4 On this adventurous, open-ended trio outing, the Seattle-based drummer and founder of Origin Records forges an extraordinary, freewheeling chemistry with kindred spirits Jeff Johnson on bass and Rick Mandyck on alto sax. A ubiquitous figure on the Northwest jazz scene, Bishop’s first recording under his own name runs the gamut of dynamics from a spacious, hymnlike cover of Curtis Lundy’s “Orange Blossom,” underscored by Bishop’s ultrasensitive brushwork, to an off-kilter funk number, Johnson’s “Hurt Brothers,” fueled by the drummer’s insistent, slamming backbeats. The highly interactive nature of the trio is showcased on Mandyck’s reflective “Anata Wa Utsukushi,” on which Bishop resorts to gentle mallet work, and on a sparse, lightly swinging cover of Ralph Peterson’s lyrical “Lady In Black,” which beautifully highlights Mandyck’s gorgeous, buttery tone and his ease in the high register. Mandyck, the principal composer here, also exhibits a capacity to burn on his raucous “All Day Pass” and the rubato, ECM-ish “Taking Forever,” full of shimmering cymbal work by Bishop. Mandyck also conjures up some poignant moments on his affecting waltz-time number “Lost & Found,” which is again supported by Bishop’s gentle touch and understated sense of swing. Bassist Johnson, an imposing, deep-toned presence throughout and a remarkable soloist to boot, receives a special showcase on “Gone,” his Zenlike duet with Mandyck. true 21 2007-06-07T14:05:44-04:00 17152 104 200608 true 0 73 2006-07-01T00:00:00-04:00

On this adventurous, open-ended trio outing, the Seattle-based drummer and founder of Origin Records forges an extraordinary, freewheeling chemistry with kindred spirits Jeff Johnson on bass and Rick Mandyck on alto sax. A ubiquitous figure on the Northwest jazz scene, Bishop’s first recording under his own name runs the gamut of dynamics from a spacious, hymnlike cover of Curtis Lundy’s “Orange Blossom,” underscored by Bishop’s ultrasensitive brushwork, to an off-kilter funk number, Johnson’s “Hurt Brothers,” fueled by the drummer’s insistent, slamming backbeats. The highly interactive nature of the trio is showcased on Mandyck’s reflective “Anata Wa Utsukushi,” on which Bishop resorts to gentle mallet work, and on a sparse, lightly swinging cover of Ralph Peterson’s lyrical “Lady In Black,” which beautifully highlights Mandyck’s gorgeous, buttery tone and his ease in the high register. Mandyck, the principal composer here, also exhibits a capacity to burn on his raucous “All Day Pass” and the rubato, ECM-ish “Taking Forever,” full of shimmering cymbal work by Bishop. Mandyck also conjures up some poignant moments on his affecting waltz-time number “Lost & Found,” which is again supported by Bishop’s gentle touch and understated sense of swing. Bassist Johnson, an imposing, deep-toned presence throughout and a remarkable soloist to boot, receives a special showcase on “Gone,” his Zenlike duet with Mandyck.

2009-03-02T00:25:40-05:00

4 A formidable orchestral work by the one-time Frank Zappa sideman who put his stamp on Zappa’s notoriously challenging drum feature “The Black Page,” this collaboration with Holland’s 60-piece Metropole Orkest shows the influence of Bozzio’s former mentor as well as Zappa’s own hero, classical composer Edgard Varèse. In five movements composed for drum set and orchestra, Bozzio plays virtuosic unison lines with the strings and wind instruments, executed with signature dexterity and dazzling speed on tuned tom-toms, snare and bass drums, hi-hat and cymbals. The seven-minute “Ibo” comes across as Gene Krupa jamming with Xavier Cugat’s orchestra while the 10-minute “Hypnotic,” which opens with solo toms and cymbals statements from Bozzio, contains cinematic flourishes marked by the drummer’s uncannily precise, inherently melodic playing on the kit. And the kinetic “Untitled,” underscored by Oriental touches in the flutes and woodwinds, features some of Bozzio’s most astonishing displays of virtuosity. The drummer-composer’s closing statement, “Opus One: Self Portrait With Scar,” is an imposing, Stravinsky-influenced work that also recalls Zappa’s “difficult music” projects like Orchestral Favorites. true 21 2007-06-07T14:05:44-04:00 17153 104 200608 true 0 73 2006-07-01T00:00:00-04:00

A formidable orchestral work by the one-time Frank Zappa sideman who put his stamp on Zappa’s notoriously challenging drum feature “The Black Page,” this collaboration with Holland’s 60-piece Metropole Orkest shows the influence of Bozzio’s former mentor as well as Zappa’s own hero, classical composer Edgard Varèse. In five movements composed for drum set and orchestra, Bozzio plays virtuosic unison lines with the strings and wind instruments, executed with signature dexterity and dazzling speed on tuned tom-toms, snare and bass drums, hi-hat and cymbals. The seven-minute “Ibo” comes across as Gene Krupa jamming with Xavier Cugat’s orchestra while the 10-minute “Hypnotic,” which opens with solo toms and cymbals statements from Bozzio, contains cinematic flourishes marked by the drummer’s uncannily precise, inherently melodic playing on the kit. And the kinetic “Untitled,” underscored by Oriental touches in the flutes and woodwinds, features some of Bozzio’s most astonishing displays of virtuosity. The drummer-composer’s closing statement, “Opus One: Self Portrait With Scar,” is an imposing, Stravinsky-influenced work that also recalls Zappa’s “difficult music” projects like Orchestral Favorites.

