Vasil Hadzimanov Band is one of the most fascinating progressive jazz fusion acts in the current international scene. Led by versatile Serbian keyboardist Vasil Hadzimanov, this superb fusion band incorporates jazz-rock fusion, world music elements, funk, and electronica.
Highlights include the opening title track “Lines In Sand,” where absorbing wordless vocals and trance-like drums intertwine with electric piano and cutting edge electric guitar; “San Snova,” a jazz-leaning piece where Vasil Hadzimanov showcases his talent on the acoustic piano; the exquisitely gorgeous female vocals and dreamy string synths on “Lost,” featuring the lovely singing by Marta Hadzimanov that transitions into remarkable guitar work by Branko Trijic; the forward-thinking trip hop set “Kazi” and “Kazi Gradiska;” and the Middle Eastern-inspired fusion track “Freedom From the Past.”
The band includes Vasil Hadzimanov on keyboards; Branko Trijic on guitar; Miroslav Tovirac on bass guitar; Bojan Ivkovic on percussion, vocals; and Pedja Milutinovic on drums
Special guests: Rastko Obradovic on saxophone; Marta Hadzimanov on lead vocals (track 4); and Dean Bowman on lead vocal (track 8).
Roland Bühlmann – Bailenas (Roland Bühlmann, 2017)
Bailenas is an excellent instrumental album by Swiss multi-instrumentalist Roland Bühlmann. He delivers an engaing combination of progressive rock, jazz-rock fusion, electronics and post rock.
The sounds revolves around various electric guitar sounds although Roland Bühlmann also plays hanottere (a Swiss cittern), bass, stones, and shofar (Hebrew horn) along with loops, drums and percussion generated with Beta Monkey Music samples.
Bailenas is a beautifully-crafted album highlight the versatility of the electric guitar.
Union is an instrumental album highlighting the guitar work of Brazilian musician and composer Daniel Santiago. The album has edgy electric guitar and electronic keyboards. At the same, it is very accessible and laid back. It’s an album that is eclectic and energetic enough to please fusion fans and the smooth jazz market as well.
The lineup on Union includes Daniel Santiago on acoustic and electric guitar, synth bass, keyboards and vocals; Pedro Martins on keyboards; Shai Maestro on piano; Frederico Heliodoro on bass; Rafael Vernet on keyboards; Thiago Rabello on drums; Gregoire Maret on harmonica; Antonio Loureiro on drums; Renato Galvao on drums; and Ricardo Braga on percussion.
Union is a delightful, masterfully-crafted album where jazz, fusion and Brazilian music find a common ground.
The album 27 Faces of a Broken Heart features an impressive collection of guitarists. All the tracks are basically variations of the same song, composed by American guitarist and airline pilot Ramin Partovi. He created this musical piece during a very difficult time of his life and invited some of the finest guitarists in the rock and fusion scene to perform and record variations of this song.
Musically, the album has strong fusion, rock, progressive and blues elements and each version features spectacular guitar solos and a formidable rhythm section, plus a great bass solo.
The core band includes Ramin Partovi on guitars, Carl Verheyen on guitars, Simon Phillips on drums and Jimmy Johnson on bass. The guests include famous guitar players as well as lesser known players who are nonetheless highly skilled and equally good.
27 Faces of a Broken Heart opens with the original track by Ramin Partovi and then it’s followed by the multiple variations featuring the following guitarists: Yussi Wenger, Brent Mason, Jinshi Ozaki, Tom Kolb, Jon Reshard, Scott Henderson, Andy Becht, Ervin Toucet, Ernesto Homeyer, Erick Walls, Doug Rappoport, Masta Edwards, Carl Verheyen, McCoy Mason, Jeffery Marshall, Robin Siedschlag, Brent Mason’s second version, Brad Bailey, Oz Noy, Jeff Richman, Mike Stern, Gabriel Forsman, Mark Lettieri , Dean Brown, and Giuseppe Vasapolli.
27 Faces of a Broken Heart is a fascinating concept album showcasing the remarkable talent of Ramin Partovi, his friends and musical heroes.
