John Scofield: Works for Me (2001)

JOHN SCOFIELD. WORKS FOR ME (2001)

Track listing

    I'll Catch You
    Not You Again
    Big J
    Loose Canon
    Love You Long Time
    Hive
    Heel To Toe
    Do I Crazy?
    Mrs. Scofield's Waltz
    Six And Eight
    Freepie


Personnel:
John Scofield: guitar;
Kenny Garrett: alto sax;
Brad Mehldau: piano;
Christian McBride: bass;
Billy Higgins: drums.

Since 1997’s A Go Go, which featured the backing of Medeski, Martin & Wood, John Scofield has been increasingly pigeonholed as a sage of the burgeoning "jam band" movement. But the guitarist has been blending post-bop and a more rock/funk-oriented style even since his earliest recordings, and he’s always had the uncanny ability to sound like himself no matter what kind of music he’s playing. "It’s because I only have a few licks," Scofield once modestly quipped to this writer.

Works For Me is his first "straight-ahead" record in a while. It couldn’t be more of a departure from last year’s Bump, which featured members of Soul Coughing, Sex Mob, and Deep Banana Blackout and marked Scofield’s first use of samplers and other electronic instruments. Now the pendulum swings back to jazz, as Scofield enlists Kenny Garrett on alto, Brad Mehldau on piano, Christian McBride on bass, and Billy Higgins on drums.

Sco’s nasal, slightly overdriven sound and behind-the-beat phrasing are of course ever-present. Mehldau gives the new batch of originals a harmonically advanced dimension, recalling the late 70s partnerships Scofield cultivated with pianists Richard Beirach and Hal Galper. (This, by the way, is Mehldau’s second sideman appearance with Higgins, following Charles Lloyd’s The Water Is Wide. ) Scofield’s guitar and Garrett’s alto blend very effectively on the heads, particularly toward the end of "Big J," when the two take a melodic fragment up an octave, shouting it over a soulful vamp. Their interplay is also fun on "Heel to Toe," during which they trade eight- and then four-bar statements in a spirited joust.

The "groove" and "jazz" elements of Scofield’s music come together most effortlessly on "Loose Canon." McBride begins the piece with a three-bar bass riff that becomes the basis for the A sections. The B section breaks into a swing feel, setting in motion the album’s most inspired melodic and harmonic passage. Scofield and Garrett solo over an extended A, Mehldau an extended B. (The rotation is guitar, piano, alto.) Here, as well as on the leadoff track, "I’ll Catch You," we have the best of both worlds: a groove tune without the repetitiveness of much of the stuff on Bump, but also a jazz tune that is not at all staid or predictable.

Joe Henderson: Double Rainbow, The Music of Antonio Carlos Jobim (1994)

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Joe Henderson: Double Rainbow, The Music of Antonio Carlos Jobim (1994)

The third of tenor-saxophonist Joe Henderson's tribute CDs on Verve was originally supposed to be a collaboration with the great bossa nova composer Antonio Carlos Jobim but Jobim's unexpected death turned this project into a memorial. Henderson performs a dozen of the composer's works with one of two separate groups: a Brazilian quartet starring pianist Eliane Elias and a jazz trio with pianist Herbie Hancock, bassist Christian McBride and drummer Jack DeJohnette. In general, Henderson avoids Jobim's best-known songs in favor of some of his more obscure (but equally rewarding) melodies and in some cases (such as a very straight-ahead "No More Blues") the treatments are surprising. Highlights of this very accessible yet unpredictable CD include "Felicidade," "Triste," "Zingaro" and a duet with guitarist Oscar Castro-Neves on "Once I Loved," although all of the performances are quite enjoyable. Highly recommended.

Nico Assumpção     Bass
Paulinho Braga     Drums
Oscar Castro-Neves     Guitar, Percussion, Producer
Jack DeJohnette     Drums
Eliane Elias     Piano
Herbie Hancock     Piano
Joe Henderson     Sax (Tenor)
Christian McBride     Bass

Return to Forever: Romantic Warrior (1976)

Some history first. I remember the sadness I experienced upon hearing Bill Connors had left RTF and that this flashy Al Di Meola had replaced Connors—RTF was just not the same. I essentially shunned them. Even though I continued buying releases, sampling RTF members’ solo offerings, I never heard that same magical fire that Connors had lended. On another front The Mahavishnu Orchestra fizzled out into fusion confusion. What was happening here? The ‘70's fusion-fest seemed to be passing into mundane oblivion or mutating into something worse. Then this release came along. I was amazed and thrilled. It wasn’t all I expected. It was more. Everyone on this release performed magically. Jazz rock fusion had reached another pinnacle. Compositions were unbelievably complex and beautiful, unison lines moving wildly, solos inspired and superb, and the artistic soulfire was at maximum. RTF was peaking all sysytems.

