4 Bass virtuoso John Carey calls his music "organized chaos" in the CD liner notes, and this live date ventures outside about as far as anything that's come my way in recent memory. Indeed, benchmarks commonly used to evaluate improvisational sessions don't apply here since Carey and his crew are more concerned with a sonically unpredictable dialog than group interaction, or producing compositions weaving individual statements into a unified framework. Yet despite what seems like musical warfare, there are numerous moments of beauty and depth that occur within this frenzy. Besides Carey, guitarist Oz Noy, cellist Dave Eggar, drummer Frank Bellucci and vocalist/percussionist/accordion soloist Rachelle Garniez also shift into and out of the process. Because everything is totally improvised, there's no way to predict what's coming next as these songs unfold. The numbers "Plateau," "Preconception" and "Reconstruction" are quite fluid, while the concluding "Evolution and Telos Goal" prove even more choppy and intense. This is one recording session that dearly needs to be on DVD, because seeing it would probably be more informative and instructive than hearing it. But on the basis of the recorded evidence, this concert was quite a departure from the norm, something that's alternately gripping and perplexing. true 192 2007-06-07T14:05:44-04:00 16362 98 200512 true 0 92 2005-12-01T00:00:00-05:00

Bass virtuoso John Carey calls his music "organized chaos" in the CD liner notes, and this live date ventures outside about as far as anything that's come my way in recent memory. Indeed, benchmarks commonly used to evaluate improvisational sessions don't apply here since Carey and his crew are more concerned with a sonically unpredictable dialog than group interaction, or producing compositions weaving individual statements into a unified framework. Yet despite what seems like musical warfare, there are numerous moments of beauty and depth that occur within this frenzy. Besides Carey, guitarist Oz Noy, cellist Dave Eggar, drummer Frank Bellucci and vocalist/percussionist/accordion soloist Rachelle Garniez also shift into and out of the process. Because everything is totally improvised, there's no way to predict what's coming next as these songs unfold. The numbers "Plateau," "Preconception" and "Reconstruction" are quite fluid, while the concluding "Evolution and Telos Goal" prove even more choppy and intense. This is one recording session that dearly needs to be on DVD, because seeing it would probably be more informative and instructive than hearing it. But on the basis of the recorded evidence, this concert was quite a departure from the norm, something that's alternately gripping and perplexing.

2009-03-02T00:25:10-05:00

4 The Crimson Jazz Trio's lineup of pianist Jody Nardone, bassist Tim Landers and drummer Ian Wallace has been careful not to distort King Crimson's melodies, but they do lots of tinkering, restructuring and harmonic adjustments on Songbook. Songs like "21st Century Schizoid Man," "Catfood," "Red" and "Ladies of the Road" are easily recognizable during the trio's opening passages, then Nardone executes catchy, quirky solos ably embellished by the interplay of Landers and Wallace. While Nardone's the main soloist, Wallace's control of the pace is equally vital to the trio's success; his bombastic power and percussive authority proves the prime extra ingredient. Landers divides his time between complementing Wallace and providing alternate directions for Nardone. The Crimson Jazz Trio's reconfigurations should inspire longtime King Crimson lovers to revisit the original versions of the likes of "Three of a Perfect Pair" and "Starless." They will find that the Crimson Jazz Trio has not just celebrated but enhanced King Crimson's compositions. true 192 2007-06-07T14:05:44-04:00 16363 98 200512 true 0 92 2005-12-01T00:00:00-05:00

The Crimson Jazz Trio's lineup of pianist Jody Nardone, bassist Tim Landers and drummer Ian Wallace has been careful not to distort King Crimson's melodies, but they do lots of tinkering, restructuring and harmonic adjustments on Songbook. Songs like "21st Century Schizoid Man," "Catfood," "Red" and "Ladies of the Road" are easily recognizable during the trio's opening passages, then Nardone executes catchy, quirky solos ably embellished by the interplay of Landers and Wallace. While Nardone's the main soloist, Wallace's control of the pace is equally vital to the trio's success; his bombastic power and percussive authority proves the prime extra ingredient. Landers divides his time between complementing Wallace and providing alternate directions for Nardone. The Crimson Jazz Trio's reconfigurations should inspire longtime King Crimson lovers to revisit the original versions of the likes of "Three of a Perfect Pair" and "Starless." They will find that the Crimson Jazz Trio has not just celebrated but enhanced King Crimson's compositions.