2009-03-02T00:25:40-05:00

4 A reliably swinging sideman whose bandstand experience includes stints with Charles Earland, Freddie Hubbard, Grover Washington Jr. and Shirley Scott, Ector covers a variety of drumming styles on his second outing as a leader. With a dynamic frontline of underrated tenor saxophonist Jay Collins and trumpeter Eddie Allen alongside pianist John di Martino and bassist Leon Lee Dorsey, Ector steers a diverse course that runs the gamut from ballads to blues to bossa nova and hard bop. Special guest Bobby Watson lends his big-toned alto sax to two cuts here in Ector’s Latin-flavored title track and a propulsive, freewheeling sax-drum encounter, “The Call.” While the drummer is clearly in the comfort zone when swinging, ably demonstrated on his Messengers-flavored “Melly’s Blues” and his invigorating shuffle-swing number “Moving On,” he stretches into some different territory on a sensitive reading of Jobim’s pensive ballad “Luiza” as well as on interpretations of Herbie Hancock’s ethereal “Butterfly” and Wayne Shorter’s metrically shifting “Night Dreamer.” The Philly native showcases some of his most melodic playing on a brisk clave-fueled rendition of “My Foolish Heart,” then closes out his sophomore session with a spirited solo drum showcase, “For Our Fathers.” true 21 2007-06-07T14:05:44-04:00 17154 104 200608 true 0 73 2006-07-01T00:00:00-04:00

A reliably swinging sideman whose bandstand experience includes stints with Charles Earland, Freddie Hubbard, Grover Washington Jr. and Shirley Scott, Ector covers a variety of drumming styles on his second outing as a leader. With a dynamic frontline of underrated tenor saxophonist Jay Collins and trumpeter Eddie Allen alongside pianist John di Martino and bassist Leon Lee Dorsey, Ector steers a diverse course that runs the gamut from ballads to blues to bossa nova and hard bop. Special guest Bobby Watson lends his big-toned alto sax to two cuts here in Ector’s Latin-flavored title track and a propulsive, freewheeling sax-drum encounter, “The Call.” While the drummer is clearly in the comfort zone when swinging, ably demonstrated on his Messengers-flavored “Melly’s Blues” and his invigorating shuffle-swing number “Moving On,” he stretches into some different territory on a sensitive reading of Jobim’s pensive ballad “Luiza” as well as on interpretations of Herbie Hancock’s ethereal “Butterfly” and Wayne Shorter’s metrically shifting “Night Dreamer.” The Philly native showcases some of his most melodic playing on a brisk clave-fueled rendition of “My Foolish Heart,” then closes out his sophomore session with a spirited solo drum showcase, “For Our Fathers.”

2009-03-02T00:25:40-05:00

4 Hailing from Cuba, thirtysomething Prieto reflects a myriad of contemporary and classical influences along with strong clave roots on his outstanding second CD. The funky opener, “The Coolest,” incorporates touches of rock in the wah-wah inflected keyboard lines of Jason Lindner played in unison with violinist Christian Howes. And to add more spice to the gumbo, Prieto and Lindner offer up some authentic-sounding South Indian konokol singing on this ambitious hybrid number. But underneath the exchanges between Lindner’s distortion-laced electric keyboard and Yosvany Terry’s darting alto sax lines, the rapid-fire Indian scatting and contrapuntal string playing by violinist Howes and cellist Dana Leong lies the heart of the clave, which Prieto always carries with him. The sound of the strings blending with Lindner’s Hammond B3 organ lends an especially unique flavor to this provocative ensemble on pieces like “Sensaciones” and the romantic 6/8 “Afrotango,” featuring special guest Henry Threadgill wailing on alto sax. Prieto’s carefully orchestrated stop-time passages toward the end of this extended piece allow for some daring flourishes on the kit in between the hits. Meanwhile, the frantic, rhythmically charged angular funk of “The Stutterer” bears the edgy stamp of Steve Coleman. The centerpiece of this impressive collection of Prieto originals is the cinematic three-part “One Day Suite,” which travels from a stately chamberlike theme to an undulating Afro-Cuban ostinato (a platform for cellist Leong and violinist Howes to sail over with impunity) to lyrical rubato passages that showcase Terry’s soaring soprano sax and culminates in a straightforward swing section that highlights Lindner’s decidedly Jarrett-influenced excursions on acoustic piano. As an exercise in contrasts, Prieto unleashes his sizzling, fusionesque fury against the slow-moving pulse of his dirgelike “New Elephant.” He displays astonishing polyrhythmic aplomb on the solo drum intro to “Renew the Elephant,” which bears the towering influence of Chick Corea’s My Spanish Heart, a favorite album of young Dafnis. He closes with a wacky amalgam of styles on “Innocent Bird,” which shifts seamlessly from baroque passages to Mission: Impossible-like spy music to earthy clave, with some references to churchy organ music along the way. true 21 2007-06-07T14:05:44-04:00 17155 104 200608 true 0 73 2006-07-01T00:00:00-04:00

Hailing from Cuba, thirtysomething Prieto reflects a myriad of contemporary and classical influences along with strong clave roots on his outstanding second CD. The funky opener, “The Coolest,” incorporates touches of rock in the wah-wah inflected keyboard lines of Jason Lindner played in unison with violinist Christian Howes. And to add more spice to the gumbo, Prieto and Lindner offer up some authentic-sounding South Indian konokol singing on this ambitious hybrid number. But underneath the exchanges between Lindner’s distortion-laced electric keyboard and Yosvany Terry’s darting alto sax lines, the rapid-fire Indian scatting and contrapuntal string playing by violinist Howes and cellist Dana Leong lies the heart of the clave, which Prieto always carries with him. The sound of the strings blending with Lindner’s Hammond B3 organ lends an especially unique flavor to this provocative ensemble on pieces like “Sensaciones” and the romantic 6/8 “Afrotango,” featuring special guest Henry Threadgill wailing on alto sax. Prieto’s carefully orchestrated stop-time passages toward the end of this extended piece allow for some daring flourishes on the kit in between the hits. Meanwhile, the frantic, rhythmically charged angular funk of “The Stutterer” bears the edgy stamp of Steve Coleman. The centerpiece of this impressive collection of Prieto originals is the cinematic three-part “One Day Suite,” which travels from a stately chamberlike theme to an undulating Afro-Cuban ostinato (a platform for cellist Leong and violinist Howes to sail over with impunity) to lyrical rubato passages that showcase Terry’s soaring soprano sax and culminates in a straightforward swing section that highlights Lindner’s decidedly...

