Hiram Bullock: Color Me (2001)

His album "Color me" proves Hiram Bullock's versatility - a stylistic crossover between Jazz, Soul, Pop, Rock and Funk. As a singer and guitarplayer Hiram does not like to be limited to being a mere Jazz- or Soul-musician. He labels himself pop-musician, a claim you easily accept regarding his volcanic stage-energy, the fun, devotion and love he radiates. He truly is a pop-musician - and on his very own way to get famous ...

Tracklist:
1. Cafe Luna 
2. Window 2 K 
3. Hurricane 
4. Ghetto Heaven 
5. Peace 
6. If Six Was Nine 
7. Give Me One Reason 
8. Color Me 
9. I'm Your Fool Tonight 
10. Your Face 
Personnel:

Hiram Bullock: Guitar, Vocals, Keyboards
Will Lee: Bass, Percussion
Clint de Ganon: Drums
Dave Delhome: Keyboards
with:
Katreese Barnes, Lalah Hathaway, Randy Brecker, David Sanborn, Kenny Kirkland, Poogie Bell, Don Alias, Jerry Gonzales, Ricky Rodriguez

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Mauri Sanchis: Groove Words (2009)

After starting an instrumental career with his first 2 albums and a DVD, Mauri sanchis begins his way as a lyricist on GROOVE WORDS, a superb mix of soul, blues, jazz, rock, funk, r&b, gospel and other styles that always defined his music.

The usual exposure of licks at the keyboards of his Hammond, Moog, Clavinet, Wurlitzer and Rhodes, is joined this time by the faboluos voices of US singers that will shock the public such as those of Keysha, Deveron Patterson o Roy Young.

Produced by Mauri Sanchis himself together with Dean Brown and mixed by grammy winner Bassy Bob, Groove Words has been recorded in 17 studios of 5 countries by 23 musician featuring international stars such as Randy Brecker, Chuck Loeb, Reggie Washington, Dean Brown and Spanish nationals such as Kepa Junkera, Javier Vargas and Sole Gimenez.

Official premiere of Groove Words has taken place on June, 27th, 2009, at the XII Festival Jazz San Javier by the Mauri Sanchis Super Band featuring US singers Karl Frierson, Danna Leese and Damon Robinson.

Tracklist:
1.Make it simple
2.The shark
3.On my way
4.Miles away
5.Don't look so sad
6.El Ghetto
7.More or less
8.Every little thing
9.Nana (Lullaby for Sergio)
10.Todo me lleva a ti

Personnel:MAURI SANCHIS - Hammond Organ, Moog, Clavinet, Rhodes Piano, Wurlitzer on all tracks

DEAN BROWN - Bass on all tracks except of 4 and 7. Guitars on all tracks
RANDY BRECKER - Lead Trumpet on 4
CHUCK LOEB - Lead Guitar on 7
SOLE GIMENEZ - Lead Vocals on 10
JAVIER VARGAS - 2nd Lead Guitar Solo on 6
KEPA JUNKERA - Trikitixa, Txalaparta and Harriak on 9
KEITH ANDERSON - Alto and Tenor Sax on 1,2,4,5,6
REGGIE WASHINGTON - Intro and outro Acoustic Bass on 9. Acoustic Bass on 4 and 7.
KARL FRIERSON - Intro Sermon on 5
KEYSHA - Lead Vocals on 2 and 5
DANNA LEESE - Rap on 5
DEVERON PATTERSON - Lead Vocals on 1 and 6. Backing vocals on other tracks.
ROY YOUNG - Lead Vocals on 8
BLAS FERNANDEZ - Drums on all tracks
INIGO CORCUERA - Bass on 6 and 8
JOSERRA ZAMORA - Tenor Sax on 1,2,4,5,6
MIGUEL SALVADOR - Intro and outro Guitars on 9
ROBERTO PACHECO - Trombone on 1,2,4,5,6
RUBEN SALVADOR - Trumpet on 1,2,4,5,6
CHRISPIN JUNIOR - Percussion on 4, 6 and 9
MANUEL TOMAS - Intro and Outro Loop on 1
LOUISE FLEMING - Backing Vocals on 1
KAREN DOMINO WHITE - Backing Vocals on 5
PUPILS AT MR JAM CMM - Claps on 1
BABY SERGIO SANCHIS - Laughter at intro and Heartbeat on outro on 9
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Mike Stern: All Over the Place (2012)

Since his days with Blood Sweat & Tears in the mid-1970s, followed by stints with Billy Cobham and Miles Davis band in the 80s, and a solo career that now spans more than 25 years, guitarist Mike Stern has used his jazz roots as a starting point for exploring a range of alternate territories that include R&B, rock, swing, funk, world music and numerous other regions along the musical topography. The recipient of Guitar Player magazine s Certified Legend Award for 2012, he s an artist who's not afraid to bring numerous styles and ideas however diverse into the same place just to see what happens.

All Over the Place is Stern s new recording on Heads Up International, a division of Concord Music Group. Set for release on June 19, 2012, the 11-song set aligns the characteristically diverse and adventurous guitarist with a cadre of brilliant guests, including trumpeter Randy Brecker; saxophonist Kenny Garrett; and drummers Dave Weckl, Keith Carlock and Lionel Cordew. Also on hand is a delegation of high-caliber electric and acoustic bass players: Esperanza Spalding, Richard Bona, Victor Wooten, Anthony Jackson, Dave Holland, Tom Kennedy, Will Lee and Victor Bailey.

