Jazz Consumer Guide (8):
This is the surplus file for Jazz Consumer Guide #8. These are
short reviews of records that for one reason or another have been
dropped from active consideration before starting work on the next
column. Such purges are necessary because there's simply not enough
space in the column to handle all of the records. These reviews
will be published in the blog when the column comes out.
Acoustic Alchemy: American/English (2005, Higher
Octave Music): They've never sounded less acoustic, nor has their
alchemy been more obvious. Relentlessly bright and bouncy, I liked
them better when I noticed them less.
Ron Blake: Sonic Tonic (2004 , Mack Avenue):
I submitted this for an Honorable Mention the last two times out,
but it got cut both times. The line is: a tough tenor trying to make
it in a soft synth world. This is meant to cross over, but producer
Meshell Ndegeocello never really craps out even when adding spurious
synths and extra horns just for color. He's better on the fast ones
than the ballads. He could go either way, and there's not telling
right now. My copy is a limited edition with a bonus disc of remixes.
They're neither here nor there.
Salvatore Bonafede: Journey to Donnafugata (2003
, CAM Jazz): One of many good but unspectacular records on
this label, all of which have been languishing on the lower margins
of my HM-prospect lists. Bonafede is a pianist who takes a back
seat to his guests: Enrico Rava and John Abercrombie, who turn in
their usual strong, distinctive work.
Debby Boone: Reflections of Rosemary (2005, Concord):
Cut for space from the Duds list two columns ago, no point dragging
this out further. No surprise anyway. Her genes come from her father,
not her mother-in-law.
Marc Copland with Greg Osby: Night Call (2003 ,
Nagel Heyer): The second set of piano-alto sax duets for the pair --
haven't heard the first, which always raises questions. Copland seems
tentative here, even on his own pieces, while Osby comes off brash
and intimidating. Beautiful closing take on Mal Waldron's "Soul Eyes,"
which finally hits the right balance.
Daria: Feel the Rhythm (2005, Jazz 'm Up): Brazilian
singer, can't fault her for lack of ideas -- just for bad ones, like
the strings on Jobim, or oversings her way out of an impressive at
first "Don't You Worry 'Bout a Thing."
Dena DeRose: A Walk in the Park (2005, MaxJazz):
Small group, the singer playing piano as well, and good enough that
I like her long solo as much as anything here. Old standards like
"How Deep Is the Ocean" fare better than new ones like "Imagine."
Tony DeSare: Want You (2005, Telarc): A skinny saloon
singer with a little stubble to counter his slickness. Sounds a lot
like Sinatra, at least when he follows the songbook. Plays a little
piano too, but Tedd Firth takes over for the fast bits. I like him
enough to have listed him as a low Honorable Mention, but he never
made the space cut.
Mark Dresser Trio: Aquifer (2001 , Cryptogramophone):
An odd and rather difficult album, with Dresser's bass supplemented by
a contraption called a giffus, Denman Maroney's instrument redubbed a
hyperpiano, and Mathias Ziegler's flutes and piccolo run through some
form of electronic processing. Dresser's referred to this as a "20-year
science project"; I'm tempted to call it sonic noodling, but it's more
interesting than that.
Mark Dresser/Denman Maroney: Time Changes (2003-04
, Cryptogramophone): Swingless mood music, gently rocking back
and forth, with some help from percussionist Michael Sarin and some
interference from vocalist Alexandra Montano. Play it and it just
lurks in the background, waiting for you to tune in and discover
Mark Dresser: Unveil (2003-04 , Clean Feed):
Of all the world's preeminent bassists, Dresser is the one I have
the most trouble with. He goes solo here but never stoops to the
usual stupid bass tricks, and at several key points picks up a
groove that I never knew he had.
Dominic Duval/Joe McPhee: Rules of Engagement, Vol. 2
(2004, Drimala): The follow-up to Duval's previous engagement with Mark
Whitecage, which despite its age I singled out as the top Honorable
Mention this time. McPhee seems to be in an awful somber mood, limiting
himself to soprano sax, and taking "Amazing Grace" and "While My Lady
Sleeps" as slow as a funeral.
