Sonny Rollins - with the Modern Jazz Quartet (1953)

Included here are some of Sonny Rollins' earliest sessions as a bandleader. These are among the fresh and vibrant baker's dozen of selections on Sonny Rollins With the Modern Jazz Quartet (1953). The title is a bit misleading though, since the MJQ — with John Lewis (piano), Milt Jackson (vibes), Percy Heath (bass), and Kenny Clarke (drums) — is only accounted for during the first four sides. There is a playful and energetic tone that ricochets from Jackson's fluid vibes, landing firmly in Rollins' musical court. One prime example of this interaction is heard throughout the solos on the opening track, "Stopper." Similarly, "Almost Like Falling in Love" bops, weaves, and swings throughout, with some expressive contributions via Lewis, effectively linking Rollins' and Jackson's solos. "No Moe," which stands as one of the best originals on the disc, also bears their undeniable connection. Another not-to-be-missed reading is the sultry "In a Sentimental Mood." Here, Rollins spirals mature and ethereal lines against Jackson's resonant intonation and shimmer. If just for these tunes, Sonny Rollins With the Modern Jazz Quartet is a vital component in any jazz enthusiasts' collection. The rest of the disc is performed by Rollins and a quartet that also includes the talents of Kenny Drew (piano), the MJQ's Percy Heath (bass), and the main Jazz Messenger, Art Blakey (drums). On the original tune "Scoops," Blakey's hardball antics provide well-placed sonic interjections, punctuating Rollins' highly infectious melodic sense. While on the subject of catchy tunes, all ears should be directed to the biblically derived title "Shadrack," which had been a signature piece for Louis Armstrong. This early incarnation of the Sonny Rollins Quartet has rarely sounded as cohesive, as they collectively percolate with their definitive execution. Of particular note is the inclusion of Miles Davis' "I Know." This extension of Charlie Parker's "Confirmation" features Davis on piano accompanying Rollins with solid chord progressions, allowing the burgeoning player to lead his first-ever quartet with Heath and Roy Haynes (drums).

by Lindsay Planer at All Music Guide.

Styles:
Bop

Tracks:
01 The Stopper
02 Almost Like Being in Love
03 No Moe
04 In a Sentimental Mood
05 Scoops
06 With a Song in My Heart
07 Newk's Fadeaway
08 Time on My Hands
09 This Love of Mine
10 Shadrack
11 On a Slow Boat to China
12 Mambo Bounce
13 I Know

Line-up:
Sonny Rollins – tenor saxophone
John Lewis - piano (tracks 1-4)
Milt Jackson - vibes (tracks 1-4)
Percy Heath - bass
Kenny Clarke - drums (tracks 1-4)
Art Blakey - drums (tracks 5-12)
Miles Davis - piano (track 13)
Roy Haynes - drums (track 13)

Finding the Way

My One and Only Love

Jean-Luc Ponty - Imaginary Voyage (1976)

As of 1976, Jean-Luc Ponty's variations on the Mahavishnu Orchestra theme were still fresh and imaginative, cast in a distinctively different, more lyrical, more controlled framework. For Imaginary Voyage, Ponty's instrumental lineup is identical to that of Mahavishnu -- electric violin, guitar, keyboards, bass, drums -- but he turns the emphasis on its head, with all commands coming directly from the violin (his) and less competitive crossplay emanating from his colleagues. For starters, "New Country" is a lively jazz-rock hoedown, one of those periodic C&W side trips that some fusioneers attempted for a lark, and "The Gardens of Babylon" is a wonderfully memorable tune, the beginnings of which grow out of "New Country." The last half of the CD is taken up by the title composition, a strong four-part suite that hangs together with barely a sag in interest over its 20-minute span.
by Richard S. Ginell at All Music Guide.

