Audiences Will Reflect Fondly On Foster’s Latest LP

Posted on August 28, 2022 by philspicks

Early this year, renowned jazz drummer Al Foster celebrated a big milestone when he celebrated his 79^th birthday. That was back in January. Now as the year slowly inches toward its end, Foster has another reason to celebrate. That reason is his brand-new album, Reflections. His second for Smoke Sessions Records and his seventh as a bandleader, the 11-song record is an enjoyable collection of originals and covers. The covers pay tribute to the likes of Miles Davis, Sonny Rollins, and Joe Henderson (all of whom he has worked with during his expansive career) while the originals offer their own share of engagement and entertainment. Among the most notable of the covers is that of Rollins’ ‘Pent-up House,’ which comes early in the album’s hour-plus run. To be precise, the album clocks in at one hour, seven minutes. Among the most notable of the album’s originals is ‘Six,’ which comes just at the album’s midpoint. It will be examined a little later. Another notable addition to the album is its finale, ‘Monk’s Bossa,’ which obviously pays tribute to another legendary jazz artist, Thelonius Monk. All three songs noted here are key in their own way to the album’s presentation. When they are considered alongside the rest of the album’s entries, the whole becomes a thoroughly enjoyable offering that every jazz fan will find enjoyable.

Reflections, the latest album from famed drummer Al Foster, is an enjoyable presentation that any jazz aficionado will find enjoyable. That is proven throughout its blend of originals and covers. Among the most notable of the record’s covers is that of Sonny Rollins’ ‘Pent-Up House.’ Rollins’ original was featured as part of his 1956 album, Sonny Rollins Plus 4. Foster and his fellow musicians – Nicholas Payton (trumpet), Chris Potter (saxophone), Kevin Hays (piano), and Vicente Archer (bass) – stay true to the source material here. Right from the song’s outset, Payton leads the way with his light but still energetic performance. Given, Rollins’ original tops the eight-minute mark while Foster and company’s take on the song is much shorter at five minutes, five seconds, but it still pays the fullest possible tribute to the work of Rollins and his then band mates. Potter’s work on saxophone takes the place of the solos from the original and does so quite well at that. There are also some solos in the original performed by Foster’s fellow famed drummer Max Roach that are omitted in the updated rendition, but that is beside the point. This group’s take will still leave listeners fulfilled by its finale. It is just as enjoyable in its own right as the original song.

Among the most notable of the album’s originals is ‘Six,’ which serves as part of the record’s midpoint. Composed by Payton, the eight-minute-plus composition starts out in a very subtle, contemplative fashion before giving way to a more vintage funk style approach. That throwback style is evident through the use of the horns and keyboards. Foster’s equally funky time keeping pairs with those instruments to really give the song the sense of a work from the likes of Stevie Wonder. Considering the amount of information in the album’s expansive liner notes, it is difficult to know for certain if there is any discussion on the song, though many of the other songs are discussed. That aside, the song is still such an enjoyable work. The pairing of Payton and Potter alongside Hays (whose work on the keyboards really adds even more to that feeling) really makes the composition all the richer. It stands out so starkly from any of the album’s other works, original and otherwise and it just one more of the notable additions to the album. ‘Monk’s Bossa,’ which serves as the album’s finale, is one more interesting original featured as part of the album’s body.

‘Monk’s Bossa’ is an interesting work what with its sort of lounge style presentation. Hays leads the way with his work on the keys here while Foster’s light touches on the toms expertly compliments that work. That is because his playing is so gentle. He adds just enough, making sure to let Hays have his moment here. Potter and Payton each get their own moments to shine, too, making the most of their performances, too. The whole of the performances makes this song just as enjoyable as any other in the record. When it is considered along with the other songs examined here and with the rest of the album’s entries, the whole makes Foster’s latest album engaging and entertaining and another welcome addition to this year’s field of new jazz albums.

Al Foster’s newly released album, Reflections, is an aptly titled record that so many jazz fans will find enjoyable. That is proven throughout its hour-plus body through its originals and covers alike. The songs examined here do well in their own right to make that clear. When they are considered with the rest of the album’s entries, the whole makes Reflections another welcome addition to this year’s field of new jazz albums.

Reflections is available now through Smoke Sessions Records. More information on this and other titles from Smoke Sessions Records is available at:

Website: https://www.smokesessionsrecords.com

Facebook: https://www.facebook.com/SmokeSessionsRecords

Twitter: https://twitter.com/smokejazzclub

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

M.I.G. Music’s Re-Issue Of Williams’ ‘Play Or Die’ Is A Welcome Addition To 2022’s Field Of New Re-Issues

Posted on July 19, 2022 by philspicks

Courtesy: M.I.G. Music GmbH/Moosicus Records

Tony Williams is one of the most well-known figures in the world of jazz and drumming. His talent earned him a spot working with fellow jazz legend Miles David early in his life in the 1960s. Following his seven-year run with the group, he would go on to do plenty of work with his own group of musicians and a career that resulted in the release of so many timeless records, including his groundbreaking jazz fusion record, Emergency! (1969), Million Dollar Legs (1976), and his even rarer record, Play or Die (1980). That record will see the light of day Friday, for the first time since its original release, through M.I.G. Music GmbH and Moosicus Records. The record is a work that every jazz fusion fan will appreciate, especially being that it will allegedly mark the first time it has ever been released on CD and digital platforms. “Beach Ball Bingo’ is just one of the songs that serves to make that clear. ‘Para Oriente’ is another way in which it shows how much it has to offer. It will be discussed a little later. ‘Jam Tune,’ which serves in sort, as the record’s midpoint, is yet another notable addition to the record. It adds its own share of interest to the presentation and will also be examined later. Each song noted here is important in its own way to the whole of the album’s presentation. When these songs are considered with the rest of the album’s entries, the whole makes Play or Die a record that most jazz aficionados will enjoy playing.