2009-03-02T00:25:40-05:00

4 The drummer for Medeski, Martin and Wood brings his painterly instincts and polyrhythmic sensibilities to bear on Solo Live Tonic 2002. In the tradition of solo drum masters like Max Roach, Milford Graves and Andrew Cyrille before him, Martin juggles time signatures and colors grooves with a myriad of textures in this free-flowing affair that showcases his adeptness on the kit. Some highlights include his Roach tribute, “Max Moon,” his dramatic use of space and dynamics on the tribalistic “Six Grandfathers,” the gamelan-sounding metallic percussion piece “Coconuts Feeding Birds” and his melodic mbira (thumb piano) jam on “Flora Aura.” Martin also shows his masterful way with the clave on the solo cowbell piece “The Daybreak Star Herb of Understanding,” then conjures up some African magic on “Burundi Drums” and “Talking Drum.” He closes the daring solo drum showcase with a series of three “Finales” that blend masterful control and sheer explosive abandon on the kit. Former bandmates in the Lounge Lizards and John Lurie’s National Orchestra, Martin and Grant Calvin Weston have developed a tight chemistry in their drum battles over the years. Live at Houston Hall in Philadelphia celebrates the 10th anniversary of their propulsive and highly interactive duo. From the kinetic bombast of “Overture” to the slow-grooving, syncopated “Top-Side City,” from the samba flavored percussion jam “Agoxixi” to the churning 12/8 percussion-drum duel on “Sahara,” Weston and Martin whip up a visceral, polyrhythmic storm. While they share a common vocabulary throughout, their most conversational encounter occurs on “Talking Drums,” in which Martin on the West African percussion instrument engages in a spirited dialogue with Weston’s funky backbeats. true 21 2007-06-07T14:05:44-04:00 17156 104 200608 true 0 73 2006-07-01T00:00:00-04:00

The drummer for Medeski, Martin and Wood brings his painterly instincts and polyrhythmic sensibilities to bear on Solo Live Tonic 2002. In the tradition of solo drum masters like Max Roach, Milford Graves and Andrew Cyrille before him, Martin juggles time signatures and colors grooves with a myriad of textures in this free-flowing affair that showcases his adeptness on the kit. Some highlights include his Roach tribute, “Max Moon,” his dramatic use of space and dynamics on the tribalistic “Six Grandfathers,” the gamelan-sounding metallic percussion piece “Coconuts Feeding Birds” and his melodic mbira (thumb piano) jam on “Flora Aura.” Martin also shows his masterful way with the clave on the solo cowbell piece “The Daybreak Star Herb of Understanding,” then conjures up some African magic on “Burundi Drums” and “Talking Drum.” He closes the daring solo drum showcase with a series of three “Finales” that blend masterful control and sheer explosive abandon on the kit. Former bandmates in the Lounge Lizards and John Lurie’s National Orchestra, Martin and Grant Calvin Weston have developed a tight chemistry in their drum battles over the years. Live at Houston Hall in Philadelphia celebrates the 10th anniversary of their propulsive and highly interactive duo. From the kinetic bombast of “Overture” to the slow-grooving, syncopated “Top-Side City,” from the samba flavored percussion jam “Agoxixi” to the churning 12/8 percussion-drum duel on “Sahara,” Weston and Martin whip up a visceral, polyrhythmic storm. While they share a common vocabulary throughout, their most conversational encounter occurs on “Talking Drums,” in which Martin on the...

2009-03-02T00:25:40-05:00

4 This Baltimore native showcases a wide range of drumming styles on this collection of tunes from the Great American Jazz Songbook. Alongside pianist Andrew Adair and bassist Gavin Fallow, Robinson flaunts some slick brushwork on a jaunty rendition of “Close Your Eyes” and swings fervently on a blazing interpretation of Cole Porter’s “From This Moment On,” which also features an extended solo showcase by the drummer. The trio’s clever arrangement of Richard Rogers’ “I Didn’t Know What Time It Was” shifts nimbly from 5/4 to 4/4 time and includes a whirlwind solo by Robinson at the tag. On a gentle rendition of Richard Rodgers’ crystalline ballad “Easy to Remember,” with Bob Butta on piano, Robinson supplies some sublime accompaniment with brushes. And he further demonstrates his creativity on Bobby Hutcherson’s waltz-time classic “Little B’s Poem,” which includes his most melodic and dynamic drum solo of the session. For a change of pace, Robinson overdubs marimba on a novel arrangement of Charles Mingus’ “Goodbye Porkpie Hat.” And the trio closes out this satisfying session on a soulful note with Ornette Coleman’s bluesy “The Turnaround,” underscored by the seasoned drummer’s hip sense of time displacement and interspersed with his flurries on the kit. Highly recommended. true 21 2007-06-07T14:05:44-04:00 17157 104 200608 true 0 73 2006-07-01T00:00:00-04:00

This Baltimore native showcases a wide range of drumming styles on this collection of tunes from the Great American Jazz Songbook. Alongside pianist Andrew Adair and bassist Gavin Fallow, Robinson flaunts some slick brushwork on a jaunty rendition of “Close Your Eyes” and swings fervently on a blazing interpretation of Cole Porter’s “From This Moment On,” which also features an extended solo showcase by the drummer. The trio’s clever arrangement of Richard Rogers’ “I Didn’t Know What Time It Was” shifts nimbly from 5/4 to 4/4 time and includes a whirlwind solo by Robinson at the tag. On a gentle rendition of Richard Rodgers’ crystalline ballad “Easy to Remember,” with Bob Butta on piano, Robinson supplies some sublime accompaniment with brushes. And he further demonstrates his creativity on Bobby Hutcherson’s waltz-time classic “Little B’s Poem,” which includes his most melodic and dynamic drum solo of the session. For a change of pace, Robinson overdubs marimba on a novel arrangement of Charles Mingus’ “Goodbye Porkpie Hat.” And the trio closes out this satisfying session on a soulful note with Ornette Coleman’s bluesy “The Turnaround,” underscored by the seasoned drummer’s hip sense of time displacement and interspersed with his flurries on the kit. Highly recommended.