I' ve been playing a lot of different kinds of great music with a lot of different musicians on some of my more recent records, says Stern, whose Big Neighborhood released on Heads Up in 2009 followed a similarly eclectic vibe. I love bebop, swing, rock, all the stuff that a lot of guitar players especially jazz players tend to include in their music. It s the nature of the instrument, but very much a part of my nature as well. There s a lot of music that really inspires me, and it usually covers quite a few territories.

The guitar tends to keep you open-minded, because you hear it in so many places, says Stern, listing many places he himself has ventured along the way not just on All Over the Place, but in earlier work as well. You hear it in rock, in country, in pop, in funk, in classical, you hear it in jazz, you hear it in so many kinds of music that you can immediately identify it on one level or another.

Stern is ready at a moment s notice to go to all of these places and more, and he s ready and willing to bring anyone along for the ride. Music, to me, is a language of the heart, he says. I hope people will get some emotional payoff from what I ve done on this recording. That s the vibe that I continue to go for with all of my music.

Tracklist:
01. AJ
02. Cameroon
03. Out Of The Blue
04. As Far As We Know
05. Blues For Al
06. OCD
07. You Never Told Me
08. Half Way Home
09. Light
10. Flipside
11. All Over The Place
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Brian Bromberg: Compared to That (2012)

Brian Bromberg is one of the top five bassists worldwide. The GRAMMY nominated bass player grew up in a world of jazz. He already performed in early years with area jazz bands and symphonies. Although some of his twenty solo albums are settled in the smooth jazz realm, his musical love was always devoted to straight ahead jazz. "I still love playing with straight-ahead jazz artists and I want to do more acoustic, mainstream jazz albums myself.”

Brian's new album Compared To That is such a mainstream jazz album, which also respects the desire for smooth jazz elements. The album was recorded live in between two days. Recording artists were beside Brian Alex Acuna, Gannin Arnold, Charlie Bisharat, Randy Brecker, Vinnie Colaiuta, George Duke, Bela Fleck, Mitch Forman, Larry Goldings, Jeff Lorber, Gary Meek and Tom Zink.

Fast paced, horn driven, bass loaded, that is the introducing Compared To That. Bromberg excels on Upright bass with impressive dexterity. Jeff Lorber brings with his signature piano virtuosity the piece to breathtaking highs.

With Rory Lowery, Private Eye Brian leans more to straight ahead jazz with a big dose of velocity. Swiftness is always a part of artistry and has its effect on the audience. If Ray Brown Was A Cowboy? is dedicated to the late Ray Brown, an outstanding bassist and recipient of innumerable awards. Brian performed this piece on acoustic bass at the Inn at Reading as part of the Berks Jazz Fest.

On Hayride Bromberg meets banjo great Bela Fleck and violin legend Charlie Bisharat. With all three the tune catches fire and the string arrangement delivers a tight emotional atmosphere. A Little New Old School presents the complete palette of sexy horns including Randy Brecker on trumpet and Gary Meek on tenor sax powered by a mighty horn section of five further prolific brass players. Jeff Lorber adds some dirty gritty atonal tones on keys, while Brian plays various infectious grooves on slap bass with greetings to Victor Wooten and Stanley Clarke.

Forgiveness is a well-respected social and religious behavior. Bromberg elected this great word for a melodic and melancholic acoustic piece with a high emotional aspect. Chicago's Does Anybody Really Know What Time It Is? gets a new swing with a excellent balance of pop and jazz. I'm Just Sayin' loves it straight and jazzy featuring Randy Brecker on muted trumpet. The tune has enough length to allow all musicians to expand on various soli.

The jazz fusion piece Eclipse showcases George Duke on piano and Brecker on flugelhorn. Bromberg describes the song as the darkest tune spiritually and stylistically as a New York jazz sound. Rick James' R&B song Give It To Me Baby finds a jazzy finish by mastermind Bromberg. Finally to mention is Gannin Arnold's superb guitar performance on those part of the album, which aren't played by Brian on piccolo bass.

With Compared to That Bromberg succeeds in recording an evenhanded mixture of pop and jazz, that will actually excite jazz purists.

Tracklist:

01. Compared To That [8:26]
02. Rory Lowery, Private Eye [9:54]
03. If Ray Brown Was A Cowboy? [6:36]
04. Hayride [7:30]
05. A Little New Old School [7:19]
06. Forgiveness [5:19]
07. Does Anybody Really Know What Time It Is? [4:52]
08. I'm Just Sayin' [7:42]
09. The Eclipse [8:59]
10. Give It To Me Baby [4:19]

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Bob Mintzer Big Band: The Art of the Big Band (1991)

Some Bob Mintzer fans may disagree with me but even though the Big Band ensemble here includes superb sidemen, an excellent technical recording/sound quality and an interesting rendition of Glenn Miller's "Moonlight Serenade" as well as some other very fine moments throughout especially on the festive "Brazilian Affair", the great Big Band workout on "Christopher Columbus", the smooth "Easy Living" and the jumpin' title track, the overall CD lacks a touch of adventure making the overall feel a bit stiffer with "safer" material than you would want to hear in order to make 1991's "The Art Of The Big Band" worthy of a "classic" 5-Star rating. 1988's "Spectrum", is 5-Star Mintzer Big Band at its best from top to bottom. That is more like it with a bit more adventure to spice it up to substantiate continued enjoyable interest even more over and over. Still however, "The Art Of The Big Band" is absolutely worth having in your collection.

