Louis Sclavis: L'imparfait des langues (2007)

LOUIS SCLAVIS

L'imparfait des langues (2007)


Track Listing:
Premier imparfait (a);
 L'idée du dialecte;
Premier imparfait (b);
Le verbe;
Dialogue with a dream;
Annonce;
Archéologie;
Deuxieme imparfait;
Convocation;
Palabre;
Le longs du temps;
L'écrit sacrifié;
Story of a phrase;
L'imparfait des langues.

Personnel:
Louis Sclavis: clarinet, bass clarinet, soprano saxophone;
Marc Baron: alto saxophone;
Paul Brosseau: keyboards, sampling, electronics, guitar;
Maxime Delpierre: guitars;
François Merville: drums.

Music has long been considered a universal language, with a syntactical potential as broad as the artists who create it. While it's not always easy to articulate in non-musical terms, it's the specific way concept is translated into sound that distinguishes any artist. Clarinetist/saxophonist Louis Sclavis  has yet to record two albums for ECM with the same lineup, but on L'imparfait des langues he's intentionally placed himself in unknown territory by assembling a new group with whom (drummer François Merville aside) he's had minimal, if any, prior exposure. The result is an album that expands Sclavis' language without losing the fundamentals that have always defined it.

A commission for Monaco's 2005 Festival Le Printemps des Arts, the performance was canceled at the last minute with the unexpected passing of Prince Rainier. All dressed up with nowhere to go, Sclavis took the group into the studio and recorded the album in a single day. The energy of discovery is in plain view as Sclavis' new group searches for—and finds—its own vernacular.

With the exception of Merville, nobody in Sclavis' quintet is past their early 30s. The group's collective background, while considerably distanced from conventional jazz, is an apt one for Sclavis, who is equally removed from—though by no means inconversant with—that tradition. Free improvisation, contemporary composition, rock beats, and ambient and noise soundscapes are all a part of L'imparfait des langues, but no single aspect dominates or defines.

Sclavis' writing traverses considerable ground. Brief melodic fragments set up open-ended improvisation ranging from the ethereal to the aggressive on "L'idée du dialecte." "Le verbe" revolves around a repetitive and metrically challenging construct. The only improviser on "Dialogue with a dream," Merville's focused rhythms divide Sclavis' detailed, through-composed passages.

Textural diversity also abounds as Sclavis continues to integrate technology into the mix. Keyboardist/ sampler Paul Brosseau's heavily processed and incomprehensible words on "Annonce" contrast with the distorted density of guitarist Maxime Delpierre's solo miniature "Convocation," seamlessly segueing into the propulsive and riff-based "Palabre," which features an exciting trade-off between Sclavis and altoist Marc Baron.

Whether the ambience is dark or bright, the approach abstruse or straightforward, or the timbres gentle or jarring, L'imparfait des langues speaks its own language. It won't be completely foreign to those familiar with earlier Sclavis works, but with a new and even more stylistically broad-minded ensemble it's an exciting expansion of the clarinetist's distinctive musical patois.

Herbie Hancock: Inventions & Dimensions (1963)

HERBIE HANCOCK

Inventions & Dimensions (1963)

Track Listing:
Succotash;
Triangle;
Jack Rabbit;
Mimosa;
A Jump Ahead;

Personnel:
Herbie Hancock: piano,
Paul Chambers: bass,
Willie Bobo: drums;
Osvaldo "Chihuahua" Martinez: percussion.

All too often the concept of a Latin jazz album by a musician without a history inside that genre implies bop solos over a heavy-handed polyrhythmic foundation. What makes pianist Herbie Hancock 's Inventions & Dimensions so utterly fresh and challenging, even decades after its original 1963 release, is his willingness to try a number of Latin-sounding gambits without resorting to a Drums of Passion rhythmic backdrop. Anyone who has appreciated Bud Powell 's forays into a kind of proto-Latin improvisation will appreciate Hancock's inventiveness.

The four original compositions by Hancock are far from catchy, more like sketches than his most famous pieces. Yet from these patchy and meandering tunes Hancock works up a completely mesmerizing series of colors and textures and riffs, with mutated montunos dominant in the mix. The two percussionists, Osvaldo Martinez and Willie Bobo , are steady, yet seem to be more along for the ride with Hancock than inspiration for the pianist. The same might be said for bassist Paul Chambers . They all take tasteful solos, but the star of the session is completely Hancock.