2009-03-02T00:25:40-05:00

4 The Virginia-based drummer and bandleader established his credentials long ago as a first-rate, swinging player and prolific composer. On his eighth outing as a leader, Sinnett is joined by first-rate improvisers and longtime associates John D’earth on trumpet and Steve Wilson on alto sax, along with his working trio of pianist Allen Farnham and bassist Terry Burrell. The inventive drummer-composer showcases his rhythmically ingenious facility on a new set of originals that run the stylistic gamut from buoyant Brazilian numbers (“Heading South”) to funky backbeat-fueled boogaloos (“Third Potato”) and catchy, pop-infused modal vehicles (“Bedrock”). Sinnett reveals a towering influence on his dynamic, Tony Williams-inspired opener “Palpitations,” which shifts nimbly back and forth from six to seven and is marked by Sinnett’s deft punctuations on the kit. “First Impression” introduces the 19-year-old piano talent Justin Kauflin, whose cascading keyboard work energizes the track. Wilson, whose collaborations with Sinnett go back 20 years to 1986’s Obsession, switches from alto to soprano sax on “Bedrock” and the brisk, harmonically challenging closer, “Stick Figure.” And Sinnett presents a moving elegy for the late Elvin Jones in his dramatic 11-minute centerpiece, “What Elvin Left.” This is easily Sinnett’s strongest and most satisfying outing to date. true 21 2007-06-07T14:05:44-04:00 17158 104 200608 true 0 73 2006-07-01T00:00:00-04:00

The Virginia-based drummer and bandleader established his credentials long ago as a first-rate, swinging player and prolific composer. On his eighth outing as a leader, Sinnett is joined by first-rate improvisers and longtime associates John D’earth on trumpet and Steve Wilson on alto sax, along with his working trio of pianist Allen Farnham and bassist Terry Burrell. The inventive drummer-composer showcases his rhythmically ingenious facility on a new set of originals that run the stylistic gamut from buoyant Brazilian numbers (“Heading South”) to funky backbeat-fueled boogaloos (“Third Potato”) and catchy, pop-infused modal vehicles (“Bedrock”). Sinnett reveals a towering influence on his dynamic, Tony Williams-inspired opener “Palpitations,” which shifts nimbly back and forth from six to seven and is marked by Sinnett’s deft punctuations on the kit. “First Impression” introduces the 19-year-old piano talent Justin Kauflin, whose cascading keyboard work energizes the track. Wilson, whose collaborations with Sinnett go back 20 years to 1986’s Obsession, switches from alto to soprano sax on “Bedrock” and the brisk, harmonically challenging closer, “Stick Figure.” And Sinnett presents a moving elegy for the late Elvin Jones in his dramatic 11-minute centerpiece, “What Elvin Left.” This is easily Sinnett’s strongest and most satisfying outing to date.

2009-03-02T00:25:40-05:00

4 This young Denver native played with startling maturity while showcasing his advanced writing skills on his surprising debut, 2004’s Dreams Untold, recorded when he was just 17 years old. For his sophomore outing, the drummer-composer-bandleader continues to revel in sophisticated harmonies, hip time displacement and metric modulation on the kit while surrounding himself with top-shelf sideman, including the talented Le Boeuf brothers: Pascal on piano, Remy on tenor and alto saxes. A precision timekeeper with a crisp attack and distinctly melodic tendencies, Stranahan’s interactive playing punctuates and enlivens metrically intricate material like Pascal’s “Piece of Mind” and “You Are” as well as Remy’s aggressive 7/4 romp “Casa Zimbabwe.” The drummer displays uncommon finesse with mallets and sticks on bassist Dominic Thiroux’s moody 9/4 vehicle, “The Search,” then nimbly shifts from slick brushwork to straight-eighth-note sizzle on his brother Jim Stranahan’s uptempo swing-blues number “It’s Not Always About You.” He demonstrates some dynamic flourishes on the kit on his own shimmering “Out of Reach,” a nice vehicle for Mark Clifford’s vibes playing, and then reveals a distinct Tony Williams influence on his other compositional contribution, “Moods of Perpetual Motion.” Tenor saxophonist Michael Bailey contributes mightily throughout with bold tones and inventive lines and special guest trumpeter Greg Gisbert adds some virtuosic touches on Pascal’s “Piece of Mind,” Thiroux’s “No Thanks” and Remy’s “Sisyfus.” High-level writing and playing by this talented Mile High City crew. true 21 2007-06-07T14:05:44-04:00 17159 104 200608 true 0 73 2006-07-01T00:00:00-04:00

This young Denver native played with startling maturity while showcasing his advanced writing skills on his surprising debut, 2004’s Dreams Untold, recorded when he was just 17 years old. For his sophomore outing, the drummer-composer-bandleader continues to revel in sophisticated harmonies, hip time displacement and metric modulation on the kit while surrounding himself with top-shelf sideman, including the talented Le Boeuf brothers: Pascal on piano, Remy on tenor and alto saxes. A precision timekeeper with a crisp attack and distinctly melodic tendencies, Stranahan’s interactive playing punctuates and enlivens metrically intricate material like Pascal’s “Piece of Mind” and “You Are” as well as Remy’s aggressive 7/4 romp “Casa Zimbabwe.” The drummer displays uncommon finesse with mallets and sticks on bassist Dominic Thiroux’s moody 9/4 vehicle, “The Search,” then nimbly shifts from slick brushwork to straight-eighth-note sizzle on his brother Jim Stranahan’s uptempo swing-blues number “It’s Not Always About You.” He demonstrates some dynamic flourishes on the kit on his own shimmering “Out of Reach,” a nice vehicle for Mark Clifford’s vibes playing, and then reveals a distinct Tony Williams influence on his other compositional contribution, “Moods of Perpetual Motion.” Tenor saxophonist Michael Bailey contributes mightily throughout with bold tones and inventive lines and special guest trumpeter Greg Gisbert adds some virtuosic touches on Pascal’s “Piece of Mind,” Thiroux’s “No Thanks” and Remy’s “Sisyfus.” High-level writing and playing by this talented Mile High City crew.

