Jazz — All Formats  

The CSUF combo gets help from Chicago arranger Burgess Gardner – on a set of tracks that includes "Foxy", "Blusef", "How Are You", and "Evanstune".

A classic live album by Gerry – featuring one set of tracks recorded in Stockton, CA in 1954, with Chico Hamilton, Red Mitchell, and Jon Eardley; and another recorded in San Diego the same year, with Zoot Sims, Bob Brookmeyer, Larry Bunker, Red Mitchell, and Eardley. Gerry even plays a bit on the piano, despite its absence from his other work – and titles include "Western Reunion", "Little Girl Blue", "Blues Going Up", and "The Red Door".

Although the genius of the CTI label might be often thought of in a studio format – especially since the Creed Taylor Influence on the label is what really turned the sound into something wonderful – this live set from 1971 shows that the label's players, with the right frame of mind, can easily get into the CTI groove in any setting – soaring out in a magical blend of acoustic and electric instrumentation, really stretching out on some killer long tracks! The group's a great all-star one – with organ and electric piano by Johnny Hammond, guitar by George Benson, flute by Hubert Laws, trumpet by Freddie Hubbard, tenor by Stanley Turrentine, and percussion by Airto – and all tracks are long, and very free-flowing. Titles include "Red Clay", "Sugar", "Blues West", "Leaving West", and "Fire & Rain".

It's hard to overstate the influence of Max Roach and Clifford Brown on the west coast scene of the 50s – as the two players helped draw out the bop sound of LA that was quickly getting lost in the cool jazz shuffle of the time, and gave it a strength and focus that not only made the group one of the strongest of the time, but which also sparked new life and a hardbop generation on the LA scene! This classic set of live recordings was one of the first great Brown/Roach moments – recorded during 2 different concerts by Gene Norman Presents, and featuring some great tenor work by LA giants Teddy Edwards and Harold Land, plus some piano by the amazing "sideways" player Carl Perkins, as well as Bud Powell's brother Richie – a key factor of the group's studio recordings on Mercury, and a player who would perish in the same accident that took the life of Clifford Brown. This CD features the full versions of most of the tracks that have been highly edited on the GNP albums over the years – including "Clifford's Axe", "Sunset Eyes", "Jordu", "I Can't Get Started", "Parisian Thoroughfare", and "Tenderly". A few edits persist in a few parts, as the unedited tapes appear to be lost – but many of the tracks are in nice longish versions!

A much-needed look at the amazing underground jazz scene in LA – the richly creative spiritual and avant underground that flourished strongly in the 60s, 70s, and 80s! Although the city's best known for its cool jazz of the 50s, there's an even greater amount of left-field jazz that's come from LA – work that rivals eastern scenes like the AACM in Chicago or loft jazz world in 70s New York – but even more righteous and spiritual overall! The book does a great job of laying the groundwork for this scene to emerge – and offers an incredible amount of detail on its evolution – with an especially focused look at Horace Tapscott and his Pan-Afrikan Peoples Arkestra, as well as some of the artists who recorded for Nimbus Records. The book comes with a CD, too – mostly with work by Tapscott, but also featuring tracks by Linda Hill and Fuasi Abdul Khaliq.

A sweet Latin-styled set from trumpeter Herb Alpert – but one that's got a very different vibe than his faux Latin grooves of the 60s! The set here is done with key contributions from both Juan Carlos Calderon as a songwriter, and Jose Quintana as a producer – both talents who really help Herb reshape his groove in a mighty nice way! Backings are big, and somewhat smooth – as in the "Rise" era – but there's also some Latin jazz elements in the mix too, and an overall approach that isn't nearly as cluttered as you might expect for the time – with an especially strong emphasis on Herb's trumpet solos in the lead. The set was the first issued on the A&M Latin label – AyM Discos – and also features a bit of Spanish language vocals as well. Titles include "Fandango", "Route 101", "Angel", "Aria", "Sugarloaf", "Coco Loco", "Latin Medley", "California Blues", and "Push & Pull".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude". CD features great additions of the key single – an 8 minute "Dukey Stick (12" single mix)" – plus "Dukey Stick (parts 1 & 2)" from the 7" single!

