Montreux

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961).

One of funk's most progressive outfits, Mandrill paid the price for their ambitions in commercial returns not that they never earned a reputation or an audience, but their expansive, eclectic vision often worked better when given an album's worth of room to roam, rather than being condensed into hit singles. Mandrill's jam-heavy brand of funk was liberally infused with Latin, Caribbean, and jazz influences, plus blues, psychedelia, African music, and straight-up rock. Their freewheeling approach was a definite influence on the Parliament-Funkadelic collective (an early incarnation of which actually served as their opening act), and their grooves have been sampled by numerous hip-hop acts in modern days.

Naturally 7 came into being in 1999 in their home city of New York. Seeking to revolutionize the a cappella music genre, the seven vocalists not only created beautiful harmonies, but broke new ground by creating the rhythm tracks (including guitar, drum, bass, and horn sounds) with their voices alone. Calling their new approach to instrument-free music "vocal play," the band wowed audiences all over the States, leaving concert-goers in disbelief.

Bob James' recordings have practically defined pop/jazz and crossover during the past few decades. Very influenced by pop and movie music, James has often featured R&B-ish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. He actually started out in music going in a much different direction. In 1962, James recorded a bop-ish trio set for Mercury, and three years later his album for ESP was quite avant-garde, with electronic tapes used for effects.

The Iceman is in remarkable form on this 1992 live date, offering proof positive that his smoldering Texas-style electric blues is ageless. With a set list that spans from his early hit "Frosty" to tracks from his 1991 release, ICEMAN, Albert Collins's stinging technique makes his Telecaster sing out over his no-holds-barred full electric band. A deeply satisfying blues excursion, LIVE AT MONTREAUX was recorded merely a year before Collins's death from cancer, making it a fitting tribute as well as a fine concert recording.

This important live recording from 1981 features the great pianist with a stunning group: Joe Henderson on tenor sax, Gary Peacock on bass, and Roy Haynes on drums. Haynes worked with Corea on many prior occasions, and Henderson was about to collaborate with him on the Griffith Park Collection albums of the early '80s, but this is the first time the three appear together. Peacock's presence is an additional delight. The probing bassist contributes the multi-layered, magnificent "Up, Up and…." Thelonius Monk's "Trinkle, Tinkle" and Cole Porter's "So in Love" are also featured. The latter culminates in a four-minute Haynes drum solo. Overall, the record is essential for fans of any and all of the four musicians involved.