M.I.G. Music GmbH and Moosicus Records’ forthcoming re-issue of Tony Williams’ 1980 album, Play or Die is a presentation that will appeal to a wide range of audiences. From fans of Williams himself, to those of the jazz fusion realm to more casual jazz fans, the record has something for each audience group beginning with its musical content. From beginning to end, the album’s musical content really holds its own. ‘Beach Ball Bingo,’ the album’s second track (and its longest, clocking in at 11 minutes, 11 seconds) is just one example of this ability of the song to hold its own. It is easily the most unique what with its ABAB format. The arrangement starts with Williams putting his rudimentary skills to use, playing a bunch of paradiddles on the toms before expanding into a decidedly upbeat time keeping. He is joined by Tom Grant (who wrote the liner notes for the album’s re-issue) on keyboard. Grant’s performance is layered, giving audiences two separate lines in one and adding to the song’s energy. Bassist Patrick O’Hearn’s bass line compliments Grant’s performance, adding just enough to the whole along the way to enrich the arrangement even more. As the song progresses, Grant’s subtleties and the control exhibited by Williams fully immerses audiences into the song, making the song not even feel as long as it is, in the best way possible. The whole of that “B” section is bookended by the controlled chaos of Williams’ drumming that opened the song, which then leads back to the keyboard-driven approach of the “B” section once more, again leading to the noted ABAB format. The thing here is that the transition from one “movement” to the next and back to the original is seamless. It keeps listeners fully engaged and entertained right to the end, leaving listeners feeling fulfilled.

On a completely separate note, ‘Para Oriente,’ which is the record’s penultimate entry, is yet another example of how much the record has to offer. Williams, Grant, and O’Hearn work expertly in tandem to bring the composition to life. The trio’s work immediately lends itself to comparison to so many works that the equally legendary and respected composer Vince Guaraldi crafted for the Peanuts TV specials and movies. O’Hearn’s bass line and Grant’s work on keyboard really serve as the foundation for that comparison. Just as interesting is that as the song progresses, that approach gives way to a sound and style that is almost progressive in nature, a la Emerson Lake and Palmer. Yes, that comparison is there. The contrast of those two distinct styles here somehow works even as different as they are from one another. The end result of the whole is a six-and-a-half minute opus that is just as engaging and entertaining as ‘Beach Ball Bingo’ and the rest of the album’s entries.

‘Jam Tune,’ the record’s third track and second longest entry (it clocks in at nine minutes, 43 seconds), is yet another example of what makes the album so interesting. The nearly 10-minute opus stands out because it again does bear some stylistic similarity to works from Weather Report. At the same time though, it also leans more in a nearly prog-rock direction, interestingly enough. Grant’s work here once again serves as the arrangement’s backbone while Williams and O’Hearn build on his work to make the whole so uniquely 80s in its sound and style. The steady, seeming triplet pattern that Williams plays on the toms as he keeps time on the hi-hat pairs with O’Hearn’s bass line to add a nice, subtle accent to the mix. So many TV shows and movies from that era used music that is so stylistically like this work (including the one and only Reading Rainbow) at points. The ability of the composition to tread that line between jazz and prog-rock, and do it so seamlessly makes for so much engagement and entertainment. The subtle use of the cowbell even adds its own touch (and no more cowbell wasn’t needed here, awful pun fully intended). The whole here makes the song its own unique addition to the album that is just as engaging and entertaining as the album’s other entries, including the compositions examined here. When it and those works are considered along with the rest of the record’s entries, the whole makes Play or Die a record that hopefully will get more attention than it did in its original release more than 40 years ago.

M.I.G. Music GmbH and Moosicus Records’ forthcoming re-issue of Tony Williams’ 1980 album, Play or Die is a presentation that will appeal to a wide range of audiences. Whether it be fans of Williams, those of jazz fusion or even those of jazz in general, it offers something for so many listeners. Its appeal is made clear through each of its featured arrangements. That includes the compositions examined here. When those works are considered alongside the two remaining works that make up the album’s five-song body, the whole becomes a work that even being a re-issue, is one that is worth hearing.

Play or Die is scheduled for release Friday. More information on this and other titles from M.I.G. Music GmbH is available at:

Website: https://mig-music.de

Facebook: https://www.facebook.com/migmusic.de

Audiences Will Not Want To Pass Over Marc Johnson’s ‘Overpass’

Posted on November 18, 2021 by philspicks

Late this past August, bassist Marc Johnson released his latest album, Overpass through ECM Records. Not the only bassist to release a solo record this year (Eberhard Weber released his new live recording, Once Upon a Time Live in Avignon this month), Johnson offers audiences a unique presentation in his new eight-song album. That is proven through its covers, originals, and re-worked originals that make up the 43-minute album’s body. Among the most notable of the covers that Johnson takes on here is that of ‘Nardis,’ made most famous by Miles Davis. It will be discussed shortly. The improvised ‘Yin and Yang’ is among the most notable of the originals featured in this record and will be examined a little later. ‘Samurai Fly’ is a unique re-working of another of Johnson’s originals. It will also be discussed later. When it is considered along with the other songs noted here and with the rest of the album’s entries, the whole make Overpass a record over which modernist music fans will not want to pass.

