Once upon a time in Algeria... a streetwise teenage boy started playing piano in the bars of Oran's Jewish Quarter. It was 1942 and American GIs were in town bringing with them the sounds of Boogie-Woogie, Jazz and Cuban rhythms. Maurice El Médioni was that boy, soaking up those musical influences and, adding French chanson, Andalusian and Arabic styles to the mix, growing to become one of the pioneers of Algerian Raï music, playing for some of the biggest names of the golden era and his influence acknowledged by the stars of today such as Khaled and Rachid Taha. Now, with a band featuring Salamat's Mahmoud Fadl and the Klezmatics' David Krakauer and Frank London, the man is back in the spotlight at the Café Oran. - Product description

"... Médioni was born in 1928, taught himself the piano at an early age and frequented Oran's American bars in the 1940s. His big loves were boogie-woogie and Cuban music, and his style is born of the fusing of these distinct influences with Arabic music. The piano is, of course, a European instrument, but in Médioni's the melodies take on a middle eastern character, subtly decorated and turning round on themselves in modal arabesques." by Simon Broughton, "World music 100 Essential CDs. The Rough Guide"

Artist: Maurice el Médioni et son PianOriental
Album: Café Oran
Year: 1995
Label: Piranha (1996)
Total time: 64:53

Personnel:
Maurice El Medoni (Piano)
Michel Rebibo (Vocals)
David Krakauer (Clarinet and Bass Clarinet)
Frank London (Trumpet)
Mahmoud Fadl (Percussion)
Sabah Habas Mustapha (Bass Guitar)
Marco Majmaran (Drums and Percussion)

Tracks:
1. Bienvenue/Abiadi 5:42
2. Taktouk andalou/Ghazalati 5:33
3. Ma Aamlo Biya 4:47
4. Rai Rock Rumba 3:39
5. Ya Ghbina 4:40
6. Ma Testahalchi 4:57
7. Ya Maalem/Kelbi Razahi 9:06
8. Meklassates 1 & 2 9:49
9. Ahla Ouassala 6:03
10. Moel' Médio 6:02
11. Cocktail andalou 4:28
All compositions by Maurice El Medioni

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For a brief time, tenor saxophonist Clifford Jordan and trumpeter Art Farmer were the frontline of the Horace Silver Quintet. This 1997 CD reissue finds the group (which also includes bassist Teddy Kotick and drummer Louis Hayes) performing five of Silver's lesser-known originals and the standard "Ill Wind." The lyrical Farmer and the up-and-coming Jordan have plenty of fine solos, as does the influential Silver, whose funky, witty style stood apart from the prevailing Bud Powell influence of the era. Although none of the newer songs caught on as standards, this set (which has plenty of mood and groove variation) holds together very well and still sounds fresh 40 years later. - by Scott Yanow, AMG

Artist: Horace Silver Quintet
Album. Further Explorations by the...
Year: 1958
Label: Blue Note (20-bit SBM remastered, 1997)
Total time: 42:40

Personnel:
Horace Silver (Piano)
Art Farmer (Trumpet)
Clifford Jordan (Tenor Saxophone)
Teddy Kottick (Double Bass)
Louis Hayes (Drums)

Tracks:
1. The Outlaw (Horace Silver) 6:10
2. Melancholy Mood (Horace Silver) 6:37
3. Pyramid (Horace Silver) 6:42
4. Moon Rays (Horace Silver) 10:59
5. Safari (Horace Silver) 5:14
6. Ill Wind (Harold Arlen/Ted Koehler) 6:55

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Trumpeter Freddie Hubbard really came into his own during this Blue Note session. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis"), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums. - by Scott Yanow, AMG

Artist: Freddie Hubbard
Album: Ready for Freddie
Year: 1961
Label: Blue Note (Toshiba EMI, 1993)
Total time: 42:06

Personnel:
Freddie Hubbard (Trumpet)
Bernard McKinney (Euphonium)
Wayne Shorter (Tenor Saxophone)
McCoy Tyner (Piano)
Art Davis (Double Bass)
Elvin Jones (Drums)

Tracks:
1. Arietis (Freddie Hubbard) 6:43
2. Weaver Of Dreams (Jack Elliott/Victor Young) 6:39
3. Marie Antoinette (Wayne Shorter) 6:41
4. Birdlike (Freddie Hubbard) 10:19
5. Crisis (Freddie Hubbard) 11:44

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A budget, 12-song collection taken from Gatemouth's three '80s era Rounder albums with an added bonus of a 10-minute version of "The Drifter," recorded live in Switzerland in 1982. A good starting point for anyone coming to this multi-talented artist.- by Cub Koda, AMG

The first time I heard Gatemouth was in 1952 as a 7th grader. His 78 rpm record, "The Okie Dokie Stomp" was on the cafeteria jukebox, and it played over and over and over again during the lunch hour. Then a few years later I was lucky enough to get my own DJ show on one of the local Galveston radio stations. I chose "The Okie Dokie Stomp" for my theme song and it stayed with me for as long as I was known a Brokenhearted Bill. Gatemouth must be in his late 70s by now, but his style with a guitar has never been successfully copied. Many have tried. If you like the blues, Gatemouth needs to be included in your collection, and this CD is a good place to start. - by William S. Cherry, Amazon.com

Artist: Clarence "Gatemouth" Brown
Album: Okie Dokie Stomp (Compilation)
Year: 1981-85
Label: Bullseye (1999, 24 bit remastering)
Total time: 55:34

