Title	Artist	Featured Selections	Rating	Personal Comments
Straight Ahead	Abate, Greg	Straight ahead, Kelly blue, Denise Marie, Nica’s dream, Jessica, 2:22, Con alma, Bosa for Gregory, It’s all right with me	Three Stars	A nice compilation of tunes with some stellar solo work from Abate and Roditi. Hilton Ruiz astounds me with his straight ahead approach. It’s hard to imagine him in his monster montuno player. Mraz and Washington handle the rhythm smoothly. My only kick on this session is that at times it lacks that spontaneity one would expect from these calibers of musicians. I got the feeling that not too much time went into the preparation of this set.
Airto	Airto	Creed, Flora's song, Romance of death, San Francisco River, Tombo in 7/4, Lydian riff, Stanley's tune, Hot sand, Branches, Parana	Four Stars	A nice mix of one of the most energetic and gifted percussionist from Brazil.
CARNEGIE HALL CONCERT	Akiyoshi, Toshiko	Children of the universe, I know who loves you, After Mr. Teng, Your beauty is a song of love, Kourakan Suite, Chasing after love, How do you get to Carnegie Hall?	Three Stars	Toshiko has led one of the most underrated bands in contemporary jazz history. There is a lot of originality in her music. She and Elaine Elias have contributed so much to the music and have disbursed the notion of feminine as opposed to masculine form of playing the music. Her collaboration with Lew Tabackin has been a splendid marriage of styles. Lew, with his big and sensual sound on the Tenor saxophone and she with that post Bud Powell feeling. Frank Wess, lends himself for some outstanding solo work to help out. Again, listen and hear a great deal of originality in this wonderful music.
No Se Parece a Nada	Albita	Cubano Latino selections	Two Stars	A nice set of Latin titles courtesy of Tammy and Sony records.
Bradley Allen	Allen, Bradley	Itty Bitty Bill, All the things you are, Jump, jive & wail, St. Thomas, Route 66, Nostalgia in Times Square, Mercy, Mercy, Mercy, Cherokee	Two Stars	This is a nice toe tapping set with a mixed bag of jazz standards from this young drummer from Missouri's first recording. With the sudden revival of the swing era upon us, Bradley seems to fit right in with this current trend, especially with tunes like, Jump, jive and wail, and the funky blues, Itty Bitty Bill which get nice vocal treatments from guitarist Tom DeMasters. On St. Thomas, Bradley offers a nice melodic drum solo that clings to the lines of the Sonny Rollins original. Cherokee, is a fast tempoed romp and gets treated to a nifty tenor solo by Phil Brenner. All the things you are is played straight ahead with some original lines from guitarist, Tom DeMasters who later trades some nice fours with Bradley. The Mingus tune, Nostalgia in Times Square works nicely with the guitar trio. DeMasters solos once again on Mercy, Mercy, Mercy with some clever guitar licks. All the pieces on the CD are short and there's no stretching out or explorations by these young and talented musicians. They play the set straight and swing with a subtlety that lends itself to dancing and having a good time. This is the kind of group you like to hear in your favorite local supper club, if for no other reason, to have a good time, have a couple of drinks and tap your feet to their steady beat.
The Real Ambassadors	Armstrong, Louis	Everybody’s coming, Cultural Exchange, Good Reviews, Remember where you are, My oneBad Habit, The Real Ambassadors, Summer song, In the lurch, Nomad, Easy as you go	Four Stars	This is a real treat. I remember hearing parts of this work early on and through the years. To finally own it on CD with all of the quality sound makes it a blessing. The score written by the Brubecks is memorable and all of the artists seem relaxed and at their very best. Carmen, at the top of her career, joins Louis and the result is spellbinding. One of my all time favorite selections is hearing Louis sing the lovely Brubeck original; Summer song. It’s poignant enough to still bring a tear to the eye. LH&R, of course are the icing on the cake. This CD is, to me, like a dessert dish: It’s a special treat each time I put it on.
Satchmo the great	Armstrong, Louis	Sleepy time down south, Indiana, Free as a bird, Mack the knife, Mahogany hall stomp, All for you, Louis, Black and blue, St Louis blues	Four Stars	A nicely down CD narrative by Edward R Murrow on the legend of jazz, Louis Armstrong. Especially of note is Leonard Bernstein conducting ”St. Louis Blues.
A Few Dozen	Arnold, Bruce	A few dozen, Reflection, 7th Street, Numbers prelude, Numbers, Broadway Y2K, Dialog	Three Stars	A few dozen, for twelve tones, takes us on a musical exploration in the classical structure venturing us from ballads to rumbas. Bruce Arnold, who has written all of the compositions on this CD is complemented by two superb musicians, Tony Moreno, drums and percussion and Ratzo B. Harris, acoustic bass. Together they take us out a bit but do not lose us on their musical journey. All of the compositions are extremely interesting and bear re-listening to. I found this set to be far from academic as it does contain elements of charm, humor and it swings hard in places as well. The CD opens with the title track, A Few Dozen. Played in a total twelve tone environment, it manages to swing well with some nice lines from Arnold and sparkling rhythms from Moreno. Reflection is a dreamy ballad that has some nourishing lines that paint a lovely portrait. Ratzo plays an in depth bass solo in back of some lush copings by Arnold. Especially listen to the brush work in back of Arnold’s solo. 7th. Street demonstrates some swinging trio work in back of a twelve tone blanket encompassing the group. There are some rather intense moments that sparkle throughout the piece like the dialog between Moreno’s drums with R2DT. Numbers prelude floats like a mobile in space and is dark, brooding and mysterious. There is an eerie feeling reminiscent of a Kubrick film. Broadway Y2K is a mixed bag with some swinging Latino lines. Dialog is completely a twelve tone contrapuntal extended piece. All three swing in a remarkable way. There is a complete feeling of freedom during the solos. Ratzo plays a remarkable bass solo that defies musical gravity as he explores wanders and expounds upon the outer reaches of his instrument. A few dozen is rich with new ideas for jazz. For most of us this is a welcome addition to the jazz vocabulary. These three very talented players have a lot to offer us and we look forward to future recordings.
Chet Baker with Strings	Baker Chet	I should care, Violets for your furs, The song is you, Goodbye, Deep in a dream	Two Stars	This CD was given to me as a Christmas grab bag gift. Although not Chet at the top of his playing, it does show us us singing style as well as his ability to blend with lush sounding strings
Apasionado	Barbieri, Gato	Latin Lovers, Que Pasa, Last t Tango in Paris, TerreMe Siente, Angel, Tiempo Buono, Habanera	Three Stars	Although he is not one of my favorite saxophone players, you have to admire the depth and breath of his tone. There is also plenty of emotion to stir up some dark and deep feelings.
Chaplin	Barry, John	Various cuts from the motion picture sound track	Two Stars	Although I haven’t heard this CD all the way through, I have heard the cassette version on the car stereo. For movie soundtrack music it really isn't bad, in that it doesn't get in the way. Overall, it is pleasant to listen to.
The Complete Decca Recordings	Basie, Count	BOX SET consisting of over sixty-three recordings among which are: Thursday, Red wagon, Jive at five, Every Tub, Jumping at the Woodside, Evil Blues, Oh, Lady be good, One O’clock Jump	Four Stars	This is a remarkable box set of early Basie recordings. From a historical point of view it is an important collection for any serious jazz connoisseur. All of the giants are represented: Lester Young, Jimmy Rushing, Buck Clayton and Freddy Green, to name a handful. The CD quality of these recordings is superb and one is able to hear the unique distinction of each of these valuable gems from the soloists to the ensemble playing. As ever, Basie’s economical identification is always ever present. One note from Basie is all that is needed to drive these great musicians.
Essential Jazz	Basie, Count	Clap hands, Tickle Toe, Broadway, Jump the blues away, Harvard blues, It’s sand, man, Ain’t it the truth, For the good of your country, High Tide, Queer street, Rambo, Stay cool, Stay on it, Golden bullet, Song of the Islands, One O’clock jump, Tootsie	Five Stars	The highlights of the great Basie band through the years with all of the giants that passed through, led by Lester Young, right on through the lean years when Basie led an amazing small group. Excellent recordings and memorable moments make up the menu on this beautiful compilation.
In Person	Basie, Count	Just in time, When I fall in love, Taking a chance on love, Without a song, Solitude, Pennies from Heaven, There will never be another you, Old man river, Firefly	Three Stars	Tony Bennett and the count on some older things they did back in 1957. This might have been the inspiration that Tony had to go on to become the rounded artist that he has become today.
And His Great Vocalists	Basie, Count	I can’t believe that you’re still in love with me, Don’t worry ‘bout me, One hour tonight, Going to Chicago, I want a little girl, My old flame, If I didn’t care, Moon nocturne, Somebody stole my gal, All of me, And the Angels sing, Between the devil and the deep blue sea, Blue Shadows, That old feeling, Jivin’ Joe Jackson, Blue skies	Four Stars	Great vocal interpretations from the Count of Basie
Symphony No. 9 "Choral"	Beethoven, Ludwig von	Symphony No.9 "Choral" = Allegro ma non troppo un poco maestoso, molto vivace, adagio molto e cantible, Presto with Final choras "Ode to Joy"	Four Stars	What can anyone say? Listening to music this great is much the same as seeing the inside of St. Peter's in Rome. I, like others, lack the scope to comment intelligently beyond saying: I like this piece very much.
Perfectly Frank	Bennett, Tony	Twenty four Sinatra Evergreens including: “Time after Time”, I fall in love too easily”, “Angel eyes”, A Foggy day”, Don’t worry ‘bout me”, “Nancy and other great tunes.	Three Stars	Tony does tribute to the “chairman” in an ever improving singer that simply gets better with age. Frankly, in the early years of Tony Bennett, I never could get attached to his style. ”Because of You”, did nothing for me. However, through the years the man has proved what a fine American artist we have in our midst.=
Ballads Blues & Bey	Bey, Andy	Someone to watch over me, You’d be so nice to come home to, I let a song go out of my heart, In a Sentimental mood, Willow weep for me, Yesterdays, If you could see me now, I’m just a lucky so and so, Day dream, Embraceable you	Five Stars	Intimacy is something we experience in music all too rarely. Ballads Blues & Bey is such an experience. I've never listened to a CD and felt the presence of the artist blending with me as I became totally absorbed into his artistry. Andy Bey is a one who has recorded very little, especially as a leader. This solo performance is a rare delicacy that I have been savoring over and over again. My only other Bey encounters was his great contributions to Horace Silver’s compositions. But this CD is so different. This is art on a very personal level. This is music that touches the most intimate reaches of our sensibilities. To say that Andy Bey has a unique and original style in his ability to sing is a gross understatement. In a world of homogenized quality with occasional gimmickry thrown in for good measure, Bey is a complete and identifiable artist that you cant miss. He takes chances and his range is superior. He uses his vibrato with extreme control and it is never a source of irritation. Along with greats like Carmen McRae and Shirley Horn, he is a wonderful accompanist on piano playing the right notes and never getting in the way of his delivery. His range is outstanding and he uses the falsetto with charm, grace and eloquence. This is, indeed an artist to be taken very seriously. His choice of tunes are impeccable and he takes his time exploring each piece finding nuances and meanings that may have been overlooked by others. He makes each song his own. I find I can never listen to another performance on any of these tunes without holding up Andy Bey as the standard. There is so much going on in each of these tunes that only individual listeners can bring home the emotions for themselves. In an era of of glitz and gimmicks, we need more of this musical quality from someone who is his own person who can get inside your skin in such a pleasant way that will have you coming back for several portions more.