Bassist Marc Johnson’s recently released solo record, Overpass, is an interesting new presentation that jazz and modernist music fans alike will find worth hearing at least once. That is proven through each of its featured works, covers, originals, and re-worked originals alike. The most notable of the featured covers comes in the form of the Miles Davis cover, Nardis. Made most famous by Bill Evans, Davis’ rendition is starkly unlike that of Johnson. Davis’ rendition is so much more upbeat and free in its energy through its full orchestral arrangement. By comparison, Johnson’s take on the song is much more subdued and almost melancholy. Johnson echoes certain accents from the original composition’s piano line, but that is about as close as Johnson gets to the original composition. Even in hearing the rendition made so famous by the Bill Evans Trio (of which Johnson was once a member) is so different from that of Johnson. It is “darker” and “edgier” for lack of better wording here. Having no liner notes to reference in the album’s booklet, one can only assume at what led Johnson to go this route in this rendition. Even information provided to the media about the album offers no explanation from Johnson for the take’s approach. To that end, this take on the classic song is sure to generate plenty of discussion among audiences. That discussion shows how deeply the song will engage audiences. To that end, it is partial proof of what makes Johnson’s new record so interesting and in turn worth hearing. It is just one of the works featured in this record that proves its interest. Johnson’s original, ‘Yin and Yang,’ is another example of what makes the album stand out among its counterparts.

‘Yin and Yang’ is notable in that it is a fully improvised composition. That is pointed out in the noted information provided to the media about the album. Johnson is quoted as saying of the song that he intentionally let each strain resonate and decay before making the next string of notes. The simple approach is so powerful in that it fully embraces the mantra that it is the notes that are not played rather than those that are that matter. The silence between each phrase along with the subdued mood that each phrase creates makes for such a deep emotional impact here. What’s more, the improvised melodies that Johnson states he crafted to go with those other sounds fully conjures thoughts of the “Far East” where the whole concept of yin and yang as a mindset first developed. That is evident through the slow, rich bowings that Johnson uses here. The contrast of the two approaches here really does create its own balance of yin and yang, and in turn makes the song in whole so rich and powerful. It is yet another example of how this record’s collective content makes it so well worth hearing. Johnson’s re-worked version of his own original, ‘Samurai Fly,’ is one more example of what makes Overpass successful.

According to the noted information provided to the media, ‘Samurai Fly’ is a re-working of another song that Johnson had composed during his time with ECM Records, titled ‘Samurai Hee-Haw.’ He had recorded the song with a former group dubbed Bass Desires. Originally crafted more than a decade ago, Johnson’s original bass line is still just as present here as in the original song. Even with the layering of his one instrument here, the steady time keeping of legendary drummer Peter Erskine still echoes so thoroughly interestingly enough. Audiences can hear it in their heads even being absent from the work, in simpler terms. The noted layering of the bass here just as interestingly does its own part to echo the guitar line from the original song. So really, all in all here what audiences get is an updated take of a classic song from Johnson and a group of other musicians that is simply re-titled. It is such a rich work in its own right. Its energy is so infectious along with the arrangement in general. It is in whole, a composition that is just as good as its source material in its unique new approach and sound and yet another example of what makes Overpass successful. When it is considered along with the other songs examined here and with the rest of the album’s offerings, the whole of the album becomes another unique addition to this year’s field of new jazz records from Johnson and from ECM Records.

Marc Johnson’s recently released album, Overpass, is an interesting entry in this year’s field of new jazz albums. That is proven through each of the album’s songs, new, old, and covers alike. Each of the songs examined here does well to make that clear. When the songs examined here are considered along with the rest of the album’s entries, the whole makes Overpass a record over which jazz fans will not want to pass. Yes, that awful pun was intended.

Overpass is available now through ECM Records. More information on the album is available along with all of Marc Johnson’s latest news at https://marcjohnson.net.

Jazz Fans Will Enjoy Rose, Francois’ New Album Whether The Leaves Are New Or On The Ground

Posted on April 23, 2021 by philspicks

Veteran jazz guitarist Dan Rose pianist Claudine Francois’ recently released album New Leaves is an interesting addition to this year’s field of new jazz albums. Released March 5 through Ride Symbol Records alongside the re-issue of Rose’s 2019 covers compilation, Last Night…, the nine-song record is a presentation that will appeal equally to Rose’s established audience base and to jazz fans in general. That is due in no small part to the songs that make up the album’s body. They will be discussed shortly. The liner notes presented in the album’s packaging also plays into that appeal and will be discussed a little later. The album’s production rounds out its most important elements and will also be discussed later. Each item noted here is important in its own way to the whole of the album’s presentation. All things considered, they make this album a positive new offering from Rose and Francois.

