Ted Gioia + Mark Lewis – Tango Cool (1990)

FrontCover1Ted Gioia (born 21 October 1957) is an American jazz critic and music historian who wrote The History of Jazz and Delta Blues, both selected as notable books of the year by The New York Times. Gioia is an editor-in-chief of the Encyclopedia of Jazz Musicians. He is also a jazz musician and one of the founders of Stanford University’s jazz studies program.

Gioia is the author of several other books on music, including West Coast Jazz (1992), The Jazz Standards (2012), and The Birth (and Death) of the Cool (2009). A second fully updated and expanded edition of The History of Jazz was published by Oxford University Press in 2011. His most recent book Love Songs: The Hidden History, published by Oxford University Press in 2015, is a survey of the music of courtship, romance and sexuality; it completes a trilogy of books on the social history of music that also includes Work Songs (2006) and Healing Songs (2006). In his study of love songs, Gioia contends that key innovations in the history of this music came from Africa and the Middle East.

TedGioia2The Dallas Morning News has called Ted Gioia “one of the outstanding music historians in America.” Three of his books have been honored with the ASCAP-Deems Taylor award. His concept of “post-cool,” originally described in his book The Birth (and Death) of the Cool, was selected as one of the “Big Ideas of 2012” by Adbusters magazine.[9] In 2006, Gioia was the first to expose, in an article in the Los Angeles Times, the FBI files on folk and roots music icon Alan Lomax. He founded jazz.com, a music portal launched in December 2007, and served as President and Editor until 2010. He has also created a series of web sites that focus on various aspects of contemporary fiction.

Gioia is a jazz pianist and composer. He has also produced recordings featuring Bobby Hutcherson, John Handy, Buddy Montgomery, and others.

Gioia grew up in an Italian-Mexican household in Hawthorne, California, and later earned degrees from Stanford University and Oxford University, as well as an MBA from the Stanford Graduate School of Business. He served for a period as an adviser to Fortune 500 companies while with the Boston Consulting Group and McKinsey & Company. He is also the owner of one of the largest collections of research materials on jazz and ethnic music in the Western United States.

Gioia is the brother of poet Dana Gioia (by wikipedia)

TedGioiaMark Lewis is master of the alto sax, baritone sax, flute and piano; author of approximately 1,700 compositions; and has recorded and produced more than twenty albums on various labels. Rotterdam, Holland was Mark’s home base for many years. He toured and played in the better clubs throughout Europe, and taught jazz theory and improvised music classes in several music conservatories. Mark lived and performed for MarkLewis1several years in San Francisco and Victoria, BC as well. Mark’s CD “In The Spirit,” recorded at Music Annex in Menlo Park, CA, made the Top 40 on Billboard Magazine’s Jazz Albums chart. Jazz musicians Mark has performed and recorded with include pianists Willem Kühne, Mark Levine, Overton Berry and Ted Gioia; drummers Candy Finch, Frans van Grinsven and Eddie Moore; bassists James Long, Hein van de Geyn, David Friesen, Larry Grenadier and Chuck Metcalf; saxophonists Johnny Griffin, Noah Howard and Art Foxall; trumpet player Randy Brecker; and vibraphonists Bobby Hutcherson and Lodewijk Bouwens. Mark often subbed for Stan Getz and John Handy during his time in San Francisco.


Mark Lewis about this CD:

I enjoyed playing the material Ted had selected. It was new for me, and that always add excitement to a session. I find so called “relaxed” music extremely invigorating. It touches my emotions and handles them with care, unlike much modern stimuli which seems only to jangle and blur them (I am not referring to Jazz).

Read more in the booklet of this littel masterpiece of Jazz !

Ted Gioia (piano, vocals)
Mark Lewis (saxophone)

01. Tango Cool (Gioia) 5.36
02. Laura (Raskin/Mercer) 6.33
03. Philip (Gioia) 4.31
04. There Will Never Be Another You (Warren) 3.40
05. Spring Song For Chet (Lewis) 7.20
06. Santa Barbara (Gioia) 2.45
07. You Stepped Out Of A Dream (Brown/Kahn) 7.48
08. Darn That Dream (de Lange/van Heusen) 4.27
09. I Never Knew (Gioia) 5.38
10. What Is This Thing Called Love (Porter) 3.14
11. My L.A. Years (Gioia) 4.04
12. A Moment For Michael Jasper (Gioia) 3.28
13. I Fall In Love To Easily (Styne/Cahn)  2.43



Pee Wee, Fred & Maceo – The J.B. Horns (1990)

FrontCover1This album was done around the time of the Great Re-emergence of Fred & Maceo, along with their former James Brown bandmate Pee Wee Ellis. After playing with other bands or taking time off since the demise of their former bands, or leaving them altogether, they reunited with a purpose. They unleashed a torrent of records, and their live shows are now legendary. By taking the name ‘JB Horns’, it shows their purpose here was to carry on the funky name of their leader.

