Modsupremo's Groove

In choosing to record Bob Marley's classic 1974 reggae album Natty Dread track-for-track in an instrumental jazz style, eight-string guitarist Charlie Hunter opened himself up for skepticism. Yet an idea that looked questionable in theory would prove stellar in practice, as Hunter turned Natty Dread -- with the songs sequenced exactly as they were on Marley's original release -- into one of the best CDs of his career. Hunter's customized eight-string instrument and prodigious talent allow him to play simultaneous guitar melodies and basslines, but his Wurlitzer organ simulations and walking bass aren't the only highlights of the opening "Lively Up Yourself." Alto saxophonist Calder Spanier and tenorman Kenny Brooks alternate between swinging leads and supportive harmonies, and drummer Scott Amendola gets in creative solo flurries near the end. Hunter's beautiful intro to "No Woman, No Cry" echoes both Pat Martino and Django Reinhardt; the saxophonists' interplay and Amendola's clever rimshots, tom-toms and cowbell work lively up "Them Belly Full." The secrets to Hunter's success lie in separate amplifiers for his instrument's guitar and bass portions; great wah-wah pedal work to achieve keyboard tones, and the requisite brain power to play basslines with both thumbs while fretting and fingerpicking the melodies. All are illustrated in readings of the tranquil "Rebel Music," energetic "So Jah Seh" and the shuffling title track. Throughout Natty Dread, reggae is implied more often than played, as Hunter and his quartet portray the fun they had in arranging these pieces with performances both swinging and stirring(even dropping an "I Shot the Sheriff" quote into "Bend Down Low"). Spanier died after Natty Dread's release when he was struck by a car, and Hunter subsequently moved from California to New York and re-structured his band. There's no telling what might have come afterward from this quartet of two saxophonists, a drummer and Hunter, the one-man guitarist, keyboardist and bassist.

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews's Quintet (1953-54) and then started working and recording as a leader. During 1954-58 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the 1950s who recorded on bass clarinet; he also recorded in 1957 a full album (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, in 1959 Mann formed his Afro-Jazz Sextet, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby" and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the 1970s advanced, Mann became much more involved in rock, pop, reggae and even disco. After leaving Atlantic at the end of the 1970s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin and in the 1990s founded the Kokopelli label on which before breaking away in 1996 he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumusly released Beyond Brooklyn for Telarc.

Nice, more light than emphatic Afro-Latin and jazz mixture by flutist Herbie Mann and composer/vocalist Joao Gilberto from 1977. The two make an effective team, with Gilberto's sometimes sentimental, sometimes impressionistic works effectively supported by Mann's lithe flute solos. 

Leon Parker consistently shows that less is more by making a great deal of music on a greatly reduced drum set sometimes consisting only of a snare drum, bass drum, and a cymbal. Parker started playing drums when he was three and became serious when he was around 11. At 15, he playing in a local youth jazz band, and two years later, he started studying classical percussion. After graduating from high school, Parker moved to New York City, taking lessons with Barry Harris and freelancing. During a regular gig as a leader at Augie's, he began minimizing his drum set, learning to play entire sets using just a cymbal. He made his recording debut with Harvie Swartz, toured with Sheila Jordan, and gigged with Kenny Barron. Parker spent 1989 with his wife, Lisa (a flutist), playing throughout Spain and Portugal. Back in New York, he became part of the regular band at the Village Gate. The colorful drummer toured and recorded with Dewey Redman, worked with David Sanchez, and was part of the Jacky Terrasson Trio in the mid-'90s. Leon Parker recorded as a leader for Epicure and Columbia, issuing Awakening for the latter in 1998.

On Awakening, his second album for Columbia Records, Leon Parker continues to shake things up, mixing worldbeat and funk with hard bop. It's an ambitious record but one that is surprisingly successful; it reveals more upon each listen, becoming a thoroughly enchanting record. 

This is an odd and rather interesting record. Eddie Daniels, who at the time was still largely unknown, plays clarinet and occasional alto in commercial settings while backed by a large rhythm section, reeds, strings and even some voices; typical for an overproduced Columbia album of the period. The material is largely forgettable but Daniels' clarinet playing is so brilliant that he completely overcomes the surroundings and drastically uplifts the music. Although not on the level of his upcoming GRP projects, this out-of-print LP is surprisingly rewarding.

