Master of the Art is the studio companion to the album Night Music, also reissued on Wounded Bird records from the original Elektra Musician masters, with the same band as on the live date, but with completely different songs and a short interview from the trumpeter. At a time when Shaw was one of the most consistently brilliant trumpeter's of the modern era, this effort did nothing to hurt that estimable reputation. Vibraphonist Bobby Hutcherson and trombonist Steve Turre being on the front line made for an arresting sound, while the emerging pianist Mulgrew Miller was asserting himself as a major force, with drummer Stafford James and drummer Tony Reedus sounding like they had worked together for decades. The four tracks include here are quite lengthy, allowing for stretched melody lines and beefy solos, showing the inventiveness and stamina of this mighty sextet.
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.
Make no mistake about it….. Of all the bands – let not call them side projects, as they are worth more than that – Ginger has been in whilst in The Wildhearts and without, MV has long held the suspicion that Hey! Hello! is the one he liked best. Originally emerging as part of a three album Pledge project a few years back, the shimmering, sunny completely unashamed rock n roll vibe of the record was at odds with the lyrics (in the way that Ginger’s best songwriting always was) and it spawned the quite fantastic “How I Survived The Punk Rock Wars”. All was set, then, for album number two.
Released just six months after Gypsy '66, Gabor Szabo's second album as a leader (after leaving a sublime Chico Hamilton band that also included Charles Lloyd) remains one of his finest moments in the studio. Szabo utilized the tales of bassist Ron Carter and his old boss Hamilton on drums, as well as a pair of fine Latin percussionists – Willie Bobo and Victor Pantoja. The groove quotient was very high on Spellbinder, maybe even higher than on later albums such as Jazz Raga or Sorcerer. This set is all Szabo, drifting, wafting, and soaring above all that rhythm; the track selection provides ample space for Szabo's highly individualized Eastern modal style to shine. The set opens with the title track, a snaky guitar masterpiece with plenty of droning strings and pinched chords that are followed by open string flourishes.