16-12-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2003-1994 # Two Banks of Four, Weather Report, Chuck Bergeron, Patricia Barber, Larry Coryell, Diana Krall, Zachary Breaux, Medeski Martin & Wood, Kenny Garrett, Digable Planets
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2003-1994
Two Banks of Four
One Day 6:25
Two Miles Before Dawn 4:29
Three Street Worlds 5:44
from Three Street Worlds 2003
Taking inspiration from the radical, spiritual jazz of the late 60s & early 70s, and blending that with a downtempo smokers soundtrack, this amalgamation of renowned producers, DJ and current UK jazz talent goes along way to prove that having one foot in the past doesn't prevent progressive music making.
The assorted members of Two Banks of Four certainly have the historical credentials to move jazz & dancefusions forward. Messrs Gallagher, Demus & Valarie Ettienne have a combined history that include Galliano, The Brand New Heavies & The Young Disciples, and combine the jazz approach with a template that won't frighten ears used to clubbier sounds. Two Banks of Four may owe a small debt to the jazz & beats feel of 4 Hero, but only for opening a musical door - not providing a roadmap...
Weather Report
Freezing Fire (Wayne Shorter) 8:13
Teen Town (Jaco Pastorius) 6:29
Black Market (Joe Zawinul) 9:26
Cigano (Wayne Shorter) 3:59
from Live and Unreleased 2002
...All of these are wonderful moments in a collection of tracks that has nothing whatsoever to apologize for and is a more than worthy addition to any fan's library. Ultimately, this still leaves room for Legacy to come up with a live Weather Report Box, perhaps documenting the Jaco years. Here's to hoping.
Chuck Bergeron
John Abercrombie - guitar, Charlie Pillow - Tenor, Mike Holober - Organ, Chuck Bergeron - Bass, Peter Erskine - Drums + Percussion, Rick Margitza - Tenor, John Hansen - Piano, Jon Wiken - Drums, Bob Moses - Drums, Jeff Busch - Percussion and Berimbau, Jay Thomas - Trumpet
The Rub 6:18
My Folks Song 5:14
Jay-Walk 5:23
from Cause And Effect 2001
Bergeron's broad adaptive and cross-pollinative abilities are well served, and his versatility is planted in varied traditions without getting swallowed by the diffusion of contexts or styles. And he has such a rich, warm round and alluring sound-it is extra special when he pulls a note and permits it to stretch and linger, underlining his caring sense of melody. Another attribute is his ownership of a great time feel. Note how he bides his time to develop his ideas in a thoughtful manner...
This CD illuminates Bergeron's attitude in serving the music. It reflects an appetizing artistic diet. In effect, the sum of the pieces of music produces a colorful swath of diverse sketches of Bergeron's inventive mixing of his own palette. Collapsing generic boundaries, he reveals vivid causal effects of his elastic, open viewpoint. This position is reinforced by his two earlier CDs as well. In common with them, this latest one also armed with the luster and simpatico of all the musicians deepens its validity relative to Bergeron's values. Utilizing their individual flavors to compliment one another in varying combinations, the band and CD take on an arch of surprises, earthy feelings, persuasions and imaginative treatments; and the musicians are plainly having a ball playing!
Barber performes in a cooly understated vocal style influenced as much by film noir as by Carmen McRae and Peggy Lee. Award-winning jazz pianist, singer, and songwriter Patricia Barber's unique style and unusual voice make her an easy artist to distinguish. Her playing and singing are almost iconoclastically inventive, inhabiting a terrain inside and outside a musical slipstream that exists between post-bop, pop, classical music, cabaret song, and avant-garde, while being performed -- in studio and on-stage -- with a smoky, dreamy, yet imposing, mercurial presence.