Flutist Hubert Laws began his solo career with two little-known LPs for Atlantic, of which this was the first. Joined by pianist Armando Corea (before he became known as Chick), bassist Richard Davis and either Jimmy Cobb or Bobby Thomas on drums, Laws is in fine form during what is essentially a straight-ahead jazz set. Some of the music is a little funky, but throughout, Laws (who plays piccolo on two of the seven numbers) is in excellent form. Highlights include "Miss Thing," "Bessie's Blues" and his own "Bembe Blue." Neither of the Atlantic sets have been reissued in full on CD yet.

Stanley Clarke stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream. Clarke's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker Jeff Beck. Clarke's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and George Duke's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with Clarke by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent Stan Getz can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia." Yet even the talented Clarke in full creative flower couldn't quite fill a double set with new material, so he has a tendency to reprise some of his old memorable riffs a lot, and there are several energetic snapshots of his live band in action. In its zeal to get this two-LP set onto one disc, Epic deleted three of the original 15 tracks -- including at least one gem, the sizzling hard rocker "All About" -- and scrambled the order of the remaining tunes. Which is dumb, because the missing tracks only take up a bit less than 12 minutes of playing time, not enough to overload a 65-minute disc. Hunt for the double-LP version if you can still play vinyl.

Andy Bey's bass-baritone voice has aged over the last thirty-odd years, but it's aged well; he now sings in a husky drawl that sounds all the more warm and intimate for being a bit ragged around the edges. When he goes into falsetto, as on "Midnight Blue," athe sound is so dark that you don't recognize it as falsetto at first. This album peaks early on with "Like a Lover," a wistful love song with only the gentlest, sparest guitar accompaniment. But there are many other beautiful moments, the best of which always come on the slow numbers: the Billy Strayhorn classic "Pretty Girl," on which Bey sounds like Billy Eckstine with a weathered patina to his voice, and the surprising Nick Drake cover, the moody and intense "River Man." His vocal version of Thelonious Monk's "Straight, No Chaser" is fun, but it tends to expose the limitations of his range; however, he makes the uptempo "Believin' It" work beautifully -- Geri Allen's edgy, modernist piano contrasts nicely with Bey's effusive, bop-inflected delivery.

This CD matches together guitarist Kenny Burrell with the popular saxophonist Grover Washington, Jr., in a quintet also including bassist Ron Carter, drummer Jack DeJohnette and percussionist Ralph Macdonald. The settings gives Washington a rare chance to play strictly straightahead jazz but unfortunately he mostly sticks to his comparatively lightweight soprano instead of playing his gutsier tenor. The music is therefore merely pleasing rather than really being all that historic. Highpoints include "A Beautiful Friendship" and "What Am I Here For."

One of the more impressive jazz singers to emerge in the '90s, Karrin Allyson is a great scat singer but also highly expressive on ballads. Born in Great Bend, KS, Allyson grew up in Omaha, NE, and the San Francisco Bay Area -- during which time she began taking classical piano lessons, in addition to performing as a folk singer and in an all-female rock band, Tomboy. Upon graduating from the University of Nebraska in 1987 (and receiving a degree in piano), Allyson sang regularly at a Kansas City nightclub owned by her uncle, a locale where Allyson decided to settle down and call her permanent home base. Signed to the Concord Jazz label, in 1992 Allyson issued her debut, I Didn't Know About You, which led to such accolades as being name-checked in Playboy's Annual Reader's Poll alongside such greats as Ella Fitzgerald and Shirley Horn. Subsequently, Allyson assembled a fine backing band consisting of fellow Kansas City musicians: pianist Paul Smith, guitarists Danny Embrey and Rod Fleeman, bassist Bob Bowman, and drummer Todd Strait, who have played on the majority of her recordings.