Satoko Fujii: Sketches (2004, NatSat): I just heard
that Francis Davis will be doing a feature on her for the Voice, so
that may give me sufficient reason to clear out the backlog on her
and her husband-comrade Natsuki Tamura. Aside from Zephyros,
which made my top ten jazz list for 2004, their many records have
all sat somewhere near the cusp of the Honorable Mentions list. But
the sheer number of them, and how varied they are, warrants closer
examination. I've thought about doing a standalone piece myself,
but never got to it. So it will be interesting to see what Davis
comes up with. This particular one is solo piano -- far from my
favorite format, but fascinating nonetheless.
Satoko Fujii Orchestra: Blueprint (2003 ,
NatSat): Strong, often wonderful big band record, but it gets heavy
at times, and isn't all appealing. Not much piano, but quite a bit
of trumpet, especially in Natsuki Tamura's piece, and not just
Tamura -- five trumpets are listed.
The Fareed Haque Group: Cosmic Hug (2005, Maganatude):
A guitar groove album with funk overtones and shades of South Asian
music, courtesy of Kaylan Pathak's tabla and Haque's own occasional
use of "sitar guitar." Haque is from Chicago, but his parents are
from Pakistan and Chile -- such trans-world mixes are increasingly
common and lead to all sorts of interesting hybrids. Don't much care
for the keyboard toys.
Ian Hendrickson-Smith: Still Smokin' (2004, Sharp
Nine): But the temperature has faded a bit, partly because to vary
his act a bit he brings in guests on some cuts -- Ryan Kisor on
trumpet, Peter Bernstein on guitar -- and partly because he still
feels obligated to play his flute. He's a mainstream alto saxist
with a lot of poise and confidence. I gave his first album an A-,
and anyone who agrees with me could take this one as a solid HM.
But I'd prefer to see him move on, instead of just spreading out.
Iconoclast: The Dreadful Dance (2005, Fang): This
duo is styled like no wave, with a deliberate shock component. The
simpler pieces where Julie Joslyn's alto sax squares away with Leo
Ciesa's drums are primitive enough, primeval even, but their side
effects -- electronics, keyboards, violin, kalimba, vocals -- are
so much extra baggage.
Industrial Jazz Group: The Star Chamber (2003 ,
Innova): I puzzled over the meaning of Andrew Durkin's group name
too long, considering and discarding many possibilities, probably
missing the point. It's a nonet, and they move like clockwork --
intricate and refined, cold and clear.
Jacob Fred Jazz Odyssey: The Sameness of Difference
(2005, Hyena): I gave them an Honorable Mention for the previous
one, where Reed Mathis' weird bass effects gave them a surprising
sonic depth. This one is more conventional, with more rock songs,
but still anchored in jazz standards. Seems like an interesting
group treading water.
John Lindberg Quartet: Winter Birds (2004 ,
Between the Lines): Pianoless quartet led by the bassist. The horns
are Baikida Carroll on trumpet and Steve Gorn on flutes, soprano
sax and clarinet, and they take interesting tangents. The drummer
is Susie Ibarra. Lindberg is one of the outstanding bassists of
his generation. Very impressive on paper and not without interest,
but this is one I never managed to satisfactorily sort out.
Joe Lovano: Joyous Encounter (2004 , Blue
Note): This is the second of two albums that came out of a quartet
session with Hank Jones, George Mraz and Paul Motian. Seemed like
a great idea, but the first installment, I'm All For You: Ballad
Songbook, floated near the cusp of my Duds list for a year. The
leftovers here are better -- enough so that this one has floated
new the Honorabable Mentions cusp since it came out last summer.
It even made my draft a couple of times, but Christgau questioned
what my wording meant this time, so figuring it wouldn't make the
cut anyway I went ahead and slashed it. This, at least, is the
perfectly average album all these stars always had in them -- not
that we're all that interested in their averages. The previous
one led me to conclude that Lovano, despite all his skills, just
doesn't have the tone and temperament to play ballads. He isn't
the only saxophonist with that affliction -- Michael Brecker and
Branford Marsalis have if anything fared worse yet with their
ballad specials. This one works better because it's more varied,
even if mostly mid-tempo. Meanwhile, Lovano and Motian did better
work on I Have the Room Above Her (ECM), which while slower
than the ballad book is a lovely example of Motian's fondness for
Mark Masters Ensemble: Porgy & Bess Redefined!
(2005, Capri): I don't feel the need for another big band rendition
of this warhorse, but the crisp charts flash the band's muscle and
can spin on the proverbial dime. The horns snap, and Billy Harper
has a field day with "Summertime."
