Chris Standring offers his tenth solo recording with a dazzling soul infused groove-laden jazz set. Digging even deeper into creative territory, Standring continues to stand out from the herd and blaze new trails in the contemporary jazz world. Celebrating the remarkable milestone of album number Ten, an ever evolving catalog that includes the 2011 re-issue of his 1989 first indie recording Main Course (The Early Tapes) - he's still got the cool, trippy sonics happening via a colorful fusing of live instrument and DJ sounds. But this time, while keeping his melodies, rhythms and arrangements as infectious as ever, the British born, L.A. based hit maker fashions them as the vehicle for him to unleash his deeper chops as a powerhouse jazz player and improviser. Soloing with a wild abandon he's been holding back way too long, the longtime Benedetto endorsee introduces us to the latest love of his musical life, his new, gorgeous white Bambino archtop jazz guitar. Perfect combination? Sounds like a perfect Ten.
All six DVDs from the Ultimate Drum Lesson series including the following: Fills & Chops, Hand Technique and Rudiments, Advanced Independence & Polyrhythms, Gospel & R&B, Prog Rock, Double Bass.
A saxophonist of a different order—part griot, theorist, numerologist, and incessant seeker of knowledge— Steve Coleman continues to forge new paths in creative music. He's influenced more of today's forward thinking artists than almost anyone in recent memory with his proven M-Base concepts. His critically acclaimed 2010 recording, Harvesting Semblances and Affinities (Pi Recordings), was a welcome return to the spotlight, and the follow-up, The Mancy of Sound , is even more rewarding.
The cover's cutout silhouette of these guitar-slinging soul/blues women is a succinct visual overview of the rather ambiguous contents within. Recorded in preparation for 2007's Blues Caravan tour featuring journeywomen singer/songwriters Sue Foley and Deborah Coleman along with the comparatively fresh-faced Roxanne Potvin (whose first widely distributed set was released earlier the same year), the disc seems more like a respectable concert souvenir than an actual collaborative affair. The 11 tracks break down into three solo cuts from each participant, one shared and joyous effort on the closing cover of a Chess oldie, "In the Basement," and a crackling instrumental dominated by Foley's always impressive guitar. There are many fine moments here, especially as Coleman lays into an easy funk groove on James Brown's "Talking Loud" and on Potvin's emotionally charged ballad "Strong Enough to Hold You".
Deborah Coleman's Blind Pig debut, I Can't Lose, is a powerful album of great ballads and blues stories, and of course, great guitar playing and singing. Her version of Billie Holiday's "Fine and Mellow" got her a lot of airplay on college and public radio stations around the U.S.