JAZZ Online's QJR-Mar '94
Joseph M Vella
****Reports. Thanks for the support and enjoy! Joe Vella
J A Z Z O n l i n e ' s (Tm)
Q U I C K J A Z Z R E P O R T - M A R C H 1 9 9 4
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The JAZZ Online Quick JAZZ Report (QJR) is brought to you by
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In this edition of the JAZZ Online QUICK JAZZ REPORT:
ECM News & Charles Lloyd info.
HOT Jazz Release List
Jazz CD Summaries
The KJAZ Playlist
KXJZ Profile: Jean Luc-Ponty
Second Listen from Pat Metheny
Artist Profile: Gabrielle Goodman
WEMU Playlist
Video short: Alberta Hunter
//
ECM AND BMG CLASSICS FORGE NEW TIES
BMG Classics President Guenter Hensier and Manfred Eicher,
founder and head of ECM Records, today announced a long-term
licensing agreement between ECM and BMG Classics. The contract
covers exclusive representation in North and South America
including all new releases as well as ECM's back catalogue of jazz,
and classical recordings from the ECM New Series.
In making the announcement, Guenter Hensler said, "ECM is
unique in realizing the very personal vision of one man,
Manfred Eicher. His demand for the highest artistic standards,
musical vitality and individual character is evident throughout
ECM's output. We are happy to present this label to the American
market." Manfred Eicher said, "We expect that the association with
BMG Classics will establish a broader awareness of the wide range
of music as introduced and documented by ECM and ECM New Series
since 1969."
ECM (Editions of Contemporary Music) is recognized around the
world for its unique qualities: both improvised and notated
music of the highest calibre, from the finest musicians,
impeccably recorded and presented. In 1994, the German label
will celebrate 25 years of independent music production,
no small achievement, especially as almost all ECM recordings
(over 500 to date) have been produced by Manfred Eicher.
Among the first recordings were influential productions with
such musicians as Keith Jarrett, Jan Garbarek, Chick Corea,
John Surman, Paul Bley, Gary Burton, Pat Metheny, and
Ralph Towner.
Fifteen years after starting his world-renowned jazz label,
Eicher created a new branch of ECM, the New Series. It was
formally launched in 1984 with Arvo Part's Tabula Rasa, although
such composers as Steve Reich and Meredith Monk had already been
recorded by ECM. Focusing particulady on composers - with a range
extending from Perotin and Gesualdo to Part, Hindemith, Kancheii,
Bryars, and others - the New Sedes also provides a platform for
exceptional musicians like the Hilliard Ensemble, Kim Kashkashian,
and, of course, Keith Jarrett.
ECM and BMG Classics began their new relationship with
the November release of three New Series recordings: Arvo
Part's "Te Deum" includes premieres of the title piece,
"Silouans Song," "Magnificat," and the "Berliner Messe"; Keith
Jarrett's performance on harpsichord of Bach's French
Suites; and Lachrymae, works by Hindemith, Britten, and
Penderecki, played by violist Kim Kashkashian.
In January, ECM's 500th recording, the Jan Garbarek Group's "Twelve
Moons," leads off the releases; other releases are the Charles
Lloyd Quartet's "The Call," "November," from John Abercrombie, Marc
Johnson, and Peter Erskine, with John Surman; and Meredith Monk's
"Atlas," an opera in three parts, which premiered two years ago in
Houston.
Courtesy of ECM Records
//
J A Z Z O n l i n e PRESENTS
ECM ARTIST FEATURE: C H A R L E S L L O Y D
When Charles Lloyd appeared at New York's JVC Jazz Festival
last year, Peter Watrous of the New York Times wrote, "Mr.
Lloyd is a virtuoso, but unlike most virtuosos, he never let it
show, keeping everything he played dignified. In his mixture
of blues phrases, classical exercise quotations, howls and
screams and gentle melodic sensibility, Mr. Lloyd has come
up with a strange and beautiful distillation of hte American
experience, part abandoned and wild, part immensely controlled and
sophisticated." Distillation is a key word in discussing the
Memphis-born tenorist's music; through all his endeavours in the
last four decades, he has tried to get to the essence of what
music-making means. Producer Manfred Eicher, in an interview
about "Fish Out Of Water" in 1989, compared that recording session
to a Giacomefti painting. "This is a refined essence of what music
should be. All of the meat is gone, only the bones remain."
Charles Lloyd's music is refined in silence, and emerges with
passion.
Lloyd's musical biography is remarkable for its inclusiveness.
He learned to play alongside Memphis jazz notables like
pianist Phineas Newborn, saxophonist George Coleman, and
trumpeter Booker Little, and also absorbed the blues while working
as a sideman for Howlin' Wolf, B.B. King, and Bobby Bland.
