Enrico Pieranunzi, Marc Johnson, Joey Baron - Current Conditions (2003)

More tunes from the Pieranunzi-Johnson-Baron trio, to caress your ears. The trio's magic hits home again and heads straight for your soul, tickling it with new original compositions by Enrico, Marc, and Joey. Pure pleasure. 

“I once described Thelonious Monk's original recording of 'Ruby My Dear' as 'sentiment without sentimentality'. Enrico Pieranunzi's playing and compositions have that same quality in their own way. No doubt he is both a romantic and a deep thinker. The combination of heart and mind is a most valuable amalgam in any art form. The blend is mixed differently by each individual. Pieranunzi's is a heady brew whose aromatic essences draw you in. They make you think. More so, they make you feel." ~ Ira Gitler, CamJazz.com. 

C.A.M. Jazz, CAMJ 7756-2, 2003
Recorded 28th November, 2001 Live at Sala B, RadioRai, Rome, Italy 

Personnel:
Enrico Pieranunzi - Piano, Arranger
Marc Johnson - Double Bass
Joey Baron - Drums 

Tracks:
01. How Can You Not? {Enrico Pieranunzi} (6:21)
02. Alle Rive Lontane {Enrico Pieranunzi} (8:03)
03. Ravel's Walk {Marc Johnson} (5:16)
04. Illusions Market {Enrico Pieranunzi} (5:31)
05. Simul {Enrico Pieranunzi} (5:02)
06. Night After Night {Enrico Pieranunzi} (7:27)
07. Joey's Magic Tricks {Joey Baron, Marc Johnson, Enrico Pieranunzi} (2:52)
08. When You Look At Me {Enrico Pieranunzi} (7:44)
09. What's Really Going On {Enrico Pieranunzi} (5:08)
10. If Only For A Time {Enrico Pieranunzi} (5:59)
11. Trio Reflections {Joey Baron, Marc Johnson, Enrico Pieranunzi} (5:00)
12. Broken Time {Joey Baron} (6:03) 

Total Time: 70:32

Credits:
Artistic Producer - Ermanno Basso
Engineer - Rita Franceschini, Roberto Rossi
Mixdown Engineer - Luciani Torani
Mixing Assistant - Damiano Antinori
Mastering - Danilo Rossi
Photography - Alessia Calvani 

Compelling Synergy
-----------------
Intimately recorded and imported live trio persuasively performs diverse post-bop powered by Pieranunzi's personal approach which sounds neither derivative nor intellectual. ~ IRate, 5 Stars, Amazon.com.

Gerald Albright - New Beginnings (2006)

Make no mistake; Gerald Albright has chops - serious chops - not to mention strong improvisational skills (on both tenor and alto sax) and a healthy amount of gritty, down-home soulfulness. But having a lot of positive attributes and actually making the most of them are two different things - and while the saxman has excelled at times, he has also delivered his share of forgettable, knee-jerk fluff. Drawing on both soul-jazz and smooth jazz, New Beginnings is a mixed bag, but is still one of his more worthwhile commercial outings. There are some weak tracks, to be sure, but when Albright lets loose, New Beginnings becomes a treat that brings to mind Grover Washington, Jr. and early Ronnie Laws. Albright really soars on a gospel-drenched performance of Hoagy Carmichael's "Georgia on My Mind," and he has some enjoyably funky moments on "Big Shoes" and "We Got the Groove" (both of which keyboardist Jeff Lorber co-wrote with the saxman) as well as the title track (which features Patrice Rushen on acoustic piano). This 2006 release has more pluses than minuses. ~ Extract by Alex Henderson, AMG. 

Concord Records, PKD-8540-2, 2006
Castle Oaks Studio, Calabasa, California
JHL Sound, Pacific Palisades, California
Riverphlo Studio, Anaheim, California
KAR Studio, Sherman Oaks, California
Dacrib Studio, Los Angeles, California 

Personnel: [See Text for Details]
Gerald Albright - Alto, Tenor & Baritone Saxophones, Flute, Bass Guitar, Drum Programming
Jeff Lorber - Keyboards, Drum Programming, Guitar
Chuckii Booker - Keyboards, Drum Programming, Backing Vocals
Rex Rideout - Keyboards, Drum Programming
Patrice Rushen - Acoustic Piano
Luther "Mano" Hanes - Keyboards, Backing Vocals
Tracy Carter - Keyboards
Chris Botti - Trumpet
John "Jubu" Smith - Guitar
Ricky Watford - Guitar
Paul Jackson Jr. - Guitar
Darrell Crooks - Guitar
Melvin Davis - Bass Guitar
Teddy Campbell - Drums
Tony Moore - Drums
Walter Scott & Wallace Scott - Vocals 

Tracks:
01. We Got The Groove {Gerald Albright, Jeff Lorber} (4:07)
02. New Beginnings {Gerald Albright} (5:10)
03. Deep Into My Soul {Gerald Albright, Jeff Lorber} (4:04)
04. And The Beat Goes On {Sylvers III, Preston Shockley, Shelby} (4:36)
05. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (5:23)
06. Take Your Time {Gerald Albright, Jeff Lorber} (4:35)
07. I Want Somebody {Chuckii Booker, Gerald Albright} (4:28)
08. You Are My Love {Gerald Albright, Luther "Mano" Hanes} (5:15)
09. Last But Not Least {Gerald Albright} (4:38)
10. I Need You {Chuckii Booker, Gerald Albright} (3:53)
11. Big Shoes {Gerald Albright, Jeff Lorber, Marlon McClain} (5:09)
12. Georgia On My Mind [Reprise] {Hoagy Carmichael, Stuart Gorrell} (3:52) 

Total Time: 55:19

Credits:
Producer (#2,5,9,12), Engineer (#1,3,4,6,7,9-11), Arranger (#2,5,9,12) - Gerald Albright
Producer, Arranger (#1,3,6,11), Engineer (#1,3,6,11) - Jeff Lorber
Producer, Engineer, Arranger - Chuckii Booker (#7,10)
Producer, Engineer, Arranger - Rex Rideout (#4)
Producer, Arranger - Luther "Mano" Hanes (#8)
Executive-Producer - Andi Howard, Mark Wexler
Engineer - Anthony Jeffries (#2,5,12), Dave Rideau (#1,3,6,11), Tracy Carter (#9)
Arranger - Tracy Carter (#2,5,9,12)
Art Direction - MAD Design/Photography, Sonny Mediana
Photography - Carl Studna
Liner Notes - Phil Collins

Azar Lawrence - Shadow Dancing (1985) [vinyl]

