Jazz Fusion music reviews

This is a classic. Acid jazzy feel, continuous flow of sax, trumpet, fugel horn, blues synth, cello, flute, rich vocals and genial drum and snare beat. Tracks combine funk and soul to snazzy rhythms. Hugh Brooker (bass / keyboards) and Spyder Johnson (lead vocal / guitar / keyboard / drums) are the creative force behind Night Trains and merit strong praise for fine contemporary groove. Their songs have thick texture, fat layered sounds, clean melodies and groovy female vocals provided by Marcia Johnson and Marie Jamilla. "Cause Delays and Be Dangerous" is a must have for anyone who likes to mellow groove.

This is a classic. Acid jazzy feel, continuous flow of sax, trumpet, fugel horn, blues synth, cello, flute, rich vocals and genial drum and snare beat. Tracks combine funk and soul to snazzy rhythms. Hugh Brooker (bass / keyboards) and Spyder Johnson (lead vocal / guitar / keyboard / drums) are the creative force behind Night Trains and merit strong praise for fine contemporary groove. Their songs have thick texture, fat layered sounds, clean melodies and groovy female vocals provided by Marcia Johnson and Marie Jamilla. "Cause Delays and Be Dangerous" is a must have for anyone who likes to mellow groove.

From time to time, I listen to JazzFM and this time they played cuts from their new CD "Ocean Drive." I immediately felt myself driving along the California coast through Pebble Beach. I felt the wind blowing through my hair and the sun on my skin. That's what a good jazz CD can do; take you to another place. This is a compilation disc that includes all the best songs from CDs that may only have one good hit. How many times have you brought a CD only to be disappointed by it's content. You won't have to worry with this one. This is a great CD and any one who loves smooth jazz will love this CD. Give it a test drive. Enjoy!

From the day I bought my first Yandall CD I have listened to it over and over. I've liked them so much that I got all that are out. I highly recommend Patrick's flare and style for a variety of easy listening and contemporary creativity!

What a versatile guitarist and song writer! Patrick composes and performs his mellow smooth grooves of his genre and takes smooth jazz to the edge with his slammin' vibes. If there is a better jazz guitarist today than Patrick, I haven't heard him. If you're a smooth jazz fan and haven't heard Patrick play, you're missing out on today's #1 smooth jazz guitarist.

What a versatile guitarist and song writer! Patrick composes and performs his mellow smooth grooves of his genre and takes smooth jazz to the edge with his slammin' vibes. If there is a better jazz guitarist today than Patrick, I haven't heard him. If you're a smooth jazz fan and haven't heard Patrick play, you're missing out on today's #1 smooth jazz guitarist.

An awesome offering indeed;
I have several albums by Manfredo and I could affirm without
exaggeration that this is perhaps his best album; the compositions are so fresh, inventive, effortless and with a fantastic sense of rhythm even on those compositions by Jobim.
He plays the piano here ala Tania Maria, Guillerme Vergueiro or Aloisio Aguiar; so full of swing, funk, pyrotechnics and that syncopation, natural among Brazilian Jazz pianists. This is a modern classic that in a few years from now, will become a hard-to-find jewel.

I TOTALLY ENJOYED THIS ALBUM, BECAUSE MY FAVORITE TYPE OF JAZZ, HAS A BRAZILIAN OR LATIN SOUND AS THIS ONE DOES. I LIKED THE MIXTURE OF THE HORNS WITH THE OTHER INSTRUMENTS AND I COULD SEE MYSELF LISTENING TO THIS AT A PARTY WITH FRIENDS, QUIET NIGHT AT HOME, AND DANCING ABOUT THE KITCHEN WHILE I MAKE DINNER. IT DEFINITELY MADE ME FEEL GOOD!

Back in the early 70's, Coryell put together a strange little band that, in addition to himself, included Harry Wilkinson on drums, Mervin Bronson on bass, Steve Marcus on soprano sax, and Mike Mandel on, of all things, electric piano with fuzz-wah. Those were the heady days before fusion became a formulaic and boring refuge for technically hypercharged cokeheads, the days when people who wanted to play both jazz and rock didn't really have preconceptions about what the hybrid should sound like. The result was at times a kind of virtuosic grandiosity, as in Tony Williams' Lifetime's early sessions, with their bad-poetry raps interspersed with fiery playing by Williams, Larry Young, and John McLaughlin. At other times, in the quirkiest way, players hit the mark. Offering is one of those records. Wilkinson is no virtuoso, but his snapping and pounding make quite an interesting call-and-response counterpoint to Coryell's solos; each had an exceptional ear for the other. In tone as well as execution, Marcus is exceptional, so much so that I wonder what he's doing now; Bronson is quite good(listen to his bent-note but solid backing on "Begger's Chant"), and Mandel's playing is humorous and bizarre in a kind of Don Preston-Zappa way. Coryell has never been better. His playing is relentlessly inventive. Listening to the astounding accumulation of ideas and the beautiful architectonics of his solos on "Beggar's Chant," "Foreplay," and the title track, I'm taken back to those days when Coryell was jazz-rock music's hidden treasure. The current crop of guitarists of any stripe would benefit from an attentive listen. Some of Coryell's most innovative playing on record.

