Wednesday, May 23, 2018
Having played with Gary Burton, Jaco Pastorius and other leading fusion musicians, the prodigious Pat Metheny made his solo recording debut in 1976 with the classic Bright Size Life. The following year he released Watercolors, marking the start of his long collaboration with pianist Lyle Mays and the forming of The Pat Metheny Group. That summer they played various dates (together with bassist Mark Egan and drummer Danny Gottlieb). They were swiftly acclaimed as one of America’s foremost fusion bands. Their second album, American Garage, appeared in June 1979, and reached #1 on the Billboard jazz chart soon afterwards, propelled by the up-tempo (Cross the) Heartland, which became their signature tune. The superb tracks featured here, performed live and broadcast on FM radio, include material from Watercolors, the Pat Metheny Group album and American Garage, presented here together with background notes and images.
This is a collection of previously released live sets--"Boston Jazz Workshop" ('76), "Great American Music Hall" ('77), "Seattle Opera House" ('78), and two discs from "Hofstra University" ('79). The sound varies slightly but overall is very decent to good. There's some slight distortion occasionally and a bit of muddiness in the bass at times. But for Metheny fans who (like me) like this era, this is a nice way to have all these separate albums in one nice, neat box set. Like other albums only available in the UK, some of these individual albums aren't available in the U.S., so this is a good way to have it all. The discs slip inside cardboard jackets with graphics similar to the box cover graphic, and the booklet is only okay like many of these kinds of sets. The outer clamshell box is fairly substantial cardboard. But it's the music that's important, and on that score this box set delivers.
Founder Pat Metheny first emerged on the jazz scene in the mid-1970s with a pair of solo albums. First was Bright Size Life, released in 1976, a trio album with bass guitarist Jaco Pastorius and drummer Bob Moses. The next album, released in 1977, was Watercolors, featuring Eberhard Weber on bass, pianist Lyle Mays, and drummer Danny Gottlieb.
Despite the common description of Metheny's music as "fusion," it was always his intention to create improvised music that had a greater emphasis on bringing out harmony than anything common to what was called "fusion" of the time. Pastorius, with whom Metheny struck up a friendship while the two attended the University of Miami and later toured in Joni Mitchell's backing band during her transition from her earlier folk rock compositions to those with more jazz influence, had at the same time explored melodic lines for his instrument within the melodies normally heard, rather than just providing a simple bassline, revolutionizing the way the bass guitar was viewed by the musical establishment. The two friends would talk into the late evening during the early 1970s and discuss the new possibilities their instruments held.
At the same time, Jaco and I were both really on a mission to find a way to play and find a way to present our instruments in an improvisational environment that expressed our dissatisfaction with the status quo at the time.
— Pat Metheny
In 1977, bassist Mark Egan joined Metheny, Mays, and Gottlieb to form the Pat Metheny Group. They released the self-titled album "Pat Metheny Group" in 1978 on the ECM label, which featured several songs co-written by Metheny and Mays. The group's second album, American Garage in 1979, was a breakout hit, reaching #1 on the Billboard Jazz chart and crossing over to the pop charts as well, largely on the strength of the up-tempo opening track "(Cross the) Heartland" which would become a signature tune for the group. The group built upon its success with lengthy tours in the USA and Europe.
The group featured a unique sound, particularly due to Metheny's Gibson ES-175 guitar coupled to two digital delay units and Mays' Oberheim synthesizer and Yamaha Organ. The group played in a wide range of styles from experimental to grassroots music. Later on, Metheny began working with the Roland GR300 guitar synthesizer and a Synclavier System, while Mays expanded his setup with a Prophet 5 synthesizer designed by Sequential Circuits, and later with many other synthesizers.
1. Bright Size Life
2. River Quay
3. There Will Never Be Another You
4. Band Introduction
7. The Whopper
9. Unquity Road
1. Phase Dance
3. San Lorenzo
4. Wrong Is Right
1. WYNU Intro
2. Phase Dance
3. April Joy
5. Unity Village
6. The Windup
7. The Epic
8. WYNU Announcer
11. Midwestern Nights Dream
13. San Lorenzo
14. American Garage
15. WYNU Announcer
2. Phase Dance
4. Pat Chats
5. April Joy
6. Unity Village/The House of the Rising Sun/The Windup
7. The Epic
2. Old Folks
4. The Magician's Theater
5. San Lorenzo
6. Thank You/Band Intros
7. (Cross The) Heartland
8. WLIR Announcer
9. American Garage
Pat Metheny - Guitars
Lyle Mays - Piano, Keyboards
Danny Gottlieb - Drums
Mark Egan - Bass
Mike Richmond - Bass (disc 1)
Posted by Crimhead420 at 6:07 PM
Tuesday, May 22, 2018
01. Transfusion 02:10
02. My Shining Hour 01:54
03. The Second Time Around 03:08
04. Come Rain or Come Shine 02:16
05. Witchcraft 02:56
06. Homeward 03:46
07. A Rose for Booker 03:21
08. Vulture 02:37
09. It Never Entered My Mind 02:50
10. Sun Yen Sen 02:24
11. Speak Low 02:30
12. One for Joan 03:33
13. C.L. Blues 02:31
14. Stella by Starlight 01:36
15. Tales 03:00
16. Transfusion 03:35
Drums – Chico Hamilton
Alto Saxophone, Tenor Saxophone – Charles Lloyd (tracks: 1 to 6, 8 to 13, 15, 16)
Bass – Albert Stinson
Guitar – Gabor Szabo
Trombone – George Bohannon*
Posted by Crimhead420 at 4:41 AM
Sunday, May 20, 2018
This music is very important in that it is a continuation along the trail blazed by Jimi Hendrix (Electric Ladyland and the Band of Gypsies), Cream (Wheels of Fire), Miles Davis (Miles in the Sky, In a Silent Way and Bitches Brew), Tony Williams Lifetime (Emergency and Turn it Over--the latter recording included drummer Tony Williams, John McLaughlin, Larry Young (Khalid Yasin) and bassist Jack Bruce).
John McLaughlin began this journey jamming with Graham Bond, Jack Bruce and Ginger Baker with the Graham Bond Organization back in 1964 in London blues clubs, when the world was intensely focused on the the music of the Beatles.
As we fast-forward five years to 1969, New York City, John has been initiated into the Miles Davis Directions movement with The Tony Williams Lifetime being his main focus for his evolving musical talents. Jimi Hendrix is also in New York, successfully taking the electric guitar far beyond traditional rock borders, and John, with the music of Devotion, is attempting to tap this base and create one of his own. Guitarist Eric Clapton and the Cream in 1968 were also expanding the boundaries of rock and blues jamming as can be clearly heard on the recording "Wheels of Fire" on the portions that were recorded live at the Fillmore.
Devotion is the crucial mix of a jazz-rock, blues guitarist, a Jazz keyboardist, a blues/rock drummer (very similar to Ginger Baker), and a rock/blues bassist with slight overtones of the Beatles. This fusion mix is one of the very first recorded outside of the Tony Williams Lifetime which included John and Larry. Also heard on Devotion are Buddy Miles and Billy Rich who both jammed and recorded with Jimi Hendrix. Buddy Miles was also appearing live with Jimi Hendrix and Billy Cox in the Band of Gypsys when this music was recorded.
John's guitar playing at the top of this music is just superb. The interplay between all musicians is clearly heard here as both John and Larry clocked many hours together with the Tony Williams Lifetime and Miles Davis and clearly have a musical and spiritual feel for one another. Buddy and Billy also have great feel for each other after playing and recording in the the Buddy Miles Express and later jamming and recording with Jimi Hendrix. It was recommended that Billy Rich and not Billy Cox replace Noel Redding in the Jimi Hendrix Band, but due to a past friendship with Jimi, Billy Cox won out.
The three compositions which I feel define this production are "Devotion", "The Dragon Song" and "Purpose of When." Take the time to listen and you too will hear the expanded rock, blues, and jazz improvisations (with no vocals) and the lack of traditional rock/blues musical confinement that these four musicians experience as they blaze this unchartered trail. As you listen, remember that at the time of this release the Jimi Hendrix Experience, Band of Gypsys, and Cream have all disbanded, and no Mahavishnu Orchestra, Chick Corea & Return to Forever, Jeff Beck & Jan Hammer Band, Terje Rypdal Band, or Soft Machine with Allan Holdsworth exist yet.
If possible, purchase the 1992 Restless/Metrotone Original CD release of this music, which is not a remaster from a vinyl record but is from the original studio master tape from the 1969-1970 Alan Douglas, Stefan Bright production.
Devotion was created as McLaughlin was segueing from being a sideman to a realized composer, pre-Mahavishnu Orchestra, and he wasn’t happy with it. He is even quoted as saying producer Alan Douglas “destroyed it.” I’m not one to argue with the great Mr. McLaughlin, but I disagree. I think this is a fantastic record, due to its unique psychedelic-fusion stylings, and it influenced me greatly. I can’t even fault Douglas for his almost amateurish production of double-tracking two soloing guitars (reminiscent of Ike Turner’s “Right On”). Somehow, the solos work together as they weave in and out over the spirited rhythm section of drummer Buddy Miles and bassist Billy Rich. I dig it.
