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Jazz Blues Club » Music » Jazz » Fusion
Bill Chase group Music » Jazz » Fusion » Jazz-Rock
Hej guys I,m looks Bill Chase jazz group. If somebody have this fantastic albums please upload asap! Thanks in advance!
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
1981 - 1987: Volker Kriegel - Journal/Palazzo Blue Fusion, Jazz-Rock
1981 - 1987: Volker Kriegel - Journal/Palazzo Blue
Artist: Volker Kriegel
Album: Journal/Palazzo Blue
Label: In-Akustik / Mood
Year:1981,1987; Release:2010
Format, bitrate:MP3@320kpbs
Size:187.77 MB
Digitally remastered sound.

Two discs,39, 39 minutes each approximately. The digitally remastered sound is very clean and spacious. The booklet has minimal information on (the late, died 2003) Volker Kriegel, and nothing about the songs (most composed by Kriegel), except title, song length, and composer. The second album lists accompanying musicians (bass, drums, sax, keyboards, and Kriegel's guitar. The first album (with no musicians listed) is similar in sound. He was also known, before his death, as an illustrator, cartoonist, translator, and author of childrens books.

These two albums (recorded in 1981 and 1987) were recorded for the Mood Records label, a label set up for musicians to record whatever they wanted, without label or commercial restraints. The label releases music other labels won't touch. Saying that-don't think this is some esoteric, far-out, free jazz you might hear on the ESP label for instance-its not. This music is a combination of reflective, quiet jazz guitar, and more straight ahead jazz, all with a sympathetic group of musicians who know how to play in and around Kriegel's guitar, and sometimes step forward for a solo.

Kreigel's tone and approach to the guitar is a combination of Pat Metheny, Jim Hall, with a bit of Barney Kessel mixed in. Kriegel is probably most well known as a member of the UNITED JAZZ + ROCK ENSEMBLE. The music heard here combines two albums with varying degrees of atmosphere. The first album, from 1981, is more introspective. The music unfolds at its own pace, sometimes quite languidly. On several tracks Kriegel trades solos with vibes and keyboards-at times almost sounding like an ECM Records production, but without the vast, open spaces that label is known for. The second album (1987) is much more upbeat (some tracks are in 4/4 time) and more fully realized as a true jazz group feeling.

Having heard these albums 20 + years ago (as expensive imports), its nice to see them (and other albums from the label) cleaned up and re-released-at a good price. While there's nothing startingly new here, this is music that grows on you, if you take the time to not just listen-but hear what this group of fine musicians are playing. For listeners of jazz guitar/group playing there's much to recommend. Kriegel is a master guitarist, and the musicians in his responsive, sympathetic groups are on a similar level. From introspective, open compositions, to harder,straight-ahead (sometimes funkier) tracks, this release covers all the bases. This is beautiful, sometimes swinging jazz that will grow on you if you let it.
~ Stuart Jefferson,
2012: Gary Husband - Dirty and Beautiful, Volume 2 Jazz-Rock, Modern Jazz
2012: Gary Husband - Dirty and Beautiful, Volume 2
Artist: Gary Husband
Album: Dirty and Beautiful, Volume 2
Label: Abstract Logix/City Hall
Year: 2012
Format: FLAC
Time: 59:29
Size: 363 MB

