Jazz — All Formats  

A trio of funky electric albums from Stanley Clarke's mid 80s R&B years – 1984's Time Exposure, ''85's Find Out and '86's Hideaway – in a 2CD set! Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track. Find Out follows somewhat similar territory, an 80s synth funky set with a few surprising twists – including an electro/funk/old school rap cover of "Born In The USA"! Other tracks include "Find Out", "The Sky's The Limit", "Stereotypica" and "Psychedelic". Hideaway makes a move towards more delicate synth soul for Clarke – who assembles an impressive guest list that includes Stanley Jordan, Herbie Hancock and Stewart Copeland. Titles include a cover of Stevie Wonder's "Overjoyed", plus "My Love, Her Inspiration", "Where Do We Go", "Old Friends" and "When It's Cold Outside".

A great couple of harder-to-find Ornette Coleman records – nicely paired up in a 2CD set! First up is The Music Of Ornette Coleman, from 1967 – which is beautiful record that serves as both a showcase for Ornette's "serious" writing efforts – and his ability to play with a larger ensemble! It kicks off with Ornette playing trumpet solos with The Philadelphia Woodwind Quintet as they perform his "Forms & Sounds" live. That's followed by recordings of Ornette's "Space Flight" and "Saints & Soldiers" performed by The Chamber Symphony of Philadelphia Quartet, a string ensemble that brings a new light to Ornette's compositions! Skies Of America is an ambitious record with full orchestra, in a haunting sound that's light years from any of his smaller group recordings of the 60s and 70s! There's an incredible feel to the strings used here – played by the London Symphony Orchestra, conducted by David Measham – all tied up and dark, with swirling sounds that run up beautifully from the bottom, then take off to the skies promised in the title – opening the door for Ornette to come in and solo freely over the top – in a magical mix that easily makes the record a standout in his long and mighty career! Harmolodic theory is definitely a part of Coleman's conception here – but in very different ways than his quartet or quintet recordings. Lots of tracks on this one, including "Skies Of America", "The Men Who Live In The White House", "Sunday In America", "Dreams", "Native Americans", "Silver Screen", "The Artist In America" and more.

Two post-CTI gems from Deodato – back to back on a single CD! Whirlwinds is sweet keyboard soul from Deodato – a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards – and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune! Artistry is a live set from Deodato – but one that's very much in the mode of his best CTI studio sessions – with soaring, over the top keyboard work that's totally great – backed by some tightly compressed guitar, bass, and drums, with just enough funk in the mix to keep things interesting! As with other Deodato records from the time, there's a mix of moods here that comes together nicely – a range that goes past his easy hits, and shows Deodato to be one of the hippest, most soulful keyboard talents of his generation. Titles include a great version of "Super Strut" that grooves for over 8 minutes, and which has some firey guitar that really competes with Deodato's work on the keys – and other tracks include "Farewell To A Friend", "Pavane For A Dead Princess", "Rio Sangre", and "Jivin".

Sweet fusion from the great Eric Gale – two late 70s albums back to back on a single CD! Part Of You is part of Gale's great run for Columbia Records in the late 70s, and a set that's got a nicely grooving bottom – thanks to production from Ralph MacDonald, and arrangements from William Eaton! The groove's uptempo at times, but always in a jazz-funk mode – and mostly played with smaller group instrumentation at the core – including keyboards from Richard Tee, bass from Anthony Jackson, and drums from either Steve Gadd or Harvey Mason – both cats who can hold up a groove on a date like this. Titles include "Let Me Slip It To You", "Part Of You", "Trio", "Nezumi", and "Holding On To Love". Touch Of Silk is a classic set that has the guitar of Eric Gale produced by the legendary Allen Toussaint! The cross of talents is pretty compelling – and although the album's not a New Orleans funk outing, it definitely shares some of the more creative elements that you'd get from some of Toussaint's other side projects at the end of the 70s. A few numbers definitely have a bit more bump than you'd expect from a fsuion date like this – and Toussaint himself plays piano and moog on the record, and even sings a tiny bit. Robert Dabon plays Fender Rhodes – and titles include "You Got My Life In Your Hands", "War Paint", "Touch Of Silk", "Au Privave", "With You I'm Born Again", and "Once In A Smile".

