Mile Davis Xrcd

Nakagawa - Poesy
EAC+LOG+CUE | WV: 292 MB | Full Artwork | 5% Recovery Info
Label/Cat#: JVC # JVCXR-0006-2 | Country/Year: Japan 1996
Genre: Jazz, Classical | Style: Post-Bop, Jazz Fusion, Crossover

Japanese flutist Nakagawa bridges the gap between classical and jazz while capturing the essence of both with incredible finesse and spontaneity. Nakagawa has performed with the likes of Keith Jarrett, Steve Gadd and Yo-Yo Ma.

Zoot Sims - Quietly There (Plays Johnny Mandel)
EAC+LOG+CUE | WV: 240 MB | Full Artwork | 5% Recovery Info
Label/Cat#: JVC # JVCXR-0040-2 | Country/Year: Japan 1993, 1984
Genre: Jazz | Style: Jazz, Cool, Bop, Saxophone Jazz

Norman Granz's idea to match Zoot Sims' lyrical, swinging tenor sax with Johnny Mandel's equally arresting compositions was a masterful one. Sims' tart, alternately lush and furious solos were wonderfully spotlighted on such tunes as "Cinnamon and Cloves," "Emily" and "Zoot." The six-tune session, recently issued on CD, also contains effective piano solos from Mike Wofford. The date's tour-de-force was its final selection, the wonderful "Low Life," which Sims probed, illuminated and ultimately redefined via his solo.

McClain pours out his soul, but this album lacks the power evidenced on Give It Up to Love. The problem lies not with McClain, but with some of his supporting musicians. The closest cohesion exists between McClain and the musician on the title track, while "Who Made You Cry" has McClain sounding sympathetic and helpful to someone's plight, expertly complemented by Kevin Barry on guitar. However, the horn section extenuates the problems by cluttering up the arrangements and detracting from McClain's performance, while the Hammond B-3 lacks a nimble, crisp feel, and at times sounds buried in the mix.

The deep voice of Carmen Lundy is well showcased on this varied set. With assistance from an impressive backup crew (pianist Billy Childs, flugelhornist Randy Brecker, Frank Foster or Bob Mintzer on tenor, and a pair of rhythm sections), Lundy performs six standards, four of her stimulating originals, and Donny Hathaway's "Flying Easy." The music ranges from fairly straight-ahead to more R&B-oriented, with Carmen Lundy's appealing voice being the main star.

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. ~ AllMusic

Terry Evans' second solo release (after a few with his singing partner Bobby King) further explores his swampy gospel, rock, R&B, and blues roots. Backed by veteran musicians like former employer Ry Cooder, bassist/songwriter Jorge Calderon, and even legendary jazz/funk trombonist George Bohanon (who tears it up with his solo on the album-closing slow groove of "Blues No More"), Evans proves that he's one of the most underrated vocalists on the blues/roots scene. ~ AllMusic

Norman Granz's idea to match Zoot Sims' lyrical, swinging tenor sax with Johnny Mandel's equally arresting compositions was a masterful one. Sims' tart, alternately lush and furious solos were wonderfully spotlighted on such tunes as "Cinnamon and Cloves," "Emily" and "Zoot." ~ Allmusic

Thelonious Himself is a mostly solo set by pianist Thelonious Monk. Monk's hesitant stride and thoughtful yet very unpredictable flights are always a joy to hear. He performs a variety of swing standards (including "April in Paris" and "I'm Getting Sentimental over You"), his blues "Functional" and as a bonus track, there is an alternate take of "'Round Midnight" from the earlier date. ~ AllMusic

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams worked together on several recordings between 1958 and 1961, and The Cat Walk (released on LP in 1962) is among the best. A quintet setting, with pianist Duke Pearson (another longtime Byrd collaborator), bassist Laymon Jackson, and a lively Philly Joe Jones on drums joining the front line of Byrd and Adams, the sessions for The Cat Walk benefited from the writing and arrangement skills of Pearson, who contributes three compositions here, the impressive opener "Say You're Mine," "Duke's Mixture," and "Hello Bright Sunflower," ~ AllMusic