Record Reviews

CHICK COREA ~ THE MUSICIAN STRETCH 888072026490 (Barcode: 888072026490) ~ USA ~ Jazz Recorded: 2011 Released: 2016 As 2021 nears its end it’s time to commemorate the passing of one of the greatest heroes of American Jazz, keyboardist / composer / bandleader Chick CoreaFind albums by this artist, who sadly passed in February this year. This is a 3CD album by Corea, recorded live at the NY Blue Note club in 2011, during the celebrations of his 70th Birthday. It features ten different lineups with thirty musicians, which span Corea’s extraordinary career and which produced some of the greatest American Jazz ever. The lineups include Return To ForeverFind albums by this artist, Five Peace BandFind albums by this artist, Electric BandFind albums by this artist, duos with Bobby McFerrinFind albums by this artist, Gary BurtonFind albums by this artist, Herbie HancockFind albums by this artist, Marcus RobertsFind albums by this artist and others. Together the collected list of musicians sounds like the Who’s Who of the 20th Century American Jazz (and a few Europeans for good measure). For the avid Corea fans, who followed his career for five decades (up to that point) the album does not innovate of course, being primarily an overview and it excludes his early days, when he played mostly Avant-Garde Jazz, but a comprehensive summary would have taken a few more hours (or CDs) of course. But as it is, it offers four hours of incredible, diverse and superb music, performed by brilliant musicians, so one can’t go wrong here. Overall, this is certainly a proper document of one of the many facets of Corea’s music, which embraced a plethora of styles, genres and approaches, from Avant-Garde to Fusion, always brilliant and completely unique. His Artistry will be sadly missed and his sweet personality, to those who met him, will be always a cherished memory.

Updated: 30/12/2021Posted: 30/12/2021

CD 3 Recommend To A Friend

BÉLA FLECK / MARCUS ROBERTS ~ ACROSS THE IMAGINARY DIVIDE ROUNDER 011661914223 (Barcode: 011661914223) ~ USA ~ Jazz-World Fusion Recorded: 2011 Released: 2012 This is another banjo / Jazz piano album by the undeniable king of banjo Béla FleckFind albums by this artist and the excellent Jazz pianist / composer Marcus RobertsFind albums by this artist. However, there are quite a few differences between this recording and the meeting between Fleck and pianist Chick CoreaFind albums by this artist, which resulted in "The EnchantmentFind albums with this title" album recorded five years earlier. The meeting with Corea was a duo recording, whereas here Flack plays with the Marcus Roberts trio, with bassist Rodney JordanFind albums by this artist and drummer Jason MarsalisFind albums by this artist. The album includes twelve original instrumental pieces, five of which were composed by Fleck, six by Roberts and one is co-composed by both of them. The music is difficult to characterize, as it is definitely neither Jazz nor Bluegrass, although of course it has touches of both. The presence of a piano trio naturally has strong Jazz connotations, but those remain only in the background. Overall this album lacks the excitement and spark present on the Corea / Fleck recording, but of course considering the incredible level of talent involved it certainly has its moments. It is quite possible that the musicians intended to achieve exactly this vaudeville / early 20th Century entertainment feel, which somehow is being transmitted herein. Excellently played it nevertheless remains pure entertainment never actually crossing the thin line dividing entertainment and art. But it is definitely first rate entertainment, which many people will surely enjoy immensely.