Paweł Ignatowicz – Here and Now (Mother of Invention Records, 2017)
Here and Now is the new solo album by Paweł Ignatowicz, a Polish guitarist currently living in New York. Paweł Ignatowicz various forms of guitars, including acoustic, electric, guitar syntheziser and electric sitar.
The material on Here and Now consists of melodic, easy to listen jazz instrumentals with smooth jazz and fusion influences plus a little Indian and Latin music as well. The guitar is highlighted throughout the album, creating fascinating sounds, even though Ignatowicz’s stick’s to conventional melodies.
The lineup on Here and Now includes Paweł Ignatowicz on guitars, guitar synth and electric sitar; Julian Shore on piano, keyboards; Edward Perez on bass; Jonathan Singer on tabla; and Ferenc Nemeth on drums.
Shuggie Otis, better known for his soulful songs, has a new, largely instrumental fusion album tiled Inter-Fusion. The project displays Otis’ talent as a guitarist, featuring his maroon Gibson SG. The band includes Carmine Appice (of Vanilla Fudge and Beck, Bogert & Appice) on drums and bassist Tony Franklin (of The Firm and Roy Harper). Additionally, keyboardist Kyle Hamood (of local L.A. rockers Them Guns) participates as both a musician and producer of the album.
Belgian keyboardist Dominique Vantomme has released a fabulous genre-defying album where progressive jazz meets psychedelic rock.
Vegir has a cutting edge sound where analog keyboards (including distorted electric piano) meet the spellbinding psychedelic guitar and effects of Michel Delville, Tony Levin’s remarkable bass and Chapman stick sounds, and the powerful, creative drumming of Maxime Lenssen.
Vegir is an exceptionally good album featuring engaging and instinctive progressive jams that highlight the beauty of electronic keyboards.
Few keyboardists in jazz history matched the creativity and eclecticism of Joe Zawinul. He was a true innovator in the world of jazz and one of the originators of today’s world fusion sounds.
Joe Zawinul was born on July 7, 1932, in Kirchbach, a small village near Vienna. His first instrument was the accordion. At the age of 12, he started to learn the piano, which became his main instrument. After World War II, Zawinul continued his musical education at the prestigious Vienna Conservatory. He moved to the United States in 1959 on a scholarship to the Berklee School of Music in Boston.
In the United States, he inevitably became involved in jazz, playing as a sideman to artists such as Slide Hampton, Dinah Washington, and Cannonball Adderley. He met and collaborated with Miles Davis while the latter was moving into his electric era and was essential in the outcome of Bitches Brew (1970), Davis’ first electric project.
After releasing his debut solo album on Atlantic in 1970, Zawinul and saxophonist Wayne Shorter put together one of the most important jazz groups of the 1970s, Weather Report. Drawing on the power and theatricality of rock and R&B, while maintaining allegiance to jazz and the pure spirit of improvisation, they were pioneers of the fusion movement of that decade while carving out their own unique niche.
Even though band members came and went, Weather Report’s spirit prevailed over the course of 17 albums, including the groundbreaking Black Market and the enormously popular Heavy Weather, which included Zawinul’s infectious song “Birdland.” That song, in versions by Weather Report, Manhattan Transfer and Quincy Jones, won separate Grammy awards in three successive decades. Weather Report itself won a Grammy for its live album, 8:30.
In 1985, after he and Shorter finally agreed to go in separate musical directions, Zawinul continued to create adventurous new grooves in the group known as Weather Update and then the Zawinul Syndicate, whose albums included My People in 1996 and the two-CD, World Tour in 1998.
Other special projects included an adventurous solo electronic album, Dialects (1986), and work as producer and arranger on Salif Keita’s landmark album, Amen (1991). Meanwhile, as another side project of his creative life, Zawinul also pursued classical composition, writing his ambitious Stories Of The Danube in 1993 and working with renowned classical pianist Friedrich Gulda. His special solo project “Mauthausen,” released in Europe in 2000, is a memorial for the victims of the Holocaust, and was performed on the site of the Austrian concentration camp after which it is named.