Bye Bye Blackbird (Mort Dixon / Ray Henderson) 4:03
All or Nothing at All (Arthur Altman / Jack Lawrence) 3:25
A Man & A Woman (Pierre Barouh / Jerry Keller / Francis Lai) 4:19
from Nightclub 2000
Chicago native and classically trained pianist Patricia Barber's sixth album is a collection of downtempo standards, perfect for a rainy day... Her production is spare, allowing her to sing with such melancholy it's almost eerie. Not many performers can relay such harrowing feeling without over-emoting, but Barber makes it seem effortless. Nightclub is an appropriate title; listening to these love songs is like being in a smoky room, courted by a lounge singer. This is a classy, solid effort.
Larry Coryell
Trinkle, Tinkle (Thelonious Monk) 5:34
Naima (John Coltrane) 6:13
All Blues (Miles Davis) 7:43
Almost a Waltz (Larry Coryell) 5:08
from Monk, Trane, Miles & Me 1999
This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima"... The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they. Coryell always chooses extraordinary sidemen, and when you pick pianist John Hicks (on four cuts, including the gorgeous "Naima") bassist Santi Debriano and drummer Yoron Israel, you've got a winning team... Coryell's virtuosity is evident; harnessed, and sounding better than ever, utilizing a prototype Cort LCS-1 model he designed. Several recent efforts can also be easily recommended, but this finely crafted recording ranks with any of his many better-to-best dates.
Contemporary jazz singer and pianist who took the pop world by storm in the 1990s, often echoing early swinging simplicity in her work.
Diana Krall
Devil May Care (Bob Dorough / Terrell Kirk / Joe South) 3:20
I Can't Give You Anything But Love (Dorothy Fields / Jimmy McHugh) 2:33
The Best Thing For You (Irving Berlin) 2:36
from When I Look in Your Eyes 1998
With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on eight of the 13 tracks. It is the latest attempt to push Krall to an even wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery, and George Benson, among others, went this route. Wonder if she'd agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall's voice is sweet and sexy... Some might call this fluff or mush, but it depends solely on your personal taste. This will certainly appeal to Krall's fans, lovers, and lovers at heart.
Influenced by George Benson and Wes Montgomery, Zachary Breaux was a flexible guitarist who could handle soul-jazz, post-bop, and hard bop as well as more commercial pop-jazz and NAC music.
Zachary Breaux
Cafe Reggio (Isaac Hayes) 6:06
The Thrill Is Gone (Arthur Benson / Dale Pettite) 5:10
Uptown Groove (Zachary Breaux) 5:13
from Uptown Groove 1997
Guitarist Zachary Breaux, who tragically died just a few months after recording this CD (his debut), was a potentially great guitarist with a style coming from George Benson. In fact, his solos are generally more memorable than the purposely commercial material on this set, which largely consists of melodic, jazzy funk jams, usually with rather basic electronic rhythms... A diverse and sadly final statement from a fine player.
Progressive New York City-based jazz fusionists who straddle the gap between avant-garde improvisation and accessible groove-based jazz.
Medeski, Martin & Wood
Is There Anybody Here That Love My Jesus (Billy Martin / John Medeski / Chris Wood) 4:27
Spy Kiss (Billy Martin / John Medeski / Chris Wood) 4:27
Jelly Belly (Billy Martin / John Medeski / Chris Wood) 4:41
Bubblehouse (Billy Martin / John Medeski / Chris Wood) 4:27
from Shack-man 1996
Medeski, Martin & Wood's Shack Man is the best example to date of the trio's cerebral fusion of soul-jazz, hip-hop, and post-punk worldbeat. Relying on a laid-back groove for most the album, the group just rolls along. Shack Man is the kind of album that will appeal most to soul-jazz beginners; for aficionados, the lack of grit in the groove makes it rather tedious. (Leo Stanley)
The groove on this is timeless. The album rolls by with a hypnotic flow. Every single track is rewarding. "Lack of grit" - eh, whatever, I think the reviewer is missing the point. This album is all about a dreamy Hawaiian groove. Open up to it and it definitely delivers. This was also a turning point album for MMW; it was the album that, even more than Friday Afternoon In The Universe, achieved cross over success. Jazz purists may ding it for embracing the groove so thoroughly, and it's true that in subsequent albums MMW moved on to different directions, mixing it up w/ hip hop (Combustication), experimental (The Dropper), and so on, not wanting to limit themselves to the "jam band" moniker. The fact is this was a perfect jam band album. Maybe not everyone's cup of tea, but certainly deserving of a better review than "lack of grit". (Ben Ellis)
Accomplished jazz saxophonist with an edgy and acidic style, a late product of Miles Davis’ hot house.