Dan Rose and Claudine Francois’ new joint effort, New Leaves is a work that every lover of jazz will agree is well worth hearing. The 47-minute record’s success comes in part through its featured songs. The songs in question are a mix of original compositions and covers. The covers make up the majority of the album’s body, at a total of five songs. The other four songs are originals composed by Rose and Francois. The featured covers are important to note because while they were crafted by relatively well-known figures — Thelonius Monk, Horace Silver, Steve Swallow, Carla Bley, and Mal Waldron – Monk is by far the most well-known of that group. Keeping this in mind, opting for songs that are largely anything but standards once again gives listeners something original. It introduces those listeners to composers and artists (and in turn, songs) of which they likely were otherwise unaware. That is the case even with the notoriety of figures, such as Silver and Swallow. The original compositions, which are rich in their content and performances, juxtapose the noted covers to offer listeners even more reason to remain engaged and entertained throughout the course of the nearly 50-minute recording. That is because of the variety that they collectively offer listeners. The mix of originals and covers here forms a solid foundation for the album. The liner notes that are presented in the album’s packaging build on that foundation, making for their own appeal.

The liner notes that are featured in New Leaves are important because of the background that they offer for the record’s featured original compositions. Listeners will be interested to learn, for instance, ‘Le Desert’ was an original but not necessarily new composition from Francois. She points out of the song that the composition was years old and stemmed from a trip that she took to Africa. The background that Francois offers is brief, but still enough to create more interesting for listeners. The rest of the story will be left for listeners to discover for themselves. On another note, Rose points out of ‘The New Leaf’ and ‘Yes I Do’ are essentially companion works to one another. That is interesting considering that the songs are separated in the record’s sequencing. Again, audiences will be left to learn more for themselves.

Rose and Francois are not the only figures who share their thoughts about the album in its liner notes. Donald Elfman, who served as one of the album’s two executive producers — alongside David Preiser — also chimes in with his own thoughts. Elfman (this critic does not know if he is any relation to famed composer/producer Danny Elfman) speaks highly of Rose and Francois in regards to their talents, abilities, and the result of their partnership in this recording. Audiences will be left to read the comments themselves, too. Needless to say, the comments are inspiring in their own right. Between Elfman’s comments and those from Rose and Franncois, the album develops more depth what with the background on the original compositions and the personal thoughts on the album’s creation shared here. Keeping this in mind, the album’s liner notes prove clearly, their importance to the album’s overall presentation. They are just one more part of what makes the album appealing. The record’s production puts the finishing touch to its presentation.

The presentation that went into New Leaves is important to note because as with Last Night…. This record is so soft and intimate from start to end. The quiet, relaxed nature and sound in each of the album’s compositions means that once again, the utmost attention had to be paid to the balance in the guitar and piano both between the pair and within themselves in terms of dynamics. As listeners will note, Rose and Francois perfectly compliment one another throughout the record in both cases. The result is that much like Miles Davis’ timeless album Kind of Blue, this record ultimately proves one that jazz fans will find just as welcome playing as the warm breezes of summer blow into the house, as on the radio on a rainy summer and spring day. As a matter of fact, the balance exhibited through the production even makes the general effect such that the gentle, positive vibes will even make it welcome on the radio as wood crackles in warm fireplace on a freezing winter night. The production makes the record’s sound and mood that powerful in its simplicity. When this is considered along with the impact of the album’s liner notes and featured songs, the whole of these elements makes New Leaves a record that any jazz fan will find enjoyable whether the leaves are on the ground or on the trees.

Dan Rose and Claudine Francois’ new album New Leaves is a welcome addition to this year’s field of new jazz albums. That is due in part to its featured songs. The songs in question offer listeners a mix of original material and covers. The covers are just as unique in their simple presentations as the original compositions. That overall presentation makes for plenty of engagement and entertainment among listeners. The background that the liner notes add to the original compositions adds even more to that engagement and entertainment. The album’s production puts the finishing touch to its presentation, bringing everything together. It makes the record’s general effect so powerful in its simplicity, making the album a work that will help set the mood in any setting any time of year. When one considers that impact along with the impact of the album’s liner notes and songs in general, the whole of those elements makes the album in whole proof positive that sometimes, less really is more. New Leaves is available now. More information on New Leaves is available along with Dan Rose’s latest news at https://danrosemusic.com.

Rick Margitza’s New LP Has Lots Of “Heart”

Posted on February 19, 2021 by philspicks

Saxophonist Rick Margitza’s resume reads like a who’s who of the jazz community. Over the course of his decades-long career, Margitza has recorded and performed with some of the jazz world’s most famed and respected figures, such as Chick Corea, McCoy Tyner, and Miles Davis. For more than three decades, Margitza has been making music in some capacity. Yet, for all the work that he has done throughout his career, the last time that he released a solo record as a band leader (as opposed to an accompanist) was 17 years ago in the form of 2004’s Bohemia. Early this month, Margitza ended that drought when he released Sacred Hearts. The 11-song record was released Feb. 5 through Le Coq Records, and offers much for audiences to appreciate, beginning with its very packaging. This aspect will be discussed shortly. The musical arrangements that make up the body of the record add to its appeal. They will be discussed a little later. The album’s production puts the final touch to its presentation. It will be discussed later, too. Each item noted here is important in its own way to the whole of this album. All things considered, they make the album one of this year’s top new jazz albums.

