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Bass Guitar Jazz Musicians

The Development Of Blues Music

The contribution of Blues music to the event of many other genres of music may be very significant. Jazz, rock music and country and western are simply among the kinds that owe a lot of their development from the original blues. Blues was originally grown out of the hardships endured by many generations of African Individuals, and first arose from the rural Mississippi region, around in regards to the time of the dawn of the 20th century. The style developed from work shouts (often called arhoolies), and became the vocal narrative model that we associate with blues music today.

Jazz, rock music and nation and western are just some of the kinds that owe a variety of their progression from the unique blues. The contribution of Blues music to the development of many other genres of music could be very significant. Blues was initially grown out of the hardships endured by many generations of African Individuals, and first arose from the agricultural Mississippi area, round in regards to the time of the dawn of the twentieth century. The model developed from work shouts (referred to as arhoolies), and became the vocal narrative model that we associate with blues music today.

By the 1920's it had developed a very particular type, based mostly around quite a few three-line rhymed stanzas. These stanzas contained one line of verse that was repeated, and finished with a remaining line of rhyming verse. As industry progressed and developed in to the 1920's, so did the on a regular basis lives of the folks it affected, and by this time Blues music was additionally developing.

The model also included a repeating blues chord development, which was the basis of the harmony. The same old rule of thumb was a 12-bar pattern utilizing the 3 main chords of a scale. The textual content was set to a 12-bar refrain, and typically was between four and eight stanzas in length.

The melody is shaped, typically, by flattened third, fifth and seventh notes of the major scale. This then forms the 'bent' notes that give Blues music its distinctive sound - implementing the notes to have that bittersweet emotional influence that so many people love. Within the majority of Blues music, the vocals are the main focus, which contradicts the fact that the performers will quite often improvise instrumental solos over the Blues chord progressions.


Country Blues
Many itinerant musicians (the vast majority of which have been men), travelled from one neighborhood to the subsequent, singing songs that focused on love, freedom, intercourse and the final sorrows of life. Sometimes called 'Delta Blues' (in tribute to the Mississippi Delta were they first originated), country blues arose from the Southern rural experience, notably influenced by the influence of emancipation.

Traditional Blues
African People started to migrate, primarily looking for work. Areas reminiscent of Memphis and New Orleans began to change into more populated, and these individuals brought their own model of music with them. As they settled in these areas, it led to Blues music changing into alldatadiy coupon far more urban-orientated. The music developed as their lifestyle evolved. Male or female vocalists began to appear more regularly, and there was now the addition of a single piano.


The recognition of this sort of music grew exponentially. The audience additionally grew, and Blues became extra mainstream. Throughout the nation as an entire, Blues music might now be heard in dancehalls and barrooms. The music industry as a complete started to take note, and increasingly compositions and advertising arrangements emerged, as individuals started to take notice. In precise truth, what would become known as Traditional Blues became so widespread that many songs have been released with the phrase 'blues' within the title to capitalize on this, although they bared little or no relation to the style of music.

Electrical Blues
The urge for food for the model of music often called the Blues was quite voracious. Its heart, beforehand clustered round Memphis and New Orleans, started to migrate, and soon cities corresponding to Chicago turned the central level of much of the music.

By the 1950's this style was not centered across the African American neighborhood, and was universally practiced across all races. Artists like Elvis and Invoice Haley began to incorporate the Blues methods into their very own distinctive model of rock n roll. The top of the Second World Battle brought a new revival into the style, and artists began to develop the music, primarily by adding a bit of additional emphasis on the bass drums and cranking up the guitar sounds.

The incorporation of the Blues fashion into different genres still exists right now, and Blues music in its personal right continues to go from power to strength - many top promoting artists maintain the original styles. The affect that Blues music has had on the music trade as an entire is undisputed, and yet Blues music remains to be evolving, still growing, and still evoking the stirrings of the soul to anyone who cares to pay attention!

Bass Guitar Jazz Musicians

Fishing Tackle: The Most Suitable Tackle for Bass Fishing

People that angle for recreational purposes, sometimes prefer bass fishing and winning the prize. When your thoughts are on bass fishing, you naturally picture your tackle box, reel, rod, line, as well as an assortment of lures. Now if you are looking for an enjoyable and gratifying fishing escapade, you will find numerous items on the market intended for fishing for bass. It is extremely pertinent what gear you select for bass fishing. With the proper fishing tackle, it could be your bass that wins the trophy. Here are some pieces of tackle that will make you a winner in bass fishing.

Fishing Tackle: Regarding Your Rod and Reel

It goes without saying that a rod and reel are the most relevant items of tackle. There are different selections, such as spin caster, spinning, and bait caster; fast or slow speed; heavy to medium action, you have numerous options to choose from. You have to look cautiously at a variety of bass fishing reels and see what matches precisely with your fishing rod. What you choose will depend upon your type of fishing. You can get advice from a well-renowned dealer in fishing tackle. But you must be matched up properly as far as your tackle.

Fishing Tackle: On the Subject of Your Tackle Box

If you can, take your entire tackle box on the boat with you if it is well-stocked. A broad diversity of bass lures is essential to achieve ultimate success. But, if you plan to fish from the coastline or do a lot of moving around, you simply can’t carry around an exceedingly weighty tackle box. In that event, you have to select what lures are best and cut the options down quite a bit. There are a few necessary lures that you should take along in your tackle box. Some of these are plastic worms, spinnerbaits, jigs, frogs, and crankbaits (natural colour for clear waters and vividly coloured for cloudy waters. These products combined with your basic swivels, hooks, and weights should have you all set to go after what you intend to land.

A few extras in your fishing tackle box might encompass things such as extra line, fish handling gloves, flash light, hook remover, knife or multi-tool, lure retriever, needle nose pliers, a pail for bait, pre-made leaders and fish scale, and rod holders. Also some great items to carry are sunblock, sunglasse, a first aid kit, and a small towel or rag.

If you love the sport of bass fishing and want to be well equipped to land that trophy specimen before one of your buddies lands it, then you need to recognise the proper rods and reels as well as the right lures, bait and other fishing tackle. If you are fully prepared, it might be what dictates your victory instead of failure, and what makes your expedition a marvellous one as opposed to just an average trip.

bass guitar jazz musicians

ladies, is a musician of a big turn on? ?

i play guitar and bass. I'm jazz, orchestra, and a few bands outside of school. anyway, it is a turn on or does it really matter?