Rather than releasing a double album, keyboardist/drummer Gary Husband split the jazz fusion songs he recorded with high-profile guests into two separate but equal hour-long discs. It's a logical, economically feasible way to get this music out and probably makes for a better overall listening experience, too, since the sound can get wearing, even over the length of a single platter. Anyone who enjoyed the first volume from 2011 will find the same pleasures here as Husband invites mostly guitar-shredding guests such as Mike Stern, John McLaughlin, Wayne Krantz, Robin Trower, Jimmy Herring, and old pal Allan Holdsworth, among others, for a good, old-fashioned '80s fusion fest. As is typical of the genre, the line between noodling and edgy improvisation can get awfully thin and there are moments that alternate on either side of that divide. That's the case within the confines of some songs such as the ten-minute John McLaughlin extravaganza "Sulley" that goes through multiple tempo changes, winding through its extended playing time with some terrific guitar soloing and some that just meanders. Props to bassist Mark King, whose husky yet malleable playing on the track holds down the rhythm and keeps the song vital even when the leads wander. Trower's Hendrix-inspired bluesy reverb on Miles Davis' "Yesternow-Epilogue" fades in where the first set's "Yesternow-Prologue" left off in a performance that blurs the border between rock and jazz. The energized nature of the disc is tempered on a short and lovely reading of Jan Hammer's "Rain." Hammer doesn't contribute to the track, but he does appear on Holdsworth's "Fred 2011," letting Husband -- who plays both drums and keyboards on eight of the eleven cuts -- concentrate on percussion. A similar dynamic applies to John McLaughlin's "New Blues, Old Bruise," where the guitarist is M.I.A. Rather, tenor saxist Sean Freeman, whose playing is strongly influenced by Wayne Shorter, gets free reign to strut his impressive stuff, which shifts from lovely to jagged as he blows his way through the ten-minute jam. Despite the obviously overdubbed nature of Husband's double-duty instrumental work, this album, and the previous one, sounds remarkably organic. That's especially true of the funky "East River Jam" featuring a relatively dialed down Wayne Krantz, whose innovative solos seldom go where you think they will. It adds up to a tasty, if somewhat inconsistent project that will please fans of both the old-school jazz fusion genre and of the prestigious musicians who help Husband bring it home.
~ Hal Horowitz, All Music Guide
1968: Volker Kriegel - With a Little Help from My Friends Music » Jazz » Fusion
1968: Volker Kriegel - With a Little Help from My Friends
Artist: Volker Kriegel
Album: With a Little Help from My Friends
Label: Art of Groove / MIG
Year: 1968 Release:2013
Format, bitrate: mp3@320kbps
Time: 1:17:19
Size: 226.22 MB

A great and groovy early album from Volker Kriegel the German guitarist who'd cut some very trippy work for the MPS label in the 70s but a player who steps out here in a sweet soul jazz mode at the end of the 60s! Volker's still got the same wickedly sharp style on guitar you'd know from his later fame but here, it's turned towards the kind of soulful guitar work you'd hear on Verve Records at the time somewhere in the territory of George Benson, or maybe a bit in that of Wes Montgomery but also with some occasional freewheeling moments that hint at the changes to come! The group's a trio on side one with Peter Trunk on bass and Cees See on drums but side two moves into wilder material with a quartet that features vibes by Claudio Szenkar, who adds in just the kind of psychedelic touches to really make the music open up! These cuts are much more modal, and show Kriegel's growing love of Eastern sounds and titles include "Na Na Imboro", "Morandi", "Interpunctuation", "Traffic Jam", and "With A Little Help From My Friends". CD features loads of great bonus tracks including more with the quartet, and some with Tony Scott and Gustl Mayer titles that include "Spanish Soul", "Teaming Up", "Na Na Imboro", and "Nina's Dance". 1996-2014, Dusty Groove, Inc.
2002: Toufic Farroukh - Drab Zeen Music » Jazz » Fusion
2002: Toufic Farroukh - Drab Zeen
Artist: Toufic Farroukh
Album: Drab Zeen
Label: Le chant du monde
Year: 2002
Genre: ethno jazz, arabic
Quality: FLAC (Artwork)
Total time: 53:12
Size: 339 Mb

Drab Zeen represents one of the finest examples of this important emerging new sub-genre, Arab-jazz. The genius of this disc is how Farroukh has effortlessly melded such disparate elements as jazz trombone and saxophone, chill-beats, French vocals, acoustic piano, oud, ney, and accordion into a singly tapestry of unique sounds, all the while retaining the essential elements of each instrumental voice even as he transforms the whole into something entirely new and heretofore unheard. Farroukh has grown in every facet of his music-making: tighter and more evocative compositions, a richer and more varied sound palette, cleaner production, superior sax blowing, and a deeper groove. An altogether remarkable disc. Highest recommendation.
~ Jan P. Denis,
1978: John McLaughlin - Electric Guitarist Music » Jazz » Fusion
1978: John McLaughlin  - Electric Guitarist
Artist: John McLaughlin
Album: Electric Guitarist
Label: Columbia
Year: 1978; Release:2008
Genre: Fusion,Post-Bop
Format, bitrate: mp3@320kbps
Time: 38:38
Size: 99.44 MB