An ebullient groover from British arranger Mike Gibbs – quite possibly his funkiest album ever, and a great little session recorded live at Ronnie Scotts during a week's residency in 1972! As with other albums from the time, Gibbs is working here with a brilliant array of players who include some of the leading lights of the British jazz rock scene of the period – a lineup that includes Chris Spedding on guitar, Frank Ricotti on vibes, Chris Pyne on trombone, Kenny Wheeler and Harry Becket on trumpets, Ray Warleigh on sax and flute, and Alan Skidmore on soprano and tenor sax – all coming together in a blend of acoustic and electric elements that bristles with fresh imagination, free-thinking solos, and some nicely grooving rhythms. Tracks are all long, and titles include the Gibbs originals "So Long Gone", "Three", "Nowhere", and "Just A Head" – plus versions of "Sing Me Softly Of The Blues", "Grow Your Own", "Country Roads", and "Mother Of The Dead Man".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

A trio of Blue Note albums from guitarist Stanley Jordan! First up is Magic Touch – a crucial album for the jazz guitar in the 80s – the debut effort of Stanley Jordan, and a set that exploded with a very fresh sound! Jordan has a really unique way of handling his instrument – playing up and down the fret board with both hands – in ways that are often so lyrically compelling and musically complicated that Blue Note had to package the album with a "warning" that there were no overdubs or production tricks on the set – as you might find from other contemporary players on labels like ECM! Instead, Stanley's got a sound that's surprisingly warm and personal – and which, in a way, is recorded with a style that echoes the legend of his initial discovery by the label, while playing in the subway. Titles include "A Child Is Born", "Fundance", "Angel", "The Lady In My Life", "Round Midnight", and "Eleanor Rigby". On Standards Vol 1, guitarist Stanley Jordan takes on a set of standards – not just older tunes from the American songbook, but also some gorovy soul and pop numbers as well! Jordan plays solo throughout – in that open, lyrical style that we loved on his debut – and titles include "Sunny", "The Sound Of Silence", "Send One Your Love", "Moon River", "Guitar Man", and "My Favorite Things". Flying Home features Stanley Jordan in a new sort of soulful setting – one that takes his guitar from the previous solo setting of initial Blue Note albums, and gives it a fuller and smoother groove overall! The production and arrangements are by Preston Glass – a master of smooth jazz in these early years, and one of the few who could still keep things deeply soulful, even while adding in some more mainstream elements – in this case just the right touches to help get Jordan's guitar across to the same 80s audience that was digging cats like Earl Klugh or Bob James. Glass plays a fair bit of keyboards in the set – and titles include "Tropical Storm", "Can't Sit Down", "The Music's Gonna Change", "Flying Home", "The Time Is Now", and "Brooklyn At Midnight".

Two sides of Charlie Byrd in the mid 60s – one focused on Brazil and the other a sweet set of jazzy soundtrack adaptations – on one CD! First up is the classic Brazilian Byrd – a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz". Next up is the Hollywood Byrd set – with some dreamy, jazzy covers of popular movie tunes. It includes some of our own favorites – such as "Alfie", "The Wishing Doll", "Moment To Moment", "Wish Me A Rainbow" and more. A number of tunes have lovely choral vocals, and all of them have a really groovy 60s sound. We'll also make an admission – we give it a few extra points for having one of the sexiest covers ever – but the music can sell it just as well!