Classical music too left its mark on his development; in
1956 Lloyd left Memphis to study with Bartok expert Halsey
Steven in California. After hours, he jammed with the
pioneers of free jazz, including Ornette Coleman, Eric
Dolphy, Don Cherry, Paul Bley, and Scott La Faro. In 1960,
he moved to New York to replace Dolphy in Chico Hamilton's
group, and in '64 joined the Cannonball Adderley Sextet.
In 1965, Lloyd became a and leader himself, founding one
of the most influential jazz groups of the era. The Charles
Lloyd Quartet introduced the extraordinary talents of Keith
Jarrett, Jack DeJohnette, and Cecil McBee to a mass audience;
Lloyd's 1966 album "Forest Flower" (to be reissued on CD this
spring via Atlantic/Rhino) was recorded at the Monterey
Jazz Festival, and was the first jazz recording to sell a million
copies. The group attained a number of firsts, in fact: the
first jazz group to tour the Soviet Union, the first jazz group
acclaimed by a generation focused on rock, the first jazz group to
play the Fillmore, on bills with Jimi Hendrix, Janis Joplin, The
Grateful Dead, Jefferson Airplane, and the Mothers Of
Invention. At the height of the band's popularity, however, Lloyd
disbanded the quartet and withdrew from the public eye. In
the '70's, he scarcely performed at all, preferring to
meditate, take his flute into the woods, or watch the waves on the
California coast.
In 1981, French pianist Michel Petrucciani went looking for
Lloyd at Big Sur, and a blueprint for a new quartet was
drawn up almost immediately. For the next two years,
Lloyd, Petrucciani, Palle Danielsson and Son Ship Theuss
made highly acclaimed European tours, but Lloyd was not yet
ready for a full-scale comeback, and another five years of
self-imposed exile followed.
His real return to the public eye was instigated with "Fish Out
Of Water," released on ECM in 1990, and a particulady
creative association with Swedish pianist Bobo Stenson, the
mainstay of Lloyd's group since 1988. Stenson first recorded
for ECM with Jan Garbarek in 1971, and co-led the Jan
Garbarek/Bobo Stenson Quartet in the mid-'70's; the
relationship with the label continues, with a quartet session
featuring Stenson with Don Cherry set for release before the
end of '94. The second Swede in Lloyd's quartet is bassist
Anders Jormin; the thoughtful and deeply melodic player replaced
Palle Danielsson in time for the 1991 recording "Notes From
Big Sur" (Jormin also plays in Stenson's tdo). The fourth
member of the quartet is the exceptionally gifted drummer Billy
Hart, who joined the quartet for touring and the recording of
"The Call." Hart is a veteran of groups led by Stan Getz,
Herbie Hancock, Paul Bley, Pharoah Sanders, and McCoy Tyner,
to mention just a few. Hart and Lloyd take flight on the
final track on "The Call," "Brother On The Rooftop," in an
extended duo performance that reveals an almost telepathic
understanding between the players; as Lloyd says, "The duo
inspires me to the future. "A review in the French
magazine Telerama praised "The Call" for its "one hour and
seventeen minutes of melancholy happiness, music that
erases the ugliness and nastiness of the world."
Courtesy of ECM Records
//
J A Z Z O n l i n e ' s
HOT JAZZ CD RELEASES - MARCH 1994
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Abercrombie/Johnson NOVEMBER ECM
Erskine w/Surman
Allyson, Karrin SWEET HOME COOKIN' Concord
Barnes, George PLAYS SO GOOD Concord
Byrd, Charlie AQUARELLE Concord
Eckstine, Billy* BEST OF MGM YEARS Verve
Garbarek, Jan TWELVE MOONS ECM
Goodman, Gabrielle TRAVELIN' LIGHT JMT
Hunter, Charlie CHARLIE HUNTER TRIO Mammoth
Lloyd, Charles THE CALL ECM
Mintzer, Bob ONLY IN NEW YORK DMP
Roberts, Howard THE REAL HOWARD ROBERTS Concord
Rollins, Sonny OLD FLAMES Milestone
Stewart, Sandy SANDY STEWART & FAMILY Cabaret
Various Artists* VERVE'S GRAMMY WINNERS Verve
Watts, Ernie REACHING UP JVC
Wess, Frank TRYIN' TO MAKE MY BLUES... Concord
(c)1994 JAZZ Online (Tm)
//
J A Z Z O n l i n e ' s
C D S U M M A R I E S - M A R C H 1 9 9 4
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*Ernie Watts-REACHING UP, JVC (2031-2)
Produced by Akira Taguchi & Ernie Watts (66 min)
Featuring Ernie with Jack DeJohnette, Charles Fambrough, Mulgrew
Miller, Arturo Sandoval.