Allyson continued issuing albums at a steady pace throughout the remainder of the decade, including such titles as 1993's Sweet Home Cookin', 1994's Azure-Té, plus a pair in 1996, Collage and Daydream. For her final release of the '90s, 1999's From Paris to Rio, Allyson decided to try something different and issued an album in which she sang lyrics in French and Portuguese, while covering a lot of ground stylistically (everything from a Jacques Brel cover to samba and bossa nova tunes). Allyson's next offering, 2001's Ballads: Remembering John Coltrane, proved to be one of the most acclaimed and successful of her entire career, as it earned a pair of Grammy nominations. For 2002's In Blue, Allyson opted to cover other artists' material (Mose Allison, Joni Mitchell, George and Ira Gershwin, Blossom Dearie, Abbey Lincoln, Oscar Brown, Jr., and Bonnie Raitt), as the singer only penned one of the album's 13 tracks, a path she also followed two years later on Wild for You, which contained her versions of songs from artists she had grown up with, like Cat Stevens, James Taylor, and Mitchell. In 2006 she released Footprints, earning herself a Grammy nomination for Best Jazz Vocal Album. Over the years, Allyson has performed at some of the top concert halls in the U.S., including an all-star tribute to Ella Fitzgerald at New York's Carnegie Hall, in addition to playing alongside both the Kansas City and Omaha Symphonies.

Jazz vocalist Karrin Allyson strikes a sentimental chord with this super fine 2001 release, inspired by tenor sax titan John Coltrane's infamous Ballads LP. The diva exhibits her near flawless phraseology and alluring vigor throughout these wonderfully executed pieces. Allyson also receives exemplary support from what some might consider an all-star band, featuring bassist John Patitucci; saxophonists Bob Berg, Steve Wilson, and James Carter; pianist/educator James Williams; and drummer Lewis Nash. All told, the musicians inject their distinct musical personas into these moving portraitures amid Allyson's trance-like renderings of pieces such as "You Don't Know What Love Is," "All or Nothing at All," and others. The singer's wordless incantation of "Naima" bespeaks poignant imagery as Patitucci and Nash generate a grooving samba beat atop Williams' shrewdly placed lower-register ostinato motifs and the saxophonists' breezy lines. Basically, Ballads is a very special occurrence, one that provides yet another mark of distinction for this extremely talented artiste. Highly recommended.

Larry Appelbaum, the recording lab supervisor at the Library of Congress, came across this tape by accident while transferring the library's tape archive to digital. What a find. Forget the Five Spot recording that sounds like it was recorded inside of a tunnel from the far end. The sound here is wonderfully present and contemporary. More importantly, this band -- which also included drummer Shadow Wilson and bassist Ahmed Abdul-Malik -- had it right on November 29, 1957, at Carnegie Hall. The John Coltrane on this date is far more assured than he had been four months earlier on the Five Spot date and on the initial Prestige side Thelonious Monk with John Coltrane. He'd been with Monk for four months and had absorbed his complex, multivalent musical system completely. It's clear from the opening track, "Monk's Mood," where the pair play in duet, that Coltrane is confident and moving into his own. Monk feels that confidence with his nearly Baroque entrance on the tune. This is a hard-swinging band with two front-line players who know how to get the best from one another. Coltrane knows the music inside out and his solos reflect an early version of his sheets of sound methodology. Check the joyous "Crepuscule with Nellie" for the hard evidence. Coltrane's cue and Monk's arpeggios are wondrous, swinging, and full of fire and joy. Trane's fills on the melody that leads into his solo are simply revelatory, and the solo itself is brilliant. Or check Wilson's cymbal work on "Nutty" before the band kicks it in full force. Even on the knottiest of Monk's tunes, "Epistrophy," Trane shines and takes charge of his instrument while being utterly receptive to the continual shape-shifting Monk put into his compositions in a live setting. There are nine tunes here (an incomplete version of "Epistrophy" finishes the set) taken from early and late performances. These 51 minutes of music leave the Live at the Five Spot date in the dust. This is one of those "historic" recordings that becomes an instant classic and is one of the truly great finds in jazz lore. It documents a fine band with its members at the peak of their powers together. The package also contains voluminous liner notes by the likes of Ira Gitler, Amiri Baraka, Ashley Khan, Stanley Crouch, and others. This is a must-have. 