One of the musical high points of the album is Larry Young’s organ solo on the title track, where he plays a mystical solo incorporating A Lydian (E major over an A pedal). That sound was very new to me back then. Young’s solo climaxes when he introduces a G natural, which, to this day, gives me chills. The other noteworthy tracks are “Marbles”(which was covered on 1972’s Carlos Santana and Buddy Miles Live) and “Don’t Let the Dragon Eat Your Mother.”
Sure—there is a wealth of great McLaughlin music that might be superior to Devotion, but this album has been close to my heart for 40 years, and there is nothing like it. McLaughlin once said, “A guitarist has to go the extra mile.” I think of these words when I’m feeling lazy or uninspired. Obviously, McLaughlin has gone that extra mile many times. He’s an intelligent musical pioneer, a phenomenal sideman, a great composer, and a guitarist with an amazingly distinct voice.
Originally released in 1970 but re-released regularly since, Devotion is a hard driving, spaced-out, distorted hard-jazz-rock album featuring organist Larry Young, drummer Buddy Miles, and the little known bassist Billy Rich. This album was recorded close to the period when McLaughlin had been jamming with Jimi Hendrix, Young, Miles and Dave Holland. Terrible bootlegs exist of some of their jams, but bad sound quality and McLaughlin's guitar on the fritz make the bootlegs a ripoff.
Devotion was also sort of a ripoff. To this day, McLaughlin is angry about the way former Hendrix producer Alan Douglas mixed this record. Apparently, Douglas spliced bits of music together here and there that were not supposed to be connected. Despite this obvious problem, and the fact Douglas paid McLaughlin only $2,000 to record both Devotion and My Goal’s Beyond , this album is chock full of wonderfully ominous riffs and sounds. Devotion is an overlooked landmark album.
“Marbles" opens up the album and is truly an early fusion masterpiece. (Some CD reissues of Devotion have changed the order of the tunes...don't ask why). The catchy hook is infectious. Years later, McLaughlin would employ the same riff often while with Shakti. You should also check out Santana’s cover version on his hard to find album with Buddy Miles, Live.
McLaughlin focuses more on tension and dynamics than on speed, and Larry Young plays mysterious and otherworldly chords. Miles keeps a constant thud-thud-thud churning throughout and Billy Rich effectively doubles McLaughlin’s themes. No slow ballads. No pretty melodies. This is just pure unadulterated jazz-grunge. Those familiar with the Mahavishnu Orchestra will enjoy picking out the passages that would later become signature tunes. Devotion is awfully messy at times, but you won’t mind cleaning up afterwards.
"Devotion" – 11:25
"Dragon Song" – 4:13
"Marbles" – 4:05
"Siren" – 5:55
"Don't Let the Dragon Eat Your Mother" – 5:18
"Purpose of When" – 4:45
John McLaughlin – electric guitar
Buddy Miles – drums, percussion
Larry Young – organ, electric piano
Billy Rich – bass guitar
Posted by Crimhead420 at 11:31 AM
Friday, May 18, 2018
The first Pat Metheny Group recording in five years is a bit unusual in two ways. The band uses "contemporary" pop rhythms on many of their selections but in creative ways and without watering down the popular group's musical identity. In addition Metheny for the first time in his recording career sounds a bit like his early influence Wes Montgomery on a few of the songs. With his longtime sidemen (keyboardist Lyle Mays, bassist Steve Rodby and drummer Paul Wertico) all in top form, Metheny successfully reconciles his quartet's sound with that of the pop music world, using modern technology to expand the possibilities of his own unusual vision of creative improvised music. And as a bonus, some of the melodies are catchy.
Returning to the dual-vocal septet line-up of Still Life (Talking) (released in 1987; reissued this year by Nonesuch) with percussionist Luis Conte replacing Armando Marçal, We Live Here's use of programmed rhythm loops and easy-on-the-ears grooves could be considered a concerted commercial attempt by Metheny to expand his already substantial audience. But it also represented its own kind of risk.
Metheny Group fans are typically drawn to the strong sense of melody that's defined the majority of Metheny's writing—alone and with constant collaborator and Metheny Group keyboardist since inception, Lyle Mays. But the opening one-two-three punch of "Here to Stay," "And Then I Knew" and "The Girls Next Door," threatens, at least on the surface, to cross the fine line that Metheny and Mays sometimes straddle between music of depth and substance and mere ear candy.
Many longtime Metheny fans feared that he'd gone too far. But while the album's production values are as close to pop as anything Metheny has ever done, the strength and commitment of the playing elevates the music beyond simple confection. And while much of the music lacks, for example, the tricky time signatures that are oftentimes part of the Metheny/Mays writing approach, there's far more here than immediately meets the ear.
The majority of the songs on the album reflect an interest in soul and R&B that, given Metheny's already broad purview, should come as no surprise. But while the soft ballad "Something To Remind You" bears the ear-marks of groups like Earth Wind & Fire with its clear verse-chorus form, it's still undeniably filtered through Metheny and Mays' own musical sensibilities. The verse is longer than most pop tunes would allow, and while it certainly sounds effortless, its changes are anything but.
Similarly, the more insistent and up-tempo "Red Sky" possesses a singable chorus featuring the lyricless vocals of David Blamires and Mark Ledford (who, sadly, passed away in 2004). But the changes of its equally lengthy verse would again challenge most players. Just because something sounds this easy doesn't mean it is easy and, in some ways, We Live Here could be considered the Pat Metheny Group's most subversive record.
Despite the album's glossy veneer, there are tracks that—despite groove being an essential component—are anything but smooth. The tribal rhythm of the title track is a logical expansion of ideas first explored on "Barcarole," the opening track on Offramp (ECM, 1981). "Episode D'Azur," sporting a knottier theme as well as shifting bar lines that are more in character, doesn't exactly swing but it comes closer to what Metheny Group naysayers consider to be "real" jazz, despite Mays' layering of string washes and signature synthesizer tone. And the album closer, "Stranger in Town," is a more pedal-to-the-metal burner than anything else found on the record, featuring some of Metheny's most lithe playing—especially during the brief middle section that's more- or-less an interactive trio spot for Metheny, drummer Paul Wertico and Conte.
One of the biggest criticisms of the Pat Metheny Group is that, as it has evolved over the past three decades, it's become less and less about the risk that many feel to be a defining characteristic in jazz. And it's true that there's a significant distance between albums like We Live Here and Metheny's collaboration with free jazz legend Ornette Coleman on Song X (released 1985; reissued by Nonesuch in 2005).
But the finely-detailed, through-composed approach of the Pat Metheny Group on We Live Here and earlier records has been at least partially responsible for a paradigm shift allowing jazz artists to explore more complex ideas while, at the same time, remaining completely accessible—not to mention incorporating contemporary production values in ways that need not be inherently paradoxical or antithetical to the spirit of jazz. And while We Live Here was met with a certain amount of surprise and disappointment on original release, even from longtime Metheny Group fans, it's weathered the test of time extremely well. Taken in context of the group's overall body of work, it is ultimately another signpost along its long and varied journey.
All tracks written by Pat Metheny and Lyle Mays except where noted.
1. "Here to Stay" 7:39
2. "And Then I Knew" 7:53
3. "The Girls Next Door" 5:30
4. "To the End of the World" 12:15
5. "We Live Here" 4:12
6. "Episode d'Azur" (Mays) 8:45
7. "Something to Remind You" 7:04
8. "Red Sky" 7:36
9. "Stranger in Town" 6:11
Pat Metheny – guitars, guitar synthesizer
Lyle Mays – piano, keyboards
Steve Rodby – acoustic and electric bass
Paul Wertico – drums
David Blamires – vocals
Mark Ledford – vocals, trumpet, Flugelhorn, Whistling
Luis Conte – percussion
Sammy Merendino – drum programming
Dave Samuels – cymbal rolls
Posted by Crimhead420 at 11:02 PM
Wednesday, May 16, 2018
On his first jazz date as a leader since 1992, Czechoslovakian bassist and composer Miroslav Vitous comes out of the gate with a host of heavyweights on one of the more lyrically swinging dates in modern jazz. Vitous' engaged, pulsing, and deeply woody tone is featured in the company of John McLaughlin, Jan Garbarek, Chick Corea, and Jack DeJohnette. While the crystalline sound of Manfred Eicher's ECM is everywhere here, as is the open-ended speculative jazz that the label is renowned -- and ridiculed for -- Vitous offers some startlingly beautiful twists and turns with his ensemble. Vitous, who has been through every music, from jazz-rock fusion as a founding member of Weather Report to being a classical composer, decided to revisit the skeletal remains of his very first session for the label in 1969. Produced by Herbie Mann the disc was, from a musical standpoint, a contentious, utterly brilliant marriage of ideas both old and new. Bandmembers DeJohnette and McLaughlin were present on those sides as well. Universal Syncopations is by turns a return to not the old forms, but rather to the manner of illustrating harmonic concepts in a quintet setting that allows for a maximum space between ensemble players while turning notions of swing, counterpoint, and rhythmic invention on their heads. From the wooly, expressionistic "Tramp Blues," with Vitous vamping around the changes, to the wide-open legato guitar phrasing of McLauglin against the double time in Vitous' bass on "Univoyage," to the simmering undulations of Garbarek's saxophones on top of Corea's intricate melodies and right-hand runs on "Brazilan Waves," all of it propelled, not anchored, by the leader's rich tone and accented and punctuated by Garbarek's tight, loping saxophone lines. This is one of those recordings that feels familiar in tone, but is timeless in concept and execution. Universal Syncopations is one of the most gorgeous sounding and toughly played dates of the calendar year.
