Stanley Jordan

Stanley Jordan - Magic Touch - 1985 - Blue Note

Calculated to take the world by storm, this set includes Jordan tackling jazz standards (Thelonious Monk's "Round Midnight," Miles Davis' "Freddie Freeloader"), pop tunes (The Beatles' "Eleanor Rigby") and Jordan originals. About half the tracks are Jordan unaccompanied, while the rest are mostly drums and bass. His interpretations are consistently interesting: "Round Midnight" is played in 3/4, and "Eleanor Rigby" is gritty and charged after its atmospheric opening. His playing on Jimi Hendrix's ballad "Angel" is lovely, the best cover of a Hendrix tune I've ever heard (and I've heard many). His originals are catchy but lack depth ("All The Children") - the most experimental touch is the African rhythms on "Return Expedition." And "The Lady In My Life" lacks verve; it's uninteresting pop/fusion. (© DBW) http://www.warr.org/jordan.html#MagicTouch

This debut record from Stanley Jordan features the guitarist's extraordinarily idiosyncratic tapping technique on a variety of material. Jordan's revolutionary approach to the instrument, consisting of striking the fretboard with both hands to sound notes, allows him access to musical possibilities that are simply out of the reach of other guitar players. It is in his hands that the guitar attains a level of self-accompaniment formerly held only by the piano. Fortunately, Jordan puts his prodigious chops to good use making good music. One area in particular in which he is terrifically talented is in the reinterpretation of modern pop material. His version of the Beatles' "Eleanor Rigby," accompanied only by the subtle percussion of Sammy Figueroa, dismisses the British melancholy of the original for a light-as-air interpretation that brings out the playfulness in the melody. Also impressive is Jordan's cover of Michael Jackson's "The Lady in My Life," which the guitarist gives a smooth, sultry reading. On the flip side, Jordan also proves that he is not out of touch with the history of jazz, with delightful versions of "Freddie Freeloader," "'Round Midnight," and "A Child Is Born." The guitarist's sidemen, who include drummers Omar Hakim and Peter Erskine, are all seasoned professionals, and they play well, but no matter how good the group performances on Magic Touch are, they are no match for the shocking polyphony of Jordan's solo material. It is there that the record really comes alive. Jordan's later albums were not to capitalize on the promise shown on his debut, but in Magic Touch the guitarist had something truly special. An instant classic, and one of the definitive moments of modern jazz guitar. © Daniel Gioffre © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/magic-touch-mw0000649595

Warning: do not be deceived. Despite what your ears might tell you, there is only one guitarist on "Magic Touch". And there are no guitar overdubs whatsoever. This may be somewhat difficult to grasp upon first hearing since there are clearly separate and independent guitar lines on the ten cuts herein. Bill Milkowski writes, "While some guitarists (Eddie Van Halen, Adrian Belew, Frank Marino) have already toyed with two-handed hammer-on effects as a means of embellishing pyrotechnic guitar solos, no one has pursued the potential of this revolutionary approach with as much purpose and dedication as Stanley Jordan. Rather than relying on the tapping technique for mere ornamentation, he has evolved a fully-realized theory that has become the basis for his unique voice. Jordan proves on this auspicious debut that he is indeed a sensitive artist and a bold pioneer." © 1996-2012 Guitar Nine All Rights Reserved http://www.guitar9.com/magictouch.html

Outstanding pop fusion/"smooth" jazz album from the low profile but brilliant Chicago born guitarist, Stanley Jordan. Daniel Gioffre of AllMusic said that "In Magic Touch the guitarist had something truly special. An instant classic, and one of the definitive moments of modern jazz guitar." Wikipedia says that "After Jordan's unique technique and obvious musicianship thrust him into the spotlight, he became frustrated with market constraints and demands placed on him and his music. Several music factions wanted to claim the Jordan sound as its own and encouraged him to follow in the track of other artists. In the early 1990s, Jordan was upset with the rigid adherence to previously-entrenched musical categories and the limitations usually placed on artists by major labels. Stanley Jordan abandoned his management team and went into deep study of music therapy and is now a member and spokesperson for the American Music Therapy Association". Try and listen to Stanley's 1982 "Touch Sensitive" album [All tracks @ 320 Kbps: File size = 100 Mb]

