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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!
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
1977: Hal Galper - Now Hear This Post-bop, Fusion
1977: Hal Galper - Now Hear This
Artist: Hal Galper
Album: Now Hear This
Label: Enja Records ‎(Catalog#: ENJ-2102 2)
Year: 1977
Release: 2006
Format: Alac - Lossless
Time: 48:27
Size: 311.26 MB
AMG Rating: 1977: Hal Galper - Now Hear This

Hal Galper has long been an underrated composer and pianist. This Enja release from 1977 finds him at the top of his game in both roles, leading a strong quartet with trumpeter Terumasa Hino, bassist Cecil McBee, and drummer Tony Williams. Opening with his thunderous, inventive post-bop vehicle "Now Hear This," each musician adds something special to this driving piece (which also benefits from an in-tune piano, something not provided to Galper for a rendition heard on the live LP Speak with a Single Voice). The first track sets such high expectations that one would expect a letdown, but that isn't the case. Galper quickly cools things down with "Shadow Waltz," a lush ballad. In addition to his superb originals, Galper offers a jaunty take of Thelonious Monk's "Bemsha Swing."
~ Ken Dryden, All music Guide
1982: Casiopea - Mint Jams Fusion, Jazz-Rock
1982: Casiopea - Mint Jams
Artist: Casiopea
Album: Mint Jams
Label: Alfa Records
Year: 1982; Release:2007
Format, bitrate: Mp3@320kbps
Time: 36:03
Size: 86.01 MB

Casiopea are an almost legendary Japanese jazz fusion band, formed in 1976 by bassist Tetsuo Sakurai, and guitarist Issei Noro. Casiopea are huge in the Australasian and S.E Asia area, but are not as well known in the West as they should be, despite having toured globally, and with artists like Randy and Michael Brecker, and members of Fourplay, including Lee Ritenour, Harvey Mason, Nathan East and Don Grusin. If you like high-energy, melodic contemporary jazz fusion expertly played, then you may like "Mint Jams". Check out Casiopea's "Full Colors" album. & "Made In Melbourne" album. Casiopea have released many albums, many of which are only available as ovepriced Japanese imports. If you can find it, at a reasonable price, buy their outstanding 1981 album, "Eyes of the Mind", one of the best fusion albums of the early 80's. ~ excerpt from
1973: Eero Koivistoinen - 3rd Version Fusion, Avantgarde
1973: Eero Koivistoinen - 3rd Version
Artist: Eero Koivistoinen
Album: 3rd Version
Label: Porter / Porter Records
Year: 1973; Release: 2010
Format, bitrate: Mp3@320kbps
Time: 44:30
Size: 113.48 MB
AMG rating: 1973: Eero Koivistoinen - 3rd Version

The 21st century has been rife with reissues of European jazz, rock, and funk. Many European and Japanese labels have been prolific in their offerings, but American imprints have been slower on the uptake. That said, Porter Records, out of Winter Park, FL, issues new, vintage, and forgotten recordings by artists of all stripes from all over the globe; they've uncovered a number of forgotten jazz masterpieces in the process; in particular, three albums from Finnish pianist Heikki Sarmanto. Sarmanto appears on Fender Rhodes on 3rd Version, this stellar seventh offering by his countryman, saxophonist, composer, and arranger Eero Koivistoinen, and originally released in 1973. 3rd Version also features the talents of another Finnish superchopper in guitarist Jukka Tolonen (of Wigwam and Tasvallen Presidentti). Other members include upriught bassist Pekka Sarmanto (Heikki's brother) and drummers Reino Laine and American Craig Herndon. This set's four long tunes can rightfully be called "fusion," because of their reliance on knotty compositions, frequently shifting time signatures and rhythms, and some electric instruments. That said, Koivistoinen's platter is far from the generic brand of fusion. This is jazz of the highest order, with expert musicianship and a knowledge not only of tradition, but also of Latin musical forms, classical music, and rock & roll. Three of the tunes here were written by Koivistoinen, and the other by Sarmanto. The symbiosis in the rhythm section is remarkable, no matter how complex the changes and dynamic shifts get. Laine takes syncopation to an extreme while Herndon keeps a solidly swinging back beat and provides colorful percussion. Pekka Sarmanto is a criminally unsung and inventive bassist: check his solo in "Near But Far Away" and his propulsive pizzicato and arco force in "Muy Bonita Ciudad," where flamenco meets modal music and funky keys. Koivistoinen's soprano (especially) and tenor work is on par with that of Bennie Maupin's, and Heikki Sarmanto is one of the most lyrical pianists of his generation. Tolonen, despite being the youngest member of this ensemble, is already in full possession of his chops, though he plays them more rhythmically here than he would later as a soloing firebrand (he does take an ingenious solo on this track and closer "Latin Power").Throughout its 44 minutes, 3rd Version is a stellar example of emotionally charged and technically expert European jazz; it is a restored gem that not only stands the test of time, but rivals anything from America during the same period.
~ Thom Jurek, All music Guide
1972: Bill Chase - Ennea Fusion, Jazz-Rock
1972: Bill Chase - Ennea
Artists: Bill Chase
Album: Ennea
Label: Epic
Year: 1972
Format, bitrate: mp3@320kbps
Time: 41:38
Size: 89,15 Mb

