Chick Corea - The Sun (1971)

A 1970 session featuring sixty-seven percent of the Miles Davis sextet, which finally saw the light of day in 1978. These are the midnight perambulations of the extant Miles sextet (minus Moreira and Miles himself), congregated in some eternal kitchen of the soul where scraps of meat and melody are served to the insatiable jazzeaters who would have a bronze cast of Miles’ every footfall. Originally recorded in September 1970 (and purists will point out that Steve Grossman was technically out by then), the music on The Sun didn’t see the light of day for years, and only then appropriately in the land of the rising sun. It is, like much of the Miles Davis marginalia, worthy of time and note. You could see this as a semi-Circle: a quartet of bass, drums, piano and sax with Chick Corea, Dave Holland and the brilliant Jack DeJohnette at the core. The songs fit squarely into Corea’s avant-garde phase: dissonant with a very tactile and percussive quality that includes scratching, groaning and quick staccato clusters of keys jumbled together. Solos devolve (evolve?) into an orgy of frenetic notes, structure and chaos play an endless game of tug of war, and throughout you’ll find the occasional moments of calm that pierce through the stormclouds of fierce invention and remind you of the potency of melody. Now, nothing on The Sun could be called timeless music. Corea fans have likely had their fill of this stuff already; Grossman’s fans may be more inclined to make the effort, since he shines on this recording. It appears from the liner notes that a few guests (including Dave Liebman on some bagpipe-like instrument called the musette) joined the fun on the last three tracks, although their contributions are barely audible. ~ Kronomyth, progrography.com. 

Express Records [Far East], ETJ-60004, 1971
Recorded 14th September, 1970 at Up Surge Studio, New York City 

Musicians:
Chick Corea - Piano
Steve Grossman - Tenor Saxophone
Dave Holland - Bass
Jack DeJohnette - Drums
Steve Jackson - Percussion (#B1-B3)
Dave Liebman - Musette [Chinese] (#B1-B3)
Teruo Nakamura - Bells (#B1-B3) 

Tracks:
A1. Moon Dance {Steve Grossman} (6:46)
A2. Slumber {David Liebman} (11:23)
B1. The Sun, Part 1 {Chick Corea} (9:07)
B2. The Sun, Part 2 {Chick Corea} (2:37)
B3. The Moon {Chick Corea} (6:08) 

Total Time: 36:03 

Moon Dance

Jack DeJohnette's Special Edition - Inflation Blues (1983) [re-rip]

Inflation Blues is a record that bristles with energy right from the start - spurred on by the creative rhythms that have always made Jack DeJohnette one of the most inventive drummers of his time! The group features a triple-threat lineup with Baikida Carroll on trumpet, Chico Freeman on tenor and soprano sax, and John Purcell on alto, baritone, flute, and clarinet - especially nice at points when the reedmen shift and turn with sharp edges learned from the earlier avant years, yet given a nice focus here under DeJohnette's leadership. Jack penned all original tunes for the set, and there's a depth to his writing that really marks a move forward - possibly some of his richest musical statements on record ever! Titles include "Ebony", "Inflation Blues", "Slowdown", and "The Islands". ~ by Jazz Chill.

Inflation Blues was the second album released under the title of Special Edition and remains a fusion jazz go-to-album for me. A bit of that Miles Davis inspired Fusion, yet always in control with some epic moments......this band were extra special! For those less familiar with Jack and his special edition what you can expect is some fantastic drumming and percussion along with some fantatsic flute, sax, bass, trumpet, clarinet, piccolo and piano. This music is highly energetic and inspired with a nice range in mood and tempo changes. The music is challenging and ever changing but remians very accessible and easy to follow. And I guess there lies the key reason why I adore this album so much....it is creative, bold yet universal! ~ by James Unger, Albums You Just Gotta Hear......