This is Richard's best work EVER! "Stilletto Heels" is delightfully playful and naughty! He's at his best with "In Your Face" which definitely is IN YOUR FACE! If you are tired of the same old thing (which, unfortunately, smooth jazz is rapidly becoming), go back in time and enjoy yourself ON THE TOWN!

This is Richard's best work EVER! "Stilletto Heels" is delightfully playful and naughty! He's at his best with "In Your Face" which definitely is IN YOUR FACE! If you are tired of the same old thing (which, unfortunately, smooth jazz is rapidly becoming), go back in time and enjoy yourself ON THE TOWN!

Our carioca friend Carlos really said a lot on his review that posted here for Toninho's excellent trio offering of standards from Am�rica do Norte , along with his own incredible compositions.

I thought to write, ..I remember a 'DOWNBEAT" magazine review when the cd first was released.
The (American) reviewer of the CD 'warned" that Toninho's improvisational prowess was (and I parafrase only now) "not up to the standards of the "jazz guitar technique" .
Almost certain obvious he means the "Wes Montgomery and post- Wes" approach to jazz guitar, a style so often imitated/mimic-ed, that that reviewer probably should have REJOICED in Toninho's fresh and unique approach, not subtly downgrade it, which is my opinion of his words.
(Regards my previous observation, I wish include ALL the great jazz guitarists/ innovators and also their blatant imitators , my reference to evoke the memoria of Wes ,only for brevity sake to describe the very traditional jazz guitar approach , which, incidentally, I also love and respect.).

As if somehow, Toninho was a lesser luminary of jazz guitar conception. This review I read really bothered me, and I remembered it when I just read Carlos' great review!

CARALHO! , WHAT an absurdo! What an bizzarre comparison that US reviewer made! Apples are apples, Oranges are Oranges, TH did not set out to make another "traditional jazz guitar" recording, no.
Toninho Horta has developed his own individual conception both in single line and chordal approach to the instrument.
Especially chordally, where, as stated by Carlos interview, Toninho especially shines, offering incredible range in chord voicing and substitution, this makes him an influential inspiration in Brasil and regions beyond, hoepful US fans will take notice too!


He is also deeply "tainted" in the sounds of the "motherland" (Brasil) as he is with jazz,rock,and Pan-American musics. An indelible stain, hehehe!

(TH was a charter member of the famous "corner club" which included Milton and Lo Borges,TH has been an integral grear in the Brasilian musics machine that produces much of the BEST of the world's sounds!)

The CD offers the 'brasilianization' of US standards (As his lovely reworking of "Stella By Starlight", and "Pica Pau", an original should be included as one of the finest of Toninho's many original compositions.

As was Grant Green in US jazz guitar terms, Toninho is INSTANTLY recognizable as a soloist, and his melodic improvisations are from the heart, a flurry of "1/164th" notes not necessary for TH to "tell his story"

10000000000000 stars for one of the MANY incredible guitarists from Bra-s-s-s-s-s-s-s-sil-l-l-l-l-l !

sa�de e paz pessoal..

This is an album of American standards plus four Horta�s compositions, all played by an unconventional guitar-bass-&-drums trio. The bass is by Gary Peacock and drums are by Billy Higgins. Arrangements are all by Toninho Horta. High Artistry!

Nothing less than brilliant and unique renditions of "My Funny Valentine", of George Shearing�s "Lullaby of Birdland", and Waynne Shorter�s "Footprints".

Toninho Horta comes from the State of Minas Gerais in Brazil, from the same place and the same group of composers and musicians which gave us Milton Nascimento. Some of the most notable songs recorded by Nascimento are Horta�s compositions, featuring "Beijo Partido" in Nascimento�s album "Minas".

Three qualities distinguish Horta�s work:
1 - He is a great guitarrist and he plays within a conception of a big orchestra in his mind.
2 - He is a sophisticated composer of intricate songs and a great melodist. "Waltz for Mariana", "Minas Train", and "Pica Pau" are his inspired compositions in this CD. Though sophisticated, his songs are beautifully melodious to new entrants.
3 - His guitar playing is a parameter for guitar instrumentalists in Brazil, notably those who are in their advanced playing.

Just like Tom Jobim, sometimes, Mr. Horta decides to sing on a few tracks of his albums and his singing is not so good though the songs and lyrics are always highly inspirated. I wouldn�t mind about his bad singing. In this CD, he sings "Stella by Starlight", Milton Nascimento�s "Tarde", the title track, and Tom Jobim�s "Once I Loved".

For those who love sophisticated Brazilian way of making music or Bossa Nova or those who simply love good music.

Sultry, cool,and moody. One of the best combos of instruments I have ever heard. This hard to find CD needs to be re-issued and available to listening audiences right away.I've had this on an old cassette for years. I can't get tired of it. Luckily, I just scored the last issue CD. Like the late, great Piazzola the sound of mood tango has enormous subtleties and power. Saluzzi takes this music medium one step further, weaving dreamscapes of bandone?n, with phrases of bass and trumphet and light percussion that tell some strange stories. Grab a copy somewhere, folks!

