Mike Stern

Mike Stern - Give And Take - 1997 - Atlantic

This is a relatively straight-ahead set by the distinctive guitarist Mike Stern, whose airy sound seems quite fresh in this context. Stern performs three standards ("I Love You," "Giant Steps" and "Oleo"), Jimi Hendrix's "Who Knows," and six originals, mostly in a trio with bassist John Patitucci and drummer Jack DeJohnette. Percussionist Don Alias helps out on a few tracks; pianist Gil Goldstein is on two, and tenor great Michael Brecker nearly steals the show with three high-powered solos. Actually, the biggest surprise is "That's What You Think," a straight-ahead blues that has a very credible alto solo from guest David Sanborn. All in all, an excellent outing. © Scott Yanow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/give-and-take-mw0000027558

Mike Stern played with The Brecker Brothers Blood, Sweat & Tears, Billy Cobham's band, and Miles Davis' group but after releasing many solo albums, and despite receiving three Grammy nominations, he has still not achieved full recognition for his extraordinary guitar talents. Douglas Payne writing for AAJ made the comment that "If Mike Stern were a guitarist coming out of the 1960s, he'd be a hero today. Sure, there's always John McLaughlin. But not many other guitarists then - or now - could play rock guitar with the high degree of intimacy and the non-assaulting technical prowess that Mike Stern has always possessed". Mike Stern was hailed as the Best Jazz Guitarist of 1993 by Guitar Player magazine. In 2009 he was listed as one of Down Beat's 75 best jazz guitar players. On “Give And Take”, his 9th solo album Mike continued to prove why he's earned so many "Best Jazz Guitarist" honours through the years. His exceptional guitar skills are undeniable, and when he's at work, he never fails to create new ideas. But what makes him stand out from the pack of many other great guitarists is that he never “hogs the limelight”, and lets his backing players’ display their own abilities as much as possible. Mike composed seven of the tracks on this album, but he also covers Cole Porter’s “I Love You”, John Coltrane’s classic “Giant Steps”, Sonny Rollins’ “Oleo”, and Jimi Hendrix’s “Who Knows?”. Some of the wonderful artists playing on this album include John Patitucci on bass, and Michael Brecker and David Sanborn on sax. Great music and HR by A.O.O.F.C. Listen to Mike's "Standards (and Other Songs)" album and check out his "Between The Lines" album [All tracks @ 320 Kbps: File size = 139 Mb]

TRACKS / COMPOSERS

1 I Love You - Cole Porter 6:20
2 Hook Up - Mike Stern 7:04
3 Everything Changes - Mike Stern 5:40
4 One Liners - Mike Stern 8:18
5 Jones Street - Mike Stern 7:34
6 Lumpy - Mike Stern 3:15
7 Rooms - Mike Stern 5:03
8 That's What You Think - Mike Stern 6:42
9 Giant Steps - John Coltrane 5:09
10 Who Knows? - Jimi Hendrix 3:04
11 Oleo - Sonny Rollins 5:33

MUSICIANS

Mike Stern - Guitar (All Tracks]
John Patitucci - Acoustic Bass (All Tracks)
Gil Goldstein - Piano (Tracks 6 & 7)
Jack DeJohnette - Drums (Tracks 1, 2, 3, 4, 5, 8 & 9)
Don Alias - Percussion (Tracks 6 & 7, 10 & 11)
Michael Brecker - Tenor Saxophone (Tracks 2, 4 & 5)
David Sanborn - Alto Saxophone (Track 8)

BIO

Recognized as one of the finest guitarists among his peers, Mike Stern was born on January 10, 1953, in Boston, MA, but grew up in Washington, D.C., before returning to Boston to study at the Berklee School of Music. Stern was only 22 when he joined Blood, Sweat & Tears, for whom he played three years before signing on with Billy Cobham's jazz fusion outfit, which led to Stern's big breakthrough when Miles Davis enlisted him as guitarist for Davis' return from a five-year musical hiatus in 1981. Stern played and recorded with Davis until 1983, when Stern toured with Jaco Pastorius, but he rejoined Davis in 1985, which also brought about Stern's debut release as a leader, the warmly received Neesh. This time, Stern remained with Davis for a year, after which he cycled through projects by David Sanborn and Steps Ahead while simultaneously recording his follow-up to Neesh, titled Upside Downside, which marked his first release for Atlantic Records' jazz division. Stern continued a steady string of releases for Atlantic over the next few years while continuing to play with several other projects, including Michael Brecker and the reunited Brecker Brothers, eventually scoring his first Grammy nomination with the release of Is What It Is in 1994, then garnering another nomination for his 1996 follow-up, Between the Lines. Stern received his third Grammy nod for his 2001 release Voices, which was Stern's first recording with vocals -- albeit wordless vocalese -- and also marked the end of his tenure with Atlantic. Stern issued his debut album for ESC in early 2004, and two years later, with a cast of impressive backing musicians (Richard Bona, Me'Shell NdegéOcello, Roy Hargrove, and Kim Thompson, among others), Who Let the Cats Out was released. © Gregory McIntosh © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/mike-stern-mn0000413405/biography

Steve Swallow

Steve Swallow - Always Pack Your Uniform on Top - 1999 - Watt Works Inc.

Acoustic piano and electric bass aren’t exactly natural-born partners. Carla Bley and Steve Swallow, on the other hand, hardly approach their respective instruments with anything resembling conventionality. Bley incorporates a gamut of influences in her open-minded, idiosyncratic playing, and one-time upright ace Swallow plucks with a pick, playing guitaristically on a five-string bass rigged with an extra high C string (rather than a low B). In addition to those factors, the two think alike, plugging into each other’s playing organically for a warm, chamberlike sound amply demonstrated on Are We There Yet? The pair’s third outing as a duo, recorded during a 1998 European tour, opens with the playful, tail-chasing "Major" before slipping into the slow-grooving gospel blues of "A Dog’s Life" and then the melancholy of "Satie For Two," named for Bley’s major influence. Kurt Weill’s "Lost in the Stars," tagged with a bit of "When You Wish Upon a Star," is pure elegance, and Thelonious Monk’s spirit comes through (yet again) on Bley’s "King Korn." Swallow’s gorgeous tone and sophisticated phrasing are front and center on the ever-shifting, trickling "Playing With Water," and the twisting "Musique Mécanique" is informed by Eastern European folk music. Swallow and three of his quintet partners from 1996’s Deconstructed (trumpeter Barry Ries replaces Ryan Kisor) are heard on Always Pack Your Uniform on Top, culled from a week’s worth of performances last April at London’s famous Ronnie Scott nightclub. The post-bop compositions are consistently inventive and so are the improvisations: Dig drummer Adam Nussbaum’s tricky rhythm display over the riff of "Bend Over Backward," Chris Potter’s earthy tenor sax expedition on the frenetic "Dog With a Bone" and Mick Goodrick’s thoughtful, fluid fretwork on altered bossa "Feet First" (and everything else). Swallow, who skips solos in favor of brilliant unaccompanied introductions on two pieces, includes charts of the music in the CD booklet. Nice touch. BY & © PHILIP BOOTH Published 9/13/2000 © 2014 Detroit Metro Times. http://www2.metrotimes.com/music/review.asp?rid=4890

This is Swallow's third standards-derived quintet album, following in the footsteps of 1994's Real Book and 1996's Deconstructed. Here the Deconstructed quintet is captured live at Ronnie Scott's in London. (Trumpeter Barry Ries replaces Ryan Kisor.) Although there's a brand new batch of tunes, Swallow applies the same approach, using familiar progressions as the basis for clever original music. Tenor saxophonist Chris Potter looms large, as does guitarist Mick Goodrick, Swallow's longtime compatriot, whose profound influence on John Abercrombie couldn't be clearer. Adam Nussbaum holds down the rhythm section along with the leader who restricts himself to a supportive role, never taking a single solo. (He plays short, unaccompanied intros on "Bend Over Backward" and "Reinventing the Wheel," however.) While the breakneck "Dog With a Bone" and the herky-jerky "Reinventing the Wheel" resemble the ethos of the two previous studio records, the remaining four tracks are more subdued yet somehow more offbeat and contemporary. "Misery Loves Company," a tune with a Latin 12/8 pulse, is especially rich and dark in color. © David R. Adler © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/always-pack-your-uniform-on-top-mw0000068220

A great gig recorded live at Ronnie Scott’s Jazz Club, London, England in April 1999 which features a pianoless quintet led by one of the world’s greatest living electric bassists, Steve Swallow. All music was composed by Steve and players include guitarist Mick Goodrick, drummer Adam Nussbaum, trumpeter Barry Ries, and the incomparable saxophonist Chris Potter. This is modern jazz at it’s best. Nothing abstract here, just great compositions, and marvellous musicianship and interplay. Read an AAJ review @ http://www.allaboutjazz.com/always-pack-your-uniform-on-top-steve-swallow-ecm-records-review-by-glenn-astarita.php#.U6PuOfldVe8 Listen to Steve's "Deconstructed" album [All tracks @ 320 Kbps: File size = 137 Mb]

TRACKS

1 Bend Over Backward 11:26
2 Dog With A Bone 6:11
3 Misery Loves Company 7:47
4 Reinventing The Wheel 7:47
5 Feet First 7:25
6 La Nostalgie De La Boue 6:46

All music composed by Steve Swallow

MUSICIANS

Mick Goodrick – Guitar
Steve Swallow – Bass
Adam Nussbaum – Drums
Chris Potter – Tenor Saxophone
Barry Ries – Trumpet

BIO

Steve Swallow has long been many jazz critics' favorite electric bassist, for rather than playing his instrument in a rock-oriented manner, Swallow emphasizes the high notes and, to an extent, approaches the electric bass as if it were a guitar. He originally started on piano and trumpet before settling on the acoustic bass as a teenager. Swallow joined the Paul Bley trio in 1960 and with Bley was part of an avant-garde version of the Jimmy Giuffre 3 during 1960-1962. Swallow recorded with George Russell and was a member of Art Farmer's quartet (1962-1965), Stan Getz's band (1965-1967), and an important edition of Gary Burton's quartet (1967-1970). The latter group (starting with the addition of guitarist Larry Coryell) was actually one of the first fusion groups, and it was during that time that Swallow began playing electric bass; within a few years, he stopped playing acoustic altogether. Swallow spent a few years in the early '70s living in northern California, during which time he mostly played locally. After the late '70s, he was closely associated with Carla Bley's groups, although he occasionally worked on other projects (including a reunion of the Jimmy Giuffre 3). Swallow has also proved to be a talented composer with "Eiderdown," "Falling Grace," "General Mojo's Well Laid Plan," and "Hotel Hello" among his better-known pieces. The 21st century saw the release of several Swallow sets, including Damaged in Transit (2003), Histoire Du Clochard: The Bum's Tale (2004), and an intriguing set with poet Robert Creeley, So There (2006). Hotel Hello appeared in 2007, followed by Believe in Spring, a collection of standards with Hans Ulrik and Jonas Johansen issued on the Stunt label, and Carla's Christmas Carols in 2008. In 2010 he recorded IS with trumpeter Tore Johanson for the Inner Ear label. Swallow formed We3 along with Adam Nussbaum and David Leibman; they recorded Amazing in 2011. In 2012 he and drummer Joey Barron played in Steve Kuhn's trio for the recording of Wisteria on ECM. It was a busy year for the bassist: he also recorded another duet offering, The Agnostic Chant Book, with reed and woodwind master Jonas Schoen. He led his own quintet for Into the Woodwork, which was issued on Xtra WATT, in June of 2013, and shared triple-billing with Carla Bley and Andy Sheppard on Trios, which was released in September of that year. © Scott Yanow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/steve-swallow-mn0000042344/biography

Chico Hamilton

Chico Hamilton - Trio! Live @ Artpark - 2008 - Joyous Shout!