Not only is this album a thoughtful entertainment for anyone focused on the best Blue Note releases of the '60s, I hope it will be carefully studied by young musicians desiring to mine Latin jazz with seriousness and a bold spirit.

John Zorn: Elegy (1995)

JOHN ZORN

Elegy (1995)

Composer:  John Zorn
Performer:  Barbara Chaffe,  David Abel,  Scummy,  David Shea,  William Winant,
Mike Patton

Tracks

1-Blue
2-Yellow
3-Pink
4-Black



This is John Zorn's tribute to the art of Jean Genet. It's a "file card composition." Zorn studied the work of Genet and then wrote down every musical idea he could think of on file cards. He threw out the worst ideas and then laid out the remaining cards in an order that lets each idea balance the others. Then he gathered together musicians and vocalists to perform the composition. In the studio, he directs everyone, coming up with new ideas as they work, refining the ideas on the cards, and recording it so it sounds like one long song.

The result is breathtaking but subtle. On other file-card compositions (such as "Godard" and "Spillane"), the shifts from one idea to the next are abrupt. On this CD, the shifts are carefully blended. On the CD you hear: Arabian chants, flutes, turntable scratches, chains hitting the floor, echoing percussion, a few chords on a guitar, a slamming door, kettle drums, violin, cello, and gongs. Elegy is a mix of sound effects and music, and a mix of quiet and loud.

This CD is a good introduction to John Zorn's most experimental work. It's the sort of CD that should sound contrived or messy. But because of the way he organizes the sounds --- and the skill of the people who play each part --- it makes sense. Few albums are more rewarding after repeated listening. Although this CD will challenge you, I recommend you give it a try. If it's your first Zorn album, this will lead to many more.

The Chick Corea New Trio: Past, Present & Futures (2001)

Track Listing:

1. Fingerprints

2. Jitterbug Waltz

3. Cloud Candy

4. Dignity

5. Rhumba Flamenco

6. Anna's Tango

7. The Chelsea Shuffle

8. Nostalgia

9. The Revolving Door

10. Past, Present & Futures

11. Life Line

Personnel: Chick Corea, piano; Avishai Cohen, acoustic bass; Jeff Ballard, drums

Putting Origin on the shelf for a moment, Chick Corea sets about getting intimate with the band's rhythm section on this invigorating trio release. Corea also takes this opportunity to premiere 10 entirely new compositions as well as a lively reading of Fats Waller's "Jitterbug Waltz." Together with the phenomenal Avishai Cohen on bass and Jeff Ballard on drums, Corea continues with the kind forward-thinking acoustic jazz that has made Origin so appealing over the last several years. The opening minor blues, "Fingerprints," strongly recalls his first classic trio with Miroslav Vitous and Roy Haynes . "Rhumba Flamenco," "Anna's Tango," and the closing "Life Line" are typical of the Spanish-tinged lexicon he's been developing since early on, but most recently with Origin and Gary Burton.

If anything, Corea's new music is more heavily composed than usual. Its involved, tightly executed passages evoke a sort of chamber-jazz feel that brackets relatively short episodes of fiery, free-flowing improvisation. But "The Chelsea Shuffle" and "Cloud Candy" open up a bit more, while "Nostalgia" changes the pace with its mellow, semi-classical feel.

Like Pat Metheny, who recently formed a trio with Larry Grenadier and Bill Stewart, Corea recognizes the importance of forming deep associations with the new generation of jazz greats. Of course, Avishai Cohen and Jeff Ballard gain enormous prestige through their work with Chick. But Chick also keeps himself fresh and on his toes by working with these younger stalwarts.