2009-03-02T00:25:10-05:00

4 The Forgas Band Phenomena's latest release blurs idiomatic considerations so extensively they render stylistic definitions irrelevant. No one can accuse bandleader and principal composer Patrick Forgas of being tame or conservative in his writing and arrangements. The shortest piece on the CD is over eight minutes, and the extremely intense "Coup De Theatre (Expect the Unexpected)" spans almost 35, though it contains enough surprising transitions to retain interest. Forgas made plenty of rhythmically challenging, edgy music during the '70s and early- '80s before temporarily retiring. He's been leading various editions of the Forgas Band since the mid-'90s, and this octet version has a twin sax, trumpet, guitar and violin frontline ably suited for works whose opening melodies quickly give way to furious exchanges, spirited solos and passages bouncing back and forth between avant-garde jazz and shorter, rock-tinged statements. The band members with the most prominent jazz pedigrees include tenor/soprano saxophonist Stanislas De Nussac, violinist Frederic Norel and alto saxophonist Denis Guivar'ch, whose rich tone and bright, soulful lines embrace the modern bop tradition and also dip into the soul/blues vocabulary. Keyboardist Igor Brover and guitarist Sylvain Ducloux add sonic spice and rock leanings, with Forgas' sparkling drumming uniting disparate elements into a rhythmically smooth and fluid sound. While there are periods in "Coup De Theatre" and "Pieuvre a la Pluie" when the Forgas Band takes far too long to conclude segments that have peaked creatively, the bulk of Soleil 12 is captivating. true 192 2007-06-07T14:05:44-04:00 16364 98 200512 true 0 92 2005-12-01T00:00:00-05:00

The Forgas Band Phenomena's latest release blurs idiomatic considerations so extensively they render stylistic definitions irrelevant. No one can accuse bandleader and principal composer Patrick Forgas of being tame or conservative in his writing and arrangements. The shortest piece on the CD is over eight minutes, and the extremely intense "Coup De Theatre (Expect the Unexpected)" spans almost 35, though it contains enough surprising transitions to retain interest. Forgas made plenty of rhythmically challenging, edgy music during the '70s and early- '80s before temporarily retiring. He's been leading various editions of the Forgas Band since the mid-'90s, and this octet version has a twin sax, trumpet, guitar and violin frontline ably suited for works whose opening melodies quickly give way to furious exchanges, spirited solos and passages bouncing back and forth between avant-garde jazz and shorter, rock-tinged statements. The band members with the most prominent jazz pedigrees include tenor/soprano saxophonist Stanislas De Nussac, violinist Frederic Norel and alto saxophonist Denis Guivar'ch, whose rich tone and bright, soulful lines embrace the modern bop tradition and also dip into the soul/blues vocabulary. Keyboardist Igor Brover and guitarist Sylvain Ducloux add sonic spice and rock leanings, with Forgas' sparkling drumming uniting disparate elements into a rhythmically smooth and fluid sound. While there are periods in "Coup De Theatre" and "Pieuvre a la Pluie" when the Forgas Band takes far too long to conclude segments that have peaked creatively, the bulk of Soleil 12 is captivating.

2009-03-02T00:25:10-05:00

4 The San Francisco band Garaj Mahal will never be accused of stylistic timidity. Indeed, they try so many things on Blueberry Cave that sometimes they get too ambitious. Kai Eckhardt is a fantastic bassist, one of fusion's finest groove players, but he's not a good scat singer and should avoid putting any more of those vocals on record. The unnecessary "'Spect Rap" includes questionable hip-hop references with blaring sitar, and the excessive guitar-keyboard duel between Fareed Haque and Eric Levy nearly ruins the otherwise excellent title track. But fortunately these flaws don't overshadow the rest of the session. There's a far more creative and enticing mix of rap and jazz on the short piece "Bicycling in Bombay," and the rhythmically bright "Celtic Indian" contains outstanding drumming by Alan Hertz. Haque's best solo and tremendous ensemble interaction make "Paladin" a noteworthy cut, and the group brilliantly delves into '70s funk on "Cosmic Elevator." Garaj Mahal smartly incorporates nimble blues work from Haque and nice funk and jazz elements from Eckhardt, Levy and Hertz on "Alvin." The good songs are performed so capably only some stylistic overreaching drops Blueberry Cave down from great to very good. true 192 2007-06-07T14:05:44-04:00 16365 98 200512 true 0 92 2005-12-01T00:00:00-05:00

The San Francisco band Garaj Mahal will never be accused of stylistic timidity. Indeed, they try so many things on Blueberry Cave that sometimes they get too ambitious. Kai Eckhardt is a fantastic bassist, one of fusion's finest groove players, but he's not a good scat singer and should avoid putting any more of those vocals on record. The unnecessary "'Spect Rap" includes questionable hip-hop references with blaring sitar, and the excessive guitar-keyboard duel between Fareed Haque and Eric Levy nearly ruins the otherwise excellent title track. But fortunately these flaws don't overshadow the rest of the session. There's a far more creative and enticing mix of rap and jazz on the short piece "Bicycling in Bombay," and the rhythmically bright "Celtic Indian" contains outstanding drumming by Alan Hertz. Haque's best solo and tremendous ensemble interaction make "Paladin" a noteworthy cut, and the group brilliantly delves into '70s funk on "Cosmic Elevator." Garaj Mahal smartly incorporates nimble blues work from Haque and nice funk and jazz elements from Eckhardt, Levy and Hertz on "Alvin." The good songs are performed so capably only some stylistic overreaching drops Blueberry Cave down from great to very good.

