A year after his auspicious debut, Pat Metheny returned to the ECM label with a lineup that’s very close to what would become the first incarnation of the Pat Metheny Group.
I once read that the great acoustic bassist Ray Brown had appeared on more records than any other jazz sideman. If Will Lee doesn’t hold that distinction among electric bassists, than I’m at a loss as to who that might be.
This long-promised long player from the Hickoids has taken on a kind of mythical quality over the last quarter century or so. Hairy Chafin’ Ape Suit delivers on every broken promise
So my friend Bob says to me, “You ever accidentally buy an album that you already owned?” Yes!
It stands to reason that jazz singer Lorraine Feather’s latest record would make hay out of the idea of connectivity. She is, after all, one of the most candidly original vocalists going
It starts out as Bach, and then it becomes something entirely guttural, midnight funky, so completely dangerous. And that’s all before anybody but Garth Hudson does a thing on “Chest Fever.”
With the Grammy-winning debut Revelator and the double-disc modern-day Live At Fillmore East road epic Everybody’s Talkin’, the Tedeschi Trucks Band quickly established themselves as arguably the best seventies band four decades hence
Having turned the pop universe on its ear with sun, surf and car anthems, the Beach Boys staged a daring detour in 1966 and began exploring other sonic realms.
There’s a sense of homecoming, both in the musical selection and in the easy collaborative verve, about Carlos Santana and John McLaughlin’s Invitation to Illumination: Live at Montreux.
Mike Keneally’s “Popes” saunters in like an amiable friend, then proceeds to begin telling ever more complex and entertaining tales — making for an intriguing introduction to the forthcoming You Must Be This Tall.