Personnel:
Clarence "Gatemouth" Brown (Guitar and Vocals, Fiddle)
Bill Samuel (Alto and Baritone Saxophone)
Craig Woten (Piano) - 1,4,6,10
Miles Kevin Wright (Bass Guitar) - 1,4,6,10
Robert Shipley (Drums) - 1,4,6,10
Homer Brown (Tenor Saxophone) - 1,4,6,10
Bobby Campo (Trumpet) - 1,4,6,10
Ernie Gautreau (Trombone) - 1,4,6,8-10
Larry Sieberth (Piano) - 2,3,5,11
David Fender (Hammond organ) - 2,3,5,11,12
Myron Dove (Bass Guitar) - 2,3,5,7,11,12
Lloyd Herman (Drums) - 2,3,5,7-9,11,12
Alvin Tyler (Tenor Saxophone) - 2,3,5,11,12
Joe Sunseri (Baritone Saxophone) - 2,3,5,11,12
Stanton Davis Jr. (Trumpet) - 2,3,7,11,12
Jim McMillen (Trombone) - 2,3,11,12
Luther Wamble (Guitar) - 8,9
Harold Floyd (Bass Guitar) - 8,9
Dan Matrazzo (Keyboards) - 8,9
Dennis Taylor (Tenor Saxophone) - 8,9
Mark Wells (Trumpet) - 8,9
Tommy Morgan (Pedal Steel Guitar) - 4
Lewis Stephens (Piano) - 7
Terry Tullos (Trumpet) - 8

Tracks:
1. Stranded (Deadric Malone) 3:54
2. Frosty (Albert Collins) 3:48
3. I Feel Alright Again (Deadric Malone) 2:34
4. Sunrise Cajun Style (Hoyt Garrick) 3:55
5. Sometimes I Slip (Clarence Brown) 6:37
6. One More Mile (Homer Brown) 4:16
7. The Drifter (Clarence Brown) 10:03
8. Real Life (Clarence Brown) 3:52
9. Okie Dokie Stomp (Pluma Davis) 4:13
10. Information Blues (Roy Milton) 3:24
11. Gate Walks To Board (Clarence Brown/Johnny Board) 4:03
12. Dollar Got The Blues (Clarence Brown) 4:47

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Named after a fictional radio station at the southernmost tip of Spain, Radio Tarifa ostensibly would broadcast to the Iberian Peninsula as well as the southern shores of the Mediterranean. Proving that the distance between flamenco and Arabic music, electric and ancient instruments, and African and pop rhythms aren't all that far apart, the aptly named band is a crossroads of musics, cultures and eras. Strong musicianship pulled it together on its three studio efforts, and does so again here on the group's first live album, which was recorded in 2002. While fans are treated to two new songs, the older ones are a revelation as well, offering up fresh versions of favorites like "Ronda de Sanabria," "La Mosca," and "Tangos del Agujero." Indeed, the band seems to be playing to the crowd and for each other throughout, which is the best reason to document any group in the live setting. – by Tad Hendrickson, Amazon.com

Radio Tarifa celebrated its tenth anniversary with the 2004 Latin Grammy-nominated Fiebre (Fever), a live album recoreded during a remarkable concert in Toronto, Canada. The album - which The Evening Standard calls "raw, exhilarating, summery and sexy" - captures the dynamism of the live show and takes us on a musical journey spanning the last ten years of Radio Tarifa. The record marks the band's fourth Nonesuch/World circuit release. - Product info

Artist: Radio Tarifa
Album: Fiebre (Live in Toronto)
Year: 2002
Label: Ariola (2003)
Total time: 68:05

Personnel:
Benjamin Escoriza (Vocal and Shaker)
Fain S. Duenas (Percussion and Backing Vocals)
Vincent Molino (Ney, Oboe and Cromorno)
Jaime Muela (Flute, Soprano Saxophon and Ney)
Amir Haddad (Oud and Backing Vocals)
Jorge Gomez (Flamenco Guitar and Electric Guitar)
Sebastian Rubio (Drums and Bongos)
David Purdye (Bass Guitar and Backing Vocals)

Tracks:
1. Jota Bereber (Traditional/Benjamin Escoriza) 7:58
2. Elli Yeddi Haq Ennas (Abderrahmane/Amrani) 5:14
3. Tangos Del Agujero (Traditional/Benjamin Escoriza) 3:24
4. Cruzando El Rio (Traditional/Benjamin Escoriza) 5:54
5. Bulerias Turcas (Traditional/Benjamin Escoriza/Fain S. Duenas) 4:28
6. El Mandil De Carolina (Traditional) 4:05
7. La Mosca (Traditional) 4:17
8. Nina (Benjamin Escoriza/Fain S. Duenas) 2:37
9. Osu (Traditional/Benjamin Escoriza/Fain S. Duenas) 2:43
10. Cancion Sefardi (Traditional/Benjamin Escoriza) 7:24
11. El Quinto (Traditional/Benjamin Escoriza) 3:58
12. Fiebre (Benjamin Escoriza/Radio Tarifa) 3:54
13. El Viaje De Lea (Traditional/Benjamin Escoriza) 4:59
14. Oye China (Traditional/Benjamin Escoriza) 7:10

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If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever. There are vocals in several languages by Zawinul's longtime colleague Salif Keita (for whom Zawinul produced a great album in 1991), Syndicate percussionist Arto Tuncboyaciyan, a throat vocal specialist from South Siberia named Bolot, Thania Sanchez, Zawinul himself, and several others. When translated, the lyrics speak of joy and unity among the cultures, and there isn't any doubt that Zawinul's bubbling music feeds the message of uplift. Hear it; you purists may be jiggling along in spite of yourselves. - by Richard S. Ginell, AMG

Artist: Joe Zawinul
Album: My People
Year: 1992-1996
Label: Escapade Music (1996)
Total time: 52:40

Personnel:
Joe Zawinul (Keyboards and Vocals)
Paco Sery (Drums and Percussion, Kalimba) - 2,3,5
Matthew Garrison (Bass) - 2,3,5,8
Gary Poulson (Guitar) - 2,3,6,9
Arto Tuncboyaciyan (Percussion and Vocals) - 2,4,5,7,10,11
Alex Acuna (Percussion) - 9
Bobby Malach (Tenor Saxophone) - 2,3,8-10
Mike Mossman (Trumpet and Trombone, Piccolo Trumpet) - 2,3,8-10
Salif Keita (Vocals) - 3
Djene Doumbouya (Backing Vocals) - 3
Assitan Dembele (Backing Vocals) - 3
Cheik Tidiane Seck (Keyboards) - 3
Osmane Kouyake (Guitar) - 3
Souleymane Doumbia (Percussion) - 3
Trilok Gurtu (Percussion) - 3,7,8
Amit Chatterjee (Guitar) - 5,7,9,11
Bolot (Throat Vocals and Tapshur) - 6
Richard Bona (Vocals and Bass Guitar) - 7,10
Burhan Öcal (Vocals) - 7
Broadhlan (Backing Vocals) - 8
Thania Sanchez (Vocals) - 9
Rudy Regalado (Percussion) - 9
Michito Sanchez (Percussion) - 9
Kevin Richard (Percussion) - 9
Beto Sabala (Backing Vocals) - 9
Kenny O'Braian (Backing Vocals) - 9
Lucho Avellaneda (Backing Vocals) - 9
Tal Bergman (Drums) - 11

