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NIELS HENNING ORSTED PEDERSEN & KENNETH KNUDSEN - Pictures (1978)

July 12, 2016, 12:10 am
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Tracks

1. Skagen (Knudsen)
2. School Song (Pedersen)
3. It's All There (Knudsen)
4. Signal (Knudsen)
5. Afternoon's Sentiment (Pedersen)
6. Daughters (Knudsen)

NIELS HENNING ORSTED PEDERSENbass
KENNETH KNUDSENkeyboards

Recorded December 4 & 5, 1976, Denmark
SteepleChase SCCD 31060
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NIELS PEDERSEN & PHILP CATHERINE - Art Of The Duo (1993)

July 12, 2016, 12:29 am
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Tracks

01. Twice a week (Catherine)
02. My foolish heart (Young)
03. Stella by starlight (Young)
04. All the things you are (Kern)
05. The Puzzle (Pedersen)
06. I should care (Weston/Stordahl/Kahn)
07. Janet (Catherine)
08. Air powder/ Dancing girls (Catherine/Pedersen)

PHILIP CATHERINE  guitar
NIELS PEDERSEN  bass

Recorded in Jazzclub Chorus in Switzerland, february 1991
Enja  8016 - 2
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ARCHIE SHEPP, NIELS HENNING ORSTED PEDERSEN - Looking At Bird (1980)

July 12, 2016, 1:00 am
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Avant-garde tenor saxophonist Archie Shepp created a stir in 1977 when he recorded a set of hymns and folk melodies in melodic duets with pianist Horace Parlan. On February 6, 1980, he reunited with Parlan for a set of blues associated with Bessie Smith, and the following day, as a sort of sequel, Shepp played eight songs associated with Charlie Parker in collaboration with bassist Niels-Henning Orsted Pedersen. Although never a bebopper, Shepp does surprisingly well on such tunes as "Moose the Mooche,""Ornithology,""Yardbird Suite" and "Confirmation," even if he makes the mistake of doubling on his erratic soprano during a few numbers. Archie Shepp pays tribute to Bird not by copying him, but by being creative and playing Parker’s repertoire in his own sound. Recommended.  -  Scott Yanow

Tracks
01. Moose the Mooche (Charlie Parker)
02. Embraceable You (George Gershwin/Ira Gershwin)
03. Ornithology (Benny Harris/Charlie Parker)
04. Billi’s Bounce (Charlie Parker)
05. Yardbird Suite (Charlie Parker)
06. Blues for Alice (Charlie Parker)
07. How Deep Is the Ocean (Irving Berlin)
08. Confirmation (Charlie Parker)

ARCHIE SHEPP  soprano saxophone, tenor saxophone
NIELS HENNING ORSTED PEDERSEN  bass

Recorded February 7, 1980

SteepleChase – SCCD 31149
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DAVID FRIESEN - Star Dance (1976)

July 12, 2016, 1:30 am
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“Once in a great while, a musician emerges with such authority and such seemingly effortless originality that his place in the front ranks of his instrument is unquestioned. So it is now with David Friesen. As you shall hear in this album – the first in a series of Friesen sets for Inner City – he not only possesses prodigious technique but more importantly, Friesen has become one of the most compelling story-tellers and mood-explorers on the jazz bass. There is no dearth of astonishingly agile and resourceful bass players these years, but Friesen also says so much. And he speaks in sounds that have seldom been equaled on the instrument for fullness, warmth, and what I can call a spaciousness of spirit that makes Friesens’s music a remarkably regenerating experience. If you think this is hyperbole, stop reading and put on Duet and Dialogue.

“Also evident throughout this session are Friesen’s qualities noted by Maggie Hawthorne, a chronically perceptive jazz critic for the Seattle Post-Intelligencer: ‘A striking player, exploring the limits of the acoustic bass with fearless and joyful eagerness.’ Fearless, because of Friesen’s own formidable inner serenity, a result of his religious beliefs. Joyful, because he is one of those musicians who can never get enough of music, who continually surprises himself with the endless possibilities of musical discovery.