ECM Records, ECM 1244, 1983

Recorded September, 1982 at Power Station, New York

Musicians:

Jack DeJohnette - Drums, Piano (#A1,A2), Clavinet (#B2), Voice (#B2)

Baikida Carroll - Trumpet (#A1,B1,B3)

Chico Freeman - Bass Clarinet (#A1,B1,B3), Tenor Sax (#A1,B2), Soprano Sax (#A1-B1)

John Purcell - Alto Flute (#A1), Alto Sax (#A1,B1,B2), Piccolo Flute (#B1), Baritone Sax (#B2,B3),
Alto Clarinet (#B1), Flutes (#A2,B2), Reeds (#A2)

Rufus Reid - Double Bass (#A1,A2,B3), Electric Bass (#B2)

Tracks:

A1. Starburst {Jack DeJohnette} (9:10)

A2. Ebony {Jack DeJohnette} (8:39)

B1. The Islands {Jack DeJohnette} (8:31)

B2. Inflation Blues {Jack DeJohnette} (6:41)

B3. Slowdown {Jack DeJohnette} (6:23)

Total Time: 39:24

Credits:

Producer - Manfred Eicher

Recording Engineer - Jan Erik Kongshaug

Photo - Karen Schoonmaker

Design - Klaus Detjen

Link

Wayne Shorter - Super Nova (1969)

Super Nova is an important transitional album for tenor saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies," which had been recorded previously by Miles Davis) and Antônio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen, because his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums, and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music, but there is nothing derivative about the often-surprising results. As with Wayne Shorter’s best albums, this set rewards repeated listenings. ~ by Scott Yanow, AMG. 

Blue Note Records, CDP 7 84332 2, 1988
Recorded 29th August and 2nd September, 1969 at A&R Studios, New York 

Musicians:
Wayne Shorter - Soprano Saxophone
Chick Corea - Vibraphone, Drums
John McLaughlin - Guitar, Classical Guitar (#2)
Sonny Sharrock - Guitar
Walter Booker - Classical Guitar (#3)
Miroslav Vitous - Bass
Jack DeJohnette - Drums, African Thumb Piano
Airto Moreira - Percussion
Maria Booker - Vocals (#3) 

Tracks:
1. Super Nova {Wayne Shorter} (4:52)
2. Swee-Pea {Wayne Shorter} (4:37)
3. Dindi {Antônio Carlos Jobim} (9:35)
4. Water Babies {Wayne Shorter} (4:54)
5. Capricorn {Wayne Shorter} (7:48)
6. More Than Human {Wayne Shorter} (6:12) 

Total Time: 37:59 

Credits:
Producer - Duke Pearson
Recording Engineer - Tony May
Digital Transfer - Ron McMaster
Art Direction - Frank Gauna
Cover Design - Tony DeStefano 

Wayne Shorter (25th August, 1933 - 2nd March, 2023)
RIP ☹

Steve Turre - In The Spur Of The Moment (2000)

In The Spur Of The Moment, Steve Turre's debut release for Telarc Jazz, is a technically precise and elegant musical adventure through three jazz styles in which Steve Turre expresses his musical personalities in a quartet setting. In the first setting, he plays the blues in jazz with the legendary Ray Charles on piano, Peter Turre on drums, and Peter Washington on bass. The section features two original compositions by Steve titled "Ray's Collard Greens," an authentic 12-bar blues, and "Duke Rays," a song based on Duke Ellington's "In a Mellow Tone," for which Steve uses Ellington's changes but has written a new melody. "Misty" and "The Way You Look Tonight" round out the section, but are featured with the same approach to the blues. The second section of In the Spur of the Moment features Stephen Scott on piano in a modern and modal setting. His third musical setting stars Turre and Chucho Valdes playing Afro-Cuban sounds in a set that also features Peter Turre on drums, Buster Williams on bass, Jack DeJohnette on drums, Andy Gonzalez on bass, and the great, Horacio "El Negro" Hernandez on drums and percussion. This section shows Turre at his zenith as an assured leader and sensitive collaborator with exciting accompaniment by Chucho plus the string quartet, and Quartette Indigo on "Claudia." In the Spur of the Moment concludes with an exciting finale that features Turre putting his brilliant trombone and shell skills to the test on the exciting jam, "Descarga Ahora." This CD is a glowing example of Steve Turre's exceptional finesse in the many styles of jazz. ~ by Paula Edelstein, AMG. 