A pair of 70s guitar classics from Eric Gale – back to back on a single CD! Ginseng Woman is a wonderfully strong effort from Gale – a player who'd done countless studio work on fusion sessions in the 70s, but who never really broke that strongly as a leader until this set! Gale's tone here is nicely compressed, but still has a warmth that comes from his use of a hollow-body – smooth enough to slide alongside the electric Bob James production, but with enough humanity to allow Gale's spirit to shine through nicely. Richard Tee plays organ on the set, some tracks have backing vocals, and the overall sound is sort of post-CTI, or Kudu-esque. Titles include "Red Ground", "Ginseng Woman", "Derabbit", "East End, West End", and "Sara Smile". Multiplication is a great late 70s fusion set from guitarist Gale working here with his CTI labelmate Bob James. In fact, except for the absence of Creed Taylor, this set is in many ways like a CTI session, with sidemen that include James, Steve Gadd and Anthony Jackson – and a full string and brass section, plus other players who you might not associate with that label, like Richard Tee, Alphonso Johnson and Ralph Macdonald. The groove is slightly mellow at times, almost like James' own work from the period – but which also shows a bit of a tight funk approach on the best cuts too. Titles include "Gypsy Jello", "Morning Glory", "Oh Mary Don't You Weep", "Thumper", and "Multiplication".

Beautiful work from the legendary late 60s run of British pianist Michael Garrick – and two of his best records of the mid 60s to early 70s! A few of the numbers on Black Marigolds are in a septet mode – with Garrick leading a group that includes Ian Carr on trumpet, Joe Harriott on alto, Don Rendell on soprano sax, and Tony Coe on tenor – all shading in some beautiful tones on the straight numbers "Good Times" and "Webster's Mood" – and really going to town on the modal number "Ursula", a rolling groover that's simply fantastic! 2 other tracks – "Jazz For Five" and "A Jazz Nativity" – have the group joined by poet John Smith, who's recitation beautifully matches the horn work of Coe and Harriott. Remaining tracks are even more unusual – and feature Garrick in trio formation on either celeste or harpsichord – really hitting beautiful notes that have a slightly exotic feel, on titles that include "What Are Little Girls", "Spiders", "Black Marigolds", and "Carolling". The Heart Is A Lotus is one of the key recordings by the team of Garrick and Norma Winstone! Winstone's vocals here rank right up there with those of Karin Krog or Monica Zetterlund – creating a whole new style for the voice in jazz, as they dance along with the freely searching work of Garrick's sextet on the record. There's a sense of lyrical poetry to the album that's really beautiful – but rhythm is also a key aspect of the session – and most tunes dance along in a flurry of bass and drum interplay, hitting that warm modal groove! Titles include "The Heart Is A Lotus", "Torrent", "Temple Dancer", "Blues On Blues", "Voices", and "Beautiful Thing".

A trio of early 60s gems from pianist Les McCann – all wrapped up here in a single set! First up is The Gospel Truth – a solid 60s smoker in which Les McCann really gets back to the roots of soul jazz – serving up the gospel-tinged truth promised in the title – and really linking his piano back to the pulpit in the process! Les has a wonderfully firm touch on the left end of the keyboard – which makes for a rollicking groove on just about every track, augmented by super-tight drum work from the great Paul Humphrey, who almost gets a tambourine vibe out of his snare and cymbal! Stanley Gilbert plays bass, and Charles Kynard plays guest Hammond on a few tracks – and titles include "Get That Soul", "The Preacher", "The Gospel Truth", "Oh The Joy", and "Didn't It Rain". Soul Hits is a really hard-hitting groover from the great 60s trio of Les McCann – a set that adds in some extra guitar from Joe Pass, who definitely sounds his most soulful on the set! Joe grooves perfectly with Les' piano – and has almost a Kenny Burrell-like depth in tone throughout – one that we're not as likely to hear on other Pass sessions of this vintage, possibly because of the excellent rhythms from Paul Chambers on bass and Paul Humphrey on drums! Tunes are definitely the soul hits promised in the title – mostly numbers that were brimming up big in the soul jazz generation of the time, but given a particular Les McCann twist. Titles include "Sister Sadie", "Bag's Groove", "Back At The Chicken Shack", "Work Song", "Sonnymoon For Two", "Groove Yard", and "Sack O Woe". McCanna is filled with a great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight".