CD 1 Digipak Recommend To A Friend

WYNTON MARSALIS ~ BLUE INTERLUDE WOUNDED BIRD 8729 (Barcode: 664140872929) ~ USA ~ Jazz Recorded: 1992 Released: 2007 This album finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a septet, his ultimate vehicle of choice after fronting smaller combos in the first decade of his career. The septet comprised of musicians, who played in his earlier groups with the addition of trombonist Wycliffe GordonFind albums by this artist, and included saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The fact that Marsalis´ ensembles expanded from quartet to septet was consistent with other changes in his musical path where a bigger ensemble became necessary as a tool to enable performing an ever increasingly complex and broad scope of his compositions and sophisticated arrangements. But this album also marks another dramatic change with Marsalis abandoning the idea of writing separate "songs" or "tunes" and moving into creating expanded suites in which the separate parts would be combined into a thematic whole. "Blue InterludeFind albums with this title" was the first of such extended works, comprised of many melodies, moods and rhythmic patterns, glued together by an underlying central musical concept and idea. The music is absolutely stunning and the romantic theme of the work, as it is about love after all, shows the gentle and often humorous side of Marsalis. Stylistically the music is based on the entire heritage of "classic" jazz, from its New Orleans roots and up to the almost symphonic complexity of Duke EllingtonFind albums by this artist´s Jazz suites. Marsalis´ handling of the trumpet is breathtaking, but all his cohorts are first class musicians and their individual contributions are excellent throughout. This is a small masterpiece in every aspect and an immensely pleasant listening experience from start to finish. No serious Jazz collection can be complete without this gem being included!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ J MOOD WOUNDED BIRD 4308 (Barcode: 664140430822) ~ USA ~ Jazz Recorded: 1986 Released: 2007 Following the departure of saxophonist Branford MarsalisFind albums by this artist, trumpeter Wynton MarsalisFind albums by this artist tightened his group into a quartet. The decision at the time not to replace Branford with another saxophonist and create a trumpet quartet, seemingly a more limited musical vehicle, was a completely conscious one and as far as Wynton was concerned he needed to concentrate the attention totally on his performances, polishing his technique and pushing his skills as player and composer beyond anything previously witnessed. The quartet with excellent new pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist became an incredibly tight unit, able to deliver music of the highest quality and always challenging the listener with its virtuosity and intelligence. Wynton´s compositions became more flexible and presented a wider scope of emotional delivery. This album presents a gentler, more lyrical Wynton, playing mostly his original compositions, most of which are slow tempo ballads. The relaxed and almost lush atmosphere of the music brings up gentle memories of some of the early Miles DavisFind albums by this artist work, but Wynton plays more around with the sound as opposed to Miles dance with timing. The rhythm section is simply perfect. Roberts arises as one of the greatest pianist of the era, which he later proved time after time on his solo recordings, delivering incredible solos and superb accompaniment. Hurst and Watts keep the timing like an atomic clock, but allow enough of creative delivery to keep the music interesting not only on the melodic level, but on the rhythmic level as well. Overall this is a "perfect" Jazz album in every sense – everything is just right on and everything clicks in perfect harmony. Although rarely mentioned as a classic Jazz recording, perhaps due to the fact that it lacks the groundbreaking element of radical innovation, nevertheless this is a Classic (with a capital C), worthy of a honorable place in any serious Jazz collection.

CD 1 Essential Recommend To A Friend

WYNTON MARSALIS ~ LEVEE LOW MOAN: SOUL GESTURES IN SOUTHERN BLUE VOL. 3 WOUNDED BIRD 7975 (Barcode: 664140797529) ~ USA ~ Jazz Recorded: 1991 Released: 2008 This is the third part of the album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", which finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a sextet comprised of his regular band members: saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. Williams contributes one composition with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, and for me is the strongest of the three volumes perhaps due to the wonderfully crafted arrangements. Marsalis´ compositions, now clearly showing his love and respect for Duke EllingtonFind albums by this artist, are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" and "disappointing" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don´t get it, which is fine by me, as long as their limitations don´t influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy and in my opinion this one is a must, so forget the critics and just listen!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ LIVE AT BLUES ALLEY WOUNDED BIRD 4675 (Barcode: 664140467521) ~ USA ~ Jazz Recorded: 1986 Released: 2007 Recorded live during a couple of nights at the Washington, D.C. club Blues Alley, this album captures 25 years old trumpeter / composer / bandleader Wynton MarsalisFind albums by this artist and his quartet doing their thing. Marsalis was already a "living legend", after spending the last half decade in the epicenter of public (Jazz and otherwise) eye. Behind him a series of Jazz and Classical Music recordings, received with almost universal applause and a long string of standing ovations at clubs and concert halls, which fallowed his live appearances. It was time to share the excitement of a live performance with a wider audience via a live recording and perhaps prove once and for all that the "living legend" status was not hype, but was based on solid grounds. The quartet, which earlier that year recorded the splendid "J MoodFind albums with this title" album, consisted of Marsalis, pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist. The double album presents the music at the natural order of performance (with obvious editing), with each of the two records covering a separate night, two sets each night. This results in some of the tunes to be repeated twice, which of course is highly educational, as the performances are completely different, as appropriate for Jazz. The music, mostly written by Marsalis, with a few standards included as well, is mostly up tempo, which suits better a live performance situation and perhaps purposely allows the leader to "show off", proving his point. Regardless of the background information, hidden agendas and other less relevant factors, the music captured on this album is absolutely outstanding, turning it into one of the best live Jazz albums ever recorded. Wynton plays like a Greek God, with flow, technique, sound and virtuosity unparalleled by any of his peers, hitting the high register with might and sustain worthy of Maynard FergusonFind albums by this artist. The pianist delivers incredible solos, full of sublime contents both lyrically and rhythmically and the bass / drums backbone drives the music at a neck-breaking speed with elegance and zest. Whatever one might think of Wynton Marsalis as a person becomes completely irrelevant in view of the music presented here – he is a phenomenal performer and a great asset to the music, which really is all that matters. Absolutely essential piece of music!