Bassist Miroslav Vitous, veteran of the bands of Miles Davis, Herbie Mann, Donald Byrd, Chick Corea and numerous others had a dream decade after coming to the states in 1966 on a music scholarship. Within years, he would record one of the seminal documents of the fusion movement, 1969's Infinite Search and co-found one of the two most influential groups working with the marriage of jazz and rock - Weather Report. The ensuing two decades would be less spectacular but it would be unfair to dismiss the Czech prodigy merely for a low profile.
Going on a solo tour in order to promote his new group recording would seem a strange choice but Vitous has never been traditional. A four-performance tour, with a stop at Joe's Pub in late October, is actually thematically consistent with Vitous' approach on his new album Universal Syncopations.
Vitous in conversation speaks of liberating the bass from slavery. In fact, he desires his music to be an equal conversation between musicians, with the idea of leads and backups an outmoded concept. This is an admirable aspiration but a difficult one to achieve. Vitous makes the job more difficult for himself with his choice of musicians: saxophonist Jan Garbarek, pianist Chick Corea, guitarist John McLaughlin and drummer Jack DeJohnette. Not only are these four major innovators and weighty personas, they all have a history with the bassist. Vitous must exert his will across the nine-track, 54-minute disc in order to keep the proceedings equitable, fresh and moving. Part of the solution for Vitous, done in part from practical considerations, was to record the rhythm tracks together and then have each musician record his part separately, preventing the musicians from falling into old habits or uninspired group soup.
A bassist that can keep a venue like Joe's Pub riveted (and quiet) for 90 minutes is up to the task. Through nine compositions, in formats ranging from drum-bass duets to quintet numbers augmented by a horn trio, Vitous' compelling compositions (always on par with his playing, usually a difficult feat for a "rhythm section" player) percolate with intensity. Garbarek in particular is the beneficiary of Vitous' firm ideas of what he wanted out of the sessions, contributing playing that is rich with emotion and verve and surprisingly far from his usually sterile Nordic facade.
"Bamboo Forest" has a smooth melody with a quirky twist; a short simple statement that rides on Vitous' resolute ostinatos. One of the lengthier pieces, "Univoyage", a full band piece, expectedly opens things up, portions including Corea's typically languorous style (though he thankfully keep his florid tendencies in check) and McLaughlin displaying the mellow aging process his playing has gone through, still vibrant but certainly less brash. Garbarek's soaring wails contrast nicely with McLaughlin's idiosyncratic approach, each filling the other's spaces. The slippery "Tramp Blues" features Vitous as the main soloist, using the simple structure of the tune to embellish and ornament. "Faith Run" is a fast-paced number, propelled by DeJohnette's ride cymbal, and more typical McLaughlin monkey business.
"Sun Flower" begins as an updated Trio, with DeJohnette depping for Roy Haynes until Garbarek joins; the piece careens into out territories as saxophone and piano fence with each until slowly easing out again. "Miro Bop" is just that, pleasant post bop that allows DeJohnette to come to the forefront for the only time. "Beethoven" is highlighted by an inventive call-and-response between Vitous and Garbarek over staccato drumwork, the bassist pushing the saxophonist with tough questions, unexpected answers and plenty of tonal shifts. Like label and instrument mate Dave Holland, Vitous never loses sight of the melodic logic of a piece, almost enough to be a groove bassist except he is far too original.
The album ends with the duet piece "Medium" (recalling similar work with Billy Cobham on Vitous' second album Purple, released only in Japan), which has the subtlety of a quality cup of tea; and the trio number "Brazil Waves." The ballad closes out the album and is remarkable for Garbarek, not one known for his reserve, laying back and giving most of the room to Vitous and DeJohnette.
Perhaps Vitous should have run in the gubernatorial race in California; Universal Syncopations shows he is masterful at balancing idea and execution, and marshalling all the talent around him to maximum effect.
Miroslav Vitous’s Universal Syncopations is an ode to many things. To the late 60s, when he laid down the seminal album Infinite Search with guitarist John McLaughlin and drummer Jack DeJohnette, both featured on the present disc. To the purity of improvisation as a game of thrones over which melodic integrity forever reigns. To the joys of making music in fine company. Indeed, the Czech bassist could hardly ask for better session mates with whom to share the infinite search that is jazz. To that end, he is further joined by pianist Chick Corea and saxophonist Jan Garbarek, the latter of whom produces some of his liveliest playing yet. For ECM fans, it should be especially poignant to hear Garbarek and DeJohnette reunited in the studio, a planetary alignment not heard on the label since 1982’s Voice from the Past – PARADIGM.
Although Vitous has never been one for predictability, he is a poster child for reliability. One catch of “Bamboo Forest,” and it’s obvious: he is a musician’s musician, whose muscling ranges from powerful to miniscule (note, for example, his acrobatics in the penultimate track, “Medium”). Spurred along by a Brazilian vibe, the joyous sweep of this album opener finds Garbarek ticking off a smooth list of errands, adding depth to the gloss with every lick of his reed. And really, it’s the Vitous-Garbarek-DeJohnette nexus that holds the molecule together throughout, flexing with especial limberness in “Univoyage.” Here DeJohnette holds down the fort while the rest flit about with all the freedom of the world at their wingtips. McLaughlin and Corea provide spectral flashes in the brightness of their playing, painting the stardust to Garbarek’s eagle-eyed navigation. The swanky “Tramp Blues” finds the same trio walking a tightrope of expression toward more playful destinations.
Other configurations, however, do arise organically from the mix. There is the bass-drums-guitar grouping of “Faith Run,” which deposits DeJohnette’s propulsion at the center of it all, now gilded by McLaughlin’s sparkling ringlets (it’s also the last of three tracks featuring light brass accompaniment). Yet another coloration introduces itself in “Sun Flower,” which brings Corea back into the mix alongside the dynamic rhythm section. Pianist, drummer, and bassist dance and divine by turns, Garbarek hanging low to bring earthier hues to canvas. Corea hangs around for “Miro Bop.” This swinging piece of prosody lights its fair share of fireworks from DeJohnette, while Garbarek again proves his chops and strategic deployment as a jazzman. The saxophonist joins Vitous in “Beethoven,” a slick lesson in translation with DeJohnette acting as interpreter. What goes around comes around as “Brazil Waves” ends the album in the same vein with which it began: an atmospheric ride through surging beats and melodic treats.
Universal Syncopations is a tapestry of sound woven by steady, practiced hands. Each musician knows when to make way for another’s pass of thread and to contribute his own color when appropriate. The overall effect is unanimous and gifts us with a chunk of unforgettable, life-affirming jazz, its heart in all the right places.
All compositions by Miroslav Vitouš except as indicated.
1. "Bamboo Forest" - 4:37
2. "Univoyage" - 10:54
3. "Tramp Blues" - 5:19
4. "Faith Run" - 4:58
5. "Sun Flower" - 7:21
6. "Miro Bop" - 4:03
7. "Beethoven" (Jan Garbarek, Vitouš) - 7:18
8. "Medium" (Jack DeJohnette, Vitouš) - 5:09
9. "Brazil Waves" (Garbarek, Vitouš) - 4:26
Miroslav Vitouš — double bass
Jan Garbarek — soprano saxophone, tenor saxophone
Chick Corea — piano
John McLaughlin — guitar
Jack DeJohnette — drums
Wayne Bergeron — trumpet (tracks 2-4)
Valery Ponomarev — trumpet, flugelhorn (tracks 2-4)
Isaac Smith — trombone (tracks 2-4)
Posted by Crimhead420 at 4:37 PM
Sunday, May 13, 2018
Jack Dejohnette and Dave Holland's collaborative album recorded in Tokyo, 1973. Features funk and calypso tinged tracks written primarily by Dejohnette with two tracks composed by Dave Holland.