Honestly that's pretty cool. This is not a turn on or turn off. depending on how the people regardless of appearance. playing music, I find that interesting. But if the person for a lifetime, and then found that quite as a kill .. but Ur in school .. sweet, no worry about. it's cute

The music workshop – Improvisation & Interplay – Lorenzo Frizzera Trio (guitar, bass, drums)

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Jaco Pastorius $3.94 In 1976, the first 10 minutes of this eponymous disc took the listener on a jazz world cruise directed by the instrumentalist-composer Jaco Pastorius, who thus gave notice that there was a new sheriff in town and that narrow definitions of jazz would simply not do. More so even than his groundbreaking work as a member of Weather Report, Jaco’s music on this, his debut album as a leader (and in a t…

George Benson and Al Jarreau – Givin’ It Up $5.02 Not trusting the drawing power of its co-billed veterans, singer-guitarist George Benson and singer-”vocal percussionist” Al Jarreau, or the eventfulness of their teaming, the producers of Givin’ It Up have hedged their commercial bets with a full array of guest stars. But none of the guest singers lifts the proceedings above a sleek professionalism–not Paul McCartney, who participates in a humdr…

Songs & Stories $5.75 George Benson is truly a legend; a guitarist of unparalleled chops and a vocalist with great emotional range and sophistication, and his latest release finds him at his very best! Songs and Stories is a collection of tunes penned by some of the most prolific and enduring songwriters of the last half-century such as James Taylor, Smokey Robinson, Lamont Dozier, Bill Withers, Donny Hathaway, and se…

Chris Botti & Friends: Night Sessions – Live in Concert $7.23 On december 3 2001 acclaimed trumpeter chris botti & his band took the stage at the histori el rey theatre in los angeles for an evening of evocative & sensual music. Studio: Sony Music Release Date: 08/06/2002 Run time: 80 minutes…

Modern Electric Bass, Jaco Pastorius $22.11 Jaco Pastorius , one of the greatest bass players of all time, forged a landmark bass style that still permeates music today. His melodic sense, delicate touch, and groundbreaking bass grooves have influenced generations of musicians, while his music has consistently topped readers’ and critics’ polls worldwide. On Modern Electric Bass, Jaco presents his unique approach to countless musical topic…

Stephane Grappelli: Live in New Orleans …

Guitar Pro 6 $48.98 Since it’s release in 1997, eMedia’s Guitar Pro software has become known as one of the most powerful and intuitive tablature editors on the market. With the 40 features added to eMedia’s Guitar Pro 6, it should help keep the brand amongst the leaders in its class as a top software choice of guitarists worldwide looking for a guitar software to assist them in becoming better guitarists and for tea…

Monster Jazz Instrument Cable 12 Ft. – Straight 1/4 Plugs (M JAZZ-12) $44.99 Dual multi-gauge Time Correct wire networks improve clarity and presence across the entire dynamic range. MicroFiber inner dielectric isolates magnetic fields for accurate tonality across the entire audio bandwidth. Multi-Twist construction tightly winds negative and positive conductors together for superior noise rejection. 95% coverage copper braided shield rejects RFI and EMI for a lower noise …

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Yamaha STAGEPAS 300 Portable PA System $524.89 With the Yamaha 300W Portable PA System, there’s no telling where your music will take you. And no matter where your music leads, Yamaha’s new STAGEPAS 300 Portable PA system has the power to go with you….

Architect of the Silent Moment $16.98 As a quintessential first-call sideman in modern jazz, bassist Scott Colley has played with the very best. Here he gets to show that he can assemble a group of simpatico musicians and write compositions that have originality accented by a timeless quality. Colley is fond of mixing meters and using unconventional time signatures. His usage of harmonica, trumpet, and alto saxophone for a front line works quite well. The introductory “Usual Illusion” starts electronic and loopy, then goes into a clarion call 15/8 melody, while 9/8 ostinato time informs the brilliant “Strip Mall Ballet,” the unquestioned highlight of the CD. A loping modal line morphs into deft rhythm changes, setting up Gregoire Maret’s biting harmonica solo. It’s ultimately complex, practically hummable, but more like a movie theme. Alto saxophonist David Binney’s tart sweet sound and concept are adopted during the stealth title track, and particularly the soulful, deep “From Within.” Colley’s bass underpinnings breezily sway without jumping, while ever-present trumpeter Ralph Alessi is consistently adding depth and breadth — he’s an important contributor throughout this program. Craig Taborn, whose piano playing on the date bears close listening, gets on the Fender Rhodes and angularly rambles through Andrew Hill’s post-bopper “Smokestack.” Yet another highlight, “Masoosong” showcases the most static, constant time with beautiful harmonic interaction between the players over the subtle electric guitar of Adam Rogers. Chiming on a two-note Charlie Haden-ish mode, Colley cops a John Coltrane-like feel similar to “India” for the closer, “Window of Time.” Other cuts explore free improv, neo-bop, and generally excellent, challenging new modern creative jazz. This is easily Colley’s best recording of a small handful as a leader; it is a candidate for best jazz CD of 2007 and comes highly recommended. ~ Michael G. Nastos, Rovi

Awakening $16.98 When jazz critic Peter Margasak interviewed Nicole Mitchell for the liner notes he wrote for Awakening, she explained: “I wanted to dig back into the old-school jazz a bit and yet still make room to branch out into never-never land.” And that is a perfect description of what the Chicago-based flutist/composer does on this 2011 date, which finds her leading a pianoless quartet that employs Jeff Parker on electric guitar, Harris Bankhead on upright bass and Avreeayl Ra on drums and percussion. Presumably, the “old-school jazz” that Mitchell is referring to is post-bop, while “the never-never land” is avant-garde jazz. Of course, avant-garde jazz comes in many different flavors. Avant-garde jazz can be totally outside (whether it is scorching, dense, brutally atonal free jazz or the spaciness of the AACM), or it can be avant-garde jazz with an inside/outside perspective–and Awakening, like previous Mitchell releases, has an inside/outside perspective. The material that Mitchell composed for Awakening is fairly melodic; “There,” “Momentum” and the bluesy “F.O.C.,” for example, offer appealing post-bop melodies. “Curly Top” even has a somewhat Horace Silver-ish funkiness. So no, this 64-minute CD is not an exercise in atonality; that isn’t the scenario at all. But at the same time, Mitchell and her colleagues don’t hesitate to venture into outside playing when they feel like it. They don’t venture far outside, but they do venture outside–and while Awakening is more inside than outside, the outside element is an attractive part of the equation. Mitchell, it should be noted, has favored different combinations of musicians on different albums; she is quite proficient when it comes to ensemble playing and arranging, but an intimate quartet format serves her equally well on Awakening. And once again, the Chicago resident excels as both a composer and a soloist. ~ Alex Henderson, Rovi

Beginning Bass Guitar $3.43 New – Play rock, country, blues, jazz, funk, and more. Fully illustrated how-to guide with detailed diagrams and information to take musicians from tuning to creating fills.

Beginning Bass Guitar $5.22 Used – Play rock, country, blues, jazz, funk, and more. Fully illustrated how-to guide with detailed diagrams and information to take musicians from tuning to creating fills.

Beginning Bass Guitar $5.1 New – Play rock, country, blues, jazz, funk, and more. Fully illustrated how-to guide with detailed diagrams and information to take musicians from tuning to creating fills.