What a perfectly titled release, as Valentin and Mann's camaraderie on their five duets here is all at once playful and poignant, with healthy doses of improvisation thrown in for good measure. Bill O'Connell's standout solo piano sparkles throughout the sweet grooves of "Jesse's Samba" and the rousing eight minute closer "Obsession," but it is Valentin's perky way with the airy textures of his instrument which powers this flavorful collection. "Old Hill" begins as an improv laden duet with O'Connell and shows that Valentin is equally comfortable on moodier lines. Also enjoyable is the brassy "Savanna," on which Mann and Valentin trade of sweet eight bar solos. Two Amigos should appeal to lovers of Latin music and jazz flute, as well as anyone in the mood for a refreshing departure from the same old pop-jazz.

A talented flutist whose musical interest was never exclusively straight-ahead jazz, Hubert Laws exceeded Herbie Mann in popularity in the 1970s when he recorded for CTI. He was a member of the early Jazz Crusaders while in Texas (1954-1960) and he also played classical music during those years. In the 1960s, Laws made his first recordings as a leader (Atlantic dates from 1964-1966) and gigged with Mongo Santamaria, Benny Golson, Jim Hall, James Moody, and Clark Terry, among many others. His CTI recordings from the first half of the 1970s made Laws famous and were a high point, particularly compared to his generally wretched Columbia dates from the late '70s. He was less active in the 1980s, but has come back with a pair of fine Music Masters sessions in the 1990s. After those releases, a tribute to Nat King Cole arrived in 1998, followed four years later by a stab at Latin jazz, Baila Cinderella. The sharp and cool Moondance appeared in spring 2004. Hubert Laws has the ability to play anything well, but he does not always seem to have the desire to perform creative jazz.

A nice date from an earlier Laws period with a harder tone and more traditional jazz direction.

After a series of low-quality commercial releases for Columbia, Hubert Laws came up with this surprisingly worthwhile album. Featured along with acoustic guitarist Earl Klugh, the flutist performed Patrick Williams' music for the film How to Beat the High Cost of Living, which starred Susan Saint James, Jane Curtin and Jessica Lange. While the light comedy has been long forgotten and none of these ten selections caught on, the music is largely straight-ahead, with some strong melodies, and finds Laws and Klugh playing very well. They are backed by a six-piece rhythm section including keyboardist Michael Lang and both Tim May and Mitch Holder on guitars. This out-of-print LP (which probably will not get reissued on CD anytime soon) is well worth acquiring.

Bahia is two-LP set that matches together the very different sounding tenors of John Coltrane and Paul Quinichette in a jam-session type setting from 1957 (although three of the five songs were actually composed by pianist Mal Waldron) in addition to Coltrane's final Prestige date, which also has appearances by the trumpeters Freddie Hubbard (on "Then I'll Be Tired of You") and an uncredited Wilbur Harden ("Something I Dreamed Last Night"). This is nice if not overly memorable music. 

When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose mood music is often best used as background music for meditation. Horn started on piano when he was four and switched to alto at the age of 12. After a stint with the Sauter-Finegan Orchestra on tenor, Horn was Buddy Collette's replacement with the popular Chico Hamilton Quintet (1956-1958), playing alto, flute, and clarinet. He became a studio musician in Los Angeles, but also found time during 1957-1966 to record cool jazz albums for Dot (later reissued on Impulse), World Pacific, Hi Fi Jazz, Columbia, and RCA, and he participated in a memorable live session with Cal Tjader in 1959. In addition, in 1964, Horn recorded one of the first Jazz Masses, utilizing an orchestra arranged by Lalo Schifrin. In 1967, Paul Horn studied transcendental meditation in India and became a teacher. The following year, he recorded unaccompanied flute solos at the Taj Mahal (where he enjoyed interacting with the echoes), and would go on to record in the Great Pyramid, tour China (1979) and the Soviet Union, record using the sounds of killer whales as "accompaniment," and found his own label Golden Flute. Most of Paul Horn's work since the mid-'70s is focused on new age rather than jazz. 

