Seven (1995)

The single-disc, 29-track compilation Puzzles collects all of Ed Bruce's RCA recordings from the late '60s, including "Blue Denim Eyes," "By Route of New Orleans," "Walker's Woods," "Last Train to Clarksville," "Painted Girls and Wine," "Memphis Morning," "Why Can't I Come Home," "Ninety Seven More to Go," "Give Me More Than You Can Take," "Something Else to Mess Your Mind" and no less than three versions of the title track. While this material is not among Bruce's best-known, it is among his best. Though the duplicate versions of some tracks can be tedious – "Puzzles" is presented in three versions, there are two takes of "I'd Be Best Leaving You," there are both dubbed and undubbed versions of "Painted Girls and Wine" and "Blue Bayou" – Puzzles nevertheless is an excellent way to become acquainted with a fine, underappreciated talent.

With its pop adaptations of Bach and its album with the Edmonton Symphony Orchestra, Procol Harum was an early advocate of a marriage between rock and classical music. So, this album of Procol Harum music recorded by the London Symphony Orchestra, the London Philharmonic Orchestra, and (on the title track) the Sinfonia of London, with former Procol Harum vocalist/pianist Gary Brooker singing on seven of the 12 tracks and producing, and with former Procol Harum guitarist Robin Trower and organist Matthew Fisher appearing on a version of "Repent Walpurgis," would seem like a more comfortable combination than similar recent collections devoted to the Rolling Stones and Yes…

Tony O was given his name by the great late Howlin' Wolf and his guitar player Hubert Sumlin back in the late 60's. Wolf was a friend and mentor. Tony O has toured and recorded with Jimmy Rogers, Victoria Spivey, James Cotton, Pinetop Perkins, Willie "big eye's" Smith, Hubert Sumlin, Bob Stroger, Calvin "Fuzz" Jones, The Legendary Blues Band, Little Mike and the Tornado's, Zora Young, Louis Myers, and more. Tony has recorded on over twenty five records and for seven different record labels. His debut record (Top of The Blues) on Deluge Records was released in 1995 with only great revues world wide, it included special guests Pinetop Perkins (piano), Willie "big eye's Smith (drums), Brad Vickers (bass) & Stan Bronstein (Sax).

There's a 20-plus-year span between electric guitarist Hahn's Brotherhood recordings and this CD. In between he's gone from hippie to tweed suit while establishing the jazz guitar studies program at Wichita State University, taking residence in Portland and Denver, and doing this date in NYC with all-stars bassist Steve LaSpina, drummer Jeff Hirshfield, either pianists Phil Markowitz or Art Lande, and soprano saxophonist David Liebeman for two selections. Hahn's influence on Pat Metheny, John Scofield, John Abercrombie, Mike Stern, and Bill Frisell is clear. He uses a little delay, echo, and reverb, just enough to enhance his improvisations, and when he's technically concentrating, he can easily be coarsely sparse and sharply staccato, elongated from a chordal standpoint, a bit twangy, and consistently tasteful…

While most bluesy hard rock acts of the '70s and '80s hailed from the United States, there were several exceptions to the rule. Canadian singer/guitarist/keyboardist Pat Travers with his hard, edgy tone, rough and rowdy vocals, and barroom boogie aesthetic is a stellar example. Arriving during the reign of hard blues-rock guitar slingers such as Johnny Winter, George Thorogood, and Robin Trower, his eight-album run for Polydor from the self-titled 1976 debut through 1984's Hot Shot, netted seven Top 200 chart placements (all but one in the upper half) and two Top 40 singles, including the party anthem classic "Boom Boom (Out Go the Lights)."

After not having led a recording session under his own name in 29 years, O'Farrill came from seemingly out of nowhere to lead a terrific Afro-Cuban big band date on this CD. O'Farrill claims that he turned down offers to lead standard seven or eight-piece salsa bands on records over the years, preferring to wait until a big band opportunity came along - and clearly, he was bursting with accumulated charts dating from the 1960s through the 1990s. Not too much has changed since O'Farrill's exciting string of albums for Clef in the 1950s; if anything, his arranging hand has become surer, more sophisticated, thoroughly in touch as ever with a wide variety of influences…

The Jackie McLean-influenced alto saxophonist Abraham Burton was a member of Art Taylor's Wailers until the drummer's death in 1995. This was Burton's second album as leader, recorded live at Visiones on March 17 & 18, 1995 with pianist Marc Cary, bassist Billy Johnson & drummer Eric McPherson. The band is well-integrated and highlights of the seven impressive tracks are Jackie McLean's 'Little Melonae', the standard 'I Can't Get Started' and a stunning, Coltrane-inspired version of Erik Satie's 'Gnossienne #1'. Burton plays superbly throughout and the 63 minutes of moving and passionate music on 'The Magician' deserves a place in any modern jazz collection.