2009-03-02T00:25:10-05:00

4 Swedish multi-instrumentalists Mats Oberg and Morgan Agren mix funky, groove-oriented influences with aspects of trance, rock, jam band and 4/4 jazz on Thanks for Flying With Us. The 16-track CD contains studio and live cuts, and the best pieces are those where East and Western elements share space. These cuts include "Allan in the Rain" where Turkish reed player Ismet Demirhan's whirling, emphatic playing on the zurna (a double-reed instrument) elevates an otherwise good but unspectacular arrangement. By comparison, both the band and soloist Johan Soderkvis on klaviharp (a combination cembalo and clavinet) are animated and energized during "Softma." Oberg is a fine harmonica player and good keyboardist, while Agren's best work comes on drums. Guitarist/bassist Jimmy Agren brings a dynamic style to his accompaniment and his lead playing, while bassist Tommy Tordsson and multi-instrumentalist Robert Elovsson (keyboards, clarinet, voice) provide additional coloration. Still, what's most impressive and interesting about the Mats/Morgan Band is its cohesion. The group makes music that works on a cerebral and an emotional level. true 192 2007-06-07T14:05:44-04:00 16366 98 200512 true 0 92 2005-12-01T00:00:00-05:00

Swedish multi-instrumentalists Mats Oberg and Morgan Agren mix funky, groove-oriented influences with aspects of trance, rock, jam band and 4/4 jazz on Thanks for Flying With Us. The 16-track CD contains studio and live cuts, and the best pieces are those where East and Western elements share space. These cuts include "Allan in the Rain" where Turkish reed player Ismet Demirhan's whirling, emphatic playing on the zurna (a double-reed instrument) elevates an otherwise good but unspectacular arrangement. By comparison, both the band and soloist Johan Soderkvis on klaviharp (a combination cembalo and clavinet) are animated and energized during "Softma." Oberg is a fine harmonica player and good keyboardist, while Agren's best work comes on drums. Guitarist/bassist Jimmy Agren brings a dynamic style to his accompaniment and his lead playing, while bassist Tommy Tordsson and multi-instrumentalist Robert Elovsson (keyboards, clarinet, voice) provide additional coloration. Still, what's most impressive and interesting about the Mats/Morgan Band is its cohesion. The group makes music that works on a cerebral and an emotional level.

2009-03-02T00:25:10-05:00

4 Former Soft Machine bassist Hugh Hopper's current band, NDIO, offers some exciting pieces on Airback, though the insertion of distracting samples sometimes detracts from rather than improves the composition. That's particularly true on "Stromboli," where Hopper's samples make the short tune overly busy, and on "Last Night of the Prawns" where Michael Banabila's samples don't buttress the main arrangement so much as clutter it up. But "Big Bombay," "Landscapes," "Bone" and "Mr. Barn," the disc's finest selections, combine flamboyant solos and adept unison passages without electronic distractions. Shorter songs like "Stromboli," which is both disjointed and limp, and the rambling "Mind Interception," fail to inspire. Besides principal composer, tenor/soprano saxophonist and bass clarinetist Frank van der Kooij, the band's other sterling instrumentalists include trombonist Robert Jarvis, guitarist Niels Brouwer and Hopper, a clean, fast soloist and fine accompanist. true 192 2007-06-07T14:05:44-04:00 16367 98 200512 true 0 92 2005-12-01T00:00:00-05:00

Former Soft Machine bassist Hugh Hopper's current band, NDIO, offers some exciting pieces on Airback, though the insertion of distracting samples sometimes detracts from rather than improves the composition. That's particularly true on "Stromboli," where Hopper's samples make the short tune overly busy, and on "Last Night of the Prawns" where Michael Banabila's samples don't buttress the main arrangement so much as clutter it up. But "Big Bombay," "Landscapes," "Bone" and "Mr. Barn," the disc's finest selections, combine flamboyant solos and adept unison passages without electronic distractions. Shorter songs like "Stromboli," which is both disjointed and limp, and the rambling "Mind Interception," fail to inspire. Besides principal composer, tenor/soprano saxophonist and bass clarinetist Frank van der Kooij, the band's other sterling instrumentalists include trombonist Robert Jarvis, guitarist Niels Brouwer and Hopper, a clean, fast soloist and fine accompanist.