2009-03-02T00:25:40-05:00

4 Similar in some respects to Mickey Hart’s Planet Drum, former King Crimson drummer Bill Bruford has assembled his own all-star international percussion group to explore the interconnectedness of world rhythms. Bruford mans a full drum set and is joined by fellow traps drummer Chad Wackerman, West African griot Doudou N’Diaye Rose and Afro-Cuban percussion master Luis Conte. Together they groove relentlessly and emphatically on eight highly orchestrated pieces before live audiences at the Koninklijk Theatre in Amsterdam and the Palais des Beaux-Arts in Brussels. The band hits a hypnotic accord on the title track and on Mamadou’s slow grooving “Baye Kene N’Diaye.” And Bruford pays tribute to a personal hero with his take on Max Roach’s “Self Portrait,” underscored by a percolating 6/8 groove. The group closes with Mamadou leading the four through his lively “Sa N’Diaye.” This DualDisc comes with a 15-minute video that documents the ensemble in concert. true 21 2007-06-07T14:05:44-04:00 17160 104 200608 true 0 73 2006-07-01T00:00:00-04:00

Similar in some respects to Mickey Hart’s Planet Drum, former King Crimson drummer Bill Bruford has assembled his own all-star international percussion group to explore the interconnectedness of world rhythms. Bruford mans a full drum set and is joined by fellow traps drummer Chad Wackerman, West African griot Doudou N’Diaye Rose and Afro-Cuban percussion master Luis Conte. Together they groove relentlessly and emphatically on eight highly orchestrated pieces before live audiences at the Koninklijk Theatre in Amsterdam and the Palais des Beaux-Arts in Brussels. The band hits a hypnotic accord on the title track and on Mamadou’s slow grooving “Baye Kene N’Diaye.” And Bruford pays tribute to a personal hero with his take on Max Roach’s “Self Portrait,” underscored by a percolating 6/8 groove. The group closes with Mamadou leading the four through his lively “Sa N’Diaye.” This DualDisc comes with a 15-minute video that documents the ensemble in concert.

2009-03-02T00:25:40-05:00

4 Cuban drummer Ignacio Berroa has played with the likes of Dizzy Gillespie, McCoy Tyner, Freddie Hubbard, Mario Bauza, Tito Puente and Gonzalo Rubalcaba, but he’s never recorded as a leader himself. On his long-overdue debut, the 52-year-old Berroa shows that he is equally adept at straight eighth-note swing and Afro-Cuban clave, often seamlessly blending both vernaculars into one organic whole, as on his bilingual interpretations of Chick Corea’s “Matrix,” Ernesto Lecuona’s Cuban classic “La Comparsa,” Wayne Shorter’s “Pinocchio” and Dizzy’s “Woody ’n’ You.” Coproducer Rubalcaba, whose trio Berroa has been anchoring for the past several years, offers his inimitable touch and virtuosic flair on acoustic piano on four tracks, including a highly charged take on “Pinocchio,” the Brazilian classic “Partido Alto” and Berroa’s lone original, the hypnotic “Joao Su Merced,” which is propelled by a battery of special guest percussionists: Philbert Armenteros, Santiago Nani and Jorge Iglesias. Rubalcaba also provides potent synth lines on three tracks, including “Matrix” and “Pinocchio.” Tenor saxophonist David Sanchez contributes brilliantly on Jobim’s introspective ballad “Inutil Paisagem (Useless Landscapes),” the spacious “Partido Alto” and the Cubanized rendition of “Woody ’n’ You,” arranged by pianist Ed Simon. The real find of this session is Felipe LaMoglia, who soars with unrestrained passion on soprano sax on the exhilarating “Joao Su Merced,” “Partido Alto” and “Pinocchio.” He also offers some smoky tenor work on the old Cuban bolero “Realidad y Fantasia,” which is underscored by Rubalcaba’s delicate, lyrical piano and Berroa’s alluring brushwork and coloristic cymbal statements. true 21 2007-06-07T14:05:44-04:00 17151 104 200608 true 0 73 2006-07-01T00:00:00-04:00

Cuban drummer Ignacio Berroa has played with the likes of Dizzy Gillespie, McCoy Tyner, Freddie Hubbard, Mario Bauza, Tito Puente and Gonzalo Rubalcaba, but he’s never recorded as a leader himself. On his long-overdue debut, the 52-year-old Berroa shows that he is equally adept at straight eighth-note swing and Afro-Cuban clave, often seamlessly blending both vernaculars into one organic whole, as on his bilingual interpretations of Chick Corea’s “Matrix,” Ernesto Lecuona’s Cuban classic “La Comparsa,” Wayne Shorter’s “Pinocchio” and Dizzy’s “Woody ’n’ You.” Coproducer Rubalcaba, whose trio Berroa has been anchoring for the past several years, offers his inimitable touch and virtuosic flair on acoustic piano on four tracks, including a highly charged take on “Pinocchio,” the Brazilian classic “Partido Alto” and Berroa’s lone original, the hypnotic “Joao Su Merced,” which is propelled by a battery of special guest percussionists: Philbert Armenteros, Santiago Nani and Jorge Iglesias. Rubalcaba also provides potent synth lines on three tracks, including “Matrix” and “Pinocchio.” Tenor saxophonist David Sanchez contributes brilliantly on Jobim’s introspective ballad “Inutil Paisagem (Useless Landscapes),” the spacious “Partido Alto” and the Cubanized rendition of “Woody ’n’ You,” arranged by pianist Ed Simon. The real find of this session is Felipe LaMoglia, who soars with unrestrained passion on soprano sax on the exhilarating “Joao Su Merced,” “Partido Alto” and “Pinocchio.” He also offers some smoky tenor work on the old Cuban bolero “Realidad y Fantasia,” which is underscored by Rubalcaba’s delicate, lyrical piano and Berroa’s alluring brushwork and coloristic cymbal statements.