The feel of this album is halfway between rockin’ funky party and mellow jazz club show. While the funkier cuts are reminiscient of their groovingest days with JB and Bootsy’s Rubber Band, most of the tracks are closer to the jazz that Fred and Maceo would play throughout the 90’s, particularly Fred. Fans of these horn players should definitely get this and the other JB Horns albums, as they tend to get a little funkier here than on their own later solo stuff. But be aware: this is not a hardcore funk album like their 60’s and 70’s stuff. If you’re not a fan of jazz, there may be huge sections of the album that you won’t like. But definitely check out the first four tracks–those are the funkiest.

PeeWee01“Sweet & Tangy” is a superfunky tune, with a funked-up guitar and bass driving along the groove. There are several great guitar solos and a horn line that hooks you immediately and takes you for a ride. The song’s title is quite apt. “Bumpin'” has a cool doubled-up guitar/bass intro that goes into the background but keep driving the song. The horns then rip shit up, that’s the best way to describe it. “Step On Your Watch” is a hilarious dance song with inspired singing from Fred. It also has those great Rubber Band-ish horn bursts. “Mother’s Kitchen” has some compelling chord progressions, pushing along a sense of urgency. Pee Wee is dominant and aggressive here, with Maceo & Fred taking mellower solos. “Everywhere Is…” is a mellow piece, going straight to a horn solo focus. “Strut” has some very ordinary rhythms but nice horn interaction. “We’re Rolling” is most notable for the interesting use of dissonance towards the end by the horns. “Let’s Play House” is a slow, hot funker with some doubled-up horn lines that create some excellent tension. “Blues A La LS” is a blues/jazz sax showcase for Pee Wee. “Frontal System” and “Slipstream” are both mellow, jazzy tunes. (Robert Clough)

Bryan Bassett (guitar)
Bob Greenlee (bass)
Dwight Champagne (vocals)
Pee Wee Ellis (saxophone, vocals)
Yvonne Jackson (vocals)
Ernie Lancaster (guitar)
Maceo Parker (saxophone, vocals)
Jim Payne (drums)
Mark Puricelli (keyboards)
Fred Wesley (trombone, vocals)
01. Sweet And Tangy (Ellis/Parker/Wesley/Payne/Greenlee) 4.55
02. Bumpin’ )Wesley) 3.14
03. Step On Your Watch, Part II (Payne/Wesley/Jaffe/Anderson) 3.25
04. Mother’s Kitchen (Ellis/Parker/Wesley/Payne/Greenlee) 5.56
05. Everywhere Is Out Of Town (Ellis/Parker/Wesley/Payne/Greenlee) 4.58
06. Strut (Ellis) 4.07
07. We’re Rollin’ (Wesley) 4.30
08. Let’s Play House (Ellis/Parker/Wesley/Payne/Greenlee) 3.55
09. Blues A’ La L.S. (Ellis/Parker/Wesley/Payne/Greenlee) 5.15
10. Frontal System (Ellis/Parker/Wesley/Payne/Greenlee) 5.21
11. Slipstream (Puricelli) 5.05


Candy Dulfer – Saxuality (1990)

FrontCover1Dutch smooth jazz saxophonist Candy Dulfer’s debut album, 1990’s Saxuality, made a splash both critically and commercially upon its release and helped propel her to global stardom. The daughter of saxophonist Hans Dulfer, Candy Dulfer had performed since she was an adolescent and by her early twenties was opening for Madonna and Prince. Saxuality builds upon these experiences with productions from multi-instrumentalist Ulco Bed that are equal parts Prince, David Sanborn, and ’80s Miles Davis. Although Dulfer’s slick approach here fits squarely in the pop-jazz vein, she was inspired early on in her career by such players as Sonny Rollins and Maceo Parker. Consequently, these influences help make Saxuality a more funky and engaging listen than many similar albums of the time. While not exactly innovative, Bed’s mix of programmed beats and synths next to actual instruments was fairly inspired and the album works as a bridge between the club-oriented acid jazz coming out of Europe in the late ’80s and the radio-friendly smooth jazz of American artists like George Benson and Spyro Gyra. Not only did Saxuality perform well for Dulfer, selling well over a million copies worldwide, but it also garnered a Grammy Award nomination for Best Contemporary Jazz Album. ( by Matt Collar)


Ulco Bed (guitar, keyboards, bass, drum programming, vocals)
Candy Dulfer (saxophone, vocals. keyboards)
Fred Anindjola (keyboards on 08.)
Patricia Balrak (background vocals on 10.)
Franklin Batta (vocals on 09.)
Bobby Van De Bergh (keyboards on 09. + 10.)
Ben Herman (saxophone on 09.)
Wies Ingwersen (background vocals on 05. + 10.)
Hugh Kanza (background vocals on 10.)
Martino Latupeirissa (percussion on 07., 08., 09.)
Edwin Rath (drums on 03., 08.)
Michel Van Schie (bass on 05., 06., 09., 10.)
Dimitri Veltkamp (bass on 03., 07., 08.)