All but two of these 13 tracks date from the late 1950s (the other two were done in 1965), and while Baker's talents were undimmed at this point, this wasn't his best era recording-wise, in terms of either material or bands. For his best you should turn to the earlier Pacific Jazz discs, but this is still a good set of slow and sentimental Baker for those who have heard the peak stuff in this vein and want yet more. "Autumn in New York," recorded in Italy with a string orchestra, is one extreme of his sentimental predilections, yet there's also stuff in a far more straight-ahead vein with the likes of Bill Evans and Kenny Burrell among the backup musicians. "Almost Like Being in Love" is a standout, Baker's trumpet taking on an oddly echoing tone, though with its sharp bebop rhythm it's not really a ballad. Not many vocals on this set, but it does close out with a couple of good Baker-sung standards, "I'm Old Fashioned" and "My Heart Stood Still." 

Long ignored by jazz folk who once thought the music of Burt Bacharach was beneath contempt, Stan Getz's collection of Bacharach-iana was no doubt rushed back into print in 1998 by the surprising resurgence of the composer's popularity among Generation X. Truth to tell, though, is that this isn't one of Getz's better gigs; his tone is not in the best of shape, and he sounds bored with some of the tunes (like lazily throwing in a jaded quote from "Tea for Two" in the middle of "Alfie"). However, "Any Old Time of the Day" is pretty good, as is "Trains and Boats and Planes," and "A House Is Not a Home" really engages Getz's attention (it is the only track to top four minutes in length). Richard Evans supplies the routine string and brass charts on most of the tracks; Claus Ogerman kicks in some others on three tracks, including some thoroughly useless voices. There are some top-flight jazzmen in the ranks -- Herbie Hancock, Jim Hall, Kenny Burrell, Chick Corea, Phil Upchurch -- but listeners only get to hear the latter two in the solo spotlight. The original 11-track LP is topped off on CD by worthy outtakes of "A House Is Not a Home" and "In Between the Heartaches" along with, inexplicably, two versions of "Tara's Theme" by Max Steiner, whom even the deaf would not mistake for Burt Bacharach. 

Ben's first full-length record, this 1963 release contains the hit singles "Mas Que Nada" and "Chove Chuva" and typifies the light yet propulsive rhythms that afforded Ben a decades-long career in Brazilian pop. Not yet pared down to the more rock- and Afro percussive-driven sound he eventually developed, Samba Esquema Novo (which translates to "New Style Samba") is replete with swirling bossa nova rhythms and soaring choruses. Its big-band-style accompaniment, nicely off-set by Ben's signature minor-tone guitar workings, propels the set into an upbeat and enjoyable listen.

1999 marked 20 years since the band's unique combination of distinctively Japanese elements -- June Kuramoto's classical-flavored koto, Johnny Mori's booming Taiko drum -- with funky pop, urban, and jazz sensibilities first hit the instrumental music charts, and 25 years since saxophonist and East L.A. native Dan Kuramoto first formed the ensemble. Their Windham Hill Jazz debut (and 11th release overall) Between Black and White finds them once again blending contemporary root music, mystical Eastern exotica, and melodically rich smooth jazz that further deepens their larger commitment to global unity on the cusp of the new millennium. Hiroshima once again dares to push the envelope and engage diversity from track to track. The mix of dreamy koto and keyboard mysticism and thick hip-hop grooves and soulful sax on "Mix Plate" sets the tone for the whole project on the instrumental side. Hiroshima has worked with some great vocalists over the years, and Terry Steele -- who wrote Luther Vandross' signature smash "Here and Now" -- adds to the litany with his cool, romantic approach to "The Door Is Open." 

Wilton Felder spent over 30 years with the group known as the Jazz Crusaders (and later the Crusaders). In the mid-'50s while in high school in Houston, Felder, Joe Sample, and Stix Hooper became the founding members of the group which soon picked up Wayne Henderson as an additional member. Felder moved to Los Angeles with the other musicians in the late '50s and by 1961, they were recording for Pacific Jazz as the Jazz Crusaders. Felder's soulful blues-based tone and hard bop style fit well in the popular band. Around 1968, he started doubling on electric bass and has backed many top players outside of the group on that instrument. However, his own solo albums (for World Pacific in 1969, MCA, and Par) have generally found him cast as a third-rate Grover Washington, Jr. and have not caught on. Felder remained with the Crusaders until its end in the late '80s and had a reunion with Wayne Henderson in the '90s in a new version of the group.