There was a playful yet forceful punch happening here. Chick Corea‘s keys were perfect cool, Al DiMeola’s guitar voicings, phrasings, and leads awesome, Stanley Clarke’s bass playing went beyond the mere words’ description, and Lenny White’s drums as usual, superbly jazzy grooves. Also impressive; each member wrote at least one song of the six offered. Amazingly, this release was 100% cohesive, like movements of varying force in one stream of thought. Nothing was lacking, nothing was excess, Romantic Warrior remains to this day, a diamond, exuding flawless beauty. Yes, it grew out of the jazz rock fusion genre but it’s fine art that outlives its hey day, an example of just how incredibly wonderful fusion can be. Strangely enough, Romantic Warrior was this incarnation of RTF’s last true hurrah. Nothing else afterwards ever came close. It was as if RTF was saying goodbye and thank you creating a monument to a fading era, a waning passion.

For those of you wondering if this remastered, re-release is technologically superior in sound quality to prior releases and worth grabbing—listen up. Yes, no doubt about it. For those of you never even hearing of this until now—this is a jazz/ jazz fusion fan must-have. It is a unique classic that never grows old. Like steak and wine by candle light after a long hard day, Romantic Warrior is a very, very good experience. Highest recommendations.

Wynton Marsalis Quartet: The Magic Hour

For his debut on this label, Wynton Marsalis gets back to basics with a small combo. Taking a break from his large-ensemble works like Blood on the Fields and All Rise, the trumpeter leads a quartet consisting of bassist Carlos Henriquez, pianist Eric Lewis, and drummer Ali Jackson. Labelmates Bobby McFerrin (who recorded with the trumpeter on the early '80s LP, The Young Lions) and Dianne Reeves join Marsalis on "Baby, I Love You" and "Feeling of Jazz." "Big Fat Hen" is peppered by a New Orleans-meets-Brazil second-line samba, while "Skippin'" is a Monkish riff tune with stop time. The title track, dedicated to the time when kids go to sleep, includes a melodic nod to "The Flight of the Bumblebee," a mid-tempo groove, a ballad and the Cuban clave. With the sterling production by younger brother Delfeayo, Wynton Marsalis starts off on a good foot. --Eugene Holley, Jr.
Product Description
Wynton Marsalis has compiled a remarkable track record as a jazz trumpeter, bandleader and composer. He has become the most recognized jazz artist in the world today. He serves as Artistic Director of the prestigious Jazz at Lincoln Center and is renowned as a jazz statesman-a role officially recognized in 2001 when United Nations Secretary General Kofi Annan proclaimed him an international ambassador of goodwill and appointed him a UN Messenger of Peace. Marsalis has won nine Grammy Awards and is the first jazz musician ever to be honored with the prestigious Pulitzer Prize in Music (for his epic 1997 recording Blood on the Fields). Wynton Marsalis has produced 33 jazz and 11 classical records, including three certified gold records.

Now Wynton Marsalis has joined the roster of legendary jazz label Blue Note Records, reuniting with Blue Note president and music industry veteran Bruce Lundvall, who signed Wynton to his very first record deal in 1980. Marsalis makes his label debut with The Magic Hour, an upbeat, lyrical eight-song outing featuring his remarkable quartet-pianist Eric Lewis, bassist Carlos Henriquez and drummer Ali Jackson -and two special guests, Blue Note label mates Dianne Reeves and Bobby McFerrin.

The Magic Hour is Marsalis' first jazz ensemble studio recording since 1999's Marciac Suite. His last album was All Rise, an extended composition for big band, gospel choir and symphony orchestra. "All Rise was such a huge piece involving over two hundred people. I wanted to produce my next recording with a smaller group," says the trumpeter, who settled into Right Track Studios in New York for two days last June to record the new album. "I wanted to restate my basic love of jazz music in a quartet format," says Marsalis.