2009-03-02T00:25:40-05:00

4 It is no small coincidence that this explosive tenor sax and drums duet project was released on Ayler Records. Throughout this riveting live performance, recorded in late 2002 at the Glenn Miller Café in Stockholm, saxophonist Tsahar unleashes with the abandon of Albert Ayler while Drake underscores the white-hot intensity with the muscular, polyrhythmic aplomb of a Sunny Murray on steroids. On five searing encounters, Drake establishes grooves while simultaneously playing melodies against his own pulse, and Tsahar leaps into the fray with skronkified delight. This works on a sheer visceral level, though midway through the 17-minute “Warriors of Stillness” I could’ve used at least one key change. Their supercharged interplay on “Praying Mantis,” fueled by Drake’s insistently swinging ride cymbal sizzle, reaches Interstellar Space levels of intensity while they establish a poetic rapport on the late Peter Kowald’s “Mother and Father,” which highlights the percussionist’s melodic approach to the kit. “Handing Clouds” is a conversation between thunderous drums and squealing multiphonics, while the mournful ode “Grasp the Bird’s Tail” is underscored by Drake’s sensitive brushwork. They conclude on a buoyant note with a brief, tongue-in-cheek referencing of Sonny Rollins’ calypso-flavored “St. Thomas.” true 21 2007-06-07T14:05:44-04:00 16896 102 200605 true 0 73 2006-05-01T00:00:00-04:00

It is no small coincidence that this explosive tenor sax and drums duet project was released on Ayler Records. Throughout this riveting live performance, recorded in late 2002 at the Glenn Miller Café in Stockholm, saxophonist Tsahar unleashes with the abandon of Albert Ayler while Drake underscores the white-hot intensity with the muscular, polyrhythmic aplomb of a Sunny Murray on steroids. On five searing encounters, Drake establishes grooves while simultaneously playing melodies against his own pulse, and Tsahar leaps into the fray with skronkified delight. This works on a sheer visceral level, though midway through the 17-minute “Warriors of Stillness” I could’ve used at least one key change. Their supercharged interplay on “Praying Mantis,” fueled by Drake’s insistently swinging ride cymbal sizzle, reaches Interstellar Space levels of intensity while they establish a poetic rapport on the late Peter Kowald’s “Mother and Father,” which highlights the percussionist’s melodic approach to the kit. “Handing Clouds” is a conversation between thunderous drums and squealing multiphonics, while the mournful ode “Grasp the Bird’s Tail” is underscored by Drake’s sensitive brushwork. They conclude on a buoyant note with a brief, tongue-in-cheek referencing of Sonny Rollins’ calypso-flavored “St. Thomas.”

2009-03-02T00:25:30-05:00

4 A mainstay on Chicago’s improvised-music scene, Reed reveals a set of extremely big ears in this collection of freewheeling duets with fellow musical provocateurs from the Windy City. Reed—a kind of Chicago counterpart to New York’s Susie Ibarra—reacts immediately and instinctively on the kit in his encounters here with guitarist Jeff Parker, synth specialist Jim Baker and flutist Nicole Mitchell. Along the way he creates coloristic touches and percussive textures that fall well outside the jazz-drumming tradition, drawing from an expansive vocabulary that borrows more from the sonic innovations of David Moss, Charles K. Noyes, Milford Graves and Don Moye than it does from the bebop canon. Reed’s two improvised pieces with guitarist Parker recall similarly textural experiments that guitarist Fred Frith might have indulged in with Moss during the late ’70s and early ’80s, while the drummer’s three tracks with Baker—a melding of microtones and polyrhythms—recall equally out excursions during that golden period by electronic avant-gardists Bob Ostertag and Richard Teitelbaum. The three tracks with kindred spirit Mitchell are no less provocative or telepathic. This is definitely fringe stuff, artfully executed. true 21 2007-06-07T14:05:44-04:00 16897 102 200605 true 0 73 2006-05-01T00:00:00-04:00

A mainstay on Chicago’s improvised-music scene, Reed reveals a set of extremely big ears in this collection of freewheeling duets with fellow musical provocateurs from the Windy City. Reed—a kind of Chicago counterpart to New York’s Susie Ibarra—reacts immediately and instinctively on the kit in his encounters here with guitarist Jeff Parker, synth specialist Jim Baker and flutist Nicole Mitchell. Along the way he creates coloristic touches and percussive textures that fall well outside the jazz-drumming tradition, drawing from an expansive vocabulary that borrows more from the sonic innovations of David Moss, Charles K. Noyes, Milford Graves and Don Moye than it does from the bebop canon. Reed’s two improvised pieces with guitarist Parker recall similarly textural experiments that guitarist Fred Frith might have indulged in with Moss during the late ’70s and early ’80s, while the drummer’s three tracks with Baker—a melding of microtones and polyrhythms—recall equally out excursions during that golden period by electronic avant-gardists Bob Ostertag and Richard Teitelbaum. The three tracks with kindred spirit Mitchell are no less provocative or telepathic. This is definitely fringe stuff, artfully executed.