“This album focuses on Friesen as a leader-composer as well as a bassist; but it is germane to point out that his distinctive career as a sideman reveals how much of the scope of jazz he commands. Among the musicians Friesen has worked with are Joe Henderson, Stan Getz, Woody Shaw, Joe Venuti, Ted Curson, Ralph Towner, Slim Gaillard, John Handy, Marian McPartland, Sam Rivers and Billy Harper. I asked one of them, Ted Curson, to characterize Friesen. ‘He’s a genius,’ said Ted. ‘It’s not a term I often use, but that’s what he is. Time, sound, ideas, he’s got it all. And he listens. He can fit in anywhere.’ –Nat Hentoff


Tracks
01. Winter's Fall
02. Duet and Dialogue
03. Dolphin in the Sky
04. Star Dance
05. I Rue Brey
06. Fields Of Joy
07. A Little Child's Poem
08. Clouds
09. Children of the Kingdom
10. Mountain Stream

DAVID FRIESENdouble bass
JOHN STOWELLguitar
STEVE GADDdrums
PAUL McCANDLESSenglish horn, oboe

All songs by David Friesen
Recorded at Downtown Sound N.Y.C. on November 8, 1976
Inner City IC 1019
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DAVID FRIESEN - Waterfall Rainbow (1977)

July 12, 2016, 1:43 am
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1. Spring Wind
2. French Festival
3. Waterfall Rainbow
4. Castles & flags
5. The Peace That Passes Understanding
6. Song of Switzerland
7. Song of the Stars
8. Dancing Spirits Before the Lord
9. Flight of the Angels

DAVID FRIESENacoustic bass
RALPH TOWNERclassical gutar Y 12-string guitar
JOHN STOWELLelectric guitar
PAUL McCANDLESSoboe, english horn, bass clarinet
NICK BRIGNOLAflute
BOBBY MOSESdrums
JIM SAPORITO percussion

All compositions and arrangements by David Friesen
Recorded at Downtown Sound, N.Y.C. June/August, 1977
Inner City IC 1027
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DAVID FRIESEN & JOHN STOWELL - Through The Listening Glass (1978)

July 12, 2016, 2:07 am
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On David: "In his bass playing, composing and arranging, David Friesen paints with passion and precise control. His music springs from intensely personal experiences, and a sophisticated musical knowledge. He is a romantic colorist, and a throughly trained musician."
C. Berg. Down Beat

On John: "...John Stowell can make a electric guitar sound like a singing voice..."
Nat Hentoff

Tracks
01. wisdom's star
02. tabla/eternal friend
03. opening out
04. through the listening glass
05. peace for the enduring heart
06. carousel parade
07. ancient kings
08. autumn ballet
09. frontal dichotomy
10. wings of light
11. high places
12. secret moments of silence

DAVID FRIESENacoustic bass, shakuhatchi flute, belltree, percussion
JOHN STOWELLsix and twelve string guitars, african log drum, thumb piano, cymbals
GARY CAMPBELL soprano and tenor saxophones

All compositions by David Friesen except (3) & (9) by John Stowell
Recorded at Media Sound N.Y.C. July/August 1978
Inner City IC 1061
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MIKE NOCK & DAVE LIEBMAN - Duologue (2007)

July 13, 2016, 6:52 pm
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New Zealand-born pianist Mike Nock and American saxophonist Dave Liebman first crossed paths in the ‘60s when Nock was living in the US, first coming to attention with the proto-fusion group Fourth Way.
They haven’t seen each other in over two decades, last working together on Liebman’s The Opal Heart (Enja, 1982). Recorded live at Australia’s Wangaratta Jazz Festival in the fall of 2004, Duologue has the intimate and unassuming feel of two artists for whom the years melted away the minute they hit the stage.
That’s not to say the two don’t challenge each other: they consistently push and prod each other in subtle and sometimes not-so-subtle ways throughout this hour-long performance. Featuring two standards, three pieces by Liebman and one by Nock, none of the originals are new, but here they assume a decidedly new complexion.
Liebman’s “Nadir” is a spacious free piece built around a sketchy premise, and demonstrates why Liebman is the preeminent soprano saxophonist of his generation. That he possesses inimitable skill and an arsenal of extended techniques is without question, but Liebman integrates them in a completely musical way that avoids grandstanding Multiphonics abound with, at one point during the nine-minute piece, Liebman holding onto a high note while, remarkably, a first descending and then ascending harmonic shimmers underneath.
“Breath” has clearer form despite being similarly elastic. Nock takes Liebman’s lyrical theme to a darkly haunting but equally beautiful place, responding with subtle shadings and an equally thematic approach. It’s not so much a case of delineated solos although, with only two players, it might seem that way. “Breath,” like all the pieces on Duologue, truly reflect the title: a conversation between two old friends who are in no hurry to say what needs to be said.
That the six pieces feel so interconnected is as much a matter of spontaneity as it is design. Still, Placing the classic “On Green Dolphin Street” after Nock’s “Acceptance” is especially striking, with the descending chords of the start of “On Green Dolphin Street”’s theme echoing similar movement in Nock’s tune.
While Liebman is often described as an expressionistic player and Nock is nothing if not impressionistic, the two find plenty of common ground. Liebman is wont to inject flurries of notes with a certain restrained energy in the most unexpected of places, but he’s also capable of profound simplicity.
Nock is, quite simply, one of the unsung piano heroes of the past fifty years, all the more so since he returned to Australia in the mid-‘80s.
His discography may be small, but it’s influential and he’s been responsible for nurturing what is now a vibrant Australian scene, in particular in Sydney. With nothing more than a brief rehearsal and reminiscence over dinner before this midnight performance, Duologue is that most serendipitous of happenstances, when two friends reacquaint themselves and discover that time and geography haven’t placed any real distance between them at all.  -  John Kelman