One For All	Blakey Art & The Jazz Messengers	Here we go, One for all, Theme for Penny, It could happen to you, Green is mean	Three Stars	It's really hard to imagine a jazz world that does not include Are Blakey. He's gone, but what a roster of talented people who passed through the Jazz Messenger organization. I guess it can be said that Art left a piece of himself with every one of them.
Solo Piano	Bley, Paul	If I loved you, So hard it hurts, If I should loose you, Gladys, Someone to watch over me, Ostinato 11, Tin tin deo, Mariona, Lady of Chet, Peace Pipe, Blues Reconstruction, Slipping, Gee Baby ain’t I good to you, And now the Queen, You go to my head, Carla, Clopin clopan, Finale	Four Stars	For whatever reason or reasons, Paul Bley has slipped between the cracks of being recognized as one of the major jazz pianist in our time. A case could be made for his flirting in and out of the avant garde for most of his playing career being the reason. Or, it could be that he has lived away from the United States for too long. Or, maybe he has just choose to stay on the outskirts of the edge. This CD features him acoustically alone pondering on a variety of tunes from standards to originals. Paul is a distinctive stylist, that you listen to once or twice and are able to identify his style from then on. If I loved you is a modal balance, harmonically lyrical and injected with fresh changes. So hard it hurts, a Gary Peacock original shows Paul leaning out just a bit without falling. If I should loose you, is a very emotional vehicle that Paul pours his soul into. This is my favorite cut on the CD. Gladys is a departure. An original by Bley served up in a boogie woogie that turned my head around. Someone to watch over me is given the grace and character well deserving this rich Evergreen. Again, Bley spills some rich originality into his playing. Again, I ask: Why isn’t Bley included with the other piano giants? Ostinato 11, another Bley original, widens the spectrum of this master jazz musician. I had to listen to this three or four times before being able to hang on and feel the thread that is certainly there. Dizzy’s Tin tin deo gets a nice makeover by Bley. Bley digs into the composition and finds new ideas and inroads. This is what makes jazz so great and Bley delivers. Mariona, another Bley original, is a class piece embellished with all the lace and satin fineries that the artist dresses upon it. Lady of Chet, a Bley original, follows the delicateness of Mariona in a bluesy way. Blues reconstruction starts off like the intro to Miles’ "All Blues" but wanders into a Tristano sort of direction. You go to my head is a musing and reflective drive around the perimeter of this famous melody. Bley lets it peek its head out at significant intervals. I love the quote on "How Are things in Glacamora." Carla, a Bley original dedicated to Carla Bley is an effort to capture the playfulness often found in Carla’s music. Paul Bley will always be a jazz enigma. But if you want to just settle back and close your eyes to listen to some original and stirring piano playing, then get this CD
Harmonica Classics-Bach to Lennon	Bonfiglio Robert - Harmonica	Fauré: Berceuse Mozart: Divertimentto No 2 Bach: Sonata in g minor Bartok: Runanian Folk Dances Lennon: Because	Three Stars	This CD was a bargain pickup. It's not bad. Bonfiflio is sincere in his efforts. The selections may be a bit too pretentious, he may of done better to narrow the selection. I, personally, prefer what he does with Bach
Organic	Braden, Don	Moonglow, Saving all my love for you, Walking the dog, Brighter Days, Cousin Esau, Twister, Belief, It might as well be Spring, Organic, Plain ol’ blues	Four Stars	A real nice set of music, courtesy of Tammy, of A new Tenor Saxophonist, Don Braden. Relaxed and nice backing by Jack McDuff gives some easy Tenor-organ music without too many grits and fries.
Now You See it...(Now You Don't)	Brecker Michael	Minsk, Never alone, Quiet city, The meaning of the blues	Three Stars	If there is such a thing as fusion (More like con-fusion at times) I think both Brecker brothers have had the best ideas. This album is dynamite from a technical standpoint. However, Michael shows he's not all gymnast with a reed on "Meaning of the Blues."
THE GREAT CONCERTS	Brubeck, Dave	Pennies from Heaven, For all we know, Blue rondo a la Turk, Take Five, Take the 'A' Train, The real ambassador, Tangerine, Like someone in love, Wonderful Copenhagen	Four Stars	This is a CD received from CBS Sony. These are all of the evergreens from Brubeck. It recalls a wonderful musical era. An awakening from innocence. All of the famous Brubeck explorations are included. The lyrical Desmond, a greater jazz musician than few realize, is always a joy to remember. This was the height of Brubeck's popularity. At this writing I have yet to listen to the CD. After finally hearing this several times since the above writing I have to say this is a gem. Not only does the music hold on through the passage of time, there is some beautiful technical qualities in the recording aspect.
West Side Story & The Great Concert	Brubeck, Dave	Selection from West Side Story and Pennies from Heaven, For all we know, Blue Rondo a La Turk, Take Five, Take the “A” Train, The real ambassador, Wonderful Copenhagen, Like someone in love, Tangerine	Five Stars	This is a great 2 CD set courtesy of Tammy. The concert in Copenhagen is Brubeck and the quartet at their very best. On a personal side, I did see them perform back in 1959 at the same concert hall to an overflowing crowd. There was a beautiful communion between Dave and Paul. Paul with his melodious and rich harmony flowing like the white veils in the wind, countepointed by Dave’s exploratory experiments leading him and winding around complex time signatures while the steady Joe and Eugene fuel the fire. Those were some great times and some memorable music.
Jazz Collection (2 CD Disc Set)	Brubeck, Dave	La Souk, Stompin’ for Mill, In your own sweet way, History of a boy scout, Home at last, Some day my prince will come, Tangerine, The golden horn, Georgia on my mind, Three to get ready, Blue rondo a la Turk, Take five, Darktown strutters ball, Changes made, Weep no more, Summer song, My favorite things, St Louis blues, Recuerdo	Five Stars	This is a great compilation of Dave Brubeck’s music. Sony has a done a wonderful job in giving us a diverse look at one of the most important innovators in modern music. To re-listen to the wonderful sound of Paul Desmond’s alto saxophone is always a pleasure. There are many guest artists from Louis Armstrong to Gerry Mulligan that emphasize the directions that Mr. Brubeck has taken us through the period of 1954 to 1970. Particularly poignant is Summer Song with lyrics written by Dave’s wife and sung by Louis Armstrong. It’s always difficult to listen to him sing this special song without feeling sentimental. This is truly one of the Cds that I would like to have if stranded on that proverbial desert island.
Dave Digs Disney	Brubeck , Dave	Alice in wonderland, Give a little whistle, Heigh-ho, When you wish upon a star, Some day my Prince will come, One song, Very good advice, So this is love	Four Stars	It seems that the more I return to Brubeck’s music the more I feel his contributions, along with Paul Desmond, were monumental. This is a splendid set of Disney related tunes that are magically turned into gems by Desmond’s lyrical alto and Brubeck’s restless explorations on the themes.
Initiation	Bulkin, Anatholi	Initiation, Wings of light, The underdog, Children, Tripitaka, Planet Hollywood, Pinton, House 4lb, Eternal affairs, Folksong, Presence, Mr. and Mrs America	Three Stars	The world of the guitar in jazz is a dizzying one. From pure acoustic playing on to the thresholds of full metal rock, of all the instruments that grace the music we call jazz, there's none more diversifying than that of the guitar.   Starting way back to Charlie Christian and the introduction of electronics to this stringed instrument to Freddie Green's strumming rhythms in the Basie band, the guitar has evolved into an incredible voice in all of jazz. All of its styles have become legitimized by some of the outstanding masters that have advanced its stages in the music.   Along comes Anatholi Bulkin. Another voice and another contribution to take us yet a step closer on the impeccable road of the jazz guitar. Anatholi is a wizard of brilliant artistry, has the chops and has traveled the roads utilizing the voices of the World to further find his style and place his mark in jazz.   Anatholi is a former student of world renowned jazz instructor, Charlie Banacos and has advanced both with pen and pick to where this 33 year old has arrived at today. Penning over 400 tunes, all of the cultures that he's exposed himself to are filtered throughout his music. Putting in in his words: "I'm always searching and finding new ways of composing and playing music for the world to enjoy."   On his CD,Initiation , of which all the compositions are Bulkin's, his title piece kicks it off letting us in on his style and bringing us into all that absorbs this young and gifted player.   He shows us his tenderness and sense of lightness on the beautiful piece,Children, (Life is an open sky.) This was written and dedicated to his daughter. He moves through this delicate piece as if tiptoeing on top of white puffy clouds. The one thing I learned through the years when writing about jazz players with fantastic chops is to listen to their control and sense of poetry when doing the soft pieces and the ballads. Here Anatholi bares his soul to us, with just the right notes in the right place in a beautiful way.   OnTripitaka there is an almost electronic violin sound emulating from this modally infused vehicle. There is some excellent percussion and feeling to the leader coming from drummer, Anders Hentze.   Planet Hollywood has a vague resemblance to John Coltrane's Mr. PC. and swings hard as a straight ahead contribution to the set.   Pintor, is a Latino tinged line that comes on without too much fanfare and glides throughout with a casual swinging that sometimes intensifies and ebbs back again to give that sense of swaying that lets us tap our feet or move our hips to. Within the line, there is a nicely rendered bass solo by Jonas Reingold that has the colors of Mark Egan embedded into the palate.   My favorite line on the entire CD is the tenderly written,Eternal Affairs. It's here where I feel the originality and voice of Mr. Bulkin hold strong. On this piece he tames the heavy metal sounding instrument to surrender to his lyrical and memorable moments on a piece that begs for lyrics.   One really neat thing about Anatholi is his sense of exploration. He doesn't falter when going out on a limb a little.Folksong has a searching and yearning sense. Anatholi is putting out bits and pieces of his traveled baggage and there is a playfulness as the trio unites and moves the line back and forth.   Presence has a sound, which I would guess is from one of the synthesizers Anatholi uses. This is the track to come to if you want to get a dose of his chops. The interplay between the drums and Anatholi is mesmerizing at times.   The CD set closes with a rocking Mr. and Mrs. America .   Financial and artistic success in jazz is a difficult end for very gifted musicians to achieve. In today's marketplace, they usually go to a softer jazz market to attain comfort and security. Mr. Bulkin is an artist deserving a wider recognition and, in time, should be able to take his place among his contemporaries, such as, Ron McClure, Harvie Swartz, John McLaughlin and the others that have advanced electronic jazz with purity, dignity and skill.
