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1999-1987
Larry Coryell
Almost a Waltz (Larry Coryell) 5:08
All Blues (Miles Davis) 7:43
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
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
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
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.
While Andy Summers is best known as the guitarist in the Police, he has since forged a successful and acclaimed solo career with new age-influenced contemporary instrumental music that, like his work with Sting and company, draws on his love for jazz and his fascination with creating instrumental textures.
Andy Summers, John Etheridge
Broken Brains (Andy Summers) 3:56
Lolita (Andy Summers) 4:29
Counting the Days (Andy Summers) 3:37
from Invisible Threads 1993
John Etheridge went on to Essex University and then played with jazz rock groups in London in the early 70s, including Darryl Way’s Wolf. In 1975 he replaced Allan Holdsworth in Soft Machine, staying with the band until their initial demise in the late 70s. He played with Stéphane Grappelli between 1978 and 1981, showing as much facility playing the acoustic guitar with him as he had previously done on the electric. At the same time, he formed the jazz fusion group 2nd Vision with former Albion Band member Ric Sanders. He undertook solo concerts in Australia and toured the USA with bass player Brian Torff in 1982 before playing some live dates and recording with the re-formed Soft Machine.
Fleet-fingered British guitarist with a liquid sound, respected by aficionados as one of the greatest axemen in the electric jazz-rock fusion genre.
Allan Holdsworth
5 to 10 (Allan Holdsworth) 5:36
Questions (Chad Wackerman) 4:04
Wardenclyffe Tower (Allan Holdsworth) 8:44
from Wardenclyffe Tower 1992
This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work...
Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop.
Larry Coryell
Flamenco Flare-Up (Larry Coryell) 7:26
Blues for 'Charley the Lobster' (Larry Coryell) 5:16
from Twelve Frets To One Octave 1991
A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.
Things - Jazz group from Hungary. / Members: Csanyi Zoltán, Horváth Kornél, János Solti, Kálmán Oláh, László Attila, Lattmann Béla
Antal Lakatos - Profile: Hungarian saxophonist and flutist, born 13 November 1958 in Budapest, Hungary
Things & Tony Lakatos
Turn To East 6:26
Dancing Dolls 4:46
Mother Nature Vocal – Torita Quick 3:50
from Mother Nature 1990
Acoustic Guitar, Electric Guitar, Producer – Attila László
Bass – Béla Lattmann
Drums – János Solti
Keyboards – Kalman Olah
Percussion – Kornél Horváth
Saxophone, Electronic Wind Instrument [Yamaha-WX7], Producer – Tony Lakatos
Vocals – Torita Quick
British jazz bassist famed for his work with Miles Davis, and subsequently the leader of an acclaimed big band. Dave Holland is of a generation of bassists who, in the '60s and '70s, built upon the innovations of slightly older players like Scott LaFaro, Gary Peacock, and Barre Phillips, carrying the instrument to yet another new level of creativity. Along with contemporaries like Eddie Gómez, Miroslav Vitous, and Barry Guy, Holland helped refine and extend the melodic possibilities of the cumbersome double bass.
Dave Holland
Nemesis (Kevin Eubanks) 11:31
Black Hole (Steve Coleman) 10:10
from Extensions 1989
For this tight and enjoyable quartet date, bassist Dave Holland spread the composing opportunities around, his sidemen accounting for four of the six pieces. Arguably, none of these musicians ever sounded better, or more adventurous, than when performing in Holland's bands. While the leader himself retreated a good deal from his more routinely avant-garde recordings of the '70s, he appeared unwilling to allow his younger compadres to simply coast, instead evoking probing and thoughtful playing from them. Altoist Steve Coleman derives particular benefit from Holland's supervision, sounding far more fluid and confident than own his own rather more stilted albums. .. One of his better albums from this period, Extensions should please any Holland fan, and is an agreeable and non-threatening jumping in point for the curious.
Lyle Mays' style is difficult to describe, more atmospheric (with plenty of unique colors) than swinging and an invaluable part of the sound of the Pat Metheny Group. Mays played and composed for the North Texas State University Lab Band in the mid-'70s. He met Metheny in 1975, toured with Woody Herman's Orchestra (1975-1976), and then joined Metheny's band, continuing to play with the guitarist's group. Lyle Mays (who is also an excellent acoustic pianist) has recorded several albums as a leader for Geffen, including the excellent work Fictionary in 1992 and Solo in 2000.
Lyle Mays
Feet First (Lyle Mays) 4:23
Chorinho (Lyle Mays) 4:17
Street Dreams (Lyle Mays) 11:05
from Street Dreams 1988
Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music...
