{"id":4815,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/jung-on-jazz-december-1999\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"jung-on-jazz-december-1999","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4815","title":{"rendered":"Jung on Jazz December 1999"},"content":{"rendered":"

Jung on Jazz December 1999<\/title><?php require($DOCUMENT_ROOT . \"_body.htm\"); ??><a name=\"ttop\">\u00a0<\/a> <\/p>\n<table border=\"0\" cellpadding=\"2\" width=\"98%\">\n<tr>\n<td nowrap=\"\" valign=\"top\" width=\"50%\">\n<p><font face=\"Verdana\" size=\"1\"> \t<a class=\"s\" href=\"#JOHN ABERCROMBIE\">JOHN ABERCROMBIE<\/a><br \/><a class=\"s\" href=\"#RABIH ABOU-KHALIL\">RABIH ABOU-KHALIL<\/a><br \/><a class=\"s\" href=\"#PAUL BLEY\/GARY PEACOCK\/PAUL MOTIAN\">PAUL BLEY\/GARY PEACOCK<br \/>\/PAUL MOTIAN<\/a><br \/><a class=\"s\" href=\"#NICK BRIGNOLA\">NICK BRIGNOLA<\/a><br \/><a class=\"s\" href=\"#DON BYRON\">DON BYRON<\/a><br \/><a class=\"s\" href=\"#DAVID ORNETTE CHERRY\">DAVID ORNETTE CHERRY<\/a><br \/><a class=\"s\" href=\"#JAN GARBAREK\">JAN GARBAREK<\/a><br \/><a class=\"s\" href=\"#MAURIZIO GIAMMARCO\">MAURIZIO GIAMMARCO<\/a><br \/><a class=\"s\" href=\"#SCOTT HAMILTON\">SCOTT HAMILTON<\/a><br \/><a class=\"s\" href=\"#TOM HARRELL\">TOM HARRELL<\/a><br \/><a class=\"s\" href=\"#STEFON HARRIS\">STEFON HARRIS<\/a><br \/><a class=\"s\" href=\"#GERRY HEMINGWAY\">GERRY HEMINGWAY<\/a><br \/><a class=\"s\" href=\"#THE HERBIE NICHOLS PROJECT\">THE HERBIE NICHOLS PROJECT<\/a><br \/><a class=\"s\" href=\"#BENJAMIN HERMAN\">BENJAMIN HERMAN<\/a><br \/><a class=\"s\" href=\"#JON JANG\/MAX ROACH\/JIEBING CHEN\">JON JANG\/MAX ROACH\/JIEBING CHEN<\/a><br \/><a class=\"s\" href=\"#KEITH JARRETT\">KEITH JARRETT<\/a><br \/><a class=\"s\" href=\"#MISAKO KANO\">MISAKO KANO<\/a><br \/><a class=\"s\" href=\"#RAHSAAN ROLAND KIRK\">RAHSAAN ROLAND KIRK<\/a><br \/><a class=\"s\" href=\"#KENNY KIRKLAND\">KENNY KIRKLAND<\/a><br \/><a class=\"s\" href=\"#LEE KONITZ\">LEE KONITZ<\/a><br \/><\/font><\/p>\n<\/td>\n<td nowrap=\"\" valign=\"top\">\n<p align=\"center\"><a name=\"ttop\"\/><b> <img loading=\"lazy\" decoding=\"async\" align=\"middle\" border=\"0\" height=\"37\" src=\"..\/pix\/system\/jungonjazz.gif\" width=\"197\"\/><br \/><\/b><font color=\"black\" face=\"Verdana\" size=\"2\"><strong>December 1999<\/strong><\/font><\/p>\n<\/td>\n<td nowrap=\"\" valign=\"top\" width=\"50%\">\n<p align=\"left\"><font face=\"Verdana\" size=\"1\"> \t<a class=\"s\" href=\"#OLIVER LAKE\">OLIVER LAKE<\/a><br \/><a class=\"s\" href=\"#MIKE LEDONNE\">MIKE LEDONNE<\/a><br \/><a class=\"s\" href=\"#LOS HOMBRES CALIENTES\">LOS HOMBRES CALIENTES<\/a><br \/><a class=\"s\" href=\"#MAHAVISHNU ORCHESTRA\">MAHAVISHNU ORCHESTRA<\/a><br \/><a class=\"s\" href=\"#HOWARD MANDEL\">HOWARD MANDEL<\/a><br \/><a class=\"s\" href=\"#BOBBY MATOS\">BOBBY MATOS<\/a><br \/><a class=\"s\" href=\"#BRAD MEHLDAU\">BRAD MEHLDAU<\/a><br \/><a class=\"s\" href=\"#MYRA MELFORD\">MYRA MELFORD<\/a><br \/><a class=\"s\" href=\"#STEVE NELSON\">STEVE NELSON<\/a><br \/><a class=\"s\" href=\"#ODEAN POPE\">ODEAN POPE<\/a><br \/><a class=\"s\" href=\"#DEWEY REDMAN\/CECIL TAYLOR\/ELVIN JONES\">DEWEY REDMAN\/CECIL TAYLOR<br \/>\/ELVIN JONES<\/a><br \/><a class=\"s\" href=\"#MAX ROACH\">MAX ROACH<\/a><br \/><a class=\"s\" href=\"#DAVE SANTORO\">DAVE SANTORO<\/a><br \/><a class=\"s\" href=\"#WOODY SHAW\">WOODY SHAW<\/a><br \/><a class=\"s\" href=\"#DAMON SHORT\/PAUL SCEA\">DAMON SHORT\/PAUL SCEA<\/a><br \/><a class=\"s\" href=\"#MIKE STERN\">MIKE STERN<\/a><br \/><a class=\"s\" href=\"#TOLU\">TOLU<\/a><br \/><a class=\"s\" href=\"#FRANCIS WONG\">FRANCIS WONG<\/a><br \/><a class=\"s\" href=\"#JOH YAMADA\">JOH YAMADA<\/a><br \/><\/font><\/p>\n<\/td>\n<\/tr>\n<\/table>\n<p><font face=\"Verdana\" size=\"2\" color=\"maroon\">As a native Southern Californian, I am having a time of it getting accustomed to the various East Coast weather patterns. So for the remainder of my stay in New York, I have taken it upon myself to lock myself in a room and sift through the three hundred or so releases that have accumulated on the floor of my Queens apartment (for all of you who remember Scrooge McDuck’s gold coin piles, you get the picture). The forty titles below are my picks for you if you had a monthly CD budget of six hundred dollars (give or take a ten spot). But with The Sopranos on hiatus and with network television as bad as it is this season, don’t even get me started on sports (my beloved Raiders are barely over five hundred and it’s already a forgone conclusion that the Yankees will win another championship), what better way to occupy the silence. This is it for this year (December is my annual “Best of the Year” and because it is such a very special year, my “Best of the ’90s” lists), and with Y2K, who knows? This might be six hundred dollars well spent. It sure beats buying four shares of EBay stock in this volatile market. Enjoy. <\/font> <\/p>\n<table border=\"0\" cellpadding=\"6\" width=\"98%\">\n<tr>\n<td>\n<p><font color=\"#0000ff\"><a name=\"JOHN ABERCROMBIE\"> <font face=\"Verdana\" size=\"3\"><strong>JOHN ABERCROMBIE<\/strong><\/font><\/a><font face=\"Verdana\" size=\"2\"> <br \/>Open Land<br \/><\/font><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(ECM Records)<\/font><font\/><\/p>\n<p><font face=\"Verdana\" size=\"2\" color=\"black\"> If you were privileged enough to see Abercrombie perform with Charles Lloyd this summer, you should already have this CD. If you don’t, what are you waiting for? The guitarist that is one third of Gateway (Jack DeJohnette and Dave Holland round out the trio) favors moody eloquence for his latest, OPEN LAND. Kenny Wheeler’s passionate trumpet phrases on a absorbing “Just in Tune” and “Little Booker” raises the bar significantly, not to mention the quality contributions from tenor saxophonist Joe Lovano and violinist Mark Feldman. Have your plastic handy and surf to www.ecmrecords.com. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<br \/><\/font> <\/div>\n<p><strong><a name=\"RABIH ABOU-KHALIL\"><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">RABIH ABOU-KHALIL<br \/><\/font><\/a><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Yara<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(ENJA Records)<\/font><\/p>\n<p><font face=\"Verdana\" size=\"2\" color=\"black\">The cello is the most melodramatic instrument in music and cellist Vincent Courtois plays it for all its theatrical value. Courtois, along with violinist Dominique Pifarely and frame drummer Nabil Khaiat, join Rabih Abou-Khalil, who is simply brilliant on the oud, for eleven moving originals that Abou-Khalil penned for a film of the same title. The quartet’s organic performance and spirituality grow as the album progresses. YARA is available wherever fine records are sold and at www.enjarecords.com. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"PAUL BLEY\/GARY PEACOCK\/JAN GARBAREK\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">PAUL BLEY\/GARY PEACOCK\/JAN GARBAREK<br \/><\/font><\/strong><\/a><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Not Two, Not One<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(ECM Records) <\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> The combined resume of the three musicians on this record is peerless. Albert Ayler, Keith Jarrett, Sonny Rollins, Charles Mingus, Ornette Coleman, Don Cherry, Jimmy Giuffre, Rahsaan Roland Kirk, Steve Lacy, Bill Evans, Miles Davis, Lennie Tristano, Zoot Sims, Charlie Haden, Joe Lovano, and Bill Frisell are just the few that I can remember off the top of my head. When they came together at Birdland, which subsequently lead to this recording, it was an avant-garde meeting of the gods. The trio’s focused use of space (“Not Zero: In Three Parts”) and abstract probing (“Now”) creates tension and produces dynamic results. Those in the know may recognize a familiar “Fig Foot.” Don’t miss out on this one momentous reunion. Available through www.ecmrecords.com. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p> <center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><a name=\"NICK BRIGNOLA\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">NICK BRIGNOLA<br \/><\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">All Business<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Reservoir Music)<br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> The baritone saxophone may have become forgotten had it not been for Hamiet Bluiett and Nick Brignola. Brignola’s facilities and lyricism on the big horn recall Gerry Mulligan particularly on a pleasurable “How Deep is the Ocean.” Bassist John Patitucci and drummer Billy Hart provide Brignola with excellent support on a vibrant “In the Zone.” Write Reservoir Music for a free catalog (Brignola has eight other albums on Reservoir) at 276 Pearl Street, Kingston, NY 12401. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"DON BYRON\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">DON BYRON <\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Romance with the Unseen<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Blue Note)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> From the beginning of “A Mural from Two Perspectives,” ROMANCE WITH THE UNSEEN is an attention grabber. This isn’t your grandfather’s Pete Fountain album. It is advanced music that demands awareness. But with Byron on clarinet, Bill Frisell on guitar, Drew Gress on bass, and Jack DeJohnette on drums, who would give anything less? For more information and goodies from Byron, investigate for yourself at www.bluenote.com. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"DAVID ORNETTE CHERRY\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">DAVID ORNETTE CHERRY<\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>The End of a Century<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Tonga Productions)<\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> I am still trying to digest the music on THE END OF A CENTURY. The pressures of being the son of Don Cherry must have weighed heavily on young David Ornette Cherry. Cherry has to be commended on his choice of musicians, especially Roberto Miguel Miranda, who lays into Ornette Coleman’s “The Memory of Things.” The various textures and colors on this recording are just icing on the cake. Available at www.tongarecords.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"JAN GARBAREK\">JAN GARBAREK<br \/><\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Mnemosyne<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(ECM Records) <\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Saxophonist Jan Garbarek’s icy tone is irresistible. Combine that with the vocal musings of the award-winning Hillard Ensemble and it’s time to put the children to bed. The ethereal “Quechua Song” and the evocative “Agnus Dei” make this double CD a treasure. It is a fine hybrid of various elements, Garbarek’s refined romanticism and the beauty and glory of the Hillard Ensemble. Many of you will recall that these ingredients worked quite well on OFFICIUM. Visit www.ecmrecords.com for more information. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><strong><a name=\"MAURIZIO GIAMMARCO\">MAURIZIO GIAMMARCO<\/a><\/strong><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Love Ballads <br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(RED Records)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> What can I say? I fall for these ballad recordings all the time. Perhaps I’m just a sentimental sap. Pianist Art Lande sets the tempo for an upbeat “What Is This Thing Called Love” and gives saxophonist Maurizio Giammarco poised backing for an interesting “Stella By Starlight.” Available by contacting RED Records at www.ijm.it\/redrecords\/. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><a name=\"SCOTT HAMILTON\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">SCOTT HAMILTON <\/font><\/strong><\/a><font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Blues, Bop & Ballads<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Concord Records)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Tenor saxophonist Scott Hamilton has an almost effortless ease to his swing on his latest outing for Concord, BLUES, BOP & BALLADS. It is obvious why he’s seen his name compared with that of Stan Getz. The tenor’s warm, leisurely waltz through “Skylark” is trademark Hamilton. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"TOM HARRELL\">TOM HARRELL<br \/><\/a><\/font><\/strong><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Time’s Mirror<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(RCA Victor)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Trumpeter Tom Harrell’s sophisticated lyricism translates admirably to his big band arrangements for his new album, TIME’S MIRROR. The assembled musicians (trumpeter James Zollar, trombonist Mike Fahn, pianist Xavier Davis, and saxophonist Don Braden) give new slants to Charlie Parker’s “Chasin’ the Bird” and uplift five of Harrell’s own compositions, including a definitive performance of Harrell’s “Sao Paulo.” <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"STEFON HARRIS\">STEFON HARRIS<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Black Action Figure<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Blue Note)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> The vibraphone is not my cup of tea. But when I saw Stefon Harris play with Joe Henderson some years back, I gained a renewed interest in the instrument. Harris’s debut A CLOUD OF RED DUST was a critical and commercial success. The vibist’s follow-up BLACK ACTION FIGURE is on many levels even better. Harris’s rhythm section (bassist Tarus Mateen, pianist Jason Moran, and drummer Eric Harland) was seasoned by playing with the vibraphonist on the lengthy national tour in support of A CLOUD OF RED DUST. Harland is a standout, shading Gary Thomas’s flute melody perfectly on “Collage.” Moran, who has an exemplary album of his own on Blue Note, is exceptional in his support of the leader throughout the session. To get more information on Harris, as well as Moran, log onto the mother ship’s site at www.bluenote.