Tracklist:
1. Without A Song 
2. Brazilian Affair 
3. Christopher Columbus 
4. Easy Living 
5. Art Of The Big Band 
6. Moonlight Serenade 
7. Elvin's Mambo 
8. Weird Blues 
9. Paul's Call 
10. But Not For Me

Personnel:
Trupmets: Marvin Stamm, Randy Brecker, Laurie Frink, Bob Millikan
Trombones: Dave Bargeron, Keith O'Quinn, Mike Davis, Dave Taylor (Matt Finders (2,3,8,9)
Woodwinds: Bob Mintzer, Peter Yellin, Lawrence Feldman, Scott Robinson, Roger Rosenberg
Rhythm: Phil Markowitz (piano), Lincoln Goines (electric bass), Michael Formanek (acoustic bass), Peter Erskine (drums), John Riley (drums; 5,9,10), Frankie Malabe (congas), Chuck Loeb (guitar)

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Brecker Brothers: Brecker Bros. (1975)

First date for brothers from 1975. Side one is solid jazz/funk/fusion. They called it "skunk-funk." With David Sanborn (as) and Don Grolnick (k).

Tracklist:1 Some Skunk Funk - Brecker 5:52
2 Sponge - Brecker Brothers, Brecker 4:06
3 A Creature of Many Faces - Brecker Brothers, Brecker 7:43
4 Twilight - Brecker 5:45
5 Sneakin' up Behind You - Brecker, Brecker, Grolnick, Lee… 4:55
6 Rocks - Brecker Brothers, Brecker 4:40
7 Levitate - Brecker 4:33
8 Oh My Stars - Brecker 3:16
9 D.B.B. - Brecker 4:46

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Bob James: Obsession (1986)

As usual, Bob James is joined by an all-star cast on this 1986 release. Steve Khan, Marcus Miller, Randy and Michael Brecker, saxophonists Andy Snitzer and Kirk Whalum, Jon Faddis, and vocalist Lisa Fischer all lend their talents to this R&B flavored recording. The seven tracks blend smoothly together, delivering something approaching the more packaged and produced '90s Bob James sound.

Tracklist:
01. Obsession 6:04
02. Gone Hollywood 6:11
03. 3 A.M. 5:24
04. Rousseau 6:01
05. Rain 6:53
06. Steady 5:41
07. Feel The Fire 4:32
Personnel:
Bob James - keyboards, programming
Marcus Miller - bass
Michael Brecker - saxophone, EWI
Steve Khan - guitar
Kirk Whalum - saxophone
Jon Faddis - trumpet
Randy Brecker - trumpet
Andy Snitzer - saxophone
Nicky Moroch - guitar
Lenny White - drum Programming
Michael Colina - programming, drum programming
Sharon Bryant - Vocals
Renee Diggs - vocals
Lisa Fischer - vocals
Vaneese Thomas - vocals
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Bob Mintzer: Source (1982)

Source is Bob Mintzer's second album as a leader. Recorded in 1982 for the Cheetah label, it was previously released only in Japan. Source was recorded with an alternating larger ensemble that includes in various places keyboardists Don Grolnick and Mark Gray, guitarist Hugh McCracken, bassists Jaco Pastorius (with whom Mintzer had tenured on the Word of Mouth big band LP), and Will Lee, drummers Peter Erskine and Brian Brake, and horn players Lew Soloff, Randy Brecker, and Alan Rubin, among others. In many ways this foreshadows the work that Mintzer would do with the Yellowjackets eight years later. It's sheeny studio jazz-funk and contemporary knotty big band work. This set contains a number of vocal performances by Carter Cathcart, on the soulful opener "Late Night with You," and the now dated funk of the title cut -- it's the vocoders, the compressed saxophone sound and particularly, the flat drums. This isn't a stellar date by any stretch of the imagination, but hearing Pastorius on the title cut redeems it somewhat. There is also the Afro-Latin groove on "I Don't Know" which has teeth and a killer arrangement, but the production is a little sterile. "Mr. Fone Bone" fares far better with Pastorius and a melody that could have been written by him and performed by Weather Report. Grolnick's B-3 underneath all those horns is particularly wonderful. Mintzer begins a solo only to interrupt it with a knotty horn arrangement that changes the color of the tune while it cooks on the strength of the rhythm section. It's the album's best moment. "Centering" is a small group ballad with a lovely solo from Mintzer on tenor. The final cut, "Spiral," begins almost classically with the winds and horns playing delicately before opening into a funky jazz romp, again with Pastorius' bass leading the charge. But the tune doesn't stay there; it's nuanced, with an assortment of textures and dynamics that make it one of the great exercises of restraint in Mintzer's career. It's a fine finish. Musically, there is a lot to enjoy here, and if the '80s over-production doesn't get in your way as a listener, it's easy to recommend this.