Sacred Hearts, thefirst new solo album in more than 15 years (17 years to be exact) from Rick Margitza, is a positive return for the veteran saxophonist. It is a presentation that will appeal to any modern jazz fan just as much as his existing catalog. That is due in no small part to the album’s packaging. The packaging is important to the album’s presentation in that it features “liner notes” of sorts that actually give some background on each of the album’s songs. Audiences learn through the “notes” that for the most part, the songs are dedicated to someone who Margitza knows. The one exception to that rule is ‘Trail of Tears,’ which according to the “notes,” “is for all the people who have died under the hands of social injustice.” These notes are all so important to address because providing even such minimal notation is rare to nonexistent in jazz albums. Jazz fans, unlike those of most other genres, are largely left to have to interpret the titles and arrangements in their music for themselves. The only way for those fans to really gain insight into the songs – save for miraculously having such minimal background information — is to either read or hear interviews with acts on radio/TV, or to get it direct from the acts at concerts. Not having even that most basic of information is actually detrimental to jazz records, so to have it here builds a good foundation for the record. That is because in having a basic understanding of the songs’ purposes, audiences will find themselves even more engaged in the songs. So again, to this end, having even the slightest background on the songs here is key to this album’s presentation. It is just one of the record’s most important elements. The arrangements themselves add to the engagement in and enjoyment of Sacred Hearts.

The musical arrangements that make up the body of Sacred Hearts are important in part because they connect so well to the songs’ titles. Case in point is the arrangement featured in ’12-123.’ According to the song’s description, the song is a celebratory work that honors Margitza’s family. He notes in the description that the song “is for all the new life in our family.” The song’s upbeat but still controlled stylistic approach translates well, the happiness felt by being among family. Margitza’s performance on the saxophone, Jeff Boudreaux’s timekeeping, joins with the subtle percussion, piano, and vibraphone here to make the arrangement so engaging and entertaining. It does so well, again, to echo the emotions felt about a growing family, whether it be through marriage, the birth of a new child, or both. It will surely put a smile on any listener’s face. That is even more certain considering that this arrangement so easily lends itself to works from the likes of Margitza’s jazz counterparts in Yellowjackets.

‘Trail of Tears,’ which comes late in the album’s run is another example of the importance of the album’s featured arrangements. It has already been noted that the song is a response to what has happened to Americans throughout America’s history due to social injustice. The somber tone exhibited through the arrangement does well to illustrate the mood and emotions of those who have been wronged by the system and by their friends and family. Margitza himself is largely to thank for that, through his performance. The accompaniment of the piano and subtle time keeping adds even more to the arrangement’s depth. What’s more, it would have been so easy for Margitza to have gone perhaps in a more avant-garde direction here, considering the theme here. To have taken the alternate path leads to even more emotional impact. Kudos to all involved here for making such a work instead. It is just one more way in which the arrangements featured in this recording serve so well, to show their importance to the album’s whole. It certainly is not the last example of how the arrangements show their importance, either. ‘Muse’ is yet another way in which the album’s musical arrangements show their importance. According to the information printed in album’s packaging, the song is meant as a tribute “for all the extraordinary artists who have shaped my life.” The statement is illustrated throughout the song through the use of musical styles from different jazz sub-genres and eras. The 10-minute-plus composition opens with a distinct Weather Report type approach before eventually changing gears and turning in a more modern approach a la John Coltrane. The style evolves again from there, becoming even more modern. Simply put, the song really does pay tribute to Margitza’s forebears. It’s one more way in which this album’s musical content proves so important to its whole. When this arrangement is considered along with the others noted here and the rest of the record’s compositions, the whole leaves no doubt as to the importance of the album’s musical content.

While the packaging and content featured in Margitza’s latest album are equally important in their own way to the whole of the album’s presentation, they are just a portion of what makes the record successful. The production that went into each composition is also worth examining. The production that went into crafting each arrangement ensures that each instrument is expertly balanced with its counterparts within each composition. Even the rare instances in which the vocals are added to the whole, their subtle, airy nature gives those arrangements even more richness. All in all, whether it be in the more complex songs or the simpler works (which require their own share of focus because there is less instrumentation – it is easy to get lax with simpler compositions) the production presented throughout this record brings out the best in each work. When this is considered along with the importance of the album’s packaging and its content, the whole of the album makes itself a viable new listening option for any jazz aficionado.

Rick Margitza’s new album Sacred Hearts is a presentation that any jazz purist will find appealing. That is proven in part through its packaging. The packaging offers at least some background on the songs. That background, while minimal, at least gives audiences a starting point in listening to the songs and appreciating them. The arrangements themselves match well with the titles. Audiences will agree after reading through the titles and the brief background information in the packaging. The record’s production puts the finishing touch to its presentation, bringing out the best in each composition. Each item noted here is key in its own way to the whole of the record’s presentation. All things considered, they make the album in whole a viable contender for a spot on any critic’s list of the year’s top new jazz/blues albums. Sacred Hearts is available now. More information on the album is available along with all of Rick Margitza’s latest news at https://www.facebook.com/rmargitza.