Tracks:
1. Introduction To A Mighty Theme (Joe Zawinul) 1:53
2. Waraya (Salif Keita) 6:03
3. Bimoya (Salif Keita/Joe Zawinul) 6:36
4. You Want Some tea Grandpa? (Arto Tuncboyaciyan) 3:20
5. Slivovitz Trail (Joe Zawinul) 4:12
6. Ochy-Bala (Traditional/arr. Bolot) 2:29
7. Orient Express (Joe Zawinul) 7:53
8. Eradapfee Blues(Potato Blues) (Joe Zawinul) 4:53
9. Mi Gente (Joe Zawinul/Rudy Regalado) 6:13
10. In An Island Way (Joe Zawinul/Robert Thomas Jr.) 4:48
11. Many Churches (Joe Zawinul) 4:16

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Roy Ayers, legendary practioner of the hottest, jazziest funk since the early 70's, has achieved God-like status with acid-jazz and rare groove audiences worlwide. His frequent sell-out visits to London's Ronnie Scott's Jazz Club are unmissable events, every evening an energetic, inspired, funked-up party. Re-live here the genius of this enigmatic vibesman where he does it best... live at Ronnie's. - from the CD booklet

Roy Ayers is in the foyer of his surrogate home, Ronnie Scott's (the Los Angeles vibraphone player, singer, band leader and jazz legend holds the record for selling out the venue), holding court and meeting and greeting his audience as they come through the door. He shakes you by the hand and wishes you a good new year - it seems like the most natural thing in the world. Ayers is commonly known as "vibes man", for his innate gift of radiating positive, feelgood vibes through his music. But in hip-hop circles, Ayers is the "icon man", thanks to the volume of his samples and breaks appropriated by the genre (P Diddy, The Roots and A Tribe Called Quest, among many others). It's not only hip-hop that owes Ayers a debt of gratitude - he fused jazz and disco in the 1970s and formed a fruitful relationship with the Black President, Fela Kuti, in the 1980s. Soul artists, including Betty Wright (Joss Stone's mentor and co-writer) and Erykah Badu particularly, have worked with Ayers extensively. His influence is also apparent in contemporary dance music - Ayers contributed two tracks to Masters at Work's 1997 Nuyorican Soul; arguably house's finest LP. The 64-year-old, wearing a charcoal-grey suit, black T-shirt and a thick gold link chain, exudes the energy of a man half his age. Ayers and his partner in crime, Ray Gaskins (singer, keys and saxophonist), are consummate, old-school showmen - the banter between the two is automatic. The line-up's completed by another keyboard player, two guitars (electric and bass) and a drummer. The formal introductions come after set opener "Searching", sung by Ayers holding four vibraphone batons (two red, two grey in each hand respectively). It sums up Ayers music - it's honest and life-affirming, yet inquisitive and penetrating. "We Live in Brooklyn, Baby", taken from Destination Motherland, captures and celebrates the ghetto struggle. Its, "We live in Brooklyn, baby", chorus is hilariously twisted to, "We shop in Tesco, baby", by Gaskins. Vocals take a back-seat as its rigid deep funk comes to the fore. It gets deeper as the electric guitarist, dubbed Thunderfoot, riffs and cranks up the feedback. Ayers' vibraphone provides the pyschotropic embellishment and the gig's crowning moment comes when Gaskins, astoundingly, plays the saxophone with one hand and keys with the other. Ayers deflects the audience's rapturous appreciation away from himself and towards the band by turning and gazing at each of them, with an expression of wide-eyed awe. It's straight into "Everybody Loves the Sunshine", featuring a magical vibraphone solo that illuminates the dark, basement jazz club, as Ayers leads the audience through the chorus. Ayers was once asked how he would like to be remembered. "As someone who spread goodwill through his music and made people happy", he replied. Ayers has more than achieved this goal. - by Paul Fraser (Independent, UK)

Artist: Roy Ayers
Album: Vibesman (Live at Ronnie Scott's)
Year: 1990, 1991, 1993
Label: Music Club (1995)
Total time: 75:53

Personnel:
Roy Ayers (Vibes and Vocals)
Zachary Breaux (Guitar & Vocals)
Vastine Pettis (Saxophone, Keyboard and Vocals) - 1,6
Rex Rideout (Bass, Synthesizer and Keyboards) - 1,3-6
Dwayne Perdue (Drums and Vocals) - 1,6
Donald Nicks (Bass) - 2-5,7-9
Dennis Davis (Drums) - 2-5,7-9
Ray Gaskins (Saxophones) - 2,7-9
Martin Adams (Keyboards) - 2,7-9

Tracks:
1. Searchin' (Roy Ayers) 12:36
2. Rapped Up In Your Love (Roy Ayers/Rex Rideout) 6:53
3. Can't You See Me (Roy Ayers/Edwin Birdsong) 4:33
4. Running Away (Roy Ayers/Edwin Birdsong) 6:30
5. Lots Of Love (Roy Ayers/Luther Wilson/Tanya Woods) 6:50
6. Mystic Voyage (Roy Ayers) 10:01
7. Everybody Loves The Sunshine (Roy Ayers) 6:07
8. Ivory Tower (Roy Ayers) 8:29
9. Poo Poo La La (Roy Ayers) 13:50