Blood from Stars $17.98 Blood from Stars is the album Joe Henry’s been getting at since Scar. He’s worked with jazz musicians often, but he’s never made a record that employs the form so prominently. His band includes Marc Ribot, Patrick Warren, Jay Bellerose, David Pilch, and now his son Levon on saxophones and clarinet, as well as vibist Keefus Ciancia. Engineer Ryan Freeland is as important as the players: he managed to give this record its strange yet welcoming sound. It begins with the short “Prelude,” played by Jason Moran. It introduces all the characters here, with a note or two here, a chord flourish there. Some are immediately identifiable; others you’ve never met before and perhaps hope never to. Henry’s love of traditional jazz has blossomed — the album sprawls over history, genre, and song forms, but there is no consciously retro aspect in its presentation and it is not a jazz album. Many of these songs are based on the blues (and even folk-blues); some are standards-style pop; some walk out the jazz of New Orleans, St. Louis, and Kansas City from the early 20th century; some even rock — a little. Many are dressed in horn arrangements and offbeat sounds that seem to enter in from the rafters. They drift in and out and are allowed to play a part in the songs. Who cannot relate to the swinging blues (? la “St. James Infirmary”) led by piano, upright bass, acoustic guitar, and a minimal trap kit? The music seems to come from antiquity in “The Man I Keep Hid,” but Henry’s voice is right firmly in the historical present: his protagonist voices his desires and how they are thwarted — usually by himself — as horns, organs, piano, and rhythm section swell and offer the chaos just under the surface of the singer’s voice. “Channel” follows it, a love song about disorder that is played as anything but. Henry’s character asks simple questions that offer significant difficulties in his inner world, but he embraces them: “I want my story straight/But all the others bend/Fro…

Caravan $19.78 New – Duke Ellington’s masterpiece, Caravan, has long been a favorite of musicians and audiences. Jeff Moore has arranged Ellington’s classic song for nine percussionists and optional bass guitar. This arrangement sets the familiar Caravan melody in different styles, including rock, soca, and bebop. All of the keyboard percussionists are featured, as well as breaks to showcase the drumset and auxiliary percussion performers. This piece combines classic jazz and world music grooves that are sure

Caravan $23.17 New – Duke Ellington’s masterpiece, Caravan, has long been a favorite of musicians and audiences. Jeff Moore has arranged Ellington’s classic song for nine percussionists and optional bass guitar. This arrangement sets the familiar Caravan melody in different styles, including rock, soca, and bebop. All of the keyboard percussionists are featured, as well as breaks to showcase the drumset and auxiliary percussion performers. This piece combines classic jazz and world music grooves that are sure

Chateau JB1 Electric Bass in Black $259.99 This Chateau 4-string electric bass guitar is ideal for musicians of any age! Whether you’re a beginner, want another to add to your collection or just need a little something for jam sessions in your garage, this bass is for you! Even a seasoned professional will be impressed with the quality of this fine instrument. Features a lightweight basswood body, 20 frets, 34” scale, bolt-on maple neck with rosewood fingerboard and dot inlay. Add to that a “J” style single coil pickup, a tone and volume control and you have as fine a beginner instrument as can be found in this price range!

Chateau PB1 Electric Bass in Black $249.99 This Chateau 4-string electric bass guitar is ideal for musicians of any age! Whether you’re a beginner, want another to add to your collection or just need a little something for jam sessions in your garage, this bass is for you! Even a seasoned professional will be impressed with the quality of this fine instrument. Features a lightweight basswood body, 20 frets, 34” scale, bolt-on maple neck with rosewood fingerboard and dot inlay. Add to that a “P” style split-coil pickup, a tone and volume control and you have as fine a beginner instrument as can be found in this price range!

Complete Book of Harmony, Theory & Voicing $15.76 Used – This is a very comprehensive text that combines theory, harmony and voicing material with emphasis placed on voice leading. Although this book’s primary focus is on four-note chord voicings on the middle strings of the guitar, much of the knowledge conveyed here can be appreciated and used by all jazz musicians, not only guitarists. Topics covered include: Tensions, Voice Leading Chord Scales, Enharmonic Chordal Substitutions, Fourth Voicings, Chromatic Guide Lines, Triad Over Bass Voicin

Complete Book of Harmony, Theory & Voicing $21.99 New – This is a very comprehensive text that combines theory, harmony and voicing material with emphasis placed on voice leading. Although this book’s primary focus is on four-note chord voicings on the middle strings of the guitar, much of the knowledge conveyed here can be appreciated and used by all jazz musicians, not only guitarists. Topics covered include: Tensions, Voice Leading Chord Scales, Enharmonic Chordal Substitutions, Fourth Voicings, Chromatic Guide Lines, Triad Over Bass Voicing

Complete Book of Harmony, Theory & Voicing $17 Used – This is a very comprehensive text that combines theory, harmony and voicing material with emphasis placed on voice leading. Although this book’s primary focus is on four-note chord voicings on the middle strings of the guitar, much of the knowledge conveyed here can be appreciated and used by all jazz musicians, not only guitarists. Topics covered include: Tensions, Voice Leading Chord Scales, Enharmonic Chordal Substitutions, Fourth Voicings, Chromatic Guide Lines, Triad Over Bass Voicin

Complete Book of Harmony, Theory & Voicing $18.22 New – This is a very comprehensive text that combines theory, harmony and voicing material with emphasis placed on voice leading. Although this book’s primary focus is on four-note chord voicings on the middle strings of the guitar, much of the knowledge conveyed here can be appreciated and used by all jazz musicians, not only guitarists. Topics covered include: Tensions, Voice Leading Chord Scales, Enharmonic Chordal Substitutions, Fourth Voicings, Chromatic Guide Lines, Triad Over Bass Voicing

Curtain Call $16.98 Beginning with the moody strings/shimmering guitar/random noise zone of the title track, as cryptic and beautiful an instrumental as one could want (and almost bearing a strange, half-sibling resemblance to the extended coda of Prince’s “Purple Rain”), Curtain Call finds Midaircondo creating a series of similarly collage-based tracks, where rhythmic pulse and careful repetition take the lead over melodic hooks. Not in itself a new approach in general, but it’s fascinating to hear the after-echoes of what long has been a somewhat conventional duo approach — female singer, male electronic boffin, songs that are recognizably “songs” in an older tradition — overtly transformed — both performers are singers and musicians, while there’s a clear emphasis on the enveloping music first and foremost, beyond the eight million attempts at late-night jazz that emerged in the wake of Portishead. The hooks as such are just present enough, giving a listener a focus point even as the swirls of the music around it range from the near-chaotic and bass-heavy or, as with the twinkle and drone opening “Silk, Silver and Stone,” a minimal prettiness that suddenly transforms into a classically Scandinavian pop chorus, sweet and soaring. One of the few obvious precursors might be Lamb at its most extreme, but even they didn’t do anything quite as adventurous as the radical pulse and echo of “Come with Me,” vocals lost in the bobbing chaos, or the bubbling loop of “Bringing Me Home” and the crunching beats and layered keening on “Revolve and Repeat,” though the rumbling drums of “Glowing Red” might actually be one of the more unexpected tributes to Orange yet released. ~ Ned Raggett, Rovi