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"GERRY HEMINGWAY\">GERRY HEMINGWAY <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Waltzes, Two-Steps, and<br \/>Other Matters of the Heart<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (GM Recordings)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Drummer Gerry Hemingway’s collaborations with Anthony Braxton, Wadada Leo Smith, Marilyn Crispell, and Ray Anderson respectively are notorious along the avant-garde beltway, but mainstreamers have probably not had the opportunity to acquire a taste to his trappings. Hemingway’s quintet (bassist Mark Dresser, cellist Ernst Reijseger, trombonist Wolter Wierbos, and reedman Michael Moore), which he has been sustaining since 1985, returns for his latest release on the GM Recordings label, WALTZES, TWO-STEPS, AND OTHER MATTERS OF THE HEART, a multifaceted cornucopia of extensive space and exploratory, angular abstraction. Dresser, one of the finest bassist on this, or for that matter, any other planet, is consistently inspiring. Contact GM Recordings at www.GMRecordings.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"THE HERBIE NICHOLS PROJECT\">THE HERBIE NICHOLS PROJECT<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Dr. Cyclop’s Dream<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Soul Note)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> As card-carrying members of the Jazz Composers Collective (www.jazzcollective.com), bassist Ben Allison, pianist Frank Kimbrough, saxophonist Ted Nash, and saxophonist Michael Blake, all leaders in their own right, have put personal ambitions aside for the greater collective good. Allison, Kimbrough, and company have recorded several albums together as part of Medicine Wheel for the Palmetto label. Both musicians are admires of Herbie Nichols and this Soul Note recording is a direct result of that. Check out the cohesive group improvisation on a strong opener, “Bartok” and a convincing “Valse Macabre.” Available through www.blacksaint.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"BENJAMIN HERMAN\">BENJAMIN HERMAN <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Get In<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (A-Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> In a word GET IN is swinging. With Idris Muhammad on drums, Larry Goldings on organ, and Thelonious Monk Competition winner, Jesse van Ruller on guitar at his side, the European alto saxophonist Benjamin Herman digs in on a program largely consisting of his own originals. A groovy “Frank’s Day Out” and a blazing “Call Idris” are some of the album’s many highlights. Contact A-Records at www.challenge.nl. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"JON JANG\/MAX ROACH\/JIEBING CHEN\">JON JANG\/MAX ROACH\/JIEBING CHEN<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Beijing Trio<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Asian Improv Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Crossing African based rhythms with Chinese based melodies seems like a natural mixture on a wonderful new recording from pianist Jon Jang entitled BEIJING TRIO, featuring the master himself, Max Roach on drums and Jiebing Chen on erhu, a Chinese two-string violin. The program opens with “Moon Over the Great Wall.” Roach provides a rock-solid bottom as Jang weaves graceful, reflective inventions. The sorrow that Chen’s erhu conveys on “Sweet Whisper of a Flower” and “Fallen Petals” is riveting. Available through www.asianimprov.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"KEITH JARRETT\">KEITH JARRETT <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">The Melody At Night, With You<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (ECM Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> The mood of Keith Jarrett’s latest solo effort, THE MELODY AT NIGHT, WITH YOU is so lyrically captivating and romantically breathtaking, that it stands alone. Jarrett’s sparkling versions of “I Got It Bad and That Ain’t Good,” “Blame It on My Youth,” and “My Wild Irish Rose” are stunning. This is an audible tearjerker. Have a box of tissues handy and get ready to call your mother afterwards. Perfect. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MISAKO KANO\">MISAKO KANO<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>3 Purple Circles<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Jazz Focus Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Misako Kano’s second Jazz Focus release and her follow-up to BREAKTHREW, 3 PURPLE CIRCLES is worth its weight in gold, not only because it features one of the strongest piano voices to emerge in the last decade, but also because it showcases some of the finest performance from David Liebman on tenor saxophone on record. Liebman lights a fire under “D.B.S.” cooking the melody to a crisp. Liebman sounds marvelous on “You Don’t Know What Love Is,” providing surprising emotional depth to the standard. Even with Liebman on a plateau all his own, Kano shows her chops on two Ornette Coleman compositions, “Ramblin'” and “Broken Shadows.” To get more information on Kano, log onto www.canuck.com\/jazz. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <cfinclude template=\"\/ads\/jazzbanner.cfm\"><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"RAHSAAN ROLAND KIRK\">RAHSAAN ROLAND KIRK <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Left Hook, Right Cross<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (32 Jazz)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> LEFT HOOK, RIGHT CROSS is two of Rahsaan Roland Kirk’s finest recordings on Atlantic, VOLUNTEERED SLAVERY and BLACKNUSS, which producer Joel Dorn (the EIEIO of Rahsaanaissance) and his band of mighty elves at 32 Jazz (Joel needs a title) have combined for a bargain price. For anyone who has not been exposed to the works of Kirk, now is the time. Kirk is an American treasure and it should be a mandate that LEFT HOOK, RIGHT CROSS also known as VOLUNTEERED SLAVERY and BLACKNUSS belong in everyone collection. And why aren’t all you Kirk-ites writing letters to Dorn about a Kirk box set? Here’s the address, 32 Jazz, 250 West 57th Street, New York, NY 10107 or visit www.32Records.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"KENNY KIRKLAND\">KENNY KIRKLAND<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Kenny Kirkland<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Verve)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Branford Marsalis, Jeff “Tain” Watts, Kenny Garrett, and Don Braden, all speak of what a tremendous loss it was for the music to have lost a voice like Kenny Kirkland. On Verve’s recent re-issue of Kirkland’s self-titled debut, it is obvious why. Take a gander at “Steepian Faith” and “Revelations.” KENNY KIRKLAND is the only album with Kirkland as a leader and deserves everyone’s attention. Contact www.vervemusicgroup.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"LEE KONITZ\">LEE KONITZ<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Another Shade of Blue<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Blue Note)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> ANOTHER SHADE OF BLUE is the second volume and obvious companion to ALONE TOGETHER, a Lee Konitz live date recorded on two consecutive nights at my local water hole, the Jazz Bakery in Los Angeles. ANOTHER SHADE OF BLUE was the set on the first of the two nights and the trio, bassist Charlie Haden and pianist Brad Mehldau, sounds flawless. Haden is as rousing as ever, but it is the younger Mehldau that manages to standout amongst the two legends. The pianist’s resourceful treatment of “Everything Happens to Me” and “Body and Soul” is worth the price of admission. Available through www.bluenote.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"OLIVER LAKE\">OLIVER LAKE<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Movement, Turns & Switches<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Passin’ Thru Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> With no one to answer to but himself, alto saxophonist Oliver Lake can release exciting explorations like his latest on his own Passin’ Thru label, MOVEMENT, TURNS & SWITCHES, Lake’s twisted version of him with strings. The Oliver Lake String Project (three violins, a viola, cello, and bass) mostly accompany the leader, but trumpeter Kenyatta Beasley makes the most of his moments like on “Fan Fare Bop.” MOVEMENT, TURNS & SWITCHES is available at www.passinthru.org. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MIKE LEDONNE\">MIKE LEDONNE<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Then & Now<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Double-Time Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Mike LeDonne’s new release on Double-Time features tenor wizard Eric Alexander and trumpeter Jim Rotondi on the frontline and drummer Joe Farnsworth and bassist Peter Washington supplying the bottom for the post-bop outing. While most of the album is devoted to LeDonne’s own compositions, you may recognize a rendition of Herbie Hancock’s “The Sorcerer” and Thelonious Monk’s “Round Midnight.” LeDonne is a fine player and with a supporting cast of Alexander, Rotondi, Washington, and Farnsworth, it’s hard to argue against him. Contact Double-Time Records at 1-800-293-8528. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"LOS HOMBRES CALIENTES\">LOS HOMBRES CALIENTES<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Vol. 2<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Basin Street Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Los Hombres Calientes’s, in their spare time, mild-mannered drummer Jason Marsalis, trumpeter Irvin Mayfield, and percussionist Bill Summers, second volume on Basin Street Records is a smoker. It takes the outdated “young lion” movement and leaves it in the dust. This threesome may be young, but don’t let their age fool you. The trio is killing. LOS HOMBRES CALIENTES, VOL. 2 is leaps and bounds above many of its major label predecessors. Contact www.basinstreetrecords.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <cfinclude template=\"\/ads\/jazzbanner.cfm\"><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MAHAVISHNU ORCHESTRA\">MAHAVISHNU ORCHESTRA <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">The Lost Trident Sessions<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Columbia)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Recorded twenty-six years ago, THE LOST TRIDENT SESSIONS finds the Mahavishnu Orchestra at its prime. It’s Jan Hammer, John McLaughlin, Jerry Goodman, Rick Laird, and Billy Cobham. If you are unfamiliar with the Mahavishnu Orchestra, it would take way too long for me to explain their importance to the music and I would need charts, graphs, and a pointer. But for all of you in the know, well, this is “the last crusade.” I just am left wondering, “How in the world did this just stay on a shelf for over a quarter of a century collecting dust?” For answers, log onto www.legacyrecordings.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"HOWARD MANDEL\">HOWARD MANDEL<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Future Jazz<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Knitting Factory Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> I have to put a disclaimer to this particular recording. Howard Mandel is not a musician. He is a historian of this music and in my humble opinion, one of its finest. FUTURE JAZZ is the companion CD to his insightful book of the same name and includes some equally insightful music such as Eric Dolphy’s “Hat and Beard” from the benchmark OUT TO LUNCH Blue Note record, James Newton’s powerful version of Duke Ellington’s “Black and Tan Fantasy” from the flutist’s impossible to find THE AFRICAN FLOWER (THE MUSIC OF DUKE ELLINGTON AND BILLY STRAYHORN) release, and Joe Lovano cranking it up for “Worship,” off his UNIVERSAL LANGUAGE record. Enough said. Available at www.knittingfactory.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"BOBBY MATOS\">BOBBY MATOS<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Live at MOCA<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (CuBop)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> I was at the Los Angeles Museum of Contemporary Art when timbalero Bobby Matos performed the material on this live recording. Incredibly, upon listening to LIVE AT MOCA, I recalled the sheer energy of Matos’s performance, which translates quite well to record. It is another solid Latin jazz release from Matos on the Bay Area CuBop label. Contact www.ubiquityrecords.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"BRAD MEHLDAU\">BRAD MEHLDAU<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Art of the Trio 4: Back at the Vanguard <br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Warner Brothers)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> The first three volumes of the ART OF THE TRIO series from pianist Brad Mehldau are exemplary. The forth installment, ART OF THE TRIO 4: BACK AT THE VANGUARD is no exception. Mehldau and his trio, drummer Jorge Rossy and bassist Larry Grenadier return with a set list that includes “All the Things You Are,” Miles Davis’s “Solar,” and a Radiohead anthem “Exit Music (For a Film).” For more information on Mehldau’s other releases, visit www.wbjazz.