1. Turned Around 6:30
2. Farah's Song 2:52
3. The Rain Forest 3:42
4. Hegwineeway 2:12
5. Lydia 6:10
6. Papa Daddy Revisited 13:45
7. Stride Vibes 2:48
8. Outside - Inside Blues 3:46
9. Time & Space 3:26
Jack DeJohnette - Piano, Electric Piano, Organ [Electric], Melodica, Marimba, Voice, Drums, Percussion
Dave Holland - Bass, Electric Bass, Voice, Percussion
Posted by Crimhead420 at 8:45 AM
Monday, May 7, 2018
When Gary Burton finally retired from his career as a Berklee administrator and professor, he also cut back on regular touring with a quartet, instead assembling groups for shorter durations. These performances come from two nights at Yoshi's in Oakland, reuniting the vibraphonist with former sidemen Pat Metheny and Steve Swallow, along with Metheny's regular drummer at the time, Antonio Sanchéz, who joined them for what was intended to be a one-shot concert a few years earlier at the Montreal Jazz Festival. The music includes both old and new material, with the former sounding fresh rather than a mere autopilot run-through that some reunion bands might offer, while the recent works prove to be just as enticing. The quartet's interpretations of Swallow's compositions include an intricate, fast-paced take of "Falling Grace" along with a lively "Hullo, Bolinas" (both of which Burton has played many times over his long career). Duke Ellington's "Fleurette Africaine (Little African Flower)" has been a part of Burton's repertoire since the mid-'80s, and though the vibraphonist's approach is brighter and played at a faster tempo than the composer's brooding recording, this updated look builds upon Ellington's magical gift for melody with brilliant improvising all around. Burton contributed the funky blues "Walter L," which finds the musicians having a lot of fun with its catchy theme. Metheny's "Question and Answer" also appeared on an earlier recording with Burton and Chick Corea, but the omission of piano gives this version a simmering, more intricate air. This reunion will hopefully lead to future recorded reunions by these four gifted musicians.
This much-anticipated quartet gathering, the New Quartet Live Album with Burton, Metheny, Swallow and Sanchez, is simply great! I love the flow of songs and the 4 sound wonderful together and sport-on. Pat has 3 songs; Gary has 1 song, as does Chick Corea - Neville Potter, Keith Jarrett and Duke Ellington. Carla Bley has 2 songs, as does Steve Swallow. Altogether there are 11 songs and IMO, Missouri Uncompromised is Super as is Little African Flower. The Album ends with Question and Answer and @ 13:02 in Length it is really performed smoking Hot! Pat plays his guitar synth on Q & A and I think it caps off the album really well and in my view, he sensitively plays his guitar synth to the scale of Yoshi's. The sound quality is excellent and the album was recorded in June of 2007 at Yoshi's in Oakland, CA. This new and hot Quartet Live album is highly recommended!
The album features three original members and jazz legends Gary Burton, Pat Metheny and Steve Swallow along with another new member, and perhaps one of the most prominent jazz drummers of his generation, Antonio Sanchez. The 11-song album was recorded live at Yoshi’s Jazz Club in Oakland, CA. Quartet Live! starts off with Chick Corea’s “Sea Journey,” one of many songs Corea wrote for the Burton group, and features songs written by Carla Bley (“Olhos de Gato” and “Syndrome”) and Keith Jarrett (“Coral”). Metheny’s composing talents are also represented here by tunes composed during his Burton Quartet years: the fast and furious “Missouri Uncompromised,” the haunting “B and G,” and “Question and Answer,” one of Pat’s most well-known pieces. The story begins in 1967 when bassist Steve Swallow joined with vibraphonist Gary Burton to form the original Gary Burton Quartet. In the early 1970s, then 19-year old guitarist Pat Metheny joined Burton’s band and one of the most celebrated careers in music began. A decade ago Metheny discovered drummer Antonio Sanchez, inviting him to join The Pat Metheny Group, and the two have been playing together ever since. The result is four legendary musicians, improvisers and composers all, each at the top of his game, bringing modern jazz history to life on Quartet Live!
This group sounds as if it's on even more of a roll on this California live recording than it was at a thrilled Barbican last summer. A guitar/vibes dialogue might sound like a recipe for lots of notes and chamber-jazz, but this band is as hard-grooving as Gary Burton's original 1970s quartet - which also featured this group's bass guitarist, Steve Swallow, and a 19-year-old Metheny. Burton, one of the most creative figures in the first wave of jazz-rock, achieved a near-perfect balance of striking tunes, jazz fluency and country-rock conviviality - and Metheny's singing sound and blues/rock licks were the ideal foil. This group recaptures all that, with help from Metheny's fiery young drummer Antonio Sanchez. There isn't a dud track, with the skimming groove of the opening Sea Journey bearing beautifully phrased and flowing solos from Burton, Metheny and Swallow, and the Latin ballad Olhos de Gato and the smoky Coral drawing gentle ruminations from vibes and guitar that are too fresh for smooth jazz. There's a storming blues on Walter L, a staccato postbopper over scalding drumming and Swallow's gleeful walk on Missouri Uncompromised, a glistening Burton dance over the lightest brushes groove on Hullo, Bolinas, and Carla Bley's chiming Syndrome is a bonus.
The combination of musicians sets this up to be a winner. The set list gives good distribution of compositions by Gary, Pat and Steve, with Antonio riding on his incredible skills. I agree with the growing swell of accolades that characterizes him as among the best (if not THE best) drummers currently on the jazz scene.
01 Sea Journey 9:00
02 Olhos De Gato 6:36
03 Falling Grace 7:18
04 Coral 6:23
05 Walter L 5:30
06 B And G (Midwestern Night's Dream) 6:53
07 Missouri Uncompromised 7:34
08 Fleurette Africaine (Little African Flower) 7:34
09 Hullo, Bolinas 4:48
10 Syndrome 4:42
11 Question And Answer 13:02
Vibraphone – Gary Burton
Guitar – Pat Metheny
Electric Bass – Steve Swallow
Drums – Antonio Sanchez
Posted by Crimhead420 at 5:19 PM
We are extremely fortunate that these two stellar players got together to make this album, as it is the definitive one of its kind. Sanborn has never sounded better, period, and Beck is incredible in his simplicity yet perfectly grooved playing. Beck's improvisational ideas, mostly low key, are the perfect contrast to Sanborn, who goes wild on this album as only he can. To measure Sanborn's impact on the generation of alto players that followed him, all one has to do is listen to this recording. He is simply outstanding and unique. The rhythm section is also utterly fantastic - they never get in the way and always create the hippest feel possible on every song. This is a must-purchase recording! It will blow you away!
This 1975 Kudu album by Joe Beck was never reissued on CD in the United States but available only as a Japanese import on the King label. Beck is a masterpiece of mid-'70s funky jazz and fusion. Beck retired in 1971 to be a dairy farmer. He returned to make this album his opus. Featuring David Sanborn, Don Grolnick, Will Lee, and Chris Parker, all of the album's six tracks were recorded in two days. Overdubs were done in another day and the minimal strings added by Don Sebesky were added on a third day. "Star Fire" opens the set and features the interplay of Beck's riffing and lead fills with Sanborn's timely, rhythmic legato phrasing, and the communication level is high and the groove level even higher. On "Texas Ann," another Beck original, Sanborn hits the blues stride from the jump, but Beck comes in adding the funk underneath Grolnick's keyboard while never losing his Albert Collins' feel. On "Red Eye," Beck's two- and three-chord funk vamps inform the verse while Sebesky's unobtrusive strings provide a gorgeous backdrop for Sanborn, who stays in the mellow pocket until the refrains, when he cuts loose in his best Maceo Parker. The deep funk of Jalaluddin Mansur Nuriddin's "Café Black Rose" showcases the band's commitment to groove jazz with a razor's edge. The composition is full of nooks and crannies and syncopated intervallic elements for the rhythm section. Steve Khan's slide guitar adds electric Delta feel to a Sly Stone funk groove along with a Jack McDuff riff makes the whole thing feel like a greasy good time. Beck is essential listening for anyone interested in mid-'70s commercial jazz. The chops are there, but far more than that, Beck leads a band into a soul-deep blowing session with killer charts, nasty tunes, and killer vibes.
This album was originally released as an LP in 1975. It had 6 tracks and was 36 minutes long. The CD release has two bonus tracks and the total time is now 50 minutes. The sound quality is very good. The US edition is out of print, but you can find an import version, that is more expensive.
The band is Joe Beck on guitar and David Sanborn on sax with many studio musicians backing them up. This very good jazz with twinges of fusion. It is very typical of the jazz styles of the mid seventies. It is much better than the Sunday Brunch style of music that would come in the late seventies and early eighties.
All of the compositions are very good and interesting. The music is very fluid. The first 6 tracks are more on the mellow side. The two bonus tracks are more lively and electric. If you are a fan of Spyro Gyra or other soft jazz bands, you might not like this. If you like intelligent music with good compositions, this is a good CD to get. It is not the best jazz ablum of the time, but it is certainly a good album.