Dream $16.98 Keller Williams has built his reputation as a one-man band, but also as an equally prolific and eclectic recording artist. So, it’s no surprise that he would want to stand his self-defined image on its ear with this long-in-the making collection of collaborations with other performers. No less than 31 other singers and musicians join him on one or more of the 16 tracks on the 73-minute CD. The biggest name, particularly for an artist known for his jam band associations, is former Grateful Dead singer/guitarist Bob Weir, who joins Williams on “Cadillac,” the two exchanging acoustic guitar riffs and singing Williams’ typically quirky lyrics. Then there is B? la Fleck, who adds his banjo to the progressive bluegrass of “People Watchin’.” Although perhaps fashioned with the guest stars in mind, those songs are characteristic of Williams’ most frequent style, as is “Sing for My Dinner,” on which he’s joined by the members of the String Cheese Incident, longtime friends of his. Other guests inspire different musical explorations. Jeff Covert contributes drums and lead guitar to the first track, “Play This,” which sounds like a mash-up of hardcore punk rock ? la Black Flag and the funk of Red Hot Chili Peppers. The funk continues with the second track, “Celebrate Your Youth,” featuring the band ModeReko, which could be mistaken for a lost song by Dave Matthews Band. The appearance of Michael Franti on “Ninja of Love” inspires a sort of Japanese reggae number, and Sanjay Mishra and Samir Chatterjee take the music to India for the instrumental “Lil’ Sexy Blues.” Second-generation San Francisco rock guitarist Steve Kimock, with Williams on bass and John Molo on drums, gives “Twinkle” a seven-plus-minute instrumental, the feel of one of the Dead’s “Space” improvisations, but Williams expects jazz guitarist John Scofield to adapt to his own style for “Got No Feather,” and Scofield obliges. No matter who’s accommodating whom, however, this is always Kelle…

Fingerpicking Techniques for Guitar: How to Play Country, Latin, Folk, Jazz, Blues and Rock $15.98 Used – The ultimate guide for all guitar enthusiasts from beginners to seasoned musicians wanting to build up right-hand ability to play a wide range of musical styles from bluegrass, country, latin and bossa nova to rock, folk, jazz and blues. Building on alternating bass techniques, thumb patterns and special fretting techniques, the book contains a series of graded exercises (backed up with a CD) that will build confidence and speed. While fingerstyle guitar is primarily thought of as a techn

Fingerpicking Techniques for Guitar: How to Play Country, Latin, Folk, Jazz, Blues and Rock $8.34 New – The ultimate guide for all guitar enthusiasts from beginners to seasoned musicians wanting to build up right-hand ability to play a wide range of musical styles from bluegrass, country, latin and bossa nova to rock, folk, jazz and blues. Building on alternating bass techniques, thumb patterns and special fretting techniques, the book contains a series of graded exercises (backed up with a CD) that will build confidence and speed. While fingerstyle guitar is primarily thought of as a techni

Fingerpicking Techniques for Guitar: How to Play Country, Latin, Folk, Jazz, Blues and Rock $8.34 Used – The ultimate guide for all guitar enthusiasts from beginners to seasoned musicians wanting to build up right-hand ability to play a wide range of musical styles from bluegrass, country, latin and bossa nova to rock, folk, jazz and blues. Building on alternating bass techniques, thumb patterns and special fretting techniques, the book contains a series of graded exercises (backed up with a CD) that will build confidence and speed. While fingerstyle guitar is primarily thought of as a techn

Fingerpicking Techniques for Guitar: How to Play Country, Latin, Folk, Jazz, Blues and Rock $15.98 New – The ultimate guide for all guitar enthusiasts from beginners to seasoned musicians wanting to build up right-hand ability to play a wide range of musical styles from bluegrass, country, latin and bossa nova to rock, folk, jazz and blues. Building on alternating bass techniques, thumb patterns and special fretting techniques, the book contains a series of graded exercises (backed up with a CD) that will build confidence and speed. While fingerstyle guitar is primarily thought of as a techni

George Shearing concert at Newport Jazz Festival on 02 Jul 59 $9.98 In the 1950s, pianist George Shearing led one of the most popular jazz combos on the planet. The uniquely refined sound of piano with vibraphone, guitar, bass and drums resonated with jazz fans and gained the British pianist a large following in the States on the strength of such early offerings as 1951′s Touch of Genius, 1952′s I Hear Music and 1955′s Shearing in Hi-Fi. Shearing is also known for composing the jazz standard “Lullaby of Birdland,” which has been recorded by countless musicians and is still covered to this day. At the 1959 Newport Jazz Festival, Shearing brought an adventurous new 16-piece group, premiering material from his recently released Capitol album, Burnished Brass. Shearing’s usual quintet of guitar, vibraphone, bass and drums was augmented for this occasion by an 11-piece brass section consisting of four trumpets, four trombones, two French horns and one tuba. The result was a sound that was soothing rather than bracing, warm and engaging rather than aggressive. In some ways, this was mood music, strictly intended to appease rather than excite — the smooth jazz of its time. Shearing did spice up the proceedings by mixing in two compelling Latin jazz numbers, “Mambo No. 2″ and “Rondo” (both from 1958′s Latin Lace album), which showcased the great Afro-Cuban percussionist Armando Peraza (later of the Carlos Santana band). They open their July 2nd set on a swinging note with a driving rendition of the 1935 Broadway show tune “Lulu’s Back in Town,” with the punchy brass section offering provocative reharmonizations on top of Pena’s steady basslines and Brice’s Jo Jones-inspired hi hat work. The evocative ballad “Sleepy Manhattan” is a schmaltzy bit of exotica with mellow horns and cascading piano lines. Next they turn back the clock to 1933 for a reworking of Oscar Levant’s “Blame It on my Youth,” another piece of easy-listening fluff that pre-dates Muzak. Their politely swinging version of “Cheek to Cheek” (which Shearing imagines was writ

It Serves You Right to Suffer $7.88 Given Hooker’s unpredictable timing and piss-poor track record recording with bands, this 1965 one-off session for the jazz label Impulse! would be a recipe for disaster. But with Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you’re likely to come across. The other musicians stay in the pocket, never overplaying or trying to get Hooker to make chord changes he has no intention of making. This record should be played for every artist who records with Hooker nowadays, as it’s a textbook example of how exactly to back the old master. The most surreal moment occurs when William Wells blows some totally cool trombone on Hooker’s version of Berry Gordy’s “Money.” If you run across this one in a pile of 500 other John Lee Hooker CDs, grab it; it’s one of the good ones. ~ Cub Koda, Rovi

Jazz Blues $6.48 Used – For use with all C, Bb, Eb, and Bass Clef instruments, the Hal Leonard Blues Play-Along Series is the ultimate jamming tool for all blues musicians. With easy-to-read lead sheets, and other split-track choices on the inlcuded CD, these first-of-a-kind packages will bring your local blues jam right into your house! Each song on the CD includes two tracks: a full stereo mix, and a split track mix with removable guitar, bass, piano, and harmonica parts. 8 songs: Birk’s Works * Blues in the C