This recording, from 1985, presents bandone�n master Dino Saluzzi in a small-group setting, accompanied by some of the finest musicians in the ECM roster: Palle Mikkelborg (trumpet and flugelhorn), Charlie Haden (bass) and Pierre Favre (percussion). As usual with ECM releases, the recording is crystalline - their audio standards have always set the highest standards for sound reproduction, clear and pristine. It puts the listener right into the room with the players.

All of the compositions on this album are by Saluzzi - but he never attempts to steal the show, respecting and indeed reveling in the contributions from his friends. Each one of them adds a bit of their individual soul to the mix - and the result is honest and beautiful music. Call it `world' (for Saluzzi's themes and consciousness have their foundations in his homeland of Argentina), or call it `jazz' (for its freedom and its embrace of the staggering improvisational abilities of the participants), or simply file it under `ECM'.

There are times when the interplay between the two ends of Saluzzi's bandone�n and Mikkelborg's horn give the impression that there are more than two instruments at work - add to the mix the firm foundation (and melodic contributions) from Charlie Haden's exceptional bass work and the multi-faceted percussion of Pierre Favre and you have a great example of the whole being greater than the sum of the parts. Some of Favre's contributions in particular will stretch your conception of the meaning of the word `percussion'.

The melodies at play here are some of the loveliest I've ever heard - and some of the most emotional. At the heart of this music is the heart of the players - and the urge to share with the listener the feelings they hold within them is one for which we should be grateful. Saluzzi's bandone�n is more than just a glorified squeezebox - if you've never heard one, the depth of expression of which it's capable will cause you to reconsider whatever preconceived notions you might have about `accordions'.

I haven't heard every recording Dino has released - but I've experienced quite a few of them, and I haven't been disappointed by a single one. I hold him in the highest regard, and I would buy anything new I found by him without any preview - I highly recommend giving his work a listen. This album is a great place to start - and his latest release (RESPONSORIUM, from 2002, with the great Palle Danielsson on bass and Jos� Maria Saluzzi, Dino's son, on guitar) is one of my favorite albums of the last ten years. I was appalled to read a review calling his music `mindless noodling' - it's anything but that. There's a whole range of emotion in his playing, along with superb musicianship, imagination and deep thought - he's a master.

Sultry, cool,and moody. One of the best combos of instruments I have ever heard. This hard to find CD needs to be re-issued and available to listening audiences right away.I've had this on an old cassette for years. I can't get tired of it. Luckily, I just scored the last issue CD. Like the late, great Piazzola the sound of mood tango has enormous subtleties and power. Saluzzi takes this music medium one step further, weaving dreamscapes of bandone?n, with phrases of bass and trumphet and light percussion that tell some strange stories. Grab a copy somewhere, folks!

This recording, from 1985, presents bandone�n master Dino Saluzzi in a small-group setting, accompanied by some of the finest musicians in the ECM roster: Palle Mikkelborg (trumpet and flugelhorn), Charlie Haden (bass) and Pierre Favre (percussion). As usual with ECM releases, the recording is crystalline - their audio standards have always set the highest standards for sound reproduction, clear and pristine. It puts the listener right into the room with the players.

All of the compositions on this album are by Saluzzi - but he never attempts to steal the show, respecting and indeed reveling in the contributions from his friends. Each one of them adds a bit of their individual soul to the mix - and the result is honest and beautiful music. Call it `world' (for Saluzzi's themes and consciousness have their foundations in his homeland of Argentina), or call it `jazz' (for its freedom and its embrace of the staggering improvisational abilities of the participants), or simply file it under `ECM'.

There are times when the interplay between the two ends of Saluzzi's bandone�n and Mikkelborg's horn give the impression that there are more than two instruments at work - add to the mix the firm foundation (and melodic contributions) from Charlie Haden's exceptional bass work and the multi-faceted percussion of Pierre Favre and you have a great example of the whole being greater than the sum of the parts. Some of Favre's contributions in particular will stretch your conception of the meaning of the word `percussion'.

The melodies at play here are some of the loveliest I've ever heard - and some of the most emotional. At the heart of this music is the heart of the players - and the urge to share with the listener the feelings they hold within them is one for which we should be grateful. Saluzzi's bandone�n is more than just a glorified squeezebox - if you've never heard one, the depth of expression of which it's capable will cause you to reconsider whatever preconceived notions you might have about `accordions'.

I haven't heard every recording Dino has released - but I've experienced quite a few of them, and I haven't been disappointed by a single one. I hold him in the highest regard, and I would buy anything new I found by him without any preview - I highly recommend giving his work a listen. This album is a great place to start - and his latest release (RESPONSORIUM, from 2002, with the great Palle Danielsson on bass and Jos� Maria Saluzzi, Dino's son, on guitar) is one of my favorite albums of the last ten years. I was appalled to read a review calling his music `mindless noodling' - it's anything but that. There's a whole range of emotion in his playing, along with superb musicianship, imagination and deep thought - he's a master.