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Jazz Blues Club » Music » Jazz » Fusion
1968: Steve Kuhn Trio - Watch What Happens! Post-bop, Contemporary Jazz
1968: Steve Kuhn Trio - Watch What Happens!
Artist: Steve Kuhn
Album: Watch What Happens!
Label: MPS/BASF Records (Catalog#: CRM 676)
Released: 1971
Format: FLAC, LP-Rip
Time: 35:49
Size: 112MB + 120MB
AMG rating: 1968: Steve Kuhn Trio - Watch What Happens!

Like many pianists, Steve Kuhn seems to put out one quality disc after another but doesn't ever seem to get the attention he deserves. This beautifully recorded studio date from 1968, with bassist Palle Danielsson and drummer Jon Christensen, is a good example. Eschewing the typical easygoing approaches to Michel Legrand's "Watch What Happens," he launches into a very brisk bossa nova arrangement. J.J. Johnson's gorgeous ballad "Lament" was never in better hands as Kuhn delivers a shimmering but poignant performance; the piece segues into Gary McFarland's unjustly neglected "Once We Loved." A mini-medley of Burt Bacharach songs, "Windows of the World" and "Here I Am," with its unusual chanting introduction, has also stood the test of time. Carla Bley's "Ad Infinitum" delves briefly into the avant-garde but quickly reverts to post-bop. ~ by Ken Dryden, AMG.

The perfection and certainty of the Kuhn music are demonstrated by the fact that Steve recorded almost all numbers on this record in one single sweep. ~ Extract taken from Liner Notes by Joachim E. Berendt.
1976: Tony Rizzi & His Five Guitars Plus Four - Plays Charlie Christian (1976-Milagro) Music » Jazz » Fusion » Contemporary Jazz

1976: Tony Rizzi & His Five Guitars Plus Four - Plays Charlie Christian (1976-Milagro)

Artist: Tony Rizzi & His Five Guitars Plus Four
Album: Plays Charlie Christian
Label: Milagro
Released: 1976
Format: FLAC, LP-Rip
Time: 39:53
Size: 264 mb

Perhaps even more memorable than the music from the many recording sessions he was part of, Hollywood recording studio guitarist Tony Rizzi created something beautiful more than thirty years ago.

Beyond the extreme studio demands for instrument proficiency, sight-reading ability and excellence in the rendering of the composers work, Tony Rizzi was driven further still. It would be over thirty years into his career before his own musical image would be realized. The conception, development and establishment of his vision remain, to this day, a milestone guitar event.
1977: Yuji Imamura & Air - Air Music » Jazz » Fusion » Jazz-Rock
1977: Yuji Imamura & Air - Air
Artist: Yuji Imamura & Air
Album: Air
Label: Three Blind Mice
Year: ; Release: 1977
Format: FLAC / CD Rip
Time: 37:45
Size: 252.6 MB

If you can skate around the insufferable Kozmigroov genre tag that's latterly been grafted onto this breed of free flowing cosmic jazz funk like some Cronenberg-ian tumor in the shape of a hackysack, this is really the prime article at hand here; this Japanese quartet with the all too common name (shared with everyone from Henry Threadgill's old 70's outfit to Herbie Mann's backing band to the French 90's electropop exports) having taken the most spectrally wandering implications from early 70's Miles Davis and teased them out yet further, 'til all thats left is windblown tracers shimmering in the ether; their attack placing them in immediate proximity to the distended and drug swaddled fusion burn of Australia's Quasar.
~ Album description from MUTANT SOUNDS blog
1972-1977: Various Artists - Nu Yorica! Culture Clash in New York City Fusion, Latin, Afro-Cuban Jazz, Funk-Jazz
1972-1977: Various Artists - Nu Yorica! Culture Clash in New York City
Artist: Various Artists
Album: Nu Yorica! Culture Clash in New York City
Label: Soul Jazz Records
Year: 1972-1977
Release: 1996
Format, bitrate: Mp3, 320 kBit/s
Time: Disc1 - 62;15 / Disc2 - 47;10
Size: Disc1 - 147.82 MB / Disc2 - 112.61 MB
AMG Rating: 1972-1977: Various Artists - Nu Yorica! Culture Clash in New York City