Telarc Jazz, CD-83484, 2000
Recorded 14th August, 1999 (#1-4) At Avatar Studios, Studio C, New York City;
5th October, 1999 (#5-7) At Master Sound Astoria, Queens, New York and
8th October, 1999 (#8-10) At Avatar Studios, Studio A, New York City 

Personnel:
Steve Turre - Trombone (#1-4,5-7,8-10), Conch [Shells] (#1-4,5-7), Maracas (#8-10)
Ray Charles - Piano (#1-4,5-7)
Stephen Scott - Piano (#5-7)
Chucho Valdés - Piano (#8-10)
Peter Washington - Bass (#1-4)
Buster Williams - Bass (#5-7)
Andy Gonzalez - Bass (#8-10)
Peter Turre - Drums (#1-4)
Jack DeJohnette - Drums (#5-7)
Horacio "El Negro" Hernandez - Drums, Timbales, Congas, Bongos, Bells [Campana] (#8-10)
Akua Dixon - Cello, Leader (#9)
Ensemble - Quartet Indigo (#9)
Richard Spencer - Viola (#9)
Gayle Dixon - Violin [First] (#9)
Sandy Billingslea - Violin [Second] (#9) 

Tracklist: 

The Blues In Jazz
01. Ray's Collard Greens {Steve Turre} (6:34)
02. Misty {Johnny Burke, Erroll Garner} (5:18)
03. Duke Rays {Steve Turre} (5:20)
04. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (7:01)

Modern And Modal
05. Ellington Medley: {Duke Ellington} (7:59)
5.1 Do Nothing Till You Hear From Me
5.2 Five O'Clock Drag
06. Something For John {Steve Turre} (5:34)
07. In The Spur Of The Moment {Stephen Scott} (9:13)

Afro-Cuban Sounds
08. Suenos De La Habana {Steve Turre} (5:42)
09. Claudia {Chucho Valdés} (9:21)
10. Descarga Ahora {Steve Turre} (6:25)

Credits:
Producer - Myles Weinstein, Steve Turre
Recording, Mixing & Mastering Engineer - Michael Bishop
Technician [Assistant at Avatar Studios] - Andre Yankovsky, Aya Trewhella, Rory Romano
Technician [Assistant at Master Sound] - David Merrill, Ted Trewhella
Technician [Assistant] - Francisco Rodriguez, James Yates, Rob Friedrich
Art Direction - Anilda Carrasquillo
Design - Deborah Kane
Photography [Cover] - John Abbott
Management - Myles Weinstein
Liner Notes - J.J. Johnson, Steve Turre

Geri Allen - The Life Of A Song (2004)

Life of a Song is Geri Allen's first recording under her own name in six long years. She teams with the rhythm section of bassist Dave Holland and drummer Jack DeJohnette, whom she worked with on the late Betty Carter's stellar live date Feed the Fire in 1993. Allen composed eight of the album's 11 cuts, and the covers include Bud Powell's "Dance of the Infidels," Billy Strayhorn's "Lush Life," and Mal Waldron's "Soul Eyes." This last selection is augmented by the participation of Marcus Belgrave on flugelhorn, saxophonist Dwight Andrews, and trombonist Clifton Anderson. The album's title reflects the depth of commitment to the song forms inherent in jazz. Allen is in fine form here, and one can hear her various instrumental and vocal influences. The album swings, but looks underneath swing for its subtleties and its edges, too. The set opens with a playful, pianistic dissonance on "LWB's House (The Remix)" -- and lest punters be alarmed, the tune is not "remixed" at all, but is actually an earlier composition reworked. The bluesy funk here is augmented with Afro-Cuban rhythms and a series of tonal shifts where Allen is trying to emulate the African stringed instrument, the kora. Swing is inherent in every chorus, and Holland and DeJohnette keep the pace relaxed yet deeply focused. The interplay between Holland and Allen on "Mounts and Mountains" -- particularly during the bassist's solo passage -- are remarkable as she responds with a contrapuntal solo that draws on both Herbie Hancock and Ahmad Jamal. Elsewhere, on the Powell tune her facility to usher it in a relaxed, easy way, and then dazzle with her two-handed counterpoint in the solo showcase Allen's quick wit and dazzling chromatic command. The title cut, with its obvious Hancock homage in the head and swinging head, is one of the album's many high points. This is a trio date that has all the elements: an indefatigable lyricism and honesty of emotion, as well as beautiful colors and deft, even uncanny engagements among the three principals. What a welcome return for Allen, who expertly displays she's been refining her chops and listening deeply to her Muse these past six years ~ by Thom Jurek, AMG. 