Chico Hamilton, a subtle and creative drummer, will probably always be better known for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953). In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of Buddy Collette, guitarist Jim Hall, bassist Carson Smith, and cellist Fred Katz. One of the last important West Coast jazz bands, the Chico Hamilton Quintet was immediately popular and appeared in a memorable sequence in 1958's Jazz on a Summmer's Day and the Hollywood film The Sweet Smell of Success. The personnel changed over the next few years (with Paul Horn and Eric Dolphy heard on reeds, cellist Nate Gersham, guitarists John Pisano and Dennis Budimir, and several bassists passing through the group) but it retained its unusual sound. By 1961, Charles Lloyd was on tenor and flute, Gabor Szabo was the new guitarist, and soon the cello was dropped in favor of trombone (Garnett Brown and later George Bohanon), giving the group an advanced-hard bop style. In 1966, Chico Hamilton started composing for commercials and the studios and he broke up his quintet. However, he continued leading various groups, playing music that ranged from the avant-garde to erratic fusion and advanced hard bop. Such up-and-coming musicians as Larry Coryell (1966), Steve Potts (1967), Arthur Blythe, Steve Turre (on bass, surprisingly), and Eric Person (who played in Hamilton's '90s group Euphoria) were among the younger players he helped discover. In 1989, Chico Hamilton had a recorded reunion with the original members of his 1955 quintet (with Pisano in Hall's place), and in the 1990s he made a number of records for Soul Note. © Scott Yanow © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/chico-hamilton-mn0000776301/biography

In some ways a throwback to his bands of the early to mid-50s, the guitar-bass-drums format is not foreign to Chico Hamilton, but his old band sounded tame compared to this. Released in 2008 when Hamilton turned 87 years of age, the 1994 Art Park Festival concert at Lewiston, N.Y. was done when the drummer was a resurgent bandleader of 73. The band was electrically charged due to guitarist Cary DeNigris and a young bass guitarist emerging on the scene, Matthew Garrison, the son of the late bassist for John Coltrane's bands Jimmy Garrison. Though Hamilton was using a saxophonist at the time (Eric Person) he is out on this date, and the trio stands alone. The loud, steely guitar of DeNigris is up front and in your face throughout, starting with the retro-fusion tune "Ain't Nobody Calling Me," accented by the pounding stick and brush work of Hamilton and Garrison's funky fingerpopping bass. A ringing guitar informs the loose swinging but hard edged "A Little After Twelve," while the free flowing "Sculpture" displays how snippets falling together can congeal in a discourse, where acute listening skills held together with wit and synapses are more prevalent than charted arrangements. Hamilton employs vocal scat on the lightning fast version of Lester Young's "Tickle Toe," while "C & C" is based on a two-note riff borrowed from "Salt Peanuts," both tunes reflecting a love of Cab Calloway, Babs Gonzales, and Dizzy Gillespie. The quick "First Light" (not Freddie Hubbard's) is a workout for Garrison, and the funky blues shuffle "These Are the Dues" with wah-wah inflections is simply a fun jam. Reflecting his longtime love for Latin music, the stripped down melody of "Denise" is an expertly played bossa nova, something he has always included. Of the many recordings Hamilton has issued in the decade of the 2000s, this is one previously left on a dusty basement shelf that Hamilton felt compelled to issue. While long removed from his initial trio recordings of the '50s on Pacific Jazz, it is a telling reminder not only of how far Hamilton's music has advanced into modern times, but also how he has not at all forgotten his roots. © Michael G. Nastos © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/trio%21-live--artpark-mw0000798209

“Trio! Live @ Artpark” was recorded live at the Artpark Festival, Lewiston, near Buffalo New York on September 3, 1994 by the great jazz musician and composer Chico Hamilton. Chico plays with his long-time sideman, guitarist Cary DeNigris and also the electric bass virtuoso Matthew Garrison. The trio play a dynamic, and blazing series of electrified Chico originals as well as a spirited and intoxicating version of Lester Young’s "Tickle Toe". There is a remarkable synergy and energy between the three musicians. In the album's liner notes, Bill Milkowski says that "Chico's always got one foot solidly planted in the jazz tradition and yet he simultaneously strides forward with open ears and an open mind. On this live outing he mixes it up in volatile fashion with cats less than half his age, and he's right there with them, bringing the funk, slamming with authority and swinging his ass off. Whatever the music calls for, Chico is fully committed, always dealing, strictly in the moment. And the results on this live outing are positively scintillating." This album is HR by A.O.O.F.C. Chico will be 92 next September (2013) and is still grooving away. Listen to his brilliant “The Chico Hamilton Special”, Cary DeNigris’ great “Between The Lines” album, and Jim Beard’s “Advocate” album featuring Matt Garrison on bass. Please don’t be put off listening to music, especially jazz or jazz fusion because some people label it as avant garde, experimental, or progressive. K Girl @ http://answers.yahoo.com/question/index?qid=20070603232701AAoLdOS said “I love Jazz!!! Thank God it’s not too popular otherwise it would become raped, packaged and insincere”. Muskrat Ramble on http://forums.allaboutjazz.com said, “As for what makes jazz so appealing, I could describe a lot of different things (openness to the spirit of the moment, textural clarity, urbanity, musical interplay, harmonic and rhythmic sophistication, etc.), but for me I think it ultimately boils down to a very fundamental, powerful biological response to the swung rhythms. Simple as that”. Duke Ellington said, “There are two kinds of music. Good music, and the other kind”. Slightly biased comment as we all know what music he liked! (lol)! He also said, “It don’t mean a thing if it ain’t got that swing”! And that’s really what music is about. Try and be a “musical omnivore”. Listen to as much music as you can. Where there's muck there's gold. In the music scene today, there’s a hell of a lot more muck than gold and it’s easy to spot the fool’s gold! [All tracks @ 320 Kbps: File size = 145 Mb]

TRACKS

1 Ain’t Nobody Calling Me 5:33
2 A Little After Twelve 7:51
3 First Light 11:33
4 These Are The Dues 8:53
5 Denise 7:55
6 Tickle Toe 4:21
7 Sculpture 10:41
8 C & C 7:43

All tracks composed by Chico Hamilton except Track 2 by Cary DeNigris, and Track 6 by Jon Hendricks & Lester Young

MUSICIANS

Cary DeNigris - Guitar
Mathew Garrison - Electric Bass
Chico Hamilton - Drums, Vocals

BIO

Born on September 20, 1921 in Los Angeles, California, legendary jazz drummer and bandleader, Foreststorn "Chico" Hamilton, had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnett, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise, before striking out on his own as a bandleader in 1955. Chico’s impact upon jazz includes the introduction of two unique and distinct sounds: first in 1955 with his Original Quintet which combined the sounds of his drums, the bass of Carson Smith, the guitar of Jim Hall, the cello of Fred Katz, and the flute of Buddy Collette; and the second in 1962 with his own drums, the bass of Albert Stinson, the guitar of Gabor Szabo, the tenor sax of Charles Lloyd, and the trombone of George Bohanon. In 1997, Chico received the New School University Jazz & Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, Chico was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President’s nomination of Chico to the Presidents Council on the Arts. And in 2007, Chico received a Living Legacy Jazz Award as part of The Kennedy Centers Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School. Dynamic as ever at the age of 89, Chico Hamilton has a resume that includes scores for film, original compositions, commercial jingles, 50 + albums as a leader, and countless international tours. In 2006, Chico released four CD’s on Joyous Shout! in celebration of his 85th birthday: Juniflip featuring guest appearances from- legendary Love front-man Arthur Lee, criminally under-rated vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; Believe with Special Guest appearances from vocalist and R & B Diva Fontella Bass and trombonist George Bohanon; 6th Avenue Romp featuring Special Guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and Heritage with Special Guest appearances from vocalist Marya Lawrence and tromboist George Bohanon. September 2007, Chico released "Hamiltonia" sampling his original compositions from the four albums released in 2006. Hamiltonia is an impassioned statement of purpose- an emphatic endorsement of writing and performing THIS music in the NOW, the way the GREATS did in their time, and confirms Hamilton's status as one of the most important living jazz artists and composers. 2008 saw four releases from Chico on Joyous Shout!, two EP’s and two previously unreleased recordings, each of which provide a different perspective on the Chico Hamilton experience. Paying homage to Chico's past, the It's About Time! EP revisits his first ever recording project as band leader/percussionist. In 1955, Chico recorded a trio album for Pacific Jazz with George Duvivier and Howard Roberts; fast-forward 53 years, and Chico has recast it with his long time collaborators Cary DeNigris on guitar and Paul Ramsey on bass. Chico's distinctive grooves have been rediscovered and refused on the The Alternate Dimensions of El Chico EP, a collection of dance/remix tracks and collaborative works with some of today's hottest turntablists including Fertile Ground, SoulFeast (Joe Claussell and Brian Michel Bacchus), Mark de Clive-Lowe, and Blaze. On Dreams Come True, recorded in 1993, NEA Jazz Masters Andrew Hill and Chico Hamilton deliver a masterpiece of modern improvised music. The two giants are repositories of the history of this music, and here they create a document containing more than is stored in all the history books, sharing and preserving ancient stories and traditions thru their mutual song. And Trio! Live at Artpark, recorded in 1994, documents a blazing performance from a power trio led by Hamilton, with guitarist Cary DeNigris and bassist Matthew Garrison — the son of the late Jimmy Garrison. Witness the remarkable synergy and energy between the three as Hamilton leads his steeds thru a series of originals and a heady romp on "Tickle Toe". Over the years, Chico has had a series of dance floor successes, including his signature song "Conquistadors" from his 60's Impulse album El Chico, and the Brazilian influenced song "Strut" from Chico's 1979 outing on Elektra Nomad, which became so successful on the Northern Soul Scene in the U.K. that it had its own dance!! "Conquistadors" also was the signature track for E-man when he rocked the dance floor at Frank's Cocktail Lounge in Brooklyn. In 2002 a track titled "For Mods Only" from Chico's 1968 Impulse album The Dealer, was included on the Thievery Corporations SOUNDS FROM THE VERVE HI-FI. Fall of 2005, Rong Music released the 12" vinyl "Kerry's Caravan" from Mudd & Chico Hamilton, a moody yet stunning slice of modern music and a molten melting pot ready made for filling the dance floor with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. The IMPULSIVE! Remix Project features Mark De Clive Lowe’s take on Chico’s classic 60s track "El Toro". OUT NOW is the limited edition 12" 180 gram vinyl from SoulFeast (Brian Michel Bacchus & Joaquin "Joe" Claussell) with their reworking of "Mysterious Maiden" from Chico's 1980 Nomad release, as well as the 12" double vinyl edition of The Alternate Dimensions of El Chico CD EP. Available thru www.dopejams.net. April 14th, 2009 Chico HITS with TWELVE TONES OF LOVE on Joyous Shout!. From Maxwell Chandler's liner notes: "Chico Hamilton looks back not as a summation but with the past as a jumping off point to where he is now; the foundation to build off of what he has to say in the here and now. This album has Chico writing for and playing with an enlarged ensemble, offering us a glimpse of his life’s journey and some of those he has shared it with. It speaks greatly of all the musicians’ skills that they are performing Chico’s compositions yet their interplay becomes another color on his palette, which allows him to further embellish the picture he is painting. This is one of the appealing aspects to all of Chico’s music, an always-organic sense of tension and release. Guest spots include trombonist George Bohanon, who was in one of Chico’s classic sixties ensembles; vocalist Jose James, who studied under Chico at The New School’s Jazz and Contemporary Music program; and multi-reedist Jack Kelso, Chico’s lifelong friend. This album is a celebration of a lifelong romance Chico has had with music and the relationships that came into his life both past and present through his service to the muse. Those who forge their own way may travel a harder road but their art loses none of its power with the passage of time because of these trials. TWELVE TONES OF LOVE is proof of that aphorism to continuously enjoy." On September 27, 2011, marking the legendary drummer/bandleader's 90th birthday (September 20th), Chico released a 22-track CD entitled, Revelation — a visceral journey that oscillates from a melodic point of view to a rhythmic one and is bookended by Chico on drum kit. Works include: the up-tempo Latin groove of "Evanly", funk of "Black Eyed Peas", Lunceford-like band vocals on "Stompin @ The Savoy"; the mid tempo swing of "No Way LA", and the pastoral melodic beauty of "You're Not Alone," to name a few. Chico Hamilton is presently teaching at New School University Jazz Program; touring extensively in North America with "Euphoria" group which includes Nick Demopoulos on guitar, Paul Ramsey on bass, Evan Schwam on flute, tenor and soprano saxes and Jeremy Carlstedt on percussion; recording with his "Euphoria" group and special guests; composing and performing music for film; and working on autobiography. © 1996-2013 Drummer Cafe. All Rights Reserved http://www.drummercafe.com/featured-musician/drummer-percussionist/chico-hamilton.html