Chase's second album appeared with high expectations, from within and without -- and high ambitions as well -- so it's ironic that Ennea fell so far short in critical reception and sales. There had been some personnel changes during the recording, although the group's core sound, anchored by bassist Dennis Johnson, was as solid as ever and right where it needed to be. And lots of virtuoso playing could be heard everywhere. What was lacking was balance -- the rock and jazz elements that seemed so finely tuned together on the first album don't coexist as easily on this album, and the move into more of a progressive rock mode, especially on the songs from the original LP's second side, add a third element that never seems in sync with the more traditional rock elements elsewhere on this album. It's still impressive on a technical level -- a lot of those present could have used their work here to open doors for other gigs -- but it doesn't seem like a coherent whole, so much as getting a long-player out because one was needed. And perhaps that's the fairest comment one can make, that Ennea is a snapshot of a band in transition (and which was soon to break up under financial pressures). The album was seriously over-pressed by Columbia, which had high expectations of matching the group's self-titled debut album; instead, copies languished by the thousands in rack-jobber bargain bins well into the late '70s, which did nothing to enhance its reputation. Ennea still has lots of good moments and some great ones -- greater, at times, that anything on the first album if nowhere near as appealing and concise overall -- and is still worth hearing. ~ Bruce Eder, All Music Guide.
2013 : Ibrahim Maalouf - Illusions Fusion, Jazz-Rock
2013 : Ibrahim Maalouf - Illusions
Artist: Ibrahim Maalouf
Album: Illusions
Year : 2013
Label: Mi'ster
Format, Bitrate: MP3 @320kbps
Time: 00:52:22
Size: 119 mb

Following up on the more modal and acoustic jazz sound of his 2012 release Wind, Lebanese trumpet player and composer Ibrahim Maalouf (b. 1980) returned to the studio with his own live band to record his fifth album Illusions (2013). With the theme of illusion and magic trickery transpiring from the concept album, the musician draws a parallel with the hidden and elusive magic of music.

Characterised this time by a lush jazz-rock sound with a Fender Rhodes, electric guitars and a horn section, most instrumentals on Illusions follow a pop format while drawing on the call and response structure of certain African and Arabic traditions. But unlike a conventional brass section, Ibrahim Maalouf trained three traditional jazz trumpet players to play his trademark quarter-tone trumpet:

" I wanted to try to add a sort of Arabic horn section to the set up [] Thats a dream Ive had for a long time a bit in the tradition of Arabic or African or Gnawa music, all those musical traditions where you create a phrase and you have a group, a chorus responding to and echoing your phrase to give it meaning, to give it more body, more substance. Ibrahim Maalouf Introduction to Illusions

With sometimes strong 1970s funk-rock accents, the band elaborates lively conversations from which emerges the crystal clear, unique and magic voice of Ibrahim Maalouf on the trumpet.
1999: Bill Frisell - The Sweetest Punch Music » Jazz » Fusion » Contemporary Jazz
1999: Bill Frisell - The Sweetest Punch
Artist: Bill Frisell
Album: The Sweetest Punch: The Songs of Costello and Bacharach
Label: Decca
Year: 1999
Format, bitrate: Mp3, 320 kBit/s
Time: 01:04:09
Size: 166.26 MB (full scans)

Elvis Costello's collaboration with Burt Bacharach produced the exquisite Painted From Memory, an unabashedly classicist pop album that recalled Bacharach's heyday with Hal David. It was such an individual album, unlike anything in Costello's catalog, that it's a wonder that the same batch of songs could produce another album as equally compelling and unique, which is exactly what Bill Frisell's The Sweetest Punch is. Costello sent Frisell demos of every song on Painted From Memory after they were completed. As Costello and Bacharach worked on their album, Frisell wrote his own arrangements of the songs, assembling a stellar band -- including Don Byron, Brian Blade, Billy Drewes, Curtis Fowlkes, Viktor Krauss, and Ron Miles -- to record an alternate album. Neither group of musicians heard the others work, which meant each record developed its own personality. Indeed, it's fascinating to hear The Sweetest Punch after living with Painted From Memory for a year -- it's like passing through the looking glass. Frisell stays true to his own music and the songs, crafting inspired, subtly challenging arrangements. They're a far cry from the lavish orchestrations of the Costello-Bacharach affair, but Frisell's mild dissonance and elegant flow feels equally luxurious. These versions emphasize the strength of the songs. The musicians on The Sweetest Punch open the songs up, just as numerous jazz artists have with pop standards, discovering new emotional and musical layers to the melodies. And that's the key to the record's success: Not only does it work as a companion piece to Painted From Memory, but it's a wonderful work in its own right that can be appreciated without knowledge of its predecessor.
~ Stephen Thomas Erlewine, All Music Guide
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