For Hamp, Red, Bags, and Cal	Burton, Gary	Afro blue, Bags groove, Move, Midnight Sun, Flying Home, Django, Back home again in Indiana, Body and Soul, Godchild, Joâo, Hole in the wall, Dance of the Octupus	Four Stars	This is a thoughtful and personal tribute by one of our most gifted jazz musical chameleons. Having performed comfortably with everyone from Astor Piazziolla to Chick Corea, Burton has become the ambassador of his instrument. On this CD he looks back to recognize the contributions from those who proceeded him. While Gary doesn’t attempt to emulate or copy the prior styles nor is there the slightest innuendo or hint save for the xylophone sound of Red Norvo. He gets support from a wide range of great players. Danilo Perez and John Patitucci on some cuts. I especially love the fast rendition of Move with the great Russell Malone and Christian McBride creating a driving swing. Midnight Sun and Flying Home of Lionel Hampton fame get that original Gary Burton interpretation with some nice piano inserted by Mulgrew Miller. Back Home in Indiana gets that Red Norvo feeling with a wonderful solo by Russell Malone followed by a bowed bass solo by Christian McBride. Body and Soul get a bolero treatment a la Cal Tjader. It’s funny how whatever way that Evergreen is played it always survives as first rate. No different with this interpretation. George Wallington’s amazing piece, Godchild gets that nice trio reading with Malone and McBride. Remember that Red Norvo had that fantastic trio that sort of had this sound. With Norvo it was Charles Mingus and Tal Farlow that he hung out with to achieve his musical end. If you’re a fan of the Vibraphone this CD should appeal to you as Gary Burton honors the giants of this malletted icon of the jazz world.
Slide Show	Burton Gary, Ralph Towner	Maelstrom,Vessel, Around the bend, Blue in green, Beneath an evening sky, The donkey jamboree, Continental breakfast, Charlotte's tangle, innocenti	Three Stars	Gary Burton can play a duo with anyone! He is so remarkable at adapting to another's style without ever losing any of his own "chops" . There are some precious moments on this CD, especially: "Maelstrom", Blue in Green", and Vessel.
Byrd in Paris	Byrd, Donald	Dear old Stockholm, Paul’s pal, flute blues, Ray’s idea, The Blues Walk	Four Stars	Wow! It’s September 1958 John Machado, Vernon Young and myself take off on a three day pass to Paris in John’s old and rickety Mercedes. While there touring and doing all of the things that tourist would ordinarily do: The Louvre, Eiffel tower, Napoleon’s tomb and the Arch D’Triomphe, on the left bank I discovered an interesting and quiet looking jazz club called ; “Chat qui Pêche .“ A sign outside the club listed that Donald Byrd, Walter Davis, Bobby Jasper, Arthur Taylor and Doug Watkins were appearing . Pointing this out to John and Vern I suggested that we return that evening to hear some fantastic music by equally fantastic musicians. Not only did we go for that evening, but ended up coming back for the three nights we stayed in Paris, closing the club on each night. The music was memorable, the club and the people in the club equally memorable - I can remember Quincey Jones coming by one evening completely absorbed in the music. It was around that time that Clifford Brown left us and Benny Golson penned “I Remember Clifford.” Byrd played a long and mournful rendition each night at the club accompanied only by Walter Davis on piano. Today, 10/16/93 I stumbled upon this CD featuring the musicians in the same time period that we were there. There are two volumes featuring this group, in time I will be picking up the other one. It is unfortunate that “I Remember Clifford “ is not among the tunes featured in either CD. This music is very special for me, not only for its artistic and creative content but also for a particular time in my life that is an incredibly cherished period forever ingrained into my memory.²
SUNTAN	Camilo, Michel	We Three, Tomob in 7/4, Las Olas, (used to be a ) Cha-Cha, Suntan	Three Stars	Michel is always exciting to listen to. This CD is no exception. Here he gets excellent support from musicians that are in his ilk, Dave Weckl and Anthony Jackson. I particularly like "Las Olas" and the title track, "Suntan". There is a lot of energy both in his Latin roots and his drive for jazz.
Spain	Camilo, Michel	Spain intro, Spain, Bésame mucho, A mi nino Jose, Two much/Love Theme, Para troilo y salgan, La Vacilona, Aire de Tango	Three Stars	This is a brief but not blending of two Latin American traditions. Its nice to see how well Michel can play when he is a bit more restrained than usual. The effort is sincere and shines in places. Spain, particularly is given some new life and direction. Tomatito is a gifted Spanish Flamenco guitarist and has a natural and sensitive feeling for his jazz counterpart.
Rio after Dark	Caram Ana	Rio after Dark, Meditation, Summer days, LaCumbia, Rainbow, Serrado	Three Stars	I have to face it: I am addicted to any and all of Brazilian music. This Ana Caram CD was bought on a whim. I knew nothing about her music, only that she was Brazilian. What a surprise, this it a delightful potpourri of all types of Brazilian music. Great support by Paquito.
Freefall	Carter, Regina	Softly as in a Morning Sunrise, Fragile, Misterioso, Phantoms, What if , Squatty Roo, Freefall, Shades of Gray, Footprints, A Flower	Four Stars
To See You	Connick Jr., Harry	Let me love tonight, To see you, Let’s just kiss, Heart beyond repair, Once, Learn to love, Love me some you, Much love, In love again, Loved by me	Three Stars	This CD was an unusual surprise for me. So much so, that it prompted me to e-mail Harry Connick personally myself. The following is the message I sent to him regarding his work on this wonderful set: I just had the opportunity to listen to your wonderful CD, “To See You.” I find this to be one of your most creative endeavors to date. First off, the original pieces are interesting and so well written having a haunting poetic afterglow. Also, the combination of the jazz quartet and strings blended beautifully without becoming schmaltzy. Your singing has become your style. I think it was Miles Davis who once described a young jazz musician coming into his own as having filtered all of the players that influenced him in the past with his own style emerging at the end. You do bring back memories of the Early Sinatra years. But now, I’m hearing an original identification that leaps up and says: This is Harry Connick Jr. By the way, Reginald Veal is a superb bass player and his remarkable playing truly enhanced the whole session.
ALIVE	Corea, Chick	GREEN DOLPHIN STREET, U.M.M.G., 'ROUND MIDNIGHT, HACKENSACK, HUMPTY DUMPTY	Four Stars	For me,this is one of the great trios of all time. I love the way these three guys complement each other. I get the feeling that Chick is happiest and more musical with acoustic group. All of the lines are memorable, especially Monk's, "Hackensack" and "Round Midnight. Chick is forever.
Play	Corea, Chick	Spain, Even from me, Autumn leaves, Blues connotation, 'Round Midnight, Blue Bossa	Four Stars	This is one of the most delightful and entertaining CD's that I own. Bobby McFerrin is uncanny and has a tremendous understanding of Chick's music. Chick likewise intuitively, never gets in Bobby's way and complements him to the fullest. "Spain", alone was worth the price of the entire CD.
Live In Montreux	Corea, Chick	Hairy canary, Folk song, Psalm, Quintet #2,Up UP and…, Trinkle, tinkle, So in love, Drum interlude, Slippery when wet, Intro	Four Stars	Four of the best on their instruments got together at Montreux to put together a memorable set of original and jazz classics. All of these people have gone on to become super stars in their respective realm
Remembering Bud Powell	Corea, Chick	Bouncin’ with Bud, Mediocre, Willow Grove, Dusk in Sandi, Oblivion, Bud Powell, I’ll Keep loving you, Glass Enclosure, Tempus Fugit, Celia	Five Stars	This is "Serious Music." Finally, someone has had the vision and emotion to gather "Serious Musicians" playing the music from a "Serious Composer" who had not been recognized deeply enough for the outstanding contributions made to the "Serious side of the music we call, Jazz." This past summer, Chick Corea gathered the best of today's young lions, plus the eternally young Roy Haynes, to tour the festivals and exhibit the genius that was Bud Powell. For me, traveling to Montreal and hearing these wonderful extensions that these gifted musicians displayed to this eternal music was one of my highlights of 1996. First, I would like to share the two lifetime experiences I've had with Bud Powell. When I was in the Army in 1958 I traveled to Paris on leave and discovered a great jazz club on the left bank called: "La cha que Pache." On one of the visits to the club near the end of my tour of duty, I was fortunate enough to see and hear Bud Powell play. Although he was far from the musician he had been, owing to the problems he had with his illnesses, he was nevertheless brilliant. After he played a set with a totally French group, I had the chance of meeting him on my way out from exiting the club. He looked frail and his eyes seemed to be somewhere else. Dumbstruck, I opened my mouth to talk to him. I wanted to tell him how deeply indebted I was to his genius and how his music made a difference in my life. After clumsily blurting out something from my mouth, he gazed my way with a far away stare asking my for some money to buy some wine. The other experience was a little before I entered the Army sometime in 1954 or 1955. I was at a club in New York called "The Hickory House" to hear Don Shirley play. He was seated on top of the bar playing a set when Bud Powell, looking disheveled in appearance, strayed into the club to hear him play. Upon seeing Mr. Powell, the club bouncer took notice of his appearance and began to escort him from the club. This caught the eye of Mr. Shirley as he leapt from the stand to separate him from the bouncer. Although these two incidents in my life were not pretty and reflected the troubles this great musician and composer was going through, I nevertheless cherish them merely for having been physically close to him for a brief moment. Prior to those years I did see Bud Powell, at the height of his career, play with a remarkable trio that included Charles Mingus and Max Roach playing at Birdland. His compositions have been a major part of the new music that emerged from the changes of the 1940's. Chick Corea gathered with these contemporary all-stars has paid homage to Bud Powell and has done so brilliantly. From the touching and feeling solo piano on "Celia" to the complex theme of "Tempus Fugit." this album is a gem. Joshua Redman plays with a full tone and captures the sense of Powell's compositions. His solo on "I'll keep loving you" has him sounding as a master musician. He is very aware of that era and finds the notes in his horn to express it. Wallace Roney is brilliant and incorporates his subtle timbre to bring out the magic of these compositions. I particularly liked his solo performance on "Bouncin' with Bud" and "Oblivion." Christian McBride has a lot of Mingus strength emanating from the bass and shines on some of the quartet cuts like the beautiful "I'll keep loving you." Kenny Garrett makes an appearance on two of the cuts. He's becoming a major force on the alto. Although he did not appear at the festival in Montreal, it would have been even more interesting if he were added to this astonishing group. Roy Haynes, the only member of this group that actually played with Bud Powell is good wine that improves with age. His drums are uplifting and moving this group to express there best. Haynes, for me, is the greatest drummer on the scene yesterday, today and forever. I'm sure that Chick Corea will testify to that. My hat is off to Chick for organizing and making this session happen. His beautiful composition (The only non-Powell piece) "Bud Powell." is his way of saying thanks to the beautiful heritage Mr. Powell has bestowed upon our music. If I can find any fault with this recording, it is only that I wish there had been enough space to record "Un Poco Loco." When it was done at the concert it showcased the extraordinary ability and musical sense that Roy Haynes has. Oh well, maybe Chick is planning a Volume two edition. Let's wait and see. I hope so.