Saxophonist Azar Lawrence (born 1952) needs little introduction, as a young musical prodigy he was lovingly tutored by his mother, who taught music and led their church choir. At age 5, he played violin in the Los Angeles Junior Symphony, then viola, but his ears were turned to the saxophone at age 13. Azar spent his teen years immersed in jazz at the home of his best friend, none other than the late Reggie Golson, son of the great composer/arranger/saxophonist, Bennie Golson. From then on it was jazz, jazz and more jazz! Azar Lawrence began his jazz career at the renowned Dorsey High School Jazz Workshop. After high school he played in Horace Tapscott's 'Pan Afrikan Peoples Arkestra' and started performing in the Los Angeles club circuit. He soon found himself playing with the Ike & Tina Turner band, the Watts 103rd Street Band and War. At the age of 19, Azar joined John Coltrane's drummer Elvin Jones for over 3 years before being invited by McCoy Tyner to join his quartet (an alchemy that lasted for 5 exuberant years). During his tenure with Tyner, he also recorded with Miles Davis on the album Dark Magus at the famed Carnegie Hall. Upon leaving Tyner, Azar Lawrence recorded his own projects on Prestige Records, including Bridge Into The New Age (1974), Summer Solstice (1975) and People Moving (1976). After these three albums it would take over a decade before Mr. Lawrence would record another solo album (Shadow Dancing, released in 1985). Azar went on to record/write and perform with luminaries such as Freddie Hubbard, Busta Rhymes, Roberta Flack, The Headhunters and Mulatu Astatke. His sensational collaborations of the period included writing and performing on Earth Wind & Fire's highly acclaimed platinum album, Powerlight, and on Marvin Gaye's Grammy award winning, Hear My Dear. Azar Lawrence's work was sampled by renowned artists/acts from the likes of Madlib, Cypress Hill... and many others. In the early 2000s, Lawrence surged back onto the jazz scene and continues to electrify audiences with outstanding original compositions and chart hitting albums. His band, The Azar Lawrence Experience (TALE) appears with as many as eight musicians who sizzle to the sounds of Azar's powerful compositions, as well as songs from the Coltrane songbook. To this day TALE dedicates itself to sharing a lifetime of Azar Lawrence's music, art and spirituality with global audiences. On the album Shadow Dancing (released in 1985), which we are proudly presenting you today, you can hear the musical versatility only an artist like Azar Lawrence can deliver. Next to his trademark jazz sound, this album is filled with funk, soul and boogie influences. If you're looking for THE perfect mix of synth filled boogie & jazz-funk where the Sax takes the center stage... then this is a highly recommended gem for your record collection (and a must-have for seekers of rare grooves). ~ MainstVinyl.com. 

Riza Records, RRL 85-101, 1985
Tidal Waves Music, TWM76, 2021
Recorded and Mixed at Gatoons Recording Studios, California 

Musicians:
Azar Lawrence - Reeds, Backing Vocals
Greg Cook - Keyboards, Guitar, Bass
Denzell Miller Jr., Joel Gaines - Keyboards
Leo Nocentelli, Marlowe Henderson - Guitar
James Gadson - Drums
Fred Johnson - Drum Programming [Lyndrum]
Eddie "Bongo" Brown, Eric McKain - Percussion
Coco Evans - Vocals (#A1,B1), Backing Vocals
Orin Waters, Roy Galloway - Backing Vocals 

Tracks:
A1. Magic In The Night {Azar Lawrence, Greg Cook} (3:52)
A2. Shadow Dancing {Azar Lawrence, Greg Cook} (5:33)
A3. Inside Stuff {B. Parrish} (2:47)
A4. One More Time {Fugino} (7:41)
B1. Your Love Is Keeping Me Alive {Azar Lawrence, Greg Cook} (3:38)
B2. Keep It Hot {Azar Lawrence, Greg Cook} (4:59)
B3. Singapore Nights {Azar Lawrence, Fugino} (5:11)
B4. Interlude {Azar Lawrence, Greg Cook} (2:53) 

Total Time: 36:39

Credits:
Producer - Azar Lawrence
Co-producer - Greg Cook (#A2,B2)
Executive-Producer - Dr. Riza Jardan
Engineer - Reggie Dozier
Engineer [Assistant] - Nikki Bowden
Mastering - Jeff Sanders
Art Direction, Design – Duval Lewis
Photography [Cover] - David Ogborne

Winard Harper - Come Into The Light (2003)

There's certainly been no shortage of artistic statements about the September 11 attacks and their aftermath, and there'll no doubt be more. Few of those are as concise or as engaging as the one made by master drummer Winard Harper and his sextet on Come Into the Light. "911" is but one of the gems on this uncompromisingly excellent live recording (the first at Cecil Brooks III's New Jersey club). Saxophonist Brian Horton sets the tone on his brief introduction, which Harper follows up even more ominously, paving the way for trumpeter Patrick Rickman to launch a blistering attack of his own. Thereafter, the music represents the bedlam and uncertainty that followed the historic day's cataclysm, with both Horton and pianist Jeb Patton weaving tortured cries into Harper's authoritative trap breaks. While Harper is unquestionably the leader, the CD's feel is truly collaborative throughout, from compositional credits-"911" is Rickman's, Horton submits the funky "Specimen A" and Patton provides the Tommy Flanagan tribute "T.F."-to the seamless interplay on the Latin-bop workout "Float Like a Butterfly" and the Tadd Dameron staple "If You Could See Me Now." Another classic, "Corner Pocket," gets a similar treatment, with Horton and Patton again trading quicksilver expressions, all behind another fluid opening solo by Rickman. The rest of the rhythm section-bassist Ameen Saleem and percussionist Alioune Faye-help Harper lay down a solid yet swaggering swing foundation, and the front line keeps their solos mostly lean and mean. This is the unmistakable sound of a top-flight band that has come into its own and is capable of going just about anywhere musically. ~ by Michael Edwards, JazzTimes.com. 

Savant Records, SCD 2058, 2004
Recorded 26th & 27th December, 2003 Live at Cecil's, West Orange, New Jersey

Musicians:
Winard Harper - Drums, Percussion, Balafon
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano (#4-7,9,10)
Kelvin Sholar - Piano (#2,3,8,11-13)
Ameen Saleem - Bass
Alioune Faye - Djembe, Percussion, Sabar 

Tracks:
01. Spoken Intro by Cecil Brooks III (0:42)
02. Float Like A Butterfly {Winard Harper} (7:00)
03. Little Sunflower {Freddie Hubbard} (5:24)
04. Divine Intervention {Winard Harper} (4:37)
05. If You Could See Me Now {Tadd Dameron, Carl Sigman} (7:56)
06. 911 {Patrick Rickman} (5:08)
07. T.F. {Jeb Patton} (5:35)
08. Specimen A {Brian Horton} (3:50)
09. Polka Dots And Moonbeams {Johnny Burke, James Van Heusen} (5:47)
10. Corner Pocket {Freddie Green, Donald Wolf} (6:44)
11. Come Into The Light [Intro] {Winard Harper} (2:40)
12. Come Into The Light {Winard Harper} (6:13)
13. Korinthis {Winard Harper} (6:39) 

Total Time: 68:15 

Credits:
Producer - Cecil Brooks III
Executive Producer - Joe Fields
Engineer - Don Braden
Assistant Engineer - James Dellatacoma
Photography - R. Andrew Lepley
Design - Keiji Obata
Liner Notes - Laurence Donohue Greene 

Note:
Original CD was poorly compiled, tracks ended with the start of the next track.
Remedy rip to WAV, trim, remove excess applause, optimize, re-encode FLAC > tag.