2009-03-02T00:25:30-05:00

4 For the past 20 years Rashied Ali has been operating like an Art Blakey figure in terms of discovering and nurturing new talent. His current working quintet is another cross-generational affair featuring veterans Greg Murphy (piano) and Joris Teepe (bass) and two new firebrands in Lawrence Clark on tenor sax and Jumaane Smith on trumpet. Together this tightly knit group swings in fairly conventional postbop fashion on rarely covered tunes like Frank Lowe’s “Sidewalks in Motion,” Jaco Pastorius’ uptempo blazer “Dania,” Wayne Shorter’s “The Big Push” and James Blood Ulmer’s “M.O.” Teepe, a powerful, deep-toned bassist in the Paul Chambers tradition, contributes the moving ballad “You’re Reading My Mind,” while saxophonist Clark, who blows heroically throughout these two discs, offers the exhilarating title track, a modal workout with distinctly Middle Eastern touches that has pianist Murphy dipping deeply into his McCoy Tyner bag. Other highlights in these two energized sets include Murphy’s burning “Skane’s Refrain” and Smith’s frantically swinging “Yesterday (J-Man) Tomorrow,” along with dynamic readings of Billy Strayhorn’s “Lush Life,” Thelonious Monk’s “’Round Midnight” and Don Cherry’s “Multi-Culti.” Though this band rarely plays outside of New York City, this is one of the more potent working quintets in jazz today. true 21 2007-06-07T14:05:44-04:00 16889 102 200605 true 0 73 2006-05-01T00:00:00-04:00

For the past 20 years Rashied Ali has been operating like an Art Blakey figure in terms of discovering and nurturing new talent. His current working quintet is another cross-generational affair featuring veterans Greg Murphy (piano) and Joris Teepe (bass) and two new firebrands in Lawrence Clark on tenor sax and Jumaane Smith on trumpet. Together this tightly knit group swings in fairly conventional postbop fashion on rarely covered tunes like Frank Lowe’s “Sidewalks in Motion,” Jaco Pastorius’ uptempo blazer “Dania,” Wayne Shorter’s “The Big Push” and James Blood Ulmer’s “M.O.” Teepe, a powerful, deep-toned bassist in the Paul Chambers tradition, contributes the moving ballad “You’re Reading My Mind,” while saxophonist Clark, who blows heroically throughout these two discs, offers the exhilarating title track, a modal workout with distinctly Middle Eastern touches that has pianist Murphy dipping deeply into his McCoy Tyner bag. Other highlights in these two energized sets include Murphy’s burning “Skane’s Refrain” and Smith’s frantically swinging “Yesterday (J-Man) Tomorrow,” along with dynamic readings of Billy Strayhorn’s “Lush Life,” Thelonious Monk’s “’Round Midnight” and Don Cherry’s “Multi-Culti.” Though this band rarely plays outside of New York City, this is one of the more potent working quintets in jazz today.

2009-03-02T00:25:30-05:00

4 Recorded in August 1968 at Slug’s, the notorious East Village nightclub where Lee Morgan met his violent end, this reissue features a Jazz Messengers lineup that never made a studio record. With Blakey pushing the band and setting the dynamic with his typically bombastic style behind the kit, these Messengers kick into high gear right out of the gate on Slide Hampton’s “New World,” which features dazzling solos from trumpeter Bill Hardman, trombonist Julian Priester and tenor saxophonist Billy Harper, along with a whirlwind solo by the bandleader. Harper turns in some dramatic, emotionally charged tenor work on a sparse arrangement of “Angel Eyes” alongside bassist Lawrence Evans and pianist Ronnie Mathews. (Blakey doesn’t enter until the three-minute mark, and Hardman and Priester sit this one out entirely.) Harper adds a stunning minute-long cadenza to this hauntingly beautiful ballad. Hampton’s other composition here, “Slide No. 2,” is an exhilarating, Latin flavored number propelled by Blakey’s irrepressible bashing and featuring some stunning solo contributions from Hardman, Harper and bassist Evans, a potent force throughout this session though a lesser-known figure in Messenger’s lore. The sextet closes with a shockingly dissonant interpretation of Monk’s bop anthem, “52nd Street Theme,” which sounds more like one of Cecil Taylor’s raucous outfits than any edition of the Jazz Messengers you’ve ever heard before. true 21 2007-06-07T14:05:44-04:00 16890 102 200605 true 0 73 2006-05-01T00:00:00-04:00

Recorded in August 1968 at Slug’s, the notorious East Village nightclub where Lee Morgan met his violent end, this reissue features a Jazz Messengers lineup that never made a studio record. With Blakey pushing the band and setting the dynamic with his typically bombastic style behind the kit, these Messengers kick into high gear right out of the gate on Slide Hampton’s “New World,” which features dazzling solos from trumpeter Bill Hardman, trombonist Julian Priester and tenor saxophonist Billy Harper, along with a whirlwind solo by the bandleader. Harper turns in some dramatic, emotionally charged tenor work on a sparse arrangement of “Angel Eyes” alongside bassist Lawrence Evans and pianist Ronnie Mathews. (Blakey doesn’t enter until the three-minute mark, and Hardman and Priester sit this one out entirely.) Harper adds a stunning minute-long cadenza to this hauntingly beautiful ballad. Hampton’s other composition here, “Slide No. 2,” is an exhilarating, Latin flavored number propelled by Blakey’s irrepressible bashing and featuring some stunning solo contributions from Hardman, Harper and bassist Evans, a potent force throughout this session though a lesser-known figure in Messenger’s lore. The sextet closes with a shockingly dissonant interpretation of Monk’s bop anthem, “52nd Street Theme,” which sounds more like one of Cecil Taylor’s raucous outfits than any edition of the Jazz Messengers you’ve ever heard before.

