GRAMMY-nominated guitar superstar Joe Bonamassa announces today his brand new solo album Different Shades Of Blue (J&R Adventures)to be released September 23, 2014. This is Bonamassa’s first studio album in two years and the first album of his career to feature all original material. The result is a record with more of an experimental edge than previous Bonamassa records. It’s a blues record that explores the outer reaches and the many different sounds that shape the genre.
The Johnny Hodges-Wild Bill Davis Project, Vol. 4. BLUE HODGE (LP). This out-of-print LP (which has not yet been reissued on CD) is the earliest of several matchups between altoist Johnny Hodges and organist Wild Bill Davis. With the assistance of Les Spann on guitar and flute, bassist Sam Jones and drummer Louis Hayes, Hodges and Davis mostly stick to fresh material, including three then-recent originals by Gary McFarland. Highlights include "Azure Te," "It Shouldn't Happen to a Dream" and "There Is No Greater Love," in addition to some swinging blues.
Blue Feather was a Dutch band, which accomplished international recognition with their hit single 'Let's Funk Tonight', a strong funk track also featured on their first album entitled 'Feather Funk' from 1981 on Mercury Records. The first album was an organic mix of jazz, fusion and funk, unlike the second LP 'Shadows Of The Night' (originally released in 1985) which is leaning more to the synthetic sound which was popular at the time. Both albums are hard to find, especially 'Shadows Of The Night', for which collectors pay top prices. Fortunately that isn't necessary anymore thanks to this wonderful re-issue…
First LP by this BELGIAN progressive soul-jazz band featuring members of Plus, El Chicles and Chakachas, recorded 1970 in Brussels and originally released on the “Polydor” label in Belgium and Canada only…
Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.
This concert was originally intended to be a video release showcasing Stanley Jordan in acoustic, electric and solo settings. His tight rhythm section – including Jeff "Tain" Watts on drums, Kenny Kirkland on piano and Charnett Moffett on bass – drives his complex and moving guitar playing through the standout acoustic tracks "Impressions" and "Cousin Mary," both by John Coltrane. But concert highlights are Jordan's two solo pieces, the bluesy "Willow Weep for Me" and classic show tune "Over the Rainbow," where he performs with an exhilarating freedom and virtuosity. Jordan resists the temptation to slip into the then-ubiquitous smooth jazz sound, making this a timeless release.
This release is a change of pace for Eliane Elias. Instead of interpreting Brazilian songs, fusion, or modern bop, Elias shows off her classical technique on a set of acoustic solos plus six duets with Herbie Hancock. She really digs into the standards (sometimes sounding a little like Keith Jarrett) and creates some fairly free and unexpected ideas while putting the accent on lyricism. Some of the music is introspective, and there are wandering sections, but the net results are logical and enjoyable. As for the duets, Elias and Hancock mostly stay out of each other's way, which is an accomplishment when one considers that the four-part "Messages" is a series of free improvisations. There are playful spots (particularly on the adventurous ten-minute rendition of "The Way You Look Tonight") and, since Elias knows Hancock's style well (and was clearly thrilled to have him on the date), their collaborations work quite well.
Most John Patton albums are hard-driving, edgy soul-jazz and funk, and the title of Accent on the Blues makes the record seem like it would be no different than his other sessions. Of course, that isn't the case. Accent on the Blues is among the most atmospheric music Patton has ever made. While it stops short of being free, it's hardly funky soul-jazz, and that may disappoint some fans of his rip-roaring style. Nevertheless, the album is a rewarding listen, primarliy because it displays a more reflective side of his talent, demonstrating that he can hold his own among the likes of guitarist James Blood Ulmer and saxophonist Marvin Cabell.