Ernie Watts Unity (1994) [xrcd Mastering 1996]

The selections on this uncommonly strong CD (a collaboration featuring keyboardist Patrice Rushen, saxophonist Ernie Watts, bassist Alphonso Johnson and drummer Ndugu Chancler) alternate between soulful jazz, inventive R&B, a bit of funk and ballads. Watts is in top form, and Rushen (who recalls Chick Corea on "Tango" and Herbie Hancock in other spots) shows that she can play with creativity. The set is a pleasant surprise and is recommended to listeners who enjoy R&B-oriented jazz.

Spirit Traveler was a 1993 project that brought together several session players who had been in high demand in the 1960s and/or 1970s: drummer James Gadson and guitarists Phil Upchurch, Wah Wah Watson, David T. Walker, and Eric Gale. All of them had played on numerous R&B and/or pop sessions, and some of them had jazz credentials as well - especially Gale, who led the '70s soul-jazz/crossover band Stuff, and Upchurch. Sadly, Spirit Traveler would be among Gale's last activities - he died the following year at the age of 55. Far from remarkable but fairly decent, this CD contains mostly soul-jazz versions of '60s Motown classics, including major hits associated with Smokey Robinson & the Miracles ("The Track of My Tears," "You've Really Got a Hold on Me"), Stevie Wonder ("Signed, Sealed, Delivered, I'm Yours") and Diana Ross & the Supremes ("You Keep Me Hangin' On")…

Tom Coster's more commercial albums (such as Gotcha!!) were far from bad, and certainly had more soul and integrity than so much of the homogenized drivel labeled smooth jazz. But even so, they failed to adequately demonstrate just how adventurous and commanding a soloist and composer he can be. Like Let's Set the Record Straight and The Forbidden Zone, From the Street is a gutsy, hard-edged and uncompromising fusion date defined by its passion, complexity and spontaneity. Instead of avoiding the cerebral, Coster thrives on it. The Santana graduate has plenty of room to let loose and blow, as do such inspired sidemen as tenorist Michael Brecker and his disciple Bob Malach. And Dennis Chambers' intense drumming is superb throughout this fine and often abstract jazz/rock/funk CD.

The Blackbyrds were a jazz-funk group with thick R&B streaks running down their backs. Assembled by Donald Byrd in 1974, the group's original members – percussionist Pericles "Perk" Jacobs, Jr., drummer Keith Killgo, keyboardist Kevin Toney, reeds player Allan Barnes, bassist Joe Hall, guitarist Barney Perry – were mined from Howard University's music department, where the doctor and jazz legend was an instructor. (Other key players included guitarist Orville Saunders and saxophonist/flautist Steve Johnson.)

Allen Toussaint - Connected (1996) {NYNO 9601-2 rec 1994-96}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 387 Mb | MP3 @320 -> 145 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 1996 NYNO Music | 9601-2
Jazz / R&B / Modern Post Bebop / New Orleans R&B / Piano

Allen Toussaint's name became synonymous with New Orleans music, even though he didn't seem to "do" the records his name was on as producer, arranger, or writer on records by artists such as Ernie K-Doe or Irma Thomas. This is his first studio album in at least a decade, and it is a very worthy effort of all self-penned songs that seem to be a mix of old and new (if not in age, at least in feel). He is supported by an extremely worthy cast of the finest New Orleans musicians.

Michael Brecker, a major influence on today's young saxophonists, shows off his own influences a bit throughout this fine modern straight-ahead set. Brecker sounds surprisingly like Stanley Turrentine on parts of "Midnight Voyage," and otherwise displays his roots in Ernie Watts and John Coltrane. With the exception of Don Grolnick's "Willie T.," the music on the CD is comprised of group originals (five by the leader) and falls into the 1990s mainstream of jazz. While the tenor saxophonist has plenty of blowing space (really letting loose on the exciting closer, "Cabin Fever"), Pat Metheny is mostly pretty restrained (in a Jim Hall bag) except for his wild solo on guitar synth during "Song for Bilbao."

Everything about this 1967 recording is promising. Highly acclaimed Austrian soprano Rotraud Hansmann, the regal contralto Helen Watts, the effortless legato singing of tenor Kurt Equiluz, the equally wondrous baritone Max van Egmond. Famed for helping pave the way to informed historical performance practice, these excellent singers are joined by Concerto Amsterdam as Early Music performance pioneers often conducted by Frans Brüggen in the 1960s.