Paul McCandless: Shape Shifter (2004, Synergy
Music): He mostly plays saxophone this time (tenor and soprano),
but still manages a slightly exotic sound. Art Lande fills in on
piano, giving him a few breaks. Nice, but for all the shifting
not a lot of shape.
Mingus Big Band/Orchestra/Dynasty: I Am Three
(2004 , Sue Mingus Music/Sunnyside): I mentioned this in
my Dud review of the Lincoln Center Jazz Orchestra's Mingus
album -- it's not as bad, but suffers from the same repertory
problems that plague Mingus. The man himself was so big that
big bands, even of his friends, can't stand up to him -- not
that the early ones weren't fun remembrances, but the recent
ones feel like they're just playing out the string. That said,
this isn't bad.
Oz Noy: Ha! (2005, Magnatude): A heavy riffing
electric guitarist working in an upbeat fusion vein -- slick and
rather fun, but what can come of it?
John O'Gallagher's Axiom: Line of Sight (2004 ,
Fresh Sound New Talent): Two saxes -- the leader's alto/soprano, Tony
Malaby's tenor/soprano -- weave impressively, juxtapose less certainly,
over bass and drums. Both are worth following.
Nils Řkland: Bris (2003-04 , Rune Grammofon):
Norwegian violinist -- lead instrument is called a hardanger fiddle,
but that's close enough. Dark and slow, somber mood music, marginal
as jazz. Call it Old Age.
Enrico Pieranunzi: Fellini Jazz (2003 , CAM
Jazz): This film music, mostly by Nino Rota, has a gentle wistfulness
to it, which Chris Potter and Kenny Wheeler color in rich pastels.
Enrico Pieranunzi/Paul Motian: Doorways (2004, CAM
Jazz): While Motian's own records never feature piano, his career
was largely built around pianists, starting with Bill Evans. He's
developed a rather abstract, offhand approach, sometimes seeming
to play along only from an alternate universe. Pieranunzi is an
interesting pianist with a similar taste in abstraction, so this
ambles a bit, the duo complementing rather than connecting. Chris
Potter ("special guest") joins in on three cuts, valiantly trying
to fit when it would have been much easier to just blow his hosts
Enrico Pieranunzi: Special Encounter (2003 ,
CAM Jazz): The Pieranunzi/Motian duo again, expanded to a trio with
Charlie Haden. Mostly ballads. Lovely, of course.
Bucky Pizzarelli & Frank Vignola: Moonglow
(2005, Hyena): This is lovely work, but so sedate that you rarely
get the sense that two guitars are in play.
Flora Purim: Flora's Song (2005, Narada Jazz):
Languid Brazilian groove, smoky voice, pleasant enough.
Louise Rogers/Rick Strong: Bass-ically Speaking
(2005, Rilo): Just voice over bass, but more mainstream than any
of the other examples I can think of. It works because Rogers'
voice is so clear and self-sufficient, and it helps that Strong's
bass has similar qualities.
Rova/Orkestrova: Electric Ascension 2003 (2003
, Atavistic): With only four saxophones to the quartet, they
make up the deficit by adding a "rhythm & noise" section (guitar,
bass, drums, drum machines, turntables, electronics) and a pair of
violins that could have been filed under noise as well. The noise
can be interesting, but this still sounds like Ascension to
me -- perhaps not as severe as Coltrane's original orgy, but still
more than I've ever been able to handle.
Ben Schwendener/Uwe Steinmetz: Apfelschaun (2003
, Gravity): They get an astonishingly rich and lush sound
out of piano and soprano sax (plus a few extras), but after being
swept away at first I started to wonder whether it was just too
The Jim Seeley/Arturo O'Farrill Quintet (2003 ,
Zoho): Seeley wrote the songs and plays trumpet. O'Farrill is on
piano, including a little electric. Jed Levy adds tenor sax or flute.
The rhythm section, anchored by bass legend Andy Gonzalez, leans
Latin, but doesn't get fancy. Nice, smart, decent album.
Jim Self with Strings: Inner Play (2005, Basset
Hound): Self plays tuba and fluba -- to a tuba what a flugelhorn
is to a trumpet. Neither instrument registers strongly as a lead,
so extra horns try to help out. Even without the strings, the
orchestra is unwieldy, and the strings further gum up the works.
Can be pretty in spots.