Modern Gustin Trio (Beatles Related)

Modern Gustin Trio - The Beatles Go Jazz - 1995 - Double Play

Gérard Gustin is a well known French orchestra leader and pianist and this album is his interpretation of fifteen Lennon & McCartney songs, 1 George Harrison tune, and his own composition, "Remember John". It is really difficult to mess up a Beatles tune, however in some of the tracks the melody is lost in some very uninteresting arrangements. There are other Beatles tunes which are more suitable to a jazz arrangement. Tracks like "Yellow Submarine" and "Girl"
do not really work here. There are better Beatles jazz covers available. Has anybody heard Chick Corea's amazing cover of "Eleanor Rigby". However, if you are a Beatles fan you will be interested in all aspects of the Beatles music. Your opinion on this album is welcome [All tracks @ 320 Kbps: File size = 118 Mb]

TRACKS

1. Michelle
2. Let It Be
3. Something
4. I Wanna Hold Your Hand
5. With A Little Help From My Friends
6. Can't Buy Me Love
7. Yesterday
8. Ob-la-di Ob-la-da
9. A Hard Day's Night
10. Girl
11. Hey Jude
12. Yellow Submarine
13. Ticket To Ride
14. I Feel Fine
15. Penny Lane
16. Get Back
17. Remember John

All songs composed by Lennon & McCartney except "Something" by George Harrison, and "Remember John" by Gérard Gustin

TRIO

Gérard Gustin - Piano
B. Rousselet - Bass
P. Riou - Drums

Susan Weinert Band

Susan Weinert Band - The Bottom Line - 1996 - Intuition

Definitely more straight jazz than jazz fusion on this release. If you like guitarists like Louis Stewart, Allan Holdsworth, Scott Henderson, Frank Gambale, & Bill Connors, then give this album a listen. This is a "quieter" and mellower album than other Susan Weinert releases, but her phrasing is wonderful, and Rachel Z plays some great keys that perfectly complements Susan and her band's grooves. An album that proves that fusion guitarists do not have to blow out your ear drums in order to impress their fretboard skills on you. This is a very good jazz album that is very technical, but very accessible. If you want to become more interested in fusion or jazz, this is an album that will help you appreciate this often maligned genre. Check out Susan Weinert Band's "Crunch Time" album on this blog and buy the band's "Mysterious Stories" album and support real music. Jazz and/or jazz fusion is not necessarily elitist, aimless, or self indulgent music. Multi-instrumentalist John Zorn composed a song called 'Eat Shit Jazz Snob" to expose his dislike of the many misguided, and hypocritical jazz snobs out there. The "News for Lulu" album featuring John Zorn is well worth hearing. Also, try and listen to the late, great Emily Remly's "Firefly" album [All tracks @ 320 Kbps: File size = 122 Mb]

TRACKS

1 Hombre 6:37
2 Triple X 4:21
3 Tribute to Fitzcarraldo 8:30
4 Don't Smile Too Soon 5:00
5 Masters of the Midiverse 1:19
6 That's for You 4:24
7 Kluski Theory 6:03
8 Dakota Kid 6:13
9 Nothing 3:50
10 Trabucco 5:05
11 Vinnie 7:11

All tracks composed by Susan Weinert

MUSICIANS

Susan Weinert - Guitars
Martin Weinert - Bass
Rachel Z - Piano, Keyboards
Hardy Fischötter - Drums

BIO

Susan Weinert (b.24 June 1965 in Neunkirchen (Saar) is a German Jazz guitarist and composer. In the 1980s, she started her professional career as a jazz musician. Susan took lessons from the jazz musicians Dave Liebman, Richie Beirach and the brilliant John Abercrombie and Mike Stern. She is not only influenced by modern guitarists like Pat Metheny, Scott Henderson, and Allan Holdsworth, but also from traditional jazz musicians like Charlie Parker, Miles Davis, Wes Montgomery and Sonny Rollins. Susan received an invitation to play in the band Steps Ahead by Mike Mainieri and was also asked to play with Chick Corea, bassist Jimmy Earl and Chaka Khan keyboardist Michael Ruff. In 1985 she founded the Susan Weinert Band with her husband Martin Weinert as bassist and the Cologne drummer Hardy Fischötter. The band, in it's early stages played mostly covers, but by 1990 Susan was writing and playing original material. Her first CD Mysterious Stories released in 1992 contains all Susan Weinert compositions and is strongly influenced by the use of an electric guitar synthesizer. Susan plays jazz, fusion, rock and funk and her compositions leave room for improvisation by her band members. Her guitar playing displays catchy melodies over complex harmonies backed by powerful, rhythmic lines. In Germany her work has been critically acclaimed. The popular WDR radio station chose Mysterious Stories as Jazz Production of the Year. Her second CD Crunch Time in 1994 is strongly reinforced by keyboardist Oliver Heuss and the album is more hard rock orientated than her first album. In contrast, the sound of Susan's third album, The Bottom Line (1996) is much calmer and warmer, mainly due to the piano playing of Rachel Z. Her 1999 CD Point Of View from 1999 is slightly jazzier and more experimental than previous albums and places a greater emphasis on using acoustic instruments. Susan wanted to experiment with a larger ensemble on this album, and make greater use of horn work. Originally the album was going to make extensive use of saxophone and trumpet. However, after meeting vocalist, Michael Schiefel the trumpet parts were replaced by his vocals. Pierre Bertrand played tenor saxophone and Jean Yves Jung played some beautiful rich and warm piano. However, throughout all her albums Susan's great guitar playing remains the dominant force. In 2002, Susan released the live acoustic duo album, Synergy with her husband Martin Weinert. The Susan Weinert Band is currently active recording and continually tour Europe. The band has also played in the U.S, Africa and Asia. The Weinert's are also engaged in managing workshops for young musicians - (Translated from Wiki)

Robben Ford

Robben Ford - City Life - 2006 - West Wind

Strictly speaking, this is not a true Robben Ford studio album. The tracks are a mix of traditional and improvisational jazz recorded in 1988 and 1992 in Seattle's London Bridge Studios. The material includes music originally recorded by artists like Screamin' Jay Hawkins, Johnny Hodges, Ornette Coleman, Charlie Parker, and others. Although Robben plays on all tracks, Bill Frisell plays guitar on five tracks. Charlie Haden plays bass on two tracks, and Anthony Cox plays bass on three tracks. Other musicians include Jerry Granelli on drums and Kenny Garrett on alto sax. The album is really a group effort. Tracks 4-8 are already available on Jerry Granelli's "A Song I Thought I Heard Buddy Sing" album. Also, this album was released in 1988 by Robben Ford under the title, "Blues Connotation". This is not a new Robben Ford release and is definitely not blues based. Having said that, the musicianship on this album is excellent and taken by itself a very good album, but don't be ripped off into buying this album if you already have the other two albums mentioned [All tracks @ 320 Kbps: File size = 127 Mb]

TRACKS / COMPOSERS

1. City Life - Jerry Granelli
2. One Day At A Time - Jerry Granelli & Charlie Haden
3. I Could See Forever - Denny Goodhew
4. Wanderlust - Johnny Hodges
5. Billie's Bounce - Charlie Parker
6. I Put A Spell On You - Screamin' Jay Hawkins
7. Blues Connotation - Ornette Coleman
8. Blues Connotation Reprise - Ornette Coleman

MUSICIANS

Robben Ford - Guitar on Tracks 1-8
Bill Frisell - Guitar on Tracks 4, 5, 6, 7, 8
Charlie Haden - Bass on Tracks 2, 3
Anthony Cox - Bass on Tracks 4, 5, 6
J.Granelli - Electric Bass on Track 7
Jerry Granelli - Drums, Synthesiser on Tracks 1, 6: Drums on Tracks 2, 3, 4, 5, 7, 8
Ralph Towner - Synthesiser on Track 2
Kenny Garrett - Alto Saxophone on Tracks 4, 5, 6, 7, 8
Julian Priester - Trombone on Tracks 2-8

Kevin Eubanks

Kevin Eubanks - Turning Point - 1992 - Blue Note

Down Beat (7/92, p. 50) - 4 Stars - Very Good - "... he's back on the right track... an uncompromising Blue Note debut.... suggests a bold new direction...

" Option (11-12/92, p. 114) - "... guitarist Eubanks returns to `real' jazz with a vengeance... "

Turning Point is a highly appropriate title for this album. After recording his share of commercial fluff for GRP, Kevin Eubanks switched to Blue Note with this heartfelt CD and strived for excellence instead of going out of his way to avoid it. Creativity, personal improvising, and spontaneity are main ingredients of the album, which unites the talented electric and acoustic guitarist with bass explorer Dave Holland and drummer Marvin "Smitty" Smith, among others. Like so much intellectual jazz, Point requires several listenings in order to be fully appreciated. Alex Henderson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/turning-point-mr0000128190

Kevin Eubanks has released several albums and similar to great guitarists like Larry Carlton has been involved with far too many bland, smooth jazz, commercial recordings which have stifled style and magnificent guitar ability. However, "Turning Point" manages to avoid the boring commercial trends and is a quality album of great jazz guitar by a very underrated artist. This album is HR by A.O.O.F.C. Listen to Kevin's terrific "Zen Food" album [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS

1 Turning Point, Pt. 1 5:21
2 Aftermath, Pt. 2 4:44
3 Initiation, Pt. 3 4:47
4 New World Order 7:02
5 Colors of One 5:04
6 Spiral Ways 5:44
7 Freedom Child 6:40
8 On My Way to Paradise 6:27
9 Lingering Destiny 4:44

All tracks composed by Kevin Eubanks except Track 7 by Kevin Eubanks & Gamal Buhaina

MUSICIANS

Kevin Eubanks - Electric & Acoustic Guitar
Dave Holland - Acoustic Bass on Tracks 1,2,3,6
Charnett Moffett - Acoustic Bass on Tracks 4,5,7,8
Marvin "Smitty" Smith - Drums on Tracks 1,2,3,6
Mark Mondesir - Drums on Tracks 4,5,7,8
Kent Jordan - Alto Flute except Track 9

BIO (WIKI)