Zawinul had honorary doctorates from Berklee School of Music, and is the official Austrian goodwill ambassador to 17 African nations. In January 2002, Zawinul received the first International Jazz Award, co-presented by the International Jazz Festival Organization and the International Association of Jazz Educators. In 2002, he released the CD Faces & Places.
The live album Vienna Nights came out in 2005.
Zawinul was a pioneer in the use of electronic keyboards, ranging from synthesizers to samplers. He incorporated global sounds into his keyboards, developing cutting edge world fusion.
Joe Zawinul died in Vienna on 7 August 7, 2007.
To You with Love (Strand, 1959)
Money in the Pocket (Atlantic, 1966) Rise & Fall of Third Stream (Vortex, 1968) Zawinul (Atlantic, 1971) Dialects (Columbia, 1986)
The Immigrants (Columbia, 1988)
Black Water (Columbia, 1989)
Lost Tribes (Columbia, 1992) My People (ESC, 1996)
Stories of the Danube (Polygram, 1996) World Tour (ESC, 1997)
Mauthausen – Vom großen Sterben hören (ESC, 2000)
Faces & Places (ESC, 2002)
Joe Zawinul & The Zawinul Syndicate – Vienna Nights – Live at Joe Zawinul’s Birdland (Heads Up, 2005) Brown Street (Heads Up, 2006) 75 (Heads Up, 2008)
Epic Circus is the second album by French guitar hero Renaud Louis-Servais. On Epic Circus you’ll find a mix of fiery instrumental rock-fueled electric guitar mastery together with superb jazz-rock fusion segments.
The influences range from Joe Satriani to Daryl Stuermer and Alan Holdsworth. Although the focus is on the electric guitar and its multi-faceted sounds, the Renaud Louis-Servais Group also features first rate musicians and you’ll find memorable interactions between the guitar and the keyboards played by Philippe Saise and Christophe Cravero supported by creative bass and drums.
Renaud Louis-Servais is epic and also highly melodic. Highlights include the opening track “Carry’n”; the funk-jazz piece “Zaku Patatu”; the prog-rock leaning title track Epic Circus; and the seductive groove of “When you’ve Got Nothing” which features a series of fabulous guitar solos and also Henri Dorina’s notable bass lines.
Lineup: Renaud Louis-Servais on electric and acoustic guitars; Virgil Donati on drums; Henri Dorina on bass; Philippe Saise on Fender Rhodes, Hammond B3, Prophet, piano, mini-Moog, clavinet, Wurlitzer, vocoder and synth layers; Christophe Cravero on Fender Rhodes, Mini-Moog, Hammond B3 and synth layers; and Aurl Ouzoulias on drums.
The great jazz-rock guitarist John McLaughlin treats the listener to a set of live pieces recorded with his most recent band, the 4th Dimension. Live at Ronnie Scott’s presents a collection of musical pieces that span McLaughlin’s career. The album includes two superb (and memorable) compositions from the Mahavishnu Orchestra era: “Vital Transformation” (from Inner Mounting Flame) and “Miles Beyond” (from Birds of Fire).
Live at Ronnie Scott’s includes a recently composed, dazzling electric flamenco piece titled “El Hombre Que Sabía.” It’s a tribute to his colleague and friend Paco de Lucia, who passed away in 2014.
John McLaughlin’s diversity is expressed through his fusion of jazz, rock and global music elements from India and other parts of the world. Live at Ronnie Scott’s includes a fabulous blues track titled “Gaza City” that has a Middle Eastern flavor.
Throughout Live at Ronnie Scott’s, McLaughlin performs his spectacular guitar solos and improvisations. Meanwhile, the 4th Dimension is a remarkable group of musicians who are some of the finest instrumentalists in the genre. It’s a multinational ensemble featuring British synthesizer wizard and drummer Gary Husband; masterful Indian drummer Ranjit Barot; and Cameroonian bass virtuoso Etienne M’Bappé.
Ronnie Scott’s holds a special significance in McLaughlin’s career. It’s a London jazz club where McLaughlin performed as a member of the club’s house band in the 1960s. It’s a brilliant homecoming. He has returned as one the greatest jazz guitarists of all time and a highly influential musician who has taken jazz and the electric guitar to new dimensions.