A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch of Latin – served up here with some great Mizell-infused touches – that rolling rhythm on the bottom, soaring instrumentation on the top, and some great Latin elements that are wrapped up warmly in the fusion! There's plenty of great keyboards, too – played both by Larry Mizell, and also by Mark Soskin – a range of Fender Rhodes, Arp, mini-moog, and more – all adding in the right sort of warmth to Roger's flute, and the album's rich array of percussion. Titles include "Kick", "Reachin", "Rio", "Gloria", "Overtime", and "Don't Leave".

A very groovy set of pop-jazz guitar tunes – originally recorded by Metronome Records in Sweden, but issued here by Atlantic. The core of the recording is Gustafsson's guitar trio, but the record also features some larger backing by Georg Riedel that have a nice airy feel to them. While the record isn't totally funky, it's got a nice slightly funky easy sound that's very nice. Includes a good version of "California Soul", plus "Waltz A Nova", "The Look Of Love", "Witchita Lineman", and "Me On The See Saw".

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus".

A great little album – even if it tries to promise too much! The set bills itself as "the swinginest Hammond organ album since the birth of psychedelia" – and while that sort of a claim is so high that nobody could ever match it, the album is a great batch of offbeat soul instrumentals – recorded in kind of a tripped-out take on the Memphis groove! We're not sure who the mysterious "Mustang" is (although it could be Paul Griffin, who also recorded for the same label in a similar mode) – but we're guessing here that the name is also used to convey the fact that many of the tunes have a "Mustang Sally" sort of rhythm. Backing is in a hip small combo mode – with nice go-go drums, tight rhythm guitar, and soulful honking sax behind the organ – and although the sound is more straight soul instrumentals, the titles are nicely tripped-out – and include "The Acid Test", "California Time", "Joshua Got Busted", "Haight Ashbury Time", "Swing Low Sweet Truth", and "Golden Gate Freakout".

Great material from Norwegian pianist Christian Reim – all of it unreleased, but all of it pretty darn great! Reim's honestly not a player we know at all, but he emerges as a heck of a great talent in this set – a pianist with a really thoughtful, lyrical sort of feel – but one who also knows how to keep up a groove as well! The set features some early work in a soul jazz combo mode, then moves into more complicated grooves – but ones that all stay pretty darn swinging, without any too-modern or too-out moments – all to end with a wonderful quartet of tracks from the end of the 70s, showing a bit of a California sense of warmth in some of the tunes. Reim plays mostly piano, but also a bit of organ – and other players include Ditlef Eckhoff on trumpet, Knut Riisnaes on tenor, Helge Hurum on flute, and Carl Magnus Neumann on alto sax. Titles include "Away", "Revolution", "Hippie", "Llut", "Shalom", "Quiquenita", and "Variasjoner Over Et Tema Av Nordraak".

One of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real!

One of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real!

Recorded after his classic work with Larry Mizell, and produced by Johnny himself, but still trying to be very much in the Mizell-sounding vein. The group includes Carol Kaye on guitar, Ron Carter on bass, Ndugu on drums, and Bill Summers on percussion – and while the album is as over-the-top fantastic as Johnny's Gears LP, it's still a nice batch of California funky fusion tracks. Titles include "Lonely Dreamer", "Lady Smooth", "California Lovers", and "Quiet Storm".

Not Joe's most cutting-edge album, but a sweet warm batch of tracks with a good California/Fantasy records feel! The group includes Dawilli Gonga (aka George Duke) on electric piano, Harvey Mason on drums, and Bill Summers on conga – so the group has a nice groove to them. Henderson's joined by Hadley Caliman, Oscar Brashear, George Bohannon, and Snooky Young on horns – and the tracks include "Immaculate Deception", "Black Miracle", "Gazelle", and "Solution".

Mindblowing! This is when Wes Montgomery really starts to get interesting to us – when he's working with a top-line arranger like Don Sebesky, crafting some incredibly compelling chords over lightly jazzy arrangements and soaring strings, in a whole new mode of expression that would go onto transform a generation of guitar players! And sure, this album sold a gazillion copies – but we'll be honest in saying that we think it's loads more complex and mature than some of Wes' straight jazz sides from earlier years – light years away from the small combo dates of the early years, both in conception and sound. Titles include "Day In The Life", "Watch What Happens", "California Nights", "Windy", "Trust In Me", and "The Joker".

Titles include "Out Of My Head", "California Soul", "Who Can Cheer", "Freedom Medley", and "Tribute To Jimmy Webb".