Kevin Tyrone Eubanks (born November 15, 1957 in Philadelphia, Pennsylvania) is an American jazz guitarist and composer who was the leader of The Tonight Show Band with host Jay Leno from 1995 to 2010. He also led The Primetime Band on the short-lived The Jay Leno Show. Eubanks was born into a musical family. His mother, Vera Eubanks, is a gospel and classical pianist and organist. His uncle, Ray Bryant, was a jazz pianist. His older brother, Robin Eubanks, is a trombonist, and his younger brother Duane Eubanks is a trumpeter. Two cousins are also musicians, the late bassist David Eubanks and the pianist Charles Eubanks. Kevin studied violin and trumpet, before settling on the guitar. As an elementary school student, Eubanks was trained in violin, trumpet, and piano at the Settlement Music School in Philadelphia. He later attended Berklee College of Music in Boston and then moved to New York to begin his professional career. Eubanks is a pescetarian and maintains a diet of fresh fruits, vegetables, grains, egg whites, and fish. He is also an avid fan of Philadelphia sports teams. He once lost a bet on the Philadelphia 76ers, and he was forced to eat a corn dog when he lost. In 2007, he was voted PETA's "World's Sexiest Vegetarian Man". After Eubanks moved to New York, he began performing with noted jazzmen such as Art Blakey (1980–81), Roy Haynes, Slide Hampton and Sam Rivers. Like his brother Robin, he has played on record with double bassist Bill Dryden and Dave Holland. In 1983, while continuing to perform with others, he formed his own quartet, playing gigs in Jordan, Pakistan, and India on a tour sponsored by the U.S. State Department. His first recording as a leader, Guitarist, was released on the Elektra label when Eubanks was 25 years old. It led to a seven-album contract with the GRP label and four albums for Blue Note. In total, Eubanks has appeared on over 100 albums. In 2001, he founded the label Insoul Music on which he has released six albums. Eubanks has taught at the Banff School of Fine Arts in Canada, at Rutgers University, and at the Charlie Parker School in Perugia, Italy. In 2005, Eubanks received an honorary doctorate degree from the Berklee College of Music, of which he is an alumnus, but not a graduate. He is a member of Kappa Alpha Psi fraternity and has served as an active member of the Artistic Advisory Panel of the BMI Foundation since 1999. In 1992, Eubanks moved to the West Coast to assume the guitar spot in The Tonight Show Band. At this time, he composed The Tonight Show with Jay Leno's closing theme music, "Kevin's Country". In 1995, Eubanks replaced Branford Marsalis to become the leader of The Tonight Show Band. He served in this capacity from 1995 to 2010. When NBC moved Leno's show from late night to primetime (10PM in the Eastern time zone), Eubanks moved with the band to continue conducting the music for the short-lived The Jay Leno Show. Eubanks appeared on the new show as The Primetime Band. It was announced on February 16, 2010 that Eubanks would only be returning for a short time as band leader when Jay Leno began his second tenure on The Tonight Show. On April 12, 2010, Eubanks announced on the show that he would be leaving The Tonight Show following its 18th season. His last show was on Friday, May 28, 2010. Eubanks indicated in an interview with The Philadelphia Inquirer that he wanted to refocus on music, adding that his leaving was not provoked by any problems with Jay Leno or NBC. Following his departure from The Tonight Show, Eubanks began touring with band mate Marvin "Smitty" Smith on drums and Bill Pierce on sax. Eubanks has appeared on various TV shows such as Hollywood Squares, V.I.P., Muppets Tonight, Girlfriends, Longshot and Days of our Lives. He has written four feature film scores. On his website Eubanks states his preference for Abe Rivera guitars, Mesa/Boogie amplifiers and D'Addario guitar strings

Allan Holdsworth

Allan Holdsworth - None Too Soon - 1996 - Polydor

"Django Reinhardt, Charlie Christian, Jimmy Raney, Wes Montgomery in fact most of the great guitar players; I loved them all. The newer guys: John McLaughlin, Pat Metheny, John Scofield, Scott Henderson and Frank Gambale... They're all amazing with very different musical personalities. Of course there's Michael Brecker and Keith Jarrett, but they don't play the guitar (thank God!). I think I've been influenced by all instruments. I was influenced a lot by horn players, from Charlie Parker, Cannonball Adderly, John Coltrane on to Michael Brecker. There's many, many more that you could fill this whole page with people that have brought great gifts to the world of music." - Allan Holdsworth on his influences

Allan's ninth album is a collection of interpretations of jazz standards by John Coltrane, Bill Evans, Django Reinhardt, and Joe Henderson, along with an Irving Berlin tune, two compositions by the late Gordon Beck (the album's pianist, and Allan's close personal friend of many years), and an intriguing arrangement of The Beatles' "Norwegian Wood". Holdsworth fans are in for a special treat, as the musical settings provide an intriguing backdrop for some of his more adventurous soloing to date. The project's underlying agenda is revealed in his quote from the reissue liner notes: "... after I’d completed Hard Hat Area, Gordon was visiting again and he said, ‘Maybe you should do a record of tunes that people might be able to relate to.’ He had the impression that my music mostly sailed past people, and he thought that maybe if I played something recognizable, they might be able to appreciate what was going on.”Voted "Album of the Year" in 1997 by Audiophile Imports, None Too Soon is a modern jazz classic and remains unique among Allan Holdsworth’s many recordings. It also has the noted distinction of being the only Holdsworth album to date to feature the renowned Tribal Tech battery of bassist Gary Willis and drummer Kirk Covington. Presented in digipak format, with fresh liner notes scribed by MJR artist and Guitar Player Magazine editor, Barry Cleveland. © http://www.moonjune.com/catalog/043_ALLAN-HOLDSWORTH_None-Too-Soon_MJR043/

The brilliant guitarist, Allan Holdsworth was a member of the great Canterbury progressive jazz rock bands Soft Machine and Gong. He has also played with greats like Ian Carr's Nucleus, Tony William's Lifetime, UK, Jean Luc Ponty, Bill Bruford, and Level 42. He has influenced countless others, including musicians like Frank Zappa, Eddie Van Halen, Yngwie Malmsteen, Alex Lifeson and Steve Vai. But as as a solo artist he has also recorded some incredible albums like "Metal Fatigue" and "With a Heart in My Song". "None Too Soon" is a collection of jazz standards by legends like Irving Berlin, John Coltrane, Bill Evans, Django Reinhardt, and Joe Henderson. The album also includes an arrangement of Lennon and McCartney’s “Norwegian Wood”, and two compositions by Keyboardist Gordon Beck. Allan didn’t change his guitar style or make any compromises when covering these tracks. Allan said “Gordon (Beck) chose most of the tunes, which I hadn’t grown up playing, so when he would teach me one, it would be just like I was learning a piece of original music. I made my own charts, and my approach to playing the songs was exactly the same as on my previous albums.” [All tracks @ 320 Kbps: File size = 113 Mb]

TRACKS / COMPOSERS

1. Countdown - John Coltrane (3:09)
2. Nuages - Django Reinhardt (5:40)
3. How Deep is the Ocean - Irving Berlin (5:29)
4. Isotope - Joe Henderson (5:41)
5. None Too Soon Pt. I / Interlude / None Too Soon Pt. II - Gordon Beck (7:42)
6. Norwegian Wood - Lennon & McCartney (5:55)
7. Very Early - Bill Evans (7:40)
8. San Marcos - Gordon Beck (3:22)
9. Inner Urge - Joe Henderson (6:15)

MUSICIANS

Allan Holdsworth - Guitar, Synthaxe
Gary Willis - Bass
Gordon Beck - Digital Piano
Kirk Covington - Drums

BIO

Guitarist Allan Holdsworth is widely considered to be one of the finest instrumentalists in all of jazz fusion, yet has never truly received the recognition that he so rightfully deserves. Born on August 6, 1946, in Bradford, Yorkshire, Holdsworth was originally taught music by his father, who was a pianist. Holdsworth didn't pick up the guitar until he was 17 years old, but learned the instrument quickly. After playing in local outfits (and learning the violin), Holdsworth relocated to London, where he was taken under the wing of saxophonist Ray Warleigh. By 1972, Holdsworth had joined progressive rockers Tempest, appearing on the group's self-titled debut a year later before joining Soft Machine in December 1973 -- and radically changing the latter outfit's sound to guitar-based fusion in the process. U.S. drummer Tony Williams discovered Holdsworth around this time, which led to an invite for the up-and-coming guitarist to replace John McLaughlin in Williams' Lifetime project -- Holdsworth abruptly left Soft Machine in March of 1975, subsequently appearing on the Williams recordings Believe It and Million Dollar Legs. But Holdsworth's union with Williams was a brief one, as the guitarist joined up with French-English prog rockers Gong for such albums as 1976's Gazeuse! (released as Expresso in the U.S.) and 1978's Expresso II, in addition to guesting on recordings by Jean-Luc Ponty, Bill Bruford, Gordon Beck, Jack Bruce, and UK. Also in the late '70s, Holdsworth launched a solo career, which over the years has seen the release of nearly 20 albums (a few standouts include 1983's Road Games, 1985's Metal Fatigue, 1994's Hard Hat Area, and 2000's The Sixteen Men of Tain), as the guitarist has been joined by such acclaimed musicians as Paul Williams (a former bandmate of Holdsworth's in Tempest), Gary Husband, Chad Wackerman, Gary Husband, Jimmy Johnson, Steve Hunt, and Alan Pasqua, among others. In the mid-'80s, Holdsworth was one of the first musicians to use a Synthaxe, a guitar that contained a breath controller that proved to be a cross between a synthesizer, guitar, and saxophone (Holdsworth was awarded Best Guitar Synthesist from 1989 through 1994 in the readers' poll of Guitar Player magazine). In the '90s, Holdsworth also created his own signature guitar model with the Carvin company. In the mid-'90s, Holdsworth briefly shifted away from his fusion originals and recorded an album with longtime musical partner Gordon Beck that dipped into jazz standards. The Sixteen Men of Tain (2000) marked another shift, in that it was the first Holdsworth release to feature an all-acoustic rhythm section. This was followed in 2002 by All Night Wrong, his first official live release. Then! Live in Tokyo was next, featuring Holdsworth's 1990 live band, which was followed by Against the Clock, a career retrospective, in 2005. © Greg Prato © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/allan-holdsworth-p6754/biography

Jake Langley

Jake Langley - Doug's Garage - 1999 - Radioland/Verve

Guitarist Jake Langley invokes classic jazz guitarists like Wes Montgomery and Kenny Burrell, spinning clear-toned, luminous lines atop bluesy riffs and funk rhythms." Toronto Life

"Jake Langley is an exciting new voice on guitar with deep roots in the tradition." - Pat Martino

Jake Langley has quickly taken his place as one of Canada's premier jazz guitarists. The CBC has referred to Jake as a "rising star" and a "hot, young talent". The Toronto Life says "...infectious...Langley (is) one of the most notable Canadian musicians to come to light in the past year." The young musician has been gaining international attention in the past few year while touring as part of the world renowned Joey Defrancesco Trio. He also has received critical acclaim with his latest international release "Movin' and Groovin'" (Alma/Universal) featuring Joey Defrancesco and Byron Landham. Jake is featured in the new Joey Defrancesco CD "Organic Vibes" with George Coleman and Bobby Hutcherson. Jake has performed with Willie Nelson, Rufus Wainwright, Dr. Lonnie Smith, Jimmy McGriff, James Moody, Trudy Pitts, George Coleman, Scott Hamilton, Merl Saunders, Bobby 'Blue' Bland, Carol Weisman, Pete Christlieb, Holly Cole and Garth Hudson. He also also appeared on many television and radio shows, including the PBS "Legends of Jazz". As leader of his own group, he has received critical acclaim for his previous three CD's "Doug's Garage", "Non-Fiction" and "Diggin In'". Jake is a graduate of the Concordia University jazz program, has attended the Banff Center Jazz Workshop and has been awarded two Ontario Arts Council Chalmers Awards and a Canada Council Grant to study in New York with jazz guitar legends Pat Martino and Jim Hall. © 2012 Mike's Master Classes http://www.mikesmasterclasses.com/index.php?option=com_content&task=view&id=72&Itemid=32

Jake Langley is a brilliant jazz guitarist and should be a world-wide jazz phenomenon but the commercial media will never play this kind of music, and he is not the only ignored talent playing today. Jake's CD with Joey DeFrancesco and Byron Landham, Movin' and Groovin', was nominated for a Juno Award in Canada. Jake is at home playing world class jazz as well as soul, funk, R&B, Rock and Pop as can be heard via his recordings with David Clayton Thomas 'Aurora' (Justin Time) and with performing alongside artists Willie Nelson, Rufus Wainright, Bobby 'Blue' Bland, and KD Lange. His jazz credits read like a who's who with the likes of jazz icons Bobby Hutcherson, Dr. Lonnie Smith, Jimmy McGriff, Steve Gadd, Pat Labarbara, James Moody, Trudy Pitts, George Coleman, Houston Person, Pee Wee Ellis, Scott Hamilton, Garth Hudson, Ron Blake, Bill Cosby and others. Jake covers Horace Silver's "The Jody Grind" on this album. If you are interested in jazz and want to hear one of the greatest jazz albums ever recorded, listen to Horace Silver's "Song For My Father". Listen to Jake's "Non Fiction" album. For guitar jazz in the same hard-bop style, it is worthwhile checking out albums by Louis Stewart and the late Emily Remler on this blog [All tracks @ 320 Kbps: File size = 114 Mb]