Personnel: Bob Mintzer (vocals, piccolo, clarinet, bass clarinet, tenor saxophone, drums, background vocals); Randy Brecker (horns); Don Grolnick (keyboards); Jaco Pastorius (electric Bass); Will Lee (electric bass); Frank Malabe, Manolo Badrena, Frank Malabe (percussion); Corey Davidson (programming); Carter Cathcarte (background vocals); Hugh McCracken, Bill Washer (guitar); Carl Poole (flute); Tom "Bones" Malone, Alan Raph (trombone); Alan Rubin, Lew Soloff (horns); Mark Gray (keyboards); Tom Barney (electric bass); Peter Erskine, Brian Brake (drums); Chuggy Carter (percussion); Lillias White (background vocals).

Tracklist:
1 Late Night With You   
2 Don't Lock the Door   
3 Source   
4 I Don't Know   
5 Mr Fone Bone
6 Centering   
7 Spiral
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[BY REQUEST] - Joe Farrell: La Catedral Y El Toro (1977)

Signed to Warner Bros. in 1977, Farrell, who had been a valued sideman, had also released a few albums under his own name. On CTI, he released albums like Moon Germs, Song of the Wind, and Outback. But like many artists of his type, he was only as good as his producers and the album's premises. Ralph McDonald and William Eaton produced La Catedral Y El Toro. Despite the authoritative title, this is a fairly standard fusion set. The title track aims for Chick Corea-like expansion and excitement, but the production renders it listless, even Stanley Clarke's bass solo sounds enervated. "Promise Me Your Love" is trademark low-key and soothing McDonald and Eaton, with guitarist Eric Gale and Richard Tee's keyboards ably assisting Farrell's fluid soprano and tenor sax solos. Even halfway before it's over, it's apparent that La Catedral Y El Toro's most notable facet is how it squanders the eye-popping talent and Farrell's gifts. "Cyclone Rider" and Patti Austin's "Is It Asking Too Much" both feature Farrell as little more than a bystander on his own album. The final track, "Imagine Me," is a feather light offering featuring his often-captivating flute work falling into off notes and lack of energy. La Cathedral Y El Toro also features the talents of bassist Anthony Jackson and drummer Steve Gadd, among others. This 1977 effort is a case of Farrell not clicking with his producers, and that fact makes this less than recommended.

Tracklist:
A1 La Catedral Y El Toro - Drums [Orchestra Snare Drum] – Chris Parker (2), Guitar – Jay Berliner, Piccolo [Bass] – Stanley Clarke, Saxophone [Soprano] – Joe Farrell, Synthesizer – Kenneth Bichel* 9:52
A2 Promise Me Your Love - Saxophone [Soprano, Tenor] – Joe Farrell 4:32
A3 Disco Dust - Percussion [Additional] – Rubens Bassini, Saxophone [Tenor] – Joe Farrell 4:37
B1 Cyclone Rider - Saxophone [Tenor] – Joe Farrell, Synthesizer [Mini-moog] – Dave Grusin 6:06
B2 Is It Asking Too Much - Flute, Oboe – Joe Farrell 6:02
B3 Imagine Me - Flute – Joe Farrell, Percussion [Additional] – Rubens Bassini 6:04
Personnel:

Arranged By, Conductor – William Eaton
Bass – Anthony Jackson
Congas, Percussion – Ralph MacDonald
Drums – Steve Gadd
Engineer – Richard Alderson
Engineer [Assistant] – Eddie Heath Jr.*
Guitar – Eric Gale
Horns – Alan Rubin, Barry Rogers, Brooks Tillotson, Dave Taylor*, George Young (2), Jim Buffington, Michael Brecker, Paul Faulise, Randy Brecker, Ray Alonge, Ronnie Cuber, Tony Miranda, Tony Price (2), Victor Paz
Mastered By – George Marino
Mixed By – Ralph MacDonald, Richard Alderson, William Eaton
Piano – Richard Tee
Producer – Ralph MacDonald, William Eaton
Strings – Alan Shulman, Alfred Brown, Avram Weiss, Charles Libove, David Nadien, George Duvivier, Harry Cykman, Joe Malin, Julien Barber, Kermit Moore, Max Ellen, Max Pollikoff, Regis Iandiorio, Sanford Allen, Selwart Clarke

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John Tropea: A Short Trip To Space (1977)

One of the best fusion albums of the '70s! I picked this up on LP right after it went out of print and then proceeded to grab about 15 copies of it whenever I could find it cheap. I never thought it would come out on CD, but there it was a few years ago. Thank you, Japan! The cover artwork by Larry Laslo is really cool (from a time when cover art meant something), and the music is great if you like jazz fusion with an emphasis on melody. Tropea is at his best here, with great melodies like Skip Scarborough's "Can't Hide Love," Don Grolnick's "You Can't Have It All," and Tropea's own "Blue Too" (one of my all-time favorites) and "Short Trip to Space," a fascinating and complex tune that actually sounds like its title. The production is excellent, with a double-drum setup featuring Steve Gadd and Rick Marotta on most of the tunes that adds a lot of depth to the sound. Boosting the treble on your system will help this set sound even better. One detraction: "The Funk You See Is the Funk You Do" is not the LP version but a hacked up single version with very noticeable edits. It's not a great loss, although the tune is rather amusing and it sounds better in its complete form.