Ernie's latest for JVC is as hot as they come. REACHING UP is a
complete release featuring Ernie at his best. Performing on
saxophones, Watts is intense, dynamic and full of energy. The
supporting cast is brilliant and the recording is superb (they used
the 20-bit K2 supercoding system). The entire release is straight
ahead jazz at its best. Standout tunes are I HEAR A RHAPSODY,
REACHING UP and ANGEL'S FLIGHT. The drumming of DeJohnette is
absolutely mind blowing and the piano work from Miller is as good
as it gets. You must get a copy of this recording-it blows!
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*John Abercrombie/Marc Johnson/Peter Erskine w/John Surman
NOVEMBER, ECM (21502-2)
Produced by Manfred Eicher (69 min)
Featuring Abercrombie, Johnson, Erskine & Surman
Recorded back in 1992, NOVEMBER is an interesting release that
features the last recording of the famed Abercrombie Trio before
the three musicians set off to do other projects. NOVEMBER is
essentially the Abercrombie Trio featuring British reedman John
Surman. The four musicians sound incredible together and the
addition of Surman refreshes the overall sound of the trio as they
move in and out of twelve beautifully, intense pieces. You will
find that ECM sound and feel on this one. We enjoyed J.S., PRELUDE
and JOHN'S WALTZ.
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*Gabrielle Goodman-TRAVELIN' LIGHT, JMT (314-514-006-2)
Produced by Stefan F. Winter (51 min)
Featuring Goodman-Vocals with Kevin Eubanks, Mike Cain, Buddy
Williams, Don Alias, Gary Thomas, Anthony Cox and others.
The debut release for versatile vocalist Gabrielle Goodman.
Goodman got her start singing backup with Roberta Flack and has
since been developing her skills ever s nice. Her rendition of MY
FUNNY VALENTINE, as a back-up singer with Flack, at a recent
Newport Jazz Festival had the crowd on their feet begging for more.
TRAVELIN' LIGHT is her debut as a Jazz singer and it is indeed a
strong release that not only features her vocal talents but the
talents of Gary Thomas, Buddy Williams, Anthony Cox and others.
Many state that Gabrielle sings like an angel-she does! Keytracks
are CHEROKEE, OVER THE RAINBOW and MY FUNNY VALENTINE.
===================================================================
*Sandy Stewart & Family, Cabaret (5010-2)
Produced by Sandy Stewart & Bill Charlap (54 min)
Featuring Stewart-Vocals with Bill Charlap, Ron Vincent, George
Triffon.
This eleven tune release features the vocal talents of Sandy
Stewart, a 25 year veteran jazz singer. This is her first release
and it is a gem. She is joined with her working trio led by Bill
Charlap and features mainly standard compositions. Sandy's
husband, George Triffon, adds his tasty trumpet & flugelhorn
playing in and out of Sandy's vocals. Sandy's style is similar to
Rosemary Clooney and Meredith D'Ambrosia. There are no real
surprises on this date-just good music. I WAS TELLING YOU ABOUT
YOU, MOMENTS LIKE THIS and THAT FACE are a trio to start with.
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*Various Artists-VERVE GRAMMY WINNERS, Verve (314-521-485-2)
Compilation produced by Richard Seidel (72 min)
Featuring artists Shirley Horn, Bill Evans, Stan Getz, Charlie
Byrd, Wes Montgomery, Charlie Parker, Ella Fitzgerald, Count Basie,
Joe Williams, Joe Henderson, Jimmy Smith, Betty Carter, Joao
Gilberto.
A wonderful compilation featuring the Jazz Grammy Winners and NARAS
historical recordings spanning the fifty years of the Verve label.
This date is an excellent collection of some of the finest Jazz you
can find on a single disc. Complete with Bird, Basie, Evans, Getz,
Fitzgerald this date is not only a great historical sound demo but
an exciting one too. If you have been waiting for the right disc
to turn someone onto Jazz than this one could be for you. All
tracks are classics so we choose them all as our favorites.
===================================================================
*Billy Eckstine-EVERYTHING I HAVE IS YOURS-THE BEST OF THE MGM
YEARS, Verve (819-442-2)
Reissue produced by Richard Seidel (2 discs)
EVERYTHING I HAVE ... THE BEST OF MGM YEARS gathers some of Billy
Eckstine's best and most popular recordings for MGM (with 14 tracks
that didn't make it to the double-LP reissue of a several years
ago). The first disc has mainly pop hits -lavish arrangements
backing gorgeous ballad singing and the spectacular duets with
Sarah Vaughan. The second disc features Eckstine in more diverse,
jazz-oriented settings with Woody Herman's Orchestra, George
Shearing and an extraordinary jazz quartet led by Bobby Tucker.