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Jazz has taken some unexpected directions in Europe. Garcia-Fons is a double-bass player, and he leads a French quartet that consists of himself, another double-bass player, an accordionist and a drummer. In this arrangement, Garcia-Fons exploits the huge range of the bass to play melody, while the other bassist large plays the traditional low part. The well-known artist closest to Garcia-Fons' sound would have to be Astor Piazzolla, and indeed Alboreá does contain one tango, anagrammatically entitled "Natgo." Garcia-Fons also makes use of other world music sources, such as the Moorish sound of "Secret Zambra." And many of the tracks, not surprisingly, seem to owe something to French musette. Although Garcia-Fons might like to say his biggest musical influence was Charlie Mingus, it sometimes sounds as if his real mentor was André Previn, not just as jazz musician but as film score composer. Some of the tracks on Alboreá, like the title track, are very "big" and dramatic. However, the real show is, of course, the bass playing. Just to give one example, on "Amadu" you will think they snuck in an electric guitar, distortion and all, without crediting the musician -- until you realize that it's Garcia-Fons plucking and bowing away on his bass. Both those coming to this disc out of the jazz world and those interested in international music will find something to latch onto in this substantial and passionate album. - by Kurt Keefner, AMG

Artist: Renaud Garcia-Fons
Album: Alboreá
Year: 1995
Label: Enja (1996)
Total time: 52:32

Personnel:
Renoud Garcia-Fons (Double Bass)
Jean-Louis Matinier (Accordeon)
Yves Torchinsky (Double Bass)
Jacques Mahieux (Drums)

Tracks:
1. Al Camaron 5:07
2. Alboreá 7:09
3. Natgo 5:14
4. Secret Zambra 4:51
5. Eosine 3:47
6. Gus's Smile 5:49
7. Amadu 5:12
8. Sacre Coeur 4:16
9. Rue De Buci 4:19
10. Fort Apache 4:09
11. Tropea 2:39
All compositions by Renaud Garcia-Fons

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Franck Avitabile continues to grow as a pianist with his second Dreyfus release. An earlier CD was produced by the late pianist Michel Petrucciani, who obviously saw this newcomer as one filled with promise. Although Petrucciani died just prior to the taping of these sessions, he is obviously present in the spirit of Avitabile's playing. Joined by veteran first-call bassist Niels Pedersen and drummer Roberto Gatto, the pianist starts off with an attractive original jazz waltz, "Miss Laurence." He follows it up with a well disguised and somewhat dark introduction to Dave Brubeck's normally joyful "In Your Own Sweet Way"; his journey through this often recorded jazz standard is also atypical. He also avoids predictability with his intriguing chart of Dizzy Gillespie's "Con Alma" and the venerable standard "Cherokee." His "Right Time!" is a smoking bop number that features Pedersen's tremendous solo chops, while "Song for Evan" is a touching ballad that has an almost reverent quality. Louis Petrucciani, Michel's brother, takes over for Pedersen on his own soulful "Blues for the Stars" and the leader's samba-flavored "Facin' Up." Highly recommended. - by Ken Dryden, AMG

Artist: Franck Avitabile
Album: Right Time
Year: 2000
Label: Dreyfus Jazz
Total time: 57:44

Personnel:
Franck Avitabile (Piano)
Niels-Henning Oersted-Pedersen (Double Bass)
Roberto Gatto (Drums)
Louis Petrucciani (Double Bass) - 3,9

Track:
1. Miss Laurence (Franck Avitabile) 6:25
2. In Your Own Sweet Way (Dave Brubeck) 8:09
3. Facin' Up (Franck Avitabile) 7:39
4. Right Time (Franck Avitabile) 7:30
5. Song for Evan (Franck Avitabile) 6:27
6. Con Alma (Dizzy Gillespie) 5:19
7. Cherokee (Ray Noble) 9:13
8. Little Valse (Franck Avitabile) 3:39
9. Blues from the Stars (Louis Petrucciani) 3:19

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A swirling, energetic sudden music drawing on the richness of the world's sounds: dervish dances from Turkey, Renaissance chants, updated bluegrass, French and Scottish folk songs. This is a world music unlike any other. John Cage praised their sense of virtuosity traveling all over the world. They have enchanted audiences all over the globe with their sound that stretches the meaning of jazz to include standards from all the world's musical traditions. Updated versions of the music of Guillaume de Machaut, master troubadour of the 14th century. Entrancing improvisations inspired by poet Octavio Paz, modern-day griot Don Cherry, mountain cries, and the latest digital technology. All the pieces, with words or without, have something to do with love. Where in the world is this music from? Where will you find it in the store? Jazz, new music, world music? (USA?or beyond geography?) Please, anywhere but new age! Too much is going on. But youre still allowed to relax. - by Milo Miles (Fresh Air Radio)

David Rothenberg is a jazz clarinetist and composer whose previous record, nobody could explain it, was said by WVKR to be like ECM on mushrooms. In his day job hes editor of the environmental journal Terra Nova, and a writer on ecological subjects. Graeme Boone, a virtuoso of international styles on guitar and prepared banjo, taught music for many years at Harvard University. His classes regularly drew more than four hundred students at a time. Now hes working with Quincy Jones. Called the most perfect musician in New York by the Village Voice, Glen Velez is the worlds premier artist on the frame drums, blending African, Middle-Eastern, and Indian traditions into a unique, vibrant synthesis. A member of the Paul Winter Consort, he also has four of his own albums out on the CMP label. Band Members: David Rothenberg, clarinet, wind synth and strange flutes Graeme Boone, prepared banjo, guitar and vocals, Glen Velez, frame drums and percussion. - from Amazon.com

Artist: David Rothenberg, Graeme Boone & Glen Velez
Album: On the Cliff of the Heart
Year: 1995
Label: Mysterious Mountain Music
Total time: 57:37

Personnel:
David Rothenberg (Clarinet and Keyboards)
Graeme Boone (Prepared Banjo, Guitar, Mandola and Voice)
Glen Velez (Frame Drums, Percussion)

Tracks:
1. In My Heart There Is a Discord (Guillaume de Machaut/David Rothenberg/Graeme Boone/Glen Velez) 4:09
2. Man of Constant Sorrow (Tr. Appalachian/arr. David Rothenberg/Graeme Boone/Glen Velez) 5:16
3. Prelude to the Dance of the Dervish (Tr. Turkish/arr. David Rothenberg/Graeme Boone/Glen Velez) 4:32
4. Chikadedumpewaa (David Rothenberg/Graeme Boone) 2:37
5. Joie Plaisence (Guillaume de Machaut/David Rothenberg/Graeme Boone/Glen Velez) 5:47
6. Tales of the Big Drum (David Rothenberg/Graeme Boone) 7:49
7. I See The Great Mountains (Tr. Scottish/arr. David Rothenberg/Graeme Boone/Glen Velez) 4:16
8. Aux marches du palais (Tr. French/arr. David Rothenberg/Graeme Boone/Glen Velez) 7:00
9. My Live With the Wave (David Rothenberg/Graeme Boone) 4:48
10. Rai For Don (David Rothenberg/Graeme Boone) 5:55
11. On The Cliffs of the Heart (David Rothenberg/Graeme Boone) 5:23

