They say that reincarnation is making a comeback. If that is so, it has never been more true than in the new CD by the Onesko, Bogert and Ceo Project – aptly called 'Big Electric Cream Jam.' These three blues-rock virtuosos channel the feeling, emotional content, and musical virtuosity of Eric Clapton, Jack Bruce, and Ginger Baker, respectively, and, believe it or not, take the music up a notch. Most of all, they capture the live excitement and power of the original trio and do it justice – no mean feat! Overall, the inspired playing on this CD makes one not only appreciate Cream on a deeper level, but establishes Onesko, Bogert and Ceo, three veteran players in their own right, in a category of their own whose musical chops show the wisdom of their years, with a debt, no doubt, to the original trio…
Wynton Marsalis has been described as the most outstanding jazz musician and trumpeter of his generation, as one of the world’s top classical trumpeters, as a big band leader in the tradition of Duke Ellington, a brilliant composer, a devoted advocate for the Arts and a tireless and inspiring educator. He carries these distinctions well. His life is a portrait of discipline, dedication, sacrifice, and creative accomplishment.
This average effort from Sonny Rollins and his regular sextet is most notable for two numbers ("For All We Know" and "I Should Care") that find Branford Marsalis joining Rollins in a quintet with pianist Tommy Flanagan. Unfortunately Marsalis makes the fatal error of trying to imitate Rollins (instead of playing in his own musical personality) and he gets slaughtered. Much better are Rollins's romps on "Tennessee Waltz" and "Falling in Love with Love."
A brilliant set of live Snarky Puppy, in all their tightly grooving, though boundlessly creative jazzy soul glory – and it's as great as anything we've heard or seen from them to date! The "Here" of We Like It Here is Utrecht, Netherlands – where they recorded it live (with no overdubs. . .which is incredible, given the deft musicianship) – over 4 days at Kytopia Studios, complete with a studio audience. It's amazing stuff, bringing in even more diverse influences than before, including some kinda proggy funk, which suits the group and the live setting very well. The package includes the set on both CD and DVD, and the titles include "Shofukukan", "What About Me" "Sleeper" "Jambone", "Kite", "Outlier", "Tio Macaco" and "Lingus".
There is a story behind this concert – from the liner notes:
"In the 1940s Esquire magazine was one of the most popular news magazines of the American East Coast. Every year it organized a poll among its readers, who voted for the top musicians of the last year. Then all the winners were invited for a great concert which was a major event of New York's nightlife. This is the recording of the first Esquire Jazz Concert. You find, joined for one night, the most popular American Jazz musicians in a night-long jam session."
When trombonist/producer Wayne Henderson, pianist/keyboardist Joe Sample, sax-man Wilton Felder, and drummer Stix Hooper changed their name from the Jazz Crusaders to the Crusaders back in 1971, it signaled a more R&B-minded direction for the group – they were always funky, but in the '70s, they became even funkier. And so, the names the Crusaders and the Jazz Crusaders came to stand for two different things – if the Jazz Crusaders were synonymous with a funky yet acoustic-oriented approach to hard bop (à la Art Blakey's Jazz Messengers), the Crusaders were about electric-oriented jazz-funk and fusion. In 1995, Henderson (who left the Crusaders in 1975) resurrected the name the Jazz Crusaders and produced Happy Again for the small, Los Angeles-based Sin-drome Records.
Excellent addition to any prog rock music collection
I like Di Meola's music and trying to see and hear him live at any possibility (to be honest, during last some years he is very regular in our side of Europe).And I like his different music - perfect early electric jazz-fusion albums, and later world -fusion with "World Sinfonia".
This album is real transition one. After some excellent electric fusion albums and one not very successful "Splendido Hotel" trying to change things, Al Di Meola returned back to his roots. But only in part.