The entire package of this collection is outstanding and should be
in your collection.
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*Jan Garbarek Group-TWELVE MOONS, ECM (21500-2)
Produced by Manfred Eicher (75 min)
Featuring Jan with Eberhard Weber, Manu Katche, Rainer Bruninghaus,
Mari Boine, Agnes Buen Garnas and Marilyn Mazur.
TWELVE MOONS, the 500th release for ECM, is yet another great
recording. This release is unique in that it is the first to have
Jan look back and record some material from past albums. Here, he
presents us with a total of 10 tunes and remakes classics Witchi-
Tai-To & Brother Wind March. TWELVE MOONS moves very well,
presenting a variety of rhythmic and harmonic multi-directions.
In addition, this is also Jan's first group recording since 1990
and he has formed an exciting and artistically talented collection
of musicians that will amaze your ears. We recommend this release
and tracks TWELVE MOONS, THERE WERE SWALLOWS..and WITCHI-TAI-TO.
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*Bob Mintzer-ONLY IN NEW YORK, DMP (CD-501)
Produced by Bob Mintzer & Tom Jung (67 min)
Featuring Mintzer-Saxes with Jay Anderson, Lawrence Feldman, Marvin
Stamm, Tim Hagens, John Riley, Phil Markowitz and others.
ONLY IN NEW YORK is the latest Bob Mintzer Big Band release for DMP
and could be his finest. On this date Bob has assembled a New York
cast of outstanding musicians and has written material based on his
impressions of New York. He writes, " Only in New York could I
assemble a band of such accomplished and diverse musicians who are
up to the task of making the music sound fresh and spontaneous, who
stand up and solo with a distinctive personality and then sit down
and make the ensemble sound as one." This is indeed a special
release that you ought to listen to. The recording is outstanding
and the music is magical. A true gem!
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*Charlie Hunter Trio-CHARLIE HUNTER TRIO, Mammoth (MR0066-2)
Produced by Charlie Hunter (48 min)
Featuring Charlie-Guitar with David Ellis and Jay Lane
The debut release of the Bay Area based Charlie Hunter Trio.
Hunter plays a seven string guitar and plays the bass line as well
as the chords. He is joined by two Bay Area musicians on sax and
drums (Ellis & Lane). Together, they perform ten tunes that blend
tradition with innovation and go beyond that. Charlie's guitar
work is original and pleasant. The trio's collection is diverse
featuring Jazz, Hip-Hop, Punk elements and more. In fact, Charlie
calls his music "punk jazz"! Check out tunes FRED'S LIFE, FUNKY
NIBLETS and MULE.
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*Charles Lloyd-THE CALL, ECM (21522-2)
Produced by Manfred Eicher (77 min)
Featuring Lloyd-Sax with Bobo Stenson, Billy Hart, Anders Jormin.
Charles Lloyd is a master musician who has been a quiet force in
Jazz. His 1966 recording titled FOREST FLOWER was the first Jazz
recording to sell a million copies and that group attained a number
firsts including the first Jazz group to tour the Soviet Union, the
first jazz group to play the Fillmore, the first jazz group billed
with Jimi Hendrix, Janis Joplin, The Grateful Dead and Jefferson
Airplane. In the 80's, Lloyd toured extensively with his second
quartet that featured Michel Pettruciani and Palle Danielsson.