Experiments In Latin Music 1970-77

With a plethora of unnecessary and predictable compilations flooding the over subscribed market each year, Soul Jazz's thoughtful and considered approach always means they remain one step ahead of the competition, consistently releasing collections with a strong concept and reason for being. The concept behind Nu Yorica! is simple: a celebration of Latin fusion in New York between the years of 1970-1977, all detailed with careful reference to the cultural and musical melting pot that had merged over the previous decades. To highlight certain tracks would be a disservice to others, as all are killers in their own right, although contributions from the likes of Eddie Palmieri, Joe Bataan and Harlem River Drive should provide doubters with enough evidence of the collection's pedigree. The richly intricate elements and themes of Afro-Cuban percussion and Latin funk rhythms run as powerful and energetic reminders to the time and underpin the entire album by their presence, to complete another dynamite collection that side steps the obvious with ease. ~ Found Sounds
1979: Grover Washington, Jr - Skylarkin' Crossover Jazz, Soul-Jazz
1979: Grover Washington, Jr - Skylarkin'Artist: Grover Washington, Jr.
Album: Skylarkin'
Label: Motown
Year: 1979
Release: 1980 (LP), 1992 (CD)
Format, bitrate: Mp3, 320 kBit/s
Time: 36:15
Size: 81 MB

Repost with new links from acavuga

CD 90 . LP. , ( !). LP-rip . , . smooth-jazz , ! , , , - . Randy Brecker Jon Faddis, Eric Gale, Marcus Miller Idris Muhammad, soul jazz-funk.

Relax and Enjoy!
1957: Neal Hefti and His Orchestra - Concert Miniatures Music » Jazz » Fusion » Jazz-Pop
1957: Neal Hefti and His Orchestra - Concert Miniatures
Artist: Neal Hefti and His Orchestra
Album: Concert Miniatures
Label: RCA Victor
Year: 1957; release: 2002
Quality: MP3@320 kbps
Size: 82,9 mb
Total time: 35:41
Lovely interpretation of classical music!

REPOST by request

An obscure early gem from Neal Hefti an amazing set of jazzy tracks, arranged with a style that's similar to some of his better soundtrack work of the 60s! The group on the album's a tentet with 2 trumpets, trombone, reeds, guitar, bass, and lots of percussion and Neal's at the head, coming up with some very groovy arrangements that swing the tunes with lots of hi-fi tricks and gimmicks! Players include Urbie Green on trombone, Romeo Penque on reeds, Tony Mottola on guitar, and the team of Rosengarden and Krauss on drums and percussion. Titles include "On The Trail", "Love Theme", "The Girl With The Flaxen Hair", "Merry Go Round", "Dagger Dance", and "Song Of India".
1996-2014, Dusty Groove, Inc.
1996: Dave Douglas - Stargazer Music » Jazz » Fusion » Contemporary Jazz
1996: Dave Douglas - Stargazer
Artist: Dave Douglas
Album: Stargazer
Label: Arabesque Recordings
Year: 1997
Format, bitrate: Mp3, 320 kBit/s
Time: 60:04
Size: 137 MB
AMG rating: 1996: Dave Douglas - Stargazer
With a new link

Trumpeter Dave Douglas, continuing the innovative approach to tribute records he began in 1994 with the Booker Little homage In Our Lifetime, dedicates Stargazer to the great Wayne Shorter. Only three tracks, however, are Shorter compositions: "Pug Nose," "On the Milky Way Express," and "Diana." The rest are Douglas originals that are inspired by Shorter, although Douglas is far too clever to make the inspiration obvious. Listeners will have to rely on their imaginations to make the Shorter/Douglas connection, which is as it should be with creativity on so high a level. "Goldfish," with its awe-inspiring, chant-like main riff, is the album's highlight. The fast, complex unison lines and free jazz episodes of "Stargazer," with solo spots by drummer Joey Baron and pianist Uri Caine, are also wonderful. Hard-swinging numbers like "Spring Ahead" and "Intuitive Science" contrast strikingly with the tension-filled dissonance of "Four Sleepers" and "Dark Sky." Douglas's writing and playing are highly unpredictable and emotionally rich. His remarkable sextet delivers every note with conviction and finesse. Along with Baron and Caine, bassist James Genus, tenor sax/clarinetist Chris Speed, and trombonist Josh Roseman join forces with Douglas to create music full of character and beauty.
~ David R. Adler, All Music Guide
1957: Russell Garcia and Strings with Roy Eldridge - That Warm Feeling Music » Jazz » Fusion » Jazz-Pop
1957: Russell Garcia and Strings with Roy Eldridge - That Warm Feeling
Artists: Russell Garcia and Strings with Roy Eldridge
Album: That Warm Feeling
Label: Sinetone AMR
Year: 1967; release: 2014
Quality: MP3@320 kbps
Size: 71,3 mb
Total time: 33:21
Beautiful music for a romantic evening!