Since John McLaughlin's first two post-Shakti albums -- Electric Guitarist and Electric Dreams -- featured the word "electric" in their titles, it seems that the guitarist wanted to emphasize his more plugged-in side to those who might not have followed along on three previous releases featuring his acoustic world music band. He also thumbed through his impressive phone book to call in some of the cream of the 1977 crop of jazz fusionists to help him out on Electric Guitarist, a true return to form. Ex-Mahavishnu members Jerry Goodman and Billy Cobham assist in kicking things off just like in the old days with "New York on My Mind," a tune that could have been an outtake from his earlier Mahavishnu Orchestra work. Also along for the ride are Chick Corea, Stanley Clarke, David Sanborn, Carlos Santana, Jack Bruce, and four legendary drummers including Cobham, Tony Williams, Jack DeJohnette, and Narada Michael Walden. Unfortunately, the credits don't specify who plays on which track (well-written liner notes would help there), but anyone familiar with the distinctive styles of these artists can easily pick them out. McLaughlin is in fine form throughout, especially when playing clean, staccato, bent notes on the ballad "Every Tear from Every Eye." The majority of the selections stay in a more subtle but amped-up groove as McLaughlin shifts from dreamy to a faster, more straight-ahead tempo on the seven-minute "Do You Hear the Voices that You Left Behind?" A duet with Billy Cobham on "Phenomenon: Compulsion" provides the set's most frantic fireworks as both musicians air out their chops on a breathless, galloping piece with some of the guitarist's most furious picking. ~ Hal Horowitz, All Music Guide
1998: Ximo Tebar - Goes Blue Post-bop, Contemporary Jazz

1998: Ximo Tebar -  Goes Blue
Artist: Ximo Tebar
Album: Goes Blue
Label: Sunnyside
Year: 1998 ; Release: 2005
Format, bitrate: Mp3, 320 Kbps
Time: 55:03
Size: 124 MB
AMG Rating: 1998: Ximo Tebar -  Goes Blue

This is an easy set to enjoy. Guitarist Ximo Tebar has a style in the tradition of Grant Green, Wes Montgomery, and early George Benson without copying his predecessors. Teaming up with organist Dr. Lonnie Smith and drummer Idris Muhammad, Tebar performs standards and basic originals in a relaxed, bluish, and swinging fashion. Veteran altoist Lou Donaldson comes close to stealing the show during his three appearances ("Laura," "Midnight Creeper," and "Blues Walk"), but Tebar remains confident and rises to the occasion. Fans of mid-'60s soul-jazz organ dates will find much to enjoy here.
~ Scott Yanow, All Music Guide
1976: Phil Ranelin - Vibes From The Tribe Contemporary Jazz, Funk-Jazz
1976: Phil Ranelin - Vibes From The Tribe
Artist: Phil Ranelin
Album: Vibes From The Tribe
Label: Tribe Records (Cat#: TRCD4008) / Hefty Records (Cat#: HEFTY 033)
Year: 1976; Release: 2001
Format: Alac - Lossless
Time: 63:03
Size: 394.918 MB
AMG Rating: 1976: Phil Ranelin - Vibes From The Tribe