Then, in 1990, Lloyd recorded FISH OUT OF WATER for ECM. THE CALL
presents us with Charles performing brilliantly on Tenor and
features a backing trio that is superb featuring pianist Bobo
Stenson. This nine tune release stays mainly in the pocket and
migrates out a little into the unknown musical arenas that Charles
brings to us so beautifully. This is one the finest releases of
1994. SONG, THE BLESSING and DWIJA are three to check out.
(c)1994 JAZZ Online (Tm)
//
K J A Z - FM P L A Y L I S T F O R
F E B R U A R Y 2 4, 1 9 9 4
Compiled by Bob Parlocha
HEAVY
1-Cyrus Chesnut Revelation Atlantic
2-McCoy Tyner Journey Verve
3-Ernie Watts Reaching Up JVC
4-Kitty Margolis Evolution Madcat
5-Peter Leitch A Special Rapport Reservoir
6-Steve Masakowski What It Was Bluenote
7-Lafayett Harris Lafayette is Here Muse
8-Contemp. Piano Ens. The Key Players Columbia
9-Eric Alexander New York Calling Criss Cross
10-Rodney Kendrick Secret Of... Verve
11-Stephan Karlsson Below Zero Justice
12-Bob Mintzer Only In New York DMP
13-Dee Dee Bridgewater Keeping Tradition Verve
14-Billy Taylor It's a Matter of Pride GRP
15-Bobby Militello Easy to Love Positive
16-Bill Watrous A Time for Love GNP
17-Roseann Vitro Softly Concord
18-Bob Thiele Lion Hearted Red Baron
19-Jazz at Lincoln Cnt. Fire of Fundamentals Columbia
20-Bill Warfield City Never Sleeps Seabreeze
21-Hendrick Muerken View of Manhattan Concord
22-David Murray Jazzosaursous Red Baron
23-Joe Williams Here's to Love Telarc
24-Frank Wess Going Wess Towncrier
25-Peter Bernstien Somethin's Burnin' Criss Cross
MEDIUM
26-Akio Sasajima Humpty Dumpty Enja
27-Copeland/Ilge Two Way Street Jazzline
28-Sebastian Whittaker One for Bu! Justice
29-Wallace Roney Crunchin' Muse
30-Joshua Breakstone Walk, Don't Run Evidence
31-Bruce Williamson Big City Magic Timeless
32-Cassandra Wilson Blue Light Til Dawn Bluenote
33-Riverside Reunion Mostly Monk Milestone
34-Turtle Island S.Q. Who Do We Think We Are? Windham Hill
35-Recycling Recycling Jazzline
36-Mark Little Dream Walking Monarch
37-Count Basie Orch. Basie's Bag Telarc
38-Neils Lan Doky Paris by Night Soulnote
39-Oscar Peterson Encore at the Bluenote Telarc
40-Hugh Masakela Hope Triloka
41-Szakcsi Straight Ahead GRP
42-Tex Allen Late Night Muse
43-John McLaughlin Time Remembered Verve
44-Burton/Parris It's Another Day GRP
45-Sonny Rollins Old Flames Milestone
46-Carola Gray Noisy Mama Jazzline
47-Paul Mousavi Sound Mind Global Pacific
48-Chris White Chris White Project Muse
49-Ali Ryerson I'm Back Red Baron
50-John Leitham The Southpaw USA
LIGHT
51-Concord Silver Ann. Same Concord
52-Gerry Mulligan Paraiso Telarc
53-Chris Florey City Life Concord
54-Vincent Herring Dawnbird Muse
55-Herb Ellis Texas Swing Justice
56-Tony Campise Blues, Ballads, Bebop Heart Music
57-Batimco Batimco J & N
58-Umberto Rameriz Aspects Chesky
59-Tom Harrell Upswing Chesky
ADDS
60-Gabrielle Goodman Travelin' Light JMT
61-Dave Brubeck Late Night Brubeck Telarc
62-Donald Brown Send One Your Love Muse
63-Randy Johnston Jubilation Muse
64-Morgana King This is Always Muse
65-Modern Jazz Quartet And Friends Atlantic
66-Yellow Jackets Run For Your Life GRP
67-Charlie Hunter Trio Charlie Hunter Trio Mamoth
68-Hargrove/Hart Tokyo Sessions Novus
69-Avery Sharpe Extended Family JKNM
70-Miki Howard Miki Sings Billie Giant
71-Frank Wess Blues Turn Green
Used By Permission (c)1994 JAZZ Online (Tm)
//
P R O F I L E S I N J A Z Z: J E A N - L U C P O N T Y
by KXJZ radio personality Paul Conley
Since his first appearance at the 1967 Monterey Jazz Festival,
Frenchman Jean-Luc Ponty has emerged internationally as the
acknowleged master of the modern jazz violin. The term "fusion" had
not yet entered the vernacular when Ponty first explored new
musical terrain with the likes of George Duke, the late Frank Zappa
and John McLaughlin's Mahavishnu Orchestra. The perrennial
pollwinner pioneered the use of the electric violin in jazz and
applied various technological innovations such as phase shifting,
wa-wa devices, Echoplex and distortion to create entirely new
sounds.
Ponty settled in California in the early 1970's and soon after
signed his first deal with a major recording company, Atlantic
Records. From the mid 70's through the early '80's, he released a
dozen albums for Atlantic, advancing and redefining the genre of
jazz-rock in the process. Now, after seven years away from the
label, Ponty returns to Atlantic, with his latest release, "No
Absoulte Time". The CD features Ponty's trademark soaring
improvisations backed by an African rhythm section.
