Now out in complete, remastered and legal form, ‘Poppin’ in Paris: Live at L’Olympia 1972′ should serve to get Cannonball Adderley’s final era the attention it deserves.

‘Black Messiah’ highlights Cannonball Adderley’s more adventuresome side.

A new prog-rock project from William Shatner includes final recordings with the late George Duke.

Months before Miles Davis entered the studio with an impressive assemblage of jazz musicians to create his signature jazz-rock masterwork Bitches Brew, a fringe rock star and an little-known jazz violinist from France got together to make some proto-fusion You May Also Like: When Jean Luc Ponty Made a TriumphantRead More

“I love making albums!” declared super session guitar player Lee Ritenour, and he continues: “For me, creating a new project from beginning to end, is one of the most musically and spiritually rewarding things that I do in my life.” You May Also Like: Remembering David Sanborn: “Ramblin’” from ‘Upfront’Read More

I know what you’re thinking – three basses … another Spinal Tap opus? Nope, sorry. If it’s not Spinal Tap, then next to the drum solo, the bass solo is just about the most reviled thing at concerts You May Also Like: Four Jacks and a Jill, “Master Jack” (1968):Read More

by S. Victor Aaron If someone were to ask me who was the best alto sax player ever, I couldn’t at least not heavily consider Cannonball Adderley, the Miles Davis sideman. He had both technique and soul by the sackful. Adderley churned out some fine ones even without the PrinceRead More

by S. Victor Aaron Recently I revisited an album that wore our my cassette player during late ’86-early ’87: Tutu by Miles Davis. It typically takes a long time to get the right perspective on a Miles record, he was often took a direction in music before his listeners wereRead More