Tracks
01. Acceptance (Mike Nock)
02. On Green Dolphin Street (N. Washington, B. Kaper)
03. Star Crossed Lovers (Ellington & Newton, James Weldon Jr.)
04. Nadir (Dave Liebman)
05. Breath (Dave Liebman)
06. The Panderer (Dave Liebman)

MIKE NOCK  piano
DAVE LIEBMAN  soprano saxophone

Recorded live at Wangaratta Jazz Festival, October 30th  2004

Birdland Records BL 009  Australia
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SUN RA & WALT DICKERSON - Visions (1979)

July 13, 2016, 7:23 pm
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Dickerson made a fairly 'big splash' when his first recordings appeared in the early 60s (Down Beat Critics Poll “New Star”, 1962), but he's remained an enigmatic figure ever since. His early sides demonstrated a sure grasp of the Hampton/Jackson continuum in blazing through standards, but his original compositions on those dates reflected a spiritual, even mystical flavor that was expanded on in recordings into the early 80s.
Dickerson's distinctive melodic and rhythmic approach is complemented by his unique timbre on what is often a cold-sounding and unwieldly
instrument - his use of rubber mallets specially-treated to produce a plush and very warm yet crisp sound, immediately recognizable. Of all his recordings, most are in the trio format, none larger than a quintet (with two drummers!), and no horn players appear. There is an underlying current of turbulence yet an overall air of serenity to his work.
Also curious (and frustrating to his small but devoted group of devotees) are Dickerson's long periods of inactivity; no recordings exist between 1966 and 1975, and his last released LP was in 1982. Word has it that he still performs sporadically around his native Philadelphia, even more rarely in New York and the west coast. (Anyone with more information is implored to contact the author!)
Among his more noted collaborators are Sun Ra (both in the 60s and 70s) and Andrew Cyrille, who performed on the great majority of Dickerson's recordings from 1961 (possibly Cyrille's first major recording?) through 1982.  -  All About Jazz

Tracks
01. Astro
02. Utopia
03. Visions
04. Constructive Neutrons
05. Space Dance
06. Light Years
07. Prophesy

WALT DICKERSON  vibraphone
SUN RA  piano

Music composed by Walt Dickerson
Recorded July 11, 1978

SteepleChase – SCCD – 31126
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ANTHONY BRAXTON - Creative Orchestra Music 1976 (1987)

July 13, 2016, 8:28 pm
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This is one of Braxton’s most interesting recordings. Six of his compositions are performed by groups ranging from 15-20 pieces and featuring such soloists as trumpeters Cecil Bridgewater, Leo Smith, Kenny Wheeler and Jon Faddis, baritonist Bruce Johnstone, trombonist George Lewis, reed player Roscoe Mitchell, bassist Dave Holland, pianist Muhal Richard Abrams and Braxton himself. There is a lot of variety on this set. One of the pieces finds Braxton combining free elements with a Sousa-type march while another one looks toward Ellington. There are quite a few memorable moments on this program.  -  Scott Yanow

Tracks
01. Piece One
02. Piece Two
03. Piece Three
04. Piece Four
05. Piece Five
06. Piece Six

SELDON POWELL  alto sax, clarinet, flute
BRUCE JOHNSTONE  baritone sax, bass clarinet
RONALD BRIDGEWATER  tenor sax, clarinet
KENNY WHEELER  trumpet
CECIL BRIDGEWATER  trumpet
JON FADDIS  trumpet, piccolo trumpet
GEORGE LEWIS  trombone
GARRETT LIST trombone
EARL McINTYRE  bass trombone
JNATHAN DORN tuba
MUHAL RICHARD ABRAMS  piano, conductor
DAVE HOLLAND  bass
WARREN SMITH drums, tympani, bass drum, bass marimba
ROSCOE MITCHELL  soprano sax, bass sax, alto sax
LEO SMITH trumpet, conductor
JACK JEFFERS  bass trombone
RICHARD TEITELBAUM  synthesizer
FREDERICK RZEWSKI  piano, bass drum
BARRY ALTSCHUL  gong, percussion
PHILIP WILSON drums, marching cymbals
KARL BERGER  glockenspiel, vibes, xylophone, orchestra chimes
ANTHONY BRAXTON alto sax, contrabass clarinet, clarinet, contrabass sax, sopranino sax