CD 2 Essential Recommend To A Friend

WYNTON MARSALIS ~ THE MAJESTY OF THE BLUES WOUNDED BIRD 5091 (Barcode: 664140509122) ~ USA ~ Jazz Recorded: 1989 Released: 2007 Following the initial period of intense search of his own musical identity, which lasted for about five years, trumpeter / composer Wynton MarsalisFind albums by this artist switched gears into the next phase of his illustrious career. The metamorphosis was slow and gradual, but the direction and the ultimate goal were pretty clear from the very early stages. Marsalis decided to treat his relationship with music not as a profession, where the most important facet of a musician is his skill and power of expression (or improvisational ability in Jazz), but rather as an almost messianic quest to turn music into a total art form, emphasizing its historical, philosophical, aesthetical, social and even political aspects. His albums, and often album cycles, would be much more that a series of sounds captured for posterity in a recording studio – they would become conceptual messages, in which the music would be just one layer of the total memorandum he wanted to communicate and get across, in order to educate, influence and often even preach. It didn´t take long for the music critics and later on Jazz audiences as well to start giving Marsalis a "funny" look, and later on commence a direct assault of disapproval and personal harassment. Prophets and visionaries have always suffered from public displeasure since the early days of human history, a phenomenon repeating itself time after time. This superb album is the first significant example of the "new" Marsalis. Completely emancipated from the Miles Davis complex, which haunted him from day one, he changed his relationship with the music and his instrument. From now on he was about to immerse into the roots of Jazz and present the history of the music, revitalized and interpreted his way, and where to find a better starting point than the Blues. Taking a trip back to his roots and origins, Marsalis creates a tribute to New Orleans, the cradle of Jazz. In order to express his musical ideas he realizes that he needs a larger ensemble to express his new musical vistas and therefore the quartet he used up to this point is expanded to a sextet (on this album) and soon after into a septet (a classic Jazz lineup), which would be his main vehicle for many years subsequently. The sextet includes Marsalis, saxophonists Todd WilliamsFind albums by this artist and Wes AndersonFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The album presents two separate music cycles: the first a recording by the sextet, playing music written by Marsalis, which is a modern version of early New Orleans Jazz, the second, called "The New Orleans Function" is performed by a sextet comprising of Marsalis and five veteran New Orleans musicians, again performing music written by him. The most unusual piece of the album is a lengthy sermon, delivered passionately over a musical background, lamenting the fate of the Blues in modern times (and clearly easily applicable to Jazz in general, or even all music or all culture). The sermon was written by journalist Stanley CrouchFind albums by this artist, who was a heated Marsalis supporter from day one and part of ColumbiaFind albums on this label´s PR machine promoting Marsalis to the status of a superstar. His somewhat "overheated" (read pompous) style turned out to be one of the factors, which led to the public "mutiny" against Marsalis´ domination of the Jazz scene. But disregarding the above, the sermon, obviously expressing Marsalis´ views at the time, is completely in par with the concept of this album and plays a vital role in expressing the ideology behind it. The entire strength and superb quality of the album is remarkable and a true work of art. The New Orleans Jazz is revitalized and presented in its full glory, placing this exquisite music back on the center stage after being almost completely forgotten and abandoned, except for a miniscule community of musicians and fans. Marsalis´ ability to love, understand and convey the roots of Jazz is a rare gift, and the Jazz fans from this album on will be exposed to more of the forgotten Jazz treasures thanks to his consistent effort to uncover them. Brilliant piece of music and an essential listening experience!