1 Star Fire 4:31
2 Cactus 4:55
3 Texas Ann 7:53
4 Red Eye 7:10
5 Cafe Black Rose 4:23
6 Brothers And Others 6:23
7 Ain't It Good 7:29
8 Spoon's Theme 6:57
Guitar – Joe Beck, Steve Khan
Alto Saxophone – David Sanborn
Bass – Will Lee
Cello – Charles McCracken, George Ricci, Jesse Levy
Drums – Chris Parker (2)
Keyboards – Don Grolnick
Percussion – Ray Mantilla
Violin – Charles Libove, David Nadien, Frederick Buldrini, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Peter Dimitriades
Posted by Crimhead420 at 5:05 PM
1 Magic Rain
2 Isn't It Beautiful
3 10 West
4 Rio d'
5 Just the Bass
6 Little Steven
7 Blues for Fabian
8 L.A., Land of the Barking Car
10 Melrose Avenue
Brian Bromberg - (fretted bass, piccolo bass, panning string fretted bass, panning string piccolo bass, piccolo bass synthesizer);
Bill Cantos - (vocals);
Brandon Fields - (alto saxophone);
Ernie Watts, Doug Webb - (tenor saxophone);
Rob Mullins - (piano);
Marc Hugenberger - (keyboards, percussion, programming, keyboard programming);
Jeff Lorber - (keyboards, programming);
Joel Taylor - (drums);
Steve Reid - (percussion)
Posted by Crimhead420 at 4:49 PM
Sunday, May 6, 2018
For the second time in two years, Chick Corea has assembled a band to give aural illustration to the fantasy writings of L. Ron Hubbard. For those who have trouble with Hubbard and his teachings, this may be a red flag to avoid the record altogether. The Ultimate Adventure is a tale that draws on characters from the Arabian Nights -- there is an ad for the book in the back of the CD booklet. With that out of the way, one has to deal with the music entirely on its own terms. Corea has spent decades playing both electric and acoustic jazz. This is the first time since 1976's My Spanish Heart that he has woven his love of both so completely into a single album. There are more than a few echoes here that call upon the ghosts of the earliest Return to Forever band -- primarily in the gorgeous flute playing of Hubert Laws and Jorge Pardo, in the saxophone artistry of Tim Garland, the drumming of Steve Gadd, and the percussion wizardry of not only Airto Moreira, but also of Hossam Ramzy -- just to name a few of this album's players. But as always, it's Corea's compositions and playing that make or break any of his outings. This one is complex, knotty, and contains nuevo flamenco sketches and exotic melodic grooves and rhythms from "North Africa" and the Middle East. The second part of the opening suite "Three Ghouls" -- which makes it ghoul number two, apparently -- showcases Corea on the electric piano and electronic percussion with Laws playing soulful and slightly funky. His flute gets double-tracked as it floats above Moreira and bassist Carles Benavent. It's spacey, airy groove is intoxicating. It morphs into the knotty percussive and slightly "out" part three, where palmas -- handclapped rhythms -- by Corea, Gadd, and Benavent are contrasted to the dissonant acoustic piano and funky Rhodes woven side by side in counterpoint. This stands in contrast to the electric, short, fused-out, three-part suite entitled "Moseb the Executioner." The first part is a tangled mix up of Garland and Corea's Rhodes. It ends in a percussion orgy by Moreira and Ruben Dantas with palmas by the entire band. There are gorgeous melodic interludes in "North Africa" courtesy of Pardo and Corea. "Flight from Karoof" is simply a fusion gem. Ultimately, Ultimate Adventure works extremely well; it's inspired, takes chances, and is compositionally a small wonder. Above all, it sounds like Corea and his band had a ball making it. Recommended for fusion-heads.
Like his 2004 album To the Stars, The Ultimate Adventure is a musical tribute to the work of science fiction author and Scientology founder L. Ron Hubbard. The album draws heavily upon the rhythmic and melodic traditions of African, Spanish, and Arabian music.
The Ultimate Adventure peaked number 7 in the Billboard Top Jazz albums and also won two Grammy awards in 2007 for Best Jazz Instrumental Performance (Individual or Group) and Best Instrumental Arrangement.
Some artists find it enough to find their niche and work it over the course of their entire career, refining it in ways that keep it fresh but still inherently focused. But there are also others whose voracious musical appetites compel them to explore a wider musical world, all the while evolving an instantly recognizable voice. Over a lifetime, they continue to find new sources of inspiration and fresh ways to broaden their viewpoint, still managing to remain consistent and focused within their already established oeuvre.
Now in his sixties, pianist Chick Corea shows no signs of either slowing down or settling into any kind of comfort zone. Individual projects have demonstrated very specific focuses—the acoustic chamber music post bop of his Origin sextet, the free explorations of Circle, the elegant interplay of his duet with vibraphonist Gary Burton, the pedal-to-the-metal fusion of his middle-period Return to Forever group with guitarist Al DiMeola. Others have been reflective of grander designs. Concept albums like The Leprechaun (Polydor, 1976) and The Mad Hatter (Polydor, 1978) blended lessons learned from his fusion outings and the organic nature of his acoustic work with more ambitious writing. The most consistent of such recordings was My Spanish Heart (Polydor, 1976), where Corea brought his own distinctive narrative voice to material informed by the music of Spain.
His latest release, The Ultimate Adventure—like last year's Elektric Band reunion album To the Stars (Stretch)—draws its inspiration from the fiction of L. Ron Hubbard, Corea's Scientology mentor for the past 35 years. But here Corea brings together a larger cast of players, reuniting him with old friends like drummer Steve Gadd and flautist Hubert Laws, as well as more recent acquaintances, like woodwind multi-instrumentalist Tim Garland and the group that accompanied him on the recent Rhumba Flamenco.
Like his '70s concept albums, The Ultimate Adventure aspires to find the nexus point of Corea's many musical worlds, but while some of the textures on those earlier releases have ultimately become dated, Corea's use of technology here is integrated more seamlessly. When blended with acoustic piano, woodwinds and a host of percussion, the synthesizers, Fender Rhodes and electronic percussion blend naturally, completely devoid of the excesses that Corea has sometimes been accused of in the past.
While many of Corea's past interests are in evidence, The Ultimate Adventure also moves forward as he explores the music of North Africa, filtered through his own distinctive lens. It's more heavily percussion-oriented than anything he's done before—with as many as three percussionists and five pairs of hands clapping. The result is completely captivating: challenging yet accessible, a perfect combination of head and heart.
Consolidating his career, bringing together musical friends past and present, and making significant steps forward in its blend of detailed composition and improvisational prowess, The Ultimate Adventure proves that it's possible to continuously broaden one's musical horizons without losing one's voice in the process. A career-defining release from an artist who has already shaped and reshaped the course of modern music more often than most.
Adventure has been an operative word during the innovative keyboardist-composer Chick Corea’s four decades in jazz’s major leagues. Leading an assortment of ensembles of varying size, Corea has explored virtually every sonic landscape and unearthed a wealth of musical treasures.
The Ultimate Adventure is at once a recapitulation and a revelation. Drawing on an exceptional supporting cast with whom he’s previously collaborated productively (Hubert Laws, Airto Moreira, Steve Gadd, Frank Gambale) or with whom he’s more recently forged empathic relationships (Jorge Pardo, Carles Benavent, Vinnie Colaiuta), Adventure again displays that Corea is among our most inventive melodists who masterfully avails himself of multiple global sources, from Middle Eastern and flamenco harmonies and tonalities to several African rhythmic styles.
The Ultimate Adventure is an epic from beginning to end.
01 "Three Ghouls, Pt. 1" – 1:38
02 "Three Ghouls, Pt. 2" - 4:02
03 "Three Ghouls, Pt. 3" - 3:11
04 "City of Brass" - 6:38
05 "Queen Tedmur" - 5:15
06 "El Stephen, Pt. 1" - 6:39
07 "El Stephen, Pt. 2" - 1:47
08 "King & Queen" - 6:06
09 "Moseb the Executioner, Pt. 1" - 1:39
10 "Moseb the Executioner, Pt. 2" - 2:20
11 "Moseb the Executioner, Pt. 3" - 1:54
12 "North Africa" - 6:24
13 "Flight from Karoof, Pt. 1" - 6:11
14 "Flight from Karoof, Pt. 2" - 1:36
15 "Planes of Existence, Pt. 1" - 5:25
16 "Arabian Nights, Pt. 1" - 4:30
17 "Arabian Nights, Pt. 2" - 2:38
18 "Gods & Devils" - 2:15
19 "Planes of Existence, Pt. 2" - 2:50
Chick Corea – Piano, Rhodes piano, acoustic and electronic percussion, synthesizers
Steve Gadd – Drums, palmas (on "Three Ghouls", "El Stephen", "Flight From Karoof")
Airto Moreira – Vocals, percussion (on "Three Ghouls", "Moseb The Executioner", "North Africa")
Carles Benavent – Electric bass, palmas
Hubert Laws – Flute (on "Three Ghouls", "Queen Tedmur")
Hossam Ramzy – Percussion (on "City Of Brass", "Flight From Karoof")
Jorge Pardo – Flute, saxophone, palmas (all tracks except "Three Ghouls", "Queen Tedmur", "Moseb The Executioner", "Arabian Nights")
Vinnie Colaiuta – Drums (on "Queen Tedmur", "Moseb The Executioner", "North Africa", "Arabian Nights")
Tim Garland – Bass Clarinet (on "Queen Tedmur"), tenor saxophone (on "Moseb The Executioner")
Rubem Dantas (in Spanish) – Percussion, palmas (on "King & Queen", "Moseb The Executioner", "North Africa", "Planes Of Existence", "Arabian Nights", "Gods & Devils")
Tom Brechtlein – Drums, palmas (on "King & Queen", "Planes Of Existence")
Frank Gambale – Acoustic guitar (on "Arabian Nights")
Posted by Crimhead420 at 8:33 PM
Tuesday, May 1, 2018
Before his high-profile gigs with David Lee Roth and Whitesnake, Steve Vai served time as Frank Zappa's guitarist in the early '80s. And judging by Vai's first two solo albums released around this time, 1984's Flex-Able and Flex-Able Leftovers, he was heavily influenced by Zappa's songwriting and compositional skills. Although there is definitely a noticeable Zappa stamp on the tunes, Vai's own personality and awe-inspiring guitar chops are what really make these two solo albums so impressive. Also, Vai was one of the few guitar heroes of the '80s to stress the importance of songwriting over mindless soloing. While Flex-Able was a full album, Flex-Able Leftovers was originally just an EP of material that didn't make it onto the debut.