Telarc Jazz, CD-83598, 2004
Recorded 16th & 17th January, 2004 at Avatar Studios, Studio C, New York 

Musicians:
Geri Allen - Piano, Arranger
Dave Holland - Bass
Jack DeJohnette - Drums 

Guests:
Marcus Belgrave - Flugelhorn
Dwight Andrews- Saxophone
Clifton Anderson - Trombone 

Tracks:
01. LWB's House [The Remix] {Geri Allen} (5:55)
02. Mounts And Mountains {Geri Allen} (8:08)
03. Lush Life {Billy Strayhorn} (8:15)
04. In Appreciation: A Celebration Song {Geri Allen} (6:13)
05. The Experimental Movement {Geri Allen} (7:13)
06. Holdin' Court {Geri Allen} (4:41)
07. Dance Of The Infidels {Bud Powell} (4:05)
08. Unconditional Love {Geri Allen} (5:19)
09. The Life Of A Song {Geri Allen} (5:24)
10. Black Bottom {Geri Allen} (4:34)
11. Soul Eyes {Mal Waldron} (5:41) 

Total Time: 65:28

Credits:
Producer, Audio Production, Liner Notes - Geri Allen
Audio Production, Producer - Elaine Martone
Executive Producer - Robert Woods
Production Supervisor - Erica Brenner
Audio Engineer, Engineer, Mixing & Mastering - Michael Bishop
Engineer - Ed Meitner
Assistant Engineer - Peter Doris
Production Coordination - Ora Ross Harris
Art Direction, Design - Anilda Carrasquillo
Photography - Shonna Valeska
Liner Notes - Dan Ouellette

Eric Kloss - Consciousness! (1970) [re-rip]

Consciousness! is the tenth album by saxophonist Eric Kloss which was recorded in January 1970 and released on the Prestige label. The album sounds a lot more intense than To Hear Is To See! mainly because Pat Martino, who joins the band on guitar, is an fiery presence. A great album from Eric that again teams him with the Miles Davis rhythm section of the late 60's early 70's in addition Pat Martino, who was also entering much freer side to his playing. Overall, the LP is a showcase of soulful electric and funkier grooves a lot different to Kloss' earlier albums and his less tight formations in later years. All tunes are extensive with fine versions of "Sunshine Superman" and "Songs To Aging Children", plus the pieces "Consciousness" and "Outward Wisdom", highly recommended!

Prestige Records, PRST 7793, 1970

Recorded 6^th January, 1970 At RCA Recording Studios, New York City

Personnel:

Eric Kloss - Alto (#A1,B2, B3), Tenor (#A2,B1) Saxophones

Pat Martino - 6 String (#A2,B2), 12 String (#A1,B1,B3) Guitars

Chick Corea - Piano (#A2,B2), Electric Piano (#A1,B1,B3)

Dave Holland - Bass, Electric Bass

Jack DeJohnette - Drums

Tracks:

A1. Sunshine Superman {Donovan Philips Leitch} (10:36)

A2. Kay {Eric Kloss} (10:01)

B1. Outward Wisdom {Pat Martino} (6:05)

B2. Songs To Aging Children {Joni Mitchell} (6:59)

B3. Consciousness {Eric Kloss, Danny DePaola} (8:38)

Total Time: 42:19

Credits:

Producer, Design, Photo - Don Schlitten

Engineer - Paul Goodman (RCA)

Liner Notes - Greg Hall (June 1970)

Eric Kloss - To Hear Is To See! (1969) [re-rip]

Here we have another fine album from Eric Kloss. This LP like its follow up album ‘Consciousness!’ features the magnificent Chick Corea, Dave Holland  & Jack DeJohnette ‘Rhythm  Section’ without Pat Martino. Eric sets a newer tone to his earlier Prestige albums. This one clearly showcases his skills and ability to evolve into a more post bop freer jazz style. Well Recommended!