A pair of great pair of records from electric fusion violinist Noel Pointer – Phantazia from '77 and Hold On from '78 – in a 2CD set! Like others of the 70s generation, Pointer plays the violin in a way that's clearly heavily influenced by keyboards of the time – electric in amplification, and worked in a mode that uses the instrument to create waves of sound that flow out amongst the tighter fusion rhythms of the set. Dave Grusin arranged and produced the Phantazia set – in his best lean soulful mode of the time – and other players include Earl Klugh, Ralph MacDonald, Steve Gadd, and Grusin himself. Titles include "Mirabella", "Night Song", "Living For The City", "Phantazia", and "Wafaring Stranger". Hold On was recorded in a smooth, soulful mode – and once again has Pointer working with Grusin! Noel's sweet work on electric violin is set up nicely with keyboards from Dave, guitar from Eric Gale, drums from Steve Gadd, and percussion from Ralph MacDonald. Noel sings a bit on the set, but even better are the vocals from Patti Austin, Gwen Guthrie, Yolanda McCullough, and others – who flesh out the backgrounds on some tunes. Titles include "Staying With You", "Movin In", "Superwoman", "Stardust Lady", "Hold On", and the extended "Roots Suite", based on Quincy Jones music for the show!

Grover Washington Jr's first few albums for Columbia – Strawberry Moon, Then & Now and Time Out Of Mind – together in a 2CD set! Strawberry Moon has a number of laidback groovers, with some solid Washington originals such as the title track and some sweet covers. BB King plays and sings on "Caught A Touch Of Your Love", with Jean Carne guesting on "The Look Of Love". Grover's sax is soulful and sweet throughout, and the titles include "Strawberry Moon", "Summer Nights", "Keep In Touch", and "Maddie's Blues". Then And Now is a nice one that has Grover working in a straighter jazz mode for the most part, taking a break from the soul and R&B groover –- the most timeless of the 3 albums compiled here! Players include Herbie Hancock, Ron Carter, Grady Tate and Darryl Washington. Titles include "Just Enough", "French Connections", "Stolen Moments", "Stella By Starlight" and more. Time Out Of Mind's title track is a cover of the Steely Dan classic, circa Gaucho – and this album finds Grover embracing the 80s a lot more than his previous album for Columbia. A mix of moods, with some electric funky flourishes and fusiony keys and synths. Titles include "Jamaica", "Sacred Kind Of Love", "Fly Away", the title track and more. This trio of albums represents a wide stylistic range covered by Grover in just a 3 year period!

One of the best albums we've heard in years from trumpeter Dave Douglas – a really in the pocket session that's filled with rhythmic intensity, and some of the boldest music we've heard from Dave in years! There's plenty of edges to the set – especially the trumpet of Douglas and tenor of Jon Irabgon – but there's also a groove to many numbers too – a kind of forward-rolling energy that really takes the whole thing to great points throughout the set, and which makes a great progression from the somber tone of Dave's last album – almost a musical rebirth of sorts! Crack rhythms flow from the trio of Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums – and titles include "Time Travel", "Beware Of Doug", "Little Feet", "Garden State", and "Bridge To Nowhere".

Blistering work from drummer Barry Altschul – working here in the company of bold young tenorist Jon Irabgon, and matching his youthful energy at every step! The set's easily one of the most driven we've heard from Altschul in many years – a trio date that also features the bass of Joe Fonda, but which really draws most of its magic from Irabgon's horn, and the way that Barry reaches out strongly to provide just the right vibe. Tunes are almost all originals from Altschul – and titles include "Natal Chart", "A Drummer's Song", "Papa's Funkish Dance", "Be Out S'Cool", "Oops", and "Just A Simple Song".