Roy Eldridge was renowned for his exciting, brassy trumpet work on high-energy flag-wavers. On this 1957 set, Verve recast Eldridge as a sensitive balladeer who follows the melodies while Russ Garcia backs him up with a string orchestra. The romantic, cinematic make-out music closely resembles Jackie Gleason's best-selling sides with swing trumpeter Bobby Hackett. Hey, is that Oscar Peterson and Herb Ellis breaking through the mist on occasion?
~ Nick Dedina
1978: Jon Hassell - Earthquake Island Music » Jazz » Fusion
1978: Jon Hassell - Earthquake Island
Artist: Jon Hassell
Album: Earthquake Island
Label: Tomato (1989) ‎
Year: 1978
Format, bitrate: Mp3, 320 kBit/s
Time: 39:09
Size: 94 MB

Composer/trumpeter Jon Hassell is the visionary creator of a style of music he describes as Fourth World, a mysterious, unique hybrid of music both ancient and digital, composed and improvised, Eastern and Western. After composition studies and university degrees in the USA, he went to Europe to study electronic and serial music with Karlheinz Stockhausen. Several years later, he returned to New York where his first recordings were made with minimalist masters La Monte Young and Terry Riley, through whom he met the Hindustani raga master, Pandit Pran Nath, and embarked on a lifelong quest to transmute his teacher's Kirana vocal mastery into a new trumpet sound and style. In the last two decades, he has recorded albums which have, over the years, become so widely appropriated that many of their innovations have become woven anonymously into the texture of contemporary music high and low.
1972: Cannonball Adderley Quintet - Live at the Stadthalle, Vienna, Austria Music » Jazz » Fusion
1972: Cannonball Adderley Quintet - Live at the Stadthalle, Vienna, Austria
Artist: Cannonball Adderley Quintet
Album: Live at the Stadthalle, Vienna, Austria
Label: Crescent Records [bootleg]
Year: 1972 ; Release:2006
Format, bitrate: Flac / Mp3, 320 kBit/s
Time: 43:59
Size: 247.0 MB / 106.22 MB

Repost with a new Mp3 link

Live at the Stadthalle, Vienna, Austria; November 4, 1972. Excellent FM broadcast.

From the Miles Davis sextet in 1959 to appearing on the Kung Fu TV series in 1975; and even getting a tribute by Joe Zawinul on Weather Reports Black Market album, thats a big arch for anyone, but probably all in a days work for Cannonball Adderley.

This is a fine electric jazz show from a finely-honed unit. Keyboardist George Duke has some stellar moments on Black Messiah while Cannonballs brother, Nat, gets to shine on Hummin. Meanwhile, Soli Tomba entrances with its Asian feel. For those not familiar with this show (seems well circulated among Cannonball fans), you will be easily tempted to leave it on repeat mode. Thanks to Dan Augen who shared the tracks on the net back in 2006. ~
1978/1980: Yochk'o Seffer - Neffesh Music Ghilgoul Music » Jazz » Fusion » Jazz-Rock

1978/1980: Yochk'o Seffer - Neffesh Music Ghilgoul
Artist: Yochk'o Seffer
Album: Ghilgoul
Label: Musea
Year: 1978/1980; release: 1995
Format, bitrate: 320kbps
Size:158 MB

Although front-cover credit is given to saxophonist/pianist Yochk'o Seffer, 1978's Ghilgoul is actually the second album recorded by his ill-starred combo Neffesh Music (loosely translated as "Music of the Mind"). This short-lived group was part of the second wave of the French art rock scene, with Seffer and bassist Dominique Bertram having done time in scene overlords Magma and Zao, and this album is roughly equivalent to, say, Hatfield and the North's The Rotter's Club: a relaxed, playful record that extends and refines the work of the participants' earlier bands. Arguably more accessible than the more difficult Magma and Zao, Seffer, Bertram, and company (drummer Francois Laizeau and a string quartet) play a surprisingly melodic version of art rock akin to the lighter moments of David Cross-era King Crimson and the Italian group PFM. The 15-minute title track, alternating passages of ghostly overdubbed, wordless vocals and liquid saxophone solos, is the standout, but all five tracks are superlative avant-garde rock. The 1995 CD reissue includes three previously unreleased tracks recorded by Seffer and an entirely different lineup in May 1980. ~ Stewart Mason, All Music Guide
1973: Joe Farrell - Penny Arcade Post-bop, Fusion, Crossover Jazz
1973: Joe Farrell - Penny Arcade
Artist: Joe Farrell
Album: Penny Arcade
Label: Wounded Bird
Year: 1973; Release: 2011
Format,bitrate: FLAC/Mp3 @320kbps
Time: 36:10
Size: 240.42 MB/92.89 MB