2009-03-02T00:25:10-05:00

4 At its best, Niacin's surging, highly personalized music is almost as frenetic and sophisticated as that crafted by the late B3 master Larry Young. While that's high praise, there are at least 10 tracks among the 13 featured selections from Organik that deserve it. While keyboardist John Novello doesn't match Young's blinding speed or imagination, he can play outstanding gritty blues and experimental tunes with equal aplomb, as on "Barbarian @ the Gate," "Nemesis" and "Magnetic Mood." Drummer Dennis Chambers gives Novello the same sort of rhythmic push Tony Williams offered Young, and bassist Billy Sheehan switches from anchoring to leading at the snap of a string. Niacin can do the power-trio bit very effectively, but the band works best when it's twisting and extending grooves on the fly. While Sheehan sometimes gets a bit carried away with the note barrages, the many excellent pieces on Organik forgive a few moments of excess. true 192 2007-06-07T14:05:44-04:00 16368 98 200512 true 0 92 2005-12-01T00:00:00-05:00

At its best, Niacin's surging, highly personalized music is almost as frenetic and sophisticated as that crafted by the late B3 master Larry Young. While that's high praise, there are at least 10 tracks among the 13 featured selections from Organik that deserve it. While keyboardist John Novello doesn't match Young's blinding speed or imagination, he can play outstanding gritty blues and experimental tunes with equal aplomb, as on "Barbarian @ the Gate," "Nemesis" and "Magnetic Mood." Drummer Dennis Chambers gives Novello the same sort of rhythmic push Tony Williams offered Young, and bassist Billy Sheehan switches from anchoring to leading at the snap of a string. Niacin can do the power-trio bit very effectively, but the band works best when it's twisting and extending grooves on the fly. While Sheehan sometimes gets a bit carried away with the note barrages, the many excellent pieces on Organik forgive a few moments of excess.

2009-03-02T00:25:10-05:00

4 Nashville keyboardist and bandleader Charlie Peacock has amassed such a reputation as a gospel and pop producer as well as a session player that his early roots in jazz aren't widely known. Peacock revisits his jazz heritage here with a set that won't excite hard-bop buffs but will delight those who enjoy first-rate instrumental music. Peacock blends a jazz sensibility with rock/soul fervor, and he's teamed with great players such as bassists Victor Wooten and James Genus, saxophonists Kirk Whalum, Jeff Coffin and Ravi Coltrane, drummer Joey Baron and trumpeter Ralph Alessi. "Be Well Johnny Cash" combines a stirring contribution from guitarist Kurt Rosenwinkel with great solos by Coffin and Alessi. The celebratory soul-jazz groover "When Diana Dances" features Whalum's gritty tenor-sax playing, soulful trumpet from Alessi and nasty organ licks from Tower of Power's Roger Smith. Peacock's two solo-piano pieces--the jagged, octave-leaping "Dodo's Whim" and the nimble "Frank the Marxist Memorial Gong Blues"--obliterate any questions about Peacock's jazz viability. true 192 2007-06-07T14:05:44-04:00 16369 98 200512 true 0 92 2005-12-01T00:00:00-05:00

Nashville keyboardist and bandleader Charlie Peacock has amassed such a reputation as a gospel and pop producer as well as a session player that his early roots in jazz aren't widely known. Peacock revisits his jazz heritage here with a set that won't excite hard-bop buffs but will delight those who enjoy first-rate instrumental music. Peacock blends a jazz sensibility with rock/soul fervor, and he's teamed with great players such as bassists Victor Wooten and James Genus, saxophonists Kirk Whalum, Jeff Coffin and Ravi Coltrane, drummer Joey Baron and trumpeter Ralph Alessi. "Be Well Johnny Cash" combines a stirring contribution from guitarist Kurt Rosenwinkel with great solos by Coffin and Alessi. The celebratory soul-jazz groover "When Diana Dances" features Whalum's gritty tenor-sax playing, soulful trumpet from Alessi and nasty organ licks from Tower of Power's Roger Smith. Peacock's two solo-piano pieces--the jagged, octave-leaping "Dodo's Whim" and the nimble "Frank the Marxist Memorial Gong Blues"--obliterate any questions about Peacock's jazz viability.