TRACKS / COMPOSERS

1. End Of A Love Affair (Redding) 5:55
2. Adam's Apple (Shorter) 7:45
3. Blue Bash (Smith) 6:16
4. Save Your Love For Me (Johnson) 8:04
5. Invitation (Kaper) 8:51
6. Ignant Oil (Gillespie) 7:36
7. The Jody Grind (Silver) 5:22

PLAYERS

Jake Langley - Guitar
Doug Riley - Hammond B3 Organ
John Fraboni - Drums

BIO

This week we feature Canadian jazz guitarist Jake Langley. Wow! This cat smokes. Check him out. Jake Langley has quickly taken his place as one of Canada's premier jazz guitarists. The media has referred to Jake as a "rising star" and a "hot, young talent". New York Jazz Magazine says "... infectious... Langley (is) one of the most notable Canadian musicians to come to light in the past years." The 33 year old, New York based musician has been gaining international attention in the past four years while touring as part of the world renowned Joey Defrancesco Trio. He also has been gaining critical acclaim with the 2006 international release of his CD "Movin' and Groovin" featuring organist Joey Defrancesco and Byron Landham on Alma/Universal. Jake is featured on the latest Joey Defrancesco release "Authorized Bootleg" (Concord) with George Coleman and received rave reviews for his participation on Joey's 2006 release "Organic Vibes" with Bobby Hutcherson and Ron Blake. Jake is also known in the R&B, Pop, Blues world via his recordings with David Clayton Thomas "Aurora" (Justin Time) and with performing alongside artists Willie Nelson, Rufus Wainright, Bobby "Blue" Bland, KD Lange and Jazz icons Bobby Hutcherson, Dr. Lonnie Smith, Jimmy McGriff, Pat Labarbara, James Moody, Trudy Pitts, George Coleman, Houston Person, Pee Wee Ellis, Scott Hamilton, Garth Hudson (the Band), Ron Blake and Bill Cosby and others. Jake also appears on the P.B.S. special and DVD "Legends of Jazz". As a leader of his own group Jake has recorded four CD's "Doug's Garage, and "Non Fiction" and "Diggin In"and was featured at the IAJE convention, and the Montreal and Toronto international jazz festivals. Jake was nominated for a Juno Award "Best jazz recording" in 2007 and he won a JUNO Award in 2003 for his participation in Richard Underhill's award winning CD "Tales From the Blue Lounge". He won the Canadian National Jazz award in 2004/05/06. Alongside Langley's solo career, he has backed up many other internationally renowned artists live and on record. Jake has been on over 100 recordings and he toured for 2 years and recorded with Fantasy recording artist and Greatful Dead Alumnae, Merl Saunders, and Soul Legend Bobby 'Blue' Bland. Jake has also performed with many top Canadian musicians and during his ten year career in Toronto was a top call session guitarist and can be heard on many television and radio jingles. Live television credits include PBS "legends of Jazz" and in the house band for the 2004/05 Gemini Awards, Gospel Jubalie, 2006 Canadian Songwriters Hall of Fame. Featured radio performances include PBS "Live at Yoshi's" with James Moody C.B.C.'s As it Happens, Finklemans Christmas Special, and CBC "On Stage, and "Jazz Beat". Jake was musical director of the 2005 National Jazz Awards.Jake Langley is a graduate of the Concordia University jazz program, has attended the Banff Center Jazz Workshop in 1996 and has been awarded two Ontario Arts Council Chalmers Awards and a Canada Council Grant to study in New York with jazz guitar legends Pat Martino and Jim Hall. Jake has produced recordings for Roy Hargrove, Sheila Jordan, Rob McConnell, Marc Jordan and others was nominated for a Juno 2007 Juno for his production of the David Braid Quartet CD and he currently produces music at his New York Studio and production house Tone Poet Music by & © Doc Dosco © Hitsquad Pty Ltd 2012 , All Rights Reserved http://www.guitarsite.com/news/whats_hot_with_jazz_guitar/jake_langley/

Mark Whitfield

Mark Whitfield ‎- 7th Ave. Stroll - 1995 - Verve Records

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, he temporarily moved to Brooklyn and appeared at many sessions. George Benson suggested he work for Jack McDuff and that association was a big break for Mark. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine.

"7th Ave. Stroll" is a critically acclaimed album in the jazz guitar world. Mark plays with a rhythmic and harmonic complexity in piano-like fashion. His melodic lines have an angular quality adding an exciting feel to his playing. Drummer Gregory Hutchinson, plays in rhythmic unison with Mark, and Christian McBride and Dave Holland's bass work is perfectly suited to Mark's playing style. Stephen Scott and Tommy Flanagan's piano playing is superb. "Harlem Nocturne" is covered brilliantly, but all the tracks are great. The album includes seven Mark Whitfield originals. A great album and a wonderful example of the sophistication of the guitar in contemporary jazz. The album is VHR by A.O.O.F.C. For music in the same vein, check out the early work of the incomporable George Benson, Larry Coryell, and the late Emily Remler. Buy Mark's "True Blue" album and support great jazz guitar [All tracks @ 320 Kbps: File size = 151 Mb]

TRACKS / COMPOSERS

1 Washington Square Thoroughfare - Mark Whitfield 5:45
2 Harlem Nocturne - Earle H. Hagen, R. Rogers 8:10
3 7th Ave. Stroll - Mark Whitfield 6:44
4 A Brooklyn Love - Mark Whitfield 6:59
5 Businessman's Bounce - Mark Whitfield 6:47
6 Spring In Manhattan - A.S. Reach, Alice Scanlan Reach, Anthony James Scibetta, Anthony Scibetta 6:47
7 Sunday In New York- Earle H. Hagen, R. Rogers 5:38
8 The Bowery Blues - Mark Whitfield 4:55
9 Sunset At Waterside - Mark Whitfield 6:23
10 Headin' To The Wes'side - Mark Whitfield 4:45
11 Autumn In New York - Vernon Duke 5:39

MUSICIANS

Mark Whitfield - Guitar (tracks: 1 to 11)
Christian McBride - Bass (tracks: 1, 3, 4, 6, 8, 10),
Dave Holland - Bass (tracks: 2, 5, 7, 9, 11)
Stephen Scott - Piano (tracks: 1, 3, 4, 6, 8, 10),
Tommy Flanagan - Piano (tracks: 2, 5, 7, 9, 11)
Gregory Hutchinson - Drums (tracks: 1, 3, 4, 6, 8, 10)
Al Foster - Drums (tracks: 2, 5, 7, 9, 11)

BIO (WIKI)

Mark Whitfield (c. 1967) is an American hard bop and soul-jazz guitarist born in Syosset, New York, probably better known for his recordings as bandleader for both the Verve and Warner Bros. Records record labels. He has worked with Jack McDuff, Jimmy Smith, Courtney Pine and Nicholas Payton, Chris Botti, among others. Mark Whitfield graduated from Boston's Berklee College of Music, the institute for the study of Jazz and modern American music, in the Spring of 1987 having studied composition and arranging as well as all styles of guitar performance. Upon graduation, he returned to his native New York to embark on a career as a jazz guitarist that afforded him the opportunity to collaborate with many artists including Dizzy Gillespie, Art Blakey, Clark Terry, Jimmy Smith, Carmen McRae, Herbie Hancock, Quincy Jones, Jack McDuff, Betty Carter, Shirley Horn, Ray Charles, Gladys Knight, Burt Bacharach, Joe Williams, Wynton Marsalis, Branford Marsalis, Stanley Turrentine and his greatest teacher and mentor George Benson. Along the way, the New York Times dubbed Whitfield "The Best Young Guitarist in the Business" and in September 1990 Warner Bros. released his solo debut, "The Marksman". The success of this release has led to a recording career that has produced 14 solo projects to date and collaborative efforts with important artists in recent years: Sting, D'Angelo, Mary J. Blige, Chaka Khan, John Mayer, Jill Scott, Roy Hargrove, Diana Krall, Lauryn Hill, Sy Smith and Chris Botti. In September 2005, Mark Whitfield accepted the invitation to join the faculty at his alma mater, teaming up with Joe Lovano, Ralph Peterson, Danilo Perez and Terri Lyne Carrington as "Artists in Residence" at the Berklee School. While maintaining a teaching schedule that requires his presence on campus 1 day a week for 14 weeks/per semester, and a touring schedule that includes at least 100 concert dates/per year with trumpeter Chris Botti, Whitfield still manages to remain active as a solo artist and 2008-2009 will see the release of his latest solo effort; a Stevie Wonder tribute entitled "Songs Of Wonder" and 2 collaborative projects with long time friends Christian McBride and Nicholas Payton. In 2000, Whitfield released an instructional guitar video titled Mark Whitfield: Star Licks Master Sessions, for Star Licks Productions.

Emily Remler

Emily Remler - Retrospective, Vol. 2: Compositions - 1991 - Concord Jazz

After Emily Remler's untimely death from a heart attack in 1990 at the age of 32, Concord issued two anthologies of her work, although all six of her CDs for the label were still readily available. The guitarist was still blossoming at the time of her last session for the label; this second volume concentrates on her work as a composer. "The Firefly" is a lively hard bop piece in the style of Wes Montogmery, while the very soft, understated "Waltz for My Grandfather" is reminiscent of Jim Hall. "Nunca Mais" is an upbeat samba featuring trumpeter John D'Earth in a pianoless date; a second session with him produced four more Remler tunes, all of which are present on this CD. Her duo date with Larry Coryell didn't include any of her works, so it is not represented in this release. Her last date for the label included "Blues for Herb," a swinging tribute to her friend and fellow guitarist Herb Ellis, and "East to Wes," her compelling impression of Wes Montgomery's early approach to bossa nova. The collected musicians appearing with Remler in this anthology are all of the first caliber, including Hank Jones, James Williams, Eddie Gomez, and Jake Hanna, among others. Sadly, no unreleased recordings of Emily Remler have since emerged from the Concord vault, so this collection in a worthwhile investment if one can't afford to acquire all of her CDs, which is the best recommendation. © Ken Dryden 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/retrospective-vol-2-mw0000268548

It is amazing just how many talented musicians have lived fast and died young. From Jimi Hendrix to Charlie Parker to Patsy Cline, the 20th century was full of incredibly talented artists whose lives were cut short by their self-destructive personalities. Emily Remler should have had a long and distinguished career. The late great jazz guitarist, Herb Ellis, once referred to Emily as "the new superstar of guitar". Instead, Emily died of a heart attack at 32 from heroin abuse. As Ian Dury said, "Wot a f***ing waste". Check out her "Firefly" album on this blog, and buy her magnificent "East to Wes" album. Emily shows you how to play the blues @ http://neopixeos.weebly.com/how-to-play-the-blues.html
"When the rhythm section is floating, I'll float too, and I'll get a wonderful feeling in my stomach. If the rhythm section is really swinging, it's such a great feeling, you just want to laugh." - Emily Remler [All tracks @ 320 Kbps: File size = 137 Mb]

TRACKS

1 Mocha Spice 4:30
2 Nunca Mais 5:02
3 Waltz for My Grandfather 6:39
4 Catwalk 7:24
5 Blues for Herb 6:27
6 Transitions 8:02
7 Firefly 4:10
8 East to Wes 6:16
9 Antonio 4:29
10 Mozambiquen 7:46

All tracks composed by Emily Remler

MUSICIANS

Emily Remler - Guitar
Don Thompson, Bob Maize, Buster Williams, Eddie Gomez- Bass
James Williams, Hank Jones - Piano
Marvin "Smitty" Smith, Jake Hanna, Terry Clarke - Drums
Bob Moses - Drums, Percussion
John D'earth - Trumpet

BIO (WIKI)