Miroslav Vitous - Guardian Angels (1979)

"Guardian Angels" showcases the comprehensive talent of virtuoso bassist, Miroslav Vitous. It puts on full display his incredible talent on electric and acoustic basses (with and without bow). One of the things that I thoroughly enjoy about this music is that it dispels the claim, attributed to former band mate and co-founder of Weather Report, Josef Zawinul, that Vitous couldn’t bring the “bottom”. On every track here, he brings it. ~ Matt Seahorn, Amazon.com. 

As a big Miroslav Vitous fan, this album is extremely satisfying outing and captures a late 70s snapshot of fusion. To start, it features a future member of his group, Kenny Kirkland, on keyboards, John Scofield sounds great on guitar and brings two originals. It also features two Japanese members who Miroslav made a few albums with; George Otsuka on drums and Mabumi Yamaguchi is on soprano sax, who were involved in two Maracaibo albums, the album Mabumi, and keyboardist Fumio Karashima's Hot Island. I'd recommend the original Evidence edition of this album, it's affordable and has great liner notes recalling first-hand details from the recording. Enjoy! ~ Frank G, Amazon.com. 

Trio Records, PAP-9154, 1979
Evidence Records, ECD 22055, 1993
Recorded 9th, 10th, 11th November, 1978 At Onkio Haus, Tokyo, Japan 

Musicians:
Miroslav Vitous - Bass, Electric Bass, Synthesizer [Mini-Moog, Solina String-Ensemble]
Mabumi Yamaguchi - Soprano Saxophone
Kenny Kirkland - Piano, Electric Piano [Fender Rhodes, Yamaha CP-70 [Electric Grand],
Synthesizer [Yamaha CS-50 (Polyphonic), Mini-Moog]
John Scofield - Guitar
George Ohtsuka - Drums [Yamaha] 

Tracks:
1. His Meaning / Rising / Resolution {Miroslav Vitous} (8:38)
2. Inner Peace {Kenny Kirkland} (6:10)
3. Guardian Angels {Miroslav Vitous} (5:54)
4. Off To Buffalo {John Scofield} (7:52)
5. Eating It Raw {John Scofield} (6:15)
6. Shinkansen {Kenny Kirkland} (6:11) 

Total Time: 40:03 

Credits:
Producer, Engineer - David Baker
Producer - Ken Inaoka
Music Director - Miroslav Vitous
Engineer [Assistant] - Takashi Ogawa
Production Coordinator - Kaz Harada
Management – Hiroaki Itoh, Mamoru Kamekawa
Photography - Shigeru Uchiyama, Yasuhisa Yoneda
Design - Breakfast 

This is another example of the type of 'fusion' that was going on in NYC in the late 70's. It was popular then for Japanese artists to hire the top guys on the scene, make a record and be big stars in their home country. This CD is cool in that we hear a young Kenny Kirkland burning on electric keyboards. Kenny was 'the cat' to be reckoned with at this time. Scofield sounds good here too, although he sounds better on Chet Baker's 'can't go home again' and his own CD 'Live', also 'Rough House' which I think were recorded around the same time. The music is basically, pentatonic scales or whatever, played in unison really fast then solos: either up-tempo samba vamps or medium tempo funk groove. It's OK I guess...if you are a Kirkland or Scofield fan. ~ Wes Green, Amazon.com.

Shai Maestro Trio - The Road To Ithaca (2013)

Listening to this album, one gets the impression that it is full of "hits", characteristic themes that are remembered and haunted the listener long after listening, persistently resonating in the head, forcing you to hum (eg "Vertigo", "Paradox", " Gal"). They are purebred, noble compositions with a full range of emotions. There is nostalgia, lyricism, longing and even drama in them ("Untold", "Cinema G", "The Other Road"), excitement and hope ("Vertigo"), as well as joy, courage, sadness, despair, peace and coming to terms with reality. The composition entitled "Malka Moma" is the only one in which we hear the voice of the Bulgarian singer Nela Andreeva (she is also the author of this piece). Characterized by folklore and ethnic character, it is the essence of the atmosphere of the entire album, because it perfectly sums it up, what’s most important about it - an extraordinary emotional charge. It is clearly music that comes from the soul and the heart. Shai Maestro introduces inspiring motifs on the piano, and the Jorge Roeder / Ziv Ravitz rhythm section comes to his aid smoothly, building dynamic or lyrical conversations in a harmonious way. We do not have a fight for the palm of precedence for a moment - there are no dissonances in the form of going ahead. Occasionally, Roeder and Ravitz take over the lead for a while ("Water Dance", "Paradox", "Invisible Thread"), but neither of them tries to upset the balanced proportions. They put what they have the best to offer into the cauldron in which they cook musical food. Shai Maestro - unquestionable composing talent, thoughtful choice of means of expression, emotionality, great instrumental skills. Ziv Ravitz - mindfulness, exceptional listening, sense of groove ("Zvuv"), melody, timing. Jorge Roeder as a bassist can be daring (especially at concerts), but here he is above all an ideal partner for his colleagues - prudent, thrifty; it is like a bond between a Maestro piano and Ravitz's drums. They all share passion and commitment. There is an understanding between them, which results in a beautiful complementation. ~ Extract by Urszula Orczyk, JazzPress.pl. [Translated From Polish]

Laborie Records, LJ25, 2013
Recorded 2013 (#1,2,4-11) at Studio Laborie, Limoges, France;
#3 on a Zoom Recorder Live in Fribourg, Switzerland 

Musicians:
Shai Maestro - Piano, Arranger
Jorge Roeder - Double Bass, Arranger (#1 only)
Ziv Ravitz - Drums
Guest:
Neli Andreeva - Vocals [Bulgarian] (#10) 

Tracks:
01. Gal {Shai Maestro} (9:09)
02. Cinema G {Ziv Ravitz} (3:58)
03. Let Sound Be Sound {Shai Maestro} (1:54)
04. Paradox {Shai Maestro} (8:12)
05. Untold {Shai Maestro} (5:31)
06. Invisible Thread {Shai Maestro} (4:44)
07. Zvuv [The Fly] {Shai Maestro} (8:49)
08. The Other Road [For Naomi Gangi] {Shai Maestro} (4:00)
09. Vertigo {Shai Maestro} (4:03)
10. Malka Moma {Neli Andreeva; Arr. Georgi Genov} (3:38) 

Time: 54:02 

Bonus Track [Japanese Release]
11. Water Dance [Bonus Japan] {Shai Maestro} (8:14) 

