Aya Nishina Flora (2013) {tzadik Composer Series}

John Zorn & Pat Metheny - Tap: Book Of Angels, Vol. 20 (2013) {Tzadik TZ 8307}
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© 2013 Tzadik | TZ 8307 | Tzadik Archival Series
Jazz / Fusion / World Fusion / Klezmer Jazz

Ever curious, courageous and endlessly creative, virtuoso guitarist and musical mastermind Pat Metheny takes on John Zorn’s Masada songbook to create some of the most soulful and adventurous sounds yet heard in the Book of Angels series. Turn up the volume and revel in the breadth of imagination in these remarkable arrangements featuring Pat on a huge arsenal of instruments, and the powerful Antonio Sanchez on drums. Pat Metheny continues to surprise and experiment with new musical frontiers well into the 21st century. Released in coordination with Nonesuch, this is a match made in Heaven—essential!

Bester Quartet - The Golden Land (2013) {Tzadik TZ 8178}
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© 2013 Tzadik | TZ 8178 | Tzadik Radical Jewish Culture Series
Jazz / International Jazz / Klezmer / Ethnic

A mainstay of the Radical Jewish series since their first release in 2000, Jaroslaw Bester is one of the most consistently creative and imaginative musicians in the New Jewish Renaissance. Here he approaches the classic compositions of Cracow-born Mordechaj Gebirtig, the preeminent Yiddish folk artist and one of the most influential poets and songwriters of his time. Bester’s arrangements are lush and filled with emotion, setting the tone of Gebirtig’s lyrical melodies into a modern and powerful new context.

John Zorn - Dreamachines (2013) {Tzadik TZ 8308}
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© 2013 Tzadik | TZ 8308 | Tzadik Archival Series
Jazz / Modern Creative / Avant-Garde Jazz

Zorn’s work has been deeply influenced by the work of Gysin and Burroughs, beginning in the late ’60s when he first became aware of their art, writing and revolutionary techniques of third mind collaboration. Dreamachines celebrates this connection with nine compositions combining the quirky atonality of Zorn’s classical music, the cut-up techniques of Naked City and the soulful lyricism of the Masada songbook. A companion piece to Nova Express (2011), the music is incredibly varied and jumps from tonality to atonality with dramatic surprise. Another complex and intense program of modern chamber music performed by an all-star quartet of virtuosos from Zorn’s inner circle.

Zsófia Boros - En Otra Parte (2013) {ECM New Series 2328}
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© 2013 ECM Records | ECM New Series 2328
Classical / Jazz / Flamenco / Guitar

The evocative ECM debut of the outstanding Hungarian guitarist Zsófia Boros addresses a broad range of composition for her instrument, drawing on music of the Americas. “Often I think I am holding the choice of music in my own hands, but later I wonder if the music has chosen me as a medium. My approach is always very intuitive; when a piece of music grips or touches me, I want to reflect it – to become a mirror and convey it.”

Ronnie Foster - Cheshire Cat (1975) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50553}
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© 1975, 2013 Blue Note / EMI Music Japan | TOCJ-50553
Jazz / Jazz Funk / Soul Jazz / Groove / Organ

Wicked keyboards from Ronnie Foster – and a set that really steps forward from his previous two Blue Note albums! The record really has Ronnie moving into a more rounded soul space – singing along with his keyboards, in ways that may well be aimed at making Foster the next Stevie Wonder – although still with some of the hipper, quirkier touches that make his music so great! The lineup of players is very top shelf – almost more of a CTI/Kudu session, with George Benson and Joe Beck on guitar, Mtume on congas, and lots of heavy bass from William Allen and Gary King. Foster wrote all the cuts – save for a cover of Stevie Wonder's "Tuesday Heartbreak" – and titles include "Funky Motion", which was covered by Roy Ayers – plus "Cheshire Cat", "Fly Away", "Heartless", and "Like a Child".

Chico Hamilton - Chico Hamilton And The Players (1976) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50557}
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© 1976, 2013 Blue Note / EMI Music Japan | TOCJ-50557
Jazz / Hard Bop / Post Bop / Cool

Chico Hamilton in the 70s just can't miss – he's really changed loads from his mellow 50s work in LA, and has a tendency to go for a hard grooving sound – but also one that's slightly left of center than the work of most other 70s jazz drummers – and we mean that in a good way! This cooking set for Blue Note is a great example of that offbeat approach – a tight set of fusion tracks with a warm finish and an edgey approach to the rhythms – awash with some really compelling numbers that will have you hunting down the rest of Chico's work from the decade!

Bobby Hutcherson - Waiting (1976) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50578}
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© 1976, 2013 Blue Note / EMI Music Japan | TOCJ-50578
Jazz / Post Bop / Vibes

Waiting is an album by American jazz vibraphonist Bobby Hutcherson recorded in 1976 and released on the Blue Note label. The album was issued on Blue Note and was called "Waiting" and with a few additions was Bobby's working band of the time. In the group was the late Manny Boyd on soprano and tenor saxophones and flute, George Cables on electric and acoustic piano, James Leary on bass and the late Eddie Marshall on drums. Added for the date was percussionist Kenneth Nash and on the title tune, "Waiting" a few extra flutes were added only to the melody. Those of you who were on the scene in Vancouver might remember the core band (Hutcherson, Boyd, Leary and Marshall) performing at Oil Can Harry's Jazz Room in 1976….a memorable gig to be sure. This album is fresh and varied with compositions by Bobby and James Leary and great playing by all. "Waiting" is worth waiting for!

Bobby Hutcherson - The View From The Inside (1976) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50580}
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© 1976, 2013 Blue Note / EMI Music Japan | TOCJ-50580
Jazz / Hard Bop / Post Bop / Vibes

Sweet 70s grooves from Bobby Hutcherson – an overlooked mid 70s gem for Blue Note – done in a style that's a bit more laidback than some of his other work for the label! The group here is similar to that used on the Waiting album – and Emmanuel Boyd turns in some great tenor and soprano sax, really underscoring the deeper sounds of Bobby's vibes. But this time around, there's also lots of sweet keyboards from Larry Nash – who plays Fender Rhodes with some warmer elements that unlock a great mellow side of Hutcherson's playing – almost giving the record a Roy Ayers vibe at times! Titles include "Later Even", "Same Shame", "Love Can Be Many Things", and "Song For Annie".

Elvin Jones - Live At The Lighthouse Vol.2 (1972) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50537}
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© 1972, 2013 Blue Note / EMI Music Japan | TOCJ-50537
Jazz / Hard Bop / Post Bop / Avant-Garde Jazz / Drums

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic!

Bobby Hutcherson - Knucklebean (1977) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50563}
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© 1977, 2013 Blue Note / EMI Music Japan | TOCJ-50563
Jazz / Post Bop / Soul Jazz / Vibes

Beautiful late Blue Note work from Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – and all other players are wonderful too, including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Includes a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good".