Stan Getz & João Gilberto - Getz/Gilberto (1963)

Even if it wasn't the album that started the bossa nova craze, Getz/Gilberto was definitely one of its crowning achievements. As far as bossa nova is concerned, this was the album that brought Brazil and America together. While Jazz Samba was primarily American musicians playing Brazilian music, Getz/Gilberto was the album that brought both worlds together. It brought Brazil's greatest performer of bossa in João Gilberto and its greatest composer in Antônio Carlos Jobim. While the majority of the album is penned by Jobim and contains such well-known classics as "The Girl from Ipanema" and "Desafinado," the roots of bossa nova are celebrated as well in the track "Para Machucar Meu Coração," penned by Ary Barroso who most famously wrote "Brazil." The same could be said for the track "Doralice" penned by Laurindo Almeida, a Brazilian guitarist whose career began in the late 1940s with Stan Kenton. When many people talk about bossa nova, they often don't realize that it comes from this great Brazilian tradition that goes back to samba at Carnaval to classical composers like Villa-Lobos. While this album celebrates the roots of bossa nova, it also premieres some of its finest material. "Desafinado" is a personal favorite that which translates as "off-key" and speaks of a young man who can't please the ears of a woman he loves because his voice is often off key. "Desafinado" is one of Jobim's most well-known songs, but hands-down "The Girl from Ipanema" is the most well-known song of Jobim or bossa nova. "Vivo Sonhando" is a personal favorite for the way that it hops around chords while the melody repeats an F# and resolves to a D. If you analyze "Vivo Sonhando" or other bossa nova charts, you will realize that the harmony is very forward thinking. Gmaj7 to Ebmaj7 is a strange resolution when the song is in G. However, when you realize bossa nova is really chromatic and you factor in chromaticism to your chordal analysis it doesn't seem so strange. It's hard to say if this album is the best album of all the people involved, but it surely is at the highpoint of their careers and commercial success.

Todd Rundgren - Runt (1970)

Known primarily for the hits off of his 1972 album Something/Anything? including "Hello It's Me" and "I Saw the Light," Todd Rundgren was heavily influenced early on by Laura Nyro. When Rundgren was in his original group the Nazz he was even approached by Nyro to head her band. What's most interesting is how Rundgren adopts Nyro's eclecticism and applies it to his roots in the rock idiom. In case you are doubtful about the connection, the track "Baby Let's Swing" refers to Laura Nyro by name. On Runt, Rundgren is deep into the "Runt persona" which one could interpret as both his departure from the Nazz in spirit as well as his first foray into writing a whole album. As far as the content is concerned, the album's subject matter is practically the antithesis of Eli and the Thirteenth Confession. While Nyro concentrated on what it meant to be a woman in "Lonely Women," poor in "Poverty Train," or dealing with lustful men in "Eli's Coming," Rundgren concentrates on distrustful women and  being heartbroken. Contrasting the two albums track-for-track, it seems as if Rundgren sought to make his own album out of Nyro's model. The best single of the album is "We Gotta Get You a Woman," which consequently was Rundgren's first hit and past its chauvinist lyrics is really a great song for its excellent use of layering voices. It also showcases how well Rundgren lays a foundation for the song with the piano and bass, using the guitar as a solo voice and for texture. As for eclecticism, Rundgren occasionally uses unfamiliar instruments to the pop idiom. For instance on the aforementioned song you will hear a triangle part integral to the texture of the piece. Similarly, Rundgren will utilize handbells or chimes. The real magnum opus of the album in my opinion is "Birthday Carol." It's the most unusual to be present on a pop-rock album, but it's "Birthday Carol" that shows Rundgren is more than a rock star. He displays real talent in songwriting and arranging. Transitioning from such varied sections as a string quartet, a straight-ahead rock section, and a pop ballad, "Birthday Carol" shows that Rundgren really knows what he's doing. This particular version of the album is a personal assemblage of three or so versions of the album. It mixes vinyl and electronic copies, but I kept the songs with the best audio quality. Some of the vinyl rips had too much record noise and the electronic copies had bad hiss in parts.

Laura Nyro - Eli and the Thirteenth Confession (1968)

Taking a break from posting the music of summer, I've decided to do a short section on some fine songwriters of the 60s and 70s. Typically considered singer/songwriter Laura Nyro's finest album, it's amazing to note that she was only twenty-one years old when Eli and the Thirteenth Confession was released in 1968. The immense amount of influences from a variety of genres is what makes Nyro's album timeless. Even if Nyro's music fits in a pop sensibility, it's difficult not to notice the influence of various forms of jazz. Tracks like "Sweet Blindness" harken back to the roots of jazz with a Dixieland-esque sound with the way the various vocal parts contain melodic and counter-melodic parts. The entrance of the horns only further cements this "reading" of this track. Furthermore, tracks like the famous "Eli's Coming" fit right into the world of jazz-rock with its fast paced tempo and backups with the horns. This song was covered by many people in its day with jazz-rock interpretations by names such as Don Ellis on Don Ellis Goes Underground and Maynard Ferguson on M.F. Horn I. Covers of Nyro's song are very common as the track "Stoned Soul Picnic" was famously covered by The Fifth Dimension. In this way, Nyro is a great example of an important, influential figure that is relatively unknown by the general public. In many ways, you could also say Nyro paved the way for artists with eclectic styles that would come in the near future.