Tracklist:
1. The Funk You See, Is The Funk You Do
2. Can't Hide Love
3. Southside
4. You Can't Have It all
5. Short Trip To Space
6. Blue Too
7. Love's Final Moment
8. Twist Of The Wrist

All song arranged and orchestrated by John Tropea, except "You Can't Have It All" arranged by Don Grolnick, orchestrated by John Tropea, "Blue Too" arranged by John Tropea, strings and horns orchestrated by David Spinozza, "Love's Final Moment" arranged and orchestrated by Mike Mainieri, "Twist Of The Wrist" arranged and orchestrated by David Spinozza

Personnel:

guitar : John Tropea 
keyboards : Don Grolnick, Leon Pendarvis 
vibes : Mike Mainieri 
bass guitar : Will Lee 
acoustic bass : Richard Davis 
drums : Rick Marotta, Steve Gadd 
percussion : Rubens Bassini, Ralph MacDonald 
Michael Brecker : tenor saxophone solo 
Randy Brecker : trumpet solo 
harp : Margaret Ross 
vocals : Ron Cartalemi, Jeffrey Kawalek, Will Lee, John Tropea 
background vocals and hand claps : Charlie Blackwell, Duncan Cleary, Brian Drake, Bruce Goldberg, Bill Guerra, Lani Groves, Will Lee 
horn section I
(except 3,7)  : Alan Rubin, Jon Faddis, Randy Brecker (trumpet, flugelhorn), Lewis Del Gatto, Michael Brecker, George Young, Lou Marini (reeds), Tony Price (tuba), Dave Taylor, Sam Burtis (trombone) 
horn section II
(on 3)  : Lou Del Gatto (flute), Elen Sieling (trumpet), Jeanne Dindberg (alto saxophone), Jeff King (tenor saxophone) 
horn section III
(on 7) : Lewis Del Gatto (english horn), Ron Jannelli (bassoon), George Young (flute), Jim Buffington, Earl Chapin (french horn)
string section : Gene Orloff, Kermit Moore, Jessy Levy, Joe Malin, Aaron Rosand, Selwart Clarke, Theodore Israel, Noel Da Costa, Guy Lumia, Gerald Tarack, Lewis Eley, Peter Dimitriades

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Peter Erskine: Sweet Soul (1991)

Six of the 11 selections on this CD (most of which were written by drummer Peter Erskine, Vince Mendoza, or Kenny Werner) feature Joe Lovano on tenor (and in one instance soprano) in a quartet with pianist Werner, bassist Marc Johnson, and Erskine; Lovano (who would soon hit it big) already sounds quite mature and creative. Three of the other numbers have slightly larger groups (with guitarist John Scofield, tenor saxophonist Bob Mintzer, and trumpeter Randy Brecker appearing on some of the cuts), Dave Brubeck's "In Your Own Sweet Way" is taken by the Werner-Johnson-Erskine trio, and the brief "But Is It Art?" is a drum solo. Throughout the date, the solos uplift the material and make this CD a worthy purchase for listeners who enjoy challenging but sometimes accessible post-bop music.

Tracklist:
01. Touch Her Soft Lips And Part 6:58
02. Press Enter 8:24
03. Sweet Soul 9:41
04. To Be Or Not To Be 9:18
05. Ambivalence 4:58
06. Angels And Devils 6:05
07. Speak Low 5:48
08. Scolastic 7:40
09. Distant Blossom 6:20
10. But Is It Art? 2:00
11. In Your Own Sweet Way 7:03
Personnel:
Peter Erskine - drums
Marc Johnson - bass
John Scofield - guitar
Bob Mintzer - tenor sax
Kenny Werner - piano and synths
Joe Lovano - tenor and soprano saxes
Randy Brecker - trumpet
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The Doky Brothers: ST (1995)

The Doky Brothers were a straight-ahead mainstream jazz duo that emerged in the mid-'90s with a pair of albums for Blue Note. The group's music was straight out of the hard bop traditions of the '60s, balanced by flourishes of contemporary production and fusion.

This release sounds contemporary in spots due to the prominence and virtuosity of bassist Chris Minh Doky (who sometimes shares in the melody statements), two appearances by Michael and Randy Brecker, the fact that the flavor of Chick Corea and Herbie Hancock (along with Oscar Peterson and Vince Guaraldi) can be heard in pianist Niels Lan Doky's spirited solos, and the inclusion of a song apiece by Jaco Pastorius and Carole King. However, the music should mostly be of interest to modern mainstream collectors due to the strong playing of the co-leaders. The vocals of Curtis Stigers (a straightforward "My One and Only Love") and Deborah Brown (a swinging "I Feel Pretty") give the set some variety as does the changing instrumentation, and even the occasional melodic poppish numbers are generally enjoyable. Although he does not yet have a distinctive sound, pianist Niels Lan Doky is an obvious up-and-coming talent, making this diverse CD recommended overall.