TRACKS / COMPOSERS

1 Eleanor Rigby - Lennon & McCartney 7:00
2 Freddie Freeloader - Miles Davis 6:03
3 Round Midnight - Thelonious Monk 5:03
4 All The Children - Stanley Jordan 5:00
5 The Lady In My Life - Rod Temperton 6:25
6 Angel - Jimi Hendrix 4:11
7 Fundance - Stanley Jordan 2:33
8 New Love - Stanley Jordan * 5:35
9 Return Expedition - Stanley Jordan 8:00
10 A Child Is Born - Thad Jones 3:33

N.B: Not included on original vinyl release

MUSICIANS

Stanley Jordan - Guitar
Wayne Brathwaite - Electric Bass
Charnett Moffett - Acoustic Bass
Onaje Allan Gumbs - Keyboards
Peter Erskine, Omar Hakim - Drums
Sammy Figueroa, Bugsy Moore - Percussion
Al di Meola - Cymbals

SHORT BIO

Stanley Jordan's discovery in the early '80s rightfully earned a lot of headlines in the jazz world as he came up with a new way of playing guitar. Although he was not the first to use tapping, Jordan's extensive expertise gave him the ability to play two completely independent lines on the guitar (as if it were a keyboard) or, when he wanted, two guitars at a time. He had originally studied piano, although he switched to guitar when he was 11. After graduating from Princeton in 1981, Jordan played for a time on the streets of New York. Soon he was discovered, had the opportunity to play with Benny Carter and Dizzy Gillespie and, after recording a solo album for his own Tangent label, signed with Blue Note. Since then, his career has been surprisingly aimless. Stanley Jordan can play amazing jazz, but he often wastes his talent on lesser material, so one has to be picky in deciding which of his recordings to acquire. Among his many albums are 1985's Magic Touch, 1986's Standards, Vol. 1, 1990's Stolen Moments, 1994's Bolero, 2003's Dreams of Peace, and 2008's State of Nature. In 2011, Jordan was joined by an all-star lineup featuring saxophonist Kenny Garrett, trumpeter Nicholas Payton, bassist Christian McBride, and drummer Kenwood Dennard for the album Friends. © Scott Yanow © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/stanley-jordan-mn0000011910

Louis Stewart, Martin Taylor

Louis Stewart, Martin Taylor - Acoustic Guitar Duets - 1986 - Livia Records

"Extraordinary high levels of focused, deep, creative playing... Louis Stewart must be considered one of the instruments' world class players." - Downbeat Magazine

"Martin Taylor is one of the most awesome solo guitar players in the history of the instrument. He's unbelievable."- Pat Metheny

If you've never heard of the veteran Irish jazz guitarist, Louis Stewart, then check this album out. Louis is one of the world's greatest jazz guitarists. He is up there with players of the calibre of Larry Coryell, John McLaughlin, the late Emily Remler, Jeff Golub, and many more. On "Acoustic Guitar Duets" he plays with one of the most highly regarded guitarists in jazz, the brilliant Martin Taylor. Ten tracks are covered with expert ease. Check out the cover of Charlie Parker's "Billie's Bounce". These guys make jazz guitar sound easy. The duo play with a wonderful, delicate subtlety, incredible flair, superb technique, and style. The album is HR by A.O.O.F.C. Listen to Martin Taylor's "Double Standards" album, and Louis Stewart's brilliant "Overdrive: Live at the Tron, Edinburgh" album. Louis' "I Thought About You" and "Solo Guitar: Out On His Own" albums can be found on this blog [All tracks @ 320 Kbps: File size = 130 Mb]