Includes tracks by Eddie Heywood & His Jazz Six, Ben Tobier & His California Cyclones, the Edgewater Crows, Williamson's Beale Street Frolic Orchestra, the Black Birds Of Paradise, the Triangle Harmony Boys, and Sammy Price & His Four Quarters.

Weird moody soundscapes by these 3 avant players. More spacey than noisy, and with a nice 80s downtown sound. Titles include "3 Places In Suburban California", "Reno", "Remind Me Of You".

One of the slickest of Dave Matthews' funk records from the 70s – but still pretty darn nice! Matthews was the mainman behind the legendary funk group The Grodeck Whipperjenny, and a key arranger in James Brown's sound of the Polydor years – but by this time, he moved into smoother club-type jazz, of the sort he'd penned for Idris Muhammad and other artists on the Kudu label. However, Matthews' always had a talent for the funky groove – and even these otherwise pop disco numbers shine with a musical intensity that surprises us – especially at moments like the funky drumbreak on "You Keep Me Hanging On", the freaky moog on "Shoogie Wanna Boogie", the funky bass solo on "California Dreaming", and the excellent keyboard work on "Gotta Be Where You Are".

A very nice set of mellow west coast Latin vibes from Cal – sort of an updating of his classic 50s San Francisco groove on Fantasy, done with a host of California players that includes Roger Glenn, Poncho Sanchez, and Gary Foster. The record features a remake of Cal's big hit from the 60s – "Guachi Guaro (Soul Sauce)" – plus the tracks "Doxy", "Cuban Fantasy", "Good Vibes", and "Shoshana".

An early moment of genius from the young Clare Fischer – one of his first sets for a larger ensemble, and the start of years of great work to come! Previous Pacific Jazz sessions featured Fischer in a piano trio – but this album lets Clare loose on a host of his own inventive arrangements – a set of charts and compositions that easily move between the modern and the groovy – sometimes using offbeat tones and sounds that rival the best that Ellington or Gil Evans had to offer – other times coming across with this fluidity that's a perfect summation of the way that Fischer pulled together all of the California cool of the 50s, and managed to come up with something completely fresh for the 60s! The modern edges will come as a real surprise to those who only know Fischer's more easygoing work – and in addition to Clare's own work on piano and organ, the record also features Jerry Coker on tenor, Gary Foster on tenor and clarinet, Jack Nimitz on bass clarinet and baritone, Sam Most and John Lowe on flutes, and Don Shelton on alto – all working with reed interplay that's completely sublime. Titles include "Bittersweet", "Igor", "Canto Africano", "Extension", "Passacaglia", and "Ornithardy".

A late 70s classic from jazzy funk master George Duke! Master Of The Game is an excellent mix of jazz, smooth soul, and Latin riffing – really a perfect blend of styles that shows not only how far George's sound had progressed throughout the 70s, it also charts the development of the California scene during the late 70s. George has musical help from Ray Obeido, Roland Bautista, and Sheila E – plus vocals by Lynn Davis, Josie James, and Napoleon Brock. The tracks have a smooth sound that works perfectly with Duke's best keyboard approaches – subduing his tenency to "rock out" a bit, but bringing forward his classic ability to hit a stone mellow groove. Titles include "I Want You For Myself", "Every Little Step I Take", "Look What You Find", "I Love You More", "Dog Man", and "Games". This Soulmusic.com edition includes 2 bonus tracks: "I Want You For Myself (US Single Edit) and "Every Little Step I Take (US Single Edit)".

A stellar album from Grant Green – very different than most of his other work for Blue Note, and a sly electric groover recorded with vibist Billy Wooten! The sound here is a bit more spacious than some of Grant's earlier albums, yet no less funky – thanks to a hip undercurrent of soul in the drums, and arrangements from Wade Marcus that keep things fluid throughout. Wooten's vibes are wonderful, a ringing counterpoint to Green's great lines on guitar – and even the more familiar tunes on the record turn out to be really unique readings here – thanks to the arrangements and overall conception. Mellow moments are dripping with plenty of soul, and the funky ones are pretty great too – and titles include a killer medley of James Brown's "I Don't Want Nobody To Give Me Nothing" and "Cold Sweat", a heavy version of his instrumental groover "In The Middle", and a great original called "California Green" – plus "Never My Love", "Sunrise Sunset", "Got To Be There", and "If You Really Love Me".