Tracklist:
01. While We Wait 5:53
02. Summertime 6:32
03. My One and Only Love 5:34
04. Children's Song 6:00
05. Teen Town 4:00
06. Hope 6:19
07. Fearless Dreamer 6:59
08. You Never Know 3:43
09. I Feel Pretty 4:11
10. A Natural Woman (You Make Me Feel Like) 6:05
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The Doky Brothers: 2 (1997)

The Doky Brothers, Vol. 2 pales slightly in comparison to the duo's first release, but the album remains a fine example of contemporary mainstream jazz due to the exceptional playing of pianist Niels Lan Doky and bassist Chris Minh Doky.

Tracklist:
01. How Can I Help You Say 4:29
02. Man In The Mirror 5:20
03. Forever Grateful 5:23
04.Tender Lies 5:18
05. Efter Festen 8:08
06. Waiting In Vain 5:06
07. Sex Pots 2:50
08. Silent Prayer 5:32
09. Reminiscence 4:26
10. Waiting On You 4:55
11. If You Were My Man 4:49
12. Time To Say Goodbye 3:09
Personnel:
Niels Lan Doky - acoustic piano
Chris Minh Doky - bass
Al Jarreau - vocal on track 1
John Scofield - guitar on track 2
Jeff "Tain" Watts - drums on track 10
Trilok Gurtu - tabla on tracks 6,7
David Sanborn - alto saxophone on track 11
Randy Brecker - trumpet on track 12
Darryl Munyungo Jackson - percussion on track 6
Gino Vannelli - vocal and guitar on track 4, percussion
Toots Thielemans - harmonica on track 9
Dianne Reeves - vocal on track 6
Bill Evans - soprano saxophone on track 8
Sanne Salomonsen - vocal on track 11
Terri Lyne Carrington - drums, percussion, cymbal
Alex Riel - drums
Paul Mazzio - trumpet on track 4
Xavier Dessandre-Navarre - percussion on tracks 2, 3, 7
Jeff Boudreaux - drums
Mitch Forman - organ on track 11
Joyce Imbesi - keyboards
Randy Cannon - keyboards
Louis Winsberg - guitar
Chris Parks - guitar
Anders Mogensen - cymbal roll on track 4
Sharon Fuller - background vocal on track 11
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Jeff Lorber Fusion: Galaxy (2012)

It was in 2010, with the CD ‘Now Is The Time’, that Jeff Lorber revisited the sound that he had helped to pioneer. This return to jazz fusion was heralded with critical acclaim and now, for part two, he is back with ‘Galaxy’. Full of the same funk driven energy that was a feature of ‘Now Is The Time’, and with the likes of Eric Marienthal, Jimmy Haslip and Lenny Castro all involved, ‘Galaxy’ is a wonderful throwback to the halcyon days of jazz fusion. Not only that, this 21st century version of the Jeff Lorber Fusion includes contributions from trumpeter Randy Brecker, guitarists Paul Jackson Jr. and Larry Koonse plus drummers Vinnie Colaiuta and Dave Weckl. With eleven original compositions, including four tracks from the Jeff Lorber Fusion’s early catalogue, ‘Galaxy’ really is something to savor.

Lorber make an early statement of his funky intent with the zesty ‘Live Wire’ which not only provides a fine showcase for the percussive power of Vinnie Colaiuta but also runs to an intoxicating seven minutes in length. That said, there is magic in every second of it and much the same can be said of the intense title cut which is a perfect example of the tight, high octane performances that can be found throughout.

In similar vein is the all consuming ‘Rapids’ and, although the swaggering ‘Big Brother’ serves to recapture some of the buzz that one associates with the best examples of early contemporary jazz, ‘The Underground’ proves to be an invigorating extravaganza of the highest order.

The Latin influenced ‘The Samba’ first appeared on the 1987 album ‘Soft Space’ while ‘City’ is a reworking of the track that originally appeared on the JLF 1980 long player ‘Wizard Island’. When Lorber returns to this same collection for the velvety title tune he contrives to make it sound brand new and elsewhere Lorber uses the jazzy ‘Horace’ to a tip a hat to the legendary Horace Silver.

When, occasionally, Lorber notches down the tempo, the result is as pleasing as it is surprising and this is particularly so with the edgily mellifluous ‘Singaraja’ which is right up there with the album’s best. Yet, in the final analysis, ‘Galaxy’ is all about the funk and with ‘Monserrat’ Lorber delivers a number that, courtesy of a tasty brass infusion, sizzles from beginning to end.

‘Galaxy’ is due for release January 31, 2012, on Heads Up International, a division of Concord Music Group and looks set to cement Lorber’s legendary status within the genre of contemporary jazz.

Tracklist:

1. Live Wire
2. Big Brother
3. Montserrat
4. Singaraja
5. Galaxy
6. City
7. Horace
8. The Samba
9. Rapids
10. Wizard Island
11. The Underground

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Randy Brecker With The Danish Radio Big Band: he Jazz Ballad Song Book (2011)

On The Jazz Ballad Song Book, trumpeter Randy Brecker, the Danish Radio Big Band and Danish National Chamber Orchestra approach the slow, wistful side of this repertoire as one dimension among others. They expand their view outside of standards to include film works, lesser-known tunes and original compositions.