TRACKS / COMPOSERS

1 Pick Yourself Up - Kern 4:38
2 Morning Of The Carnival (Manha Do Carnaval) - Bonfa, Maria 9:46
3 Jive At Five - Edison, Basie 4:44
4 Billie's Bounce - Parker 5:20 *
5 Coming Through The Rye - Trad. 3:24
6 Cherokee - Noble 6:57
7 Stompin' At The Savoy - Goodman, Sampson, Webb, Razaf 5:39
8 Darn That Dream - Van Heusen 5:46
9 Bernie's Tune - Miller 6:09 *
10 Farewell To Erin - Trad 3:54

N.B: Not released on original 1985 vinyl LP release: This album has also been released as "Acoustic Guitar Duets (Super Session)" on the Jardis label

MUSICIANS

Louis Stewart, Martin Taylor - Guitars

ABOUT MARTIN TAYLOR

Since the death of Joe Pass in 1994, Martin Taylor has become one of the most highly regarded guitarists in jazz. He was given his first guitar by his father, Buck Taylor. Although he was inspired at first by Django Reinhardt, it was piano players like Art Tatum that drew his attention and helped him practice to develop his phenomenal solo technique. In the late '70s, Stephane Grappelli invited him to play in a series of concerts in France. The violinist was so impressed that he used Taylor often on tours and a variety of recording dates. Beginning in 1990, Taylor began recording a number of acclaimed CDs for the U.K. label Linn, distributed as Honest/Linn in the U.S., and also did an excellent duet date with David Grisman for the mandolin player's Acoustic Disc label. All that is missing from Taylor's current roster of recordings is a live date, though an excellent concert video is available. In 2000, he released his debut on an American label, Columbia, entitled Kiss and Tell. Stepping Stones on Linn followed that same fall. © Ken Dryden © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/martin-taylor-mn0000311742#discography

ABOUT LOUIS STEWART (WIKI)

Louis Stewart (born Waterford, Ireland, 5 January 1944) is an Irish jazz guitarist, and the recipient of an honorary doctorate from Trinity College Dublin. He began his international career in 1968, when he was awarded the special jury prize at The Montreux International Jazz Festival (and turning down a scholarship to Berklee College of Music, Boston). Shortly thereafter he began working with Benny Goodman, an association that lasted three years, and gave way to an extended period of prominence with the late English saxophonist/flautist Tubby Hayes. As a member of Ronnie Scott's quartet and quintet for several years, Louis began recording as leader in the mid-1970s, making albums with Sam Jones and Billy Higgins, with Peter Ind, and later, with Red Mitchell, saxophonist Spike Robinson, pianist Bill Charlap, and now, more recently again, a new CD, recorded in Venice with alto great Peter King. In the 70s Louis began his lengthy association with George Shearing (with whom he has toured America, Brazil and the European summer jazz festival circuit; and recorded eight albums - several in trio with Danish bass master Niels-Henning Orsted-Pedersen, and in quintet with vibist Steve Nelson and drummer Dennis Mackrel). He began working with Canadian genius-orchestrator and arranger, Robert Farnon, in 1976, and at least ten albums resulted: with singers Joe Williams, Carol Kidd and two with Eileen Farrell, two with Shearing and with trombone legend J.J. Johnson, on all of which he is a prominently featured soloist. In 1994, as a member of the Shearing trio, Louis featured for a week opposite Tommy Flanagan's trio in The Blue Note. This led to a still active association with Peter Washington and Lewis Nash which has included a week-long engagement, as leader, at the Village Vanguard (with Richard Wyands in the piano chair, and, for that particular week, Kenny Washington, drums, substituting for Lewis Nash). Continuing to make Dublin his home, Louis performs regularly in Germany and Norway, where, in the national theatre, Oslo, his James Joyce/Ulysses inspired concert piece "JoyceNotes" has been produced and recorded to acclaim.