Moody bit of electric stuff recorded by Eric Kloss with the Miles' (then) rhythm section of Chick Corea, Dave Holland, and Jack DeJohnette. The groove is very open ended, as you'd expect from these guys at the time, but Kloss is right in the pocket with his sharp solos on alto and tenor. Tracks include "To Hear Is To See", "Stone Groove", and "Cynara". A tough one to find, and one of Kloss' best records! © Dusty Groove, Inc.

Prestige Records, PRST 7689, 1969

Recorded 22^nd July, 1969 in New York City

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Chick Corea - Piano, Electric Piano

Dave Holland - Bass

Jack DeJohnette - Drums

Tracks:

A1. To Hear Is To See (5:19)

A2. The Kingdom Within (6:00)

A3. Stone Groove (6:57)

B1. Children Of The Morning (8:28)

B2. Cynara (9:36)

All Compositions by Eric Kloss

Credits:

Producer, Design, Photo - Don Schlitten

Recording - Danfort Griffiths

Liner Notes - Michael Cuscuna (October, 1969)

Kevin Hays - Andalucia (1997)

Kevin Hays was already comfortable in the big leagues by the time he recorded Andalucia, his third album for Blue Note. But the fact that this outing featured the young pianist in a trio setting with bassist Ron Carter and drummer Jack DeJohnette turned heads nonetheless. Hays more than holds his own in the company of these two giants, and he's not a chops player, so his strong showing is all the more impressive. His rhythmic and harmonic ingenuity generates well-paced excitement throughout the set. Half the tunes are non-originals, and they include the standard "That's All," Ernesto Lecuona's "Andalucia (The Breeze and I)," Dizzy Gillespie's "Con Alma," and Ron Carter's "Einbahnstrasse." There's also an inventive reworking of the Beatles' "And I Love Her." But the five originals do more to reveal the full depth of Hays' musicality. "Agua," a driving boogaloo tune, kicks off the record. The other four are clustered consecutively in the middle of the program: first the calmly flowing "Mind," then the swinging Chick Corea tribute "Chickory Stick," the amorphous Billy Hart tribute "Hart," and the vigorous abstraction "Break." No matter what he's playing, Hays' soulful, uncluttered, unassuming style sets him apart among talented young jazz pianists. ~ by David R. Adler, AMG.

Blue Note, CDP 7243 8 55817 2 4, 1997

Recorded 21^st-22^nd December, 1996 At Clinton Recording Studio, New York

Musicians:

Kevin Hays - Piano

Ron Carter - Bass

Jack DeJohnette - Drums

Tracks:

01. Aqua {Kevin Hays} (5:11)

02. Andalucia [The Breeze And I] {Ernesto Lecuona} (4:28)

03. And I Love Her {John Lennon, Paul McCartney} (6:20)

04. That's All {Alan Brandt, Bob Haymes} (8:48)

05. Mind {Kevin Hays} (4:59)

06. Chickery Stick {Kevin Hays} (5:52)

07. Hart {Kevin Hays} (3:25)

08. Break {Kevin Hays} (4:35)

09. Einbahnstrasse {Ron Carter} (6:22)

10. Con Alma {Dizzy Gillespie} (5:34)

Credits:

Producer, Liner Notes - Bob Belden

Engineer - James Farber

Mastering - Mark Wilder

Art Direction - Darey Cloutier

Design - Brigid Pearson

Photography - Chuck Stewart, Jules Allen

Total Time: 55:35

Enrico Rava - Pupa o Crisalide (1975) [re-rip>flac]

"Pupa o Crisalide" isn't his most acclaimed record, but it's my favourite one. It's a good summary of the first phase of his solo career, and it contains tracks recorded with three different ensembles: an all-Italian line-up for the opener and closer - recorded in Rome, an Argentinean octet for the B-side of the LP - recorded in Buenos Aires, and finally an impressive American septet (just two names: Jack DeJohnette, John Abercrombie) for the A-side, recorded in New York. The musical style clearly reflects the composite nature of the album. The first half is funkier, edgier and fierier, evidently influenced by the jazz-rock/fusion tendencies that were spreading during those years. The second one is more placid and skippy, and elegantly incorporates some Latin/Samba elements in the alchemy.