Total Time: 62:16

Credits:
Producer - Laborie Records
Executive Producer - Jean-Michel Leygonie, Boris Jourdain
Recording & Mixing Engineer - Rob Griffin
Assistant Engineer - Antonin Chabillan, Clement Mettai
Mastering Engineer - Studio Lakanal
Photography - Jean-Baptiste Millot
Painting - Maggie Taylor [Garden, 2005]
Design - Jean-Louis Duralek

Shai Maestro Trio - Shai Maestro Trio (2012)

Israeli-born pianist Shai Maestro is familiar to UK audiences through his often-thrilling work with bassist/composer Avishai Cohen. He's now confirming that promise in his own group, with sometime Lee Konitz drummer Ziv Ravitz and Peruvian bassist Jorge Roeder, on an all-original repertoire except for the wistfully dignified traditional song Kalimankou Denkou. Cohen's swaying, romantically intense and cinematic music is immediately evoked in the alternately rippling and thunderous ‘Confession’, while the jaunty ‘Brave Ones’ sounds like a country-rock ballad (but develops with a catchily EST-like balance of freedom and certainty), and the meditative ‘Painting’ is a reverie under which arco bass murmurs and intensifying cymbal splashes steadily swell. Maestro's classical touch retains an expressive delicacy whatever the mood. Occasionally he restricts himself to fragmentary phrases inserted into remorseless drum-hooks and Roeder's luxurious basslines, and ‘The Flying Shepherd’ is a childlike dance that develops as a rhythm-stretching game. The Avishai Cohen dedication ‘One for AC’ could have come straight out of the repertoire of this gifted young pianist's famous mentor. Maestro's solo career is going to be one to watch. ~ John Fordham, TheGuardian.com. 

Laborie Records, LJ18, 2012
Recorded 2012 at Studio Laborie, Limoges, France 

Musicians:
Shai Maestro - Piano, Arranger
Jorge Roeder - Bass
Ziv Ravitz - Drums 

Tracks:
01. Confession {Shai Maestro} (0:31)
02. Sleeping Giant {Shai Maestro} (7:02)
03. Brave Ones {Shai Maestro} (9:57)
04. Painting {Shai Maestro} (5:02)
05. Silent Voice {Shai Maestro} (5:20)
06. Angelo {Shai Maestro} (4:27)
07. Lethal Athlete {Shai Maestro} (2:53)
08. The Flying Shepherd {Shai Maestro} (4:59)
09. Kalimankou Denkou {Traditional} (4:56)
10. One For AC {Shai Maestro} (4:35)
11. Tack On {Shai Maestro} (2:58) 

Total Time: 52:48 

Credits:
Producer - Laborie Records
Executive Producer - Jean-Michel Leygonie, Boris Jourdain
Recording & Mixing Engineer - Philippe Abadie
Assistant Engineer - Nicolas Denis
Mastering Engineer - Nate Wood
Photography - Jean-Baptiste
Photography [Pages 2&7] - Malene Marquez
Painting - Vilislava Boyadjieva
Design - Jean-Louis Duralek 

Note:
Original #10 (11:33) finished around 4:35 as indicated in booklet then starts again at 8:35
I have separated both adding #11 as "Tack On"

Jon Faddis - Teranga (2006)

After an extended layoff from studio recording, trumpeter Jon Faddis returns with Teranga. Taking its name from the Senegalese word for "hospitality," the album is an inspired and straightforward post-bop album and features Faddis in top form. Often driven by thick, acoustic basslines via Kiyoshi Kitagawa, Faddis' compositions are lush, visceral, and funky pieces that reveal the often-flashy trumpeter's more enigmatic and thoughtful inclinations. Longtime fans shouldn't fear, though, as Faddis' sparkling tone and trademark monumental range remain intact and are showcased throughout. Besides his superb backing ensemble that includes pianist David Hazeltine and drummer Dion Parson, Faddis has also brought along such sympathetic collaborators as Senegalese percussionists Abdou M'Boup and Alioune Faye as well as baritone saxophonist Gary Smulyan, trumpeter Clark Terry, and others. ~ by Matt Collar, AMG. 

KOCH Records, KOC-CD-9969, 2006
Recorded 6th-7th September, 2005 at Bennett Studios, Englewood, New Jersey 

Personnel:
Jon Faddis - Trumpet, Flugelhorn, Vocals, Arranger
David Hazeltine - Piano (#1-6,8,9)
Kiyoshi Kitagawa - Bass (#1-6,8,9)
Dion Parson - Drums (#1-6,8,9) 

Guests:
Frank Wess - Alto Flute (#4)
Abdou Mboup - Djembe, Talking Drum (#4)
Alioune Faye - Sabor (#4)
Clark Terry - Flugelhorn, Vocals (#6)
Russell Malone - Guitar (#6,7)
Gary Smulyan - Baritone Saxophone (#9) 

Tracks:
1. The Hunters & Gatherers {Jon Faddis} (6:38)
2. Hey, Lalo! {Jon Faddis} (5:37)
3. Waltz For My Fathers & Brothers {Jon Faddis} (5:17)
4. Teranga {Jon Faddis} (12:08)
5. The Courtship {Benny Carter} (6:34)
6. The Fibble-Ow Blues {Jon Faddis} (6:35)
7. Laurelyn {Jon Faddis} (5:56)
8. Transitions {Jon Faddis} (2:25)
9. The Baron {Jon Faddis} (4:55) 

Total Time: 56:11 

Credits:
Producer, Design, Packaging - Jon Faddis
Engineer, Mixing - Brian Dozoretz
Mastering - Adam Ayan
Design, Packaging - Michelle Lukianovich
Design, Packaging, Photography - John Abbott
A&R - David Wilkes
Public Relations - Gio Melchiorre
Liner Notes - Neil Tesser

Teranga

Kenny Wheeler - California Daydream (1992)

This is a wonderful live album by British Jazz trumpeter / composer Kenny Wheeler, recorded in a Paris club in a quartet setting with American pianist Jeff Gardner, Dutch bassist Hein Van De Geyn and French drummer Andre Ceccarelli. Together they perform seven original compositions; three by Wheeler and two each by Van De Geyn and Gardner. Although seemingly just another live Wheeler recording, this album presents one of the most intimate and focused opportunities to listen to his artistry and his Masterly performances happening right in front of the listener's ears, completely undisturbed. Wheeler is the primary soloist here and all the seven tracks feature his extended solo performances which can rarely be found on any other recording of this kind with such emphasis and intensity. All three musicians playing alongside Wheeler are veteran performers, with highly developed Jazz sensitivities, who accompany the Master amicably and support him all the way through, sensing quite naturally the rare opportunity to let him express his sublime artistry and staying relatively in the shadows during the proceedings. Van De Geyn and Gardiner perform a few splendid solos themselves, but as already stated this is pure unadulterated Kenny Wheeler in the spotlight for us to delight in. Of course, this is an absolute must have for Wheeler fans and admirers, and although quite difficult to find these days, it is definitely worth pursuing. Absolutely delightful serving of Wheeler at his very best! ~ Adam Baruch, adambaruch.com. 