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MYRA MELFORD\">MYRA MELFORD<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Above Blue: The Same River, Twice<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Arabesque Jazz)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Pianist Myra Melford’s The Same River, Twice ensemble features trumpeter Dave Douglas, saxophonist Chris Speed, cellist Erik Friedlander, and drummer Michael Sarin. For her first venture for Arabesque, ABOVE BLUE: THE SAME RIVER, TWICE, Melford plays a set of beautiful, very original music with her all-star combo. The pianist’s more lengthy compositions, “Above Blue” and “Through Storm’s Embrace,” are the album’s marquee selections. Available at www.arabesquerecordingscom. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"STEVE NELSON\">STEVE NELSON<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>New Beginnings<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(TCB Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> NEW BEGINNINGS is Steve Nelson most significant outing to date. With Mulgrew Miller on piano, Peter Washington on bass, and Kenny Washington on drums, Nelson shines on Jobim’s “Someone to Light Up My Life” and Irving Berlin’s “The Song is Ended.” Contact www.tcb.ch.<\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <cfinclude template=\"\/ads\/jazzbanner.cfm\"><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"ODEAN POPE\">ODEAN POPE<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Ebioto<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Knitting Factory Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Odean Pope’s take no prisoners blowing on EBIOTO is too much. The tenor saxophonist is accompanied by drummer Craig McIver and bassist Tyrone Brown, but the tandem serve mostly as window dressing as Pope dominates the program’s eight tracks. Available at www.knittingfactory.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"DEWEY REDMAN\/CECIL TAYLOR\/ELVIN JONES\">DEWEY REDMAN\/CECIL TAYLOR\/ELVIN JONES<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Momentum Space<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Verve)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> For a major label to release this kind of adventurous and challenging music is unheard of in this age of commercial gluttony. This is a momentous occasion. When three genuine masters of their universe meet in any context, it demands attention. But when it is drummer Elvin Jones playing behind pianist guru Cecil Taylor, who is accompanying tenor saxophonist Dewey Redman, it is an understatement to refer to MOMENTUM SPACE as a must have. And it is easy to forgive the trivial detraction that the trio does not play together often enough on the record. These musicians will not be with us forever. Let’s stop nitpicking. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MAX ROACH\">MAX ROACH<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Members, Don’t Git Weary<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (KOCH Jazz)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Max Roach just lays into the six tracks on this hip re-release (originally released on Atlantic in 1968) from KOCH Jazz, MEMBERS, DON’T GIT WEARY. The drummer’s cymbal work and snare rolls are something special indeed on an interactive “Abstrutions.” Alto saxophonist Gary Bartz and trumpeter Charles Tolliver make up one heck of a frontline and they blow off one another on an up-tempo “Libra.” Jump all over this one before it disappears from the store shelves once more. Contact www.kochentertainment.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"DAVE SANTORO\">DAVE SANTORO<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Standards Band<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Double-Time Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> With a quartet featuring tenor saxophonist Jerry Bergonzi, pianist Bruce Barth, and drummer Tom Melito, bassist Dave Santoro is tipping the scales in his favor for his latest effort for Double-Time Records, STANDARDS BAND. Santoro and his bandmates play a program of seven standards, capturing the essence of each one. “Time After Time” is a lovely piece with Bergonzi, another unheralded tenor, playing beautifully. A relaxed “The More I See You” has Santoro and the remainder of the quartet eating it up. It leaves me just waiting to see a program of originals for the next album. Call Double-Time for free at 1-800-293-8528.<\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"WOODY SHAW\">WOODY SHAW<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Blackstone Legacy<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Contemporary Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> This classic re-issue of BLACKSTONE LEGACY is a must. It is essential Woody Shaw. Check out the monster exchange between the trumpeter and drummer Lenny White. Man alive! Get two copies in case you lose one. Visit www.fantasyjazz.com for more quality releases. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"DAMON SHORT\/PAUL SCEA\">DAMON SHORT\/PAUL SCEA<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Balance of Power<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Southport Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> If you are looking for background dinner music for your Thanksgiving get together or office Christmas party, stick to Kenny G (I would even bet that he has a Christmas CD out there somewhere). BALANCE OF POWER is not your run of the mill “jazz” release. It is some heavy improvisation and extensive, highly challenging use of silence and space. Reed virtuoso Paul Scea and percussionist extraordinaire Damon Short make some focused and powerful music. Log onto www.chicagosound.com for more info about other Chicago sounds. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <cfinclude template=\"\/ads\/jazzbanner.cfm\"><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MIKE STERN\">MIKE STERN<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Play<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Atlantic)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Mike Stern is one of only a handful of musicians who can hold his own with the unbelievable Dennis Chambers (who joins Stern for this recording). Now add to the mix guitarists Bill Frisell and John Scofield and you have three of the premier guitarists of our time playing PLAY. This one is a no brainer. Visit www.mikestern.com for more info. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"TOLU\">TOLU<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Rumbero’s Poetry<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Tonga Productions)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Alex Acuna and Justo Almario are the co-leaders of the finest So Cal Latin jazz ensemble. RUMBERO’S POETRY, Tolu’s recording for Tonga Productions is fueled dynamic grooves. It is clave as the way it should always be. There is hard-hitting version of “Giant Steps.” This is the year’s Latin jazz release. If you get one piece of Latin music this year, drop that Jennifer Lopez album and get on the Tolu bandwagon. Seats are filling up fast so get in line now. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"FRANCIS WONG\">FRANCIS WONG<\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Gathering of Ancestors<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (Asian Improv Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> The combination of an American Indian cedar flute (John-Carlos Perea) and tenor saxophone (Francis Wong) has to be a first in improvised music. GATHERING OF ANCESTORS is just that kind of record. Plenty of firsts and all of them are interesting and all of them are staggeringly superb. Wong is a tenor player that is definitely one to watch out for as we close out this century. The Chinese American saxophonist’s vocabulary is colorful and formative as evident on two excellent tracks, “Alishan” and “The Great Wall.” Available at www.asianimprov.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"JOH YAMADA\">JOH YAMADA<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Bluestone<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Milestone)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Joh Yamada’s sweet tone on the alto saxophone is reminiscent of Cannonball. That is enough to recommend his new Milestone release, BLUESTONE. But the Japanese saxophonist has chops too and plays the daylights out of the opening “First Step” and continues that fire for a smoker, “Smokin’ Joh” (nice play on words). He is yet another musician we should be looking out for. Good for Milestone to bring his music to us in the States. Oh, and did I mention his stellar rhythm section, Cyrus Chestnut at the piano, Rodney Whittaker on bass, and Clarence Penn on the drums. Available through www.fantasyjazz.com. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <\/cfinclude><\/cfinclude><\/cfinclude><\/cfinclude><\/td>\n<\/tr>\n<\/table>\n<p><?php require($DOCUMENT_ROOT . \"_footer.htm\"); ??><\/cfinclude><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jung on Jazz December 1999\u00a0 JOHN ABERCROMBIERABIH ABOU-KHALILPAUL BLEY\/GARY PEACOCK\/PAUL<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4815","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4815","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4815"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4815\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}