The two halves are held together by the timbric similarity of the line-ups (which feature almost the same elements), and by Enrico Rava's renown trumpet style. Often compared to Miles Davis and Kenny Wheeler, his technique envisages rarefied notes, full of ambience, and erratic melodic lines which surprisingly do not undermine the "presence" of his trumpet sound. On the contrary, Rava's trumpet charisma seems to emerge right from this amazing equilibrium of detachedness and red-bloodedness. Source: Ilgolpeeluva.blogspot.com

RCA-VISTA, THP1 1116, 1975

Recorded on 15th-16th July, 1974 (#A1, B4) in Rome, Italy;

December, 1973 (#A2, A3) in New York:

April, 1974 (#B1, B2, B3) in Buenos Aires, Argentina

Personnel:

Enrico Rava - Trumpet

Tommaso Vittorini - Tenor Saxophone, Arranger (#A1,B4)

Finito Ginbert - Tenor Saxophone, Flute (#B1-B3)

David Horowitz - Piano, Electric Piano, Synthesizer (#A2,A3)

Franco D'Andrea - Piano (#A1,B4)

Matias Pizzarro - Piano (#B1-B3)

John Abercrombie - Electric Guitar (#A2,A3)

Ricardo Lew - Electric Guitar (#B1-B3)

Michele Ascolese - Guitar (#A1,B4)

Rodolfo Mederos - Bandoneon (#B1-B3)

Giovanni Tommaso - Bass (#A1,B4)

Herb Bushler - Bass, Bass Guitar (#A2,A3)

El Negro Gonzales - Double Bass (#B1- B3)

Bruno Biriaco - Drums (#A1,B4)

Jack DeJohnette - Drums (#A2,A3)

Nestor Astarita - Drums (#B1-B3)

Mandrake - Percussion (#A1,B4)

El Chino Rossi - Percussion (#B1-B3)

Ray Armando - Percussion (#A2,A3)

Warren Smith - Percussion (#A2,A3)

Tracks:

A1. Pupa O Crisalide (4:03)

A2. C.T.'s Dance (6:43)

A3. Tsakwe (8:11)

B1. El Samba Graciela (4:09)

B2. Revisione Del Processo N. 6 (10:25)

B3. Lingua Franca (4:35)

B4. Giromondo (3:35)

All Compositions by Enrico Rava

Rava's early works are strongly influenced by Miles Davis music and (fortunately!) almost don't include that honey-sweet South European melodies and over-emotional sentimentality that can destroy even good compositions. “Pupa O Crisalide” was recorded with three different ensembles in three different continents and naturally it contains a variety of music.

The album's opener and closer both were recorded in Rome with Italian musicians and are closest to Rava's later "Italian recordings". Still Miles Davis influences are obvious. The rest of the vinyl on side A was recorded in New York with an American septet (including such musicians as John Abercrombie (on electric guitar) and drummer Jack DeJohnette); these tracks are strongest part of the album. Similar to Miles Davis electric fusion period, the music here is a bit warmer, more airborne and a bit softer, but in itself sounds excellent (if not extremely original).

The first three compositions on side B were recorded in Buenos Aires with Argentinean musicians and hence contain music influenced by Latin Fusion. Overall album is can be considered variable and has some really strong moments. Very soon Enrico will start working for ECM and his music will become much more predictable. One strong Italian jazz album and excellent entry to Enrico Rava music. ~ Jazzmusicarchives.com

Enrico Rava - Quotation Marks (1973,74)

“Quotation Marks” was a milestone for Italian trumpeter, now ECM mainstay, Enrico Rava. In addition to being his first of many projects on Manfred Eicher’s watch, it was his debut as leader. The record blends two sessions into a seamless program. The first (December 1973) went down in New York City, where he was backed by guitarist John Abercrombie, drummer Jack DeJohnette, keyboardist David Horowitz, bassist Herb Bushler, and percussionists Ray Armando and Warren Smith. The second (April 1974) placed Rava in Buenos Aires alongside Radolfo Mederos on bandoneón, Finito Bingert on tenor sax and flute, Matias Pizarro on piano, Ricardo Lew on guitar, and percussionists Nestor Astarita and El Chino Rossi.