Eddie Costa/5	Costa, Eddie	Get out of the road, In your own sweet way, Big Ben, Nature boy, Blues plus eight, I didn't know what time it was, Stretch in "F"`	Four Stars	Anyone who knows me will vouch to the fact that Eddie Costa was someone I truly felt would have been a key figure in the progression of the music we love, jazz. Eddie has not left us with much in the way of recordings, most of which have become rare and collectors pieces, but the little left behind clearly enables us to listen to this artist and gauge where he'd be as his music would have progressed. This album has been reissued by V.S.O.P. records. With the exception of Art Farmer and Nick Stabilius on drums in place of Paul Motian, I had the distinct pleasure of seeing this same group perform a number of times on Sunday afternoons at a small club in Kew Gardens in Queens New York. Although not exhibited that much on this CD, Eddie would solo on piano and go deep into the base notes of the keyboard and explore such imaginative lines while conjuring up some choppy and well though out improvisations in an area of the instrument no one ever explored with such vigor before. Like Booker Little, Clifford Brown and many other young players destined to change the music, Eddie was taken from us too soon. We could only imagine what his contributions would be had he lived. Get out of the road, is a Phil Woods line that has some good solo lines by Woods, Costa and Farmer. You get a semblance of where Phil was headed with his pen. In your own sweet way is a nice rendition of a Brubeck warhorse with an excellent example of Eddie's other instrument, Vibraphone. He played along the lines of the Milt Jackson school, but it's obvious that, here too, Eddie was going in his own direction. Art Farmer, always too underrated for me, plays a nice muted solo with Eddie doing some tasty obligato behind him. The liner notes don't state if it's Eddie dubbed in on the piano comping; my guess is that it was. Nature boy has one of Eddie's best solos on the CD. He builds and extends the ideas. Because these were original LP recordings we are stuck with limited time. Not nearly enough to give Eddie the extensions needed that would have had him explore further the capabilities of this Nat King Cole standard. Blues plus eight shows a boppish line by Costa that is a finger popper all the way. The killer piece of the album comes from Art Farmer, Stretch in "F'. (based on the changes of "Shout Hallelujah") Eddie takes it out after the intro and wails in the lower register that has me reminiscing for those Sunday Afternoons in Kew Gardens Queens, New York.
Love For Sale	Cuber, Ronnie	Airplay, Brazil, Easy living, Love for sale, Lover come back to me , The song is you, Prelude to a kiss, Speak low, I’ll remember April, Passion fruit	Four Stars	Ever since I can remember, I've been crazy over the sounds of the baritone saxophone. Going back to the wonderful contributions that Harry Carney made with the Duke Ellington orchestra, I've been hooked. Carney had a wonderful sense of the lyric and converted something that could become a cumbersome instrument into a beautiful lady. With regards to the big band, the baritone sax player has always been the Sargent Major of the section. They always swung a bit harder, had more breathe control on the gentle ballads and planted the bottom sounds of the orchestra to create the balance. To name a few, Woody had it in Serge Challof and Stan Kenton’s long relationship with Bob Gioga further proves the point. There has also been great icons on the horn. From Gerry Mulligan’s sense of swing and Bebop to the vigorous drive of Pepper Adams, the horn has had its masters. Today we are blessed with three more than capable anchors of the bary horn. Namely, Gary Smolyn, Nick Brignola and finally Ronnie Cuber. All three are veterans of the big band as well as the intimacy of the small group. They can drive and swing with unbridled passion as well as make the most tender of love to the most delicate ballad. I have learned that these three players have united together and are touring as a group. Wow! What I would give to see that happen in concert. This CD showcases the wonderful and special talents of Ronnie Cuber. Ronnie has been around and done it all: From Rhythm and Blues bands to the extended Latin sounds of Eddie Palmieri. But most of all, he is a swinger with originality and a sound that can be identified. A quality too long missing in today’s sometimes bland young jazz world. On this CD, we get a comprehensive medley of Evergreens and a couple of Cuber originals, Airplay and Passion Fruit. The latter based on a reggae tempoed version of Summertime. Within the piece listen to the way that Cuber quotes Eleanor Rigby. The Netherlands Metropole Orchestra offers great support and makes it a point not to get in the way of Mr. Cuber's flowing solos. This is his showcase and it's done well.
Reunion	D'Rivera, Paquito	Tanga, Claudia, Friday Morning, Body & Soul, Latin American Suite, Caprichosos de La Habana, Epilogo: Mambo Influenciado	Four Stars	This is a pure up tempo romp with Paquito and his old pal from the great Cuban group " IRAKERE", Arturo Sandoval. The rest of the group supports these two "monsters" with confidence and drive. For a change of pace and example that these guys can play pretty try, "Body & Soul."
A Taste O Paquito D’Rivera	D’Rivera, Paquito	Green dolphin street, Song to my son, Miami, Como Fue, Manteca, Claudia, Just Kidding, Brussels in the rain, Monk tuno, Zanaith, Song for Maura, Why not	Four Stars	Paquito is one on the main innovators in Modern Jazz today. A dynamite technican from the Irakare days in Cuba to the multi-gifted reed instrumentalist on the scene today. Paquito can create fire or be fully sensitive to a ballad or bolero.
Brazil Encanto	da Costa Tico	Sal Demais, Puxa Vida, Ana Bandolim	Three Stars	This is real nice Brazilian music in a low key way. Somebody, I think it was Jobim, said that Brazilian music is simple. Simple, not in the sense of being easy by any means. Simplicity is sometimes the most difficult essence of art to achieve. This is a pure and beautiful example of Brazilian music at its best.
To Bird with Love	Daniels Eddie	She Rote, East of theSun, Just Friends, Old Folks, Little Suede Shoes	Three Stars	Not since Buddy DeFranco have I enjoyed hearing such a fluid sounding clarinetist. Aside from being such an excellent technician, Eddie has good 'chops'. All of the lines on this CD, dedicated to Charlie Parker are tastefully done. Great backing,especially , the very underrated, Roger Kellaway (All in the Family fame).
Aura	Davis, Miles	Intro, White, Yellow, Orange, Red, Green, Blue, Electric Red, Indigo, Violet	Four Stars	Wow! This is one of Miles' finest avenues of exploration. The colors of 'Aura' are vivid and Miles, being the artist that he is textures them with every extraordinary originality. McLaughlin's opening statement is haunting. The orchestrations by Palle Mikkeborg provide a full framework for Miles.
Kind of Blue	Davis, Miles	So What, Freddie Freeloader, Blue in Green, All Blues, Flamenco sketches	Five Stars	What can be added? Probably one of the greatest albums ever recorded. Period. When, in the history of jazz, was such an assemblage of personnel ever brought together to record such incredible music?
Miles ahead + 19	Davis, Miles	Springsville, The Maids of Cadiz, The Duke, My Ship, Miles Ahead, Blues for Pablo, New Rhumba, The Meaning of the Blues, Lament, I don’t wanna be kissed	Five Stars	This CD represented another milestone in Miles Davis’ life. The collaboration with Gil Evans was one of those magical moments in music where the marriage worked so well that it had the rest of the music world reeling with surprise and wonder. Evans knew Miles’ lyrical side better than Miles did. He orchestrated to that end and weaved magical passages that Miles literally sang through. This led to Porgy and Bess and Sketches of Spain, music that will forever be embroiled in that mystique which keeps the musically curious on their toes. Although Miles had countless numbers of accolades embraced throughout his wonderful musical life, few could ever match the lyrical merits he achieved under Gil’s direcions. I predict that people of musical quality will go on listening to Miles’ music well into the next century and his work with Gil Evans will represent the embodiment of form and lyric at its very best.
Live at Montreux	Davis, Miles	Boplicity, Springsville, Miles Ahead, Porgy and Bess medley, Sketches of Spain,	Four Stars	As I write this I am listening to a remarkable CD just purchased today. It is the last recording of Miles Davis. Through the urgings of Quincey Jones to repeat the remarkable recordings of Gil Evans and Miles Davis, he actually convinced Miles to play a concert in Montreux at the jazz festival recreating those wonderful sides like “Sketches of Spain” “Porgy and Bess” and “Miles Ahead.” I strongly recommend this as it is an essential part of American music. It must have been the ¹rst time ever that Miles actually did something from the past — We owe Quincey a strong debt of gratitude for being able to convince him. It was only a few weeks after this recording that Miles returned back to America — we soon lost him after that. It’s hard to believe that we could lose the two most important figures in jazz so close together: Goodbye Miles and Diz, thank you for helping make sense out of this mess we call living. Both of you have been an ever inspiring factor in my own life. Listening to your works has always helped me focus on being creative in my own small way. Although you both walked different paths , the music that you have left us will always be there for future generations to learn and continue the story. Not to forget the incredible body of work and creations of Gil Evans who was able to hear things and give them shape and form so that Miles could add the beauty that was built beneath the structures. Listening to this CD leaves me sad on one hand and is uplifting on another. But music like this is a celebration of life and I applaud all of the greats that have left us and left us so much.
MILES IN THE SKY	Davis, Miles	Stuff, Paraphernalia,Black comedy, Country son	Three Stars	Another recording with the group that Miles led that changed styles dramatically. The modal sounds, for most of us, were a little hard to accept because of our lack of understanding. However, with time, we came to learn, cherish and appreciate the quality of this innovation. Each of the members who supported Miles have all grown in their own venues as creators of a particular focus on music. Like everything Miles had ever done, this was in no way the means to an end. Miles in the Sky was another milestone for a giant who has left us so much to learn from.
Sorcerer	Davis, Miles	Prince of darkness, Pee Wee, Masqualero, The Sorcerer, Limbo, Vonetta, Nothing like you	Four Stars	This was one of the major groups of Miles that changed the way we would listen to jazz for a while. I don’t know if I speak for other lovers of this music when I say that at first, this was difficult stuff to digest. The modal sound and the freedom of space within a lifted confinement of the beat most of us were used to hanging on to were, for the most part, gone. So it left us feeling a little uneasy and insecure. After all, we are not all musicians nor do we have the kind of scope that Miles had in laying the groundwork. Listening to it today, in CD format, plays easy. We’re more comfortable, yet the element is still refreshing. Although Miles followed this genre with many other creations that stretched beyond this great quintet, they never quite built to the breakthrough these musicians conceived. Tony Williams is a remarkable choice, he is the foundation of this music. He is doing everything totally different. For someone so young, at that time, it is astounding how he is able to sense what is needed by each soloist. Miles said of him: “…I had heard this great little seventeen-year old drummer who was working with Jackie McLean named Tony Williams, who just blew my fucking mind he was so bad.” Herbie Hancock is one of a rare type of musician that can overlap any idiom and be the master of and incorporate his own artistry into that style. Ron Carter is the stellar bassist of our time. No other musician has been as steady and as wanted and for good reason as Ron Carter. Wayne Shorter, for me, is one our most important composers. I have yet to hear anything he hasn't penned that is not a memorable piece of music. He has taken the soprano saxophone beyond Coltrane and is one our most important voices in music. I was fortunate and privileged enough to have been able to see this group perform in my lifetime. Few people, that I know, have had that advantage .