Musidisc Records, 500292, 1992
Recorded 10th & 11th December, 1991 Live at "Alligators" in Paris, France 

Musicians:
Kenny Wheeler - Trumpet, Flugelhorn
Jeff Gardner - Piano
Hein Van De Geyn - Double Bass
André Ceccarelli - Drums 

Tracks:
1. The Imminent Immigrant {Kenny Wheeler} (6:40)
2. California Daydream {Hein Van De Geyn} (6:27)
3. Though Dreamers Die {Hein Van De Geyn} (7:37)
4. Salina Street {Kenny Wheeler} (6:37)
5. Mistica {Jeff Gardner} (6:27)
6. Voodoo {Jeff Gardner} (9:38)
7. Bethan {Kenny Wheeler} (5:01) 

Total Time: 48:32 

Credits:
Producer - François Lacharme
Executive-Producer - Denis Lacharme
Recording [Direct to Digital] - Etienne Dreuilhe, Jean-Pierre Smadja
Design [Conception] - Stéphanie Brichet
Photography [Cover & Booklet] - François Lacharme

Winard Harper Sextet - Make It Happen (2006)

Veteran drummer Winard Harper (who has played with Dexter Gordon, Johnny Griffin, Betty Carter, Ray Bryant, Abdullah Ibrahim, Pharoah Sanders, Clifford Jordan and others) gives us two albums in one on Make It Happen. The first is percussion-heavy. The opening tracks, for example, present an approach to ensemble sound that recalls Mosaic-era Jazz Messengers (carefully arranged multiple-horn lines over a busy, insistent rhythm section). The best compositions echo episodes in the Mingus lineage (notably Dave Holland's excellent mid-'80s groups). These elements can be traced back to a common ancestor in Duke Ellington, and you can't have better roots than that. These musical elements are held together by a genuinely novel mix of Afro-Cuban and unhyphenated African percussion. The percussion draws upon the more familiar Latin rhythms known to jazz audiences since Dizzy Gillespie invited Mario Bauza into his band (witness the flawless Latin jazz marriage in Harper's treatment of Charlie Parker's "Segment"), but also other West African elements which are distinct from the more familiar Yoruba heritage: most notably the invigorating Senegalese talking drum passages on "Children of the World." Three nearly all-percussion numbers are a special treat, especially the title track, from Wycliffe Gordon's didgeridoo prelude to its organ-drenched finale over a Brazilianesque rhythm. The other album is a relatively crammed set of decidedly mainstream allegro ma non troppo jazz; more than a few numbers have to be faded out long before they've worn out their welcome to make room for the others. The locus of inspiration for this second part fluctuates between the '50s ("I've Never Been in Love Before") and '60s ("Chronic Mistakes", the bass/alto duet "Tamisha"), and the added percussion is either inaudible or unobtrusive (and always appreciated, when you can hear it). It manifests the same great Duke-ish approach to group sound. Harper assembles a spirited ensemble, augmented on the best tracks by an idiosyncratic band of supplementary percussionists, who play with a palpable joy and solidarity. The percussionists, beginning with Harper, lead the pack; trumpeter Josh Evans' brassy (as opposed to airy) tone recalls Lester Bowie (and ultimately, Rex Stewart) and deserves special mention, but then so too do guests Antonio Hart (alto sax) and Lawrence Clark (tenor sax). I could listen to the numbers on the percussion-heavy part again and again. As for the cuts on the "second" album, they offer fewer reasons to return for more (with the exception of "Divine Surveillance, which has a certain gravitas). If the balance between the two had been struck more decisively in favor of the first, this would be a stronger overall release, and there is no doubt in my mind that these players could have sustained the passion of the percussion-based group over nearly eighty minutes. As it is, the unflagging excellence of the compositions, arrangements and soloing (that's just about everything on a jazz record, isn't it?), added to the evident camaraderie of the players throughout, make for a strong and joyful entry under the "soulful/mainstream heading. ~ by Jeff Dayton Johnson, AAJ. 

Piadrum Records, PIADRUM-0602, 2006
Recorded 8th January & 3rd April, 2006 at Bennett Studios, Englewood, New Jersey 

Musicians:
Winard Harper - Drums, Balafon (#2,15)
Josh Evans - Trumpet
Wycliffe Gordon - Trombone (#4,7,14), Didgeridoo (#4)
Antonio Hart - Alto Saxophone (#3,5,6)
Lawrence Clark - Tenor Saxophone
Stacy Dillard - Tenor Saxophone (#1,12)
Sean Higgins - Piano (#1,9,12)
T. W. Sample - Piano, Synthesizer
Ameen Saleem - Acoustic Bass
Kevin Jones - Congas, Drum [Jamba], Shaker, Triangle
Alioune Faye - Drum [Sabar], Drum [Jamba], Djembe
Abdou M'Boup - Talking Drum (tama) (#2,15), Vocals (#15)
Jeremy Jones - Tambourine, Cowbell, Drum [Dundun] 

Tracks:
01. Segment {Charlie Parker} (4:12)
02. Children Of The World {Winard Harper} (5:51)
03. Morning Glow {Onaje Allan Gumbs} (6:05)
04. Make It Happen {Winard Harper} (6:37)
05. Tamisha {Winard Harper} (6:45)
06. I've Never Been In Love Before {Frank Loesser} (6:48)
07. Get It! Get It! {Wycliffe Gordon} (4:01)
08. Not One Chance {Winard Harper} (5:14)
09. Reflection {Ray Bryant} (4:18)
10. Divine Surveillance {Winard Harper} (6:02)
11. Lourana {Lawrence J. Clark} (3:31)
12. Chronic Mistakes {Winard Harper} (3:52)
13. Bangbangboomboombapbap {Winard Harper} (2:07)
14. After Hours {Avery Parrish} (6:25)
15. The Prayer {Winard Harper} (5:40) 

Total Time: 77:28 

Credits:
Producer - Winard Harper
Audio Engineer - Dae Bennett
Art Direction, Design, Photography - Janis Wilkins

Houston Person - Houston Person '75 (1975) [re-rip>flac]

Houston Person '75 was cut with an anonymous bunch of Detroit session musicians, finding the saxophonist aiming straight for the R&B charts. Always a full-bodied, groove-oriented player, this straight-up soul isn't much of a stretch for Person but the rhythms are frequently funkier than in the past and the surface is certainly slicker. The album provides a good time capsule of the smooth but funky sounds of 1975. ~ Extract by Stephen Thomas Erlewine, AMG. 