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Billed as Joe Zawinul's First Symphony, this large-scale classical work may seem like a radical departure to the composer/keyboardist's jazz and pop fans, but it is really a logical expression of Zawinul's indestructible European roots. Moreover, it is not as alien to his jazz work as one might suppose; at times, one can hear trademark Zawinul ostinato lines in fleshed-out, orchestrated form, and rhythms and tunes of his jazz-rock days ("Doctor Honoris Causa," "Pharoah's Dance" "Unknown Soldier") turn up like old friends crashing a black-tie ceremony. The storyline of the work is a spinoff of Smetana's "The Moldau," tracing the path of a river from its springhead through Central Europe and the deep historical currents (the Ottoman Empire, Vienna's Golden Age, World War II, etc.) that its journey suggests. Zawinul's own keyboards appear most noticeably in the brooding Third Worldish introductions to the fourth and seventh movements, and the Czech State Philharmonic Orchestra, Brno under Caspar Richter handles the long symphonic writing smoothly. At 63 minutes, this piece is a real stretch -- Zawinul is dealing with a Brucknerian timespan -- and skillful orchestrator, composer and boundless eclectic that he is, he can't quite fill the huge tapestry consistently. Yet repeated listening reveals a coherent if loose overall structure and some emotional depth; if you work at it, the rewards will come. - by Richard S. Ginell

Artist: Joe Zawinul
Album: Stories of the Danube
Year: 1995
Label: Phillips (1996)
Total time: 63:40

Personnel:
Joe Zawinul (Keyboards and Vocals)
Amit Chatterjee (Guitar and Vocals) - 4,5
Burhan Öcal (Oud, Percussion and Vocals) - 8,9
Arto Tuncboyaciyan (Percussion and Vocals) - 5,9
Walter Grassmann (Drums) - 5,7,9
Caspar Richter (Conducted)
Czech State Philharmonic Orchestra (Orchestra)

Tracks:
1. The Beginning 5:48
2. Mountain Waters 3:30
3. Empire 11:22
4. Intro 3:52
5. Gipsy 7:34
6. Voice Of The Danube 5:52
7. Unknown Soldier 10:25
8. Intro 4:25
9. Sultan 7:59
10. Finale 2:48
Composed and orchestrated by Joe Zawinul

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Mark Whitfield has long had an attractive tone, and his melodic style is in the forefront throughout this fairly varied date. Accompanied by a 21-piece string orchestra arranged by Dale Oehler, Whitfield and his quartet mostly stick to standards. Fortunately, tempos are varied (although there are a few sleepy ballads) and Diana Krall has guest vocals on "Some Other Time" and "Early Autumn." The strings generally do not add much, but Whitfield's inventive playing makes this a recommended set anyway. Highlights include "You Don't Know What Love Is," "My One And Only Love," an accompanied guitar feature on "I Want To Talk About You" and Whitfield's "Forever." - by Scott Yanow, AMG

Artist: Mark Whitfield
Album: Forever Love
Year: 1997
Label: Verve
Total time: 59:56

Personnel:
Mark Whitfield (Guitar)
Roland Guerin (Bass Guitar) - 1,2,4,5,7,8,10
Donald Edwards (Drums) - 1,2,4,5,7,8,10
Jim Pryor (Piano) - 1,2,5,8
Diana Krall (Vocals) - 2,7
and strings

Tracks:
1. You Don't Know What Love Is (Don Raye/Gene DePaul) 6:52
2. Some Other Time (Leonard Bernstein/Betty Comden/Adolph Green) 8:01
3. My One and Only Love (Guy Wood/Robert Mellin) 4:42
4. Nature Boy (Eden Ahbez) 6:42
5. It Never Entered My Mind (Richard Rodgers/Lorenz Hart) 5:48
6. Some Other Spring (Irene Wilson Kitchings/Arthur Herzog Jr.) 3:59
7. Early Autumn (Ralph Burns/Johnny Mercer) 6:11
8. Forever (Mark Whitfield) 8:57
9. I Wanna Talk About You (Billy Eckstine) 4:00
10. Only the Lonely (Jimmy Van Heusen/Sammy Cahn) 4:39

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Any Compost act willing to title a debut album Elevator Music is either being self-deprecating or not very smart -- unless, of course, the title references an aim to lift the listener's spirits. Regardless, it's a dicey move, and since Elevator Music is an album released on Compost, there's bound to be at least a couple moments that are deserving of such a categorization. This is no exception, but there's room for a little bit of everything throughout the course of this extremely lengthy album, whether one is talking about levels of quality or stylistic shifts. This full-length from Rainer Trüby and company has been a long time coming, evidenced by the inclusion of the 1999 single "A Go Go" and an update of the similarly dusty "Alegre." In a sense, it's unfortunate this album came so late, since dance albums with heavy-handed Brazilian fusioneering had become such a beyond-tiresome thing by 2003. Some of this material originated before the overload, so it's hard to knock them for it, even though -- as prominent, established figureheads of the scene -- they were partly responsible for the glut. Besides, there's more to the album than that. "Universal Love," with a big fat swipe from L.T.D.'s Mizells-produced "Love to the World," sets the breezy, carefree tone that drifts throughout the album. "Runnin'," one of two tracks featuring vocalist Wunmi (see also Bugz in the Attic's "Zombie"), is a particularly breathless Afro-beat/broken-beat hybrid. Like a lot of its peers, Trüby Trio is too anxious to show off all the group's facets on one disc. The best moments here are in danger of being washed out by the sheer quantity of content, a fair portion of which fails to stimulate. - by Andy Kellman, AMG