Joe Farrell gained his greatest fame with his popular string of CTI recordings. For this set, he performs three of his originals (none of which caught on), guitarist Joe Beck's "Penny Arcade," and a 13-minute version of Stevie Wonder's "Too High." Farrell (heard on tenor, soprano, flute and piccolo) is in excellent form, as are keyboardist Herbie Hancock, Beck, bassist Herb Bushler, drummer Steve Gadd and Don Alias on conga. As is true of his other CTI sets, this Joe Farrell effort expertly mixes together some slightly commercial elements and superior recording quality with strong solos.
~ Scott Yanow, All Music Guide

Killer CTI work from Joe Farrell with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion a combo that's got a harder, tighter feel than most CTI groups a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream". 1996-2014, Dusty Groove, Inc.
1975: Tom Scott - New York Connection Fusion, Crossover Jazz
1975: Tom Scott - New York Connection
Artist: Tom Scott
Album: New York Connection
Label: Epic/Sony Music Distribution
Year: 1975; Release: 1996
Format, bitrate: FLAC/Mp3 @320kbps
Time: 45:14
Size: 263 MB/108.67 MB

For New York Connection, Scott left his L.A. Express in California and ventured to the Big Apple to join forces with keyboardists Bob James and Richard Tee, guitarist Hugh McCracken, drummer Steve Gadd and others who -- like the saxman -- had decent jazz chops, but devoted much of their time to R&B/soul session work. While Scott was never in a class with Stanley Turrentine, Grover Washington, Jr. or David "Fathead" Newman, gritty, down-home smokers like "Midtown Rush," "Dirty Old Man" and "Look Out for Number Seven" provide additional evidence that he was indeed a capable, enjoyable soloist who, at the time, played from the heart. Though softer pieces such as "Time and Love" and the CD's title song make for a sort of disco-ish "easy listening," they're far more substantial than the rubbish that was to come.
~ Alex Henderson, All Music Guide
1990: Yellowjackets - Greenhouse Music » Jazz » Fusion » Crossover Jazz
1990: Yellowjackets - Greenhouse
Artist: Yellowjackets
Album: Greenhouse
Label: MCA/GRP
Year: 1990; Release:1991
Format,bitrate: MP3@320 kbps
Time: 1:00:08
Size: 144.73 MB
AMG Rating: 1990: Yellowjackets - Greenhouse

The Yellowjackets' first release for GRP, Greenhouse, is a real gas. The disc starts innocently enough with "Freedomland," the kind of smart smooth jazz song that marked The Spin. It's on the following "Greenhouse" that listeners glimpse a change in the air: Strings (!) set the stage for dreamy, exotic jazz that melts in your mind, music that goes well beyond similar experiments on earlier Yellowjackets sessions. From this point on, the band travels back in time: Russell Ferrante's piano, the understated rhythm section, and Bob Mintzer's saxophones (Marc Russo had left, though Mintzer wasn't an "official" member yet) smoke with the fire of cool jazz. There are still some electronics employed, but generally they're arranged in a subordinate role to give the acoustic sounds an added presence. It would be tempting to call Mintzer the catalyst of change -- his saxophone playing is more note-filled and squeakier than Russo's, a style that evokes traditional jazz -- but the new direction in sound is just as evident in the piano playing of Ferrante, the softened attack of William Kennedy (plenty of cymbals, quieter snare hits), and the articulated playing of Jimmy Haslip (best heard on "Indian Summer"). The fresh start allows The Yellowjackets to escape from under the cloud of smooth jazz and expose their "serious" side, all while continuing to place composition and melody over individual musicianship. Calling this the band's most mature work to date belies a natural distrust of smooth jazz, so better to say that Greenhouse is loaded with personality. Mintzer's spooky bass clarinet on "Brown Zone," the wild bop workout unleashed on "Liam/Rain Dance," and the violin jig on "Freda" are among their most memorable musical moments. The Yellowjackets haven't changed the way they approach their music, but the newfound ability to communicate in a more traditional jazz setting casts them in a whole new (and flattering) light. ~ Dave Connolly, All Music Guide
2001: Harald Haerter - Cosmic Fusion, Contemporary Jazz
2001: Harald Haerter - Cosmic
Artist: Harald Haerter
Album: Cosmic
Label: TCB 21162
Year: 2001
Format, bitrate: Mp3, 320 kBit/s
Time: 46:05
Size: 113 MB (full scans)

