One Track Mind: Funkadelic "Maggot Brain" (1971)

Next to Sly and the Family Stone and James Brown there might not be another act as influential to funk music than P-Funk, the shorthand name for George Clinton’s twin ensembles Parliament (horns) and Funkadelic (no horns). In fact, they were cited in my last OTM as an influence to Jamiroquai, but they’re likely to have directly or indirectly inspiredRead More

Robin Eubanks & EB3 – Live, Vol. 1 (2007)

by S. Victor Aaron Since the mid-sixties, jazz musicians have sought to combine electronic instruments with jazz to create something new and fresh sounding. The most obvious result of this mix is called fusion, but others have managed to do it taking different approaches that uses these instruments to actually expand their musicianship, instead of watering it down. The latestRead More

One Track Mind: Jamiroquai, "Just Another Story" (1994)

by Pico When I was trying to come up with a list of guilty pleasures for my recent confession piece, there were a few more entries I considered adding. But in the end, these acts had just a bit too much integrity in their music to justify such a dubious distinction. One of those is that retro jazz-funk-pop outfit Jamiroquai.Read More

George Gershwin – Gershwin Performs Gershwin: Rare Recordings (1931-35)

NICK DERISO: Dug up from some old dusty box in brother Ira’s attic, this scratchy, other-worldly epiphany issued by BMG is remarkable for its ethereal emotion, ageless grace and surprising reliance on (gasp!) commercialism to push art. The first 12 tracks are acetates from “Music by Gershwin,” 15-minute radio programs recorded in 1934 to help underwrite George Gershwin’s signature folkRead More

Forgotten series: Various artists – Coahoma the Blues (1990)

NICK DERISO: A trip through the Mississippi Delta this week had me thinking about the old Rooster Blues Records label. Located from 1988-98 inside the Delta Record Mart on Sunflower Avenue in Clarksdale, Rooser Blues releases can still be found in a riverboat-shaped downtown building called Dela’s Stackhouse. “Coahoma the Blues” (named after the county where Clarksdale is located) wasRead More

Joe Henderson – Power To The People (1969)

It’s hard to delve too much into 1960s jazz without coming across tenorman’s Joe Henderson’s name both as a leader and a sideman. And although I’ve managed to avoid devoting this space for a full fledged review of a selection out his rich catalog until now, he’s gotten plenty of mention from me. He was there on pivotal jazz releasesRead More

Guilty pleasures: Harry Connick Jr. – Blue Light, Red Light (1991)

NICK DERISO: This release came in the wake of an ambitious year that saw Connick issue both a big-band swing record and a three-piece jumping jazz record without vocals. Not only do I not have to tell you which one sold, I don’t have to tell you which style Harry — the crown prince of the New Nostalgia — pickedRead More

One Track Mind: Allan Holdsworth, "The Drums Were Yellow" (2000)

photo: Genevieve Ruocco Of all the rock or fusion guitarists out there, there’s none out there who possesses the most pleasing tone, amazing technique and exceptional phrasing all wrapped up into one than the Brit Allan Holdsworth. He’s is a guitarist’s guitarist, having influenced everyone from Eddie Van Halen to Greg Howe. Holdsworth had been a journeyman for many years,Read More

Guilty pleasures: Gino Vannelli, Michael Franks, Hall & Oates, Jeff Lorber

by S. Victor Aaron Guilty pleasures. Admit it, we’ve all got ’em when it comes to music. For some time, now, I’ve been meaning to put a list together for everyone’s amusement. I was reminded of that half-serious promise I made to myself when I came across Rolling Stone Magazine’s back-handed compliment piece listing 25 “undisputed” guilty pleasure bands. Yeah,Read More

Forgotten series: Sir Charles Thompson – Takin’ Off (1947)

The hard-punching Charles Thompson is best known, if he’s known at all now, as a deep-background member of the Coleman Hawkins/Howard McGhee band from this period. On “Takin’ Off,” however, Thompson’s frisky rhythm and round-house experimentation are a constant reminder of just how underappreciated he remains. Thompson wasn’t simply a link between the swing era and bebop, having first playedRead More