To keep up with the latest entertainment reviews and news, go online to https://philspicks.wordpress.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

PBS Proves Again, Its Importance In Phil’s Picks 2020 Top 10 New Documentaries List

Posted on December 16, 2020 by philspicks

Documentaries, it would seem, are more important in today’s world of television and movies than ever before. What with the seeming never-ending ocean of prequels, sequels and remakes being turned out by the major movie and television studios, and the equally endless ocean of dumbed down “reality tv” competition shows and dramas being turned out by television studios, documentaries are now the last way for audiences to get anything original, let alone truly engaging and entertaining. To that end, it goes without saying that there is just as much for a list of the best new documentaries each year as for any other category. Keeping that in mind, Phil’s Picks has created just such a list once again this year. As with past years, this list is composed primarily of titles from PBS, the very last bastion of truly family friendly and worthwhile programming. They come from PBS’ most beloved and respected series, Nature, Nova, and Secrets of the Dead. One is even a standalone presentation that will appeal equally to lovers of cats and dogs.

As with each past year’s list of top new documentaries, this year’s list features the Top 10 new documentaries and five additional honorable mention titles for a total of 15 titles. Without any further ado, here is Phil’s Picks 2020 Top 10 New Documentaries.

PHIL’S PICKS 2020 TOP 10 NEW DOCUMENTARIES

Nature: Okavango: River of Dreams
Secrets of the Dead: Abandoning The Titanic
NOVA: Guess Who’s Driving
Miles Davis: Birth of the Cool
Secrets of the Dead: Bombing Auschwitz
NOVA: Why Bridges Collapse
Cat and Dog Tales
NOVA: Rise of the Mammals
NOVA: Dead Sea Scrolls Detectives
NOVA: A To Z: The First Alphabet/How Writing Changed The World
ZZ Top: That Lil Ol’ Band From Texas
NOVA: Secret Mind of Slime
Nature: Bears
NOVA: Human Nature
NOVA: Decoding DaVinci

Next up from Phil’s Picks is 2020’s Top 10 New Family DVDs & BDs. Stay tuned for that.

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Eagle Rock Entertainment Announces Home Release Date, Specs For New Miles Davis Doc

Posted on March 21, 2020 by philspicks

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment will bring the new Miles Davis documentary Birth of the Cool home next month.

The documentary, which originally premiered at the 2019 Sundance Film Festival, grossed more than $1 million during its recent theatrical run. It is scheduled for home release April 10, and will be available as a BD/DVD combo pack and 2DVD with bonus Montreux concert footage and 16-page hardcover book and all digital platforms. The Montreux footage was culled from Davis’ performances at the festival in 1973, 1984 and 1985.

The performance listing for the Montruex shows is noted below.

BONUS DVD – ALL LIVE FROM MONTREUX Tracklisting
1.) Ife (1973)
2.) Star People (1984 Afternoon)
3.) It Gets Better (1984 Afternoon)
4.) Hopscotch; Star On Cicely (1984 Afternoon)
5.) Lake Geneva (1984 Afternoon)
6.) Star People (1985 Evening)
7.) Hopscotch (1985 Evening)

The documentary, which also recently aired nationwide on PBS as part of the network’s beloved American Masters series, was directed by three-time Emmy award winner Stanley Nelson. It profiles the life and career of the late great trumpeter Miles Davis. The profile features never-before-seen live performances and outtakes from Davis’ studio sessions. It also features interviews with people who knew Davis both professionally and personally, such as Quincy Jones, Carlos Santana, Clive Davis, Wayne Shorter and Ron Carter.

The documentary was nominated for a Grammy at the 62nd annual Grammy Awards and for a NAACP Image Award in the category of “Outstanding Documentary (Film).”

More information on this and other titles from Eagle Rock Entertainment is available online at:

Website: http://www.eagle-rock.com

Facebook: http://www.facebook.com/EagleRockEnt

Twitter: http://twitter.com/EagleRockNews

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Jazz At Lincoln Center’s ‘Jazz And Art’ Paints The Year’s Best New Musical Picture Of 2019’s New Jazz, Blues Albums

Posted on December 22, 2019 by philspicks

Courtesy: Blue Engine Records

The worlds of jazz and blues are intertwined with one another and have been for ages. From their earliest days to the modern era, a close listen to records from the two genres exhibits this connection. Keeping that in mind, it makes sense to combine the two genres when considering year-ender lists.That is just what this critic has done for years and is doing again this year. This year’s list of top new jazz and blues albums touches on lots of different artists and groups. The Jazz AT Lincoln Center Orchestra with Wynton Marsalis has released a handful of noteworthy albums this year, as has World Music Network. Blues artists Keb Mo and Kenny Wayne Shepherd are also featured on this year’s list with their new albums. The same can be said of Diana Panton, as her new album is featured in this list, too.

As with every list this critic produces, it features the year’s top 10 new albums and five honorable mention titles for a total of 15 albums. Without any further ado, here is Phil’s Picks Top 10 New Jazz & Blues albums.