Ramsey Lewis - Sun Goddess (1974)

Staying in with the theme of summer recordings, here's an album I discovered from an AM radio station on the way back from the beach. Not only does it have sun in the title, it's full of laidback grooves perfect for relaxing in the shade from the afternoon sun. Many may not be familiar with the name Ramsey Lewis, but it's doubtful that the same thing could be said about Earth, Wind & Fire. Both groups have huge ties to Chicago, which is where this album really begins. Ramsey Lewis was born in Chicago and Maurice White, founder of Earth, Wind & Fire, worked as a session player for Chess Records which was based there. Subsequently, after White's stint as a session player he moved on to be drummer of the Ramsey Lewis Trio in 1966. This album is in many ways a sort of reunion between Ramsey and White's band Earth, Wind & Fire. It also important to note how often this album is referred to as an Earth, Wind & Fire record, but with the two biggest singles from the album ("Sun Goddess" and "Hot Dawgit") being penned by White, it's not hard to see why this is a common mistake. As it compares to earlier Ramsey Lewis recordings, it's vastly different and it's not hard to see why. Lewis is much more at home doing straight-ahead acoustic jazz and this marks his foray into the world of Rhodes pianos and ARP synths.

Quincy Jones - Big Band Bossa Nova (1964)

For the next few albums, I'm trying to post things that remind me of summer. There's something about bossa nova and its Brazilian origin that remind me of summer and some great memories. This album is undoubtedly a product of its time, released in the height of the bossa nova craze. However, that's not to say that it's bad at all. It is a mixture of well-known bossa nova classics such as "Desafinado," "Manha de Carnaval" from the film Black Orpheus, and "One Note Samba." Yet, there are some bossa nova originals such as "Soul Bossa Nova," famous for its use in the Austin Powers films and "Lalo Bossa Nova" from composer/arranger Lalo Schifrin. In fact, this whole album is arranged by Lalo, so the arrangements are of a very high quality. Anyone who is the musical director for Dizzy Gillespie knows what they are doing when they arrange. The strangest aspect of this album are the tracks "On the Street Where You Live" from the musical My Fair Lady and "Boogie Stop Shuffle" from the 1959 Mingus album Mingus Ah Um which are arranged in a bossa nova style. This album was released in the same year Jones was promoted to vice president of Mercury Records so he obviously had a lot of control over this record. His position in the company probably explains the high quality of the personnel on the record including such greats as Phil Woods, Clark Terry, Lalo Schifrin, and Rahsaan Roland Kirk who plays the famous flute part on "Soul Bossa Nova." In some ways this is an album that is a novelty, but when you review the music and the minds behind it, it's worth giving a listen. This particular version has two bonus tracks including "Chega de Saudade (No More Blues)" and "A Taste of Honey."

Sammy Nestico - Dark Orchid (1982)

Not to say this album is bad, but it is a strange album for a variety of reasons. This album defies time period. Despite being released in 1982, this seems like an album much more at home in the mid to late 70s with its funky beats and Rhodes piano. Yes, there is original material, but Nestico brings back reworked versions of Basie classics. It is important to note that even if you don't know the name Sammy Nestico, you probably know Count Basie. Nestico arranged a fair amount of material for Basie and some of his most well-known charts at that. Still, the Basie material is in vast contrast with the rest of the album as well as time period. This album defies typical big band instrumentation to some degree. Sure, most of the sections are very typical, but the harmonized flute sections and the melodic synthesizer is something pretty atypical for a big band record. What may be most strange is that this album is funk in some sections, yet even in funk it still swings. This may very well be the only album in a theoretical sub-genre of funk swing, when you consider the funk feel in the rhythm section with swing feel in the orchestrated parts of the horns. Yet, despite the bizarre nature of some parts of this album, it still has some great moments. Track highlights include "This Is Love" and "Shoreline Drive" showing off the soloistic virtuosity of trombonist Bill Watrous and tenor saxophonist Pete Christlieb respectively. On "This Is Love" Watrous' trombone is in unison with  his own overdubbed whistling. This is worth a listen if only for the first four tracks which represent the "funk swing." This album is also very difficult to find, even on vinyl.