Artist: Rainer Trüby Trio
Album: Elevator Music
Year: 2003
Label: Compost
Total time: 71:48

Personnel:
Rainer Trüby (Mixing and Programming)
Roland W. Appel (Mixing and Programming)
Christian Prommer (Mixing and Programming)
Marcus Begg (Vocals) - 2,11
Wummi (Vocals) - 4,8
Concha Buika (Vocals) - 5
Joseph Malik (Vocals) - 10
Marcia Montez (Vocals) - 6
Raoul Walton (Bass) - 2,3,5,6,9,10
Michael Mettke (Fender Rhodes and Guitar) - 6,10,11,13
Don Freeman (Keyboards) - 2,4,10
Toni Nirschl (Minimoog) - 11,14
Mike T (Percussion) - 7,13
Mark Sidney Müller (Guitar) - 2,12,13
Miyabi Sudo (Fender Rhodes) - 1,15
Nacho Velasco (Cajon) - 5
Martin Kursawe (Guitar) - 5

Tracks:
1.  The Rhythm Part One (Roland W. Appel/Christian Prommer) 1:09
2.  Universal Love (Marcus Begg/Larry Mizell/Fonce Mizell/Rodney Mizell/Roland W. Appel) 5:39
3.  New Music (Roland W. Appel/Christian Prommer) 6:03
4.  Runnin' (Wummi/Roland W. Appel/Christian Prommer) 5:46
5.  Jaleo (Concha Buika/Roland W. Appel/Christian Prommer) 6:26
6.  Alegre 2003 (Marcia Montez/Roland W. Appel/Christian Prommer/Rainer Trüby) 6:10
7.  A Festa (Jorge Ben/Roland W. Appel/Christian Prommer/Rainer Trüby) 6:49
8.  Make A Move (Wummi/Roland W. Appel/Christian Prommer) 5:03
9.  A Go Go (Martin Sheller/Roland W. Appel/Christian Prommer/Rainer Trüby) 3:32
10.  Bad Luck (Joseph Malik/Michael Mettke/Roland W. Appel/Christian Prommer/Rainer Trüby) 6:50
11.  Lover Uncovered (Marcus Begg/Norman Henry Ingram Jr./Roland W. Appel/Christian Prommer) 5:48
12.  The Swingin' Feel (Roland W. Appel/Christian Prommer) 1:03
13.  Cruisin' (Roland W. Appel/Christian Prommer/Rainer Trüby) 5:43
14.  Satisfaction (Roland W. Appel/Christian Prommer) 4:51
15.  The Rhythm Part Two (Roland W. Appel/Christian Prommer) 0:50

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Gabor Szabo is a true mystic. He does not clothe himself in exotic robes or adorn himself with beads or charms. His hair does not flow about his shoulders. His hands do not form meditative postures. His mysticism does not have the visibility of a tourist attraction, but lies within, manifesting itself only in his music. Szabo appears on stage with a minimum stir. His group stationed silently behind him Szabo invariably begins to play alone till he finds the mood he is seeking. At no perceptible signal, his men join him, weaving the bare thread of a tune into intricate variations and songs-within-songs... - from the CD cover

This is an awesome cd from the master of gypsy- jazz guitar Gabor Szabo. Gabor's hypnotic guitar playing is the perfect thing to listen to when you're in a mellow mood on a rainy day. I recommend this album to fans of jazz guitar that want to hear something that is a little different. - from Amazon.com

Artist: The Gabor Szabo Sextet
Album: The Szabo Equation: Jazz/Myticism/Exotica
Year: 1968
Label: DCC Jazz (1999)
Total time: 46:16

Personnel:
Gabor Szabo (Guitar)
Jim Stewart (Guitar)
Mike Melvoin (Organ)
Louis Kabok (Bass Guitar)
Jim Keltner (Drums)
Hal Gordon (Percussion)

Tracks:
1. Galatea's Guitar (Gabor Szabo) 5:43
2. Sunshine Superman (Donovan Leitch) 3:47
3. Divided City (Gabor Szabo) 3:23
4. The Look of Love (Burt Bacharach/Eddie David) 3:19
5. Bacchanal (Gabor Szabo) 4:58
6. Some Velvet Morning (Lee Hazlewood) 5:30
7. Ferris Wheel (Donovan Leitch) 5:38
8. Song of Injured Love (Manuel DeFalla) 4:14
9. Fire Dance (Manuel DeFalla) 5:51
10. Theme from "Valley of the Dolls" (Andre Previn/Dory Previn) 3:48

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This CD combines together a complete session that Sonny Stitt (doubling on alto and tenor) did with the 1959 Oscar Peterson Trio (which includes the pianist/leader, bassist Ray Brown and drummer Ed Thigpen) and three titles from 1957 with Peterson, Brown, guitarist Herb Ellis and drummer Stan Levey. The music very much has the feel of a jam session and, other than a themeless blues, all of the songs are veteran standards. Highlights of this fine effort include "I Can't Give You Anything but Love," "The Gypsy," "Scrapple from the Apple," "Easy Does It" and "I Remember You." Lots of cooking music.- by Scott Yanow, AMG


Artist: Sonny Stitt
Album: Sits in With Oscar Peterson Trio
Year: 1957/59
Label: Verve (1991)
Total time: 51:06

Personnel:
Sonny Stitt (Alto and Tenor Saxophone)
Oscar Peterson (Piano)
Ray Brown (Double Bass)
Ed Thigpen (Drums ) - 1-8
Herb Ellis (Guitar) - 9-11
Stan Levey (Drums) - 9-11

Tracks:
1.  I Can't Give You Anything But Love (Dorothy Fields/Jimmy McHugh) 4:04
2.  Au Privave (Charlie Parker) 4:00
3.  The Gypsy (Billy Reid) 3:27
4.  I'll Remember April (Don Raye/Gene DePaul/Patricia Johnston) 4:43
5.  Scrapple from the Apple (Charlie Parker) 4:21
6.  Moten Swing (Bennie Moten) 7:09
7.  Blues for Pres, Sweets, Ben & All the Other Funky Ones (Sonny Stitt) 6:05
8.  Easy Does It (Trummy Young/Sy Oliver) 5:24
9.  I Didn't Know What Time It Was (Lorenz Hart/Richard Rodgers) 3:27
10.  I Remember You (Johnny Mercer/Victor Schertzinger) 3:46
11.  I Know That You Know (Annie Caldwell/Vincent Youmans) 4:40