1976: Phil Ranelin - Vibes From The Tribe
In Detroit, 1971, trombonist Phil Ranelin and saxophonist Wendell Harrison started a band, a recording company, and a magazine, and called them the Tribe. Though the three organizations lasted until 1978, Ranelin's Vibes From the Tribe, issued in 1976, was the last of eight records issued by Tribe/Time Is Now Productions. P-Vine Records in Japan has issued a handsomely packaged one CD compilation of material selected from the label (there's a facsimile of the magazine included in the box), but Vibes From the Tribe is the first of the label's actual recordings to be issued in full, with added bonus tracks courtesy of Ranelin and the Hefty label. Tortoise boss John McEntire has restored the master tapes to their former glory, and added some touches to the unreleased material, with full approval from Ranelin, which give the music a contemporary feel. Musically, this is not only a solid portrait of Detroit's jazz scene in the mid-'70s, but is also a definitive portrait of its cultural mentality. While everyone in the nation had written off the city as a wasteland, a space devoid of anything worth celebrating, its residents were in the process of creating some of the most vital jazz, literature, and art in its history. Vibes From the Tribe is a wildly diverse collection of tunes to be on a single long-player. Ranelin and his friends -- among them tenor saxophonist and flutist Wendell Harrison, pianist Harold McKinney, trumpeter Marcus Belgrave, bassist Ralph Armstrong, percussionists Bud Spangler and Barbara Huby, and drummer George Davidson -- offered a portrait of the city through the jazz traditions that influenced it in the previous 20 years. Deep, hard jazz fusion and funk can be heard in the two versions of the title track (one of them an unreleased eight-track version) and "Sounds From the Village." While both echo the influence of Miles' groundbreaking electric band, the identities of these tracks are firmly rooted in a local musical history that includes Teddy Wilson, Donald Byrd, Yusef Lateef, the Funk Brothers rhythm section at Motown, John Lee Hooker, and George Clinton. There is also the more accessible side of Detroit jazz, represented here in "Wife" and "For the Children," which features plaintive but wondrously expressive vocals by Ranelin. Each tune swings with a beauty and airiness that were missing from the jazz of the day -- think of a way more soulful Ben Sidran and you'll get the picture.

But the heart of the set is in its earliest tune, Ranelin's first composition written way back in 1966, "He the One We All Knew." It's played here by an ensemble that included Ranelin on bass trombone and percussion and members of Detroit's premier vanguard unit, Griot Galaxy, with the legendary Faruq Z. Bey on saxophones, Tariq Samad on drums, and David Abdul Kahafiz on zeetar, a traditional African griot instrument. Also lending a hand is pianist Ken Thomas and Armstrong on bass. The piece begins as a modal workout, with Bey and Ranelin taking the first solos. The zeetar creates a drone not unlike a sitar for the rhythm section to build upon; the horn players then find their place in the melody together and light it up, taking it into harmonic territory that appears to surprise even them! The exchanges between Ranelin's bass trombones and Bey's soprano and tenor are knotty, intricate, and -- even in the freer moments -- rooted in the deep greasy groove inherent in all of Detroit's music from the era. Over 18 minutes in length, it is a masterpiece of vanguard jazz, and because of its rhythmic and tonal characteristics, is accessible even to those not interested in the genre. The extended versions of the title track and "Sounds of the Village" have been made manifestly "more Detroit" by McEntire. He lengthens the range of the bass and drums and sequences phrases so they line up the way the band did in the studio prior to recording them. They groove slow and dark, with long, intricate melody lines and accented backbeats creating a spaciousness not often heard in fusion jazz; but then, this isn't fusion jazz, it's funk jazz. Vibes From the Tribe is the sound of a city no one knew existed, a place vibrant with a cultural vision that included everybody. The Tribe was an organization that was focused on that vision, so much so that it could only last for so long; because it was so busy developing its homegrown identity and getting its talent to voice itself, it didn't have the time -- or the person with the influence -- to carry that vision outside its borders. Having grown up in the city and seen this band over a dozen times, I can say that the Tribe was one of the most unique and gifted jazz ensembles that the '70s ever produced. Until techno, the world didn't know how lucky it was to have a post-Motown Detroit; the evidence is now available to suggest that it should have been paying attention all along. If jazz is your thing, then get this. Period. Thanks, Hefty, for the first in a series of reissues from the Tribe.
~ Thom Jurek, All Music Guide
1984: Steve Smith's Vital Information - Orion Post-bop, Fusion, Funk-Jazz
1984: Steve Smith's Vital Information - Orion
Artist: Steve Smith's Vital Information
Album: Orion
Label: Wounded Bird
Year: 1984; Release: 2005
Format, bitrate: Mp3, 320 kBit/s
Time: 45:55
Size: 112.24 MB