01. Pee Wee (Bed) 3.45
02. Saxuality (Bed/Dulfer) 4.27
03. So What (Davis) 4.54
04. Jazzid (Bed/Dulfer) 4.21
05. Heavenly City (Bed/Dulfer) 6.03
06. Donja (Bed) 5.17
07. There Goes The Neighbourhood (Bed) 3.55
08. Mr. Lee (Bed) 4.52
09. Get The Funk (Bed) 4.16
10. Home Is Not A House H.F.Dulfer/Batta) 4.10


Raphael Kubelik – My Country (Smetana) (1990)

FrontCover1This CD preserves a remarkable concert that marked the return of Rafael Kubelik to Czechoslovakia after an absence of 41 years. The conductor was in ill health, and had been some time. In fact, just after he returned to his native land in 1989, Maestro Kubelik fell seriously ill and it seemed that would die. But he miraculously recovered and conducted this concert on May 12, 1990.

My Country is a work that was very dear to Maestro Kubelik, and one he conducted and recorded it on many occasions. This recording is certainly among the best. From beginning to end there is a sense of occasion, a true celebration of the patriotism that lies behind the music Smetena wrote. There is a passion to the playing by the Czech Philharmonic that truly brings out the poetry and fire in this music, to say nothing of the emotion underlying this performance. The audience is incredibly silent during the performance, as if stunned into silence. The only applause comes at the end of Blanik.
So, even if you already have a recording of Ma Vlast, this one should also be in your collection.

Smetana’s symphonic poem cycle “Ma Vlast” (My Fatherland) based on six movements which, the second is ever-famous “Moldau”. This cycle (as in name) tells about Czechoslovakia’s historic lands and legends. As you know, Moldau is the famous river.

The Vltava PragueThe Vltava in Prague

The other movements are:
1. Vysherad is the castle which protect the capital Prague in 13th century.

3. Sarka is the woman-hero who was lived in 13th century. She was fighted with Frenchs and but their general was fall in love to Sarka. So, she (with her charm) was deceived and then she invited the some of Frenchs for drink wine. Then, all of them (except Sarka) gets drunk and Sarka, secretly was added a poison which make them sleepy. So, all of them sleeps, and then Sarka calls her Czech army with her horn. And gradullay they comes, and all of them kills Frenchs (with their general), while they’re sleeping!

5. Tabor is the army of the country and then 6. Blanik is the contiuation of Tabor. Blanik is the mountain which, the army’s shelter, while they’re waiting the “war alarm”. But, this movement ends with a triumphal finale, which includes the main “Vysherad” and “God’s Warriors” chorale. This work is very succesful example of patriotic music and it is to affect nationalism.

This is the final concert of Rafael Kubelik and he conducted this in his 86th age!
He was reurned in this year after his full succesful years in all Europe and USA in 1940-80’s. “My Fatherland” indeed, absolutely…

Czech Philharmonica Orchestra conducted by Raphael Kubelik

01. Vyschrad /Smetana) 15.40
02. Vlatava (Semetana) 11.35
03. Sarka (Smetana) 9.43
04. Zceskych luhu a hajo (Smetana) 13.09
05. Tabor (Smetana) 12.39
06. Blanik (Smetana) 14.13


Edgar Winter & Rick Derringer – Live In Japan (1990)

FrontCover1Edgar Winter and Rick Derringer knowing each other since the early sventies and both share an extreme passion for the Blues.

Nevertheless, both men have found their own, individual ways of expressing their passion.

This is a truly memorable record and a great chance to hear two real legends in action. The record has a mix of favourites for both of the guys and in particular there is a really excellent version of Winter’s Frankenstein.

Derringer is on top form and must be one of the most underrated guitarists around. Great fun – a must.

Rick Derringer (guitar, vocals)
Kevin Hupp (drums, vocals)
C,P. Roth (keyboards, vocals)
Charlie Torres (bass, vocals)
Edgar Winter (saxophone, keyboards, percussion, vocals)

01. Introduction 1.50.
02. Keep Playin´ That Rock N Roll (Winter) 3.54
03. Teenager Love Affair (Derringer)
04. Free Ride (Hartman) 3.40
05. Fly Away (Winter/Lacroix) 4.04
06. Blood From A Stone (Derringer) 8.03
07. Under Cover Man (Winter) 4.19
08. Jumo, Jumo, Jumo (Derringer)  7.17
09. Hang On Sloopy (Rujssell/Farrel) 5.46
10. Against The Law (Winter) 4.25
11. I Play Guitar (Derringer/Sloman) 4.29
12. Rock And Roll Hoochie Koo (Derringer) 7.06
13. Frankenstein (Winter) 14.26