Jazz Blues $8.02 Used – For use with all C, Bb, Eb, and Bass Clef instruments, the Hal Leonard Blues Play-Along Series is the ultimate jamming tool for all blues musicians. With easy-to-read lead sheets, and other split-track choices on the inlcuded CD, these first-of-a-kind packages will bring your local blues jam right into your house! Each song on the CD includes two tracks: a full stereo mix, and a split track mix with removable guitar, bass, piano, and harmonica parts. 8 songs: Birk’s Works * Blues in the C

John Mayall Jazz and Blues Fusion concert at Philharmonic Hall on 05 Jul 73 $12.98 Acknowledged as one of the godfathers of the British blues scene, John Mayall began making his mark during the ’60s British Blues Boom with his Bluesbreakers, an electric blues band that at different times included such future guitar greats as Eric Clapton, Peter Green, Mick Taylor, and Harvey Mandel. For his appearance at the 1973 Newport Jazz Festival, Mayall assembled an outfit that organically fused blues and jazz and featured such noted jazz musicians as trumpeter Blue Mitchell, guitarist Freddy Robinson, and tenor sax great Red Holloway. They performed material from group’s 1972 Polygram release Jazz Blues Fusion. They open with a chugging medium tempo jam number dubbed “Blues No. 1,” which features Mayall on electric piano and harmonica and showcases Holloway on the Varitone electronic saxophone. Robinson, an accomplished guitarist from Chicago who perfectly straddles the blues-jazz fence, embellishes his solo with some fleet-fingered licks and a few references to Grant Green along the way, while bassist Victor Gaskin stretches out on a long, exploratory electric bass solo. Everyone gets a solo taste on this exuberant opener, including Mitchell on trumpet, Mayall on harmonica, and Hartley on drums. “Country Road” is a lazy Jimmy Reed-styled boogie number (which would later appear on 1973′s Ten Years Are Gone) that highlights the blues-inflected jazz playing of guitarist Robinson. Red Holloway is featured playing some robust bar walking tenor sax lines on the funky shuffle blues “Got to the This Way” before clicking on his Varitone function to get an octave divider effect. Trumpeter Mitchell plays a sterling high note trumpet solo on “My Time Will Come Again,” which also features a unison scatting and Fender Rhodes electric piano solo by Mayall. His band concludes this Newport Jazz Festival set at the Philharmonic Hall with the moody minor key “Drifting,” which features Holloway on flute (and which would also appear on Ten Years Are Gone). An irrepressible

Journey to Love $6.99 It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley’s innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke’s second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled “Hello Jeff.” His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument. ~ Daniel Gioffre, Rovi

Les McCann concert at Newport Jazz Festival New York on 08 Jul 72 $5.98 Introduced as “a group of musicians as funky as you have ever heard,” keyboardist Les McCann and his crew took to the stage on this Saturday evening somewhere beyond second base on the outfield at Yankee Stadium. This July 8th appearance came shortly after the same unit (sans ubiquitous New York studio session guitarist David Spinozza) had returned from a performance at the Montreux Jazz Festival in Switzerland (not to be confused with McCann’s triumphant appearance at Montreux in 1969 which was documented on the live Swiss Movement and yielded the anti-Vietnam protest song “Compared to What”). Opening with a funky jam in E to warm up the stage (“North Carolina,” an instrumental track from McCann’s current Atlantic album of the time, Talk to the People), they launch into a deluge of distortion-laced clavinet licks by McCann, wah-wah inflected guitar lines by Spinozza and bubbling electric bass from Jimmy Rowser, with a touch of tambourine from Buck Clarke and a slamming backbeat laid down by Donald Dean (who had played drums on “Compared to What” at Montreux three years earlier). Clavinet was THE sound of 1972 and McCann was one of the preeminent practitioners of that funky new keyboard, along with Stevie Wonder (who released his clavinet-laden “Superstition” in October of that year) and Billy Preston (who added to the clavinet vocabulary with his 1972 hit single, “Outa-Space”). At the peak of this raunchy funk jam, McCann abruptly stops the band cold to croon a few bars of “Comment,” a song composed by Yusuf Rahman and Charles Wright (and the title track to McCann’s 1970 Atlantic album), accompanying himself on gentle Fender Rhodes electric piano chords. McCann’s soulful voice rings out through the House That Ruth Built as he delivers the message of love and universal brotherhood: “If all men are truly brothers, why can’t we love one another? Love and peace from ocean to ocean, somebody please second my motion. If all men are born to be free, what about you and

Luggumt $17.99 This the second release from the trio of Raoul Bj? rkenheim, Ingebrigt H? ker Flaten and Paal Nilssen-Love (the first came out billed to their individual names and was titled Scorch Trio). Luggumt was recorded two years later (January 2004) at the same studio, with the same engineer. Understandably, it sounds pretty close to the first one, although the music is not as scorching this time; there is more room to breathe, and a higher percentage of quiet(ish) passages, including the delicate drums/bass duet “Snaekje Rojnd Naevinj.” Bj? rkenheim is in very fine shape, switching from Hendrixian anthemic playing in the title track to Mahavishnu Orchestra-era McLaughlin speed-fusion in “Kj? le H? le,” the high-octane number of the set. That 15-minute chunk alone is worth the price of admission, with its sizzling guitar lines and thunderous rhythm section. Flaten and Nilssen-Love seem to grow tighter every year and their performances here exemplify the fact that they have become one of the most exciting free jazz rhythm sections this side of William Parker and Hamid Drake (except that Parker doesn’t whip out an electric bass whenever things get hotter than hot). “Synnja Vegga” and “Brennj Fynnj” attempt a balance at energy and introspection with mixed results, but they contain enough strong moments to help forget the few pointless minutes split between the two. The title track, after its slow-burning debut, takes off in a deliberate attempt to top the opening “Kj? le H? le” — and comes close to succeeding. The strength of this trio resides in the ability of all three musicians to freely experiment and fall back on fusion jazz positions in a seamless way, and they do it better here than on their first album. ~ Fran? ois Couture, Rovi

Mahavishnu Orchestra concert at Avery Fisher Hall on 27 Dec 73 $4.98 This Mahavishnu Orchestra performance, recorded on the first night of a two-night stand at New York City’s Avery Fisher Hall, captures one of the very last performances ever by the legendary original lineup. This recording is a fascinating glimpse of the group at the tail end of their existence. In July of 1973, Mahavishnu Orchestra convened at London’s Trident Studios to record their ill-fated third studio album. By this point, the relationships within the band were strained and the resulting recordings, which for the first time featured compositions by bandmembers other than McLaughlin, would not see the light of day for several decades. In August and September, McLaughlin and Cobham embarked on a tour with Carlos Santana, further straining the relationships within the band, which would dissolve by the end of the year. The initial classic lineup of the group lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process. Combining the improvisational elements of jazz with the volume and energy of rock music, Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike. While an argument can be made that the band was more cohesive and eloquent earlier in their all-too-brief career, the performances toward the end of 1973 are simply staggering in their ferocity. This night’s recording begins with Billy Cobham’s massive gong, as McLaughlin’s 12-string arpeggios begin washing over the audience. “Birds Of Fire” is a dramatic opener that unfolds into a dynamic exchange between guitar and drums versus violin, keyboards and bass. In the unusual time signature of 18/8, the interwoven nature of the arrangement makes for a thrilling and intense experience, although one unlike anything most jazz or rock music fans had ever heard before.

