Akagi

Takeshi Terauchi (寺内タケシ, Terauchi Takeshi, born January 17, 1939 in Tsuchiura, Ibaraki Prefecture, Japan), also known as Terry, is a Japanese instrumental rock guitarist. His preferred guitar is a black Mosrite with a white pickguard. His guitar sound is characterized by frenetic picking, heavy use of tremolo picking and frequent use of his guitar's vibrato arm…

In the '90s, it seemed that many of jazz's A&R people (as least at the major labels) were interested in either one of two things — if they weren't going after hard bop-oriented, standards-obsessed "Young Lions" in Armani suites, they were focusing on smooth jazz. Either they were looking for the next Kenny G. or the next Wynton Marsalis. That wasn't good news for fusion, which didn't get any respect from either bop snobs or NAC radio in the '90s. Nonetheless, quality fusion was still being recorded — you just had to know where to look. And one of the places to look was Lipstick Records, a small independent label that made fusion its main focus during that decade. Released in 1994, this little-known CD by drummer Andrea Marcelli is typical of Lipstick's jazz-rock output. Oneness didn't receive a lot of attention, and it was the only album that Marcelli recorded for Lipstick.

This single CD gives one a definitive look at Miles Davis' live show from his last three years. Using funky but unpredictable rhythm sections and leaving space for plenty of solos, Davis created a unique brand of fusion that has yet to be satisfactorily duplicated. Among his more notable sidemen during this era are altoist Kenny Garrett, Foley on lead bass (which he used as a lower-toned guitar), one or two keyboardists chosen from Joey DeFrancesco, Adam Holzman, Robert Irving III, Kei Akagi, and John Beasley, various bassists, drummers, and percussionists, and on "Amandla," the tenor of Rick Margitza. Davis is in consistently strong form throughout the numbers, which include "In a Silent Way," "New Blues," "Human Nature," "Tutu," and "Time After Time." Quite often the live versions of these songs are more creative and exciting than the ones previously issued.

Al di Meola, who in his early days sometimes sacrificed feeling for speed (he always had remarkable technique), grew and developed through the years. His final of three Manhattan releases is his finest, a sextet outing with keyboardist Kei Akagi, electric bassist Anthony Jackson, acoustic bassist Harvie Swartz, drummer Tommy Brechtlein, and his longtime percussionist, Mino Cinelu. Having grown out of his fusion roots, di Meola's interest in world music and folk music from other countries is displayed throughout this colorful set, particularly on such numbers as "Beijing Demons," "Song to the Pharoah Kings," and the exciting "Rhapsody of Fire."