2009-03-02T00:25:10-05:00

4 The songs on this tribute that will most remind listeners of electric-bass giant Jaco Pastorius' greatness are those featuring guitarist Hiram Bullock or bassists John Patitucci and Marcus Miller. Bullock teams with fellow guitarist Bireli Lagrene and the chorus Contrafarsa on "Three Views of a Secret," which touches on the fusion, funk and Spanish tinges in Pastorius' work. The same holds true for "Havona," with tenor saxophonist Bob Mintzer's fiery playing and the addition of steel-pan player Othello Molineaux and percussionist Robert Thomas Jr. covering the Caribbean and Latin bases, while Mintzer and others spotlight the straightahead jazz side. Other notables include Ines Bergara's saucy and soulful vocal on "I Can Dig It Baby," an homage to the '70s Florida soul-and-funk scene Pastorius helped nurture, and Gil Goldstein's delightful accordion playing on "Punk Jazz," one of Pastorius' greatest works. The versions of "Good Morning Anya," "Microcosm" and "Teen Town" aren't as musically attractive, but they're not terrible either. Gospel for J.F.P. III is an ideal demostration of the love that so many inside and outside the jazz world have for Pastorius and his music. true 192 2007-06-07T14:05:44-04:00 16370 98 200512 true 0 92 2005-12-01T00:00:00-05:00

The songs on this tribute that will most remind listeners of electric-bass giant Jaco Pastorius' greatness are those featuring guitarist Hiram Bullock or bassists John Patitucci and Marcus Miller. Bullock teams with fellow guitarist Bireli Lagrene and the chorus Contrafarsa on "Three Views of a Secret," which touches on the fusion, funk and Spanish tinges in Pastorius' work. The same holds true for "Havona," with tenor saxophonist Bob Mintzer's fiery playing and the addition of steel-pan player Othello Molineaux and percussionist Robert Thomas Jr. covering the Caribbean and Latin bases, while Mintzer and others spotlight the straightahead jazz side. Other notables include Ines Bergara's saucy and soulful vocal on "I Can Dig It Baby," an homage to the '70s Florida soul-and-funk scene Pastorius helped nurture, and Gil Goldstein's delightful accordion playing on "Punk Jazz," one of Pastorius' greatest works. The versions of "Good Morning Anya," "Microcosm" and "Teen Town" aren't as musically attractive, but they're not terrible either. Gospel for J.F.P. III is an ideal demostration of the love that so many inside and outside the jazz world have for Pastorius and his music.

2009-03-02T00:25:10-05:00

4 Although a majority of the material on guitarist Steve Kimock's new re-lease Eudemonic doesn't qualify as jazz in even the loosest sense of the term, it's clearly improvisational and edgy. Kimock moves in and out of numerous genres during these nine pieces, making tempo adjustments and maneuvers with ease while also playing steel guitar, mandolin and ukulele. He zips through rock tunes, blues progressions, pieces with African and Asian influences, even adding bits of country and Hawaiian sounds. Occasionally, as on the nearly 12-minute "Elmer's Revenge" his quintet extends things too much, but they're mostly disciplined enough to break off solos or exchanges that are degenerating. Drummer Rodney Holmes lays down either simple, steady backbeats or more intricate ones depending on what's needed, while bassist Alphonso Johnson delivers crunching accompaniment and mighty lines on tunes like "Ice Cream," "The Bronx Experiment" and "Tongue 'n' Groove." As the second guitarist Mitch Stein manages the difficult task of not being overwhelmed by Kimock, yet maintains vitality and energy while operating mainly in a rhythm capacity. Another attribute of this music is that the numbers really are band pieces rather than guitar showcases. Kimock responds, interacts, complements and contrasts the other players, who in turn challenge and extend him through their responses. true 192 2007-06-07T14:05:44-04:00 16248 97 200511 true 0 92 2005-11-01T00:00:00-05:00

Although a majority of the material on guitarist Steve Kimock's new re-lease Eudemonic doesn't qualify as jazz in even the loosest sense of the term, it's clearly improvisational and edgy. Kimock moves in and out of numerous genres during these nine pieces, making tempo adjustments and maneuvers with ease while also playing steel guitar, mandolin and ukulele. He zips through rock tunes, blues progressions, pieces with African and Asian influences, even adding bits of country and Hawaiian sounds. Occasionally, as on the nearly 12-minute "Elmer's Revenge" his quintet extends things too much, but they're mostly disciplined enough to break off solos or exchanges that are degenerating. Drummer Rodney Holmes lays down either simple, steady backbeats or more intricate ones depending on what's needed, while bassist Alphonso Johnson delivers crunching accompaniment and mighty lines on tunes like "Ice Cream," "The Bronx Experiment" and "Tongue 'n' Groove." As the second guitarist Mitch Stein manages the difficult task of not being overwhelmed by Kimock, yet maintains vitality and energy while operating mainly in a rhythm capacity. Another attribute of this music is that the numbers really are band pieces rather than guitar showcases. Kimock responds, interacts, complements and contrasts the other players, who in turn challenge and extend him through their responses.