CD 1 Essential Recommend To A Friend

WYNTON MARSALIS ~ THICK IN THE SOUTH: SOUL GESTURES IN SOUTHERN BLUE VOL. 1 WOUNDED BIRD 7977 (Barcode: 664140797727) ~ USA ~ Jazz Recorded: 1991 Released: 2008 Just ten years after he first appeared on the scene as a solo artist bandleader, trumpeter / composer / bandleader Wynton MarsalisFind albums by this artist could present a résumé, which was unprecedented in Jazz history and was by far more impressive than many lifetime achievements by his peers. Twenty albums with Jazz and Classical Music recordings, countless performances around the world, numerous compositions, prizes and awards, all these wrapped up and commercialized by an intensive PR campaign by his record label ColumbiaFind albums on this label, presented a renaissance musician, a role model and a superstar. Marsalis was just 30 years old and his ego and probably his conscience drove him incessantly to prove himself worthy of this superstar status. His musical projects became ever more complex and encompassing and Columbia indulged him in view of his success. The album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", was Marsalis´ final project about the sources of Jazz, New Orleans Blues / Jazz connections and the emergence of modern Jazz from this primeval genealogy. For this, the first of the three albums, Marsalis formed an ad-hoc quintet by inviting legendary saxophonist Joe HendersonFind albums by this artist to play with him, supported by his regular rhythm session comprising of pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist. On a couple of tracks Watts was replaced by another Jazz legend Elvin JonesFind albums by this artist. The quintet performs five Marsalis´ compositions, which are designed to allow for extensive improvisations and interplay between the players. The music is intense and dramatic, revealing the composer´s tendency to intensify his music towards a more "chamber" direction, with layers of sound intertwined into the harmonic structure. Marsalis, Henderson and Roberts play some brilliant solos throughout the album and the overall level of musicianship is simply breathtaking. Surprisingly (or may be not) the trilogy received "icy" reviews, again accusing Marsalis of imitating or being overly influenced by Miles Davis in this project. In my view Marsalis at this point was completely cured from the Miles complex and if these recordings have anything to do with Miles, they are a loving tribute to the Masters legacy, not an imitation. Brilliant stuff!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ TUNE IN TOMORROW… (SOUNDTRACK) WOUNDED BIRD 7044 (Barcode: 664140704428) ~ USA ~ Jazz Recorded: 1990 Released: 2008 Writing a score for a Hollywood movie was another bold step for trumpeter / composer Wynton MarsalisFind albums by this artist, a part of the process of expanding his milieu and establishing his career as a total musician / composer and now also arranger for a larger ensemble. The music, which is a set of 16 relative short pieces, constitutes a suite, which is coherent and makes sense as a piece of music meant to be listened to separately from the movie, something a very few soundtracks ever achieve. Stylistically it is mostly Blues based, paying a tribute to Duke EllingtonFind albums by this artist orchestrations and compositional approach. The arrangements are clever and sophisticated enough to make the entire content flow without a moment of tediousness. The album also marks the first appearance of the new Marsalis Septet, which includes Marsalis, trombonist Wycliffe GordonFind albums by this artist, saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The expanded list of the participants in the recording 16 musicians, including two vocalists: Johnny AdamsFind albums by this artist and Shirley HornFind albums by this artist. The overall atmosphere of the album takes the listener deep into the 1930s, when Jazz was the popular music of the time, played in clubs and dancehalls. Mind you, this is not some kind of "retro" effort, but a conscious and deliberate artistic choice. If Marsalis meant to bring back the glory of that music back and expose it to contemporary listeners, he did extremely well. This is a most enjoyable album, which should bring on a smile of satisfaction, a job well done and a memorable experience. Recommended!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ UPTOWN RULER: SOUL GESTURES IN SOUTHERN BLUE VOL. 2 WOUNDED BIRD 7976 (Barcode: 664140797628) ~ USA ~ Jazz Recorded: 1991 Released: 2008 This is the second part of the album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", which finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a quintet comprised of his regular band members saxophonist Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. Roberts and Williams also contribute one composition each with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, this time being mostly low key as opposed to its predecessor. The beautiful melody lines are explored in depth by relaxed, but highly inspired soloing. Marsalis´ compositions are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don´t get it, which is fine by me, as long as their limitations don´t influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy so forget the critics and just listen!

CD 1 Recommend To A Friend