Swiss guitarist Haerter studied from 1980 to 1984 at the Berklee College of Music and with John Scofield . In 1985 he founded the Intergalactic Maiden Ballet, with whom he toured Europe and recorded several albums: 1985 eponymous album was recorded, which appeared at ITM, the other productions Square Dance (1989) and Gulf (1994) contained some articles written by prominent guest musicians.
With Dewey Redman , he founded a quintet in 1994, which among other things with more than 150 concerts, Erik Truffaz , Arthur Blythe , John Enders , Joe Lovano and Nils Petter Molvaer occurred. After the saxophonist Michael Brecker album Haerter Mostly Live had heard, he invited him in 1997 to a European tour and held with him in 1999 an international concert series. To his band Catscan currently include Gitta Kahle and Hilaria Kramer .
1970: Ponty & Sato - Astrorama Music » Jazz » Fusion
1970: Ponty & Sato - Astrorama
Artist: Jean-Luc Ponty, 佐藤允彦 Satō Masahiko (Masahiko Sato)
Album: Astrorama
Label: Liberty/Toshiba - LPC-8039 / Far East Records - ETJ-65016
Year: 1970
Genre: Fusion, Modern Creative
Format: Alac - Lossless (16-Bit/44.1kHz vinyl transfer)
Time: 45:33
Size: 289.202 MB
AMG rating 1970: Ponty & Sato - Astrorama

Astrorama is an album by French Jazz-Fusion artist Jean-Luc Ponty and Japanese Avant-Garde artist Masahiko Sato, released in 1970. The album was recorded live in Tokyo on August 29, 1970.

Jean-Luc Ponty recorded for a number of labels prior to his signing by Atlantic in the early '70s, but this 1970 session in Japan was among his most challenging albums to acquire until it was finally reissued in the fall of 2011 in Japan. He joined forces with Japanese keyboardist Masahiko Satoh, the great bassist Niels-Henning Ørsted Pedersen, guitarist Yoshiaki Masuo, and drummer Motohiko Hino for the studio date. "Golden Green" is best known from his 1976 meeting with Stéphane Grappelli; this longer version features Ponty's expressive violin, an understated electric piano solo by Satoh, and the virtuoso playing of Pedersen, with Masuo sitting out. Both "Astrorama" and "Nuggis" were performed by Ponty the following year at the Berlin Jazz Festival, though on this session, they are joined in a long medley. "Astrorama" is a tense, slashing work that starts with a bluesy riff before launching into avant-garde territory. As they wrap the piece up with a thunderous flourish, the quintet segues directly into the brisk, funky "Nuggis," with Satoh and Masuo frequently playing unison passages with the leader. Satoh's original "And So On" finds him taking a long solo on grand piano with the rhythm section, with Ponty making a late entrance to engage in a fiery exchange with the composer. Only available as an import from Japan, this pricey CD will be of great interest to fans of Jean-Luc Ponty.
~ Ken Dryden, All Music Guide
1976: Larry Coryell - The Lion And The Ram Music » Jazz » Fusion
1976: Larry Coryell - The Lion And The Ram
Artist: Larry Coryell
Album: The Lion And The Ram
Label: Arista
Genre: Fusion Post-Bop
Format,bitrate: mp3@320kbps [HQ vinyl rip]
Time: 36:43
Size: 86.88 MB

The Lion and the Ram is an underrated gem in the Coryell catalog. It contains mostly acoustic guitar music and several outstanding original compositions. "Bicentennial Head Fest," "The Fifties," "Domesticity," and "Bach Lute Prelude" are fine examples of exciting, yet subtle and eclectic, improvisation-oriented guitar music. A few songs, such as "Song for My Friend's Children," are less successful than the others because of their dated '70s studio gimmickry, but overall this recording is well worth picking up.
~ Wilson McCloy, All Music Guide
2011: Spectrum Road - Spectrum Road Fusion, Jazz-Rock
2011: Spectrum Road - Spectrum Road
Artist: Spectrum Road
Album: Spectrum Road
Label: Palmetto
Year: 2011; Release:2012
Time: 55:51
Size: 158 MB