Herbie Hancock: Possibilities (2005)

HERBIE HANCOCK

POSSIBILITIES (2005)


Song Title       
1. Stitched Up feat. John Mayer    5:25  
2. Safiatou feat. Santana and Angelique Kidjo    5:22  
3. A Song For You feat. Christina Aguilera    7:04  
4. I Do It For Your Love feat. Paul Simon    5:56  
5. Hush, Hush, Hush feat. Annie Lennox    4:43      
6. Sister Moon featuring Sting    6:51  
7. When Love Comes To Town feat. Jonny Lang and Joss Stone    8:40      
8. Don't Explain feat. Damien Rice and Lisa Hannigan    4:51  
9. I Just Called To Say I Love You feat. Raul Midón    5:24  
10. Gelo Na Montanha feat. Trey Anastasio    3:46

Amazon.com
Possibilities, by jazz piano/keyboard legend Herbie Hancock, with songs by Stevie Wonder, Paul Simon, and Leon Russell, is a multigenerational masterpiece. Rock's "it boy" John Mayer leads off the CD with the spare, bouncy opener, "Stitched Up." Brit-born soul girl Joss Stone and bluesman Jonny Lang get down on the gutbucket "When Love Comes to Town." Christina Aguilera’s excellent vocals illuminate "A Song for You." Not to be outdone, Annie Lennox delivers an operatic take on Holly Cole’s "Hush, Hush, Hush," while Sting's "Sister Moon" swings with stealthy syncopations. Santana and the Beninese singer Angelique Kidjo provide the world flavor on "Safiotou," and the dreamy "Gelo No Montana," with ex-Phish guitarist Trey Anastasio, is the lone instrumental. Hancock’s tight solos and intelligent orchestral synths radiate all of the tracks. Like Frank Sinatra’s Duets and Ray Charles’s Genius Loves Company, Possibilities introduces Hancock to a new and awestruck generation. --Eugene Holley, Jr.

Cassandra Wilson: New Moon Daughter (1995)

CASSANDRA WILSON

 New Moon Daughter (1995)

1. Strange Fruit    5:35  
l2. Love Is Blindness    4:56
3. Solomon Sang    5:56  
l4. Death Letter    4:13
5. Skylark    4:08  
 6. Find Him    4:39  
7. I'm So Lonesome I Could Cry    4:51  
8. Last Train To Clarksville    5:16  
 9. Until    6:30  
10. A Little Warm Death    5:45  
11. Memphis    5:05  
12. Harvest Moon  5:01

Personnel

    * Cassandra Wilson – vocals, acoustic guitar
    * Cyro Baptista – percussion, Jew's-Harp, shaker
    * Dougie Bowne – percussion, drums, whistle, vibraphone
    * Gary Breit – Hammond organ
    * Kevin Breit – acoustic & electric guitar, banjo, bouzouki
    * Brandon Ross – acoustic & electric guitar
    * Charles Burnham – violin
    * Tony Cedras– accordion
    * Graham Haynes – cornet
    * Lawrence "Butch" Morris – cornet
    * Jeff Haynes – percussion, bongos
    * Peepers – background vocals
    * Mark Peterson – bass
    * Lonnie Plaxico – bass
    * Gib Wharton – pedal steel guitar
    * Chris Whitley – guitar on 1


Amazon.com essential recording
Her luscious alto has the depth and texture of a great tenor saxophonist, but Cassandra Wilson's defining asset is a postmodern song sense that enables her to surf through Son House, Neil Young, Johnny Mercer, Billie Holiday, and (gasp!) the Monkees in pursuit of strong songs that can provide that instrument with a canvas. Her second Blue Note album extends Wilson's seductive pilgrimage beyond the conventions of jazz repertoire and accompaniment, yet it's her instincts as a jazz singer that inform these brilliant readings. The settings again step away from traditional small group jazz (for starters, there's no piano) to evoke the emotional core of these songs. Anyone who can turn the Monkees' "Last Train to Clarksville" into a slow-burning erotic vignette deserves your attention. --Sam Sutherland

From Jazziz
If any one vocalist embodies the skills, styles, and creativity of the 21st-century jazz singer, it is Cassandra Wilson. Early on, Wilson aspired to sound like Betty Carter - "to be Betty," she said in a 1996 JAZZIZ interview. But Carter implored Wilson to find her own way, and that she's done. Building upon the legacies of Carter and many other standard-bearing singers, yet focusing on her own personal influences, Wilson has achieved astonishing popular and critical success.