Music composed by Anthony Braxton
Recorded in February 1976, at Generation Sound, New York City

Arista  AL – 4080  /  Bluebird  ND86579
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ANTHONY BRAXTON - Five Pieces 1975

July 13, 2016, 8:44 pm
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This out-of-print album features one of Anthony Braxton's great combos, a quartet with trumpeter Kenny Wheeler, bassist Dave Holland and drummer Barry Alstchul. Braxton (who switches between alto, clarinet, sopranino, flutes and contrabass clarinet) explores four of his diverse originals plus the standard "You Stepped Out Of A Dream." The tightness of his very alert and versatile group and the strength of the compositions make this one of Anthony Braxton's most rewarding records of the mid-1970's.

Tracks
01. You Stepped Out Of A Dream (Nacio Herb Brown)
02. G - 647 (BNK - II)
03. 4038 - NBS 373 6
04. 4 8 9 M 70 - 2 - - (TH - 8)M
05. BOR - - - - H N - K64

ANTHONY BRAXTON  saxophone, flute, clarinet
DAVE HOLLAND  bass
BARRY ALTSCHUL  drums
KENNY WHEELER  trumpet

Music composed by Anthony Braxton except (1) by Nacio Herb Brown
Recorded at Generation Sound, New York City, July 1 & 2, 1975
Arista  AB  4064
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HENRY THREADGILL & MAKE MOVE - Where's Your Cup? (1997)

July 13, 2016, 9:44 pm
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Even though Henry Threadgill is often considered "difficult to listen to," most blindfolded listeners would probably find themselves identifying any randomly selected 20-second segment of Where's Your Cup as something a little more mainstream. It wouldn't be unreasonable, for example, to hear Brandon Ross on "The Flew" and ask "Might this be a snot-raunchy John McLaughlin electric guitar solo?" with a good bit of confidence. Someone else may smile smugly and say, "I don't suppose this is from the soundtrack of an especially eerie David Lynch film, perhaps Blue Velvet, or an old episode of Twin Peaks maybe?" when Threadgill's alto sax groove kicks off "100 Year Old Game." Such is the elusiveness of Threadgill's a-bit-of-everything approach to modern jazz, a style-collage sound he achieves here with a lot of help from his band, Make a Move. A majority of the tracks here are over eight minutes long, with a lot of room for soloists to stretch out. Ross can sound like two slabs of grinding sheet metal on one song, and softly strum a flamenco-tinged acoustic guitar behind Threadgill's flute on the next. Alternating between accordion and harmonium, Tony Cedras recalls everything from a Sunday hymn to your local seventh-inning stretch organ grinder. But give the credit of assembling these varied and sundry elements into a consistent product to Threadgill. Where's My Cup has its highly organized moments as well, which possess the same spaced-out mysteriousness as all the clamoring jam-out uproar. - John Uhl


Este es el tercero y último de los disco que Threadgill grabó para Columbia, gracias a los buenos auspicios de Branford Marsalis.
Y, si los dos anteriores son buenas obras aunque un tanto irregulares, Where’s Your Cup? vuela muy alto del principio al final. A ello contribuye un grupo perfectamente conjuntado, con la guitarra estratosférica de Brandon Ross, el bajo gomoso de Stomu Takeishi y un fantástico J.T. Lewis a los tambores. Pero el elemento más personal lo aporta Tony Cedras al acordeón y al harmonium, con una paleta sonora que va del orientalismo a la música del Caribe, pasando por la América rural y el góspel. Y por encima de todos la flauta y el saxo ácido y vibrante de Threadgill, con su querencia por el himno y la ironía. Un gran disco de uno de los músicos más personales de las últimas décadas.  -  Tomajazz

Tracks
1. 100 Year Old Game
2. Laughing Club
3. Where's Your Cup?
4. And This
5. Feels Like It
6. The Flew
7. Go To Far

HENRY THREADGILL alto saxophone and flute
BRANDON ROSS electric and classic guitar
TONY CEDRAS accordion and harmonium
S TOMU TAKEISHI 5-string fretless bass
J.T. LEWIS drums

All compositions by Henry Threadgill
Recorded and mixed at East Side Sound, New York, August 1996

Columbia CK 67617
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ANTHONY BRAXTON - New York Fall 1974