PHIL’S PICKS 2019 TOP 10 NEW JAZZ & BLUES ALBUMS

Jazz at Lincoln Center Orchestra w/ Wynton Marsalis — Jazz & Art
Joel Ross — Kingmaker
Diana Panton — Cheerful Little Earful
World Music Network — The Rough Guide To Blues Divas
Mark Clive De-Lowe — Heritage
Mark Clive De-Lowe — Heritage II
Keb Mo — Oklahoma
Pancho Sanchez — Trane’s Delight
Tedeschi Trucks Band — Signs
Miles Davis — Rubberband
John Coletrane — Coletrane ’58; The Prestige Sessions
Jazz at Lincoln Center Orchestra w/ Wynton Marsalis — Big Band Holidays II
Jazz at Lincoln Center Orchestra w/ Wynton Marsalis — Jazz For Kids
World Music Network — The Rough Guide To World Jazz
The Kenny Wayne Shepherd Band — The Traveler

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Santana-McLaughlin Montreux Re-Issue Is Another Shining Beacon From Eagle Rock

Posted on September 17, 2015 by philspicks

Courtesy: Eagle Rock Entertainment

Forty-eight years ago a man named Claude Knobs founded the Montreux Jazz Festival. In the decades since its founding, the once jazz-only festival has grown to become one of the world’s most renowned festivals featuring acts from every one of the music industry’s genres. Sadly, Knobs passed away two years ago. But even in his absence, the festival has continued on and remained one of the world’s elite music festivals. And thanks to the efforts of the people at Eagle Rock Entertainment that reputation has been held strong due to the label’s partnership with Montreux Sounds. The companies’ partnership has resulted in a number of performances from the festival’s history being released in recent years. That list includes performances from the likes of: Stan Getz, Phil Collins, Etta James, ZZ Top, and The Raconteurs among so many others. Last week, that list grew just a little more when the companies revisited Carlos Santana and John McLaughlin’s 2011 Invitation to Illumination performance and re-issued the concert in a double-disc CD presentation. Originally released on DVD and Blu-ray in 2013, this latest release is just as enjoyable for those that might not already own the concert’s original DVD and/or BD presentation. Of course it is just as enjoyable for anyone that already owns said presentations, too. The main reason that it is so enjoyable is its set list. Just as with Eagle Rock’s 2012 Santana live release, Greatest Hits Live at Montreux 2011, this show’s set list feels more like one giant jam session than a specifically structured set list. By direct connection, the stage presence of the musicians on stage is just as noteworthy in the recording’s enjoyment and success. Last of note in this recording is the concert’s audio mix. Those with surround sound home theater systems will especially appreciate that clarity of the recording’s audio mix. Together with the set list and the band’s stage presence, that expert audio mix is one more factor that reminds audiences why Eagle Rock Entertainment is the leader of the pack in live recordings. Collectively, all three elements show why this recording is one of the best of this year’s crop of re-issues.

Eagle Rock Entertainment’s new double-disc presentation of Carlos Santana & John Mclaughlin’s performance at the 2011 Montreux Jazz Festival is not the first time that the recording has been released. Despite that, this audio-only presentation is just as enjoyable as the concert’s 2013 DVD and Blu-ray presentation of the concert. This applies both for those that already own the concert’s DVD and/or Blu-ray presentation and for those that have neither. The main reason that it is so enjoyable for all involved is its set list. The nearly two and a half hour performance (two hours and fourteen minutes to be exact) is composed of sixteen tracks that touch on quite a few different genres. There is a tribute to Led Zeppelin early on as Santana and company cover the legendary rock band’s hit single ‘Stairway to Heaven.’ There are also tributes to Miles Davis and John Coletrane later in the performance in the form of ‘Black Satin’ and ‘A Love Supreme’ respectively. There is also another tribute to Coletrane earlier in the show in the form of ‘Naima,’ which is another of the legendary sax player’s greatest hits. As if these numbers aren’t enough, there are also of plenty of other original pieces performed by Santana and his fellow musicians pulled from Santana and McLaughlin’s 1973 album Love Devotion Surrender. The combination of the artists’ covers and original compositions results in a set list that is rich and completely engaging. Being so rich and engaging, audiences won’t even realize that so much time has passed by the time they reach the concert’s finale performance. That in itself is the mark of a truly talented group of musicians. Speaking of the musicians’ collective talents, their talents are another reason that audiences will enjoy this latest release of Invitation to Illumination.

The extensive set list compiled for Invitation to Illumination is in itself plenty of reason for fans of Carlos Santana and John McLaughlin to pick up this newly re-issued concert recording. It runs nearly two and a half hours and spans some sixteen songs. At no point in that time will audiences ever find themselves checking the time as the concert progresses. Rather, they will find themselves becoming lost in the concert in the best way possible. That says quite a bit within itself. Of course the concert’s chosen set list is only part of what makes it so enjoyable. The stage presence of Santana and his fellow musicians is another reason that audiences will enjoy the show. Taking in a performance by Carlos Santana and his band mates is more than simply taking in a performance from the highly talented musicians. Taking in a performance of these individuals is taking in a full musical experience. This is just as true in Santana & McLaughlin: Invitation to Illumination as it was on Carlos Santana: Greatest Hits Live at Montreux 2011. It is incredible to hear Santana and his band mates sharing the stage throughout the two-hour plus performance. Unlike so many other acts out there today, Santana steps back on multiple occasions, allowing his band mates to get their fair share of time in the limelight. Simply put, he not only talks the talk, but walks the walk, too. Such humility, willingness to share the spotlight, and talent shows why Santana is still one of the greatest guitarists in modern music history. Audiences will be in awe at the talent of both Dennis Chambers and Santana’s own wife, Cyndi Blackman Santana as they work behind their kits. Blackman Santana’s skill with the sticks is unparalleled. Watching her perform whether with the rest of the band or by herself on her drum solo is like watching controlled chaos. By contrast, Chambers’ own performance behind his kit is the picture of talent and composure. Chambers’ body language is one of someone that is entirely relaxed. Yet his playing would seem otherwise. It’s an amazing juxtaposition. The band overall presents such talent throughout its performance. It’s yet another way in which the band’s stage presence shows itself to be an important part of the recording’s whole. Together with the show’s extensive set list, both elements show once again why Invitation to Illumination is a brightly shining live recording from Eagle Rock Entertainment.