Herbie Hancock: The Prisoner (1969)

 

HERBIE HANCOCK

The prisoner (1969)

Track Listing:
1. I Have a Dream,
2. The Prisoner,
3. Firewater,
4. He Who Lives in Fear,
5. Promise of the Sun,
6. The Prisoner (alternate take),
7. Firewater (alternate take)

Personnel: Johnny Coles - Flugelhorn; Garnett Brown - Trombone; Joe Henderson - Tenor Saxophone, Alto Flute; Herbie Hancock - Piano, Electric Piano; Buster Williams - Double Bass; Albert "Tootie" Heath - Drums; Hubert Laws - Flute (tracks 1,2,4,6); Jerome Richardson - Bass Clarinet (tracks 1,2,4,6), Flute (tracks 3,5,7); Romeo Penque - Bass Clarinet (tracks 3,5,7); Tony Studd - Bass Trombone (tracks 1,2,4,6); Jack Jeffers - Bass Trombone (tracks 3,5,7)

The opening "I Have a Dream" from this, Hancock's final (1969) session for the Blue Note label, is arguably his finest piece of ensemble writing on record. Although the remaining tracks don't quite reach the same peak of creativity and musicianship, the album remains one of Hancock's most essential.

The setting is a nonet and is pretty much a direct extension of the concept explored in Hancock's previous Blue Note album Speak Like a Child. Where that session found him experimenting with the timbral possibilities of the unusual front line of flugelhorn, alto flute and bass trombone, here he expands the instrumentation by adding the three further winds of flute, bass clarinet and trombone. The resulting texture is rich and full and with Hancock's unique writing the overall effect is quite unlike anything heard elsewhere.

Besides the expanded instrumentation, another important aspect is the soloists. On Speak Like a Child Hancock was the only soloist, with the wind players performing composed charts, whereas on The Prisoner, besides their role within the complex wind writing, Joe Henderson , Johnny Coles  and Garnett Brown all receive solo space.

In every respect "I Have a Dream" is the standout track. Hancock's tribute to Martin Luther King is compositionally utterly beautiful, with Henderson's alto flute floating in and out of the shimmering layers of winds in the head sections. The solos by Hancock, Coles on flugelhorn and Henderson on tenor saxophone both contrast and compliment each other perfectly. Henderson in particular is in his element here putting in one of his finest recorded solos. The way the head then gradually rebuilds from a single sustained trombone note, thickening in texture with the introduction of the other winds, is masterful.

Special attention must also be paid to the rhythm section pairing of bassist Buster Williams  and drummer Tootie Heath. Williams' full bass tone and solid lines provide a firm grounding for the group. Heath is on inspired form. His rim-shots and tom accents, combining elements of Latin rhythm with free, expressive playing, as well as his attention to dynamics all contribute strongly to the success of "I Have a Dream."

The recording quality of this session is another factor that must be pointed out. Rudy Van Gelder  creates a perfect balance between the winds and the rhythm section, as well as really bringing out the soloists with clarity. Quite unusual for a Blue Note session of this period is the use of reverb, most notably on Coles' flugelhorn and Henderson's tenor sax.

Overall, a thoroughly recommended record, marking the end of an era in Hancock's discography but at the same time showing hints of some of the harmonic and instrumental concepts that he was soon to explore with the Mwandishi group.

Dave Holland Big Band: What Goes Arround (2002)

DAVE HOLLAND BIG BAND

What Goes Arround (2002)


Personnel: Antonio Hart: alto saxophone, flute; Mark Gross: alto saxophone; Chris Potter: tenor saxophone; Gary Smulyan: baritone saxophone; Robin Eubanks: trombone; Andre Hayward: trombone; Josh Roseman: trombone; Earl Gardner: trumpet, flugelhorn; Alex Sipiagin: trumpet, flugelhorn; Duane Eubanks: trumpet, flugelhorn; Steve Nelson: vibraphone; Dave Holland: bass; Billy Kilson: drums.

Track Listing: Triple Dance; Blues for C.M.; The Razor's Edge; What Goes Around; Upswing; First Snow; Shadow Dance

Personnel: Antonio Hart: alto saxophone, flute; Mark Gross: alto saxophone; Chris Potter: tenor saxophone; Gary Smulyan: baritone saxophone; Robin Eubanks: trombone; Andre Hayward: trombone; Josh Roseman: trombone; Earl Gardner: trumpet, flugelhorn; Alex Sipiagin: trumpet, flugelhorn; Duane Eubanks: trumpet, flugelhorn; Steve Nelson: vibraphone; Dave Holland: bass; Billy Kilson: drums.