MORE ABOUT LOUIS STEWART

Louis Stewart, the recipient of an honorary doctorate from Trinity College Dublin, began his international career in 1968 when he was awarded the special jury prize at The Montreaux International Jazz Festival. Shortly thereafter he began working with Benny Goodman, an association that lasted three years, and gave way to an extended and prominent period with the late, great, English saxophonist/flautist Tubby Hayes. As a member of Ronnie Scott's quartet and quintet for several years, Louis began recording as leader in the mid-'70s, making albums with Sam Jones and Billy Higgins, with Peter Ind, and later, with Red Mitchell, saxophonist Spike Robinson, pianist Bill Charlap, and now, more recently again, a new CD, recorded in Venice with alto great Peter King ("Angel Eyes"). In the 70s Louis began his lengthy association with George Shearing (with whom he has toured America, Brazil and all of Europe; and recorded eight albums - several in trio with Danish bass master Niels-Henning Orsted-Pedersen, and in quintet with vibist Steve Nelson and drummer Dennis Mackrel). He began working with Canadian genius-orchestrator and arranger, Robert Farnon in 1976, and at least ten albums resulted: with singers Joe Williams and Eileen Farrell, with Shearing and with trombone legend J.J. Johnson, on all of which he is a prominently featured soloist. In 1994, as a member of the Shearing trio, Louis featured for a week opposite Tommy Flanagan's trio in The Blue Note, New York. This led to an association - still active - with Peter Washington and Lewis Nash which has included a week-long engagement, as leader, at the legendary Village Vanguard, NYC (with the masterful Richard Wyands in the piano chair, and, for that particular week, Kenny Washington, drums, substituting for Lewis Nash). Continuing to make Dublin his home, Louis performs regularly in Germany and Norway, where, in the national theatre, Oslo, his James Joyce/Ulysses inspired concert piece "JoyceNotes" has been produced to acclaim. © http://www.louisstewart.net/bio.htm

Terry Herman Trio (Beatles Related)

Terry Herman Trio - Blue Michelle - 1984 - Denon

A very early, and very hard to find jazz CD from 1984 of nine instrumental Beatles' covers by the obscure Terry Herman Trio on the Japanese Denon label. There is very little about this band on the net, except that they have released other albums under the name of Teru Sakamoto who seems to be the same "person" as Terry Herman. The album cover contains a hidden picture of The Beatles, with Paul McCartney on the far right. Can anybody please provide some info? The piano by Teru Sakamoto is superb, and there are good extended versions of songs including "And I Love Her", "If I Fell", and "P.S. I Love You". This is a really good jazz album of real interest [All tracks @ 320 Kbps: File size = 71.9 Mb]

TRACKS

1 Michelle 4:33
2 Can't Buy Me Love 4:22
3 If I Fell 6:09
4 And I Love Her 6:54
5 All My Loving 4:44
6 Yesterday 2:10
7 Girl 4:33
8 Here, There And Everywhere 4:47
9 P.S. I Love You 5:59

All songs composed by John Lennon & Paul McCartney

MUSICIANS

Terry Herman = Teru Sakamoto (p)
Kazuyo Yamaguchi (b)
Takahiro Suzuki (ds)

Ian Carr

Ian Carr - Old Heartland - 1988 - MMC Recordings Ltd

The late great Ian Carr was a self-taught trumpeter who, as well as being a magnificent composer and musician, was among other things, a teacher, campaigner, biographer, journalist and a man who changed the course of jazz in the UK. He stripped jazz of it's elitist reputation, and with the great jazz fusion band, Nucleus, he gave jazz back to the people. The first half of the album is the four-part classical composition, "Northumbrian Sketches", for jazz ensemble and string orchestra, a composition solely by Ian Carr with guest musicians from the Kreisler String Orchestra. The rest of the album is performed by a Nucleus line-up of Ian Carr, Phil Todd, Mark Wood, Geoff Castle, Dill Katz, and John Marshall. "Old Heartland" received global acclaim and back in '88, the late, great Miles Davis asked for a copy of this album. Search this blog for more Ian Carr/Nucleus related recordings

TRACKS

1. Northumbrian Sketches Part 1: Open Country
2. Northumbrian Sketches Part 2: Interiors
3. Northumbrian Sketches Part 3: Disjunctive Boogie
4. Northumbrian Sketches Part 4: Spirit of Place
5. Full Fathom Five
6. Old Heartland
7. Things Past