Lyle Mays 1953 – 2020
The keyboardist, composer, and close collaborator with Pat Metheny has passed away at 66
Innovative avant-garde multi-instrumentalist and composer, one of the most important figures in the later free jazz community. Prolific multi-reedist/composer Anthony Braxton is among the most influential jazz artists to emerge from the 20th century.
Anthony Braxton
Brilliant Corners (Thelonious Monk9 9:24
Played Twice (Thelonious Monk) 6:51
from Six Monk's Compositions (1987)
The band Anthony Braxton assembled for this unique exploration of the compositions of Thelonious Monk is one of the wonders of the composer's retinue. Braxton, pianist Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne use six Monk tunes and go hunting for harmonic invention... On alternating tunes, Braxton and Waldron provide the catalyst, but all four become changelings in light of this intense and addictive harmonic conception.
Almost a Waltz (Larry Coryell) 5:08
All Blues (Miles Davis) 7:43
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
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
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
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.
Andy Summers, John Etheridge
Broken Brains (Andy Summers) 3:56
Lolita (Andy Summers) 4:29
Counting the Days (Andy Summers) 3:37
from Invisible Threads 1993
John Etheridge went on to Essex University and then played with jazz rock groups in London in the early 70s, including Darryl Way’s Wolf. In 1975 he replaced Allan Holdsworth in Soft Machine, staying with the band until their initial demise in the late 70s. He played with Stéphane Grappelli between 1978 and 1981, showing as much facility playing the acoustic guitar with him as he had previously done on the electric. At the same time, he formed the jazz fusion group 2nd Vision with former Albion Band member Ric Sanders. He undertook solo concerts in Australia and toured the USA with bass player Brian Torff in 1982 before playing some live dates and recording with the re-formed Soft Machine.
Allan Holdsworth
5 to 10 (Allan Holdsworth) 5:36
Questions (Chad Wackerman) 4:04
Wardenclyffe Tower (Allan Holdsworth) 8:44
from Wardenclyffe Tower 1992
This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work...
Larry Coryell
Flamenco Flare-Up (Larry Coryell) 7:26
Blues for 'Charley the Lobster' (Larry Coryell) 5:16
from Twelve Frets To One Octave 1991
A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.
Antal Lakatos - Profile: Hungarian saxophonist and flutist, born 13 November 1958 in Budapest, Hungary
Things & Tony Lakatos
Turn To East 6:26
Dancing Dolls 4:46
Mother Nature Vocal – Torita Quick 3:50
from Mother Nature 1990
Acoustic Guitar, Electric Guitar, Producer – Attila László
Bass – Béla Lattmann
Drums – János Solti
Keyboards – Kalman Olah
Percussion – Kornél Horváth
Saxophone, Electronic Wind Instrument [Yamaha-WX7], Producer – Tony Lakatos
Vocals – Torita Quick
Dave Holland
Nemesis (Kevin Eubanks) 11:31
Black Hole (Steve Coleman) 10:10
from Extensions 1989
For this tight and enjoyable quartet date, bassist Dave Holland spread the composing opportunities around, his sidemen accounting for four of the six pieces. Arguably, none of these musicians ever sounded better, or more adventurous, than when performing in Holland's bands. While the leader himself retreated a good deal from his more routinely avant-garde recordings of the '70s, he appeared unwilling to allow his younger compadres to simply coast, instead evoking probing and thoughtful playing from them. Altoist Steve Coleman derives particular benefit from Holland's supervision, sounding far more fluid and confident than own his own rather more stilted albums. .. One of his better albums from this period, Extensions should please any Holland fan, and is an agreeable and non-threatening jumping in point for the curious.
 |
| Steve Coleman – alto saxophone Kevin Eubanks – electric guitar Dave Holland – double bass Marvin "Smitty" Smith – drums |
Lyle Mays
Feet First (Lyle Mays) 4:23
Chorinho (Lyle Mays) 4:17
Street Dreams (Lyle Mays) 11:05
from Street Dreams 1988
Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music...
Lyle Mays 1953 – 2020
The keyboardist, composer, and close collaborator with Pat Metheny has passed away at 66
Anthony Braxton
Brilliant Corners (Thelonious Monk9 9:24
Played Twice (Thelonious Monk) 6:51
from Six Monk's Compositions (1987)
The band Anthony Braxton assembled for this unique exploration of the compositions of Thelonious Monk is one of the wonders of the composer's retinue. Braxton, pianist Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne use six Monk tunes and go hunting for harmonic invention... On alternating tunes, Braxton and Waldron provide the catalyst, but all four become changelings in light of this intense and addictive harmonic conception.
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