Emily Remler (September 18, 1957 – May 4, 1990) was an American jazz guitarist who rose to prominence in the 1980s. She recorded seven albums of hard bop, jazz standards and fusion guitar. Born in New York City, Remler began to play the guitar at the age of ten. Initially inspired by rock artists such as Jimi Hendrix and Johnny Winter as well as other popular styles of music, she experienced a musical epiphany during her studies from 1974 to 1976 at the Berklee College of Music in Boston, Massachusetts. She began to listen to such legendary jazz greats as Wes Montgomery, Joe Pass, Pat Martino, Charlie Christian, Miles Davis and John Coltrane and took up jazz with a ferocious intensity, practicing almost constantly and never looked back. After graduating Berklee at age 18 she started her professional career touring around the USA. Remler's first significant and formative step as a fledgling professional musician was to settle in New Orleans where she played in blues and jazz clubs working with bands such as FourPlay and Little Queenie and the Percolators before beginning her recording career in 1981. She was championed by guitar great Herb Ellis, who referred to her as "the new superstar of guitar". Ellis introduced her to the world at the Concord, CA Jazz Festival in 1978. In an interview with People magazine, she once said of herself: "I may look like a nice Jewish girl from New Jersey, but inside I’m a 50-year-old, heavyset black man with a big thumb, like Wes Montgomery." ~People Mag. 1982~ Recorded for the famous Concord label, Remler's albums showcase the diverse influences of a fast-developing artist who quickly attained a distinctive jazz style on the guitar through her interpretations of jazz standards and her own compositions. Her first album as a band leader, Firefly, won immediate acclaim and her bop guitar on the follow-up, Take Two, was equally well received. Transitions and Catwalk traced the emergence of a more individual voice, with many striking original tunes, while her love of Wes Montgomery shone through on the stylish East to Wes. In addition to her recording career as a band leader and composer, Remler played with artists as diverse as Larry Coryell, with whom she recorded an album entitled Together, and the singer Rosemary Clooney. She played on Broadway for the Los Angeles version of the show 'Sophisticated Ladies' from 1981 to 1982 and produced two popular guitar instruction videos. She also toured for several years in the early eighties as guitarist for Astrud Gilberto. In 1985, she won the ‘Guitarist Of The Year’ award in Down Beat magazine’s international poll. In 1988, she was 'Artist in Residence' at Duquesne University and, in 1989, received Berklee's Distinguished Alumni award. She married Jamaican jazz pianist Monty Alexander in 1981, the marriage ending in 1984. Her first guitar was her elder brother's Gibson ES-330, and she played a Borys B120 hollow body electric towards the end of the 1980s. Her acoustic guitars included a 1984 Collectors Series Ovation and a nylon string Korocusci classical guitar that she used for playing bossa nova. When asked how she wanted to be remembered she remarked: "Good compositions, memorable guitar playing and my contributions as a woman in music…. but the music is everything, and it has nothing to do with politics or the women’s liberation movement." She appealed to all audiences with her wide understanding of all forms of jazz. She gained respect from fellow musicians and critics because of her dedication, enthusiasm and remarkable skill. Remler, who was a heroin addict, died of heart failure at the age of 32 at the Connells Point home of musician Ed Gaston, while on tour in Australia. Two tribute albums were recorded after her death, Just Friends volume one and two, featuring contributions from Herb Ellis, David Benoit, Bill O'Connell and David Bromberg among many others. In 2006 the Skip Heller Quartet recorded a song called "Emily Remler" in her memory

Emily Remler

Emily Remler - Retrospective, Vol. 1: Standards - 1991 - Concord Jazz

Emily Remler's death at age 32 from a heart attack (certainly not helped by her frequent use of heroin) was a shock to the jazz world, and a sad waste. She was just beginning to emerge from the Wes Montgomery influence and develop her own voice. Remler began playing guitar when she was ten, attended Berklee (1976-1979), and recorded as a leader for the first time in 1980. She played with the L.A. version of the show Sophisticated Ladies (1981-1982) and in 1985 had a duo with Larry Coryell, but otherwise mostly worked as a leader with her own small groups. After recording bop-oriented dates for Concord, she had a contemporary set for Justice, and toured with David Benoit before her sudden death. © Scott Yanow © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/emily-remler-mn0000800814

This is the first of two CDs issued by Concord Jazz compiling some of the best tracks from Emily Remler's sessions for that label. Cut short at a far too early age by a heart condition while touring in Australia, Remler had all the talent necessary to carve herself a niche in the jazz world as a premier jazz guitar interpreter and performer. Retrospective, Vol. 1 is probably the superior of the two volumes, as it includes, among other gems, an enticing unaccompanied rendition of "Afro Blue." Remler had the ability to be expressively warm with a romantic ballad, as on "In a Sentimental Mood," but she excelled on tunes that allowed her to bring out her hard bop credentials, especially in the company of similarly tough-minded rhythm sections. She displays those credentials on several tracks, such as "Hot House" and "Daahoud," where she is joined by the inestimable Hank Jones on piano and Marvin "Smitty" Smith on drums. "Del Sasser" is the sole representative from that intriguing album she made with trumpet player John D'earth. On this cut, D'earth plays muted trumpet under a clean, straight-lined Remler guitar with a rather unusual scrimpy, but pleasing, sound as the result. Indeed an appropriate testimonial to a fine guitarist, this album is recommended for those who want an overview of the work by Remler without having to buy all the albums from whence the selections came. © Dave Nathan ©2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/retrospective-vol-1-standards-mw0000262616

It is amazing just how many talented musicians have lived fast and died young. From Jimi Hendrix to Charlie Parker to Patsy Cline, the 20th century was full of incredibly talented artists whose lives were cut short by their self-destructive personalities. Emily Remler should have had a long and distinguished career. The late great jazz guitarist, Herb Ellis, once referred to Emily as "the new superstar of guitar". Instead, Emily died of a heart attack at 32 from heroin abuse. As Ian Dury said, "Wot a f***ing waste". Check out her "Firefly" album on this blog, and buy her magnificent "East to Wes" album. Emily shows you how to play the blues @ http://neopixeos.weebly.com/how-to-play-the-blues.html
"When the rhythm section is floating, I'll float too, and I'll get a wonderful feeling in my stomach. If the rhythm section is really swinging, it's such a great feeling, you just want to laugh." - Emily Remler [All tracks @ 320 Kbps: File size = 141 Mb]

TRACKS / COMPOSERS

1 Daahoud - Clifford Brown 5:16
2 How Insensitive - Norman Gimbel / Antonio Carlos Jobim / Vinícius de Moraes 8:27
3 Strollin' - Horace Silver 5:28
4 Hot House - Tadd Dameron 5:41
5 In Your Own Sweet Way - Dave Brubeck 4:51
6 Joy Spring - Clifford Brown 5:44
7 Softly, As in a Morning Sunrise - Oscar Hammerstein II / Sigmund Romberg 8:11
8 Afro Blue - Mongo Santamaría 2:22
9 Del Sasser - Sam Jones 6:44
10 In a Sentimental Mood - Duke Ellington / Manny Kurtz / Irving Mills 7:47

MUSICIANS

Emily Remler - Guitar
Larry Coryell - Guitar
Buster Williams, Don Thompson, Bob Maize, Eddie Gomez - Bass
Hank Jones, James Williams - Piano
Marvin "Smitty" Smith, Jake Hanna, Terry Clarke, Bob Moses - Drums
John D'earth - Trumpet

BIO (WIKI)

Emily Remler (September 18, 1957 – May 4, 1990) was an American jazz guitarist who rose to prominence in the 1980s. She recorded seven albums of hard bop, jazz standards and fusion guitar. Born in New York City, Remler began to play the guitar at the age of ten. Initially inspired by rock artists such as Jimi Hendrix and Johnny Winter as well as other popular styles of music, she experienced a musical epiphany during her studies from 1974 to 1976 at the Berklee College of Music in Boston, Massachusetts. She began to listen to such legendary jazz greats as Wes Montgomery, Joe Pass, Pat Martino, Charlie Christian, Miles Davis and John Coltrane and took up jazz with a ferocious intensity, practicing almost constantly and never looked back. After graduating Berklee at age 18 she started her professional career touring around the USA. Remler's first significant and formative step as a fledgling professional musician was to settle in New Orleans where she played in blues and jazz clubs working with bands such as FourPlay and Little Queenie and the Percolators before beginning her recording career in 1981. She was championed by guitar great Herb Ellis, who referred to her as "the new superstar of guitar". Ellis introduced her to the world at the Concord, CA Jazz Festival in 1978. In an interview with People magazine, she once said of herself: "I may look like a nice Jewish girl from New Jersey, but inside I’m a 50-year-old, heavyset black man with a big thumb, like Wes Montgomery." ~People Mag. 1982~ Recorded for the famous Concord label, Remler's albums showcase the diverse influences of a fast-developing artist who quickly attained a distinctive jazz style on the guitar through her interpretations of jazz standards and her own compositions. Her first album as a band leader, Firefly, won immediate acclaim and her bop guitar on the follow-up, Take Two, was equally well received. Transitions and Catwalk traced the emergence of a more individual voice, with many striking original tunes, while her love of Wes Montgomery shone through on the stylish East to Wes. In addition to her recording career as a band leader and composer, Remler played with artists as diverse as Larry Coryell, with whom she recorded an album entitled Together, and the singer Rosemary Clooney. She played on Broadway for the Los Angeles version of the show 'Sophisticated Ladies' from 1981 to 1982 and produced two popular guitar instruction videos. She also toured for several years in the early eighties as guitarist for Astrud Gilberto. In 1985, she won the ‘Guitarist Of The Year’ award in Down Beat magazine’s international poll. In 1988, she was 'Artist in Residence' at Duquesne University and, in 1989, received Berklee's Distinguished Alumni award. She married Jamaican jazz pianist Monty Alexander in 1981, the marriage ending in 1984. Her first guitar was her elder brother's Gibson ES-330, and she played a Borys B120 hollow body electric towards the end of the 1980s. Her acoustic guitars included a 1984 Collectors Series Ovation and a nylon string Korocusci classical guitar that she used for playing bossa nova. When asked how she wanted to be remembered she remarked: "Good compositions, memorable guitar playing and my contributions as a woman in music…. but the music is everything, and it has nothing to do with politics or the women’s liberation movement." She appealed to all audiences with her wide understanding of all forms of jazz. She gained respect from fellow musicians and critics because of her dedication, enthusiasm and remarkable skill. Remler, who was a heroin addict, died of heart failure at the age of 32 at the Connells Point home of musician Ed Gaston, while on tour in Australia. Two tribute albums were recorded after her death, Just Friends volume one and two, featuring contributions from Herb Ellis, David Benoit, Bill O'Connell and David Bromberg among many others. In 2006 the Skip Heller Quartet recorded a song called "Emily Remler" in her memory.

