Toshiyuki Miyama and his New Herd - Orchestrane

barabara sounds sez:

New Herd Play John Coltrane: the album subtitle is all you need to know. And it's big, bad, big-band brilliance. Just look at that line-up; four trumpets, four trombones, five saxes. Fasten your seat belt and hang on for the ride!

The three numbers on side one warm you up nicely, mixing some fine modal soloing with slick-smooth ensemble playing on those classic compositions. And then you're ready for side two: all four parts of A Love Supreme like you've never heard them before. Yamaki's charts are just superb. This is probably the best thing Miyama ever recorded with his New Herd. It's certainly one of my favorites – if only for that beautiful cover art. Bottom line: it's a barabara classic!

musicians:

Miyama Toshiyuki leader/conductor; Yamaki Kozaburo guitar/arranger; Takeda Kazumi 1st tp; Kishi Yoshikazu 2nd tp; Yamaguchi Kojiro 3rd tp; Kamimori Shigeru: 4th tp; Kataoka Teruhiko 1st tb; Uetaka Masamichi 2nd tb; Shiomura Osamu 3rd tb; Fukushima Teruo btb; Suzuki Koji 1st as; Shirai Atsuo 2nd as; Mori Mamoru 1st ts; Nukita Shigeo 2nd ts; Tada Kenich bs; Takano Kiyoshi p; Fukushima Yasushi b; Nakamura Yoshio dr.

tracks:

1. Impressions; 2. Naima; 3. Giant Steps;

4. A Love Supreme i) Acknowledgement; ii) Resolution; iii. Pursuance; iv) Psalm

rec. Mar/Apr. 1977; issued Denon YX-7566-ND; CD reissue 2005

Directions in Music: Celebrating Miles Davis & John Coltrane - Herbie Hancock/Michael Brecker/Roy Hargrove

barabara sounds sez:

Naima is one of those magic numbers that kisses almost every musician that tries it on (and the rest of us). Just listen to Michael Brecker playing his heart out on this version. The rest of the album has plenty of moments too – hardly surprising given the line-up here – but that one track alone is worth the price of admission.

dusty sez:

We have to admit, we had a lot of misgivings about this project before we gave it a chance and listened to it all the way through — but after all was said and done, we were quite impressed! While Herbie Hancock, Roy Hargrove and Michael Brecker all have the chops, recognition and reputations to make as many new recordings as they'd like, without resorting to pandering tributes, this project actually works beautifully and makes great sense. The group is rounded out by the elastic rhythms provided by John Patitucci (who seems to have graduated well beyond the sort of 6 string noodling he usually purveys) and Brian Blade. In most cases, we'd rather hear Miles doing Miles and Trane doing Trane, but this group manages to capture both the dark, brooding beauty of Miles' music and the deeper, soulful vein that Coltrane mined. Herbie sounds the best we've heard in ages and the highlight of this live set is a medley of Miles' "So What" and Coltrane's "Impressions", while the rest of the set is made up mostly of originals (2 more Coltrane pieces, "Naima" and "Tansition" are included) composed by members of the group like Hancock's "The Sorcerer" and Hargrove's "The Poet".

jazzreview.com sez

From the downbeat of the opening tune, The Sorcerer, Herbie Hancock reminds us why he was and is one of the most sought after pianist in the genre. His deftness, technique and mastery of the instrument and the music holds this group together with the same quality that he was noted for while a sideman for Miles Davis in the 60s. He masterfully connects this group’s form together and its opening sets the tone for the whole recording.

Whereas Michel Brecker isn’t considered to be in the forefront of the classical jazz idiom, his presence on this record is no aberration. He definitely shines in a solo rendition of Coltrane’s Naima. He proves, that his study of the master tenor man’s style has influenced his greatly. His own contribution to the project entitled, D-Train, is a fifteen-minute epilogue. It meanders through different time signatures while holding steady to its defining rhythm. Herbie Hancock does some of his best work on the recording in the improv section.

The young lion added to the project is Roy Hargrove. The ever-emerging Grammy award-winning trumpeter is no less than continuing the line of great players that spun the likes of Miles Davis. From is his first solo on The Sorcerer, where he begins his playing away from the microphone and hits you with an unyielding fury of notes and sound, the listener will be encompassed. Hargrove’s contribution, The Poet, is an obvious attempt, and by his own admission, to make use of space in the music. Space in the music is a trademark of Davis’. And like Davis, in this piece he seems to be searching for something in the music. His play is an example of his growth both as composer and soloist.

Another worth-reading review here too

And another date from the same tour (Aspen) was posted here on drfusion.blogspot

Sonny Fortune - In The Spirit Of John Coltrane

personnel:

Sonny Fortune alto sax, soprano sax, tenor sax; John Hicks piano: Santi Debriano bass; Ronnie Burrage drums; Steve Berrios bata drums, Julio Collazo bata drums, Reggie Workman bass; Rashied Ali drums

barabara sounds sez:
Sonny Fortune continues to blow the gospel of the Jazz Church of St. JC well into the 21st century — and into his 70s.
This album (issued on Shanachie in 2000 but now seemingly OOP) doesn't match up to his 1970s very best, but you have to love his version of Olé and the final track is a great workout.
If you like this, pick up his 2005 album Continuum, which IS in print, on his own label, Sound Reason.

amazon reviewer sez:
Perennially underrated saxophonist Sonny Fortune has worked with Miles Davis, McCoy Tyner, and Elvin Jones. Not coincidentally, each of these musicians enjoyed a close relationship with Fortune's overriding musical influence, John Coltrane. In the Spirit consists mostly of originals by Fortune written under the influence of Trane. "Hangin' Out with J.C." borrows its chord structure from "Countdown" and "Moment's Notice," while the title track is a deep ballad reminiscent of "Dear Lord." Although he's best known as an alto saxophonist, Fortune also plays tenor and soprano here, distinguishing himself accordingly on each horn. He's accompanied by a topnotch rhythm section including John Hicks on piano, Santi Debriano on bass, and Ronnie Burrage on drums. On the last track, "For John," bassist Reggie Workman and drummer Rashied Ali lift off with Fortune on a visit to interstellar space. The spirit lives. -- Rick Mitchell