Houston hits a funky groove for Westbound -- not as hard, heavy, and Prestige-sounding as his work on the now-dead Eastbound label, but also not too bad either. The overall sound is more produced, and there's some cuts that have a smoother tenor sound than you're used to with Houston. Titles include "Shotgun", "500 Gin Rummy", "All In Love Is Fair", "Funky Sunday Afternoon", and "A Touch Of Bad Stuff". ~ Dusty Groove, Inc. 

Westbound Records, W-205, 1975
Recorded at Artie Fields Studio, Detroit, Michigan 

Tracks:
A1. I Like To Live The Love {David Crawford, Charles Mann} (3:51)
A2. What It Is {Belda Baine, Louis Crane} (2:51)
A3. Shotgun {Autry Dewalt} (2:48)
A4. Mayola {Belda Baine, Louis Crane} (4:02)
A5. Gold In My Ear {Belda Baine, Louis Crane} (2:56)
B1. 500 Gin Rummy {Belda Baine, Louis Crane, Little Jimmy Scott} (3:27)
B2. Funky Sunday Afternoon {Belda Baine, Louis Crane} (3:06)
B3. A Touch Of Bad Stuff {Belda Baine, Louis Crane, Jimmy Roach} (4:35)
B4. All In Love Is Fair {Stevie Wonder} (6:49)
B5. He'll Fight My Battles {Delores Williams} (3:33) 

Credits:
Producer - Houston Person, Bernard Mendelson
Arranger - Ed Nuccilli, Jimmy Roach
Recording Engineer - Ken Sands
Etta Jones featured on (#B5)
Other Special thanks to Armen Boladian, Mariam Lampkin, Abe Tilmon 

See more info at: http://acerecords.co.uk/75--get-outa-my-way 

Here’s an overlooked LP from the masterful Houston Person. This album comes out of the mid 70’s when Soul Jazz, Jazz Funk was the newer thing. Regardless of the style Houston still exhibits wonderful control, cutting some great tunes on his tenor sax. Enjoy!

Steps Ahead - Magnetic (1986)

Released in the mid-80's, it has the era's sound and feel, a mix of pomp rock, synth-orchestral fills with polished soloing mixed into the whole. The talented jazz musicians who appear on the album I believe give credence to my statement. The first track, 'Trains' is a bombastic synth-driven tune, with Peter Erskine's solid drum patterns providing a rock beat as a typically fine and multiplied sax solo from Mike Brecker and squealing solo from Hiram Bullock's guitar provide two high points among the pomp. It promises much, yet by itself would be enough. 'Beirut', the next track, keeps the momentum going with an understated yet funky bass line from Victor Bailey, with unsettling synth phrasing and a solo from Mike Mainieri bringing the 8-minute track to a brash close. 'Cajun' follows, a straight-up be-bop rhythm with underlying banjo plucking from Peter Schwimmer and Mainieri's vibes helping to drive it along; while Brecker's mid-point solo develops into a surprising big band sax section. Next is 'In A Sentimental Mood', the Duke Ellington staple played electronically, and this leads into the track 'Magnetic Love', the one possibly created as a single, though sounding like the track for the closing credits of one of those 80's films we endured because it was all that was left in the video store. Let's move on. 'Sumo' comes next, a quirkily funky track with elements reminiscent of the Brecker skunk-funk sound. It grows on you while grating at the same time. 'All The Tea In China' is a richer sounding tune, the ensemble easing you into the penultimate track; 'Something I Said', a slow, lilting tune dominated by Brecker's sax, freed from any electronic alteration, and Mainieri's synthi-vibes. Bailey's bass provides a rumbling counterpoint to the poignant sax and mellow vibes. The last track 'Reprise (Magnetic Love)' eases in, with Brecker's sax playing over the track. It lasts just over a minute (way too short!) And closes the album. ~ Johnny L, 5 Stars, Amazon.com. 

Elektra Musician, 960 441-2, 1986
#1,6: Recorded at Bear Tracks Studios & Electric Lady Studios, New York
#2,3,8: Recorded at Skyline Studios, New York
#4,5,9: Recorded at Electric Lady Studios, New York
#7: Recorded at Plant Sound, New York 

Personnel:
Mike Mainieri - Synthi-vibe (#1,2,3,6,8), Vibes (#7), Keyboards (#1,2,4), Synthesizers (#5,9)
Michael Brecker - Tenor Saxophone (#1,2,3,5,6,7,8,9), Steiner EWI (#1,3,4,6,7),
Oberheim Xpande (#2,3,4,7)
Chuck Loeb - Electric Guitar (#1,2,3,6,7,8), Acoustic Guitar (#1), Guitar Synthesizer (#1,2,3,6)
Victor Bailey - Bass (#1,2,3,6,7,8)
Peter Erskine - Drums (#1,2,3,6,8), Percussion (#1,2,6,7), Synthesizers (#7,8) 

Additional Musicians
See details in Archive 

Tracks:
1. Trains {Mike Mainieri} (7:30)
2. Beirut {Michael Brecker, Chuck Loeb, Mike Mainieri} (8:17)
3. Cajun {Michael Brecker} (6:18)
4. In A Sentimental Mood {Ellington, Kurtz, Mills} (3:33)
5. Magnetic Love {Mike Mainieri, Scott Martin} (5:35)
6. Sumo {Michael Brecker} (5:52)
7. All The Tea In China {Peter Erskine} (5:06)
8. Something I Said {Peter Erskine} (4:13)
9. Magnetic Love [Reprise] {Mike Mainieri, Scott Martin} (1:25) 

Total Time: 47:54

Credits:
Producer - Mike Mainieri, George Duke
Engineers - Malcolm Pollack, Neil Dorfsman, Rick Kerr, James Farber,
Joe Barbaria, Jay Rifkin, Andrew Heermans
Engineer [Assistants] - Jamie Chaleff, Ken Steiger, Rick Begin, Scott Ansell,
Bridget Daly, Robin Lane, Kevin Killian, Tim Purvis
Mixing - Malcolm Pollack, James Farber, Michel Sauvage,
Michael Brauer, Tom Lord-Alge

In A Sentimental Mood

Steps - Step By Step (1981)

The '70s proved to be a challenging time for jazz in general. As the last strains of progressive rock gave way to the decade end's disco boon, jazz found itself in an uncertain position. Fusion had seemed to play itself out and acoustic music was becoming as rare as those proverbial "hen’s teeth". As the '80s approached, Wynton Marsalis would emerge as a voice in support of refurbishing the jazz tradition. Also, a part of this milieu, the group Steps (later to be dubbed Steps Ahead) would turn their regular jam sessions at Michael Brecker's NYC jazz club, Seventh Avenue South, into a forum for presenting contemporary jazz in a well-versed and sagacious manner. It would be a few years before American audiences would catch wind of Steps and its musical modus operandi due to the fact that their early work was released only in Japan on Nippon Columbia. The brainchild of vibraphonist Mike Mainieri, the initial incarnation of the band included Brecker, the late pianist Don Grolnick, bassist Eddie Gomez, and drummer Steve Gadd. This album while short on duration it more than makes up for things by presenting a heady mix of straight ahead and fusion tendencies, particularly notable is Mainieri’s "Bullet Train." ~ Extract by C Andrew Hovan, AAJ. 