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Companion was recorded in a special three-night series of shows in July, 1999 at Chicago's famed Green Mill jazz club -- an unusually short amount of time to produce a live album. To mine as much material as possible from those nights the performances were run more like recording sessions than live shows, with the crowd reverently hushed. Patricia Barber is in her element and the only thing that seems to have suffered for the recording circumstances is the album's length -- at seven songs and 40 minutes, it walks the line between standard EP and full-length size. One surmises that it might have been longer had there been more album-quality material from the performances. Recalling the energy that was present on her critically worshipped Café Blue album, there is an ease and creativity on Companion which makes her fans' devotion understandable. Barber has been criticized for being a jazz singer in the loosest sense -- her style borrows heavily from R&B and she often covers pop songs (Sonny Bono's "The Beat Goes On" is a sheer stylish delight), and her song "If This Isn't Jazz" answers that criticism with a thumb to the nose. What many critics fail to notice, however, is the strength of her musicianship. Sexism within the industry keeps many from seeing female jazz performers playing roles other than those of vocalists -- Barber's warm, breathy voice and creative phrasing are wonderful, for sure, but what really shines are her arrangements. With a talented band behind her, on Companion Barber has made magic with her compositions, her piano playing, and yes, her voice. Intended to be a companion to Modern Cool, this album of mostly previously unrecorded material serves as an excellent introduction to all of her work. - by Stacia Proefrock, AMG

Artist: Patricia Barber
Album: Companion
Year: 1999
Label: Blue Note
Total time: 46:29

Personnel:
Patricia Barber (Piano, Vocals and Hammond Organ)
Michael Arnopol (Bass)
John Mclean (Guitar)
Eric Montzka (Drums and Percussion)
Ruben P. Alvarez (Percussion)
Jason Narducy (Vocals) - 5

Tracks:
1. The Beat Goes On (Sonny Bono) 5:27
2. Use Me (Bill Withers) 6:32
3. Like JT (Patricia Barber) 8:18
4. Let it Rain (Patricia Barber) 5:09
5. Touch of Trash (Patricia Barber) 4:48
6. If This Isn't Jazz (Patricia Barber) 5:13
7. Black Magic Woman (Peter Green) 10:32
8. announcement 0:26

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Rahul Kumar Sharma is a master of the santoor, India's oldest stringed instrument and an ancestor of the hammered dulcimer, and this live album shows the extent of his virtuosity. Accompanied by a tabla player, he shimmers over the melodies (which come from the region of the Himalayas -- hence the title), letting the sounds ebb and flow. Whether tracing a slow tune or spiraling into a ravishing, dizzying improvisation, his command is complete -- as is his communication with his musical partner. The way they work together on the long "Melody of Kashmir in Contemporary Music" is nothing less than stunning; both together and alone they create a total sound, pushing each other along, and taking solos that seem to defy the possibilities of their instruments. It's a tour de force -- but that's true of the entire disc, an object lesson in both the santoor and the playing of ragas and folk tunes. - by Chris Nickson, AMG

Artist: Rahul Sharma
Album: Music of the Himalayas
Year: 2000
Label: Real World (2002)
Total time: 72:33

Personnel:
Rahul Sharma (Santoor)
Ustad Shafat Ahmed Khan (Tabla)
Pandit Bhawani Shankar (Pakhawaj, Hudka and Ghungroo)

Tracks:
1. Maqam-E-Navaa (Sufyana Musiqi) (Traditional/arr. by Rahul Sharma) 10:28
2. Melody of Kashmir (Traditional/arr. by Rahul Sharma) 13:18
3. Melody of Jammu & Kashmir (Rahul Sharma) 12:37
4. Melody of Kashmir in Contemporary Music (Rahul Sharma) 36:09

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Jig-A-Jig is a nine-track compilation from this wonderfully enthusiastic British band, spotlighting their jovial blend of folk-rock and jazz elements. With most of the material emerging from 1970's Snafu album, East of Eden's flighty, progressive atmosphere comes to life through the mixture of flute, saxophone, and, especially, electric violin. One of their most energetic numbers entitled "Nymphenburger" uses six violin tracks and four guitar tracks with some electric alto sax piled on top, entirely overdubbed with the result sounding beautifully clean, mainly because of the familiar "Rondo" theme, which was later made famous by the Nice. It's Ron Gaines' saxophone that gives "Ramadahn" its mesmerizing flow and tribal-like sound, while the fully instrumental "Jig-A-Jig" went to number seven on the U.K. charts in 1971, thanks to the cordial nature of the song's pop sound. The eight-plus minutes of "Gum Arabic" contrasts the airiness of the flute with the resonant chant of bagpipes, emerging as a truly eccentric piece of music, and "Confucius" focuses mainly on the guitar, causing the rhythms to stand out with a rockier tempo. East of Eden may not have gained the attention that the band was hoping for, even within the progressive rock ranks, but some of the members did go on to greener pastures. Drummer Geoff Britton went on to play in Paul McCartney's Wings for almost a year in 1974, and violin player Dave Arbus became a renowned session man, lending his craft to the Who's Who's Next album. Because East of Eden's material may be hard to come by, Jig-A-Jig stands as a brief but fit example of the band's progressive/folk collage. - by Mike DeGagne, AMG

...Isadora danced, we are in trance...