Robert Cray – Midnight Stroll (1990)

FrontCover1Robert Cray adds a bit more soul to the mix on this album, which features the Memphis Horns most prominently. Most of the songs are Cray doing what Cray does best–slow, soulful, done-me-wrong (or, alternatively, I-done-wrong) songs chock full of great guitar. No complaints there, and when he adds a bit of vocal growl here and there, as on the album opener “The Forecast (Calls for Pain)” (also featuring some excellent bass from Richard Cousins), and the slow shuffle “Holdin’ Court,” it keeps things interesting. This album indicates a slight shift in Cray’s direction; although he’s always included a touch of soul in his blues, here it’s more pronounced than before, a tendency he continued in subsequent recordings. (by Genevieve Williams)

If you are a Robert Cray fan and you don’t own this CD, shame on you!! This disc represents Cray’s blues/soul/funk hybrid at its most refined and well executed. The recordings that preceded this one were excellent, but something was missing. The records which came afterwards are great but are also too smooth and overproduced. Midnight Stroll marks the pinnacle for Cray, it manages to be tough, smooth, edgy, humorous, mean and loving all at the same time, quite an achievement! The songwriting is brilliant, and the disc tells a story, which any great recording should. There is not a throwaway tune on here, in fact each tune is a tour de force in songwriting and muscianship. Finally the horns add an excellent touch for the first time on a Cray record.(by an amazon customer)

Richard Cousins (bass)
Robert Cray (guitar, vocals)
Kevin Hayes (drums, percussion)
Tim Kaihatsu (guitar)
Jimmy Pugh (keyboards)
The Memphis Horns:
Wayne Jackson (trumpet, trombone)
Andrew Love (saxophone)

01. The Forecast (Calls for Pain) (Plenn/Walker) 4.00
02. These Things (Cray) 4.55
03. My Problem (Cray) 4.41
04. Labor Of Love (Kaihatsu) 3.56
05. Bouncin’ Back (Walker) 4.05
06. Consequences (B.Hayes/K.Hayes/Nogler) 4.24
07. The Things You Do To Me (Cray) 4.44
08. Walk Around Time (Hayes/Pugh/Washington) 4.18
09. Move A Mountain (Cray/Kaihatsu) 4.07
10. Holdin’ Court (Cousins/Hayes) 3.06
11. Midnight Stroll (Cray/Walker) 5.49


Walter Trout – Prisoner Of A Dream (1990)

WalterTroutPrisonerFCAfter two decades as a side man for the likes of John Mayall and John Lee Hooker, Walter Trout finally signed a recording contract of his own. His early albums, including this one, were distributed only in Europe and not in his native America. Trout has said in interviews that he feels that he could have done a better job on them but I cannot agree with him. This album approaches perfection as an exposition of magnificent electric blues.
The CD, contains eleven tracks, including one bonus track, of the most powerful blues rock that I have ever heard. The opening track, “Prisoner of a Dream” is one of my favourite electric blues/rock songs of all time. It combines great guitar solos and a strong bass line all topped with terrific vocals and lyrics. This song really has everything that you could ask for in this type of music.
The CD continues with a mixture of styles of from the light-hearted “Victor the Cajun” to slower laments and a traditional twelve bar format in the song “False Alarm” which packs the punch of a moon rocket.
Just when you think that the CD cannot get any better you get to track eight and along comes “Say Goodbye to the Blues” which eclipses not just what came before on this CD but also almost everything else that I have ever heard.
If you like guitar music by the likes of Eric Clapton then you will love this CD it is on my list of essential rock music and it is a great introduction to the work of Walter Trout. (by John Petr O´Connor)

Daniel Abrams (keyboards)
Klas Anderhell (drums)
Jimmy Trapp (bass)
Walter Trout (guitar, vocals)
Jacob Anderson (percussion)
Big Ed Bar (background vocals)
Lise Dandernell (background vocals)
Michael Elo (background vocals)
Ole Hansen (trumpet)
Kjeld Ipsen (trombone)
Jens Haack Olesen (saxophone)
Bob Ricketts (saxophone)

01. Prisoner Of A Dream (Trout) 5.44
02. The Love That We Once Knew (Trout) 5.04
03. Sweet As A Flower (Trout/Trapp) 4.19
04. Love In Vain (Johnson) 5.57
05. Victor The Cajun (Trout/Trapp/Abrams) 4.20
06. Girl From The North Country (Dylan) 4.57
07. False Alarm (Trout) 4.12
08. Say Goodbye To The Blues (Trout/Jahningen) 7.53
09. You’re The One (Trout) 3.38
10. Earrings On The Table (Trout) 1.44
11. Tribute To Muddy Waters (Trout) 6.02