Kenny Garrett
Delfeayo's Deilemma (Wynton Marsalis) 5:40
Giant Steps (John Coltrane) 4:51
Wayne's Thang (Kenny Garrett) 6:50
from Triology 1995
...But then Garrett is already a youthful veteran, with distinguished pedigrees in the Duke Ellington Orchestra, Art Blakey's Jazz Messengers and Miles Davis' final working groups. Garrett's last Warner Bros. release, BLACK HOPE, presented him in varied programmatic settings--from heady jazz-funk to hard bopping blues. TRIOLOGY exposes him as never before, in a revealing trio setting with the swinging young drummer Brian Blades and bassist Kiyoshi Kitagawa... yet Garrett's main influences seem to be tenor men such as John Coltrane and Wayne Shorter, whom he honors with a driving "Giant Steps" and a sanctified "Wayne's Thang."
Brooklyn hip-hop trio mixed jazz backbeats, positivity, and enlightened conciseness.
Digable Planets
The May 4th Movement (Digable Planets) 4:56
Dog It (Ishmael Butler / Craig Irving / Digable Planets / Mary Ann Vieira) 4:20
For Corners (Ishmael Butler / Craig Irving / Shuggie Otis / Digable Planets / Mary Ann Vieira) 7:02
from Blowout Comb 1994
Media darlings after the commercial success of their debut, Digable Planets attempted to prove their artistic merit with this second album, and succeeded wildly. A worthy, underrated successor, Blowout Comb was just as catchy and memorable as their first, and also offered the perfect response to critics and hip-hop fans who complained they weren't "real" enough... Though Blowout Comb lacked the commercial punch of Reachin', Digable Planets made great strides in the two areas they'd previously been criticized: beats and rhymes. The beats were incredible, some of the best ever heard on a rap record, a hip-hop version of the classic, off-kilter, New Orleans second-line funk. The productions, all crafted by the group themselves, were laid-back and clearly superior to much hip-hop of the time. The raps, though certainly not hardcore, were just as intelligent as on the debut, and flowed much better. While Reachin' came to sound like a moment in time for the jazz-rap crowd, Blowout Comb has remained a timeless classic.
Trinkle, Tinkle (Thelonious Monk) 5:34
Naima (John Coltrane) 6:13
All Blues (Miles Davis) 7:43
Almost a Waltz (Larry Coryell) 5:08
from Monk, Trane, Miles & Me 1999
This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima"... The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they. Coryell always chooses extraordinary sidemen, and when you pick pianist John Hicks (on four cuts, including the gorgeous "Naima") bassist Santi Debriano and drummer Yoron Israel, you've got a winning team... Coryell's virtuosity is evident; harnessed, and sounding better than ever, utilizing a prototype Cort LCS-1 model he designed. Several recent efforts can also be easily recommended, but this finely crafted recording ranks with any of his many better-to-best dates.
Diana Krall
Devil May Care (Bob Dorough / Terrell Kirk / Joe South) 3:20
I Can't Give You Anything But Love (Dorothy Fields / Jimmy McHugh) 2:33
The Best Thing For You (Irving Berlin) 2:36
from When I Look in Your Eyes 1998
With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on eight of the 13 tracks. It is the latest attempt to push Krall to an even wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery, and George Benson, among others, went this route. Wonder if she'd agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall's voice is sweet and sexy... Some might call this fluff or mush, but it depends solely on your personal taste. This will certainly appeal to Krall's fans, lovers, and lovers at heart.