Mahavishnu Orchestra concert at Lenox Music Inn on 21 Jul 73 $4.98 When John McLaughlin formed the initial Mahavishnu Orchestra, the personnel included Jerry Goodman, a classically trained American rock musician; Jan Hammer, a Czechoslovakian keyboard player with a strong jazz background; Rick Laird, an Irish bass player with both jazz and rock experience and Billy Cobham, a powerful and technically brilliant jazz drummer from Brooklyn whose style would completely redefine his instrument. Combining the improvisational elements of jazz with the volume and energy of rock music, this globally and musically diverse group brought elements of Far Eastern music, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This legendary performance, from the summer of 1973, is significant for a number of reasons. First, it captures the group playing material from “Birds Of Fire,” when it was sharply in focus. Second, it was the unveiling of a new custom designed stereo sound system, which provided the Mahavishnu Orchestra with a greater ability to communicate with each other and an entirely new level of sound reinforcement clarity for the audience. Third, John McLaughlin plays his custom made Rex Bogue double-neck guitar for the first time in concert. And most significantly, this was the era when the band was beginning to headline concerts, allowing them considerably more time on stage. This allowed the group to further explore the possibilities for improvisation, creating a more spontaneous and exciting experience for the musicians and audience alike. Put all these factors together and it’s not surprising that this was a truly magical night. The performance, recorded at The Lenox Arts Festival, begins with introductions of

Mahavishnu Orchestra concert at Lenox Music Inn on 21 Jul 73 $4.98 When John McLaughlin formed the initial Mahavishnu Orchestra, the personnel included Jerry Goodman, a classically trained American rock musician; Jan Hammer, a Czechoslovakian keyboard player with a strong jazz background; Rick Laird, an Irish bass player with both jazz and rock experience and Billy Cobham, a powerful and technically brilliant jazz drummer from Brooklyn whose style would completely redefine his instrument. Combining the improvisational elements of jazz with the volume and energy of rock music, this globally and musically diverse group brought elements of Far Eastern music, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This legendary performance, from the summer of 1973, is significant for a number of reasons. First, it captures the group playing material from “Birds Of Fire,” when it was sharply in focus. Second, it was the unveiling of a new custom designed stereo sound system, which provided the Mahavishnu Orchestra with a greater ability to communicate with each other and an entirely new level of sound reinforcement clarity for the audience. Third, John McLaughlin plays his custom made Rex Bogue double-neck guitar for the first time in concert. And most significantly, this was the era when the band was beginning to headline concerts, allowing them considerably more time on stage. This allowed the group to further explore the possibilities for improvisation, creating a more spontaneous and exciting experience for the musicians and audience alike. Put all these factors together and it’s not surprising that this was a truly magical night. The 25 minute “Dream” featured here allows the group to thoroughly stretch out on a

Next Stop… Soweto, Vol. 3 $17.98 In closing out the Next Stop… Soweto series, Strut examines the jazz scene from South Africa. Elements of bebop and cool jazz lead the way on Mankunku Quartet’s “Dedication (To Daddy Trane and Brother Shorter),” whose loose arrangements and tight playing are a highlight of the set. Midway through the jam session, Agrippa Magwaza on bass) and Lionel Pillay (on piano) really take over for some beautiful back-and-forth work. Magwaza plucks rhythmically to keep tempo while Pillay covers a wide range of notes on the right half of his keyboard. The Malombo Jazz Makers similarly have great chemistry in the breezy “Sibathathu” on guitar and drums. Notably missing is a snare, as nearly all of the drum work is on the toms. It creates a joyous mood with Lucky Ranku’s guitar strumming, which is playful and celebratory. While the song itself is short at not even three-minutes long, the mood it creates eclipses that mark immensely. Clocking in at nearly 16 minutes is Batsumi’s opus “Itumeleng.” Largely hypnotic, the track jumps into a more frantic ending, with nearly 20 seconds of its final minute going into a spastic splurge before mellowing and fading.The liner notes are filled with an excellent recap of what it was like for these musicians during such an oppressive time in the country’s changing political environment. Scattered throughout the booklet are also album covers and studio session photographs, including a fantastic black-and-white of saxophonist Mankunku Ngozi puffing a cigarette left-handed while holding his instrument in his right. Many of the songs are indeed long jam sessions, as was usual for the fruitful ’60s and ’70s, hence the reason the music here is spread over two discs. The collection, though long, never overstays its welcome. The music itself fits in nicely with much of the jazz idiom prevalent at the time, regardless of region. For the most part, Next Stop is jazz being played by South Africans more than it is South African musicians trying …

Oteil Burbridge $43.71 Used – Oteil Burbridge, (born August 24, 1967) in Washington, D.C.), is a Grammy Award-nominated American multi-instrumentalist, specializing on the bass guitar, trained in playing jazz and classical music from an early age. He has achieved fame primarily on bass guitar during the current resurgence of the Allman Brothers Band from 1989 through the present day. He was also a founding member of the band the Aquarium Rescue Unit, and has worked with other musicians who include Bruce Hampton, Trey

Oteil Burbridge $33.3 New – Oteil Burbridge, (born August 24, 1967) in Washington, D.C.), is a Grammy Award-nominated American multi-instrumentalist, specializing on the bass guitar, trained in playing jazz and classical music from an early age. He has achieved fame primarily on bass guitar during the current resurgence of the Allman Brothers Band from 1989 through the present day. He was also a founding member of the band the Aquarium Rescue Unit, and has worked with other musicians who include Bruce Hampton, Trey A

Oteil Burbridge $33.3 Used – Oteil Burbridge, (born August 24, 1967) in Washington, D.C.), is a Grammy Award-nominated American multi-instrumentalist, specializing on the bass guitar, trained in playing jazz and classical music from an early age. He has achieved fame primarily on bass guitar during the current resurgence of the Allman Brothers Band from 1989 through the present day. He was also a founding member of the band the Aquarium Rescue Unit, and has worked with other musicians who include Bruce Hampton, Trey

Oteil Burbridge $43.71 New – Oteil Burbridge, (born August 24, 1967) in Washington, D.C.), is a Grammy Award-nominated American multi-instrumentalist, specializing on the bass guitar, trained in playing jazz and classical music from an early age. He has achieved fame primarily on bass guitar during the current resurgence of the Allman Brothers Band from 1989 through the present day. He was also a founding member of the band the Aquarium Rescue Unit, and has worked with other musicians who include Bruce Hampton, Trey A

Robert Henry Vaughn $55.57 New – High Quality Content by WIKIPEDIA articles! Robert Henry Vaughn, born as Robert Henry Famigletti, was born on August 17, 1964. Vaughn is known for his work with many well known bands and musicians, such as Jackson Browne, Green Day, and Harry Chapin. Vaughn played the electric guitar, drums, acoustic guitar, stand-up bass, and ukulele. Robert Henry Vaughn was born in East Meadow, New York, raised by Karen and Alex Famigletti as the youngest of three children. His father worked as a jazz mu