Wayne Krantz and Leni Stern

Wayne Krantz and Leni Stern - Separate Cages - 1996 - Alchemy Records

Leni Stern, the great Munich born jazz and jazz fusion guitarist has recorded many albums and collaborated with many great musicians including Paul Motian, Alain Caron and Bob Malach. Despite being an excellent composer, lyricist, and guitarist, her name remains unfamiliar to many people. "Guitarist Wayne Krantz is just about the hippest thing on six strings, as his blue-chip side- man credits attest. His own solo projects, meanwhile – daringly original, genre-bending improvisational affairs – have put him in a category of one". © CORMAC LARKIN The Irish Times - Friday, June 29, 2012 © 2012 irishtimes.com

"This month's absolute must-have is Separate Cages (Alchemy ALCD 1007; 58:23), a collection of tightly constructed, intimate guitar duets by Wayne Krantz and Leni Stern. The duo spins detailed and nuanced "conversations"-from the melancholy, overtone-driven tone painting of Stern's "Leave Softly," to the dark, bluesy rock tones of Krantz's "Claudine," with Stern on dobro. Krantz's "Nicole" features a beautifully executed point-counterpoint between his dizzyingly fast-paced, dark background and Stern's long-lined, pining solo. The best of these pieces generate palpable emotion-where "November"'s soft-touch, musing solo and light-toned accompaniment is sad, powerful and full of regret, the duo's interpretation of Larry John McNally's "Something is Wrong in Spanish Harlem" is hopeful and gentle, with a smoky vocal by Stern ("if music has the power to change things/even in the smallest of ways/I send these notes to the night/like a prayer to the light"). McNally's heartening lyric is at the emotional center of this fine, thought-provoking effort. By & © Hilarie Grey October 1997 © 1999–2012 JazzTimes, Inc. All rights reserved http://jazztimes.com/articles/9747-separate-cages-wayne-krantz-and-leni-stern Listen to Leni's "Words" album and Wayne's phenomenal guitar playing on Chris Potter's "Underground" album. Check this blog for other Wayne Krantz releases and check out Leni's "Black Guitar" album on this blog. Spare a thought for the late, great Emily Remler who was another exceptional jazz guitarist. Listen to her great "Firefly" album sometime [All tracks @ 320 Kbps: File size = 127 Mb]

TRACKS / COMPOSERS / INSTRUMENTATION

1. Saturday Morning (5:04) [Leni Stern]
Leni, stratocaster; Wayne, steel string acoustic
2. Claudine (3:33) [Wayne Krantz]
Leni, dobro; Wayne, steel string acoustic
3. Something Is Wrong In Spanish Harlem (5:00) [Gary Willis, Larry John McNally]
Leni, voice, stratocaster; Wayne, steel string acoustic
4. Point Falling (6:33) [Leni Stern]
Leni, stratocaster; Wayne, steel string acoustic
5. Nicole (3:56) [Wayne Krantz]
Leni, nylon string acoustic; Wayne, electric baritone guitar
6. King's Cross (For Emily Remler) (7:02) [Leni Stern]
Leni, stratocaster; Wayne, telecaster
7. Veronique (2:21) [Gary Willis, Wayne Krantz]
Wayne, stratocaster
8. Keep My Heart (5:52) [Wayne Krantz]
Leni, stratocaster; Wayne, voice, steel string acoustic
9. Leave Softly (4:53) [Leni Stern]
Leni, stratocaster; Wayne, steel string acoustic
10. Silver Line (6:00) [Leni Stern, Tim LeFebvre]
Leni, stratocaster; Wayne, steel string acoustic
11. November (For LJM) (7:51) [Leni Stern]
Leni, nylon string acoustic; Wayne, steel string acoustic

ABOUT WAYNE KRANTZ

Born 26th July 26 1956, WAYNE KRANTZ was raised in Corvalis, Oregon, Krantz. He discovered the Beatles at 14, and soon after started playing guitar. Having previously been subjected to piano tuition and hated it, KRANTZ found with the guitar he enjoyed not being told to practice. Early musical development included playing in rock and country groups. Shortly before leaving high school he discovered jazz in his father's record collection, in particular guitarist BARNEY KESSEL: this music became his main interest. To quote from KRANTZ's own web biography: "My first musically important job was with a band in Boston, the D SHARP GROUP - which also had guitarist BILL FRISELL. Afterwards I went on the road with CARL BLEY and that's where I really learned how to play chord changes. LENI STERN heard me playing at a club with CARLA and started hiring me to play gigs around town and later I went to Europe with LENI for several tours, clubs and festivals. Guitar-wise I guess I have been influenced one way or another by all the guys I respect. In that long list have to be TERRY HAGGERTY (The SONS OF CHAMPLIN), MICK GOODRICK, PAT METHENY, MIKE STERN, BILL FRISELL, KEVIN EUBANKS and JOHN SCOFIELD. Way off in the distance, the mountains that inspire all of us are JOHN MCLAUGHLIN and GEORGE BENSON; those are the guys that have taken their own the farthest. The immediate goal for me is to fulfill the promise of making my own music". In 1991 WAYNE KRANTZ released his first solo album, 'Signals', which included a number of well known session jazz musicians. He then formed his own trio with LINCOLN GOINES (bass) and ZACH DANZIGER (drums), recording 'Long To Be Loose' (1993), and the first of several live albums the excellent '2 Drink Minimum', (1995). During this period through to the mid noughties, WAYNE KRANTZ gained the reputation of being a New York guitar-fusionist, playing periodically at the 55 Bar jazz club in New York City. In 1996, KRANTZ released an acoustic album with LENI STERN, 'Separate Cages' (1996). WAYNE KRANTZ formed a new trio in 1997, which further demonstrated his outstanding guitar abilities complimented with a huge bag of jazz and rock riffs, allowing attractive improv to be played live night after night. In fact to use the term 'riffs' is far from precise when KRANTZ has outlined in his book, 'An Improviser's Operating System', his approach to improvisation, which relies not on licks or memorised fretboard patterns but an awareness of 'musical formulae' using the guitar. In doing so KRANTZ was producing new sounds that have changed his musical style drastically. His electric bass-player and drummer, respectively TIM LEFEBVRE and KEITH CARLOCK, contributed well the immediate inspiration and fluidity so that such live improv to be generated in many of KRANTZ's later albums well illustrate this type of jazz fusion. (It should be noted that TIM LEFEBVRE and ZACH DANZIGER, formed the innovative jazz drum'n'bass group BOOMISH as a side project in the late 90's - their second album 'Clearance Sale' includes contributions from KRANTZ and FRISELL. With some growing disillusionment and impatience with the mainstream record industry, KRANTZ's next three albums were produced and sold independently: 'Greenwich Mean' (1999), 'Your Basic Live' (2003), and 'Your Basic Live '06' (2007), being only available for sale at gigs or mail order via KRANTZ's website. During this time WAYNE KRANTZ cemented a well earned reputation worldwide, through tours (for instance appearing several times at Wales' Brecon Jazz Festival. In addition he has been in demand as a touring sidesman and session guitarist, working with STEELY DAN, MICHAEL BRECKER, DONALD FAGEN ('Morph The Cat', released 2006), CHRIS POTTER ('Underground', also in 2006), TAL WILKENFELD ('Tranformation' 2007) with perhaps the earliest session appearance on JASPER VAN'T HOF's 'Blue Corner'(1993). In June, 2007, KRANTZ played his last regular gig at the 55 Bar (at least for the time being), announcing ?he had a desire to move towards a louder thing requiring bigger rooms, with stages and sound systems to pull it off.?? However, the most recent announcement tells us of a August 2009 release 'Krantz, Lefevbre, Carlock', the first studio album recording in 13 years. (Biography compiled from various sources, quotes from Wayne Krantz). © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=4613

ABOUT LENI STERN

Leni Stern, who has received more recognition for her composing than her guitar playing, has managed to carve out her own musical personality despite being married to fellow guitarist Mike Stern (a potentially dominant influence). She began classical piano lessons when she was six, but was much more inspired a few years later when she discovered a guitar in the attic and taught herself to play jazz. Stern's early years were actually spent as an actress in her native Germany, featured on a national television show. However, she took a summer off in 1977 to enroll at Berklee, and she never returned to acting. Stern lived in Boston until 1980, moved to New York, and has worked steadily in clubs ever since, recording for Passport (now defunct), Enja, and Lipstick. Primarily an instrumentalist in the past, with 1997's Black Guitar she revealed her prowess as a vocalist, and began releasing a series of albums that mixed jazz, pop, and rock on her own LSR imprint, including Kindness of Strangers (2000), Finally the Rain Has Come (2002), When Evening Falls (2004), and Love Comes Quietly (2006). © Scott Yanow © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/leni-stern-mn0000242721

LENI STERN BIO (WIKI)

Leni Stern (born Magdalena Thora in Munich, Germany) is an electric guitarist, and singer. She was interested in music from an early age, beginning piano studies at the age of six and taking on the guitar age of eleven. Forming her own acting company at the age of seventeen, Stern attracted media attention and performed her radical productions in front of sold-out European crowds. In 1977, Stern chose music over acting, and left Germany for the United States to attend the Berklee College of Music in Boston, studying film scoring. She gave up film scoring in favor of the guitar and moved to New York City in 1981, playing in various rock and jazz bands. In 1983, she formed a band of her own with Paul Motian on drums and Bill Frisell on guitar. She has released twelve solo instrumental recordings, of which 1985's Clairvoyant was the first. Her most recent releases – Alu Maye, Africa, Spirit in the Water and Sa Belle Belle Ba – juxtapose Stern's trademark inventive guitar and vocal explorations with the indigenous sounds of accomplished African instrumentalists and singers. Her cover of Laura Nyro's song "Upstairs by a Chinese Lamp" appeared on Time and Love: The Music of Laura Nyro, the Laura Nyro tribute album. Leni Stern Recordings (LSR) was established in 1997. The record label seeks to put out music from the most creative artists in jazz and songwriting. LSR's first release was Stern's first full-length vocal release, Black Guitar. Ted Drozdowski of the Boston Phoenix described Stern's voice sounding "something like Marlene Dietrich borrowing Billie Holiday's phrasing." She is married to guitarist Mike Stern

Steve Khan

Steve Khan - Lets Call This - 1991 - Bluemoon

Best-known for his fusion recordings, Steve Khan (ten years after recording the purely acoustic solo date Evidence) stretches out on this pure jazz date. Accompanied by bassist Ron Carter and drummer Al Foster, Khan explores a variety of superior jazz standards (including songs by Thelonious Monk, Wayne Shorter, Larry Young, Freddie Hubbard and Lee Morgan) along with his own "Buddy System." This is one of Steve Khan's finest recordings to date and is highly recommended to those listeners not familiar with this side of his musical personality. © Scott Yanow © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/lets-call-this-r142164

Steve Khan began playing guitar when he was 19, after discovering that drumming was not his forte. As well as a considerable solo output, he is now regarded as one of the great session jazz guitarists, and a giant of progressive jazz and jazz fusion. He has performed with jazz and rock artists like Donald Fagen, (appearing on Steely Dan's Aja and Gaucho albums), Miles Davis, James Brown, Aretha Franklin, Chaka Kahn, Lou Rawls, and Quincey Jones. " Lets Call This" has got to be one of his best albums. It is a stunning recording with Steve Khan's own progressive jazz style that is a joy to listen to. He is backed up by two of the greatest jazz musicians in the business, bassist Ron Carter, and drummer Al Foster. This album is VHR by A.O.O.F.C. Check out Steve's "Arrows" and Coryell / Khan's "Two For The Road" albums on this blog, and listen to Steve's superb "The Green Field", "Eyewitness", and "The Blue Man" albums. Also check out Ron Carter's "Telephone" and Al Foster's "Brandyn" albums [All tracks @ 320 Kbps: File size = 108 Mb]

TRACKS / COMPOSERS

1 Let's Call This - Thelonius Monk
2 Masqualero - Wayne Shorter
3 Backup - Larry Young
4 Out Of This World - Harold Arlen, Johnny Mercer
5 Played Twice - Thelonius Monk
6 Little Sunflower - Freddie Hubbard
7 Buddy System - Steve Khan
8 Street Of Dreams - Victor Young
9 Mr.Kenyatta - Lee Morgan

MUSICIANS

Steve Khan - Guitar
Ron Carter - Acoustic Bass
Al Foster - Drums

SHORT BIO (WIKI)

Steve Khan (born April 28, 1947) is an American jazz guitarist. Born in Los Angeles, California, Khan is known for his work with artists such as Steely Dan, Billy Joel, Michael Franks, Hubert Laws, Billy Cobham, Jack DeJohnette, James Brown, Maynard Ferguson, and Weather Report. In 1977, he toured with the CBS Jazz All Stars in Japan, and led a band called Eyewitness that featured musicians such as Steve Jordan, Anthony Jackson and Manolo Badrena. Khan is the author of five books on jazz music: Pentatonic Khancepts, Contemporary Chord Khancepts, The Wes Montgomary Guitar Folio, Pat Martino - The Early Years, and Guitar Workshop Series. His album Borrowed Time (TIEMPO PRESTADO) was a nominee for the 2007 50th Grammy Awards in the Best Latin Jazz Album (vocal or instrumental) category. During the 1980s and 90s he was a member of the group Elements. He is the son of lyricist Sammy Cahn

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The son of lyricist Sammy Cahn, Steve Khan is best-known for his fusion records, but has proven on a few occasions that he can also play more straight-ahead. He originally played piano and drums, not starting on guitar until he was 20. After graduating from U.C.L.A. in 1969, Khan moved to New York and worked steadily in jazz, pop, and R&B settings, including with Maynard Ferguson, Buddy Rich, the Brecker Brothers, Joe Zawinul's Weather Update, and with fellow guitarist Larry Coryell. In 1981, he formed the quartet Eyewitness, which worked on an occasional basis throughout the 1980s. Steve Khan's most intriguing recordings are a 1980 solo exploration of Thelonious Monk tunes for Novus and a trio outing for Bluemoon named Let's Call This (1991). © Scott Yanow © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/steve-khan-p6892/biography