As featured soloist, Brecker displays the colossal tone, impeccable chops and searching impulses that have gifted bands from those led by pianist Horace Silver to singer Bruce Springsteen. His drive makes "All Or Nothing At All" a demand rather than a lament. He stretches out harmonically on his own tunes, with a funky bridge on "Foregone Conclusion" and a spacious theme for "I Talk To The Trees." More traditional ballad settings on "Cry Me A River" and "Skylark" showcase tenderness without sentimentality especially on "Skylark," where Brecker recasts the melody in disillusioned long tones.

Brecker stays extroverted, even as the intimacy of trumpeter Miles Davis' 1961 Columbia recording looms over "Someday My Prince Will Come" (down to Wynton Kelly's piano solo, orchestrated for strings and woodwinds). After a clear melody statement, Brecker opens up with packed runs and dejected crushes of dissonance. Per Gade's milky guitar is an effective foil, taking as much pleasure dipping into the lower register as it does sailing into higher, Wes Montgomery-inspired territory. Jesper Riis' arrangement also explores contrasts between bitter undertones in the strings and some Nelson Riddle-style shouting from the band.

Textured charts surround the trumpet heavyweight, flawlessly interpreted by the Danish groups and rarely settling into predictable accompaniment. Several soloists from the DR Big Band also get their own impressive say. Icy violins, biting sax counterpoint and a hard-edged swing on trombonist Peter Jensen's setting of "All Or Nothing At All" torch any sentimental associations of the tune. Pelle Fridell's baritone sax is heard in both half-time and double-time passages, along with allusions to modernist composers during an ominous deconstruction in triple meter. Occasionally some arrangements rely upon cliche, for example the syrupy, vibrato-laden violins of "The Immigrant/Godfather" or the rhythmic but otherwise generic introduction to "Goldfinger," where John Barry's theme proves better suited for screen heroics than studio improvisation.

Yet these moments are few and far between original touches such as a chirpy piccolo leading the elephantine ensemble on "The Immigrant/Godfather," the sleek surfaces of "I Talk To The Trees" or trombonist Vincent Nilsson's arrangement of the little heard but affecting "This Is All I Ask." Following Henrik Gunde's piano, two tightly muted trumpets weave around Brecker's open horn, with dark tuba and tapping triangle underneath. The effect is uncluttered, silken but strong, and builds beautiful tension, before the release of lush strings. When Brecker steps back from double-time for a few halting notes, the effect is similarly arresting. Peter Fuglsang's smooth alto sax dueting with Brecker makes an ideal coda.

Thelonious Monk's beloved "Round Midnight" is a fitting end to any collection of ballads. Here it sports the slowest tempo on the disc, as well as the catchiest swing. The massive, transparent ensemble and Brecker's subtle yet dynamic reimagining also sum up this album's strengths (even if the superfluous Latin feel also points to its occasional excesses). The Jazz Ballad Song Book strikes a satisfying balance between re-imagined standards, tasteful explorations and straightforward big band brawn.

Tracklist:

1 All Or Nothing
2 Cry Me A River
3 Someday My Prince
4 Foregone Conclusion
5 Goldfinger
6 Skylark
7 I Talk To The Trees
8 This Is All I Ask
9 The Immigrant
10 Round Midnight

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Randy Brecker: Toe to Toe (1990)

Randy Brecker is essentially a fine hard bop trumpet soloist, but one versatile enough to fit into nearly any setting, including in the pop world, funk bands, and electronic fusion. He studied classical trumpet and attended Indiana University. Brecker was with Blood, Sweat & Tears in 1967, and spent 1968-1969 playing with Horace Silver's quintet. He also appeared with the big bands of Clark Terry, Duke Pearson, Frank Foster, and the Thad Jones/Mel Lewis orchestra. After playing with the early fusion group Dreams in 1969, he worked with Larry Coryell's Eleventh House and Billy Cobham, in addition to keeping very busy with studio work. He teamed up with Michael Brecker in the popular funk-oriented Brecker Brothers (1974-1979); in the '80s he often collaborated with his wife, pianist/vocalist Eliane Elias; and in the '90s he toured with the reunited Brecker Brothers. But Randy Brecker still sounds best when in a freewheeling bebop combo, and fortunately he occasionally records in that type of spontaneous setting.

Tracklist:
1.Mr. Skinny [Brecker] 5:36
2.Trading Secrets [Brecker] 5:10
3.It Creeps up on You [Brecker] 4:53
4.The Glider [Brecker] 6:04
5.Toe to Toe [Brecker] 4:54
6.It's up to You [Brecker] 5:50
7.What Is the Answer [Brecker] 4:41
8.Lost 4 Words [Brecker] 6:14
Personnel:
Victor Bailey - Bass (Electric)
Jim Beard - Arranger, Bass, Drum Machine, Drum Programming, Keyboards, Mixing, Producer
Regina Belle - Vocals (Background)
Michael Brecker - Sax (Tenor)
Randy Brecker - Arranger, Electric Trumpet, Flugelhorn, Mixing, Producer, Trumpet, Vocals
Dennis Chambers - Drums, Drums (Snare)
Dag Haeggqvist Executive Producer
Jon Herington Guitar
Bashiri Johnson - Percussion
Darryl Jones - Bass
Mark Ledford - Arranger, Vocals, Vocals (Background)
Bob Mintzer - Clarinet (Bass)
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Randy Brecker: Randy in Brazil (2008)

Perhaps unfairly overshadowed by his brother, the late saxophonist Michael Brecker, Randy Brecker has, nevertheless been one of the most significant trumpeters of the past forty years. While his small discography as a leader contains as many misses as it does hits, he's brought a unique voice to countless sessions, working with everyone from Horace Silver, Steve Khan and John Scofield to Steely Dan, Parliament and Frank Zappa, not to mention redefining the concept of fusion as co-leader of The Brecker Brothers. Brecker's tone- -a curious combination of warmth and bite—and a harmonic approach that, like Scofield, manages to tread the fine line between the in and the out, all the while possessing a keenly constructed melodic sense, makes him immediately recognizable in any context. Recorded in Brazil with a large cast of talented players, Randy in Brasil is Brecker at his most accessible, with style and substance on equal footing.

