Lyle Mays, who came to fame for his electric collaborations with Pat Metheny, surprised many with this superior outing in an acoustic trio setting. On the liner jacket Mays thanks Herbie Hancock, Keith Jarrett, and Paul Bley for their inspiration. If one adds in Chick Corea and especially Bill Evans, that should give listeners an idea of what to expect. However, to his credit (and with the assistance of bassist Marc Johnson and drummer Jack Dejohnette) Mays avoids performing overly played standards and sticks mostly to originals (including two free improvisations). There is no coasting on this excellent set.
Lyle Mays waited a long, long time before straying from the Pat Metheny Group to issue his first solo album, but when he did, the results were at once removed but not totally untethered to the Metheny sound and feeling. On his own, Mays' synthesizer solos and textures are close in sound to what he was doing in the Metheny group, but the turns of phrases in his acoustic piano solos reflect the heavy shadow of Keith Jarrett.
Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music.
Like the echo of a grand landscape, Metheny and Mays create an atmospheric meditation on traveling across the great open expanse of America As Falls Wichita, So Falls Wichita Falls. By turns introspective and hymn-like, soaring and transcendent, the music resonates with a rural spirit, to which the Brazilian percussion of Nana Vasconcelos brings a more universal feel. Both "It's For You" and the epic title track evoke sonic vistas that touch a nerve with their layered keyboards and guitars. "Ozark" is a dynamic track featuring piano propelled by gentle percussion, while "September Fifteenth" is a quiet and deeply moving dedication to pianist Bill Evans. "Estupenda Graca" is like a gentle prayer sung both as closure, and in anticipation of the travels to come.
The Phil Woods Quintet's final recording on November 10, 2014 at the Deer Head inn with Bill Goodwin, Steve Gilmore, Bill Mays and Brian Lynch. If you are a Phil Woods fan (as I am), this album is essential; while the recordings took place not that long before Phil's death, and you can hear the evidence of his declining health, Phil is still Phil … and that means, that even with his health limitations, he is still masterful and this recording is a poignant tribute to his great career and legacy. The amazing trumpet playing of Brian Lynch is an added bonus; he really shines, and together, he and Phil … aw the whole quintet, really … make this album a not-to-be-missed gem!!
Too often, CDs that are mostly originals offer more preening than melody. This isn't the case with The Soccerball, a delightful collection that is 76.9-percent original and 100-percent interesting. Bill Mays, Martin Wind, and Matt Wilson have recorded together before, notably on Out in PA, another fine showcase for the trio's compositional talents. Here Peter Weniger brings his soulful, funky, tenor voice to their explorations, which sometimes involve tinkering with familiar themes: the joyous title tune is loosely based on the chord progressions of Nat Adderley's "Work Song," while Weniger's "Garrigue" is an inversion on the changes of "What Is This Thing Called Love?"
Baritonist Gerry Mulligan had at the time of this recording been a jazz giant for 45 years. His slightly bubbly baritone sound has always been distinctive and he never had difficulty jamming with anyone. In the 1990s Mulligan's regular trio has been comprised of pianist Ted Rosenthal, bassist Dean Johnson and drummer Ron Vincent. The sidemen work together very well on this quartet date (Bill Mays fills in for Rosenthal on two songs) and form a solid foundation for Mulligan to float over. The baritonist performs a variety of superior standards such as "Home," "They Say It's Wonderful," and "My Shining Hour," revives "My Funny Valentine"; he also revisits a few of his originals (including "Walking Shoes" and "Song for Strayhorn"). This is a fine example of Gerry Mulligan's playing.