All music composed by Ian Carr

MUSICIANS

Ian Carr / trumpet, amplified trumpet, flugelhorn, electric piano
Steve Berry, Mo Foster, Dill Katz / bass
Geoff Castle / Fender Rhodes & Yamaha electric pianos, synthesizers
Mark Wood / keyboards
John Marshall / drums
Phil Todd / wind
Mark Davies, Rachel Maguire, Robert Woollard / cello [from Kreisler String Orchestra]
Jub / double bass [from Kreisler String Orchestra]
Elspeth Cowey, Helen Kamminga , John Metcalfe , Mairi Campbell - Viola Abigail Brown, Anne Solomon, CB, Hilary Sturt, Kathy Shave, Louisa Fuller, Mark Pharoah, Michael Thomas, Richard Koster, Sonia Slany / violin [from Kreisler String Orchestra]

Hoops McCann Band

Hoops McCann Band - Plays The Music Of Steely Dan - 1988 - MCA

A GRADE A tribute album from The Hoops McCann Band, unusual in that the band members all played with Becker & Fagen at one time or another on original Steely Dan albums, tracks, or at live concerts. This album got the "go ahead" from Donald Fagen and Walter Becker. The Hoops McCann Band was comprised of some of the greatest L.A. session musicians. Originally, the band formed to play a live concert at a jazz festival in Oregon. They did a whole set of Dan tunes with the big band sound treatment. And what a sound! Victor Feldman, the amazing percussionist and veteran of many Steely Dan sessions arranged one of the songs on this album (Babylon Sisters), and was a charter member of Hoops McCann, but sadly passed away, and didn't play on the album. There have been quite a few Dan tribute albums, but only three capture the essence of Becker & Fagens unique chord changes and time signatures, and give a satisfactory interpretation of their music. Along with this album, it is the opinion of A.O.O.F.C, that the other two albums are - 1. Justin Morell Quintet - The Music of Steely Dan @ JMQ/PTMOSD and 2. Sara Isaksson & Rebecka Törnqvist - Fire In The Hole @ Isaksson/Törnqvist/FITH A.O.O.F.C would especially welcome views on this opinion.

N.B: My eternal thanks to Bennett, who went to the trouble of sending me this rare album. Sorry I forgot to credit you Bennett as I did on original post. The original link expired, and when I reposted album, I forgot to credit you again. My apologies (A.O.O.F.C)

TRACKS

1 Black Cow Horn section comes rumbling out of the gate. The guitar lines are plucked carefully to accentuate the sounds. The brass handles the melody through the first chorus. And then the piano takes over on the bridge. The horns keep rocking back and forth and that furious guitar line keeps striking through it all. Then we flip to a strong alto sax solo. This really is a clearly cut big band arrangement of this song. It has a Stan Kenton feel to it. And then we have the Tenor taking charge. And then Chuck Findley taking a ride on the trumpet, with all of these great soloists it isn t surprising that this music has been so well received. And then the master himself, Paul Humphries applies his gentle touch to this song he takes a very energetic drum solo. He played drums on the original on Aja.

2 Babylon Sisters A beginning of simple muted trumpet and piano, played like in a smoky back room. And then the horn section comes in with some sort of avant-garde jazz chords for the end of the intro. Then the band comes in, and they are playing it as a swing. The horns are working up and down against one another. Michael Lang is soloing hard over the top of it all. The Saxes are using some of the horn lines from the original song, but varied, delightful. Then the guitar solos over the top of all of that. This is followed by a series of solos.

3 Rapunzel Here we have a song written by Donald and Walter for another original jazz project that they had produced. It was written for the Pete Christlieb Warne Marsh Quintet album Apogee. This was a 1978 Warner Brothers release, and yet another very hard to find bit of music. There is an absolutely lovely baritone solo from Bill Perk Perkins. This is followed closely by a tenor solo from Jim Coile. And then Michael Lang takes it out in a very difficult role of playing piano on a sort of Steely Dan record date.