Vince Seneri: Street Talk (2005, SenFul): As
funky a soul jazz album I've heard in quite a while, with tributes
to Ray Charles and Jimmy Smith, and invaluable guest support from
Fathead Newman and Houston Person.
SF Jazz Collective (2005, Nonesuch): A powerful
group, but despite all the name talent, this doesn't cohere often
enough. The reeds are Artistic Director Joshua Redman and Miguel
Zenon; the brass Nicholas Payton and Josh Roseman. Renee Rosnes
plays piano, Bobby Hutcherson vibes, Robert Hurst bass, Brian
Blade drums. Impressed? Any one of these folks can dazzle any
given moment, and Hutcherson has more moments than the others,
but overall it's a case of too many cooks.
Bud Shank Quartet with Phil Woods: Bouncing With Bud &
Phil: Live at Yoshi's (2005, Capri): Old timers enjoying
themselves, especially on Bud Powell's title piece. Mike Wofford
plays piano -- always a plus.
Archie Shepp & Mal Waldron: Left Alone Revisited . . .
A Tribute to Billie Holiday (2002 , Synergy Music):
Both of these artists have recorded many duos, including some of
their best work -- cf. Shepp with Horace Parlan, Waldron with
Marion Brown or Steve Lacy. And Waldron has tapped into Holiday
many times -- he's still more famous as her accompanist than he
is for four decades of stellar work on his own. So this should
be easy, but Shepp's a little wobbly, and he throws Waldron off
more than once.
Mark Sherman: One Step Closer (2005, CAP): Good
mainstream session led by the vibraphonist, with Allen Farnham
on piano and Joe Magnarelli on trumpet, but the biggest splash
is made by guest Joe Lovano, who comes out breathing fire on
John Tchicai: Big Chief Dreaming (2003 ,
Soul Note): A quintet with guitarist Garrison Fewell and a bunch
of Italians I've never heard of. Tino Tracanna's soprano sax
melds well with Tchicai's tenor or bass clarinet, and the whole
thing achieves a nice post-bop balance.
Clark Terry with the Chicago Jazz Orchestra: Porgy &
Bess (2004, A440 Music): Standard fare from a repertory
group with a notable guest star, who to be fair holds up his end
of the deal. The hype on this one was huge: Downbeat gave it five
stars; Gary Giddins included it on his year-end list. I've seen
it compared to Gil Evans's arrangement for Miles Davis. I don't
hear any of those things, and for my money Mark Masters blows it
away. Probably should have flagged as a dud, but I let it slip
and don't care any more.
Trio da Paz: Somewhere (2005, Blue Toucan):
Brazilian guitar-bass-drums trio, led by guitarist Romero Lubambo,
with steady hands Nilson Matta and Duduka Da Fonseca on bass and
drums. Guitarist plays acoustic, influenced by Baden Powell.
Simple, elegant, very pleasant.
Emmanuel Vaughan-Lee: Borrowed Time (2004 ,
Fresh Sound New Talent): Led by the bassist, who composed five of
ten songs, with three from the group, one each from Duke and Sting.
The group is a quintet, bop configuration, but well on the post-side
harmonically, with lots of fancy counterpoint. The main draw is Mark
Turner, who doesn't disappoint.
Vinkeloe/Cremaschi/Masaoka/Robair: Klang. Farbe. Melodie
(2004, 482 Music): Clicks, pops, thumps, scratches, screeches. Biggi
Vinkeloe's short alto sax lines. Miya Masaoka's 21-string koto. Hard
to make much out of such fragments, but it's interesting.
The Ken Walker Sextet: Terra Firma (2002 ,
Synergy Music): Led by the bassist, who wrote half the songs, with
one more from pianist Jeff Jenkins and various covers, including
two from Eddie Harris. Attractive hard bop album, nice balance,
open sound, runs on a bit long.
Robert Walter: Super Heavy Organ (2005, Magnatude):
The organist is as advertised, with an extra dollop of grease. But
Tim Green's tenor sax cuts through it, and I'm curious to hear more
Carl Weingarten: Local Journeys (2005, Multiphase):
A guitarist into atmospherics. His records are usually filed under
New Age, probably because not much happens here, but his tone is a
bit heavier than the norm there. Pleasant enough.
Kenny Wheeler & John Taylor: Where Do We Go From
Here? (2005, CAM Jazz): Piano-trumpet/flugelhorn duets
from two closely associated veterans of the avant-ECM fringe.
Takes a while to get going, but interesting as it develops.