Better Days, YF-7020-N, 1981
Better Days, 28CY-2867, 1988
Recorded 8th & 10th December, 1980 at Nippon Columbia Studio, Tokyo, Japan 

Musicians:
Mike Mainieri - Vibraphone
Michael Brecker - Tenor Saxophone
Don Grolnick - Piano
Eddie Gomez - Bass
Steve Gadd - Drums 

Tracks:
1. Uncle Bob {Don Grolnick} (11:00)
2. Kyoto {Mike Mainieri} (6:57)
3. Belle {Mike Mainieri} (7:49)
4. Bullet Train {Mike Mainieri} (5:31)
5. Six Persimmons {Don Grolnick} (6:09) 

Total Time: 37:29

Credits:
Producer - Mike Mainieri
Executive-Producer - Christine Martin
Recording & Mixing - Neil Dorfsman
Engineer [Assistant] - Tsukasa Aoyama
Photography [Front & Inner] - Susan Aimee Weinik
Photography [Back] - Akira Aimi
Liner Notes - Hisashi Ikegami

Mike Mainieri - Journey Thru An Electric Tube (1968) [vinyl]

It’s sad that Mike Mainieri never received the attention he so richly deserved with Journey Thru An Electric Tube, as the album was recorded exceedingly well, managed in its construction to be both forward looking and forward thinking, being one of the most enduring of the vibraphone releases, where it delivered and channeled its sound in an easy to appreciate low volume, was not for one moment abrasive, and totally ideal for a 60’s kick back lounge around the living room atmosphere. Mike was a pioneer with his introduction of the electronic vibraphone, then known as the synth-vibe. The album is effortless, fluid, soulful at times, smooth and laced with some cool 60’s inspired tripped out vibes, along with visionary and contemporary flute and guitar playing by Jeremy Steig that shouldn’t be missed. Yet the praises only begin there, a total of nine artists assembled to make this album the timeless classic it is today, along with a first-rate engineering, recording, pressing and a solid heavy jacket that has also stood the test of time. The album has never as yet been released on compact disc. Simply an absolute pleasure to spin. ~ Extract by Jenell Kesler, discogs.com. 

Solid State Records, SS-18049, 1968 

Musicians:
Mike Mainieri - Vibraphone, Vocals
Jeremy Steig - Flute
Warren Bernhardt - Piano, Organ
Joe Beck - Electric Guitar
Sam T. Brown - Electric Guitar, Classical Guitar
Hal Gaylor - Bass
Chuck Rainey - Electric Bass
Donald MacDonald - Drums
Sally Waring - Vocals
String Quartet 

Tracks:
A1. It's All Becoming So Clear Now {Mike Mainieri} (5:28)
A2. The Wind {Mike Mainieri, Sally Waring} (6:24)
A3. Connecticut Air {Sally Waring} (2:50)
A4. We'll Speak Above The Roar {Mike Mainieri} (6:25)
B1. The Bush {Mike Mainieri} (2:58)
B2. I'll Sing You Softly Of My Life {Mike Mainieri} (4:50)
B3. Yes, I'm The One {Mike Mainieri, Sally Waring} (0:48)
B4. Allow Your Mind To Wander {Mike Mainieri} (14:15) 

Total Time: 43:58 

Credits:
Producer - Sonny Lester
Engineer - Malcolm Addey
Photography - Bob Braco

Winard Harper - A Time For The Soul (2003)

Listening to this release from drummer Winard Harper's group, it is very easy and logical to think of Art Blakey and the Jazz Messengers. The music is mostly straight-ahead hard bop, and even overlooking Bobby Timmons' "Dat Dere" (which is straight from Blakey's repertoire), most of the cuts are very much in the same style. Trumpeter Patrick Rickman is a fine player influenced by Lee Morgan and Freddie Hubbard; Brian Horton contributes some excellent saxophone solos, and pianist Jeb Patton excels quite well in the modern mainstream setting. The biggest surprises are an instrumental medium-tempo version of "Here's to Life," and a couple percussion features. Fans of straight-ahead jazz will easily enjoy this fine effort. ~ by Scott Yanow, AMG. 

Savant Records, SCD 2048, 2003
Recorded 3rd January, 2003 at Leon Dorsey Studios, New York City 

Musicians:
Winard Harper - Drums
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano
Ameen Saleem - Bass
Kevin Jones - Percussion
Scott Harper - Auxiliary Percussion (#7) 

Tracks:
01. Soul Time {Winard Harper, Graham Parker} (5:48)
02. Mr. Baggy Pants {Winard Harper} (5:50)
03. Here's To Life {Artie Butler, Phyllis Molinary} (6:32)
04. Dat Dere {Oscar Brown, Jr., Bobby Timmons} (9:54)
05. About Face {Michael Hedges} (4:23)
06. When The Time Is Right {Winard Harper} (5:12)
07. All Praise To G-D {Winard Harper} (4:05)
08. Alone Together {Howard Dietz, Arthur Schwartz} (6:01)
09. Catanya {R. Brown} (4:56)
10. Glorify {Winard Harper} (6:14) 

Total Time: 59:01 

Credits:
Producer - Winard Harper
Executive Producer - Joe Fields
Engineer - David Baker
Assistant Engineer - Leon Lee Dorsey
Photography - Udo Spreitzenbarth
Design - Keiji Obata, Peter Muller [Littlefield & Company]

Helen Sung - Anthem For A New Day (2014)

Although she has released several trio albums, Helen Sung's 2014 album, Anthem for a New Day, is the pianist's first quintet album. As the 2007 Mary Lou Williams Piano Competition winner, Sung has displayed her virtuosic abilities backing such luminaries as trumpeter Clark Terry, saxophonist Wayne Shorter, and trumpeter Jon Faddis, just to name a few. Here, Sung takes center stage backed by a stellar cast of supporting players including saxophonist Seamus Blake, trumpeter Ingrid Jensen, bassist Reuben Rogers, drummer Obed Calvaire, and others. In a jazz world split between more esoteric avant-garde albums and safe, standards-heavy albums, with Anthem for a New Day Sung finds the perfect balance between intellectual, exploratory improvisation and no-nonsense, finely tailored jazz arranging. On Anthem for a New Day, Sung primarily delves into a handful of new compositions, from the buoyant "Armando's Rhumba" to the expansive "Hidden," as well as several well-chosen covers, including a gorgeous "Never Let Me Go," featuring violinist Regina Carter, and the tense yet funky "Epistrophy." These are immaculate and organically arranged pieces, all played in a swinging, straight-ahead style that allows for all musicians involved to shine. All of which is even more impressive when you consider that Sung, a classical student in college, didn't seriously began exploring jazz until after graduating from the University of Texas in 1995. After years of paying her dues as a sideman and "shedding" her chops in trio settings, with Anthem for a New Day Sung has delivered the soundtrack to the next phase of her career as a jazz leader. ~  by Matt Collar, AMG. 