Of this fine assembly, Mederos’s sound rings foremost. His lovely bellows open “Espejismo Ratonera” with a lilting air before Pizarro’s smooth pianism flushes its alleys clear for less straightforward melodic explorations. Touches of tango warm the cockles, making for an easy, patient entrance to Rava’s dancing grammar. Youth and joy are obvious in his playing, which by a clever turning of the knob bleeds back into the bandoneón with which the track began. American jazz vocalist Jeanne Lee sings lyrics by Argentine poet Mario Trejo in the “Short Visit To Malena” that follows. It too benefits from studio subtleties, fading in as if we were being escorted from one nightclub to another. We seem to wander in at mid-song and notice the crowd sipping their cocktails, arriving just in time for Rava’s trade-off to Abercrombie. (I cannot help but be reminded at this point, if you’ll forgive the comparison, of “Club Tropicana” by Wham!, which begins outside and plunges the listener into a club atmosphere once the door is opened.) “Sola” throws us headlong into the bounce of the South American band. A flute solo here from Bingert stands as the album’s highlight. Like a light streaking before an open lens, it lingers against the skip of bandoneón and snare. The track fades all too soon, just as Lew catches a tailwind. “San Justo” is another horizontal with dissonant verticals from Mederos and a gritty prison break from Lew. Lee rejoins the cast for the heavenly watercolors of the title track before her cathartic leaps float amid a heady beat of brassy beauty, while in the steady groove of “Melancolia De Las Maletas” she adds flips and dips. All of this gives plenty of ground for Rava to unleash his confidence, handing it over to Abercrombie for a crunchy and edible passage.

We know these musicians are capable of incendiary moves, which renders their restraint (and the occasional burst) all the more intense. Rava especially takes time to introduce himself into nearly every tune. Even those like “Water Kite” cloak him in a deceptively thematic role before asserting his personality at stage center. It is a testament to his maturity as a young player and deference to the talents with which he finds himself. The result is an unspoiled gem in the Rava discography that is more than worth the import price if you can afford it. ~ Tyran Grillo, ECM Reviews.

Japo Records, JAPO 60010 ST, 1976

ECM/Universal Music, UCCE-9071, 2006

Recorded December '73 (#A2,B2,B3) At Blue Rock Studios, New York

Recorded April '74  (#A1,A3-B1) At Audion Studio, Buenos Aires, Argentina

Musicians:

Enrico Rava - Trumpet

Finito Bingert - Tenor Saxophone, Flute, Percussion (#A1,A3-B1)

David Horowitz - Piano, Synthesizer (#A2,B2,B3)

Matias Pizarro - Piano (#A1,A3-B1)

John Abercrombie - Guitar (#A2,B2,B3)

Ricardo Lew - Guitar (#A1,A3-B1)

Herb Bushler - Bass (#A2,B2,B3)

El Negro Gonzales - Bass (#A1,A3-B1)

Jack DeJohnette - Drums (#A2,B2,B3)

Nestor Astarita - Drums (#A1,A3-B1)

Rodolfo Mederos - Bandoneon (#A1,A3-B1)

Warren Smith - Marimba, Percussion (#A2, B2, B3)

El Chino Rossi - Percussion (#A1,A3-B1)

Ray Armando - Percussion (#A2,B2,B3)

Jeanne Lee - Vocals (#A2,B2,B3)

Tracks:

A1. Espejismo Ratonera {Enrico Rava, Fernando de Santa Fe} (6:15)

A2. Short Visit To Malena {Mario Trejo, Enrico Rava} (3:58)

A3. Sola {Enrico Rava, Fernando de Santa Fe} (5:28)

A4. San Justo {Enrico Rava} (8:53)

B1. Water Kite {Enrico Rava} (6:25)

Quotation Marks / Naranjales (7:39)

B2.1. Quotation Marks {Mario Trejo, Enrico Rava}

B2.2. Naranjales {Arr. Enrico Rava, Traditional}

B3. Melancolia De Las Maletas {Enrico Rava} (9:55)

Credits:

Producer - David Horowitz, Jack Tafoya (#A2,B2,B3), Nano Herrera (#A1,A3-B1)

Recording Engineer - Jane... (#A2,B2,B3), Nello (#A1,A3-B1)

George Benson - Body Talk (1973)

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. ~ by Richard S. Ginell, AMG.