On The Corner	Davis, Miles	On the Corner, New York Girl, Thinkin’ One Thing, Vote for Miles, Black Satin, One and One, Helen Butte, and Mr. Freedom	Three Stars	This is a difficult period, for me, on Miles. I don’t quite know which way he is going, there is too much going on all the time. There is certainly an Indian fusion, John McLaughlin played a major role in this development. What is primarily missing in this entire album is the feeling of jazz. Aside from an occasional improvised breeze, Miles doesn’t give us too much to hold on to. Chronologically in Miles order of music, I’m not quite sure if this falls under the time frame when he was just reentering the music scene after a long absence. I’ll have to check that out. However, with repeated listening, as with all other of Mile’s work, sometime will finally penetrate my small capabilities and like a revelation this will all come into some sort of focus. Trust me, it will.
The Essence of Miles Davis	Davis, Miles	So What, 'Round Midnight, Someday my prince will come, Walkin', Blue in Green	Five Stars	Some well recorded gems put on CD to make them sound even greater than ever.
Le Meilleurde	Davis, Miles	All Blues, Round Midnight, So what, Saeta, Prince will come, Pinocchio , Miles runs the voodoo down, Jean Pierre, What it is , Time after time, Human nature, Miles	Five Stars	A potpourri of great Miles recordings from the late Seventies to Eighties. Thank you Tammy.
The Columbia Years (1955-1985)	Davis, Miles		Five Stars	A great four CD box set on Miles’ major recordings.
Kind of blue	Davis, Miles	John Coltrane, Cannonball Adderly, Wynton Kelly, Bill Evans, Paul Chambers and Jimmy Cobb	Five Stars	What can be added? Probably one of the greatest albums ever recorded. Period. When, in the history of jazz, was such an assemblage of personnel ever brought together to record such incredible music?
Sketches of Spain	Davis, Miles	Concierto de Aranjuez,Will o’ the wisp, The Pan Piper, Saeta, Solea	Five Stars	Simply one of the recordings that completely changed the course of music.
Porgy and Bess	Davis, Miles	The Buzzard song, Bess, you is my woman now, Gone, Gone, gone , gone, Summertime, Bess, oh where’s my bess, Prayer, Fisherman, strawberry and devil crab, My man’s gonenow, It ain’t necessarily so, Here come de honey man, I loves you Porgy, There’s a boat that’s leaving soon for New York	Five Stars	One of the classic Miles and Gil collaboration.
Some Miles Davis for Peter	Davis, Miles	Blue N’ Boogie, Blues by five, Diane, Half nelson, I see your face before me, Minior march, Hibeck, Swing spring, Ahmad’s Blues, Conception	Five Stars	A great new idea from Music Boulevard on the Internet. I have selected and created my own title for all of these previously unowned Miles Davis recordings. The wave of the future?
Zyryab	De Lucia Paco	Soniquete, Tio Sabas, Chick, Compadres, Zyryab,. Cancion de Amor, Playa de;l Carmen, Almonte	Three Stars	A very nice disc by Paco. He is one of the finest musicians to come from Spain. The highlight of this CD is the duo he plays with Chick Corea, entitled: "Chick." The music Paco did for the film, "Carmen" blended well the traditional opera with Flamenco. music
The Guitar Trio	De Lucia, Paco	La Estiba, Beyond the mirage, Midsummer Night, Manha de carnaval, Letter from India, Espiritu, Le Monastère, Azzura, Calrdeosa	Four Stars	Three of the most prominent acoustic guitarists in the world today have recently toured together this Summer and have now recorded a couple of Compact discs revealing the artistry and acoustic qualities of their graceful and strong stringed instruments. In the hands of Di Meola, De Lucia and Mc Laughlin, together they spin an excitement twinged with an international flavoring of various cultures that they each touch upon in their music. Their playing together is distinct and direct; they know the thoughts of each other and play their solos off of them. Although the liner notes direct the listener to the list of the soloing performers, it takes a bit, but you can soon pick up the style of each of the soloist on your own. Al DiMeloa plays magnificent runs defying musical gravity. No matter how fast or intricate his notes, the listener can track each and every note. Mr. Di Meola gives an equal amount of leverage to all his notes no matter how fast he’ll play them. Paco De Lucia, is the soul of Barcelona, the essence of Spanish music. He sprinkles the trio with the spices of the Mediterranean and his tone is priceless and as close as one gets to purity. John McLaughlin, is a combination of Paco and Al and then some. Having played throughout the years in a variety of forms of International music, Mr. McLaughlin like Joe Zawinul has bridged the language of music and has helped shrink the planet’s size overlapping the cultures. What a great era to be alive and enjoying music in this is!
Perhaps Love	Domingo, Placido	He couldn't love you more, Annie's song, Time after time, To love, Perhaps love, While I still remember, Yesterday, My treasure, An American hymn, A day goes by	Three Stars	I have never been a fan of opera super stars that sing popular music. It seems as if there is a great lack of feeling from the artist. I suppose that there is appeal for this from the mass populous. Personally, I would rather hear Placido do "Carmen."
Islands	Driscoll, Sean	Half circle, half square; Archipelago; No one to tell; Watch you fly; Where we’re from; Bright spot; If you ask; 3 faces; North		I hear it all the time from my contemporaries: “They're no young musicians out there playing any real jazz.” The problem is that playing jazz music in America is not a way of getting exposed, unless you’re willing to conform to the demands of the labels, cool jazz stations and managers looking to make a buck or two. Believe me, there’s a lot of good musicians out there struggling to be recognized. Musicians that have an original sound with good solid charts, learning, stretching and developing a rich sound without bending to the commercial whims of the aforementioned groups. One such group is the Sean Driscoll group. In their latest CD venture, Islands, they bring together an interesting international group of players coming from as far away as Venezuela and Sweden. It’s a wonderful thing to hear and see cultures overlapping one another. Today in jazz, this has been the melting pot for new inventions of originality and sound. The Sean Driscoll group, winner of Musician Magazine’s “Best Unsigned Band Contest,” beating our over 3000 bands has recorded some fine and diversified material with this release of “Islands.” All the compositions are originals and come from the pen of Sean Driscoll. The opening track, Half circle, half square for some reason has me thinking of the Brazilian composer Hermato. The way the line is written is very much in the same mode. There’s a nice opening line with a good piano solo by Patrik Andren. From there the piece builds with some controlled intensity. Sean Driscoll takes the next solo on guitar. He plays with a nice economy of notes with a good sound behind a steady rhythm accompaniment. Archipelago has a mysterious quality as you wait for the release. There’s some good musical tension with a wonderful entry by Patrik Andren on piano. The percussion is subtle and not over killing. The soprano sax of Bill Vint follows as he builds on the layers of the rhythm section with a heartfelt solo. Sean Driscoll takes it out with a nice solo as he continues players layers over the rhythm section. No one to hear starts out as a sort of blues feeling out of left field a la Weather Report, but less exotic. I love Sean Driscoll’s economy of notes. I get a horn feeling of Miles Davis in his playing. It was Dizzy who said “it’s not all in how many notes you play, It’s what you choose to leave out that counts.” Bill Vint takes it out building on the waves of a crescendo that fades out into the distance. This music is jazz fusion, without the con-fusion. Watch the fly - Bill Vint establishes a nice groovy mood and Sean follows with a solo so delicate to the touch it’s like he’s stepping on eggs. The rhythm adds to the lifting feeling and Bill Vint’s tenor solo comes off without having to overstate. Where we’re from for me, is my least favorite track on the CD. There’s not much in the composition to bite into and the rhythm comes off sounding a bit stiff. Ironically, it all ends in a rush as if it had no where else to go. Bright spot has a nice release that flows into a wonderful piano solo by Patrik Andren, smooth and straight ahead. Sean picks it up and plays it pretty and again sparing us a barrage of notes. Sean’s sound is reminiscent of George Benson’s with a sprinkle of John McLaughlin and overtones with respect to Wes Montgomery. If you ask opens with a lovely yet haunting tenor intro by Bill Vint. There’s a strong feeling of (excuse the expression) New Age. There is a lot of tonal expression in this composition. For me, it conjures up feelings of the Desert West. While listening to this, my mind’s eye was busy scanning the monolithic rocks of Sedona Arizona. 3 faces is a nice line penned by Sean Driscoll - as are all the compositions on this CD. Here he glides smoothly with a happy Brazilian rhythm that leads into a lilting tenor solo by Bill Vint with the undercurrents of the rhythm undulating slowly and kicking it up notches. Sean picks it up and complements Bill’s solo as the piece rises and dips with that wonderful Brazilian rhythm cooking all the way through. North is the most academic piece on this set. This is a musician’s piece and it further displays this wonderful groups ability to diversify its musical presentation. Sean’s solo has a nice twinge to it backed by some steady conga drumming by percussionist, Doug Hinrichs. The final and brief cut following North has a bit of advent garde flavor. Perhaps this is the groups theme song. If this organization stays together and has some luck thrown its way, we could all be hearing a lot more from them in the near future. The music is easy, the musicianship first rate; these are all players that could be sideman, and have, with any of the more familiar jazz groups on the scene today. But wouldn’t it be nice if they could continue a bit longer to continue the express their music in their way?
Mosaic	Egan, Mark	Trance Dance, Remembering, Mosaic, Ocean views, Hills, Floating gardens, Third World Theme, Valley hymn	Three Stars	I like Mark Egan. There is something very wistful about his sound. He has become such an in demand musician that you'll find him on a lot of record dates with a host of different groups. I purchased this CD after seeing him perform with percussionist, Manola Badrena at a little supper club in Warwick New York. Most of the cuts on this CD were things he played that night with the duo. Tranc Dance and Third World themes stand out.
In The Bush	Electric Breakwater	Happy song, Breakwater, Blind warriors, Yellow weather, Looking ahead, Elutka, Close to home, In the bush, Mad maid, And we call it jazz	Three Stars	There’s an infinite variety of labels put to jazz music these days, and I must confess: I cannot decipher the differences between fusion jazz, acid jazz, smooth jazz to God knows what other jazz. It seems that the marketing music people have been looking over their shoulders to some of the more profitable venues in music and are attempting to apply these same labeling principles to jazz. Well, I for one, cannot subscribe to that. When I listen to a new CD, I try listening to the music, the quality of the musicianship, the compositions and the originality and contributions that can help further advance the music. Unfortunately, certain sounds and styles are urged to be maintained by the artists, at times, so that the music will sell. That is certainly understandable. The artists and the record companies have bills to pay too and they must eat as well as the rest of us. The technique is to work within a particular created label and still maintain credibility along with creativity, interest, and just good sounding, and often swinging, jazz. More and more, jazz is becoming an integral part of world music. It is evidenced here on this CD. The group has their musical roots in Poland, which boasts a prolific jazz community. Winnicki and saxophonist Krzysztof Medyna toured Europe extensively during the early 1980's with the original Breakwater. The group was featured at European jazz festivals, won international jazz competition - as the group and for the best instrumentalist . They are joined on some of the tracks by Mark Egan and Rodney Holmes. Egan, known for his unique fretless bass sound and style, his associations range from Pat Metheny's band, the Gill Evans Orchestra, David Sanborn, the group Elements, and with other outstanding representatives of the world of jazz. — Happy song, opens the set with a Weather Report sounding atmosphere. I have always been mesmerized by that melancholy and longing sound Mark Egan is able to sustain from his instrument. Breakwater, written by Winnicki, incorporates that same feeling in this composition, although it’s played without Egan on this cut his presence is felt. This is a good example on jazz economy writing. The piece builds on itself based on four notes. Within those notes there’s interest, tension and suspense all set against a solid rhythmic foundation. Blind Warriors has some intricate passages held together nicely by Santana drummer, Rodney Holmes. Krzywstof Medyna solos and feels comfortable behind the driving rhythm. Yellow Weather, is a pretty line, that builds to a driving crescendo and comes back again with a bit less electronics all nicely held together by drummer Dave Anthony. All but one of the compositions on this CD are penned by Winnicki. I enjoy his writing. His work is full of life and gets adventurous at times without wandering too far off the beaten path. Looking Ahead, for example, is a kind of electronic boogie woogie that sets up a nice table for Medyna to solo on. Elutka is a piano - saxophone duo that has the ghost of Monk haunting it in a very charming way. Close to home illustrates some nice piano by Winnicki. Frankly, I didn’t care too much for the composition. It seemed to be too big for itself and easily forgettable. The title track In the bush, is a high energy, 6/8 time, electronic ride through the musical imagination of saxophonist Krzywstof Medyna. There is more musical liberties taken on the track, Mad maid. as it weaves in and out of tempo, surging ahead looking for a docking place over the surging soprano sax of Krzywstof Medyna/ The last tune, And we call it jazz is a calypso riff that would make Sonny Rollins happy. The group seems to loosen up a bit and have some fun on this one. This is an exciting group to listen to and I’m sure seeing them play live would be an even greater adventure. There is a driving spirit and adventure that’s incorporated in their music. And, in their own particular way, they swing.