ABOUT STEVE KHAN

In a special issue of Japan's "JAZZ LIFE" magazine, they selected the 22 All-Time Greatest Jazz Guitarists. Of course, legends like Charlie Christian, Django Reinhardt, Wes Montgomery, Kenny Burrell, and Jim Hall were included alongside more recent giants George Benson, Pat Martino, Larry Coryell, and John McLaughlin. But right there amongst contemporaries John Abercrombie, Pat Metheny, John Scofield, Mike Stern and Bill Frisell was Steve Khan! Testament to a large body of work which now spans more than 30 years. Hard to believe this dream began at a rather late age with Wes Montgomery held as the model to which to aspire. Steve admits that, when he was a teenager, "I was a terrible drummer with no musical training. I had developed a love for the guitar, and when I was 19 I switched instruments. I decided that I would not make the same mistakes I had made with the drums and studied hard in college along with private lessons from Ron Anthony." During these years, Khan always found himself in fast company and, from such situations he learned, developed and survived. By the time he graduated from U.C.L.A., in 1969, he felt ready to make the move to New York City. From this point forward, so much of Steve's career is well documented. In 1974, he performed in one of the first contemporary jazz guitar duos with Larry Coryell. During this same period, he became a key member of the Brecker Bros. Band. His first recordings as a leader were a trio of well-received albums for Columbia Records titled: "TIGHTROPE"('77), "THE BLUE MAN"('78), and, "ARROWS"('79). These recordings featured Michael and Randy Brecker, David Sanborn, Don Grolnick, Will Lee, Steve Gadd, Mike Mainieri and others. In 1994, Sony Music/Columbia released a CD compilation drawn from these three LPs titled, "THE COLLECTION." In 1980, Steve began a great transition when he recorded a brilliant solo acoustic guitar album, "EVIDENCE," which paid tribute to his earliest jazz inspirations and served to establish him as one of the great interpreters of the music of Thelonious Monk. Between 1981 and 1985, he worked and recorded steadily with his quartet, Eyewitness, which included Anthony Jackson, Manolo Badrena, and Steve Jordan. Together they made three recordings: "EYEWITNESS"('81), "MODERN TIMES"/"BLADES"('82), and "CASA LOCO"('83). This groundbreaking group, and its recorded work, would come to be regarded as among the most innovative of its time! During 1984, Steve teamed with Steely Dan's Donald Fagen to interpret Thelonious Monk's "Reflections" for the "THAT'S THE WAY I FEEL NOW" recording which was a tribute to Monk and his compositions. When Eyewitness needed a break, Khan joined Joe Zawinul's WEATHER UPDATE for its one and only tour in '86. This was followed by an innovative duet recording with keyboardist Rob Mounsey. The Grammy-nominated CD was titled "LOCAL COLOR" and was released in '87. In 1989, Eyewitness was resurrected with Dave Weckl replacing Steve Jordan for the "PUBLIC ACCESS" ('90) CD. Since that time, Steve has added two highly acclaimed straight-ahead jazz recordings featuring Ron Carter and Al Foster. "LET'S CALL THIS" and "HEADLINE" were released in '91 and '92 respectively. In '94, Steve found himself back in the company of Anthony Jackson and Manolo Badrena, adding Dennis Chambers and Michael Brecker for "CROSSINGS," which is dedicated to the memory of Steve's late father, lyricist Sammy Cahn.Steve has contributed his talents to several special projects. His unique medley of two George Harrison tunes graced Mike Mainieri's NYC Records "COME TOGETHER," A Guitar Tribute to the Beatles. Here Steve was accompanied by Marc Johnson, Peter Erskine, and Nana Vasconcelos. Special Olympics and the Holiday Season brought Steve together with the Brecker Bros. for a Salsa-styled interpretation of his father's one Christmas song, "The Christmas Waltz," which appeared on the "JAZZ TO THE WORLD" CD. 1996 saw Steve teamed with Argentine vocalist Gabriela Anders, Rob Mounsey, and, New York Salsa All-Stars Rubén Rodríguez, Marc Quiñones, and Papo Pepin to contribute "Don't Worry Baby"("No Te Preocupes Nena") to "WOULDN'T IT BE NICE." a tribute to Brian Wilson. Recorded in 1996, "GOT MY MENTAL" brings Steve together for the first time with John Patitucci on acoustic bass and Jack DeJohnette on drums. The CD once again finds him using his unique playing and arranging perspective to interpret the works of Wayne Shorter, Ornette Coleman, Lee Morgan, Eddie Harris, and standards by Rodgers & Hammerstein as well as Steve's father with Jimmy Van Heusen. The latter is a stunningly beautiful rendering of the Sinatra classic "The Last Dance." On four of the eight tracks, the trio is joined at times by percussionists Bobby Allende, Marc Quiñones, and Don Alias. Brasilian percussionist Café lends his special talents to Steve's romantic journey through "I Have Dreamed." The intensity and creativity brought to the sessions shows Steve's unfailing desire to meet new challenges and explore them. These qualities cause his name to always be mentioned when discussions of contemporary jazz guitar are carried on. 1997 saw Steve reunite with Rob Mounsey to record "YOU ARE HERE." It had been nearly 10 years since the release of "LOCAL COLOR" and the duo was anxious to get back at it again. Like the prior CD, when these two tremendous musicians get together the music tends to defy categorization, but the new recording seemed to sit somewhere between a contemporary version of Latin jazz and World Music jazz. Also in keeping with their previous work, Steve is again heard on only acoustic guitars. Reminding us all, that he is one of the instruments most unique stylists, playing melodies and solos with a touch and phrasing all his own. One brand new dimension for "YOU ARE HERE" was the presence of Latin percussion virtuoso Marc Quiñones. Marc brought his spirit and power to signature compositions by Khan-Mounsey like "Clafouti," "Platanos Maduros," and "Peanut Soup." Released in September of 1998, the recording leaves little doubt that Steve and Rob are blazing a trail of their own making. August of '98, Steve toured Japan as part of Dave Samuels' "Tribute to Cal Tjader" Group. Apart from the tremendous reaction the group received, the tour was to have more far reaching consequences as it was here that plans were made for Steve, Dave Samuels and Dave Valentín to become the co-leaders of the reformed Caribbean Jazz Project. Together, the group recorded "NEW HORIZONS"(2000) was released on Concord Picante "PARAÍSO"(2001) both were released on Concord Picante and served to redefine just what the role of the guitar could be in Latin Jazz. However, in January of '02, citing conflicts over the group's direction, Steve chose to leave the group, and pursue other interests. After a nine year absence from recording as a leader, Steve entered Avatar Studios in May of 2005, accompanied once again by John Patitucci and Jack DeJohnette to record "THE GREEN FIELD." The return of longtime colleague, Manolo Badrena on percussion was most welcomed by all fans who appreciate his unique presence. The 18:05 title track is one of the absolute highpoints in Steve's long recording career. In addtition to the 6 quartet pieces, the basic "trio" was joined by Ralph Irizarry(timbal) and Roberto Quintero(conga & percussion) for Latin treatments of tunes such as: "Riot"(Herbie Hancock); the standard, "You Stepped Out of a Dream"; "Nefertiti"(Wayne Shorter) and, a special tribute, composed by Steve, and dedicated to both Tito Puente and Willie Bobo, which features incredible solos from Roberto, Ralph, and Jack, and is titled, "Cosecha lo que has sembrado." 2007 saw the release of the Grammy nominated "BORROWED TIME" and, for the first time since "CROSSINGS," the cover featured the beautiful artwork of the late Jean-Michel Folon. The recording is an extension of Steve's work with both John Patitucci and Jack DeJohnette and attempts to fulfill the promise of "THE GREEN FIELD." Manolo Badrena is on hand again, as are Ralph Irizarry(timbal) and Roberto Quintero(conga & percussion). All these players were joined by Bob Mintzer(bass clarinet) and tabla master Badal Roy for Steve's very original "El Faquir" which seeks to blend Jazz; Indian and Latin genres in a most surprising way. Steve was also able to present arrangements of "Have You Met Miss Jones?" and his own "Face Value" in tribute to Clare Fischer's harmonies. These spectacular tracks feature old friends: Randy Brecker(flügelhorn), Rob Mounsey(keys.), Rubén Rodríguez(baby bass & elec. bass) and, Marc Quiñones(timbal) & Bobby Allende(conga). After years of bootlegs and illegal downloads, 2008 brings with it the release of the 2-CD set, "THE SUITCASE." As was the case for the prior two CDs, the initial releases were on: 55 Records(Japan); Tone Center Records(USA) and ESC Records(Germany/Europe). Alongside longtime bandmates, Anthony Jackson and Dennis Chambers, the trio was originally recorded by WDR for a live radio broadcast from Köln, Germany in 1994. With the superb sound quality and the spectacular performances, this CD is already being hailed as: "One of the greatest live recordings of all-time!!!" Throughout his long and distinguished career, Steve has found time to lend his talents to recordings by such diverse artists as: Miles Davis, Steely Dan, James Brown, Aretha Franklin, Chaka Khan, Quincy Jones, Lou Rawls, Eddie Palmieri, Gil Evans, Freddie Hubbard, the Brecker Bros., Steps Ahead, among others (too numerous to list). He has also produced recordings for fellow guitarists Larry Coryell, Mike Stern, Biréli Lagrène, and Bill Connors, as well as pianist Eliane Elias. In addition, he has published five highly-regarded books: "WES MONTGOMERY GUITAR FOLIO", "PAT MARTINO-The Early Years", "GUITAR WORKSHOP SERIES-Steve Khan"(this book really functions as an Eyewitness Songbook), and most recently, "CONTEMPORARY CHORD KHANCEPTS." 2002 saw the long-awaited publication of Steve's "PENTATONIC KHANCEPTS" which is intended to serve as the linear adjunct to its chordal predecessor. While continuing to perform in clubs and concert halls throughout the U.S., Europe, Central and South America, and Japan, Steve has also become one of the most in-demand music clinicians and teachers. © www.stevekhan.com/khanbio.htm

RON CARTER BIO

The epitome of class and elegance, though not stuffy, Ron Carter has been a world class bassist and cellist since the '60s. He's among the greatest accompanists of all time, but has also done many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but hasn't used it in many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, MI, to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. He joined Art Farmer's group for a short time in 1963, before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. Carter's also contributed many arrangements and compositions to both his groups and other bands. He's done duo recordings with either Cedar Walton or Jim Hall. Carter's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, eventually landing at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. When Skies Are Grey surfaced in early 2001, followed a year later by Stardust, Carter's tribute to the late bassist Oscar Pettiford. In 2006 another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. © Ron Wynn © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/ron-carter-p6251/biography

AL FOSTER BIO

Al Foster was born in Richmond, VA, but was raised in New York. He taught himself drums at about the age of 13, and by the age of 16 he was recording with Blue Mitchell (as "Aloysius Foster" on the Blue Note album The Thing to Do). In 1969, at the Cellar Club on 95th St. in Manhattan, Foster got his big break; as he was backing up bassist Earl May in a quartet, his drumming was noticed by trumpeter Miles Davis. Davis hired Foster on the spot as a replacement for Jack DeJohnette, who was then departing the ever-enlarging Davis group of that period. This indeed would prove a long commitment for Foster, who played on every Miles Davis album ranging from Big Fun to You're Under Arrest, and toured with him extensively. Foster left Miles Davis in 1985, and since then has worked independently, sometimes as leader, sometimes as sideman. Over his lengthy and enduring career Al Foster has worked with Cannonball Adderley, Sonny Rollins, Charlie Haden, Thelonious Monk, Freddie Hubbard, Dave Liebman, Herbie Hancock, and Joe Henderson. © Uncle Dave Lewis © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/al-foster-p77092/biography