July 13, 2016, 10:35 pm
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Anthony Braxton, who switches here between alto, flute, clarinet, sopranino and contrabass clarinet, is heard interpreting six of his originals in a wide variety of settings. Most accessible are his three performances with a quartet also including trumpeter Kenny Wheeler, bassist Dave Holland and drummer Jerome Cooper. Braxton also adds violinist Leroy Jenkins to the group on one piece and has a duet with Richard Teitelbaum’s moog synthesizer. However, the most historic performance is by an unaccompanied saxophone quartet consisting of Braxton, Julius Hemphill, Oliver Lake and Hamiet Bluiett; this band (with David Murray in Braxton’s place) would soon emerge as The World Saxophone Quartet. The wide amount of variety on this set makes this album a perfect introduction to Anthony Braxton’s potentially forbidding but logical music. Scott Yanow  –  All Music



Tracks
1. Cut One
2. Cut Two
3. Cut Three
4. Cut Four
5. Cut Five
6. Cut Six

KENNY WHEELERtrumpet
DAVE HOLLANDbass
JEROME COOPER drums
RICHARD TEITELBAUMmoog synthesizer
JULIUS HEMPHILLalto saxophone
OLIVER LAKEtenor saxophone
HAMIET BLUIETTbaritone saxophone
LEROY JENKINSviolin
ANTHONY BRAXTON alto, soprano & sopranino saxophones, flute, clarinet & contrabass clarinet

Music composed by Anthony Braxton
Recorded at Generation Sound Studio, New York City on September 27 and October 16, 1974
Arista 4032
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HENRY THREADGILL VERY VERY CIRCUS - Spirit Of Nuff (1991)

July 14, 2016, 1:21 am
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After trailblazing stints with the avant-garde jazz trio Air in the '70s and his seven-piece sextet in the '80s, Henry Threadgill changes direction once again with a two tuba, two guitar, trombone, and drums outfit he calls Very Very Circus. Threadgill's layered, idiosyncratic compositions still abound, but as one would expect from a front line like this, the sound is darker and more dense than on prior releases. The new approach is especially evident in the thick mix of reverb-riddled guitar notes, rumbling tuba phrases, and march rhythms heard on numbers like "Drivin' You Slow and Crazy,""Bee Dee Aff," and "Unrealistic Love." Threadgill does lighten the tone, though, by including the Calypso-inspired number "Hope a Hope A" and intricately buoyant themes like "Exacto" and "In the Ring." Standout contributions include Masujaa's mercurial guitar solo on "Unrealistic Love," Threadgill's haunting flute work on "First Church of This," and drummer Gene Lake's supple and tight rhythmic support throughout. Another excellent title from one of jazz's most progressive and original artists. - Stephen Cook

Tracks
01. Hope A Hope A
02. Unrealistic Love
03. Drivin' You Slow And Crazy
04. Bee Dee Aff
05. First Church Of This
06. Exacto
07. In The Ring

HENRY THREADGILL alto saxophone, flute
GENE LAKE drums
BRANDON ROSS electric guitar
MASUJAA electric guitar
CURTIS FOWLKES trombone
EDWIN RODRIGUEZ tuba
MARCUS ROJAS tuba


Recorded November 19, 20 and 21, 1991 at R.P.M. Studios, New York City
Black Saint 120143 - 2
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HENRI TEXIER - Remparts D'Argile (2000)

July 14, 2016, 9:28 pm
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Henri Texier knows what music is all about, and he has his own modest vision on it. He is a phenomenal bass player, who manages to keep the ground tone while being very melodious at the same time. Furthermore, he integrates many influencess in his music, starting with French folk music, of which he changes the often joyful melody into a jazz-format : extending and stretching the melody, putting the accents differently, and making the sound a little bit darker, more emotional. A "Texier melody" is hence easily recognizable, and that is also the case on his CDs with Louis Sclavis and Aldo Romano. But it doesn't stop there. Also Arabic and African influences find their way easily and imperceptibly into his music. He made his best albums with his Azure Quintet : the same players as on this album, but with Bojan Zulfikarpasic on piano, and Glen Ferris on trombone : "Mad Nomads", "An Indian's Week" and "Mosaic Man" are easy to recommend. Especially Bojan Z's piano is worth listening to : he adds some extra Balkan rhythms and melodies into the mix. On two of his other CDs ("Izlaz" and "Colonel Skopje") Steve Swallow joins on his electric bass. A quartet with two basses, that's something different, yet it works.