Plays Jobim	Elias Eliane	Sabia, Don't ever go away, Dindi, Children's games, One note samba	Three Stars	This is a terrific tribute to the elder statesman of Brazilian music. What a wonderful and beautiful - usually the two don't go together. But Eliane Elias has it all. She has wonderful control on this straight ahead CD. This is not the adventurous Elias that has worked electronically with The Brecker Brothers and it proves that she is a gifted and rounded musician and writer that can do it all. There is one track that features her vocal style. Like her playing, there is much warmth and control.
The Messenger	Elling, Durt	Nature boy, Aprin in Paris, The Beauty of all things, The Dance, Prayer for Mr. Davis, Endless, Tanya Jean, It’s just a thing, Ginger bread boy, Prelude to a kiss, Time of the season, The messenger	Three Stars	Without a doubt one of the real, new jazz singers to come around in a long time.
Live in Chicago	Elling, Kurt	Downtown, My foolish heart, Smoke gets in your eyes, Oh My God, Night dream, I love you, Esperanto, Don’t get scared, Going to Chicago, The Rent party , Blues chaser	Five Stars	Kurt Elling is one of the most creative and innovative jazz singers to come along in a long time. Kurt is a singer that takes risks and always comes out on top with a new interpretation of an old evergreen. On this CD the live feelings add to his very personal touch. He can do it all: His ballads go beyond the surface of the lyrics and takes us to places we could only imagine before. He goes as far as putting the verse after the lyric and convinces us that’s how its done. He can scat with the very best as is noted with his duo with Jon Hendricks. The current state of the American media and the music industry with regards to jazz people, I’m quite sure that Kurt Elling will stay the jazz fan’s best kept secret
GREATEST HITS	Estefan, Gloria	Conga, Words get in the way,Can't stay away from you, Rhythm is gonna get you, Anything for you, Get on your feet, Don't wanna lose you, coming out of the dark, I see you smile, Go away	Three Stars	She's nice and as far as Popular music may be concerned, listenable. She is able to incorporate some of the Latin music rhythms, so that the majority, not too familiar, are able to get an idea of what it's all about. This may lead to investigate it further, say by perhaps listening to a master like Celia Cruz.
An Epic Christmas	Estefan, Gloria	The Christmas Song, I'll be Home for Christmas, This Christmas, Same Old Lang Syne, Santa Claus is coming to town,Christmas through your eyes and grandma got run over by a reindeer.	Two Stars	Nice and pleasant enough Christmas music, well recorded and easy for the holidays.
MONTREUX 11	Evans, Bill	Very Early, Alfie, Skidoo, How my heart sings, Israel, I hear a rhapsody, Peri's Scope	Four Stars	These are all classic compositions by one of the most important jazz pianists of our time. "How my heart sings", is especially an elaborate showcase for the minor key miracle that Evans was. This also shows how effective Eddie Gomez was in supporting Evans' style of playing,
Remembrances	Fischer, Clare	C.P.,Fina,Coco B, Endlessly	Three Stars	Even since the days of Cal Tjader, Claire Fischer has had my ultimate attention. I love the way he writes and arranges. He has never really gotten his due. I suppose he may be better received on the West Coast, since he rarely — much to my chagrin — appears in the East. Whenever I'm able to find a CD from him I'm sure to grab it. C.P., dedicated to the late Charlie Palmieri, is an excellent example of his sensitivity to writing.
"2 + 2 Plus"	Fischer ,Clare	Free fall, You and I , Samba Claro, Novios, Foi Voce´, Sextet	Three Stars	Not my favorite Claire Fischer recording. This may have been something of an experimentation on his part that probably led to some other avenue of expression. Nevertheless, he remains one of the finest writers to ever come from the West Coast.
David Fiuseynski and Jazz Punk	Fiuseynski, David	Bright size life, third stone from the sun, Prelude opus, Red warrior, African game fragment, La Fiesta, Starcrossed lovers, Jungle gym jam, Srars and stripes forever, Hipgnosis	Two Stars	Anyone that regularly surfs to The Jazz Zine knows pretty much that we are, for the most part, a straight ahead Jazz Site. Personally, I dislike the use of categorizing all the elements of our great jazz music. In jazz, you're either able to play the music or you cannot. Period. Too often, promoters and record companies are busy trying to target people to buy their products that the quality of the music is forsaken for labels intended for the audience it' being directed to. Having said all that, I received a CD for review from Fuzelicious Morsels Records featuring their guitarist, David Fiuczynski. After giving it an initial listen, my first reaction was to reject it for reasons of not being qualified enough to truly appreciate nor understand the direction this music was taking. Further, the sounds of Jazz Punk guitar are so closely identifiable to that of Heavy Rock music, of which I have no basis in, that I found myself at a loss to review this music. But being as thick headed as I am, I decided to give it several listens. My feeling was, if there's the essence of a jazz musician and it's being created on this recording, I should be able to hear it. And I did. Bright size life, a Pat Metheny original, has several tempo changes and Fiuseynski runs the gamut of some special effects on this line. He comes out of it with some interesting ideas that flow well with the steady, rocking rhythm. Third Stone from the Sun, is a Jimi Hendrix composition that has an exotic appeal and is sometimes sprinkled over with Eastern spices garnished into the music. This sustains until it wails into a Latin tinged episode that, at the end, roars off like a spaceship into infinity. Finally, It lands gently back to Earth and takes us off into the sunset. Fiuseynski is a painter and his canvas is wide, bold and dramatic. Fiuczynski pays his respects to Frederick Chopin on Prelude Opus 28 #4 with so much sincerity that one forgets the instrument and the electronics for the moment and the focus is clear and illuminating. Red Warrior is reverberated behind some sizzling percussion work by Daniel Sadaunich and Gene Lake, but doesn't take us anywhere in particular. Continuing with an incredible selection of composers for this CD, Fiuczynski treats George Russell's, African game fragment with a series of "Waa, waa" type runs, but is faithful to the spirit of Russell's music. And then we come to Chick Corea and La Fiesta. My favorite composition by Corea, I think I may have near all the recorded renditions of this masterpiece. Fiuczynski is steadfast and clings to the changes very well and swings hornlike on the straight segments. There's a lot of Middle East as well as African motifs running under the heavy metal sounds. One of my criterions when listening to a jazz musician for the first time, is how well he or she fares on the slow pieces. On Billy Strayhorn's, Star crossed lovers, Fiuczynski displays a lot of sensitivity to the piece while still maintaining his own unique flavorings. After going through this vast array of composers of every genre, we are finally treated to an original from the leader,Jungle gym jam.. Alas, the track is only 43 seconds long. Is this his way of showing modesty toward the other Masters on this CD? We find that the young guitarist has a good sense of humor as he treats, of all people, John Philip Sousa, to a rousing romp on Stars and Stripes whenever. He plays his best straight ahead solo and shows us his own stripes as well on this one. The set concludes with a piece titled Hipgnosis and features cellist Rufus Cappadocia and drummer Billy Hart along with Fiuczynski. There is a lot of Coltrane feelings running through the veins of this piece and is the most complex offering on the CD. Reviewing this music has been an experience and an education for me. David Fiuczynski has all the necessary tools for playing jazz in his particular style. On this CD he has encountered a vast spectrum of composers and has instilled his style into all of their music. Fiuczynski has the chops, a sense of humor and the ability to play straight as well as sweet. We should be hearing a lot from this guitarist in the near future. Return to: CD Reviews
Kicks	Fox, Mimi	Cherokee, Loves Me Like A Rock, Poor Wayfarin' Stranger, Born To Be Blue, In A Sentimental Mood, Nightingale Sang In Berkeley Square, A,. Kicks, Willow Weep For Me, Vita's Lullaby, Mr. White's Blues	Three Stars	Mimi Fox comes to us via San Francisco based, Monarch Records. This is my first time hearing her play and my first impression was one of hearing someone with a wide and versatile style. She is competent and comfortable in all the grooves on this recording. Cherokee, is played bright with some nice piano accompaniment from Russell Ferrante. If first impressions mean anything I came away hearing everything from Les Paul to Country and Western. Some of the brighter moments come when she teams with Organist,Joey DeFrancesco. Paul Simon’s, Love me like a rock, plays nicely into that Organ trio groove. It’s on acoustic guitar that shows her off better. Her choice of chords and runs sound more authentic than most of her electronic styles. Listen to the introduction in, Poor Wayfarin’ stranger. However, when Joey steps in the groove is set and she does some tasty comping in back of him. It was a treat to hear from Angela Bofill again. She treats Born to be blue, with learned experiences I guess she’s gathered over the years. I hope her appearance on this CD means that she will be returning to the music scene again. One of my favorite track on the album, Ellington’s, In a Sentimental Mood, is treated to a mild samba-like flavoring. There is a melancholy mood that dutifully prevails in Nightingale sang in Berkeley Square. Jamie shows a pure sense of warmth in her solo playing. On the title track, Kicks, she is paired again with DeFrancesco and together they lay down a nice pattern for some minor blues that glides its way at a neat steady pace. Willow weep for me gets a new make over. Mimi plays a duo guitar with Charlie Hunter. My only sour feeling lies within some of Mimi’s solo guitar runs. While they come off mostly with brilliance, every so often there is a run of some hokey sounding lines. Over time, I’m sure that this small imperfection will be weeded out of her playing. Vita’s lullaby, is an original by Mimi and has some sensuous feelings and memorable lines. Some of the changes feel good and the piece is complemented by a nice piano solo by Russell Ferrante. Mimi’s ideas flow a bit easier during her solo and are more mentally digestible. The lines are true and original. The set closes in the organ trio setting with Mr. White’s Blues. Mimi takes one of her better solos on the set, leaving out a lot of extemporaneous notes. She seems more settled and relaxed and it comes through in her playing. I think we should be looking for more on the horizon with this very talented guitarist. We hear her on this CD is several settings and grooves. She is competent playing in all of them. I think she is focused and will only get improve with time.
