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Various Artists: Cuban Funk Experience
by Jeff Dayton-Johnson
UK mixologist John Armstrong has compiled a collection of “Cuban funk" recordings from the coffers of two record labels: Havana's Egrem and Miami's Sound Triangle, between 1973 and 1988. Like Típica '73's Johnny “Dandy" Rodríguez did back in the 1970s, Armstrong is arguing that Cuban music in the US and in Cuba are two branches of ...
Thierry Gomar: Between Two Worlds: Opus II
by Jeff Dayton-Johnson
Between Two Worlds : Opus II features vibraphonist Thierry Gomar in a solo performance, alternating between two three-octave vibraphones: one acoustic and the other electro-acoustic. By means of discrete electronic treatment of the recording on the one hand, and a particularly rich synthesis of musical influences--contemplative music somewhere at the juncture between jazz and contemporary composition--on ...
DJ Grazzhoppa's DJ Bigband + Aka Moon: DJ Grazzhoppa's DJ Bigband + Aka Moon
by Jeff Dayton-Johnson
There is no shortage of matchmakers seeking to arrange the marriage of jazz and hip hop. Back in the 1980s, pianist Herbie Hancock collaborated with DJ DST, while hip hop duo Gangstarr ostentatiously sampled classic jazz records. In the 1990s, rappers A Tribe Called Quest invited bassist Ron Carter to play on The Low End Theory ...
Bettye Lavette: Interpretations - The British Rock Songbook
by Jeff Dayton-Johnson
Bettye Lavette Interpretations: The British Rock SongbookAnti- Records2010 Perennial also-ran Bettye Lavette, among the many very good 1960s Detroit soul singers not signed to Motown--others include Barbara Lewis, Deon Jackson and Edwin Starr--offers a concept album of sorts. An interesting concept, too: R&B covers of classic British rock ...
Silvio Rodriguez: Segunda Cita
by Jeff Dayton-Johnson
Jazz fans will be familiar with Cuban singer-songwriter Silvio Rodríguez as the composer of “Rabo de Nube," a musical air of impossible loveliness highlighted as the title track of a 2008 album on ECM by Charles Lloyd; there's also an earlier version by Charlie Haden's Liberation Music Orchestra, on their Dream Keeper (DIW, 1990). Lloyd, in ...
Steve Tibbetts: Natural Causes
by Jeff Dayton-Johnson
First things first: this is a mellow record. A very mellow record. Not Ben Webster mellow, or Antonio Carlos Jobim mellow, or Morton Feldman mellow, but rather, a record of music depicting a kind of quietism: profoundly passive contemplation. And it's not clear that quietism is a direction all jazz fans will want to go.
Various Artists: Message from the Tribe - An Anthology of Tribe Records 1972-1976
by Jeff Dayton-Johnson
Various ArtistsMessage from the Tribe: An Anthology of Tribe Records 1972-1976Soul Jazz Records2010 “It seems to me that Black musicians are always on top of the issues." So wrote critic Betty L. Holloway in a mid-1970s number of Tribe magazine. It's easy to assume that Holloway meant the ...
Gabriel Zufferey: Hear & Know
by Jeff Dayton-Johnson
This satisfying, varied and coherent date sounds like the work of a mature group leader, but in fact it is only the second release from twenty-something Swiss pianist Gabriel Zufferey. His first, Après l'orage, a trio outing with heavyweight French drummer Daniel Humair and bassist Sébastien Boisseau, came out on Bee Jazz in 2005 to very ...
Erica Lindsay / Sumi Tonooka: Initiation
by Jeff Dayton-Johnson
Long Ago Today (Artists Recording Collective, 2008), pianist Sumi Tonooka's previous release, generated two immediate reactions. First, it seemed astonishing that so singular, strong and distinctive a player could have been flying beneath the radar for so long. Second, the rhythm section--Tonooka, bassist Rufus Reid and drummer Bob Braye--played with an unusual empathy that held the ...
Paul Meyers: Paul Meyers Quartet featuring Frank Wess
by Jeff Dayton-Johnson
This is a very smooth outing from Paul Meyers, mixing standards--both the rather ripe ("I Cover The Waterfront") and the lesser-known (Billy Strayhorn's “Snibor")--with Meyers originals as showcases for his acoustic nylon string guitar. “Smooth" should not be taken to mean “smooth jazz": there is just the right amount of edge in the musicians' interaction to ...
