Michel Sardaby - Gail Year: 1975
Style or Subgenre: Contemporary Jazz, Crossover Jazz, Jazz Funk
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A recent discovery for me, Michel Sardaby is a most welcome addition to my listening canon. It seems he, who is equally at home on acoustic or electric keys, can bring together a multitude of styles on an album and have it all work exceptionally well. In just the first four songs on Gail, he opens with a gorgeous ballad (self titled), goes mostly neo-bop on the following "Spindrift," hits a commercial but delightfully enticing streak on "Ten Kisses Short as one," and then drops one of the all time essential jazz funk greats with "Welcome New Warmth." It's better than a variety show because it has all the variety, yet it's all great!
Ellis Marsalis - A Night At Snug Harbor, New Orleans Year: 1989
Style or Subgenre: Hard Bop, Post Bop
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This was one of my random choices, and it turned out to have an interesting lineup. Most obvious is that it is led by the patriarch of all those talented Marsalis brothers. Adding to the interest factor, we have a single cut, "Jitterbug," on which we have a 70 year old Art Blakey on drums, and a 15 year old Nicholas Payton making his recording debut on trumpet! But this is no mere novelty album or blatant marketing product thrown together to sell a few copies. The music here is quite genuinely marvelous. Throughout the album, the twin tenors of Tony Dagradi and Rick Margitza giving some very spirited soloing while Marsalis vamps and solos in an often percussive, but most often traditional vein. Bassist Bill Huntington really nails it throughout the album.
Delfeayo Marsalis - Sweet Thunder Year: 2011
Style or Subgenre: Traditional Jazz, Swing, Bop, Progressive Jazz
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Having enjoyed the elder, not-so-familiar-to-me Marsalis, I was inspired to look after one of his also not-so-familiar-to-me sons. Being in the mood for some deep brass, I chose trombonist son Delfeayo. Now, Sweet Thunder may not have been the best introductory pick: it follows Ellington/Strayorn's earlier commission of a 12-part suite, based on Shakespearean themes. Not necessarily centerline jazz inspiration. But this is jazz through and through.... all kinds of jazz. I heard Dixie, traditional, swing, big band, bop, post bop, world jazz, and progressive jazz all in significant measure, and hints of avant garde, free jazz, and a few others including the jazz ktichen sink. Interestingly, all this is held together with a surprising dose of consistency but not sameness. How well Marsalis and Co. carry this off (indeed, whether or not he should have even attempted it in the first place) is the subject of some debate. Okay, so maybe he's not Ellington, but this is an enjoyable recording. I wouldn't call it essential, but I was pleased to be able to lend an ear.
Clark Terry - Out on a Limb Recording Date: 1957
Release Date: 1958
Style or Subgenre: Bop
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Clark Terry - In Orbit Year: 1958
Style or Subgenre: Bop
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Back to back brass (trumpet and fluglehorn) from Clark Terry today. These two albums, recorded and released in close succession show an interesting progression. The former, Out On a Limb, is a very interesting album despite its relative lack of popularity or critical acclaim. It could just about be called "Adventures in Trumpet Tones," as Terry milks just about every sound imaginable from a trumpet as he plays a variety of songs. He opens with a highly exotic, and I think enjoyable, reading of "Caravan." After that, he plays sharp and airy, pure and vibrato and even major wah-wah. In fact, most everything on this album is a rather bombastic; effects are generally over the top. But if you're in the mood for more bombast than subtlety, this is a great album.
The second album, "In Orbit ," is immediately present as a more mature effort. No doubt the rhythm section of Sam Jones on bass, Philly Joe Jones on drums, and especially Thelonious Monk in an appearance as sideman, have a lot to do with that. Nothing cheezy here; every note, every line, has an air of maturity about it that the previous album lacks. Not all the compositions are top shelf, but the arrangement and presentation make the most out of therm.
The two make a fine contrast, each having their own feel, and a worthy place in the Terry catalog. The latter sits just shy of Masterpiece status and listening to the two back to back, it's easy to hear the differences that account for the gap in acclaim. That said, that earlier, bombastic, almost cheezy album shouldn't be dmissed; it can be a helluva' lot of fun if you're in the mood!
Cecil McBee - Mutima Year: 1974
Style or Subgenre: Third Stream, Post Bop, Avant Garde
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Cecil McBee - Flying Out Year: 1982
Style or Subgenre: Third Stream, Post Bop, Avant Garde
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And now for something completely different.....