I've never been overly impressed by popularity contests, and as British-bred bassist Dave Holland swept the field in this year's Down Beat magazine critics' poll, I was thoroughly prepared not to like What Goes Around by Holland's thirteen-piece big band.

Surprise! The album is far better than expected; in fact, I'd go so far as to concede that it is thoroughly absorbing, enlivened every step of the way by notably innovative charts and earnestly inspired blowing from Holland's company of enterprising soloists. Never thought I'd be writing that, but there it is. One simply can't argue with his ears or his common sense. Given Holland's adventurous resume, what I wasn't expecting to hear was music so inflexibly anchored in the mainstream jazz tradition with its indispensable trappings—melody, rhythm, harmony, counterpoint—unimpaired, and, best of all, almost none of the narcissistic posturing that I usually associate (rightly or wrongly) with the avant-garde.

As I have only an advance copy of What Goes Around, and must have misplaced any written material that came with the album, there's not much more to say except that every one of the tunes (I assume that all were written by Holland) bears the stamp of a master craftsman, and that there are a number of engaging solos by Holland (who introduces the final track, "Shadow Dance," with a three-minute bass clinic) and his companions, with baritone Gary Smulyan , trombonist Robin Eubanks , vibraphonist Steve Nelson  and tenor Chris Potter  especially dashing. Well, I must have had more information about the album at one time, otherwise I'd not even know the names of the various tunes or the band's personnel. I wish I could lay my hands on whatever it was but that doesn't seem likely.

Even so, I can say without equivocation that Holland has an excellent ensemble that is more closely akin to the Thad Jones/Mel Lewis Orchestra (or its successor, the Vanguard JO) than, say, the Mingus or Carla Bley  bands, and that What Goes Around, which quickly made a believer of this hidebound conservative, should please almost anyone who appreciates a world-class big band

Keith Jarrett, Gary Peacock, Jack DeJohnette: The Out-of-Towners (2001)

The Out-of-Towners

Keith Jarrett piano
Gary Peacock double-bass
Jack DeJohnette drums

Intro - I Can’t Believe That You’re In Love With Me
You’ve Changed
I Love You
The Out-of-Towners
Five Brothers
It’s All In The Game


Recorded Live July 2001
ECM 1900

Recorded in Munich, ECM's hometown, in 2001, "The Out-of-Towners " finds jazz's most consistently creative piano trio at the peak of its game. Keith Jarrett, Gary Peacock, and Jack DeJohnette captivate the audience at the Munich State Opera.
Balancing standards and jazz tunes with Keith Jarrett originals, the trio keeps the music in tight focus. There is spirited blues-based group improvisation in the title track, and shared joy as the musicians roar into "Five Brothers", the old Gerry Mulligan favourite, or negotiate the blissful, enraptured melody of Cole Porter’s "I Love You." At the album's conclusion, Keith Jarrett returns to the stage alone – a rare moment in the trio’s recordings - to play a heart dilating rendition of the ballad "It's All In The Game." -- so tender that it could easily have fit onto his "The Melody At Night With You" solo disc.

Romano, Sclavis, Texier: Carnet de Routes (1992)

Romano-Sclavis-Texier: Carnets de Route

Romano/Sclavis/Texier/Le Querrec

Aldo Romano (Percussion,Drums)
Henri Texier (Double Bass)
Louis Sclavis (Sax (Soprano))


Tracks
Standing Ovation (4:26)
Vol  (6:02)
Daoulagad (6:21)
Bororo Dance (6:46)
Annobon     (5:02)
Les Petits Lits Blancs (6:55)
Flash Mémoire  (3:25)
Korokoro     (5:17)
Entrave     (3:29)