Tracks
01. TEHOUDA (Prologue) (Henri Texier / Tony Robeson)
02. SACRIFICE (Henri Texier)
03. CORDE FATIGUE (Henri Texier)
04. CHEBIKA COURAGE (Henri Texier)
05. GRÈVE RÉVOLTE (Henri Texier)
06. ENFANT LIVRE (Tony Robeson)
07. POULIE REBELLION (Henri Texier)
08. HANTISE (Henri Texier)
09. LEÏLA (Henri Texier)
10. VENT OUSSIÈRE à L.S. (Sébastian Texier )
11. SOMMIEL CAILLOU (Épilogue) (Henri Texier, Sébastien Texier)

SÉBASTIEN TEXIER alto saxophone, alto clarinet, clarinet
HENRI TEXIER  double bass, bendir
TONY RABESON  drums

Recorded at Studio Gil Evans, July 2000

Label Bleu – LBLC  6638
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ART LANDE - Rubisa Patrol (1976)

July 17, 2016, 7:50 pm
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This recording, with the short lived ensemble Rubisa Patrol, may someday be considered as one of the classic ECM recordings of all time - if the company evers sees fit to issue it on CD. Some stunning compositions are present within a restrained, melodic concept, but please don't term it new age. While there is a spiritual quality present, it is not overbearing. Four of the pieces are written by acoustic pianist Art Lande, with the standout track "Corinthian Melodies" a thing of sheer opulent beauty. Trumpeter Mark Isham and Lande are the principal voices in this quartet, and the textures they conjure would set a precedent for what Isham would do for the bulk of his career in scoring for films. Bassist Bill Douglass and drummer Glenn Cronkhite are as sensitive a lower dynamic rhyhmic team as can be. This is contemporary improvised music non pariel, a relaxed, well-paced program that is here to soothe and reassure you.  -  Michael G. Nastos



Tracks
1. Celestial Guests (Chinese Traditional) / Many Chinas (Mark Isham)
2. Jaimi’s Birthday Song (Art Lande)
3. Romany (Glenn Cronkhite)
4. Bulgarian Folk Tune (Traditional)
5. Corinthian Melodies (Art Lande)
6. For Nancy (Mark Isham)
7. Jaimi’s Birthday Song (Art Lande)
8. A Monk In His Simple Room (Art Lande)

BILL DOUGLAS  bass, flute, bamboo flute (Ti-Tzu)
GLENN CRONKHITE  drums, percussion
ART LANDE  piano
MARK ISHAM  trumpet, flügelhorn, soprano saxophone

Recorded May 1976 Talent Studio, Oslo

ECM  1081  /  ECM Records – 519 875-2
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ART LANDE & RUBISA PATROL - Desert Marauders (1978)

July 17, 2016, 9:08 pm
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For Rubisa Patrol's second and final ECM album, pianist Art Lande and trumpeter/flugelhornist Mark Isham were joined again by bassist/flutist  Bill Douglas and new member drummer  Kurt Wortman. The music is not as vital as on their debut disc, but more refined and thoughtful. A bit more fire might have identified this group as a contender, as the extended title track suggests, but after folding, Lande recorded children's stories for the Windham Hill label, then retreated to the Colorado mountains. Isham headed for L.A. and went on to a lucrative career writing music for movies. This is solid, contemporary improvisational music, a touch laidback, and makes one wish this ensemble would have carried on. They were special.  -  Michael G. Nastos

Tracks
1. Rubisa Patrol (Art Lande)
2. Livre (Near the Sky) (Mark Isham)
3. El Puebl de Las Vacas Tristes (Art Lande)
4. Perelandra (Art Lande)
5. sansara (Art Lande)

ART LANDE  piano
BILL DOUGLAS  bass, flute
MARK ISHAM  trumpet, flugelhorn
KURT WORTMAN  drums

Recorded June 1977 at Tonstudio Bauer,

ECM  1106 
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MICK GOODRICK - In Pas(s)ing (1978)

July 17, 2016, 9:43 pm
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Guitarist Mick Goodrick once worked alongside Pat Metheny in Gary Burton's band, and they have a similar sound, voicings, and eclectic approach. Goodrick’s 1978 debut as a leader was a strong set that had fusion, straight-ahead, and even almost free pieces. He also headed a strong band, with English saxophonist John Surman at his terse, animated best, plus bassist Eddie Gomez and drummer Jack Dejohnette in fine form.  -  Ron Wynn


Tracks

1. Feebles, Fables and Ferns
2. In the Tavern of Ruin
3. Summer Band Camp
4. Pedalpusher
5. In Passing

MICK GOODRICKguitar
JOHN SURMANsoprano and baritone sax, bass clarinet
EDDIE GOMEZbass
JACK DeJOHNETTEdrums