Freelon , Nnena	Freelon , Nnena	Stella by starlight, Close your eyes, This little light, Angel eyes,Skylark,Future news blues,Yesterdays, The Island, I fall in love too easily, changed,Black butterfly	Four Stars	The second album received from Tammy on this wonderful articulate singer. She must have read my mind: I wanted to hear how she interpreted standards. The answer: With clarity, sensitivity and feelings for the lyric while extending her own artistry above the lines.
Listen	Freelon,Nnenna	Footprints, I’ll be around,	Three Stars	A bright young star on the vocal horizon. She sounds great with a lot of control and fantastic backing by an all star bevy of musicians. I think we’re going to hear a lot more of her in the future.
Heritage	Freelon, Nnenna	Girl blue, Tis Autumn,Heritage, Comes love, Prelude to a kiss,It’s you I like, Infant eyes, Young and foolish, Never let me go,All or nothing at all, So wrong, Something to live for	Four Stars	No doubt this is the lady to watch as the next major lady jazz singer. She has it all: Repertoire, style, taste and the deep feelings that come with singing jazz. This CD is her finest to date with some great support by the musicians led by Kenny Barron.
Benoit/Freeman Project	Freeman, Russ	Various mix	Two Stars	Interesting and easy to listen to music where some pleasant changes transpire from time to time.
classics	Frishberg, David	Blizzard of lies, Van Lingle Mungo, Saratoga Hunch, Do you miss New York, Sweet Kentucky Ham, Dodger Blue, I'm hip, Z's	Three Stars	He has got to be one of the hippest lyricists around. Each of these tracks are gems. "Van Lingle Mungo", is appreciated by anyone who loves baseball as is "Dodger Blue." When you want to smile and not take things too seriously this is the one to listen to.,
Anniversary	Getz Stan	El Cahon, I can't get started, Stella by Starlight, Stan's Blues, Blood Count	Four Stars	This album has received its share of well deserved awards. It represents the beginning of the last chapter in Getz's music. Kenny Barron has become the most superb pianist in jazz. He especially has accompanied Stan so well." Stan's Blues" and "Blood Count" stand out in this marvelous collection recorded live in Denmark. Stan has always been so much more appreciate in Europe than in his own country. Then again, what jazz musician hasn't?
Apasionado	Getz Stan	Apasionado, Coba, Waltz for Stan, Espanola, Midnight Ride, Amouous Cat	Three Stars	For me, Stan Getz could never do any wrong. He was always right at home when interpreting Brazilian music. Herb Alpert produced this and really exploited that beautiful sound to some nice lush and expressive musical language. As ever, Kenny Barron, who collaborated with Stan during his last years, proves to be one of the major pianists in jazz.
Billy Highstreet Samba	Getz Stan	Billy Highstreet samba, Body and Soul, Hospitality creek, The Dirge, Page Two, Tuesday next, Anytime Tommorrow	Four Stars	Losing Stan Getz was one of the greatest musical losses in my life. Not that many other of the jazz greats, that seem to be taking away from us all too soon, aren’t equally missed. It’s just that, for me, Stan’s sound and ideas hit something within me that responded immediately to his music. This is a very good CD. Stan is at his peak on ’Highstreet’. His marriage to Brazilian music has lasted through the years, together they grew into quite a form. “Body and Soul ” is rare Getz. I don’t believe I have ever heard it done by him in the past. Every musician worth his salt has to play it sooner or later. It’s the Evergreen of Evergreens
The Best of Two Worlds	Getz, Stan	Double rainbow, Aquas de Marco, Ligia, Falsa Bahiana, Retrato en Branco e Prieto, Izaura, Eu vim de Bahia, Joao Marcello, E Preciso Perdoar, Just one of those things	Three Stars	This recording represents a compilation of some of Stan’s earlier Brazilian recordings and things he did with Joao Gilberto. The two always complemented each other; Stan bringing forth the warmest sounds from his eloquent tone matching the soft tender singing of Gilberto.
People Time	Getz, Stan	East of the sun, Night and day, I'm okay, like someone in love, stablemates, I remember Clifford, Gone with the wind, First song, No greater love, People time, Hush-a-bye, Soul eyes, Sunrise	Five Stars	This is a major work for Stan Getz. An incredible duo with the amazing Kenny Barron. This recording should go down as one of the classic jazz recordings of all time. It has it all; Artistry, taste, technical prowess and sensitivity for each other. Stan never hogs the recording allowing Kenny to fully express himself - and does he ever! This may well be Kenny’s finest performance. I cannot single out an individual piece, however, there is a great deal of sentiment and beauty in “Clifford.” We lost Stan too early. He undoubtedly had a lot more to tell us and express on his instrument. I am thankful that we do have his recordings to forever turn to to remember this wonderful musician.
The New Collection	Getz, Stan	Four Brothers, Lush life, I’ve grown accustomed to your face, Sum Sum, Skylark, Captain Marvel, Willow weep for me, Who Cares	Three Stars	This is a collection that Tammy has given me. At first, I thought: Ah, just another compilation of hit records. But I was delightfully wrong. These are some wonderful cuts from Stan. And to my delight, I only have one of the cuts - Captain Marvel - from another recording. What can I add about this great musician that I haven’t already said on one of the other personal comments of his CD’s?
The Peacocks	Getz, Stan	I’ll never be the same, Lester left town,Body and soul, What am I here for, Serenade to Sweden, The Chess Players, The Peacocks, My Buddy, The hour of parting, Rose Marie, This is all I ask, Skylark, mosaic/would you like to take a walk?	Five Stars	What a combination, Jimmy Rowles and Stan Getz. They compliment each other so well and this album is indeed a musical gem. Take particular note of Elvin Jone’s sensitive brush work. The Peacock is a memorable piece that was shown in the film “Round Midnight.” Another sparkling gem in the career of one of the greatest tenor saxophone players.
Early Stan	Getz, Stan	Motion, Lee, Michelle,T & S, Signal,Round Midnight, Terry’s Tune, Cuddles	Three Stars	Old, not too well recorded classics by Stan Getz. Obscure recording done in a studio with much of Woody Herman’s, second herd members.
The Song is You	Getz, Stan	The song is you, O Grande amor, For Jane, Dane’s chant, Major general, Folk Tune for bass, Tonight, I shall sleep, Desafinado, All the things you are, summer Night, One note Samba	Three Stars	One of three CD Package
The Jazz Collector Edition	Getz, Stan	Two, little pearls, Yesterdays, song without words, Old folks, Don’t get around much anymore, Cherokee, My funny Valentine, Stan’s tune, Blues in Suburbia	Three Stars	Two of a three CD set
With European Friends	Getz, Stan	All God’s children got rhythm, Broadway, lady bird, Dear old Stockholm, East of the sun, They all fall in love, Theme for Manuel, Our kind of Sabi	Three Stars	Disc 3 of a 3 CD set
The Final Concert Recording	Getz, Stan	Disc One: Apasionado, On a slow boat to China, Soul eyes, Espagnira, Coba, Seven steps to Heaven, El Cajon, Disc Two: Yours and mine, Voyage, Lonely lady, Blood count, What is this things called love? People time, Amorous cat	Four Stars	We are living in an era of jazz that is prone to defining color lines. One of the principle features of this music, as I was captured by it at a very early age, is the fact that it represented no colors. If you could play it, you played. There was no criteria for color. We all know that since the advent of Ken Burn’s epic series on this subject that certain eyebrows have been raised. It seems there’s a strong resentment in segments of the jazz community against the statements that all the innovations and creations only come from the Black creators. Jazz starts and stops with Ellington and Armstrong and Wynton Marsalis is the voice that speaks to all of us. Really, this is all getting too silly and out of control. Especially when you hear such Jazz Experts like Stanley Crouch say things like...”Without Miles, Gil Evans sounds like elevator music.” I say, bring back the good old days when Stan Getz played along side Dizzy Gillespie and Sonny Stitt and we listened to their creations and did not pay attention to the color of their skin. Which finally brings me to the CD at hand. It is hard to imagine, after listening to this music that this was being played for the last time by someone who would no longer be with us in a short time to follow. Stan was the fire, the warmth, the spirit and the sound well at hand. I think that with this final testament he has proven that he can stand besides the likes of John Coltrane, Lester Young, Coleman Hawkins and Dexter Gordon. He too, has made a major contribution. He too has a sound that cannot be duplicated. (While others have tried from time to time only to come out sounding ashamedly syrupy) Stan Getz was a great jazz musician. Why do I feel that way? He produced, by far, the most beautiful sound from his instrument. His ideas were original and he was blessed by a wonderful musical memory. He could swing with abandonment and turn around and be as sensitive as a rose petal taking the dew. This CD features two sides of the man. The last quartet with his soul buddy and one of the most underrated players in jazz, Kenny Barron. The other, the synthesizer group that may have been a notch more commercial and more Latin American in texture but none the less great jazz by a player that had always treated the medium with taste, endurance and originality. Getz has always displayed magic in front of an audience. This German audience is one that is well suited for his creativity. They are appreciative and hungry for this original music. The two encores recorded on this CD will bear this out. For anyone that has lived and loved the music of this master jazz musician, this CD is a must have to complete any library. Further, anyone who calls themselves serious jazz fans should also own this as a future example of good music, with a sonorous sound unequaled to this day. This music will endure and stand up for future generations to look back upon and recognize this leading creator who expanded the wonderful tapestry we call jazz.
Line For Lyons	Getz, Stan & Baker, Chet	Just Friends, Stella by Starlight, Airegin, My Funny Valentine, Milestones, Line for Lyons, Dear Old Stockholm	Three Stars	This is a collaboration that I never knew existed. It’s a shame that more wasn’t done in recording these two giants. Chet had a lot of the sensitivity in has playing that Getz did, and it shows in this recording. I always love hearing “Dear old Stockholm” it reminds me of some of the original recordings Getz did with the Swedish All Stars.
Live at the Royal Festival Hall	Gillespie Dizzy	Tin Tin Deo, Samba for Carmen , Kush, A Night in Tunisia, Dizzy shells, Tanga, And than she stopped, Seresta	Four Stars	This, for me, is the most cherishing work Dizzy has ever done with a big band since the days of Chano Pozo. All of these great musicians surrounding and supporting Dizzy are there because of the stature of this great innovator. Everyone is up for this and it comes through in the music. This is one of those great moments that happened and we’re fortunate enough to have it captured in a recording. Listen, particularly, to the transition from Dizzy’s solo on Tin Tin Deo to Paquito’s. I find this to be a tour de force for Paquito who takes us on a journey through the back streets of some Caribbean Island with his lilting solo. A Night in Tunisia showcases the incredible talents of Claudio Roditi, Dizzy and an amazing solo and exposition by Arturo Sandoval. Dizzy had said of Arturo that he’s got “elephant chops.” These chops are displayed in all its splendor on this track.