Spectrum Road is a jazz-rock supergroup featuring bassist Jack Bruce, guitarist Vernon Reid, drummer Cindy Blackman-Santana, and organist John Medeski that formed as a tribute to the inspiration and music of Tony Williams' pioneering Lifetime group (of which Bruce was a member). In the process of playing Lifetime's music as a project, they became a bona fide band. All but two of these cuts are from Lifetime's catalog. The set begins with the scorcher "Vuelta Abajo," from 1970's Turn It Over album. All four members come storming out of the gate on a syncopated, intense series of riffs and stops. Blackman-Santana, a Williams disciple, plays furiously with countless rolls and fills yet never drops her sense of groove. She pushes hard at Bruce's bassline while Medeski washes it all with a counter pulse and Reid takes it over into the red zone. This is excess at its level best. The hippest thing is that not only does Bruce keep that insane pace, he revels in it and works with Blackman-Santana to keep the groove funky and weird. She takes the vocal on the spacey, 12-minute "Where," which builds via her rolls and Medeski's abstract painterly touches into a true freewheeling jam with Reid and Bruce going head to head. The group interplay on "Vashkar" (written by Carla Bley, and originally appeared on 1969's Emergency) is a manic showcase for Medeski and Reid, but it's the rhythm section that keeps moving the track further onto the ledge. Spectrum Road honors Williams' example by taking real chances with his music. The way they break down "There Comes a Time" ( from 1971's Ego) with Bruce's bluesy vocals holding the ground firm under the band's improvising moves it from a somewhat staid open modal blues into something more textured, aggressive, and expansive. Reid's jazz chops on "Coming Back Home" walk a line between swing and Hendrixian blues, as Medeski swells and feeds his every line. Reid's and Blackman-Santana's rock strut on "Wild Life" would be nearly processional were it not for Bruce's and Medeski's deeply funky undercurrent. Spectrum Road's self-titled debut delivers in full on the supergroup promise; in addition, they provide the kind of forward-looking tribute that a pioneer like Williams truly deserves. ~ Thom Jurek,
1967: Wes Montgomery - A Day in the Life Music » Jazz » Fusion » Jazz-Pop
1967: Wes Montgomery - A Day in the Life
Artist: Wes Montgomery
Album: A Day in the Life
Label: A&M
Year:1967: Release:2004
Format, bitrate: mp3@320
Size: 82.81 MB

By the time Wes Montgomery recorded this album (his debut for A&M), he was a major name in the pop world. Montgomery's melodic renditions of current pop hits caught on and were played regularly on Top 40 radio. In most cases the guitarist did little more than play the melody, using his distinctive octaves, and it was enough to make him saleable. Of his three A&M recordings, A Day in the Life (the first one) was by far the best and, although the jazz content is almost nil, the results are pleasing as background music. "Windy" was a bit of a hit; the other selections (which find Montgomery backed by muzaky strings arranged by Don Sebesky) include "Watch What Happens," "California Nights," "Eleanor Rigby" and the title cut. ~ Scott Yanow, All Music Guide
1986: Jerry Goodman - Ariel Music » Jazz » Fusion
1986: Jerry Goodman - Ariel
Artist: Jerry Goodman
Album: Ariel
Label: Private Music
Year:1986; Release:2000
Format, bitrate:mp3@320kbps
Time: 44:57
Size:107.31 MB

On the Future of Aviation, Jerry Goodman's first album after a ten-year hiatus, didn't sound much like the jazz-rock fusion he had played in the Flock and the Mahavishnu Orchestra earlier in his career. Instead, it was an album of new age electrified instrumental music that did not emphasize his violin playing particularly. For his second album of the 1980s, Goodman may have been prevailed upon or may have decided himself to give his fans something more familiar. Ariel leaves little doubt that its primary performer is a violinist. The background music, while often demonstrative, is still background music, supporting Goodman's soaring runs. And on "Topanga Waltz," there is a definite rock feel that recalls Mahavishnu, while "Rockers" has sections that would make you think some arena-rock band was playing. Goodman is still experimenting and mixing styles. "Broque," for example, has not only Celtic but also gypsy elements to go with its rock passages. But the album as a whole steps back from an emphasis on composition to allow for a display of sheer performing chops. As such, it gives old fans something to hold on to as well as continuing Goodman's new career as a new age artist. ~ William Ruhlmann, All Music Guide
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