All Compositions by Mick Goodrick except (5) by Goodrick/Surman/Gomez/DeJohnette
Recorded November 1978, Oslo
ECM 1139
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MARTIN TAYLOR - Portrait (1995)

July 17, 2016, 9:57 pm
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Taylor’s fifth release for Linn combines solo recordings along with a few duets with Nashville legend Chet Atkins and a pair of overdubbed duets. Taylor’s fluid, unaccompanied playing makes him the most obvious heir to the legacy of Joe Pass. All of Martin Taylor’s recordings for the Scottish label Linn are strongly recommended.  -  Ken Dryden



Tracks
01. Shiny Stockings (Frank Foster)
02. Like Someone in Love (Johnny Burke / James Van Heusen)
03. Sweet Lorraine (Clifford R. Burke / Mitchell Parish)
04. I Got Rhythm (George Gershwin / Ira Gershwin)
05. Why Did I Choose You? (Michael Leonard / Herbert Martin)
06. My Funny Valentine (Lorenz Hart / Richard Rodgers)
07. Do You Know What It Means to Miss New Orleans? (Louis Alter / Eddie DeLange)
08. I Remember Clifford (Benny Golson / Jon Hendricks)
09. Ol’ Man River (Oscar Hammerstein II / Jerome Kern)
10. Here, There and Everywhere (John Lennon / Paul McCartney)
11. In a Mellow Tone (Duke Ellington / Milt Gabler)
12. My One and Only Love
13. Kiko (Earl Klugh)
14. Very Early (Bill Evans)

MARTIN TAYLOR  guitar
CHET ATKINS  guitar

Recorded on 26 July 24 Novemberand 12 December at Tom Bruner Studio, Nashville USA

LINN RECORDS AKD  048
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NGUYÊN LÊ - Three Trios (1997)

July 18, 2016, 5:39 pm
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Lê is standing all alone in his total sound and delivery. My adored track was “La Parfum” for its simple elegance, beauty, and its power to transport me into bliss . . .
If you want the crunch go straight to his fiery boogie on “Straight No Chaser” and then sample the very fusiony “Dance of the Comet”. But really this is CD to be experienced in totality. You will discover sounds and feelings you will thrill to if you love great guitar-driven jazz. Highest of recommendations!!!  -  John W. Patterson


The hybridization of western and eastern cultures has most often borne offspring of surpassing strength and beauty; no surprise, then, that the fusion of jazz and Asian music cultures has provided some of the most adventurous and exhilarating recordings of the last decade. The examples include pioneering efforts by Fred Ho, Jon Jang, and Francis Wong; to that list you can now add the first of these albums by the Vietnamese-French guitarist Nguyen Le, the marvelous Tales From Viet-nam.
Leading an octet that includes horns and synths-as well as traditional Asian zithers and vocalist Huong Thanh's intense evocations of her ancestral land-Nguyen Le has constructed an elegant and moving program, with most of the pieces derived from traditional Vietnamese melodies. The sweetly pungent trumpet work of Paolo Fresu provides yet another element, which Le exploits both as a western jazz instrument and as a descendant of the Asian bugles of antiquity. The piece entitled "The Rice Drum" proves emblematic in its use of trumpet, voice, and traditional percussion on the martial theme-before Le's electric guitar screams in and completes the cross-cultural circuit.
Le's roots include the fusion jazz of the 1970s, which flowers today in the slashing, searing timbre of his guitar; some have compared this to John Scofield, but Le favors a much cleaner edge to his sound, leaning more heavily on the jazz-rock of John McLaughlin. He clearly counts Joe Zawinul and Weather Report as important influences, and one delight of this album lies in hearing the various references to that band's recordings. On "The Banyan Tree Song," the synthesizer voice derives directly from one of Zawinul's favorite keyboard patches, while other adapted Vietnamese melodies called "Ting Ning" and "The Black Horse" could almost have leaped from the Report repertoire. And Le's zither-like guitar solo on a traditional song called "Hen Ho" actually quotes Weather Report's famous "Boogie Woogie Waltz." With such references, Le actually reminds us of Zawinul's early use of world music, and makes us aware that a big part of Weather Report's strength lay in its blend of west and east.
The guitarist's stake in fusion finds a stronger focus on Three Trios, his latest date, which lives up to its name precisely. Le's own descriptions of these three groupings-which he has named Silk, Silver, and Sand-bears repeating. He thinks of the first trio, which comprises bassist Marc Johnson and drummer Peter Erskine, as "precious but strong silk which weave the interplay between musicians;" indeed, this much-traveled rhythm section anticipates the flow and shifts rhythm and harmony accordingly. German bassist Dieter Ilg and Danny Gottlieb make up Silver, which has the most conventional take on electric jazz-"sparkle of electricity, boisterous & graceful lightning," in Le's words. The impassioned French bassist Renaud Garcia-Fons joins with percussionist Mino Cinelu in a trio that emphasizes lighter textures and the inspiration of Iberian and Brazilian folk music: "Sand of the deserts that haunt the musician's dream of elsewhere."
Even here, traces of Asia still inhabit in Nguyen Le's guitar work; the nasal pinch of Vietnamese singing creeps in as the notes decay, and the busiest solos still incorporate the occasional telltale interval or phrase. As well they should. On Three Trios, Nguyen Le's pan-culturalism gives his music a reach and purpose beyond his obvious skills as a guitarist. And on Tales From Viet-nam, his overt exploration of that pan-culturalism results in a minor masterpiece.  -  Neil Tesser