"I developed an interest in African music playing in Europe
five years ago," explained Ponty during a recent phone interview
with KXJZ's Gary Vercelli. "It was then that I learned of a new
phenomenon, which is the migration of modern, young West African
musicians coming from French-speaking countries to Paris. I was
inspired to go to Paris with my violin, track down some of these
musicians and see if I could integrate with their rhythms. And,
that's how the idea of my previous CD, "Tchokola", was born and
realized."
Like "Tchokola", Ponty's latest effort features African
musicians. However, the compositions on "No Absolute Time" are not
all African in nature, as was the case on "Tchokola".
"Tchokola was a detour for me," commented Ponty. "I had no
intention of abandoning my musical style and playing African music
exclusively. However, the rhythmic experience with the African
musicians was so strong that it left a mark. That's why I decided
to go back to Paris."
After two decades of California living, Ponty now divides his
time between the U.S. and Paris. "It's so different from when I
left,' said the Normandy born violinist. "In fact, I left for
musical reasons because so many new things were happening in
America and at the time there wasn't much happening in Paris. But
now it has changed because a lot of musicians from different parts
of the world moved to Paris and it's incredible the variety of
style that you can listen to in clubs, on TV, and on radio. And
it's all happening in my home country. So I share my time between
the two places. But it's a bit far away for commuting!"
Throughout his career, Jean-Luc Ponty has remained a vital
part of the jazz world's cutting edge. Whether integrating weird
electronic sounds with rock rhythms and jazz improvisation, or
combining his modern playing style with the traditional rhythms of
Africa, Ponty has made artistic control of his work a high
priority, especially in the recording studio. "That started in '75
when I signed my first deal with Atlantic. That was the condition
of the deal. I had a concept in mind, and I felt more mature and
ready to be responsible for choosing the music, the musicians, and
the whole concept of an album."
Jazz fans can only guess what creative concepts Jean-Luc Ponty
will explore in the years and records to come. As for now, there is
"No Absolute Time" like the present to enjoy his world class
artistry.
Editors Note: Paul Conley hosts a Jazz program on KXPR weekdays.
KXJZ serves the Greater Sacramento Metro at 88.9 on the FM dial.
KXJZ is an NPR afilliate station.
Used by Permission (c)1994 JAZZ Online (Tm)
//
J A Z Z O n l i n e ' s
A S E C O N D L I S T E N - C O N T E M P O R A R Y J A Z Z
M A R C H - 1 9 9 4
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PAT METHENY GROUP-OFFRAMP, ECM
Produced by Manfred Eicher
Many will argue that Pat Metheny's "big" breakthrough
recording was FIRST CIRCLE. It may be if you are referring to the
Metheny Group getting pop recognition. But when it comes to the
direction of Contemporary Jazz, OFFRAMP was and still is the
recording that did more for fusion music than any other in the
80's. More importantly, it is a fine recording that is worth a
second listen.
OFFRAMP is a recording that blends the best of two worlds:
Contemporary Jazz Fusion and Musical Technology. The music
featured on OFFRAMP is a blend of that catchy Metheny/Mays style
that Pat & Lyle created in late 70' and early 80's with a touch of
New Age, Modal and Free concepts. Released in 1982, OFFRAMP
presented a recording that broke through barriers of Jazz Fusion
music. It was the first to introduce the guitar synthesizer to the
Jazz scene and it also one the most successful recordings that both
Jazz and Fusion enthusiasts could discuss in depth. Aside from
Weather Report's recordings, Jazz Fusion was not really taken
seriously in the early 80's but was on the rise and OFFRAMP clearly
solitified the style.
The music on OFFRAMP is fabulous. The opener "Barcarole" is
the first tune to introduce Pat's playing on the guitar
synthesizer. The tune also uses lots of synthesizer beds and
wonderful percussion from Nana Vasconcelos. The infamous "Are You
Going With Me" is essentially a groove with no distinct melody
aside from Lyle May's sampled harmonica solo intro. This tune may
have more done for Contemporary Jazz than we'll ever know. The
nine minute improvisation assisted in teaching young jazz fans how
to listen to a soloist develop a musical point and build it to
a climax. A Contemporary Jazz classic! The ever haunting and
beautiful "Au-Lait" still is a most romantic and beautious tune.
The hypnotic lines and rhythms are still as potent as ever.
"Eighteen" blends a true rock and jazz feel. Danny Gottlieb's
drumming and Rodby's bass playing drive the tune as Pat creates a
wonderfully expanding solo. The free-formed "Offramp" is also a
great demonstration of the diversity of the Pat Metheny Group. Pat
introduced the music Ornette Coleman to a young and often
uneducated "jazz" audience and you hear Coleman's influence in
"Offramp." The Group's use of free jazz concepts also did a lot in
educating listener's to the different aspects of Jazz.