Rock, Jazz and Pop Arranging: All the Facts and All the Know-How $16.06 New – A practical comprehensive guide to rock, jazz and pop arranged by one of Britain’s most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a ‘c

Rock, Jazz and Pop Arranging: All the Facts and All the Know-How $13.99 New – A practical comprehensive guide to rock, jazz and pop arranged by one of Britain’s most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a ‘c

Rock, Jazz and Pop Arranging: All the Facts and All the Know-How $16.06 Used – A practical comprehensive guide to rock, jazz and pop arranged by one of Britain’s most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a ‘

Rock, Jazz and Pop Arranging: All the Facts and All the Know-How $13.99 Used – A practical comprehensive guide to rock, jazz and pop arranged by one of Britain’s most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a ‘

Sixth Sense $16.98 While “Tantra” rhymes with mantra and the artful CD cover gives off a vibe of multicultural exotica, the term “Taal Tantra” actually roughly translates to “Meditation on Rhythm” — a goal beautifully and hypnotically achieved by the five-piece quintet (four Berlin-based jazz musicians and tabla master Tanmoy Bose) over a two-year recording period in Berlin and Calcutta. Bose, who first joined forces with the others in 2001, is a familiar voice on the Indian/global music scene via his tours with Ravi and Anoushka Shankar and Amjad Ali Khan and his participation on recordings like Concert for George (an all-star memorial concert tribute to George Harrison) and Full Circle. In creating its trippy and hypnotic transcendental fusion of dreamy melodies, jazz improvisation, and vocal and percussion experimentation, the quintet creates a colorful and seductive East-West dialogue that shows how music overpowers the forces that divide cultures. For the casual, curious listener, it’s probably best to get caught up in the entirety of the project, because most of the tracks evolve into multidimensional mood-swing experiences. A few individual highlights bear mentioning, however. “Khandam” begins with the wild, breathy vocal percussion of Bose and Andreas Weiser before a darting jazz melody driven by saxman Tilmann Dehnhard heats up; this gives way to a spirited electric guitar improvisation (over a steady percussion line) by Kai Br? ckner. “It’s Been a Long Way” lives up to its name as a 12-minute steady meditation populated by powerful, seductive vocal chants (first male, later angelic female), the sanfona (like an accordion), jazz guitar, and a soulful sax interlude backed by city sounds and distant distorted chants. The heart and soul of the collection is the moody, atmospheric “Between the Worlds,” which features female chanting, a swirling melody on the bansuri flutes, a touch of swooping sax, double bass, and the exotic spice of the shennai. If you’ve never …

Sonny Rollins concert at New Paltz on 09 May 76 $9.98 Born in 1930 in New York City, American tenor saxophonist Sonny Rollins began his musical career as a young teenager in the early 1940s. Initially influenced by the jump and rhythm and blues sounds of musicians like Louis Jordan, Rollins soon developed a more progressive individual style that utilized the strong sonority of Coleman Hawkins and the lighter flexible phrasing of Lester Young. Drawing these two styles together, Rollins established his reputation as a fluid post-bop improviser with a strong resonant sound. Recognized by piano legend Thelonious Monk when Rollins was still in his late teens, Rollins would prove to be one of the greatest improvisers of the hard bop era, eventually recording alongside contemporaries such as Miles Davis, John Coltrane, Art Blakey and Max Roach, among others. Rollins would outlive all of these legends and continues recording and performing up to the present day, becoming one of the most prolific and influential jazz musicians of his generation. Frustrated with the business side of the music industry, Rollins began a sabbatical in the late 1960s, where he stopped performing in public and traveled to Japan and India to pursue studies in yoga, meditation, and spiritual philosophy. When he returned to America and began recording and performing again in 1972, he began embracing modern instrumentation, including electric guitar and bass, and his new music now had distinct elements of R&B, funk and pop rhythms thrown into the mix. This transition into an electric context was controversial at the time but like Miles Davis, Rollins ignored the critics and his traditionalist fan base to pursue his own direction. This performance, recorded in 1976 at the State University of New York in New Paltz may not be a major addition to Rollins’ impressive legacy, but it is a fine example of this controversial era. Recorded after his earlier electric experimentation on the albums The Cutting Edge and Nucleus, but prior to the sessions for his 1976

The White Brothers concert at Ash Grove on 01 Apr 67 $9.98 Hailing from Maine, and relocating to Burbank, California as children, the White Brothers were exposed to traditional fiddle and country music early on. The boys’ father, Eric White, Sr., moved the family west to pursue a position with Lockheed Aircraft. During his off hours, he was a multi-instrumentalist, playing fiddle, guitar, banjo, and harmonica and he strongly encouraged his children’s interest in music. Soon enough, the eldest brothers, Roland on mandolin and guitar and Eric, Jr. on string bass, with the occasional help of their sister Joann, began performing. The youngest, Clarence, joined in on guitar in 1954 at age 10. Going by the name Three Little Country Boys, the brothers won a country music talent show sponsored by KXLA in Pasadena. First prize was an opportunity to perform on a local television program, Country Barndance Jubilee. The boys’ enthusiastic approach to bluegrass was so well received that they were invited for frequent return visits to the show, while playing barn dances on weekends. As teenagers in 1957, they became regulars on local radio and attracted the interest of country music star Joe Maphis. A talented guitarist based out of Los Angeles, Maphis arranged for the boys to perform on Town Hall Party, a higher profile television show, and again they were a hit. Maphis, who enjoyed diverse tastes in music, exposed Clarence to jazz guitarists Django Reinhardt and Charlie Christian, both of whom would have a profound effect on the young guitar player. The following year, banjo player Billy Ray Latham joined the three bothers and the name was shortened to the Country Boys. By 1958, the folk music boom was taking hold, and like many bluegrass acts at the time, the Country Boys began frequenting coffeehouses and folk clubs, soon landing a week-long residency at the Ash Grove in Hollywood. Over the course of the next few years, the Country Boys would become truly adept musicians and in 1961 they landed several guest appearances on NBC’s And

USED: A Night on the Town $2.99 Bruce Hornsby’s hardest-rocking album, A Night on the Town announces that he is heading into a different direction in its first few notes. John Mellencamp’s producer Don Gehman gives the sound, especially John Molo’s drums, a feel reminiscent of Mellencamp’s best work. The material here is among Hornsby’s best, and guest players include Jerry Garcia, tenor saxman Wayne Shorter, banjo virtuoso B? la Fleck, vocalist Shawn Colvin (before she was known), and jazz bass legend Charlie Haden. The arrangements still include the mix of synthesized and real percussion, and the trademark piano licks are sprinkled abundantly throughout, but the overall feel is much more rock & roll than anything before or since. The songs are great, with a political edge to “Fire on the Cross” and “Barren Ground.” The latter features Garcia’s lead guitar, the former a fine Shorter sax solo. “Stander on the Mountain” is a perceptive reflection on a former BMOC, straight out of Hornsby’s own attendance at a high school reunion, and “Lost Soul” is one of the most profound ballads he has composed, sung as a duet with Colvin. The single, “Across the River,” is a powerful look at the pursuit of one’s dreams in the face of local naysayers, and the subsequent return to one’s hometown with the resultant “I-told-you-so’s.” With A Night on the Town, Bruce Hornsby achieves a mix of mostly up-tempo rock music, adult lyrical themes, and crisp production values that has seldom been matched by other popular musicians of his generation. Though it only peaked at number 20 (his first two albums had reached the Top Five), it is an artistic high point. ~ Jim Newsom, All Music Guide