Abram Wilson: Jazz Warrior (2004 , Dune):
Smooth jazz isn't the same in England as in the US: it's not as
smooth, and tolerates a little reggae or juju and the occasional
rap. But throw them all together without cultivating idiosyncrasy
and all you get is a mess.
Yellowjackets: Altered State (2005, Heads Up):
In business since 1981, with Russell Ferrante and Jimmy Haslip
constants and relative newcomer Bob Mintzer on reeds. The groove
tracks are exceptionally lifeless, the obligatory vocal even
more so. In my limited exposure, they seem to be the lamest of
all smooth jazz groups, but I suppose a more detailed study
might tilt toward Acoustic Alchemy or Urban Knights. Submitted
on the Duds list once, but cut for space.
Also dropping the following. Don't have anything to add to what was
previously said in the prospecting notes (for this or some previous
Jazz CG cycle).
- Tatsu Aoki: Basser Live II (2004 , Asian Improv) B+(*)
- The Omer Avital Group: Asking No Permission (1996 , Smalls) B+(*)
- Anita Baker: Christmas Fantasy (2005, Blue Note) B-
- Carlos Barbosa-Lima: Carioca (2005 , Zoho) B+(*)
- Paul Bollenback: Brightness of Being (2005 , Elefant Dreams) B+(*)
- Cole Broderick: In a Dream (2005, Cole Broderick) B+(*)
- Craig Chaquico: Holiday (2005, Higher Octave) C+
- Cyrus Chestnut: Genuine Chestnut (2005 , Telarc) B
- Nick Colionne: Keepin' It Cool (2005 , Narada Jazz) B
- Duduka Da Fonseca: Samba Jazz in Black and White (2005 , Zoho) B+(**)
- Steve Dalachinsky/Matthew Shipp: Phenomena of Interference (2005, Hopscotch) B+(*)
- Eric Darius: Just Getting Started (2006, Narada Jazz) B
- The Kenny Davern Quartet: In Concert, Albuquerque, 2004 (2004 , Arbors) B+(**)
- Dave's True Story: Simple Twist of Fate: DTS Does Dylan (2005, BePop) B
- Dr. John and the Lower 911: Sippiana Hericane B
- Zé Eduardo/Jack Walrath Quartet: Bad Guys (2004 , Clean Feed) B+(*)
- Marty Ehrlich: News on the Rail (2005, Palmetto) B+(**)
- Agustí Fernandez/Peter Kowald: Sea of Lead (2000 , Hopscotch) B+(*)
- Jean-Marc Foltz/Bruno Chevillon: Cette Opacité (2003 , Clean Feed) B+(*)
- Chris Gestrin/Ben Monder/Dylan van der Schyff: The Distance (2004 , Songlines) B-
- Edsel Gomez: Cubist Music (2005 , Zoho) B+(**)
- Euge Groove: Just Feels Right (2005, Narada Jazz) B-
- Joel Harrison: Harrison on Harrison (2005, High Note) B
- Fred Hersch: In Amsterdam: Live at the Bimhuis (2003 , Palmetto) B
- Warren Hill: Pop Jazz (2005, Native Language) B-
- Hiromi: Spiral (2005 , Telarc) B+(**)
- In the Country: This Was the Pace of My Heartbeat (2004 , Rune Grammofon) B+(**)
- Incognito: Eleven (2006, Narada Jazz) B
- Jazz at Lincoln Center Presents: Higher Ground: Hurricane Relief Benefit Concert (2005, Blue Note) C+
- Guillermo Klein: Una Nave (2002 , Sunnyside) B+(*)
- Guillermo Klein y los Guachos: Live in Barcelona (2004 , Fresh Sound New Talent) B+(**)
- Diana Krall: Christmas Songs (2005, Verve) B
- Peggy Lee Band: Worlds Apart (2004, Spool/Line) B+(**)
- The Earl May Quartet: Swinging the Blues (2005, Arbors) B+(*)
- Alexander McCabe: The Round (2005, Wamco) B+(**)
- John McNeil: East Coast Cool (2004 , Omnitone) B+(*)
- Marian McPartland: Piano Jazz With Guest Elvis Costello (2003 , Jazz Alliance) B