4 Glamour Profession This is a lovely big band arrangement of the Hoops McCann signature song. Duke Ellington would have been proud, the sax section battles back and forth with the brass. And then there is a nice break where Perkins picks up the flute and plays in unison with the piano on the bridge. The trombones play a more prominent role in this song. This is the one from the Gaucho album with the line about Hoops McCann, where this band took their name. Really nice arrangement and there are some great solos on this song as well.

5 Throw Back The Little Ones One of Steely Dan s dirtier songs, with their innuendo and their naughty ways. Throw back the little ones, and pan fry the big ones, use tack, poise and reason, and gently squeeze them. Oh yeah.

Mitch Holder takes the lead on guitar and guides the song along. The horn section works around him. And then there is a break for Chuck Berghofer to solo on electric bass, with well-timed Rhodes dropped in around it and subtle guitar licks. The bass solo is one of the highlights of the album. Chuck plays hard and melodic, and he does his share of be-bop lines, and then the horns come storming back in to take it home.

6 Deacon Blues This song starts out with the most gentle piano of the album. This is really Michael Lang s chance to shine. He plays much of the song solo. He starts out with a little Art Tatum thing, solo, all alone and all over the keys. And then he begins to explore Donald s lovely chords. This is a song that is built around blues chords and makes room for a lot of very deep playing.

The band comes in and plays trio for a while, Humphries on brushes, and Berghofer on the upright. This is the smoky bar, old days in Paris kind of jazz. The soloing is brilliant and lapses at a point into a Claude Bolling kind of feel. The upright takes a chorus of solo and then the song is back. This is the prettiest song on the record by far.

7 Green Earrings This starts with the full band sound, and back to electric. The trumpet section is playing this high and wailing. The band is playing a fast swing with heavy work on the ride symbol. Then we go to a very Parkeresque alto solo from Jerome Richardson. There is no doubt that be-bop lives. Chuck Findley, one of the best in the business, follows this closely on the heels and he follows the bird ideas with his best diz ideas. The band comes back in with Findley again screaming over the top of a complex rhythm, and the band takes it home big band style.

8 Three By Wally And Donald The band finishes with a medley of three, beginning with Black Cow. The beginning is the same basic arrangement as the tune itself heard earlier. The horn section writing on this part of the song is stunning. Then they transition into that lovely solo piano business of Deacon Blues. Michael Lang playing tasty and gentle. And finally the band comes full circle by sliding lovingly into the vagina of Babylon Sisters. And this song is where we fade into the night. They recreate that amazing horn section part at the end of Babylon Sisters, and move with it as gracefully as section could. They finish with a flourish.

Track reviews are © deaser26 -- a member of Epinions and Top Reviewer in Music, epinions.com, from http://search.reviews.ebay.ca/Plays-The-Music-Of-Steely-Dan_UPC_076742220228_W0QQfvcsZ1294QQsoprZ3055715QQucptZ1QQupvrZ4QQuvidZ10000000000207092, [© 1995-2008 eBay Inc. All Rights Reserved.]

BAND

Chuck Berghofer - Bass
Jim Coile - Sax (Soprano), Sax (Tenor)
Chuck Findley - Trumpet, Flugelhorn
Mitch Holder - Guitar
Paul Humphrey - Drums
Slyde Hyde - Trombone, Tuba, Trombone (Bass)
Michael Lang - Piano
Bill Perkins - Sax (Baritone), Sax (Soprano)
Jerome Richardson - Flute, Sax (Alto), Sax (Soprano)
Joe Roccisano - Conductor, Producer
The late Victor Feldman arranged "Babylon Sisters."