2009-03-02T00:25:04-05:00

4 The rhythm ensemble Mecca Bodega's sixth disc Skin not only has the expected percussion duels and barrages but also is more thematically varied than expected. For example, the second number, "Anytime Is a Good Time," includes brass and dulcimer inserts as well as resolute exchanges between drummers. Besides the standard trap kit, some of the other instruments utilized include tables, congas, French horn, piano, dumbek, a beer keg, didgeridoo and didjbone. The longer numbers like "Sidewinder," "Doko" and "Anytime Is a Good Time" are most musically inspiring and interesting, because they evolve beyond lengthy call-and-response situations. You hear primary and secondary patterns, and fuller, more memorable passages. Mecca Bodega members' flair with all types of drums is remarkable, and it's the main reason for checking out this CD. true 192 2007-06-07T14:05:44-04:00 16249 97 200511 true 0 92 2005-11-01T00:00:00-05:00

The rhythm ensemble Mecca Bodega's sixth disc Skin not only has the expected percussion duels and barrages but also is more thematically varied than expected. For example, the second number, "Anytime Is a Good Time," includes brass and dulcimer inserts as well as resolute exchanges between drummers. Besides the standard trap kit, some of the other instruments utilized include tables, congas, French horn, piano, dumbek, a beer keg, didgeridoo and didjbone. The longer numbers like "Sidewinder," "Doko" and "Anytime Is a Good Time" are most musically inspiring and interesting, because they evolve beyond lengthy call-and-response situations. You hear primary and secondary patterns, and fuller, more memorable passages. Mecca Bodega members' flair with all types of drums is remarkable, and it's the main reason for checking out this CD.

2009-03-02T00:25:04-05:00

4 Sometimes New Monsoon's tunes are reminiscent of those done by the early jazz-rock group Dreams, whose ranks included the Brecker brothers. The instrumental segments were fantastic, but once the vocals started, things quickly turned generic and disposable. Guitarist Jeff Miller and keyboardist Phil Ferlino are accomplished instrumentalists, and when they're doing transitions, fills or solos they make entertaining, commendable statements. But from the opening moments of "Journey Man" on through other songs like "Trust in Me" there's a noticeable lack of distinction and energy in the vocals and lyrics. That's the group's only glaring weakness, because everyone plays well, the unison sections and arrangements are generally sharp and there are even some nice voicings with banjo and tabla employed in surprising settings. Improvement in the singing and lyrical areas can turn what's now a good instrumental unit into a top all-around band. true 192 2007-06-07T14:05:44-04:00 16250 97 200511 true 0 92 2005-11-01T00:00:00-05:00

Sometimes New Monsoon's tunes are reminiscent of those done by the early jazz-rock group Dreams, whose ranks included the Brecker brothers. The instrumental segments were fantastic, but once the vocals started, things quickly turned generic and disposable. Guitarist Jeff Miller and keyboardist Phil Ferlino are accomplished instrumentalists, and when they're doing transitions, fills or solos they make entertaining, commendable statements. But from the opening moments of "Journey Man" on through other songs like "Trust in Me" there's a noticeable lack of distinction and energy in the vocals and lyrics. That's the group's only glaring weakness, because everyone plays well, the unison sections and arrangements are generally sharp and there are even some nice voicings with banjo and tabla employed in surprising settings. Improvement in the singing and lyrical areas can turn what's now a good instrumental unit into a top all-around band.

2009-03-02T00:25:04-05:00

4 Flashpoint represents saxophonist Dave Liebman's most challenging group association since his days with Miles Davis and Elvin Jones. While his band Lookout Farm performed many beautiful compositions, they weren't nearly as versatile as Flashpoint, whose members can handle funk and world music as well as fusion, blues and rock. Their skill even extends into more mainstream styles, as they deftly demonstrate on "The Gentle Warrior," one of several compositional gems, though Liebman's soothing, whirling soprano sax here is more solemn and reverential than intense. But the date's prevailing mood is raw and fiery, very much jazz-rock at its most aggressive. Besides soprano sax, Liebman is forceful and bluesy on tenor (excelling on "Like John") and almost dreamy and ethereal on bamboo Indian flute ("Yildiz"). Steve Smith turns heads and mesmerizes arenas in his role as rock-drum guru for Vital Information, but he's proven a talented player in other contexts. He not only capably provides the rhythmic stimulus for such pieces as "Khandu West" and "Edge of Tomorrow," he's quite effective playing ghatam (clay pot) on "Yildiz." Keyboardist Aydin Esen and contrabass guitarist Anthony Jackson handle their roles expertly, with Esen more musically arresting on electric keyboards and synthesizers than acoustic, and Jackson at his best on "Edge of Tomorrow" and "Particles." The only knock on Flashpoint is that these tunes don't always fully highlight the group's prowess, but assuming they stay together the band has a chance to become one of the better fusion units. true 192 2007-06-07T14:05:44-04:00 false 16251 97 200511 true 0 92 2005-11-01T00:00:00-05:00