Concord Records, CJA-34496-02, 2014
Recorded at Systems Two Studios, Brooklyn, New York 

Musicians:
Helen Sung - Piano, Fender Rhodes, Handclaps & Foot-Stamping (#2)
Ingrid Jensen - Trumpet
Seamus Blake - Soprano & Tenor Saxophones
Reuben Rogers - Bass
Obed Calvaire - Drums, Handclaps & Foot-Stamping (#2)
Samuel Torres - Percussion, Handclaps & Foot-Stamping (#2) 

Guests:
Regina Carter - Violin (#3,7)
Paquito D'Rivera - Clarinet (#2)
John Ellis - Bass Clarinet (#6) 

Tracks:
01. Brother Thelonious {Helen Sung} (5:37)
02. Armando's Rhumba {Chick Corea} (4:37)
03. Hidden {Helen Sung} (5:48)
04. It Don't Mean A Thing [If It Ain't Got That Swing] (Ellington, Mills} (4:10)
05. Hope Springs Eternally {Helen Sung} (5:33)
06. Anthem For A New Day {Helen Sung} (5:43)
07. Never Let Me Go {Ray Evans, Jay Livingston} (7:18)
08. Chaos Theory {Helen Sung} (5:04)
09. Epistrophy {Kenneth Clarke, Thelonious Monk} (5:30)
10. Equipoise {Stanley Cowell} (2:16) 

Total Time: 51:40 

Credits:
Producer, Liner Notes - Helen Sung
Recording Engineer - Mike Marciano
Mixing Engineer - Jeremy Loucas
Mastering Engineer - Paul Blakemore
Art Direction - Albert J. Roman
Photography - Kat Villacorta

Moutin Réunion Quartet - Red Moon (2004)

Avant-garde music is not my cup of tea: I usually find it dark and formless, and the more "out" it goes, the faster I turn it off. But when I heard the opening track here, a bass and drum derangement of "La Mer," I was struck by how playful it could be. Same thing for the next and title track, a driving funk/Latin mix, where pianist Baptiste Trotignon and saxophonist Rick Margitza join the party, contributing to the genial celebration. I was surprised that I could not only follow the journey, but enjoy it as well. Either my ears have grown after a decade of reviewing, or these guys have produced something special. Perhaps both. In any case, the leaders are twin brothers, Francois and Louis Moutin, who offer four originals each, as well as two standards arranged by Francois. The "reunion" reflects Francois's return after leaving the first Moutin group in 1996 for the US. The music is bold, with intricate rhythms and intriguing harmonies. Trotignon's piano knits the quartet together with melodic silk, supple and strong. "Apollo 13" conveys the power and mystery of space flight, with Margitza soaring, as he does on "Sailing Through the Clouds." "Taking Flight" makes the most out of a simple riff; "New-York Silly" is full of the Apple's energy, while "Soroya" is a moody ballad. "Stompin' at the Savoy" becomes more like "Slinkin' at the Savoy" in Francois's fresh conception. This is original, exciting, well-crafted music; it will definitely challenge those used to swimming in the mainstream, but the rewards of listening are many. ~ by Dr. Judith Schlesinger, AAJ. 

Nocturne Records, NTCD 337, 2004
Recorded 21st, 22nd & 23rd May, 2003 at Acoustic Recording, Brooklyn, New York 

Musicians:
François Moutin - Double Bass
Louis Moutin - Drums
Rick Margitza - Saxophone
Baptiste Trotignon - Piano 

Tracks:
01. La Mer {Charles Trénet} (3:53)
02. Red Moon {Louis Moutin} (8:18)
03. Apollo 13th {François Moutin} (9:14)
04. Soraya {François Moutin} (5:29)
05. Jazz Married {Louis Moutin} (6:17)
06. Taking Off {François Moutin} (7:20)
07. Sailing Through The Clouds {Louis Moutin} (7:49)
08. New-York Silly {François Moutin} (7:13)
09. Elle Aime {Louis Moutin} (4:45)
10. Stompin' At The Savoy' {Chick Webb} (2:23) 

Total Time: 60:43 

Credits:
Recording & Mixing - Michael Brorby
Mastering - Steve Fallone
Graphic Design - Renaud Barès
Liner Notes - Dan Doyle

Magma - 1001° Centigrades (1971) [vinyl]

After losing guitarist Claude Engel and reinforcing the brass section with Jeff Seffer on saxophones and Louis Toesca on trumpet, Magma went back into the studio in 1971 to record a second album. All the originality and greatness of Kobaïa are there, in even greater measure because everything is magnified. The two tracks composed respectively by Teddy Lasry and François Cahen occasionally introduce a jazzier note but it is Rïah Sahïltaahk which shows the most forceful development of the work apparent on the first album. This Christian Vander composition is over twenty minutes in length. It amazes as much by its richness and the incredible number of its themes as by its rhythmic strength and its perfectly controlled violence. Furthermore, it allows the listener to admire the diversity of the brass, whose role diminishes progressively over time. ~ soundohm.com. 

Philips Records, 6397 031, 1971
Recorded 5th-10th April, 1971 at Michel Magne Studios, Hérouville, Oise, France 

Musicians:
Christian Vander - Drums, Percussion, Vocals
Louis Toesca - Trumpet
Teddy Lasry - Clarinet, Saxophone, Flute, Vocals
Jeff Seffer - Saxophone, Bass Clarinet
François Cahen - Piano, Electric Piano [Fender]
Francis Moze - Bass
Klaus Blasquiz - Percussion, Vocals 

Tracklist: 

Side One
1. Rïah Sahïltaahk {Christian Vander} (21:40) 

Side Two
1. "Iss" Lanseï Doïa {François Cahen} (11:41)
2. Ki Ïahl Ö Lïahk {Teddy Lasry} (8:23) 

Total Time: 41:44 

Credits:
Producer [Réalisateur Plénipotentiaire] - Roland Hilda
Engineer [Sound] - Dominique Blanc-Francard
Louis Sarkissian - Manager
Liner Notes [Poem] - Christian Vander, Theïus Bïngöh 

All the factors contributing to the originality and grandeur of Kobaïa remained in place, reaching a more profound form in this second opus. If the two pieces composed by Teddy Lasry and François Cahen allowed a more jazz-oriented tendency to filter through, it is in Rïah Sahïltaahk where we hear the ideas presented on the first album developed with the greatest power. At over 20 minutes, this Christian Vander composition is astounding, as much by its richness and incredible variety of themes as by the perfectly-disciplined rhythmic force; moreover, it showcases the fullness and diversity of the brass section, although its role became progressively less important as time went on. ~ Extract from seventhrecords.com.