When Flex-Able was released on CD in 1988, a few tracks from Leftovers were included as a bonus, yet fans have wondered all along if the full EP would ever be released on CD. Ten years later, their wish came true. Not only has the EP been re-released, but unreleased tracks from that era are included, making up a full-length album. Vai's over-the-top humor can be sampled on the profanity-fest "#?@! Yourself" and the goofy "So Happy," while "Massacre" and "Natural Born Boy" feature his immense guitar skill. And Vai's unique songwriting talent is evident on such tracks as "Burnin' Down the Mountain," "The Beast of Love," and "Bledsoe Blvd." The 1998 version of Flex-Able Leftovers is highly recommended to guitar freaks everywhere, as well as lovers of completely original and cutting-edge rock music.
With $5000 and a homebuilt studio, Steve Vai recorded an album that made him a star and changed guitar music forever. On the 25th anniversary of Flex-Able, Vai delivers the most in-depth look ever into the making of his shred-tastic debut and his plans to remake it.
“I was completely scared to death of being famous,” Steve Vai confides. “And I just thought, There’s no way I could sell this music I’ve made. I don’t even want to try to sell it! It’s too personal.”
The music that Vai is discussing is Flex-Able, his first solo album. Released in 1984, a quarter of a century ago this year, it has become a classic among fans of virtuoso rock guitar and a landmark of the Eighties shred phenomenon that forever raised the bar for rock guitar technique. It has been reissued many times and in many formats, along with the now equally famous Flex-Able Leftovers bonus tracks. In commemoration of its silver anniversary, Vai is preparing a specially remastered, 25th anniversary deluxe reissue of the album that put him on the map.
Flex-Able was the disc that introduced Steve Vai to the world. Although he had already made several albums with Frank Zappa, Flex-Able was the first record that presented him on his own terms. His uncanny mastery of the fretboard, the strange voodoo he could work with a whammy bar, the soul-searching lyricism of his ballad playing, his compositional flair, even his mystical, tantric alien love god persona—the whole Vai story begins with Flex-Able.
The album is also an important early example of a rock musician seizing control of the means of production and distribution, and having it his own way. Vai recorded it in a home studio that he built with his own hands, and then released it independently. In that respect, Flex-Able is an important harbinger of our own digital D.I.Y. era of MySpace and YouTube, Pro Tools and Garage Band—except that Vai did it all analog, at a time before personal computers had even made their way into most people’s homes and the internet was still more than a decade down the road. Nonetheless, Flex-Able has sold more than 300,000 copies to date. Not bad for music that its creator thought would never sell.
All songs written by Steve Vai, except where noted.
"Fuck Yourself" (Listed as #?@! Yourself) (Bonus Ed. 1998) – 8:27
"So Happy" (Vai, Laurel Fishman) – 2:43
"Bledsoe Bluvd" – 4:22
"Natural Born Boy" (Bonus Ed. 1998) – 3:34
"Details at 10" – 5:58
"Massacre" (Bonus Ed. 1998) – 3:25
"Burnin' Down the Mountain" – 4:22
"Little Pieces of Seaweed" – 5:12 (Vai, Larry Kutcher)
"San Sebastian" (Bonus Ed. 1998) – 1:08
"The Beast of Love" (Joe Kearney) – 3:30
"You Didn't Break it" (Bob Harris, Suzannah Harris) (1998 Version, with Robin DiMaggio (Drums)) – 4:19
"The X-Equilibrium Dance" (Bonus Ed. 1998) – 5:10
"Chronic Insomnia" – 2:00
Steve Vai – vocals, acoustic and electric guitars, coral sitar, keyboards, electric piano, bass guitar, background vocals
Mike Keneally – keyboards on "Fuck Yourself"
Tommy Mars – vocals, violin, keyboards
Stu Hamm – vocals, bass guitar
Bob Harris – background vocals
Joe Kearney – background vocals
Alex Acerra - background vocals
Larry Crane – piccolo xylophone, bell lyre, vibraphone
Robin DiMaggio – drums
Chris Frazier – drums
Deen Castronovo – drums
Pete Zeldman – percussion
Suzannah Harris – background vocals
Larry Kutcher - vocals and narration on Little Pieces of Seaweed
Posted by Crimhead420 at 6:57 PM
Vai states that planning the album started as early as 1982, but was shelved after joining the David Lee Roth band and not picked up again until parting ways with Roth in 1989. Vai utilized many unusual recording techniques on the album. For what would come to be one of his most popular songs to date, "For the Love of God", he fasted for ten days and recorded the song on the fourth day of the fast. "Blue Powder" was originally recorded in 1986 as a showcase track for Carvin, using their X-100B amplifier, and given away with Guitar Player magazine in flexi disc format. Vai was introduced to Carvin by his mentor Frank Zappa, who had also used the X-100B. The drums were subsequently re-recorded for the album.
The equipment used to record Passion and Warfare was: Ibanez JEM and Universe guitars; Charvel Green Meanie guitar; Marshall JCM900 and Carvin X-100B amplifiers; ADA MP-1 preamplier; Boss DS-1 distortion pedal; Eventide H3000 harmonizer; Lexicon 480L.
The song "For the Love of God" is available for download for the 2007 video game Guitar Hero III: Legends of Rock, and was voted the 29th best solo of all time by a readers' poll in Guitar World magazine.
In 2016, Vai embarked on the Passion and Warfare 25th Anniversary World Tour, where he played the album in its entirety for the first time.
It’s hard to explain the excitement and anticipation surrounding the release of Steve Vai’s second solo album, Passion and Warfare, when it was released in September 1990.
In an era known for outrageous guitar playing, the album promised to be the last word—a veritable Macy’s Fourth of July fireworks display of technique, tones and color.
One song was rumored to feature no less than 30 backward guitars, while another track, “For the Love of God,” was recorded after a reported four straight days of meditating, fasting and non-stop practicing.
“I was trying to push myself to the limit,” says Vai. “When it came time to record ‘For the Love of God,’ my fingers were totally gone. I had pictures of my fingers taken after that session, and they were bleeding under the skin.”
Produced and engineered by the guitarist himself, the album was the culmination of 20 years of study, experimentation, 12-hour marathon practice days and serious rock star image building. No mere compendium of “Steve’s latest riffs,” it was crafted to be the roadmap to the future of the guitar; a project so sprawling and ambitious, Vai had to develop a revolutionary seven-string guitar to capture all the notes rattling around in his skull.
Passion and Warfare was nothing less than the guitarist’s bid for immortality, and if it had the added benefit of leaving contemporaries like Edward Van Halen and Yngwie Malmsteen in the dust, so be it.
To really understand the genesis of the album, you have to travel back to 1980, when Vai was invited to join Frank Zappa’s band. Zappa, a guitarist and composer of complex, satirical music, had a reputation as a fearsome bandleader that demanded nothing less than perfection from musicians. While the gig did not make the 20-year-old a pop star—Zappa’s music was too bizarre and underground for that—Vai was immediately put on the short list of “musicians to watch” in the guitar community. To be so young and receive validation by someone as discerning and brilliant as Frank Zappa was no small thing, and people began to take notice as his street cred soared.
It was clear that big things were in store for the kid who could play anything Zappa could dish out, but it would take a few years. After leaving Frank’s band in 1983, Vai bought a house in Los Angeles where he built a modest recording studio in his backyard. There, he produced, engineered and recorded his first solo album Flex-Able, a compendium of warped instrumentals that were fabulously absurd and technically jaw-dropping.
The independent album sold surprisingly well, and Vai gained a reputation as the thinking man’s guitar hero. It was an impression further solidified by his band, The Classified, a progressive, Zappa-esque unit that appealed to a small group of hipsters in Los Angeles who had little use for the growing Eighties hair metal scene. The only downside was, it seemed like Vai was headed for nothing more than cult status, when suddenly he shifted gears.
In 1984, he replaced Yngwie Malmsteen in the hard rock unit Alcatrazz. After recording one fairly unremarkable album with the band, he left to join David Lee Roth’s high profile post–Van Halen band. Overnight the cult hero became one of the world’s most visible and celebrated lead guitarists, and his meteoric rise continued after he appeared in the 1986 blockbuster film Crossroads, where he played a pivotal role as the devil’s guitarist.
By 1990, Vai was a household name, and he wasn’t about to let the moment slip through his nimble fingers. Using his fame and his dazzling chops, he set out to make nothing less than the ultimate guitar album.
Upon the record’s release, Guitar World wrote: “Each track on Passion and Warfare features ravishing neo-psychedelic stereo panoramas reminiscent of Jimi Hendrix and even Sgt. Pepper’s–era Beatles. This recording is not about playing diminished scales at full throttle, or tapping with four fingers—it’s nothing less than the guitar as an orchestra. It’s also one of the damnedest things we’ve ever heard.”