Lounge Lizards

Lounge Lizards - Voice Of Chunk - 1989 - Strange & Beautiful Music

The music of the Lounge Lizards is based on older jazz forms, but this band never really sounds indebted to these forms.They sound like nothing else on earth, except the Lounge Lizards. They add a new dimension to jazz, like nothing you've ever heard before. Strange and beautiful,music, like the label. Give it a listen, and check out their 1998 album, Queen of All Ears

TRACKS

1.Bob The Bob (2:07)
2.Voice Of Chunk (5:25)
Recorded By - Hugo Dwyer
3.One Big Yes (6:23)
4.The Hanging (4:43)
Mixed By - Joe Ferla
5.Uncle Jerry (4:19)
Recorded By - Paulo Junquero
6.A Paper Bag And The Sun (7:42)
7.Tarantella (4:06)
8.Bob The Bob (Home) (3:29)
9.Sharks (3:08)
10.Travel (5:31)

CREDITS

Bass - Erik Sanko
Drums - Douglas Browne*
Guitar, Trumpet - Marc Ribot
Mastered By - Howie Weinberg
Mixed By - Hugo Dwyer (tracks: 1 to 3, 5 to 10)
Percussion - E.J. Rodriguez
Piano - Evan Lurie
Producer, Arranged By - John Lurie
Recorded By - Joe Ferla (tracks: 1, 3, 4, 6 to 10)
Saxophone [Alto, Soprano] - John Lurie
Saxophone [Tenor, Alto, Soprano] - Roy Nathanson
Trombone - Curtis Fowlkes
Written-By - Evan Lurie (tracks: 7, 10) , John Lurie (tracks: 1 to 6, 8, 9)
Recorded at Media Sound, New York, New York in November 1988; Clinton Studio, New York, New York in January 1989; Nas Nuvens, Brazil in September 1988.


REVIEWS


Featuring key members of the New York downtown avant-garde scene--including trombonist Curtis Fowlkes, guitarist Mark Ribot, and saxophonist John Lurie--The Lounge Lizards make music of a unique and miraculous nature. Melding smoky '40s noir atmospherics, loose, pulsing funk-inflected rhythms, and not a few lessons in Ornette Coleman-styled free-line, the Lizards manage to make experimental music that is also accessible. With a twin saxophone front line, trumpet, piano, guitar, bass, drums, and auxiliary percussion, the Lizards evoke a kaleidoscope of moods, textures, and timbres. The album moves from ghostly, floating film music ("The Hanging") to looping, overlapping dream fragments ("A Paper Bag And The Sun"), traditional folk dances ("Tarantella"), and lilting refrains ("Bob The Bob"). VOICE OF CHUNK is strange and beautiful music, among the finest albums of its uncommon ilk. © 1996 - 2007 CD Universe
After a few revisions to the band's lineup, John Lurie had a brilliant cast for his Lounge Lizards' Voice of Chunk, which came out on his private label in 1989. Now that Lurie's got his strong Strange & Beautiful label, Voice is in wide circulation. And that's a good thing. It's probably the best work this lineup of the Lizards had to offer. Keyboardist Evan Lurie and guitarist Marc Ribot show themselves clearly up to fulfilling the leader's noirish, additive aesthetic. Additive, you ask? Lurie's a builder. He takes small cells, little turns of phrase, and then layers instruments, approaching the nugget, making for muted thrills as listeners glean the simplicity of the melodies and the sophistication of the instrumental combination (Roy Nathanson on saxophones, Curtis Fowlkes on trombone, percussionist E.J. Rodriguez, drummer Dougie Bowne, and bassist Erik Sanko round out the octet). The solos appear more ascetic, or at least more downturned, in their key signatures and structures. If you're wondering where to find a window on Lurie, a fantastic guy with soundtrack and film credits galore, this is as fine a place to look as any. © Andrew Bartlett , Amazon.com
After a few revisions to the band's lineup, John Lurie had a brilliant cast for his Lounge Lizards' Voice of Chunk, which came out on his private label in 1989. Now that Lurie's got his strong Strange & Beautiful label, Voice is in wide circulation. And that's a good thing. It's probably the best work this lineup of the Lizards had to offer. Keyboardist Evan Lurie and guitarist Marc Ribot show themselves clearly up to fulfilling the leader's noirish, additive aesthetic. Additive, you ask? Lurie's a builder. He takes small cells, little turns of phrase, and then layers instruments, approaching the nugget, making for muted thrills as listeners glean the simplicity of the melodies and the sophistication of the instrumental combination (Roy Nathanson on saxophones, Curtis Fowlkes on trombone, percussionist E.J. Rodriguez, drummer Dougie Bowne, and bassist Erik Sanko round out the octet). The solos appear more ascetic, or at least more downturned, in their key signatures and structures. If you're wondering where to find a window on Lurie, a fantastic guy with soundtrack and film credits galore, this is as fine a place to look as any. © www.musicmule.com

