Almanac- Nock-Maupin-McBee-Marshall Almanac, featuring Mike Nock, Bennie Maupin, Cecil McBee and Eddie Marshall is a stunning album that draws its power from the strength of its performers, compositions that are melodic but adventurous and a recording that is so good that it qualifies as “demo” material. This is not “safe” jazz, but it isn’t aimless either: it works because the compositions are strong and the players are up to the task.  The recording, made at Columbia University, was mixed by David Baker and it’s wonderful, chock full of goodies that aren’t there for sonic... Read More

Boomerang featuring Mark Stein  Boomerang- by definition, something that returns to the originator. Mark Stein may have been ahead of his time. As a founding member of Vanilla Fudge, largely remembered for the hit “You Keep Me Hangin’ On,” Stein cultivated an organ rich sound that influenced other heavy organ rock bands, most notably, Deep Purple; Stein is credited as an originator of sounds that bridged psychedelia with what eventually became heavy metal. I’m not sure that is an entirely accurate picture of the music at the time; there were lots of “heavy rock” bands in the... Read More

Kent Glenn- Good for the Garden Kent Glenn’s Good for the Garden initially lured me in because the cover art was the antithesis of the music on the record. Glorious jazz from an L.A. composer who was, even at the time the album was released, “considered one of the most overlooked, underrated composers on the L.A. jazz scene.” (liner notes by Gary G. Vercelli, KPFK, L.A; Down Beat). The record starts with the title track — a harmonious horn section and some great drumming. “Ambivilance” -slows it down with a plaintive wail and some even/odd notes held in background- the... Read More

Bombadil- Beautiful Country Bombadil- I’ll confess to not knowing much about this band and further admit that I don’t listen to much “pop” music these days (in the sense of sweet songs that focus on harmonies and catchy hooks). I’ll also acknowledge that I really like this record—these guys are extremely accomplished—gorgeous harmonies, upbeat folk/ pop tunes and a recording that conveys enormously well- from deep bass and drum sounds to the tickle of plucked strings, the staging of the voices and handclaps.  I mentioned in my “Incoming” snapshot that this Bombadil... Read More

BRAHJA- Self-Titled A cooperative of musicians, led by Devin Brahja Waldman of New York, recorded this album in a de-sanctified church in rural Quebec (with additional recording and mixing in New York); it captures a marvelous mixture of sounds, textures and melodic themes composed, arranged and produced by Waldman (whose friends refers to him as “Brahja”). The group on this album is comprised of some core members who have played together for 11 years; many of them met in Montreal, where Waldman attended music school.  The album starts with “In the Mess,” cymbal tapping, drone and... Read More

Jothan Callins- Winds of Change  Jothan Callins released one album as a band leader- Winds of Change, which captures everything that I revel in when listening to the less well travelled jazz records I’ve been seeking: engaging compositions, stunning performances and impressive sonics. Though Callins was known as a bassist, he plays trumpet on this album (Cecil McBee handles the bass and glorious it is). Released as a one and done on Triumph Records, there is a little information about Callins and almost nothing about the sessions. Born in Birmingham, Alabama, Callins played with a long... Read More

Cecil McBee- Mutima (Strata-East)  I didn’t appreciate how much I enjoyed listening to Cecil McBee until I started to sift through some of the records I loved and found him credited as the bassist. This album, Mutima, features McBee as bandleader and composer and it’s a killer. The first track, “From Within,” begins with bowed bass- what sounded like double stops to me is apparently two basses. Some commentators on the web have talked about McBee playing two instruments simultaneously, which I find a little implausible; more likely overdubbing. (I did send a note to Mr. McBee to... Read More

Ronnie Boykins (The Will Come, Is Now) Ronnie Boykins was a disciple of Sun Ra’s Arkestra with a long list of credits as a bassist.  This album, which is Boykins’ sole release as a band leader, is great fun. It starts with “The Will Come, Is Now,” a good simple bass line that is joined by an agglomeration of horns that sound, well, a little “off”—maybe somewhat out of tune, a little discordant, it could be just a free jazz thing where everybody is playing something different, but I find it amusing. They knock it into shape as they get going, though, and it gets better as... Read More

Black Jazz Records -Theo Parrish’s Black Jazz Signature  The Black Jazz Records label is becoming increasingly collectible due to some powerful albums that cross multiple modern jazz boundaries. This compilation of some of the great tracks from that label, compiled by DJ Theo Parrish, is an inexpensive introduction to some of the artists and tracks whose work made that label legendary. It does not contain all the best work to be found on the label, but there is enough here not only to whet your appetite, but to satisfy. Two LPs, four sides, it starts with a Doug Carn track from his... Read More

Robin Trower- Twice Removed From Yesterday Robin Trower released this album a year before his classic Bridge of Sighs. Although it is probably overshadowed by the latter’s popularity, it has just as much power and is bluesier in its orientation. It’s also an excellent hard rock recording. I’m listening to an early UK pressing, which is cheap enough (shipping to the States notwithstanding). You don’t have to wait long for the pay-off: that hard, bluesy guitar with distorted edges rippling with fuzz and echo jumps right out on the first track, “I Can’t Wait Much Longer,” which... Read More