands to eight members for live appearances, as well as playing with and contributing to the likes of Mr Gone and Down To The Bone. If you’re a fan of Incognito and Down To The Bone, you’ll definitely get into these guys; very nu-jazz, great retro keyboards (permission granted for the cover art!), tight horns and an abundance of percussion. The music is very contemporary, leaning more towards jazz-soul-funk, than the electronica camp where a lot of the nu-jazz groups hangout. I would highly recommend picking this release up – this is very good stuff! Standout tracks include “Four Letter Word” and “Stop You’re Killing Me.”

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