USED: PORTRAITS IN JAZZ 0100 $7.99 In this program of mainly Afro-Cubanized jazz standards, conga man Barretto assembled an all-star group of friends to complement his regular working New World Spirit band. The icons include longtime friend Kenny Burrell, whose guitar playing is a key component in the makeup of every selection. Bassist Eddie Gomez, tenor saxophonist Joe Lovano and trombonist Steve Turre join such up-and-coming younger musicians as trumpeter John Bailey, saxophonist Adam Kolker and pianist John DiMartino. Second percussionist Bobby Sanabria is alongside, as is the oustanding trap drummer and longtime Barretto bandmate Vince Cherico. The recording is bookended by Duke Ellington’s music. It’s front-loaded with “The Mooche,” ignited by a simmering bass and left-hand piano ostinato plucked from Horace Silver’s “Senor Blues.” Conch-shell moans from Turre and punchy congas intro this classic, with Burrell’s second melody lead and horns on the first and third. “Cotton Tail” is a good swinger with Latin underpinnings and loads of Burrell (refer to Burrell and Barretto on Burrell’s classic Blue Note date Midnight Blue). At the end of the CD is the lesser-known “Oclupaca,” taken as a steamy cha-cha. Also included is Billy Strayhorn’s Johnny Come Lately,” which has clave/mambo rhythms buoying echoed trumpet and tenor lines talking back and forth. The interplay of this counterpoint is stunning, again kicked off by the fuse of Burrell’s guitar. There’s the fluttery horn intro and dueling tenors on John Coltrane’s “Like Sonny,” the slight tango-ish “Lamento Borincano” and its heavy dose of Latin Burrell, and the laid-back horns setting up demure-to-forceful piano by DiMartino on Wayne Shorter’s “Go.” Then there’s Thelonious Monk’s brisk and brusque “I Mean You,” cooked by the unison horns to golden brown perfection with claves, montuno piano and a patented deft bass solo from the brilliant Gomez. A most Afro-Cuban “Cancion del Fuego Fatuo” is quite subtle, Burrell again the fo…

USED: Romance on Film/Romance on Broadway $13.99 Romantic inspiration can be found in many places, but song stylist Michael Feinstein finds his in motion picture film scores and Broadway musicals on his third Concord Jazz release. Romance on Film/Romance on Broadway is a two-CD set filled with great romantic ballads such as “The More I See You,” “The Second Time Around,” “All the Way,” and the enduring classic “When I Fall in Love.” Feinstein’s voice is alluring, sophisticated, and comfortable on this excellent collection of popular music that he interprets in so many heartfelt ways. He adds an additional set of lyrics written by Lorenz Hart on “Isn’t It Romantic” that were never included in the original 1932 film Love Me Tonight. On the second disc, he places the emphasis on songs from Broadway musicals with the same sensitive phrasing, nuance, and romanticism. “I’ve Grown Accustomed to Her Face” is a harmonic masterpiece. His dreamy reminisces of the heroine from the landmark Broadway musical My Fair Lady also offers superb piano stylings from Alan Broadbent. One of the most romantic love songs on the collection is “As Long as She Needs Me.” Feinstein’s amorous interpretation of the lyrics reveals the true beauty of this great love song. Accompanied by such great musicians as Marian McPartland on piano, Bucky Pizzarelli on guitar, Gary Foster on alto saxophone, Peter Erskine on drums, and Chuck Berghofer on bass, among others, Michael Feinstein takes these songs to a different time and space that is sure to keep lovers of romantic ballads happy for some time to come. ~ Paula Edelstein, Rovi

Ultimate Play-Along Drum Trax Dave Weckl, Level 1, Vol 2: Jam with Seven Stylistic Dave Weckl Tracks, Book & 2 CDs $7.92 Used – This book/CD package has been developed so that the beginning to intermediate drummer can practice in a wide range of styles along with all-star musicians Mike Stern on guitar and John Patitucci on bass. The styles covered include straight eighths, shuffle (blues), sixteenth-note feel, hip-hop (jazz funk), pop ballad, reggae (shuffle), and rock. Contains perforated “road map” charts for each tune.

Ultimate Play-Along Drum Trax Dave Weckl, Level 1, Vol 2: Jam with Seven Stylistic Dave Weckl Tracks, Book & 2 CDs $9.25 Used – This book/CD package has been developed so that the beginning to intermediate drummer can practice in a wide range of styles along with all-star musicians Mike Stern on guitar and John Patitucci on bass. The styles covered include straight eighths, shuffle (blues), sixteenth-note feel, hip-hop (jazz funk), pop ballad, reggae (shuffle), and rock. Contains perforated “road map” charts for each tune.

Woot $16.98 Jazz fusion is such a vague, misused, and generic term that it’s a revelation when a band plays it correctly. The four players that comprise Garaj Mahal have been together for about a decade, honing their already sharp chops and delivering electrifying live performances that push the boundaries of jazz fusion into rock, funk, world music, and even blues, while maintaining a foothold in their genre. The band expands its scope even farther on Woot, recorded with few overdubs in three studio sessions spread out from May 2007 to April 2008. It’s a defining work for the group, consistently throwing curve balls at the listener whose first response is likely to be astonishment at how these guys navigate a minefield of time and tempo changes with such aplomb. The nine longish, predominantly instrumental tunes are equally divided among the members, minus Kai Eckhardt’s two-minute bass spotlight. Most solos are from guitarist Fareed Haque and keyboard master Eric Levy, but as in the past, it’s the uncanny intertwining of the musicians that creates the tension and release here. There are Zappa-styled excursions (“7 Cows Jumping Over the Moon”), funky New Orleans side trips (“Uptown Tippitinas”) and even an Eastern European influenced dance (“Ishmael and Isaac”) that shifts gears so often it’s nearly impossible to follow on first hearing. Somehow this all gels and never seems weird, eggheaded or overly eclectic for the sake of it. As primary soloists, the bulk of the onus falls on Haque and Levy, who elicit unusual sounds from a variety of stringed instruments (including a Moog guitar) and keyboards that are surprising without being jarring. There are plenty of fireworks from bassist Eckhardt and drummer Alan Hertz, too, as they keep the pocket throbbing while the other two blast off. At 70 minutes, this is a lot of Garaj Mahal to absorb, especially since each track seems like its own musical voyage. The disc demands several spins just to absorb all the stylistic twist…

Filed Under: Bass Guitars Tagged with bass, Guitar, jazz, Music, reference

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