This recording from the West African tours of the Romano/Sclavis/Texier trio in the early '90s is one in a series of three. That this band played in Africa and was documented by photographer Guy LeQuerrec (who suggested the tour to the various African arts councils in the first place, and is credited here with playing "Leica") was remarkable in and of itself. There were many better-known trios and quartets at the time, but the music Romano/Sclavis/Texier made as a result of Africa's inspiration is nothing less than mindbending (and the packaging that comes along with this disk and its partners too). This trio, with Sclavis' soprano saxophone and clarinet on the front line, Texier's lower-than-low contrabasse, and Romano's drumming, which is reminiscent of an even more sophisticated Ginger Baker (Romano plays with the power of a rock drummer with all the sophistication of Max Roach or Elvin Jones), is an almost overwhelming entity on this recording. Elements of not only jazz in all its configurations but funk, French folk music, West African griots, and the melodic influence of the late Johnny Dyani from South Africa all boil down into one intense pot of musical empathy and innovation. These cats are all composers who know the strengths of each their band members. When melody lines come off Sclavis' horn and are tied in separate octaves to Texier's bass playing, creating a new chromatic color to the proceedings, such as on "Bororo Dance" and "Flash Memoire," listeners get to hear music in the process of being created from nothing but the abilities of its makers. This is a trio that owes nothing to Sonny Rollins but perhaps something to Steve Lacy's trio and Pierre Doerge's New Jungle Orchestra. This band swings like a vine and jams like they are on a bandstand in a small club in front of a full audience of other musicians. ~ Thom Jurek, Rovi

Herbie Hancock: Sextant (1973)

HERBIE HANCOCK

Sextant (1973)

Track listing

   1. "Rain Dance" - 9:16
   2. "Hidden Shadows" - 10:11
   3. "Hornets" - 19:35

 Personnel

    * Herbie Hancock - piano, Fender Rhodes, Hohner D-6 clavinet, mellotron
    * Bennie Maupin - soprano sax, bass clarinet, piccolo, afuche, hum-a-zoo
    * Dr. Eddie Henderson - trumpet, flugelhorn
    * Julian Priester - bass trombone, tenor trombone, alto trombone, cowbell
    * Buster Williams - electric bass, acoustic bass
    * Billy Hart - drums
    * Dr. Patrick Gleeson - ARP 2600 and Pro-Soloist
    * Buck Clarke - percussion

Amazon.com essential recording
Recorded with the sly, space-funky band that Herbie Hancock formed as Mwandishi (check out the two-CD Warner Bros. collection), Sextant is one of those cornerstone jazz CDs. It ranks with the best early, electric fusion for its fuzzing of textures, always used as bedrock for killer, roomy solos. A troika of horn greats can take much of the credit for the solos: trombonist Julian Priester, trumpeter Eddie Henderson, and saxist Bennie Maupin. Each generates great, dense ideas without betraying Hancock's eerie ambience and funky vibe. Yes, this is an aggregation of many 1970s-era ideas: renewed sense of Africanisms (at least in the band's naming), intensified percussive underpinnings, and a heap of rumbly rhythms that give props to everyone in neofunk jazz from Clyde Stubblefield to Funkadelic, albeit in a slowed, methodically rhythmic vein. Hancock's keyboards make fine clouds, as well as slinking shuffles. --Andrew Bartlett


Herbie disbanded his sextet shortly after this recording to form 'Headhunters". Though I'm a big fan of his funk quartet it's a shame that this line of thought wasn't continued. He himself said that there was nowhere else to go with this music and perhaps he's right. However, Sextant stands as a powerful milestone in the post "Bitch's Brew" world. Innovative in just about every respect; instrumentation, composition, use of synthesizers and incredible solos from Herbie and Eddie Henderson et al. Though this is unquestionably avant-garde the earthy (and unearthly) grooves makes it accessible to anyone with an open ear and mind. Though recorded in the early seventies this music is still fresh and futuristic. A wonderful artistic highpoint for Herbie Hancock in a career not lacking in creative highpoints. My highest recommendation!

Cassandra Wilson: Sings Standards (2002)

Cassandra Wilson : Sings Standards

1. Polka Dots And Moonbeams
2. I Wished On The Moon
3. 'Round Midnight
4. Angel
5. I've Grown Accustomed To His Face
6. Chelsea Bridge
7. I'm Old Fashioned
8. Baubles, Bangles, And Beads
9. Blue Skies
10. Blue In Green

Personnel:
Cassandra Wilson (vocals);
Grachan Moncur III (trombone);
Mulgrew Miller, James Weidman, Rod Williams (piano);
Jean-Paul Bourelly (guitar);
Kevin Bruce Harris, Lonnie Plaxico, Reggie Washington (bass);
Terri Lyne Carrington, Mark Johnson (drums).