"James" is the most melodic tune on the release and is also a
Jazz/Contemporary Jazz classic. "James" represents the
Metheny/Mays sound that is most recognizeable. OFFRAMP ends with
the New Age style "The Bat- Part II." An, almost, soundtrack-like
tune that highlights Lyle May's master synthesizer playing and Nana
Vasconcelos percussion and voice.
OFFRAMP is indeed a most worthy and educating recording that
must acknowledged in the history of our music. We recommend you
give a listen to Pat Metheny Group OFFRAMP.
(c)1994 JAZZ Online (Tm)
//
J A Z Z O n l i n e ' s
A R T I S T P R O F I L E
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G A B R I E L L E G O O D M A N
The new year means a time for beginnings. For vocalist
Gabrielle Goodman, it's her JMT debut. TRAVELIN' LIGHT
reveals Gabrielle Goodman to be one of America's rising
young stars.
"The first time I heard her voice, I knew she was
exceptional," says Roberta Flack. "She possesses a vocal
range of more than four octaves, a pureness of tone that can
stop you in mid-stride, and a way of interpreting that brings
tears to your eyes."
When Goodman auditioned for Roberta Flack in 1985, it
launched an international career for the young singer. After
several years of working with Flack, Flack featured Goodman at
the Newport Jazz Festival. "I'll never forget her solo on
"My Funny Valentine" which she performed at the Newport Jazz
Festival in 1992," says Flack. "We were the last act to go
on that stormy day, where a drenched crowd of 15,000
waited in a muddied field in the driving rain. Gabrielle's solo
came upon them like a clap of lightning. They stood,
screamed, clapped, stomped and whistled for her. They
gave her a four-minute standing ovation."
But Roberta Flack is not the only artist to champion
Goodman's vocal and writing talents. Nancy Wilson, Norman
Connors, Melba Moore, Lonnie Liston Smith, and Chaka
Khan (who she toured with over the past two years) all sing her
praises. In fact Goodman's "You Can Make the Story Right" is
featured on Khan's latest release, THE WOMAN I AM.
Goodman's journey began in her hometown, Baltimore, Maryland,
when she joined her church choir at the age of 12 and later,
the high school gospel choir. A classically trained artist
(she graduated from Peabody Conservatory in 1990), Goodman
is at home with the Syracuse Symphony Orchestra an the
Baltimore Opera on one end of the spectrum and Gary Bartz
and Gary Thomas on the other.
Influenced by her father (a jazz trombonist), her mother (a
classical singer), and her brothers Tony (a soul bassist)
and David (pianist/arranger and Goodman's musical
director); Goodman employs a great variety of styles. She says, "I
love all different kinds of music. If I had to choose only
one I wouldn't know what to do."
By the time she recorded TRAVELIN' LIGHT, Goodman decided
to focus on jazz. The new release demonstrates Goodman's
complete vocal artistry ranging from highly out-of-time
settings to contemporary funk and fusion. Guitarist Kevin
Enbanks, bassist Anthony Cox and saxophonist Gary Thomas
are featured players along with Barry Miles and David
Bunn (piano and synthesizer), Mike Cain (piano), Wolfgang
Muthspiel (guitar), Mark Feldman (violins), Tony Bunn
(electric bass), Ruben Rodriguez (bass), Don Alias (congas,
percussion), and Buddy Williams (drums).
TRAVELIN' LIGHT features two songs made famous by Billie
Holiday, the title track and "Don't Explain." Although
Goodman thinks of herself as closer to Aretha Franklin and
Dinah Washington, she of course feels an emotional tie to
Lady Day. Other ballads include Somewhere Over the
Rainbow, Cherokee, My Funny Valentine, and Someone to
Watch Over Me. Switching gears, Goodman funks it up on
her own Manila and Use Me by Bill Withers, and on
Clifford Brown's Blues Walk, Goodman scats through a
collective blues improvisation that actually shows off her
classical training.
Roberta Flack says of Goodman, "she is warm and
charismatic, winning an audience quickly, and holding them
spellbound as she effortlessly sculpts a vocal masterpiece
that you can almost see its depth, color and texture."
Following the Newport performance, Flack says, "My staff
had many requests that day (and everyday that Gabrielle
solos in my show) for information on where they could
get her album -- a request that up until now, has remained
unfulfilled. At last, their requests have been met; the
eagerly anticipated first album. Gabrielle Goodman-she
sings like an angel. We know you'll agree ......