CTI Records, CTI 6033, 1973

Recorded 17^th (Side B) & 18^th (Side A) July 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Frank Foster - Tenor Saxophone (#A3-B2)

Waymon Reed - Flugelhorn, Trumpet (#A3-B2)

John Gatchell - Flugelhorn, Trumpet (#A3-B2)

Jon Faddis - Flugelhorn, Trumpet (#A3-B2)

Dick Griffin - Trombone (#A3-B2)

Gerald Chamberlain - Trombone (#A3-B2)

Harold Mabern - Electric Piano

Earl Klugh - Guitar

Gary King - Electric Bass

Ron Carter - Bass

Jack DeJohnette - Drums

Mobutu - Percussion

Track Listing:

A1. Dance {Alfred Ellis, George Benson} (10:30)

A2. When Love Has Grown {Donny Hathaway, Gene McDaniel} (5:01)

A3. Plum {George Benson} (5:28)

B1. Body Talk {George Benson} (8:21)

B2. Top Of The World {George Benson} (9:56)

Credits:

Producer - Creed Taylor

Arranger, Conductor - Pee Wee Ellis

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Cover Photograph - Pete Turner

Freddie Hubbard - Polar AC (1975) [vinyl>flac]

Trumpeter Freddie Hubbard's sixth and final CTI studio recording has its moments although it is not on the same level as his first three. Hubbard, backed on four of the five songs by a string section arranged by either Don Sebesky or Bob James, is assisted on songs such as "People Make the World Go Round" and "Betcha By Golly, Wow" by flutist Hubert Laws and guitarist George Benson. "Son of Sky Dive" showcases his trumpet with a sextet including Laws and tenor-saxophonist Junior Cook. The music is enjoyable but not essential and this LP has yet to appear on CD. ~ by Scott Yanow, AMG.

Released in 1975, this was Hubbard's final release for Creed Taylor's CTI Records. It's a luxuriant, strongly orchestrated, but very accessible piece of jazz. Don Sebesky and Bob James alternate the orchestrations and arrangements. Hubbard's playing is outstanding, at the same time much solo space is allocated to flautist Hubert Laws; added to the mix is guitarist George Benson and George Cables on the Rhodes. A genuine highlight is "People Make the World Go Round" arranged by Bob James. It begins with Airto performing some unusual animal noises and percussion sounds contrasted with flourishes on the Rhodes by Cables. On the title track "Polar AC", Ron Carter throws in some vivacious bass playing whilst Jack DeJohnette is heard working the snares and cymbals against the rich the orchestral arrangements of Don Sebesky; which Hubbard weaves in and around with some amazing solos. There is a lot of pleasure to be found on this LP with further spins. Well Recommended.

CTI Records, CTI 6056, 1975

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie Hubbard - Trumpet

Hubert Laws - Flute

George Benson - Guitar (#A1-B1)

Junior Cook - Tenor Saxophone (#B2)

George Cables - Piano (#A2,B2)

Ron Carter - Bass

Alan Rubin, Garnett Brown, Marvin Stamm, Paul Faulise,
Tony Price, Wayne Andre - Brass (#B1)

George Marge, Phil Bodner, Romeo Penque, Wally Kane - Woodwind (#B1)

Billy Cobham - Drums (#B1)

Jack DeJohnette - Drums (#A1)

Lenny White - Drums (#A2, B2)

Airto - Percussion (#A2, A3)

Strings:

Al Brown, Charles McCracken, Harold Kohon, Irving Spice, Matthew Raimondi, Tosha Samaroff (#A1)

David Nadien, Emanuel Green, Manny Vardi, George Ricci, Joe Malin, Paul Gershman (#A1-A3)

Tony Sophos, Charles Libove, Gene Orloff, Harry Lookofsky, Max Ellen, Theodore Israel (#A2,A3)

Track Listing:

A1. Polar AC {Cedar Walton} (6:52)

A2. People Make The World Go Round {Linda Creed, Thomas Bell} (5:48)

A3. Betcha By Golly, Wow {Linda Creed, Thomas Bell} (8:10)

B1. Naturally {Nat Adderley} (5:53)

B2. Son Of Sky Dive {Freddie Hubbard} (13:17)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Arranger - Bob James (#A2,A3), Don Sebesky (#A1, B1)