Zachary Breaux
Cafe Reggio (Isaac Hayes) 6:06
The Thrill Is Gone (Arthur Benson / Dale Pettite) 5:10
Uptown Groove (Zachary Breaux) 5:13
from Uptown Groove 1997
Guitarist Zachary Breaux, who tragically died just a few months after recording this CD (his debut), was a potentially great guitarist with a style coming from George Benson. In fact, his solos are generally more memorable than the purposely commercial material on this set, which largely consists of melodic, jazzy funk jams, usually with rather basic electronic rhythms... A diverse and sadly final statement from a fine player.
Medeski, Martin & Wood
Is There Anybody Here That Love My Jesus (Billy Martin / John Medeski / Chris Wood) 4:27
Spy Kiss (Billy Martin / John Medeski / Chris Wood) 4:27
Jelly Belly (Billy Martin / John Medeski / Chris Wood) 4:41
Bubblehouse (Billy Martin / John Medeski / Chris Wood) 4:27
from Shack-man 1996
Medeski, Martin & Wood's Shack Man is the best example to date of the trio's cerebral fusion of soul-jazz, hip-hop, and post-punk worldbeat. Relying on a laid-back groove for most the album, the group just rolls along. Shack Man is the kind of album that will appeal most to soul-jazz beginners; for aficionados, the lack of grit in the groove makes it rather tedious. (Leo Stanley)
The groove on this is timeless. The album rolls by with a hypnotic flow. Every single track is rewarding. "Lack of grit" - eh, whatever, I think the reviewer is missing the point. This album is all about a dreamy Hawaiian groove. Open up to it and it definitely delivers. This was also a turning point album for MMW; it was the album that, even more than Friday Afternoon In The Universe, achieved cross over success. Jazz purists may ding it for embracing the groove so thoroughly, and it's true that in subsequent albums MMW moved on to different directions, mixing it up w/ hip hop (Combustication), experimental (The Dropper), and so on, not wanting to limit themselves to the "jam band" moniker. The fact is this was a perfect jam band album. Maybe not everyone's cup of tea, but certainly deserving of a better review than "lack of grit". (Ben Ellis)
Kenny Garrett
Delfeayo's Deilemma (Wynton Marsalis) 5:40
Giant Steps (John Coltrane) 4:51
Wayne's Thang (Kenny Garrett) 6:50
from Triology 1995
...But then Garrett is already a youthful veteran, with distinguished pedigrees in the Duke Ellington Orchestra, Art Blakey's Jazz Messengers and Miles Davis' final working groups. Garrett's last Warner Bros. release, BLACK HOPE, presented him in varied programmatic settings--from heady jazz-funk to hard bopping blues. TRIOLOGY exposes him as never before, in a revealing trio setting with the swinging young drummer Brian Blades and bassist Kiyoshi Kitagawa... yet Garrett's main influences seem to be tenor men such as John Coltrane and Wayne Shorter, whom he honors with a driving "Giant Steps" and a sanctified "Wayne's Thang."
The May 4th Movement (Digable Planets) 4:56
Dog It (Ishmael Butler / Craig Irving / Digable Planets / Mary Ann Vieira) 4:20
For Corners (Ishmael Butler / Craig Irving / Shuggie Otis / Digable Planets / Mary Ann Vieira) 7:02
from Blowout Comb 1994
Media darlings after the commercial success of their debut, Digable Planets attempted to prove their artistic merit with this second album, and succeeded wildly. A worthy, underrated successor, Blowout Comb was just as catchy and memorable as their first, and also offered the perfect response to critics and hip-hop fans who complained they weren't "real" enough... Though Blowout Comb lacked the commercial punch of Reachin', Digable Planets made great strides in the two areas they'd previously been criticized: beats and rhymes. The beats were incredible, some of the best ever heard on a rap record, a hip-hop version of the classic, off-kilter, New Orleans second-line funk. The productions, all crafted by the group themselves, were laid-back and clearly superior to much hip-hop of the time. The raps, though certainly not hardcore, were just as intelligent as on the debut, and flowed much better. While Reachin' came to sound like a moment in time for the jazz-rap crowd, Blowout Comb has remained a timeless classic.
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