In the Zebra catalog, you'll find some established artists and some emerging new talent; some which fits contemporary jazz (and even some smooth jazz) formats and some which defies genre or convention.  Zebra has already spawned a sub-label, Zebra Acoustic, which often reaches far beyond the realm of what we would usually consider contemporary jazz.  Here are some highlights from their catalog, plus reviews of their latest releases.

Some of the established artists who have recorded some of their best works for Zebra include Joe Zawinul and the Zawinul Syndicate's World Tour (2 CDs), keyboard/production whiz Jeff Lorber's Midnight, the late guitarist Zachary Breaux's Uptown Groove and bassist extraordinaire Brian Bromberg's You Know the Feeling.  The latest release to be added to this list is the new CD by another outstanding bassist, Victor Bailey.

On his first solo release in ten years, Low Blow, bassist Victor Bailey, alumnus of Weather Report and Steps Ahead and currently bassist for the Zawinul Syndicate, reinforces his standing among the bass elite. Bailey liberates the electric bass from its traditional background role as the harmonic and rhythmic foundation of a band and demonstrates its capabilities as a lead and solo voice.  One of Bailey's goals for this recording was to demonstrate that he's not just a bass player, but a complete composer/musician who just happens to specialize in the bass.  He's successful in this endeavor.  There's plenty of bass virtuosity, to be sure, but its never just an in-your-face chops exhibition. 

The music, almost all of it composed by Bailey, sits comfortably in the space between contemporary jazz and fusion.  This is one of those albums that you can tell is a labor of love for the artist, where he really writes and performs what comes from his heart rather than what the record label or a particular format dictates.  You'll detect the Weather Report/Jaco Pastorius influence in several spots, such as the opener.   A highlight is his vocalese version of Jaco Pastorius' "Continuum."   Bailey transcribed this tune when he was sixteen and practiced it relentlessly for years.  He wrote the lyrics in one creative burst about a week after Jaco died.   Bailey's acrobatic vocals follow the bass line perfectly. Bailey also impresses with his scat vocals on the opening and closing tunes, perfectly in tandem with his lightning bass lines.  "Graham Cracker" is a tribute to another bassist who was an influence on Bailey:  Larry Graham.  The album's softer, gentler moments are enjoyable, too, such as the trio rendition of "Babytalk" (co-composed with Regina Carter), and "Feels Like a Hug," in which he picks the bass like an acoustic guitar, and renders an impressive solo using the two-handed tapping technique.

The supporting cast is excellent.  With frequent bandmate Omar Hakim or the energetic Dennis Chambers on drums, there's never a question that the time and the groove will be there.  Chambers' solo on the closer is nothing short of explosive.   Both Bill Evans and Kenny Garrett provide the perfect foil on soprano sax for Bailey's bass.  Guitarist Wayne Krantz turns in some good solos.  The keyboardists Jim Beard or Michael Bearden excel at both soloing and comping, often lending a more organic feel on the Rhodes or Wurlitzer electric piano or grand piano.  (Zebra ZD 44020)

Zebra also contributes some of the better fare for the smooth jazz format, which is reinforced by the fact that for two of the last three years, the label was one of only three independents listed among R&R's (an industry newspaper) top ten smooth jazz labels. Examples include former Rippington Mark Portmann's No Truer Words, Rob Mullins' Dance for the New World, Eric Essix's Small Talk, and the debut of a new band called Rhythm Logic.

Rhythm Logic is a rather typical guitar-keyboards-bass-drums contemporary ensemble, presenting a likable, if not remarkable, program of adult contemporary fare.  Eight of the ten tunes on their self-titled debut are originals, the remaining two are well-known covers:  Earth, Wind & Fire's "Fantasy" and Donald Fagen's "I.G.Y." (from his solo album Nightfly). The covers were included, I suppose, with the hope of securing some airplay on the smooth jazz playlists.  They're very close to the originals.   The originals, likewise, are competently done and listenable.  However, there's little to give this band a unique sound or distinguish it from the rest of the pack, except possibly for the fact that the drums and percussion are all played by humans.   (Zebra ZD 44018)

While the smooth jazz-friendly CDs mentioned above stay fairly close to genre formats, other CDs freely blend jazz with more fusion or rock-oriented elements, with rewarding results.  A favorite of mine from early in the catalog is David Garfield's Tribute to Jeff (Porcaro), an L.A. all-star gig if ever there was one.  Jazz is Dead, one of the label's most successful bands, recreates the music of the Grateful Dead on their debut Blue Light Rain.  The label also includes the latest from Scott Henderson and Gary Willis' heavy fusion outfit Tribal Tech, Thick.