Bassist McBee is the only performer on the opening cut, "From Within," from his debut album Mutima. For 11 1/2 minutes, he plays two cellos (dubbed) with one acting primarily as a drone, and the other meandering back and forth between a minimalist melody and full screech bow abuse. It sounds experimental, and potentially horrific, on paper, but the experiment succeeds wildly, and this is one captivating composition. After that, things get a little more standard, although not at all typical, as the full ensemble carries on, alternating between avant garde tinged post bop songs heavier on improvisation and third stream pieces more focused on composition. The title cut starts with beautifully composed mid-tempo melodic themes and then shifts into faster bop mode for some fantastic improvisation, mostly courtesy of trumpeter Tex Allen and flutist Art Webb, but Allen Braufman's alto also gets in some good licks. The tempos are constantly shifting and never settling, but the pieces all slide together, in and out of each other, and above and below each other such that it all makes sense, like having some kind of epiphany that brings order to the universe. A fantastic piece, 13 and a half minutes of compositional and collective genius! And if all that variety wasn't enough, he wraps up the album with some seriously heavy duty jazz funk on "Tulsa Black." What a way to finish! I really can't say enough good things about this album.
Flying Out stays a sightly narrower course, but still wanders from funk to spiritual jazz and classical influences which makes for an interesting bit of variety. This album doesn't have the consistently brilliant edge as the debut, but it's still a solid piece of mostly third stream jazz.
Patricia Barber - Verse Year: 2002
Style or Subgenre: Vocal jazz, crossover jazz
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Well, this was yet another fascinating discovery for me. I'm always fascinated when I encounter a performer who is a natural introvert; it just seems so incongruous... wouldn't you have to be an extrovert to get on a stage and perform? And yet that is often not the case. It seems a paradoxical thought, but singer/songwriter/pianist Patricia Barber, in both her words and her presentation, just screams brilliant introspective introvert. Truly, when I listened to Verse for the first time, I felt rather bombarded with introversion, odd as that sounds. Her lyrics consistently show the inner workings of a deep thinker... that they could be set to music is itself an accomplishment; that they could do so so well is at times mind blowing.
Barber definitely has one of those sultry jazz voices, but it doesn't manifest in a romantic, sit in front of the fireplace with a glass of wine kind of way, but more in an intellectual beatnik coffee house kind of way. If you're looking for torch songs to curl up with your significant other by, look elsewhere. These lyrics and their presentation have a distinct edge to them.
The music is often straight ahead vocal jazz, but it also gets some indie influence, occasionally flirts around the edges of pop, and at least in mood often carries a significant singer songwriter vibe. I get a sense of a modern, more intellectual Norah Jones much of the time, and that works well for me. Of particular note is Dave Douglas turning in a fantastic performance on trumpet, easily one of the best vocalist/trumpet collaborations I've ever heard.
I've never heard anything like this, and I'm enthralled. Ahhhhh, the joy of discovery! Experiences like this are why I keep listening.
Jack Sheldon - Stand By for the Jack Sheldon Quartet Year: 1983
Style or Subgenre: Bop, Standards
This is a very nice set of trumpet showpieces and vocal standards. My newly learned trivia for the day: Jack Sheldon was a regular vocalist on Schoolhouse Rock; among his credits are the one everybody remembers - I'm Just a Bill.
Joe Beck - The Journey Year: 1991
Style or Subgenre: Post Bop, Fusion, Guitar Jazz
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This is some very solidly swinging post bop fusion guitar jazz right here. Joe Beck was always an excellent guitarist, and this is as good as anything he's done. His playing is full of layers, color, and texture. Adding to the excellence is a lively performance by Chip Jackson on bass. I also love the inclusion of vibes vice the more common piano to round out the quartet.
Modern Jazz Quartet - Echoes Year: 1984
Style or Subgenre: Cool Jazz, Third Stream
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After a significant hiatus, The Modern Jazz Quartet returned with this fine album. The opener, "That Slavic Smile," is a wonderful piece, somehow blending distinctly Slavic tonality with jazz-blues. Milt Jackson's vibes are wonderfully expressive throughout this album. Every song is a gem, well mounted. Overall, a must for my collection.
Brian Culbertson - Bringing Back the Funk Year: 2008
Style or Subgenre: Jazz Funk, Contemporary Jazz, Crossover Jazz, Jazz Pop, Smooth Jazz
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Okay, so it's radio friendly crossover jazz. But you know what... it's still a kick in the pants! I always have a great time when I pull this one out. Even though it's not as deep or cerebral as the all time real jazz iconic albums, it is tons o' fun, and the spirit of joyful music making is ever present. Big kudos to Culbertson for this, his best, most electrifying album.
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