All these years later, it still is.
All tracks written by Steve Vai.
No. Title Length
01. "Liberty" 2:03
02. "Erotic Nightmares" 4:15
03. "The Animal" 4:01
04. "Answers" 2:56
05. "The Riddle" 6:24
06. "Ballerina 12/24" 1:43
07. "For the Love of God" 6:03
08. "The Audience Is Listening" 5:30
09. "I Would Love To" 3:41
10. "Blue Powder" 4:44
11. "Greasy Kid's Stuff" 2:58
12. "Alien Water Kiss" 1:10
13. "Sisters" 4:07
14. "Love Secrets" 3:40
Total length: 53:15
Steve Vai – guitar, Eventide H3000, keyboard (tracks 1, 3, 5, 7, 11), bass (tracks 8, 9, 11), arrangement, engineering, production
David Rosenthal – keyboard (tracks 2, 9, 13), background vocals
Pia Maiocco (credited as Pia Vai) – keyboard on one chord (track 4)
Bob Harris – keyboard (track 10), background vocals
Chris Frazier – drums (tracks 1–5, 8, 10, 11, 13)
Tris Imboden – drums (tracks 7, 9)
Stuart Hamm – bass (tracks 2–5, 7, 10, 13)
Nancy Fagen – vocals & hysteria (track 8)
Jamie Firlotte – boy vocals (track 8)
David Coverdale – background vocals
Rudy Sarzo – background vocals
Adrian Vandenberg – background vocals
Pascal Fillet – background vocals
Laurel Fishman – background vocals
Lillian Vai – background vocals
Pam Vai – background vocals
Joel Kaith – background vocals
Corky Tanassy – background vocals
Jamie Kornberg – background vocals
Lauren Kornberg – background vocals
Corinne Larue – background vocals
Famin' – background vocals
Darla Albright – background vocals
Laura Gross – background vocals
Rupert Henry – background vocals
Suzanna Harris – background vocals
Julian Angel Vai – background vocals
Posted by Crimhead420 at 6:33 PM
Saturday, April 28, 2018
All compositions were executed by Frank Zappa on the Synclavier DMS with the exception of "St. Etienne", a guitar solo excerpted from a live performance Zappa gave of "Drowning Witch" during a concert in Saint-Étienne, France, on his 1982 tour.
"While You Were Art II" is a Synclavier performance based on a transcription of Zappa's improvised guitar solo on the track "While You Were Out" from the album Shut Up 'n Play Yer Guitar (1981). The unreleased original Synclavier performance was done using only the unit's FM synthesis, while the recording found here was Zappa's "deluxe" arrangement featuring newer samples and timbres.
"Night School" was possibly named for a late-night show that Zappa pitched to ABC; the network did not pick it up. A music video was made for the song.
"G-Spot Tornado", assumed by Zappa to be impossible to play by humans, would be performed by Ensemble Modern on the concert recording The Yellow Shark (1993).
Zappa won a 1988 Grammy Award for Best Rock Instrumental Performance for this album.
Though Jazz from Hell is an entirely instrumental album, there is an unconfirmed report that the Fred Meyer chain of stores sold it in their Music Market department featuring an RIAA Parental Advisory sticker. This could have been the result of Zappa's feud with the Parents Music Resource Center (which had also inspired the 1985 Frank Zappa Meets the Mothers of Prevention), an objection to the use of the word "hell" in the album title, or in reference to the track "G-Spot Tornado", describing the erogenous zone in human anatomy commonly known as the G-Spot.
While Frank Zappa had ostensibly been "on his own" since the dissolution of the Mothers of Invention in 1969, never before had he used the term "solo artist" as literally as he does on the Grammy Award winning (in the "Best Rock Instrumental Performance by an orchestra, group or soloist" category) Jazz from Hell (1986). After two decades of depending on the skills, virtuosity, and temperament of other musicians, Zappa all but abandoned the human element in favor of the flexibility of what he could produce with his Synclavier Digital Music System. With the exception of the stunning closer "St. Etienne" -- which is a guitar solo taken from a live performance of "Drowning Witch" at the Palais des Sports in St. Etienne, France on May 28, 1982 -- the remaining seven selections were composed, created, and executed by Zappa with help from his concurrent computer assistant Bob Rice and recording engineer Bob Stone. Far from being simply a synthesizer, the Synclavier combined the ability to sample and manipulate sounds before assigning them to the various notes on a piano-type keyboard. At the time of its release, many enthusiasts considered it a slick, emotionless effort. In retrospect, their conclusions seem to have been a gut reaction to the methodology, rather than the music itself. In fact, evidence to the contrary is apparent as it brims throughout the optimistic bounding melody and tricky time-signatures of "Night School." All the more affective is the frenetic sonic trajectory coursing through "G-Spot Tornado." Incidentally, Zappa would revisit the latter -- during one of his final projects -- when the Ensemble Modern worked up Ali N. Askin's arrangement for the Yellow Shark (1993). Another cut with a bit of history to it is "While You Were Art II," which is Zappa's Synclavier-rendered version of the Shut Up 'N Play Yer Guitar (1982) entry "While You Were Out." Speaking of guitar solos, as mentioned briefly above, "St. Etienne" is the only song on Jazz from Hell to feature a band and is a treat specifically for listeners craving a sampling of Zappa's inimitable fretwork. The six-plus minute instrumental also boats support from Steve Vai (rhythm guitar), Ray White (rhythm guitar), Tommy Mars (keyboards), Bobby Martin (keyboards), Ed Mann (percussion), as well as the prominent rhythm section of Scott Thunes (bass) and Chad Wackerman (drums). Zappa-philes should similarly note that excellent (albeit) amateur-shot footage of the number was included by Zappa on the companion Video from Hell (1987) home video.
Jazz From Hell may not be one of Frank's most popular albums and I'm sure it's one of the lowest sellers, but it's also one of his finest.
Frank had announced his intention of quitting the liva arena in 1982 and then again in 1984 ( he would be tempted back in 1988 ) but by 1986 he was composing solely on his Synclavier within the comfort of his recording studio, and the results are amazing.
Night School and G-Spot Tornado are among his best ever compositions, nobody else to this day writes such odd and yet beautiful music, it's ironic to note that the title track ( one of the weaker tracks ) won Frank a Grammy !
Probably to placate the fans of his guitar solos he choose to include one very fine ( and delicate ) solo.
This album rewards repeated listenings and and it's great insight into what made the man really tick .
On this solo digital-synth excursion, the indefatigable Zappa takes a breather from R-rated satire and battling the PMRC dragons to cook up one of his periodic classical-jazz-boogie stews. There is nothing particularly hellish about the eight pieces on the album, though it may have been a bitch to program these densely packed parcels of subdivided rhythms and Chinese-checker themes. But while most of Jazz from Hell employs now-standard Zappa compositional devices — abrupt tempo changes, harmonic broad jumps and volcanic polyphonic clusters — there is a deviant playfulness and almost affable melodic resolution about these tracks that is unique in Zappa's serious instrumental canon.
While purchasing this CD:
Just got back from LA and while I was there I went to Time Warp Records, a little record store off of Venice BL. Among the just over 80 CD's I own by Frank I hadn't replaced the "Jazz From Hell" from my lp collection. It was there so I picked it up and there was only one guy there besides the owner and another gentleman walked in just as I was about to leave. Just as I found my last purchase (McCoy Tyner - Infinity (with Michael Brecker) and I over heard the guy that had just walked in that he had been to an event with Moon Zappa the previous night as I'm walking up to the counter with Jazz From Hell, I showed to the guy talking and the owner and we all had a little laugh, :-)
1. Night School (4:47)
2. The Beltway Bandits (3:25)
3. While You Were Art II (7:17)
4. Jazz From Hell (2:58)
5. G-Spot Tornado (3:17)
6. Damp Ankles (3:45)
7. St. Etienne (6:26) *
8. Massaggio Galore (2:31)
* Recorded 1982 at Palais des Sports, St. Etienne, France.
Total Time: 34:26
Frank Zappa – lead guitar, Synclavier, keyboards, production
On "St. Etienne":
Steve Vai – rhythm guitar
Ray White – rhythm guitar
Tommy Mars – keyboards
Bobby Martin – keyboards
Scott Thunes – bass guitar
Chad Wackerman – drums
Ed Mann – percussion
Posted by Crimhead420 at 10:17 AM
In 2012, the album received the Grammy Award for Best Jazz Instrumental Album. The AllMusic review by Thom Jurek states "Disc one is taken directly from concert appearances across the globe. The standards work well – considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo... The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter... With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers". John Fordham in The Guardian noted "Clarke's beautiful tone and dramatic phrasing, White's melodic percussion playing and deft embroidery of catchy grooves, and Corea's fluency and lyrical grace bring a new spark to standards... The electric disc is a lot funkier... and the light touch and sense of enjoyment of the acoustic half mostly survives intact". All About Jazz correspondent John Kelman observed, "Eschewing RTF's relentless testosterone, the trio is as capable of elegance and understatement as it is of unequivocal virtuosity". PopMatters' Will Layman wrote "The trio recordings are masterful in execution but maybe slightly "been there, done that" in repertoire... On the bonus disc, we get more of a mishmash.. The band is loose as can be in this rehearsal, tossing phrases back and forth, the whole enterprise seeming like the dialogue that jazz is always supposed to be".