Tracks
01. Silk (Nguyên Lê)
02. Silver (Nguyên Lê)
03. Sand (Nguyên Lê)
04. Dance of the Comet (Nguyên Lê)
05. Foow (Nguyên Lê)
06. Kinderhund (Dieter Ilg)
07. Woof (Nguyên Lê)
08. Idoma (Nguyên Lê)
09. La Parfum (Nguyên Lê)
10. Blue Monkey (Nguyên Lê)
11. Straight No Chaser (Thelonious Monk)

MARC JOHNSON  acoustic bass
DIETER ILG acoustic bass
RENAUD GARCIA-FONS  acoustic bass
MINO CINELU  drums, percussion
PETER ERSKINE drums
DANNY GOTLIEB  drums
NGUYÊN LÊ  acoustic & electric fretless guitars, e-bpw, synthesizer


ACT  92452
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ULF WAKENIUS GROUP - Tokyo Blue (2003)

July 18, 2016, 5:51 pm
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Guitarist Ulf Wakenius, who has performed with a number of jazz heavyweights from Oscar Peterson and Michael Brecker to Ray Brown and Jack DeJohnette, writes that his new release, Tokyo Blue, is designed to express the various aspects of his musical temperament, from sweetness to swing. The album is evenly divided between the two components, with five ballads and five medium- to up-tempo numbers, on each of which Wakenius shows his admirable versatility and technique.
Wakenius plays unaccompanied on Michel Legrand's "What Are You Doing the Rest of Your Life," Django Reinhardt's "Nuage" and a couple of film themes, Charlie Chaplin's "Smile" (from Modern Times ) and the love theme from Spartacus, and is teamed on half a dozen tracks with pianist Carsten Dahl, bassist Yasuhito Mori and drummer Morten Lund. The session was performed, Wakenius writes, with little rehearsal, as he placed his confidence in his partners, who don't let him down. Dahl is an especially capable soloist (although his humming along at slower tempos can be annoying), while he, Mori and Lund seem to anticipate Wakenius' every move.
Four of the ten selections ("Tokyo Blue,""Toronto 2 PM," Buenos Aires,""The New World") are Wakenius originals, none of which rises above the level of respectable. Certainly, they are no match for the songs already mentioned, nor for Ed Heyman/Oscar Levant's "Blame It on My Youth" or Cole Porter's "At Long Last Love." But they do provide a solid springboard for eloquent improvisations, largely by Wakenius and Dahl (with Mori heard to good advantage on "Buenos Aires").
The solo tracks may be too well-recorded, or perhaps I am in a minority in not wishing to hear every scrape, pop and click that comprise the by-product of the guitarist's artistry. On the other hand, Wakenius' guitar is often less prominent than it should be on the quartet numbers, which serves to even the score, I suppose. Wakenius is a splendid guitarist, and he and his colleagues play quite well together, and if there is nothing here that produces an indelible impression, neither is there anything that is less than rewarding.  -  Jack Bowers



Tracks
01. Tokyo Blue (U. Wakenius)
02. Smile (C. Chaplin)
03. Toronto 2PM (U. Wakenius)
04. Blame It On My Youth (E. Hayman/ O. Levant)
05. At Long Last Love (C. Porter)
06. What Are You Doing The Rest Of Your Life (M. legrand)
07. Nuage (D. Rainhardt)
08. Buenos Aires (U. Wakenius)
09. The New World (U. Wakenius)
10. Love Theme From Spartacus (A. North)

ULF WAKENIUS  guitar
CARNSTEN DAHL  piano
YOSUHITO MORI  bass
MORTEN LUND  drums

Recorded at Sun Studio AS in Copenhagen, Denmark January 2003
Spice of Life inc.  SOL  SC - 0002
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