Flashpoint represents saxophonist Dave Liebman's most challenging group association since his days with Miles Davis and Elvin Jones. While his band Lookout Farm performed many beautiful compositions, they weren't nearly as versatile as Flashpoint, whose members can handle funk and world music as well as fusion, blues and rock. Their skill even extends into more mainstream styles, as they deftly demonstrate on "The Gentle Warrior," one of several compositional gems, though Liebman's soothing, whirling soprano sax here is more solemn and reverential than intense. But the date's prevailing mood is raw and fiery, very much jazz-rock at its most aggressive. Besides soprano sax, Liebman is forceful and bluesy on tenor (excelling on "Like John") and almost dreamy and ethereal on bamboo Indian flute ("Yildiz"). Steve Smith turns heads and mesmerizes arenas in his role as rock-drum guru for Vital Information, but he's proven a talented player in other contexts. He not only capably provides the rhythmic stimulus for such pieces as "Khandu West" and "Edge of Tomorrow," he's quite effective playing ghatam (clay pot) on "Yildiz." Keyboardist Aydin Esen and contrabass guitarist Anthony Jackson handle their roles expertly, with Esen more musically arresting on electric keyboards and synthesizers than acoustic, and Jackson at his best on "Edge of Tomorrow" and "Particles." The only knock on Flashpoint is that these tunes don't always fully highlight the group's prowess, but assuming they stay together the band has a chance to become one of the better fusion units.

2009-03-02T00:25:04-05:00

4 The term collaboration doesn't adequately define this multitextured, impressive release that truly represents a collective musical vision rather than an all-star or competitive trio outing. Hailing from Cameroon, the Democratic Republic of Congo and Martinique respectively, Richard Bona, Lokua Kanza and Gerald Toto make this 12-cut work a blueprint for crosscultural cooperation, weaving their divergent linguistic and musical backgrounds into a tapestry that never becomes chaotic, yet keeps shifting and expanding. Bassist Bona displays his playing mastery during the introduction and in other sections of his piece "Seven Beats," then moves to the keyboard on Kanza's "Stesuff" and displays his classically influenced side. Kanza's kora playing is light, percussive and delightful on "Lamuka," while Toto's vocal journeys and forays are a highlight of "Help Me" and "Flutes." African and Caribbean ingredients neatly converge with jazz references, as Bona, Kanza and Toto craft music that's sometimes gentle, sometimes majestic and always magnificent. true 192 2007-06-07T14:05:44-04:00 16252 97 200511 true 0 92 2005-11-01T00:00:00-05:00

The term collaboration doesn't adequately define this multitextured, impressive release that truly represents a collective musical vision rather than an all-star or competitive trio outing. Hailing from Cameroon, the Democratic Republic of Congo and Martinique respectively, Richard Bona, Lokua Kanza and Gerald Toto make this 12-cut work a blueprint for crosscultural cooperation, weaving their divergent linguistic and musical backgrounds into a tapestry that never becomes chaotic, yet keeps shifting and expanding. Bassist Bona displays his playing mastery during the introduction and in other sections of his piece "Seven Beats," then moves to the keyboard on Kanza's "Stesuff" and displays his classically influenced side. Kanza's kora playing is light, percussive and delightful on "Lamuka," while Toto's vocal journeys and forays are a highlight of "Help Me" and "Flutes." African and Caribbean ingredients neatly converge with jazz references, as Bona, Kanza and Toto craft music that's sometimes gentle, sometimes majestic and always magnificent.

2009-03-02T00:25:04-05:00

4 Musicians and fans that revere Miles Davis' late period work will treasure Fusion For Miles, an anthology whose participants consider "Black Satin," "Back Seat Betty" and "Spanish Key" just as important as "So What" or "Nefertiti" (which are also part of the menu here). Organist Larry Goldings brings some blues/soul grit to the main lineup that also includes a tremendous funk bassist (Alphonso Johnson), a saxophonist just as comfortable with groove-heavy fare as the avant-garde (Dave Liebman) and a guitar-and-drum drum combo that are regulars in this setting (Jeff Richman and Vinnie Colaiuta, respectively). Although personal favorites include Bill Frisell's typically unusual but effective playing on "Nefertiti," Pat Martino's easy, sleek solos on "Serpent's Tooth" and Bireli Lagrene's balance between flash and soul on "Spanish Key," there's also Mike Stern's steady playing on "So What" and Jimmy Herring's resourcefulness on "Black Satin." Richman's arrangements retain much of the intensity and appeal of the original tunes, though the larger Davis aggregations generated more punch on "Black Satin" or "Back Seat Betty." As someone who initially loved (and still loves) the electric Davis' ensembles as much as the great acoustic groups, Fusion for Miles is a worthy celebration of both approaches. true 192 2007-06-07T14:05:44-04:00 false 16253 97 200511 true 0 92 2005-11-01T00:00:00-05:00