Used By Permission (c)1994 JAZZ Online (Tm)
//
W E M U P L A Y L I S T 8 9 .1 F M
M A R C H 1, 1 9 9 4
Y P S I L A N T I M I C H I G A N
Eastern Michigan University
Serving the Greater Detroit Metro Area
Compiled by Music Director Linda Yohn
HEAVY AIRPLAY
Cyrus Chestnut Revelation
McCoy Tyner Big Band Journey
Tommy Flanagan Let's..music of Thad Jones
Roseanna Vitro Softly
Lincoln Center Jazz Orchestra Fire of Fundamentals
Ed Blackwell What It Is?
Riverside Reunion Band Mostly Monk
Contemporary Piano Ensemble The Key Players
Rodney Kendrick The Secrets Of..
Billy Taylor It's a Matter of Pride
Silver Leaf Jazz Band Streets and Scenes...
Kitty Margolis Evolution
Ernie Watts Reaching Up
Abdulla Ibrahim No Fear, No Die
Al Kooper ReKooperation
MEDIUM AIRPLAY
Herb Ellis Texas Swing
Sebastian Whittaker One for Bu
Various Artists Concord Silver Anniversary
Bill Charlap Along with Me
Patato Masterpiece
Steve Masakowski What It Was
Stefan Karlsson Below Zero
Harold Mabern/Kieran Overs Philadelphia Bound
Bobby Sanabria & Ascencion New York City Ache
Bill Warfield The City Never Sleeps
Batimco Batimco
Avery Sharpe Extended Family
Joshua Breakstone Walk, don't Run
Niels Lan Doky Paris By Night
Chris Flory City Life
LIGHT AIRPLAY
Marc Puricelli Melting Point
Bobby Militello Easy to Love
John Leitham The Southpaw
Jim Hall Something Special
Tony Lakatos/Kirk Lightsey/Al Foster Recycling
Stephane Grapelli So Easy to Remember
Scott Hamilton East of the Sun
Sandy Stewart And Family
Peter Leitch A Special Report
ADDS
Matt Kendrick Composite Ichiban
Modern Jazz Quartet MJQ & Friends Atlantic
Tana/Reid Blue Motion Evidence
Bob Mintzer Big Band Only in New York DMP
Morgana King This is Always Muse
Jack Walrath Masters of Suspense Muse
Used By Permission (c)1994 JAZZ Online (Tm)
//
J A Z Z O n l i n e & V. I. E. W. V I D E O
PRESENT
T H E J A Z Z V I D E O C O U C H
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ALBERTA HUNTER-MY CASTLE'S ROCKIN' (V.I.E.W # 1331/$19.95)
This award-winning concert film portrays the life of legendary
singer/songwriter, known for her independent spirit and often
naughty lyrics. After achieving success for over 40 years with
starring roles on Broadway, international tours, and more than a
dozen hits, including Downhearted Blues, which became Bessie
Smith's biggest hit in 1923 ... Alberta left show business at age
62 to become a nurse.
Twenty years later, at age 82 (the hospital thought she was
70), she was forced to retire. Still full of energy, she returned
to singing and made a critically acclaimed comeback, one that made
her more popular than in her heyday. Live from the Cookery in New
York, she knocks out numbers ranging from the lascivious "Handy
Man" to the classic "Darktown Strutters Ball," her voice full and
rich, hands gesturing, winking at the audience ... a consummate
showwoman to the end.
Alberta opened her personal archives to Producer/Director
Stuart Goldman and shared materials never seen before, as well as
her last filmed interview prior to her death in 1984 at age 89. In
addition to her own provocative and witty performances, this film,
narrated by Billy Taylor, features the music of her friends and
colleagues Louis Armstrong, Eubie Blake, Bessie Smith, King Oliver,
Paul Robeson and Fats Waller.
V.I.E.W. is proud to add Alberta Hunter, MY CASTLE'S ROCKIN'
to it's Hall of Fame Video Collection. A wonderful and fitting
tribute that is now preserved forever on home video.
S E L E C T I O N S
My Castle's Rockin' Black Shadows
2-Fisted Doubled Jointed I'm Having A Good Time
Rough & Ready Man
Darktown Strutters Ball Handy Man
Downhearted Blues You're Welcome To Come
I've Got A Mind To Ramble The Love I Have For You
This video production is 60 minutes in length and recorded in Hi-Fi
Stereo. (Color)
**A Special Offer to JAZZ Online Users**
If you want to purchase a copy of this V.I.E.W Video Production:
just call V.I.E.W. at 1-212-874-5550 and tell them that JAZZ Online
sent you and you will receive 10% OFF of the catalog price!!! A
deal hard to pass up!
Used By Permission (c)1994 JAZZ Online (Tm)
//
Keep your eyes posted in the rec.music.bluenote for more from JAZZ
Online.
JAZZ Online - The Future Is Now!!!
Modem #510-521-4165
(c)1994 JAZZ Online (Tm)
/end.