Jazz fans who complain about not hearing enough jazz in Cassandra Wilson's eclectic sound, which has increasingly tilted toward pop and blues, will find ample rewards in this collection of her (relatively) straight-ahead efforts from the late '80s. Drawing from four albums for the JMT label, it charts her steady growth away from Brooklyn's electric, funk-based M-Base school and into an earthier, more personal approach. Going to school herself on Betty Carter's elastic time feel and unhurried rhythms, she avoids predictability on songs such as "'Round Midnight" and a wordless rendering of Billy Strayhorn's "Chelsea Bridge." There's less interest in her handling of earlier standards such as "I'm Old Fashioned" and "Blue Skies," which lack depth, but never any lack of attractiveness. --Lloyd Sachs

Forget the debates about whether or not Cassandra Wilson is a jazz vocalist -- here she proves she is one of the most original, creative and intelligent jazz musicians of our time. Her instrument -- the voice -- is rich and robust. Body and Soul might very well be her masterpiece.

Larry Coryell: Spaces (1970)

Larry Coryell
Spaces

Vanguard (79345)
USA 1970

Larry Coryell, guitars; John McLaughlin, guitars; Miroslav Vitous, bass; Billy Cobham, drums; Chick Corea, electric piano

Tracklist:
1.  Spaces (Infinite) — 9:16
2.  Rene's Theme — 4:06
3.  Gloria's Step — 4:29
4.  Wrong is Right — 9:00
5.  Chris — 9:31
6.  New Year's Day in Los Angeles -- 1968 — 0:20

total time 36:42

Larry Coryell's Spaces is an excellent early fusion album that tends to go overlooked. Recorded in late 1969 but not released until 1974, Spaces features Coryell surrounding himself with some top talent: John McLaughlin, Billy Cobham (both later of Mahavishnu Orchestra) and Miroslav Vitous (later of Weather Report). Chick Corea joins the group on electric piano for one track, "Chris."

Truth be told, this sounds more like jazz than jazz-rock. Only the great title track has rock rhythms; the rest of it is "rock" mostly by virtue of the electric guitars (which nevertheless are set to a minimal amount of distortion). It's difficult for me to discern which guitarist is playing at any particular time, although the liner notes indicate that Coryell does the majority of the soloing. Miroslav Vitous was an excellent choice of bassist for this kind of music and he demonstrates his versatility by playing with a bow on some passages. "Chris," on which Chick Corea sits in, is another hightlight. Corea's electric piano is primarily used for atmosphere while Coryell and McLaughlin engage in some of their most diverse playing on the record, drawing on a wealth of influences in their quick-picked passages. "Renee's Theme," a tribute to jazz guitar legend Django Reinhardt, is consistently cited by fans of the album as a favorite. Somewhat different in character from the rest of the pieces, it's a fleet-fingered acoustic guitar duet with head-turning speed and precision.

It's the interweaving guitar improvisations of Coryell and McLaughlin that make Spaces such an interesting, distinctive album. I think it is one of Coryell's best releases and it makes for a good first pick when starting to explore the guitarist's large catalog.

Chick Corea & Friends: Remembering Bud Powell (1997)

Tracks

1. Bouncin' With Bud 8:01
2. Mediocre 8:52   
3. Willow Grove 9:55
4. Dusk In Sandi 8:06   
5. Oblivion 7:14   
6. Bud Powell 6:02
7. I'll Keep Loving You 9:06
8. Glass Enclosure 3:02
9. Tempus Fugit 9:28
10. Celia 3:00


Saluting the genius of jazz piano icon Bud Powell, jazz piano innovator Chick Corea puts his indelible stamp on Powell's music, in a collection of inspired and insightful performances. With the help of his friend - a phenomenal all-star ensemble boasting the remarkable talents of Roy Haynes, Kenny Garrett, Christian McBride, Joshua Redman, and Wallace Roney - Chick Corea has delivered a recording that instantly takes its palace among st the most treasured of modern acoustic jazz masterpieces. Recorded upon completion of a highly lauded world tour, Remembering Bud Powell captures not only a rare grouping of individual musicians, but also a spirited and cohesive ensemble with a special musical communication that can only be described as telepathic.

FEATURING:
Chick Corea - piano
Roy Haynes - drums
Kenny Garrett - alto saxophone
Christian McBride - bass
Joshua Redman - tenor saxophone
Wallace Roney - trumpet