Musicians and fans that revere Miles Davis' late period work will treasure Fusion For Miles, an anthology whose participants consider "Black Satin," "Back Seat Betty" and "Spanish Key" just as important as "So What" or "Nefertiti" (which are also part of the menu here). Organist Larry Goldings brings some blues/soul grit to the main lineup that also includes a tremendous funk bassist (Alphonso Johnson), a saxophonist just as comfortable with groove-heavy fare as the avant-garde (Dave Liebman) and a guitar-and-drum drum combo that are regulars in this setting (Jeff Richman and Vinnie Colaiuta, respectively). Although personal favorites include Bill Frisell's typically unusual but effective playing on "Nefertiti," Pat Martino's easy, sleek solos on "Serpent's Tooth" and Bireli Lagrene's balance between flash and soul on "Spanish Key," there's also Mike Stern's steady playing on "So What" and Jimmy Herring's resourcefulness on "Black Satin." Richman's arrangements retain much of the intensity and appeal of the original tunes, though the larger Davis aggregations generated more punch on "Black Satin" or "Back Seat Betty." As someone who initially loved (and still loves) the electric Davis' ensembles as much as the great acoustic groups, Fusion for Miles is a worthy celebration of both approaches.

2009-03-02T00:25:04-05:00

4 Weather Report made several extraordinary releases through a mostly distinguished 16-year career that further elevated the sizable reputations of coleaders saxophonist Wayne Shorter and keyboardist Joe Zawinul. Their compositional acumen provides the foundation for this two-disc workout. The list of participants mirrors Weather Report's numerous personnel changes, not to mention the group's varied stylistic directions. Rather than be an exercise in repertory, here's one tribute date with ample fresh takes and dynamic playing. Keyboardist Rachel Z touches on New Age and rock for "On the Milky Way Express," while fellow keys player Scott Kinsey uses sampled vocals by Mamady Keita and sampled recorder and electric guitar from Steve Tavaglione on "Big Rock." Bassist Marcus Miller joins Weather Report alumni and drummer Omar Hakim and percussionist Don Alias for a version of Jaco Pastorius' "Teen Town" that's equal parts funk romp and Afro-Latin excursion. Pianist Michiel Borstlap and saxophonist Yuri Honing reflect the introspective elements of Weather Report with Borstlap's "Memory of Enchantment," which contains outstanding soprano sax from Honing. The CD has many other exciting and dazzling moments, among them a sparkling performance of "Pinocchio" by pianist Michael Wolff, bassist Christian McBride and drummer Tony Williams as well as booming, flashy electric bass workouts from Kai Eckhardt on "Queen of Cups" and Gary Willis on his original "Emancipation." true 192 2007-06-07T14:05:44-04:00 16254 97 200511 true 0 92 2005-11-01T00:00:00-05:00

Weather Report made several extraordinary releases through a mostly distinguished 16-year career that further elevated the sizable reputations of coleaders saxophonist Wayne Shorter and keyboardist Joe Zawinul. Their compositional acumen provides the foundation for this two-disc workout. The list of participants mirrors Weather Report's numerous personnel changes, not to mention the group's varied stylistic directions. Rather than be an exercise in repertory, here's one tribute date with ample fresh takes and dynamic playing. Keyboardist Rachel Z touches on New Age and rock for "On the Milky Way Express," while fellow keys player Scott Kinsey uses sampled vocals by Mamady Keita and sampled recorder and electric guitar from Steve Tavaglione on "Big Rock." Bassist Marcus Miller joins Weather Report alumni and drummer Omar Hakim and percussionist Don Alias for a version of Jaco Pastorius' "Teen Town" that's equal parts funk romp and Afro-Latin excursion. Pianist Michiel Borstlap and saxophonist Yuri Honing reflect the introspective elements of Weather Report with Borstlap's "Memory of Enchantment," which contains outstanding soprano sax from Honing. The CD has many other exciting and dazzling moments, among them a sparkling performance of "Pinocchio" by pianist Michael Wolff, bassist Christian McBride and drummer Tony Williams as well as booming, flashy electric bass workouts from Kai Eckhardt on "Queen of Cups" and Gary Willis on his original "Emancipation."

2009-03-02T00:25:04-05:00