Wynton Marsalis: Trumpet
Eric Lewis: Piano, Carlos Henriquez: Bass, Ali Jackson: Drums
Dianne Reeves vocals on Feeling of Jazz
Bobby McFerrin vocals on Baby, I Love You

Michael Brecker: Tales from the Hudson (1996)

MICHAEL BRECKER

Tales from the Hudson (1996)

Track listing

All tracks composed by Michael Brecker; except where indicated

   1. "Slings and Arrows" — 6:19
   2. "Midnight Voyage" (Joey Calderazzo) — 7:17
   3. "Song for Bilbao" (Pat Metheny) — 5:44
   4. "Beau Rivage" — 7:38
   5. "African Skies" — 8:12
   6. "Introduction to the Naked Soul" — 1:41
   7. "Naked Soul" — 8:43
   8. "Willie T." (Don Grolnick) — 8:13
   9. "Cabin Fever" — 6:59

Personnel

    * Michael Brecker — tenor saxophone
    * Pat Metheny — guitar, guitar synth
    * Joey Calderazzo — piano
    * Dave Holland — bass
    * Jack DeJohnette — drums
    * McCoy Tyner — piano (Tracks 3 and 5)
    * Don Alias — percussion


In the crowded field of excellent tenor players, Michael Brecker rises to the top of my list. I think the thing that gives Brecker an edge over the others is the fact that he is a master of so many genres of jazz. Many people are no doubt familiar with the electric, funky side of Michael Brecker as the co-leader of the Brecker Brothers and former member of Steps Ahead. He has done significant pop dates with Paul Simon, Carly Simon, and Joni Mitchell. One could easily fill a CD collection with albums on which he has performed as a sideman in many jazz contexts.

Yet this is only his fourth CD as a leader. All of them have been in the modern, progressive, straight-ahead jazz vein. This one is, to my ears, his most successful outing yet. I think the difference is that this one is a little less "progressive" or "outside." The melodies here are a little more accessible and memorable, yet the soloing is just as creative and adventuresome as we have come to expect from Brecker and the other jazz luminaries on this CD. The top-notch team of sidemen here are Pat Metheny on guitar, Jack DeJohnette on drums, Dave Holland on bass, and Joey Calderazzo on piano. Pianist McCoy Tyner and percussionist Don Alias are added on two tunes.

Six of the nine compositions are Brecker's. They are varied, thoughtful, and provide great vehicles for improvisation. Metheny contributes "Bilbao" from his Travels album, Calderazzo contributes a medium tempo swinger, and "Willie T." comes from the late pianist Don Grolnick, who produced Brecker's first two solo albums and performed with Brecker frequently.

I would especially recommend this album to those who have come to jazz through the "new adult comtemporary" door and are ready to take the next step towards discovering what real jazz is all about.

Madeleine Peyroux - Dreamland (1996)

Madeleine Peyroux - Dreamland (1996)


01. Walkin' After Midnight
02. Hey Sweet Man
03. I'm Gonna Sit Right Down And Write Myself A Letter
04. (Getting Some) Fun Out Of Life
05. La Vie En Rose
06. Always A Use
07. A Prayer
08. Muddy Water
09. Was I
10. Dreamland
11. Reckless Blues

I have all three of Madeleine Peyroux's albums now having recently purchased this beauty. All through the album, you can tell the quality and the feeling in her vocal performance. I find it difficult to believe now that it took 8 years before Madeleine Peyroux became a household name with her second album "Careless Love" and not this one. Never mind. This is still a wonderful album.

This album is a launching pad for Madeleine Peyroux to launch from. Her singing style is very similar to that of Billie Holiday and Bessie Smith, the jazz and blues divas of their time. It hits off with "Walking After Midnight" and finishes off with a blues-fuelled "Lovesick Blues". The tracks inbetween are also of distinction including "Dreamland", the title track, a delicious blues-jazz fusion, "La Vie En Rose", a beautiful tribute to the Little Sparrow, Edith Piath and "I'm Gonna Sit Right Down and Write Myself A Letter".

What Madeleine Peyroux does so well on this amazing album is breathe new life into these old and well known songs (she does this on her other albums too but she did it here first). Fusing jazz in with the blues is a neat idea and it works extremely well and her voice is refreshing to hear and she sings the songs to perfection. A joy from start to finish.