The set list assembled for Invitation to Illumination and the stage presence of the assembled musicians are both key reasons that the recording is so entertaining for audiences. They are just part of the whole of the recording’s enjoyment in its new double-disc CD presentation. The concert’s final audio mix rounds out the reasons that the concert shines so brightly. Those with surround sound home theater systems will especially appreciate that clarity of the recording’s audio mix. That is not to say that those without a home theater system will be left out in the cold per se. Rather it is just to say that the audio mix really lends itself to a home theater system even having been recorded at an indoor venue. There is something about the combined talents of the musicians on stage that just gives the performance that much power. This includes both the concert’s more raucous moments and even its more reserved moments. Audiences will agree with this sentiment when they pick up this recording for themselves. Together with the concert’s set list and the performers’ stage presence, it becomes the finishing touch on a recording that is one more brightly shining recording from Eagle Rock Entertainment even having been previously released.

While it is not the first time that Eagle Rock Entertainment has released the concert, the company’s new double-disc CD presentation of Invitation to Illumination still shines just as brightly as the concert’s previous DVD and Blu-ray presentation. This is the case both for those that already own one or both of the previously released presentations and for those that don’t already own either. The show’s set list coupled with the stage presence and talents of the performers makes for plenty of enjoyment in its new re-issue. The concert’s expert audio mix makes it even more of a joy for audiences. All three elements taken together make Invitation to Illumination a concert that is just as enjoyable the second time around as the first. Santana & McLaughlin: Invitation to Illumination Live at Montreux 2011 is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

Facebook: http://www.facebook.com/EagleRockEnt

Twitter: http://twitter.com/EagleRockNews

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

New Live Coletrane Recording Coming This Spring From MVD Entertainment Group

Posted on January 23, 2015 by philspicks

Courtesy: MVD Entertainment Group

Jazz lovers celebrate! This spring, MVD Entertainment Group is going to release a new archived live recording from legendary saxophonist John Coletrame.

MVD Entertainment Group will release So Many Things: The European Tour 1960 on Tuesday, March 10th. The four-disc set is a “sequel” of sorts to Miles Davis and John Coletrane “All of You”: The Last Tour 1960. It follows the band’s performances from its Fall 1961 tour of Europe and features performances of some of Coletrane’s greatest hits including: ‘My Favorite Things,’ ‘Blue Train,’ and ‘Naima’ that Coletrane performed alongside band mates Eric Dolphy (alto sax, bass clarinet, flute), McCoy Tyner (piano), Reggie Workman (bass), and Elvin Jones (drums). There is also a bonus for fans as the quintet performed what is Coletrane’s only recording of Victor Young’s ‘Delilah.’ It also includes photographs, concert memorabilia, and news articles as well as a full-length essay in the set’s liner notes from award-winning British saxophonist and writer Simon Spillett. The complete track listing for the upcoming recording is noted below.
CD 1:
L’Olympia, Paris, November 18th 1961 (First House)
1. Blue Train (Coltrane)
2. I Want To Talk About You (Eckstine)
3. Impressions (Coltrane)
4. My Favourite Things (Rodgers, Hammerstein)

L’Olympia, Paris, November 18th 1961 (Second House)
5. I Want To Talk About You (Eckstine)
6. Blue Train (Coltrane)

CD 2:
L’Olympia, Paris, November 18th 1961 (Second House, cont.)
1. My Favourite Things (Rodgers, Hammerstein)

Falkconercentret, Copenhagen, Denmark, November 20th 1961
2. Announcement
3. Delilah (Young)
4. Everytime We Say Goodbye (Porter)
5. Impressions (Coltrane)
6. Naima (Coltrane)

CD 3:
Falkonercentret, Copenhagen, Denmark, November 20th 1961 (cont.)
1. My Favourite Things (false starts)
2. Announcement by John Coltrane
3. My Favourite Things (Rodgers, Hammerstein)

Kulttuuritalo, Helsinki, Finland, November 22nd 1961 (Second House)
4. Blue Train (Coltrane)
5. I Want To Talk About You (Eckstine)
6. Impressions (Coltrane)
7. My Favourite Things (Rodgers, Hammerstein)

CD 4:
Konserthuset, Stockholm, Sweden, November 23rd 1961 (First House)
1. Blue Train (Coltrane)
2. Naima (Coltrane)
3. Impressions (Coltrane)
4. My Favourite Things (Rodgers, Hammerstein)

Konserthuset, Stockholm, Sweden, November 23rd 1961 (Second House)
4. My Favourite Things (Rodgers, Hammerstein)

More information on this and other releases from MVD Entertainment Group is available online at:

Website: http://www.mvdb2b.com

Facebook: http://www.facebook.com/MVDEntertainmentGroup

Twitter: http://twitter.com/MVDentgroup

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

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