This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out “Señor Mouse,” “Space Circus,” and “After the Rain,” all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers.
As successful as its massive 2008 world tour was—stopping at the Ottawa Jazz Festival, and yielding both a live CD (Returns) and DVD (Returns: Live at Montreux 2008) from Eagle Entertainment the following year—it was patently clear that Return to Forever couldn't continue with guitarist Al Di Meola. It was, however, equally certain that RTF's remaining members—keyboardist Chick Corea, bassist Stanley Clarke and drummer Lenny White—felt great about coming together, nearly forty years after they first met, as they subsequently hit the road, for their first-ever trio tour, in 2009.
The double-disc Forever brings together one CD of material from dates in the US and Japan, and a bonus disc of rehearsals for the trio's 2009 Hollywood Bowl date, joined by original RTF guitarist Bill Connors, violinist Jean-Luc Ponty and vocalist Chaka Khan. At the core of both discs is the vibrant simpatico shared by Corea, Clarke and White, their acoustic set combining well-known standards and some equally iconic Corea material, from his early entry into The Real Book, the swinging "Windows," to the title track to RTF's No Mystery (Polydor, 1975), expanded to nearly a quarter-hour in length. Approaching his 70th birthday later this year, Corea has simply never played better; bolstered by the equally unfettered and exploratory Clarke and White, his staggering solo demonstrates this trio's unfailing empathy in an album highlight of improvisational construction.
Eschewing RTF's relentless testosterone, the trio is as capable of elegance and understatement as it is of unequivocal virtuosity. White's delicate ride cymbal gently propels the opening to Bill Evans' "Waltz for Debby," even as he adopts a stronger backbone during Corea's solo, while, on Clarke's balladic "La Canción de Sofia," the bassist's arco proves every bit as lyrical as his sinewy pizzicato is muscular.
With Connors bowing out of the RTF IV tour early (citing health reasons), Forever's second disc is a glimpse into what might have been. His replacement, Frank Gambale, will no doubt be terrific, but hearing Connors dig into material from his sole RTF outing, Hymn of the Seventh Galaxy (Polydor, 1973)—Clarke's anthemic "After the Cosmic Rain," and Corea's thundering "Señor Mouse" and funkified "Space Circus"—fulfills, at least partially, long-past hopes and dreams of fans who, buying tickets to RTF's 1973/74 tour expecting to hear Connors, were unpleasantly surprised by his teenaged replacement, Di Meola. Decades later, Connors still doesn't possess Di Meola's chops, but he remains the more soulful player, with a grittier tone and substance-over-style approach. The bonus disc also includes trio versions of Latin-era RTF stapes "Captain Marvel" and "500 Miles High," the Spanish-tinged Corea/Clarke/Ponty trio feature, "Armando's Rhumba," from My Spanish Heart (Polydor, 19076), and, with White joining in, the lighter fusion of "Renaissance," from Ponty's Aurora (Atlantic, 1976), combining to provide a compelling precursor of what's certainly to come this summer, when RTF IV hits the North American festival circuit.
All compositions by Chick Corea except where noted.
1. "On Green Dolphin Street" (Bronisław Kaper, Ned Washington) – 8:41
2. "Waltz for Debby" (Bill Evans) – 9:55
3. "Bud Powell" – 7:10
4. "La Canción de Sofia" (Stanley Clarke) – 7:38
5. "Windows" – 8:54
6. "Hackensack" (Thelonious Monk) – 7:30
7. "No Mystery" – 10:55
8. "Señor Mouse" – 12:06
Recorded at Yoshi's, Oakland, on September 16 & 17, 2009 (tracks 1–4, 7 & 8), at The Blue Note Tokyo, Japan on November 28, 2009 (track 5) and at Jazz Alley, Seattle, on December 12, 2009 (track 6)
01. "Captain Marvel" – 4:13
02. "Señor Mouse" – 10:06
03. "Crescent" (John Coltrane) – 1:45
04. "Armando's Rhumba" – 5:12
05. "Renaissance" (Jean-Luc Ponty) – 6:29
06. "High Wire: The Aerialist" – 3:41
07. "I Loves You, Porgy" (George Gershwin, Ira Gershwin) – 5:13
08. "After the Cosmic Rain" (Clarke) – 10:38
09. "Space Circus" – 6:06
10. "500 Miles High" – 12:45
Recorded at Mad Hatter Studios, Los Angeles, on September 1, 2009 (tracks 1–9) and at the Monterey Jazz Festival, Monterey, on September 30, 2009 (track 10).
Chick Corea – piano (Disc one and disc two, tracks 3–7 & 10), keyboards (Disc Two, tracks 1, 2, 8 & 9)
Stanley Clarke – double bass (Disc one and disc two, tracks 1, 4–7 & 10), electric bass (Disc Two, tracks 2, 8 & 9)
Lenny White – drums (Disc one and disc two, tracks 1–3 & 5–10)
Bill Connors – guitar (Disc two, tracks 2 & 7–9)
Jean-Luc Ponty – violin (Disc two, tracks 4–5 & 7–9)
Chaka Khan – vocals (Disc two, tracks 6–7)
Posted by Crimhead420 at 10:00 AM
Tony Williams - 2016 (1975) "Believe It" - (1976) "Million Dollar Legs" - (1979) "The Joy Of Flying"
After the original Lifetime split, Tony Williams tried desperately to make the next "great album".
He found his opportunity when he found Allan Holdsworth, a prog-rock veteran of Tempest, Gong, & Soft Machine.
Holdsworth approached the electric guitar with a jazz feel, his Gibson SG Custom sounding often like John Coltrane's saxophone.
Tony Williams and Holdsworth found common ground, and each brought in a musician capable of expressing the power and energy that Williams felt his music had been lacking. Bassist Tony Newton, a veteran of Motown sessions, was picked by Williams to hold it all down. Holdsworth was taken with the abilities of keyboardist Alan Pasqua, who not only could lay out the head of a piece,but was a fine soloist as well.This was to be the last edition of Lifetime, but this album, released in 1975, re-established the band as a force to be reckoned with.
They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.
As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!
Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.
The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).
A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again!
I'm a drummer and have been playing 56 years. Among my most influential drummers Tony Williams, Billy Cobham, Lenny White, Mitch Mitchell, Chuck Burgi, Buddy Rich to name a few, I always have to reach back to Tony Williams who was so acrobatic, fluid, musically driven and down right AWESOME. "Believe It" was totally satisfying and inspirational, the guitar work by Soft Machines Allan Holdsworth is.....ah....PERFECT and timeless, I had this album when it originally was released and over the years wore it thru and had to replace it. 100% satisfied
1975 was still a year of great fusion records and this one is without a doubt one of them. Tony Williams returned with a brand new, fresh approach to his sound. The music feels tight but it's actually quite loose, thanks to the masterful musicians he picked. The opener Snake Oil is a killer track with a pounding, funky bass line and a riff that must be heard to be believed.
Allan Holdsworth's guitar work fiery yet mellow while Alan Pasqua and Tony Newton are both impressive on keys and bass respectively. Producer Bruce Botnick mahe sure Tony's drums sounded strong without making them invasive to great result. Needless to say, his drumming is amazing throughout and on the closer Mr. Spock, he takes to the spotlight for the delight of the listener. 35 years on, this has earned the status of a fusion classic.
The album's final piece, Holdsworth's "Mr. Spock" is an all-out jam of epic proportions.
Pasqua and Newton' primary task is to hold the piece together, for this showcase is all about electric guitar and drums.
After the pace is set and Pasqua takes his solo, Holdsworth plays a solo which has been described as no less than "apocalyptic",pulling out all the stops, and throwing caution to the wind.
It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration.
1. Snake Oil
4. Red Alert
6. Mr. Spock
7. Sweet Revenge
8. You Did It to Me
9. Million Dollar Legs
10. Joy Filled Summer
11. Lady Jade
12. What You Do to Me
13. Inspirations of Love
1. Going Far
2. Hip Skip
3. Hittin' on 6
4. Open Fire
7. Coming Back Home
8. Morgan's Motion
"Believe It" & "Million Dollar Legs"
Allan Holdsworth – guitar
Alan Pasqua – keyboards
Tony Newton – bass
Tony Williams – drums
"Joy Of Flying"
George Benson - Guitar
Herbie Hancock, Jan Hammer, Brian Auger, Tom Scott - Keyboards
Stanley Clarke, Paul Jackson, Mario Cipollina - Bass
Michael Brecker - Saxophone
Ronnie Montrose - Guitar
David Sanborn - Alto saxophone
Ronnie Cuber - Baritone saxophone
Barry Rogers - Trombone
Randy Brecker - Trumpet
Ralph MacDonald - Percussion
Jon Faddis - Trumpet
Cecil Taylor - Piano
Posted by Crimhead420 at 9:33 AM