The lack of a core group often results in a generic sound that looks to the leader for definition, and Brecker's voice clearly gives Randy in Brasil its primary focus. Still, the participation of keyboardist/producer/arranger Ruria Duprat and guitarist Ricardo Silveira on all tracks lends

the session a cohesion most "cast of thousands" projects lack. The material is largely culled from popular Brazilian writes including Djavan, Gilberto Gil, Ivan Lins and Joao Bosco, though Brecker's two contributions—the breezy ballad "Guaruja" and up-tempo, samba-esque yet characteristically funkified "Sambop"—fit seamlessly into the program.

The Brecker Brothers often dabbled with broader cultural styles, and Brecker is no stranger to Brazilian music having guested with Flora Purim, Joao Donato and Hector Martignon. Most remarkable about Randy in Brasil is perhaps how he places a firm stamp on the music, with a sometimes pervasive Brecker Brothers vibe despite the lack of a rhythm section on most tracks. Duprat's appreciation for Brecker's distinct horn voicings makes Lins' funky, synth bass-driven "Aiaiai" feel, in fact, as if it were drawn straight from The Brecker Brothers' songbook.

Equally, Brecker adapts effortlessly to the cadence of Brazilian rhythmic forms like bossa nova and samba. There's no denying the Brazilian groove of Gil's bright "Ile Aye," the contemporary vibe of Djavan's "Me Leve" or the light, airy feel of Bosco's "Olhos Puxados." Throughout, Brecker

solos with attention to the tune's melodic and percussive essence—navigating his own winding changes on "Sambop" as he constructs a solo of narrative perfection that demonstrates his full range, and displaying equal focus but greater lyrical simplicity on "Olhos Puxados."

As a leader, Brecker's albums have sometimes lacked a clear focus or, in the case of Hanging in the City (ESC, 2001), a misplaced one with his vocal alter-ego Randroid. With its lush sound, beautiful song choices and ideal mesh of Brazilian culture and Brecker's singular voice, Randy in Brasil stands as one of his finest—if not the finest—albums in his long and varied career.

Personnel: Randy Brecker: trumpets; Paulo Calazans: acoustic piano (1, 5, 8), keyboards (8); Ruria Duprat: keyboards (1-3, 5-8, 10-12), acoustic piano (4, 9), Fender Rhodes (12), clavinet (12), voice (2); Ricardo Silveira: acoustic guitar (1, 3, 5-11), electric guitar (1, 2, 4, 6, 9, 12); Sizao Machado: acoustic bass (1, 3, 4, 6, 7, 9, 10), electric bass (2, 8, 12); Teco Cardoso: soprano saxophone (1, 4, 9, 12); alto saxophone (2, 4, 12), tenor saxophone (2, 6, 12), baritone saxophone (2, 6), saxophone (3), G-flute (5), flute (8); Da Lua: percussion (1-3, 11, 12), timba (1); Andre Mehmari: acoustic piano (3, 6, 7); Robertinho Silva: drums (4, 6, 8); Joao Parahyba: percussion (4, 6, 8-10), timba (6, 8-10); Caito Marcondes: percussion (5, 7); Gilson Peranzetta: acoustic piano (11); Rogerio: acoustic bass (11); Edu Ribeiro: drums (12); Rubinho Ribeiro: voice (6).

Tracklist:

1. Pedro Brasil 4:30
2. Ilê Ayê 4:19  
3. Guaruja 6:04  
4. Me Leve 4:23  
5. Malásia 5:31  
6. Sambop 5:12   
7. Oriente 3:31  
8. Maçã 3:50   
9. Olhos Puxados 4:27   
10. Rebento 5:15  
11. Fazendo Hora 4:21  
12. Aiaiai 5:03

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[Re-Post] Randy Brecker: In the Idioms (1987)

This Denon CD has one of trumpeter Randy Brecker's infrequent straightahead dates and is one of his strongest recordings. Teamed up with tenor saxophonist Joe Henderson, pianist David Kikoski, bassist Ron Carter and drummer Al Foster, Brecker performs eight of his own compositions. These range from the early-'60s funk of "No Scratch" and the tricky "Hit or Miss" to the ballad "You're in My Heart" and the fairly free "Little Miss P"; the best title is "There's a Mingus a Monk Us!" This Japanese import is worth searching for.

Tracklist:

1. No Scratch 
2. Hit Or Miss 
3. Forever Young 
4. Sang 
5. You're In My Heart 
6. There's A Mingus A Monk Us 
7. Moontide 
8. Little Miss P 

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