Again, a noticeable departure from his work as the timekeeper in Journey, Steve Smith's Vital Information project is straight-ahead, no-frills fusion from the '80s. Orion pretty much stays within the formula that made Vital Information's debut album so catchy and accessible: slick production and smooth musicianship atop a sheer layer of gloss for sonic measure. Smith holds it down in the background while the band plays through melodies that wouldn't be out of place on records à la their contemporaries. Not the band's strongest effort, but definitely not their weakest either.
~ Rob Theakston, All Music Guide

On CD for the first time ever, and newly remastered, "Orion" is the second Vital Information album put together by drummer Steve Smith, and features Dean Brown and Eef Albers playing guitar together like nobody's business. Add in Tim Landers on bass and Dave Wilczewski on a variety of saxes and you have mid-'80s fusion at its finest. "Orion" was recorded on one of Smith's breaks from the band Journey, and displayed the drummer's vast wealth of ability to cook with just about any group of musicians. A fusion masterpiece. ~
1984: Lee Ritenour - Banded Together Music » Jazz » Fusion » Crossover Jazz
1984:  Lee Ritenour - Banded Together
Artist: Lee Ritenour
Album: Banded Together
Label: Discovery Records/Discovery
Format, bitrate: FLAC, mp3@320kbps
Time: 42:28
Size: 286.1 MB,105.63MB

Lee Ritenour's banded together here with a few different vocalists most notably Eric Tagg and John Massaro both of whom serve up lyrics over Lee's work on electric guitar! The approach is one that's obviously trying for a crossover hit and the record shakes off some of the better fusion styles of other Ritenour albums in favor of a more commercial pop sound but one that still retains a few soulful elements of Lee's other work. Other all-stars on the set include Phil Collins, Harvey Mason, Don Grusin, and Patti Austin and titles include "Operator", "Other Love", "Sunset Drivers", "Mandela", "Amaretto", "Shadow Dancing", and "Heavenly Bodies". 1996-2014, Dusty Groove, Inc.

Lee Ritenour goes techno/pop/rock on an album originally released on the pop Elektra label -- and as such is not recommended to jazz fans with a low tolerance for the stuff. Here Captain Fingers extends his reach to play keyboards and programmed electronic drums on a few tracks, along with very competent rock guitar -- to little effect, for the material is just not very interesting. Indeed, in a telling move, two songs from the previous record, On the Line, are actually recycled here ("Rit Variations II," " Heavenly Bodies"); the former comes off a little better in machine-driven, techno-pop manner. Ernie Watts' protean sax talents are wasted, Eric Tagg and John Massaro's high-pitched pop voices are hard to tell apart without a scorecard, and the largely electronic backing never meets a real groove that it can find. And no hits result anyway. ~ Richard S. Ginell, All Music Guide
1974: Composer's Workshop Ensemble - We've Been Around Music » Jazz » Fusion » Contemporary Jazz

1974: Composer's Workshop Ensemble - We've Been Around
Artist: Composer's Workshop Ensemble
Album: We've Been Around
Label: Strata-East (Cat#: SES-7422) / Claves ‎(Cat#: 50 1195/2)
Year: 1974; Release: 1995
Genre: Soul Jazz, Spiritual Jazz, Free Jazz
Format: Alac - Lossless
Time: 35:33
Size: 196.635 MB

Group. Ambitious but short-lived group of improvisers who recorded on Musicians cooperative Strata-East. They made two albums in early '70s; works were designed for the sessions and were sprawling, intense pieces. Drummer Warren Smith was nominal leader for first release; he was also involved with the second, as were other stalwarts like Howard Johnson, Herb Bushler, Jack Jeffers and Bross Townsend.
~ Ron Wynn, All Music Guide

1976: Narada Michael Walden - Garden Of Love Light Fusion, Jazz-Rock
1976: Narada Michael Walden - Garden Of Love Light
Artist: Narada Michael Walden
Album: Garden Of Love Light
Label: Wounded Bird Records
Year: 1976;Release:2001
Format, bitrate:mp3@320kbps
Time: 43:05
The debut solo album from ex-Mahavishnu Orchestra drummer!!