Styles:
Fusion
Post-Bop
Crossover Jazz

Tracks:
01 New Country
02 The Gardens of Babylon
03 Wandering on the Milky Way
04 Once upon a Dream
05 Tarantula
06 Imaginary Voyage, Part 1
07 Imaginary Voyage, Part 2
08 Imaginary Voyage, Part 3
09 Imaginary Voyage, Part 4

Line-up:
Jean-Luc Ponty - electric and acoustic violins / organ and background synthesizers
Daryl Struermer - electric and acoustic guitars
Allan Zavod - electric keyboard and acoustic piano
Tom Fowler - electric bass
Mark Craney - percussion

Michel Petrucciani Documentary

Miles Davis - In a Silent Way (1969)

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.

by Thom Jurek at All Music Guide.

Styles:
Fusion
Jazz-Rock
Avant-Garde Jazz

Tracks:
01 Shhh/Peaceful
02 In A Silent Way

Line-up:
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
John McLaughlin – electric guitar
Chick Corea – electric piano
Herbie Hancock – electric piano
Joe Zawinul – organ
Dave Holland – double bass
Tony Williams – drums

John Scofield - That's What I Say (2005)

With John Scofield, a big part of the fun is never knowing what the guitarist will do from one album to the next. He might provide an album that is abstract and cerebral, or he might come up with something funky and groove-oriented; That's What I Say: John Scofield Plays the Music of Ray Charles is a perfect example of the latter. Featuring well-known guest vocalists who include Dr. John, Mavis Staples (as in the Staple Sisters), Aaron Neville and John Mayer, this tribute to the late Ray Charles is definitely one of Scofield's more commercial projects -- which isn't to say that he shouldn't be proud of the album. Commercialism isn't necessarily a bad thing as long as it is tastefully done, and That's What I Say is a tasteful effort that finds Scofield fluctuating between instrumental soul-jazz and vocal-oriented soul. Produced by drummer Steve Jordan, this 65-minute CD isn't for jazz snobs, but rather, those who hold jazz and R&B in equally high regard -- and people who fit that description will appreciate Scofield's instrumental soul-jazz workouts on "Hit the Road, Jack," "Busted" and "Unchain My Heart," but will be equally receptive to the straight-up R&B singing of Neville on "You Don't Know Me" and Staples on Don Gibson's "I Can't Stop Loving You" (one of the many country songs that received an R&B makeover from Charles). The disc's only disappointing track is an instrumental version of Buck Owens' "Cryin' Time." Scofield uses the Bakersfield sound honky tonk classic as a brief interlude to "I Can't Stop Loving You," but "Cryin' Time" deserved more of his time than a minute and a half -- and it's regrettable that Scofield doesn't stretch out on the Owens gem. But overall, That's What I Say is a creative success for Scofield and the R&B and jazz artists who join him.

by Alex Henderson at All Music Guide.

Styles:
Contemporary Jazz
Post-Bop

Tracks:
01 Busted
02 What'd I Say
03 Sticks and Stones
04 I Don't Need No Doctor
05 Cryin' Time
06 I Can't Stop Loving You
07 Hit the Road Jack
08 Talkin' Bout You/I Got a Woman
09 Unchain My Heart, Pt. 1
10 Let's Go Get Stoned
11 Night Time Is the Right Time
12 You Don't Know Me
13 Georgia on My Mind

Line-up:
John Scofield - guitar
Larry Goldings - piano / hammond B3 organ / wurlitzer / vibes
Willie Weeks - bass & ampeg baby bass
Steve Jordan - drums / cocktail drums / tambourine / background vocals

Guests:
Warren Haynes - vocals (tracks 2 & 11) / bottleneck guitar (track 11)
John Mayer - vocals (tracks 2 & 4) / guitars (track 4)
Aaron Neville - vocals (tracks 2 & 12)
David "Fathead" Newman - tenor saxophone (tracks 2 & 7)
Dr. John - vocals (tracks 2 & 8) / piano (track 8)
Mavis Staples - vocals (tracks 2 & 6)
Manolo Badrena - percussion / spanish speaking
Lisa Fischer - background vocals
Vaneese Thomas - background vocals
Meegan Voss - background vocals
Alex Foster - tenor saxophone
Earl Gardner - trumpet
Howard Johnson -baritone saxophone
Keith O'Quinn - trombone