Determined to become the thinking man's David Sanborn by hook or by crook, John Lurie swallows his indignation and elects to market himself--you achieve retail access by dialing the label name on your home telephone. And dial you might. His tone is as rich as his tunes, his solos are lifelike, his musicians thrive as individuals, his musicians function as a unit, and his arty moves kick in with a satisfying thwock. As usual, free jazz meets Henry Mancini meets Kurt Weill meets Peter Gordon meets the Ramada Inn. But the pomo patina has worn away--he's lyrical and catchy rather than "lyrical" and "catchy." Biting and funny he never put quotes around. A- © www.robertchristgau.com/get_artist.php?name=The+Lounge+Lizards

The Lizards, led by neo-saxman John Lurie, were best known for their outsider approach to bop. This is perhaps their best work, filled with humor and a solid melodic sensibility. Marc Ribot's angular guitar and the complement of Evan Lurie's piano make the disc a particular delight. Madhouse jazz for the unhinged. © Tim Sheridan, All Music Guide.
Very Good - ...one of the most incisive new music ensembles around. © Rolling Stone (04/05/1990).


BIO (Wikipedia)

The Lounge Lizards are a jazz group formed in 1978 by saxophone player John Lurie; they should not be confused with country satire group the Austin Lounge Lizards. Initially a tongue in cheek "fake jazz" combo, drawing on punk rock and no wave as much as jazz, The Lounge Lizards have since become respected for their creative and distinctive sound. The first line-up was John Lurie, his brother Evan (piano and organ), Arto Lindsay (guitar), Steve Piccolo (bass guitar), and Anton Fier (drums). This ensemble recorded the group's self-titled debut, which contained two Thelonious Monk songs and was produced by Teo Macero, famed for his work with Miles Davis. The record received positive reviews, with one scribe noting "while there's definitely great respect shown here for the jazz tradition, the members are obviously coming at it from different backgrounds." Especially notable is Lindsay's noisy guitar: He had earlier honed his distinctive, untutored and unconventional technique with the band DNA. After this line-up dissolved, the Lurie brothers formed a new group , which has been described as "less compelling" than the earlier ensemble. Their sole record, 1983's Live from the Drunken Boat, remains the only Lounge Lizards album never to have been issued on compact disc. In the years following their inception, they lost the moniker of "fake" almost completely and comprised some of the best musicians from the avant-garde New York jazz scene: Roy Nathanson (saxophone), Curtis Fowlkes (trombone), Marc Ribot (guitar), and Erik Sanko (bass guitar), Dougie Bowne and EJ Rodriguez on drums and percussion. (Fowlkes and Nathanson would pursue duo performances, which metamorphosed into The Jazz Passengers). This edition of the Lounge Lizards recorded three albums in two years, and demonstrated John Lurie's increasingly sophisticated and multi-layered compositions that often stray rather far from conventional jazz: He was able to integrate elements of various world musics (he often favors tango-inspired passages in his songs), which retain a distinctive flavor, but avoid gimmickry. One critic notes traces of "Erik Satie and Kurt Weill." The Luries formed a new version of the Lounge Lizards in the early 1990s; prominent members included Steven Bernstein (trumpet), Michael Blake (saxophone), Oren Bloedow (bass guitar), Dave Tronzo (guitar), Calvin Weston (drums) and Billy Martin (percussion). Recent years have found the Lounge Lizards less active; John Lurie has been increasingly occupied with writing music for motion picture soundtracks, while Evan Lurie has worked on The Backyardigans, a children's show that highlights multiple musical genres.