2009-03-02T00:25:30-05:00

4 A one-time sideman to the likes of Freddie Hubbard, Dizzy Gillespie, Bobby Hutcherson and Jackie McLean, Carvin has also been a revered drum teacher over the past 30 years who helped shape the conceptions of such renowned drummers as Cindy Blackman, Ralph Peterson, Nasheet Waits, Rodney Green and Billy Martin. With a potent crew consisting of pianist Carlton Holmes, Carvin’s regular pianist for the past 15 years, and two youngbloods in tenor saxophonist Marcus Strickland and bassist Dezron Douglas (in his first recording session), the Texas-born drummer deftly shapes this session from behind the kit. And whether he’s swinging ferociously, as on the adrenalized closer “Hello Young Lovers” or laying down an infectious groove-happy shuffle, as on the Ravel-derived melody “The Lamp Is Low,” Carvin drives the band with his relentless beat and irrepressible spirit. But he is also capable of playing brushes with Zen-like restraint, as he demonstrates on a delicate, slowly evolving 13-minute rendition of Charles Lloyd’s meditative “Forest Flower,” which has the technically accomplished Strickland playing in a far more relaxed mode than usual. The band comes out blazing on “I’ll Remember April” before settling into an easy shuffle-swing groove on “The Lamp Is Low,” then chilling completely on a luxurious “Body and Soul,” which features a strong guest appearance on tenor sax from Branford Marsalis. Carvin’s solo on Monk’s “In Walked Bud” is strictly old-school bebop—it even cumulates with a quote from “Salt Peanuts”—and his ambitious arrangement of Dizzy Gillespie’s “Night in Tunisia” is full of tricky tempo shifts and time-signature changes that give this old warhorse a new look. Throughout this long-overdue tribute, the 61-year-old drumming master shapes the proceedings like he constructed that solo: with focused intensity and a strong musical vision. true 21 2007-06-07T14:05:44-04:00 16891 102 200605 true 0 73 2006-05-01T00:00:00-04:00

A one-time sideman to the likes of Freddie Hubbard, Dizzy Gillespie, Bobby Hutcherson and Jackie McLean, Carvin has also been a revered drum teacher over the past 30 years who helped shape the conceptions of such renowned drummers as Cindy Blackman, Ralph Peterson, Nasheet Waits, Rodney Green and Billy Martin. With a potent crew consisting of pianist Carlton Holmes, Carvin’s regular pianist for the past 15 years, and two youngbloods in tenor saxophonist Marcus Strickland and bassist Dezron Douglas (in his first recording session), the Texas-born drummer deftly shapes this session from behind the kit. And whether he’s swinging ferociously, as on the adrenalized closer “Hello Young Lovers” or laying down an infectious groove-happy shuffle, as on the Ravel-derived melody “The Lamp Is Low,” Carvin drives the band with his relentless beat and irrepressible spirit. But he is also capable of playing brushes with Zen-like restraint, as he demonstrates on a delicate, slowly evolving 13-minute rendition of Charles Lloyd’s meditative “Forest Flower,” which has the technically accomplished Strickland playing in a far more relaxed mode than usual. The band comes out blazing on “I’ll Remember April” before settling into an easy shuffle-swing groove on “The Lamp Is Low,” then chilling completely on a luxurious “Body and Soul,” which features a strong guest appearance on tenor sax from Branford Marsalis. Carvin’s solo on Monk’s “In Walked Bud” is strictly old-school bebop—it even cumulates with a quote from “Salt Peanuts”—and his ambitious arrangement of Dizzy Gillespie’s “Night in Tunisia” is full of tricky tempo shifts and time-signature changes...

2009-03-02T00:25:30-05:00

4 For his first session as a leader, the in-demand French drummer and longtime sideman to singer Dee Dee Bridgewater joins with two absolute killers in Gypsy guitarist Biréli Lagrène and reigning Hammond B3 champion Joey DeFrancesco for a program of swinging standards with an emphasis on pyrotechnic soloing from the two chopsmeisters. From the supercharged opener, a blazing take on Miles Davis’ “Nardis,” to the energized closer, a burning rendition of “The Song Is You,” it’s clear that this is strictly a stripped-down, no-holds-barred blowing session. The sheer facility that Lagrène and DeFrancesco exhibit throughout—even on a gentle ballad offering like “Sophisticated Lady” or their mellow rendition of “Summertime” in tribute to Jimmy Smith—is simply staggering, yet they also convey a depth of soulful expression that is unsurpassed.Ceccarelli underscores the heated action with a seasoned, supportive swing feel and sensitive brushwork on the ballads. And he steps forward for an extended drum solo on “Prelude,” which serves as springboard into an exhilarating, tempo-shifting rendition of “April in Paris.” Other highlights by this dynamic triumvirate include a gorgeous rendition of Jaco Pastorius’ waltz-time ballad “Three Views of a Secret” and a hip, swinging interpretation of Edith Piaf’s signature song, “La Vie en Rose,” which is underscored by Ceccarelli’s supple brushwork. true 21 2007-06-07T14:05:44-04:00 16892 102 200605 true 0 73 2006-05-01T00:00:00-04:00

For his first session as a leader, the in-demand French drummer and longtime sideman to singer Dee Dee Bridgewater joins with two absolute killers in Gypsy guitarist Biréli Lagrène and reigning Hammond B3 champion Joey DeFrancesco for a program of swinging standards with an emphasis on pyrotechnic soloing from the two chopsmeisters. From the supercharged opener, a blazing take on Miles Davis’ “Nardis,” to the energized closer, a burning rendition of “The Song Is You,” it’s clear that this is strictly a stripped-down, no-holds-barred blowing session. The sheer facility that Lagrène and DeFrancesco exhibit throughout—even on a gentle ballad offering like “Sophisticated Lady” or their mellow rendition of “Summertime” in tribute to Jimmy Smith—is simply staggering, yet they also convey a depth of soulful expression that is unsurpassed.Ceccarelli underscores the heated action with a seasoned, supportive swing feel and sensitive brushwork on the ballads. And he steps forward for an extended drum solo on “Prelude,” which serves as springboard into an exhilarating, tempo-shifting rendition of “April in Paris.” Other highlights by this dynamic triumvirate include a gorgeous rendition of Jaco Pastorius’ waltz-time ballad “Three Views of a Secret” and a hip, swinging interpretation of Edith Piaf’s signature song, “La Vie en Rose,” which is underscored by Ceccarelli’s supple brushwork.

2009-03-02T00:25:30-05:00