I was a jazz disc jockey in 1977 when I first laid eyes on the cover of Garden of Love Light. I couldn't wait to give it a spin. After all, Narada Michael Walden was one of the finest drummers the fusion movement had produced. And even beyond that, he had been writing killer jazz-rock compositions for Mahavishnu and Jeff Beck. But by album's end, I was very disappointed. Walden was in a transition with his music. There were three cuts on the album that were superlative fusion numbers. But the remainder was an R&B pop fest full of syrupy vocals. Walden's new direction would eventually make him one of the industry's most successful pop music producers, in charge of some of the biggest hits that Whitney Houston, Aretha Franklin and Mariah Carey ever put out. He won Grammys and awards for his movie soundtracks as well. More power to him. Despite my own selfish grieving over the great loss to jazz-rock his absence meant, I am happy for his success. No artist is put on this earth to do what I want him to.

The album's first cut, "White Night," is a full-fledged jazz-rock symphonic blast. It would seem to foreshadow a fusion fan's wet dream. Guitarist Ray Gomez, who co-wrote the piece, enters over an orchestral bed of harmonious strings. He sounds like Jeff Beck on the main slow theme. Once he solos, however, he shows some more electric bite. Walden's heavy backbeat supports the structure of the tune. Kick-ass mode has been achieved. As the song winds down, the Perfection Light Symphony plays heavenly call and response with Gomez. It is quite entertaining. "White Night" ends with a dramatic send-up that has you waiting with much anticipation for the next cut, only to be disappointed after it arrives.
~ Walter Kolosky,
1966: Mike Taylor Quartet - Pendulum Contemporary Jazz, Avantgarde
1966: Mike Taylor Quartet - Pendulum
Artist: Mike Taylor Quartet
Album: Pendulum
Label: Columbia ‎ Lansdowne Series (Cat#: SX 6042) / Sunbeam Records (Cat#: SBRCD5034)
Year:1966 ; Release: 2007
Format: Alac - Lossless
Time: 42:09
Size: 284.86 MB

Mike Taylor: the mystic who looked like a bank clerk

Sometime in late January 1969, the drowned body of a young man was washed up by the Thames at Leigh-On-Sea, Essex. It took some time to establish his identity, and when he was found to be one Ronald Michael Taylor, a jazz musician of no fixed address, few took any notice. Looked back upon 40 years later, Taylors life and work seem so enigmatic that its tempting to think his whole existence a hoax. His contemporaries held his abilities as composer and pianist in the highest regard, yet he rejected opportunities to broadcast his work and refused interviews, relying on his music to do the talking. Though he is estimated to have composed over 300 pieces, for everything from solo piano to trios to big bands and orchestras, he recorded only two barely-heard albums, and the few private recordings of him have long since been lost. Though he wrote songs for the worlds most successful rock band, Cream, his attempts to destroy as much of his own music as possible have made his legacy frustratingly small. His biographical details are extremely scant, and photographs of him are virtually non-existent. As Melody Maker remarked in its obituary of February 15th 1969: He looked like a bank clerk, but acted like a mystic.
~ Richard Morton, Read more: Galactic Ramble
1976: The Platina - The Girl With The Flaxen Hair Progressive Jazz, Fusion
1976: The Platina - The Girl With The Flaxen Hair
Artist: The Platina הפלטינה
Album: The Girl with the Flaxen Hair הנערה עם שיער הפשתן
Label: MIO Records (catalogue#: MIO-030)
Year: 1976; Release: 2003
Format: Alac - Lossless
Time: 76:56
Size: 430.088 MB

Back in the 1970s, jazz was a rare commodity in Israel. I first discovered it's existence in a tiny club run by an American expat named Charlie, just behind Yafo Rd in the center of Jerusalem. There I heard this incredible band, Platina. I wasn't generally a jazz fan, but this band was special. Formed originally by Arik Einstein around the core of Kunsman and drummer Kaminsky, the band included several of Israeli's best musicians over its five year existence. They released a first, rather stiff album, the inappropriately named "Live at the Barbarim," a better, ECM-influenced album, "Freedom," backed BB King in Israel, got invited to the Newport Jazz Festival, and then came out with their most amazing batch of music ever, centered around a jazz version of Debussey's "Girl with the Flaxen Hair." ~ Read more
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