Rhythmstick	Gillespie, Dizzy	Caribe, Friday Night at the Cadillac Club, Quilombo, Barbados, Waiting for Angela, Nana, Softly in a Morning Sunrise, Colo De Rio, Palisades in Blue, Wamba	Three Stars	This is a great potpourri of music. Designed for almost every contemporary jazz taste I feel that the music and programming fits fine. It is yet another fitting tribute to the legendary stellar jazz trumpeter, Dizzy Gillespie.
The Legendary Big Band Concerts	Gillespie, Dizzy	Emanon, Ool-ya-koo, Round Midnight, Stay on it, Good Bait, One Bass hit, I can't get started, Manteca, Algo Bueno, Afro Cuban Suite, Things to Come	Four Stars	Classic Dizzy Gillespie. This is the one! This is how it all happened with Chano Pozo. Boy do we owe them for this.
Afro Cuban Jazz Moods	Gillespie, Dizzy	Oro, Incienso y Mirra, THREE AFRO-CUBAN JAZZ MOODS: Calidoscopico, Pensative, Exuberante	Four Stars	I came upon this beauty while listening to WBGO at the office. At this point in time Dizzy still had that eloquent bite in his playing. Chico O’Farrill has arranged another gem utilizing the Machito orchestra and the piece comes together like another brilliant jazz suite, that Chico has given us so much of. Chico had the same sensitivity for Dizzy’s playing much the same as Gil Evans had for Miles.
Homage to Charlie Parker	Gillespie, Dizzy , Max Roach, Stan Getz,	Birks Works, Cherokee, Con Alma, Warm Valley, Old folks, Oo pa pa da, Night in Tunisia, Drummer’s suite, Yardbird Suite,	Four Stars	To ever get the caliber of all these musicians on one stage for a single concert again would probably be impossible. But let’s be grateful that this one did happen and we have the magnificent evidence on this disc. This is by no means a “cutting session”. It is a fitting tribute and respect to the great “Bird.” And each soloist extends their own personal creativity to fit the entire spectrum that makes this musical commendation whole.
Luns de fuego & Allegria	Gipsy kings	Various assortment on a two CD set	Four Stars	A delightful two CD set of some rich and resonant contemporary Spanish styled Flamenco music.
Earthdance	Gonzalez, Jerry	Nightfall, Fe fi fo fum, When I fall in love, “81”, Earthdance, Los Roncos	Four Stars	A reaction after seeing Fort Apache Band Live The finale for this balmy Saturday evening highlighted a group that I’ve never paid a lot of attention to in the past. I would learn that this was regrettable on my part. For Jerry González and the Fort Apache Band proved to be one of the main highlights for the entire festival. This band is more than just a Latin Jazz group; they’ve got an original style that evolved from hard bop with great front line personnel in the persons of John Stubblefield on Tenor Saxophone, Joe Ford on alto and, of course, Jerry González on trumpet and flugelhorn. Jerry has a tone reminiscent to that of Miles Davis and his flugelhorn solos are light, airy and graceful without floating away. For those not familiar with the mode of this ensemble, it goes something like this: They usually kick off - mostly originals - in a straight ahead fashion ushering in excellent solo work backed with a driving rhythm section led by the great Larry Willis on piano, Tony Batista on bass and the equally great Steve Berrios on drums. Once Jerry makes his statement on either the trumpet or flugelhorn he switches hats and becomes the congero; and a potent one at that. He’s not just playing congas to add color to the group’s overall sound, he’s surely a major percussionist with a unique style not attributed to most conga drummers playing today. On this night he played in some rather tricky time signatures and made it sound easy. The compositions played by the group were biting, exciting and not the least bit predictable. Rest assured, from now on I’ll be keeping a closer track on this group; they've got a lot to say.
Homecoming	Gordon, Dexter	Gingerbread boy, Little red's fantasy, Fenja, In case you haven't heard, It's you or no one, Let's get down, 'Round Midnight, Backstairs, Fried bananas, Body and soul	Four Stars	Dexter Gordon was an individual stylist. Dexter was an original with the unique quality of having no other later player coming off of his style. Unlike Bird who could claim a thousand imitators, Dexter is alone. He was truly a "monster" player, unequaled. We will only get one of him in a lifetime. In addition to his strong sense of swing, Dexter could melt you with his ballads. As Dale Turner in "Round Midnight", he was able to incorporate his style into Prez's and created a unique blending, such has never been duplicated. Some of his best music passed on to us comes from his library of live recordings. I have yet to preview this CD but i know that from past recordings, this will be another jewel from a giant that I truly miss.
The Gershwin Connection	Grusin, Dave	That Certain Feeling, Soon, Fascinating Rhythm, Prelude 11, Been going on?, Boat Leaving New York, My Man is Gone, Maybe	Four Stars	This is a rich potpourri from a versatile artist from California. Putting together a rich package with all of these wonderful musicians is as fine a homage to Gershwin as has ever been assembled. Every title is a gem. How can you lose with ringers such as Chick Corea, Gary Burton, Eddie Daniels, etc.
What A Wonderful World	Hackworth, Jeff	I’m thru talkin’, GenerationXXL, Love letters, What a wonderful world, The breeze and I, Prisoner of love, Hittin’ the bricks, Ciao,ciao	Three Stars	To start with a confession: I was one that never cared that much for the Jazz Organ Trio combination. Maybe, once upon a time, I may have been too smug, complacent and sophisticated to ever open up the door to this “Blue Collar” - my term - form of jazz. How wrong I was. From Jimmy Smith to Joey De Francesco, the music is alive, swinging and very healthy, thank you very much. Along comes Jeff Hackworth, a young man on tenor sax with a big healthy tone, great timing and a swinger out of the school of Gene Ammons and King Curtis. The feeling throughout his CD, What a wonderful world, is relaxed, toe tapping and the ideas flow over the hovering lines of the Hammond B3 like the chablis into my glass as I sit back and get mellow to these groovy sounds. I’m thru talkin’, a Hackworth original, opens up the set in the arena of the organ trio idiom. Love letters is the nicest cut on the CD with a wonderfully paced solo chock full of ideas by Bobby Jones on the B3. Jeff and Bobby complement each other throughout and never get into each other’s way. Kent Leach is a solid drummer that is the backbone and main support of this trio. The old evergreen, The Breeze and I, gets a nice reading by the trio with some dazzling runs by Bobby Jones. He has a sense of quoting not done much anymore by the younger players in jazz. Dig, “With a song in my heart” interjected into his solo. Jeff follows with a solid solo as they close it out trading a couple of fours between themselves. With a seasoned rendition of “Prisoner of Love,” Jeff shows us that he has been around. It’s funny how this tune seems tailor made for the organ trio. Jeff’s solo is well though out as be bends notes and avoids overplaying the melody line. He treats the sax like a compassionate craftsman meticulously selecting each note with care. Hittin’ the bricks, reveals the dirty and funky side of the trio. The piece, penned by Hackworth, is a smoke filled bar on Friday night on the north side of town. With an infectious beat laid down by Leach, this piece cooks. The closer, Ciao, Ciao, a Stanley Turrentine original sways a bit in a bossa kinda beat. Again, as in most of the CD, the relaxed feeling emanates and sets the mood and feeling throughout. By my not originally liking the merits of the Organ Trio, I today look back and realize all that I’ve been missing. Jeff and the trio deserve to be heard and insert a lot of joy and happiness into their music. Give this a listen, you won’t be disappointed!
A Tribute to Miles	Hancock, Herbie	So What, RJ, little one, Pinocchio, Elegy, Eighty One, All Blues	Five Stars	In what could have been the greatest jazz group ever, the sidemen from that group pay tribute on this CD to it's illustrious leader, Miles Davis. The only competition that would stand up to this group was Miles' earlier group with Trane, Cannonball, and Bill Evans. The music on this CD is very alive and contemporary; the way that Miles would have liked it to be. It shows how the members of that famous group have grown and become solid members in the family of jazz. Wallace Roney is in for Miles and although he has emulated that precious sound, make no mistake Wallace is his own man. Since I didn't have the opportunity to ever see this group perform, as did others, it would be a booking miracle if they could redo a summer festival tour to show how much and how far these wonderful musicians have grown since the advent of this CD.
Crisol Habana	Hargrove, Roy	O my seh yeh, Una mas, Dream traveler, Nusia’s Poem, Mr. Bruce, Ballad for the children, Mountaings, Afrodisia, Mambo for roy, Omy seh yeh	Four Stars	From the opening and haunting lines of “O my seh yeh” repeated by guitarist Russell Malone to the driving “Mambo for Roy,” we have a CD that showcases the talents of Roy Hargrove but further explores the amazing directions currently being taken by Latin Jazz. There is an enormous array of originality and extremely creative forces driving this music. Chucho Valdez, the creator and driving spirit behind Cuba’s sensational, “Irakeri” contributes his writing skills as well as his highly innovative piano artistry. David Sanchez continues to amaze and forge ahead within the Latin Idiom while remaining fresh and opening up new avenues of exploration. Listen to his haunting solo on “Mountaings.” Frank Lacy complements the group with some highly spirited trombone solos behind some cooking chords from Chucho and a driving rhythm section. Roy Hargrove is of the lyrical playing vernacular. However, the man can cook with the best. If you are a skeptic listen to him on “Afrodisia.” His ability and grasp of the Latin musical forces comes through this CD with clarity, force, and originality. I highly recommend this music to the Latino aficionado or the new kid on the block looking to get his feet wet in the world of salsa and the clave.
The Art of Rhythm	Harrell, Tom	Petals danse, Madrid,Oasis, Caribe, Doo bop, Exit in, Recitation, Las almas, Cinco quatro, Samba do amor,	Three Stars	An interesting set of music by one of the most gifted players and writers in jazz today. This is a nice array of various rhythms and time patterns with good solos throughout
Something Special	Hawes, Hampton	BD&DS Blues, Pablito, Sunny, Nice Meandrings, St. Thomas, Fly me to the moon	Four Stars	It is always something special listening to this remarkable pianist who, had he lived, would have probably become the grand master of the piano. He is especially effective to listen to when in a live surrounding as is this CD. ”Pablito”, is atypically his ‘cup of tea.’ as Hamp has a unique way of treating a Latino based original with his inherent blues delivery. He gets nice backup by Leroy Vinegar and Denny Diaz. Al Williams, is a little heavy handed for my taste for this kind of a set with a pianist of Hampton’s nature. I love re-listening to his work with Shelly Manne back during the Lighthouse days. However, anything not previously heard before by Hampton Hawes is always a special treat.
I’m All Smiles	Hawes, Hampton	I’m all smiles, Manhã De Carnaval, Spring is here, The shadow of your smile, Searchin’	Four Stars	Hampton Hawes and Art Pepper have always been two of my favorite artists out of the entire West Coast Jazz Movement. Hawes could swing and had a magnificent sense of the Blues. A lot of the innovation that he began can be felt and heard through a lot of the fine young keyboard players in today’s contemporary world. There is a gilded elegance emanating from the streets and the ghettos evident in Hawes’ playing. He can get downright funky and turn around to exhibit a tenderness toward the lyrical aspects of the ballad in almost ballerina poise. Here he works with one of his cohorts who has done and