Artist: East of Eden
Album: Jig-A-Jig
Year: 1971
Label: Repertoire (1997)
Total time: 48:01

Personnel:
Dave Arbus (Violin and Wind Instruments)
Ron Caines (Vocals and Saxophones)
Geoff Britton (Drums)
Dave Dufort (Drums)
Geoff Nicholson (Guitar and Vocals)
Steve York (Bass Guitar)
Andy Sneddon (Bass Guitar)

Tracks:
1. Jig-a-Jig (Traditional/arr. East of Eden) 3:39
2. Nymphenburger (Dave Arbus/Ron Caines/Dave Dufort/Geoff Nicholson/Steve York) 6:14
3. Medley 6:14
- Ramadhan (Dave Arbus/Ron Caines/Dave Dufort/Geoff Nicholson/Steve York)
- In the Snow for a Blow, Part1 (Dave Arbus/Ron Caines/Dave Dufort/Geoff Nicholson/Steve York)
- Better Git It in Your Soul (Charles Mingus)
4. Northern Hemisphere (Ron Caines) 4:31
5. Gum Arabic (Dave Arbus/Ron Caines/Dave Dufort/Geoff Nicholson/Steve York) 8:19
6. Isadora (Ron Caines/Geoff Nicholson/Steve York) 4:17
7. Leaping Beauties for Rudy (Dave Arbus/Ron Caines/Dave Dufort/Geoff Nicholson/Steve York) 7:02
8. Jig-a-Jig (7-Version) (Traditional/arr. East of Eden) 3:43
9. Marcus Junior (7-Version) (Don Drummond) 3:56

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On her second solo album, folk-rocker Eddi Reader moves from strength to strength. The first four songs pack an emotional wallop that might seem to be at odds with the sweet tunefulness and wispy arrangements involved: "The Right Place" is a gentle but firm assertion of romantic confidence; "Patience of Angels" depicts loneliness and despair cloaked in layered vocal harmonies and a quiet waltz rhythm; "Dear John" is perhaps the tenderest kiss-off song ever written; "Scarecrow" is about... well, it's kind of hard to tell what "Scarecrow" is about, but it's one of the prettiest pieces of jangle-pop you're ever likely to hear. After that? Well, "East of Us" is a little bit swampy, and "Howling in Ojai" is a (blessedly brief) self-indulgent waste of time. But in between you get the wry and relatively rockish "The Exception" and after them you get the wistful "Wonderful Lie," and "When I Watch You Sleeping" has something in the transition to the chorus that sounds like Peter Gabriel, in a good way. Over all of it hangs a certain je ne sais quoi that will have you going around hugging all your friends after the album's over. They may be annoyed, but you'll feel great. - by Rick Anderson, AMG

Artist: Eddie Reader
Album: Eddi Reader
Year: 1994
Label: Warner
Total time: 49:38

Personnel:
Eddi Reader (Vocals, Tambourine)
David Piltch (Bass)
Teddy Borowiecki (Piano, Accordion and Organ) - 1-8,10-12
Dean Parks (Guitar) - 1,2,4-6,8,9,11
Mark E. Nevin (Guitar) - 1,3,7,10
Curt Bisquera (Drums and Shakers) - 2,5,8,11,12
Roy Dodds (Drums) - 1,3,7,10
Greg Penny (Drums and Percussion) - 2,6,11
Katia Lempkowitz (Backing Vocals) - 2
Jon Ingoldsby (Backing Vocals) - 2

Tracks:
1. The Right Place (Mark E. Nevin) 4:54
2. Patience Of Angels (Boo Hewerdine) 4:06
3. Dear John (Mark E. Nevin/Kirsty MacColl) 4:09
4. Scarecrow (Eddi Reader/Boo Hewerdine/Gary Clark) 3:34
5. East Of Us (Eddi Reader/Teddy Borowiecki) 4:34
6. Joke (I'm Laughing) (Boo Hewerdine) 3:47
7. The Exception (Mark E. Nevin) 4:28
8. Red Face Big Sky (Eddi Reader/Teddy Borowiecki) 4:10
9. Howling In Ojai (Eddi Reader/David Piltsch/Dean Parks) 1:29
10. When I Watch You Sleeping (Mark E. Nevin) 4:40
11. Wonderful Lie (Eddi Reader/Boo Hewerdine) 4:34
12. Siren (Eddi Reader/Boo Hewerdine/Teddy Borowiecki) 5:13

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Bob Mamet showed considerable promise on his debut album, Signs of Life, which could easily be described as "pop-jazz with a brain." This 1994 release is hardly the work of a jazz purist or a bop snob; the pianist/keyboardist combines jazz with elements of pop, rock, and R&B, and he has been heavily influenced by the electric work of Chick Corea, the Yellowjackets, and Joe Sample. But at the same time, anyone who claims that Signs of Life is merely instrumental pop doesn't give Mamet enough credit -- the pop elements are strong, but so are the jazz elements. Mamet brings an improviser's mentality to the table, and he enjoys a real dialogue with well-known guests like guitarist Larry Carlton, saxman Sam Riney, and Yellowjackets members Jimmy Haslip (bass) and William Kennedy (drums). Another guest is saxman Richard Elliot, and here's the ironic part: Elliot's playing is a lot more substantial and meaty on Signs of Life than it is on his own albums. Elliot has recorded more than his share of brainless elevator Muzak, but he sounds pretty good on Mamet's debut. Meanwhile, Mamet detours into straight-ahead jazz on Miles Davis' "Nardis," which finds him forming a traditional piano trio with Haslip and Kennedy. But most of the time, he favors a pop-jazz approach on Signs of Life, which is definitely his strongest and most consistent album. - by Alex Henderson, AMG

Artist: Bob Mamet
Album: Signs of Life
Year: 1994
Label: Atlantic Jazz
Total time: 40:24

Personnel:
Bob Mamet (Piano, Keyboards)
Dean Parks (Acoustic and Electric Guitar) - 1,3,6,8,9
Bob Parr (Bass) - 1,3,6,8,9
Bernie Dresel (Drums and Percussion) - 1,3,6,8,9
Jimmy Haslip (Bass) - 2,4,5,7
Alex Acuna (Percussion) - 2,4,5
Sam Riney (Alto and Tenor Saxophone) - 3,6,8,9
William Kennedy (Drums) - 2,4,5,7
Richard Elliot (Tenor Saxophone) - 2,5
John Fumo (Trumpet) - 1,8
Larry Carlton (Acoustic and Electric Guitar) - 4,5
Jerry Hey (Trumpet) - 5

Tracks:
1. Three Sides 4:37
2. Nautical Mile 4:45
3. Illinois Road 3:45
4. Signs Of Life 5:19
5. River Side Anthem 5:02
6. On Track 4:39
7. Nardis 3:42
8. South For The Winter 4:35
9. Walking Out 3:56
All compositions - by Bob Mamet

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