On their sophomore release, Laughing Water, Jazz is Dead continues their mission of presenting the catalog of the Grateful Dead in sort of a country-rock context, with occasional classical, gospel, and jazz flavoring.  It's unpretentious, infectious jamming by musicians with virtuoso chops to burn.  The exuberant "Let Me Sing Your Blues Away" (not a vocal) alternates hard-driving edgy guitar choruses with fleet-fingered, grooving organ.   "Row Jimmy" has a laid-back country-rock feel.  The next tune, "Stella Blue," begins with an almost-classical fugue, before settling into a country/gospel-flavored ballad.  Classical influences rock on "Here Comes the Sun/Sunshine Jam."  While the soloing is excellent throughout, the closing "Weather Report Suite, part 2/Let It Grow" (not a reference to the famous jazz ensemble) turns the heat up the highest.  Bassist Alphonso Johnson contributes some funky thumb-snapping in places.  In other words, boundaries are stretched or even totally disregarded here.  There's not much in the way of jazz, traditionally speaking, other than in the quality of the improvization.  It's just a musical good time - perfect keg parties or cruising down the highway. (Zebra ZD 44019)

The Dixie Dregs (also called simply "the Dregs") produced muscular southern rock/fusion during the late seventies and early eighties.  They reunited briefly in the early nineties, and reunited again in August, 1999, for a series of concerts at Los Angeles' famed Roxy Theater.  The best performances from these hot nights have now been released on California Screamin'.  All of the original members are present (Morse, Lavitz, Morgenstern, Sloan, West), as well as more recent band members Jerry Goodman (of Mahavishnu Orchestra fame) and Dave LaRue. 

Some of the tunes are classics from the Dregs' repertoire:  "Freefall," "Night Meets Light," "Jessica," "What If," and "The Great Spectacular."  The band just kills!  There's impeccable chops and hard-driving jamming throughout - the CD's title is well-chosen.  The fingers fly furiously on both guitar and violin on "The Bash," a good ol' hoe-down medley of "Wabash Cannonball" and "Rocky Top."  The band mines this genre again on the closer, "Dixie," in which they juice up the traditional southern chestnut, then switch it to a minor key.  "What If" offers a break from the frenetic energy of the rest of the program with its sensitive, gentle balladry.   Dweezil Zappa guests on his father's composition "Peaches en Regalia."   (Zebra ZD 44021)

If Zebra's catalog has wide boundaries, the Zebra Acoustic sub-label's boundaries are even wider.

Vince Mendoza is a highly creative and cerebral composer and arranger. Epiphany represents perhaps his most ambitious work to date, a full symphonic program with jazz soloists. The program works the classical to jazz spectrum thoroughly, although most of the emphasis is on modern classical;  the suite never quite lets loose on a full jazz romp.  The moods range from soft and introspective to medium and mellow;  there are no loud or fast passages.  The opening movement is entirely soft classical.  "Wheaten Sky" continues in this vein, gradually yielding to solos by trumpeter Wheeler and guitarist Abercrombie.   "Esperanca" swings farther towards the jazz realm, with solos by Brecker, Taylor, and Abercrombie again.  The orchestra offers lush support behind the soloists as well as interesting interludes.  Lovano and the strings softly caress the gentle melody of "Ambivalence," leading into a solo section with Lovano offering a series of progressively intricate bursts, like a series of fleeting thoughts, over an understated piano vamp and a bed of strings.  "Sanctus" features mellow trumpet by Wheeler, followed similarly by Taylor's piano on the title cut.   "Barcelona" presents a more jazz-oriented context for Brecker, Abercrombie, and Wheeler.  Abercrombie attempts some edgier guitar, but it's still somewhat restrained by the orchestral context. Similarly, Brecker and Wheeler engage in a spirited exchange to the extent the surroundings allow.  The closer provides a gentle sax-over-orchestra cushion to lay the suite to rest.

Overall, it's an interesting, enjoyable listening experience.  It's an impressive composition and it's executed flawlessly.  It's recommended for those who enjoy the classical-meets-jazz genre, but those who are looking for a deeper jazz experience will probably be left a little hungry. (Zebra Acoustic ZA 44407)

Didier Malherbe and Loy Ehrlich's Hadouk is a CD that should have appeal for those into the "world music" scene.   Malherbe and Ehrlich employ a wide range of wind and percussion instruments, plus occasional stringed instruments, from eastern Europe and Africa in an engaging set of earthy yet intricate tunes.  There's little jazz here, in the traditional sense, but the program abounds with interesting rhythms and light improvization on each of the tunes' basic motifs, many of which are quite catchy and memorable.  (Zebra Acoustic ZA 44409)

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