- Marian McPartland: Piano Jazz With Guest Bruce Hornsby (2003 , Jazz Alliance) B-
- Marian McPartland: Piano Jazz With Guest Steely Dan (2002 , Jazz Alliance) B
- Marian McPartland: Piano Jazz With Guest Teddy Wilson (1978 , Jazz Alliance) B+(*)
- Kjeril Mřster/Per Zanussi/Kjell Nordeson: MZN3 (2005, Jazzaway) B+(*)
- Quinsin Nachoff: Magic Numbers (2004 , Songlines) B
- Evan Parker Electro-Acoustic Ensemble: Toward the Margins (1996 , ECM) [B+(*)]
- Charlie Peacock: Love Press Ex-Curio (2005, Runway) B+(**)
- Positive Knowledge: First Ones (2005, Charles Lester Music) B
- Joshua Redman Elastic Band: Momentum (2005, Nonesuch) B+(**)
- Alexander Schimmeroth Trio: Arrival (2004 , Fresh Sound New Talent) B+(**)
- Maria Schneider Orchestra: Days of Wine and Roses: Live at the Jazz Standard (2000 , ArtistShare) B
- Seattle Repertory Jazz Orchestra: Sacred Music of Duke Ellington (2001-05 , Origin, 2CD) B+(*)
- Soulive: Break Out (2005, Concord) C+
- Robert Stillman: Horses (2004 , Mill Pond) B+(*)
- Mike Tucker: Collage (2005 , TuckerJazz) B+(**)
- Manuel Valera Group: Melancolía (2004, Mavo) B
- Deanna Witkowski: Length of Days (2005, ArtistShare) B
- The Wood Brothers: Ways Not to Lose (2006, Blue Note) B+(*)
Finally, the following appeared (or soon will) in Recycled Goods:
- Kenny Barron Trio: The Perfect Set: Live at Bradley's II (1996 , Sunnyside) B+(**)
- Ruby Braff: Controlled Nonchalance: At the Regattabar, Volume 2 (1993 , Arbors) B
- Brötzmann/Bennink: Schwarzwaldfahrt (1977 , Atavistic, 2CD) B
- James Brown: Gettin' Down to It (1968-69 , Verve) B
- Don Cherry: Where Is Brooklyn (1966 , Blue Note) A-
- A Dream Come True: The Best of Trudy Desmond (1988-98 , Just a Memory) B+(***)
- Kenny Drew Trio (1956 , Riverside) B+(***)
- Booker Ervin: Tex Book Tenor (1968 , Blue Note) B+(***)
- Charlie Haden/Liberation Music Orchestra: Not in Our Name (2004 , Verve) A-
- Craig Harris: Souls Within the Veil (2003 , Aquastra, 2CD) A
- The Frank Hewitt Quintet: Four Hundred Saturdays (1999 , Smalls) B+(***)
- Andrew Hill: Andrew! (1964 , Blue Note) A-
- David Holland/Barre Phillips: Music From Two Basses (1971 , ECM) B+(**)
- Jazzanova: Blue Note Trip (1949-75 , Blue Note, 2CD) B-
- Steve Kuhn: Trance (1974 , ECM) B+(**)
- Joe McPhee/John Snyder: Pieces of Light (1974 , Atavistic) B+(*)
- Blue Mitchell: Down With It! (1965 , Blue Note) [A-]
- The Mixed Media Series: Basquiat Salutes Jazz (1948-74 , Prestige) B+(**)
- Hank Mobley: Reach Out! (1968 , Blue Note) B
- New York for Lovers (1953-95 , Verve) B
- Luis Mario Ochoa & Friends: Cimarrón (2005, Cuban Music Productions) B+(*)
- Paris for Lovers (1950-92 , Verve) B-
- Julian Priester Pepo Mtoto: Love, Love (1974 , ECM) A-
- Progressions: 100 Years of Jazz Guitar (1906-2001 , Columbia/Legacy, 4CD) B+(***)
- Ike Quebec: The Complete Blue Note 45 Sessions (1959-62 , Blue Note, 2CD) A-
- The Essential Sonny Rollins: The RCA Years (1962-64 , RCA/Legacy, 2CD) A
- Roswell Rudd & the Mongolian Buryat Band: Blue Mongol (2005, Sunnyside) A-
- Dieter Scherf Trio: Inside-Outside Reflections (1974 , Atavistic) B+(**)
- Wayne Shorter Quartet: Beyond the Sound Barrier (2002-04 , Verve) A-
- James Blood Ulmer: Birthright (2005, Hyena) A-