Renaissance - Scheherazade and Other Stories (1975)

Another gem in the sub-genre of symphonic progressive rock, this album is most notable for the suite "Song of Scheherazade." The suite is definitely the magnum opus of the album and one of the highlights of the Renaissance discography. Backed up by the London Symphony Orchestra, it seems appropriate to draw parallels between this album and the Moody Blues' Days of Future Passed. The orchestra is not at the forefront of the suite, as it sticks to mostly background material, but it does add a lot of character to the song. In the beginning where the brass seems to harken the beginning of an epic story to the climax at the end of the suite, the orchestra covers various styles from a variety of influences. A personal favorite is in one of the opening sections where the listener heres the male vocalist for the first time. Interestingly it is in an Arab maqam (mode) called the Bayati, or what in the Western world we would refer to as the double harmonic scale. Scheherazade is the storyteller in the literary work Arabian Nights and it was guitarist Michael Dunford's obsession with the work that led to the suite. Thus, it is not surprising of the lyrical mention of sultans and the use of non-Western scales. Besides "Song of Scheherazade," which is hands-down the most ambitious part of the album, tracks like "Trip to the Fair" are interesting for their use of unusual instruments such as a music box. I once heard that the music box was made solely for this song, but I don't have a definitive source to back up this statement. Even if this album doesn't necessarily use the orchestra to its full potential, it is hard to be disappointed with the core group. Annie Haslam's soprano is always impressive especially in the upper register parts in "Song of Scheherazade." Where I may view Days of Future Passed as a great concept album bringing together rock and classical, I tend to view this album as the group Renaissance playing separately from the London Symphony Orchestra. That is to say that the orchestra is creating a mood that the group is playing within. Simply for the concept of "Song of Scheherazade" and the product embracing both Middle Eastern and Western concepts this is album is worth a listen.

Maynard Ferguson - A Message from Birdland (1960)

From the first thirty seconds of the album where Maynard's unmistakable voice can be heard counting off an arrangement of Sonny Rollin's "Oleo" to the first notes of the unison melody, the listener can be sure that this a fantastic album. About half of this album is original material, while the other material is stuff of the day in addition to charts from Maynard's past. One such chart "Stella by Starlight" was probably introduced to Maynard during his days with Stan Kenton. Fans of the 70s "Disco Maynard" may have a hard time enjoying this, but nonetheless this is the period of his best material. Normally I would preface this statement with "in my own opinion," but this is undoubtedly his best material. This is the era of Maynard playing beautiful melodies in the high register with actual taste. Sure it didn't give chart toppers or commercial appeal, but it doesn't rely solely on his ability to play high notes with "kiss-offs." It is also important to mention that Maynard's tradition of having great musical arrangers that he referred to as musical directors began. Willie Maiden is a relatively unknown person in jazz history, yet his arrangements and original material on "Back in the Satellite Again" and "Three More Foxes" is of the highest quality. It is a shame that Maiden is not a more well known figure or that he died at the early age of 48 in 1976 and did not have a chance to make a bigger name for himself. There's also a fantastic arranger and performer in Slide Hampton whose contribution "The Mark of Jazz" is definitely one of the highlights of the album showing off the virtuosity of both himself and Maynard. Even with the high quality of the album, its hard to believe its live. To the nearly inaudible note in "Blue Birdland," this album almost sounds too good to be live.

Gino Vannelli - Crazy Life (1973)

This may be one of the most random, out-there posts I ever make. Gino Vannelli is definitely a pop figure, but there is a jazz sensibility on some of material that he releases. It may surprise many that are familiar with Gino Vannelli that he actually attended McGill for composition. In that regard, the harmonic and rhythmic content of his songs indicate that he is a trained composer and musician. Strangely enough, Vannelli's heavy use of chromatic harmony and the rhythmic basis for some of the tracks of this album actually remind me a lot of Jobim. This is his first release after Herb Alpert at A&M Records gave Vannelli and his brothers a contract. Tracks like "There's No Time" and "Crazy Life" anticipate Vannelli's later commercial success with his genius composition of ballads. It is important to note that Joe Vannelli, the group's keyboardist, arranged all the material and the good tracks on this album owe a lot to his arranging skills. As is true with many of Vannelli's early albums, the lyrics are either absurd or just plain bad on some of the tracks. This is one of those albums that I listen to the memorable melodies, rather than immersing myself in the lyrics. Even though this is a bizarre album to post, in my own opinion makes some fine crossover pop music, and this is where it all began. The single most amazing thing about this album may be the fact that it really is ahead of its time. Much of the instrumentation and electronic sound of this album is a few years ahead of its heyday.

Don Ellis - Tears of Joy (1971)

In many regards, Tears of Joy may be Don Ellis' magnum opus of his entire career. The incorporation of string instruments adds a lot to his vast exploration of styles, tones, and colors that make this album a real treat to listen to.  John Hammond at Columbia wondered why Ellis would forsake a successful lineup that began with 1967's Electric Bath. Simply, it seems that Ellis just wanted to experiment and continue to innovate as he had in his early years. Tears of Joy backs off a little on the use of unusual time signatures and some of the heavy use of electronics that was present in previous albums, but continue to amaze the listener of how he can write for an ensemble as well as delving further into quarter tonal improvisation. However, "Tears of Joy" still has Ellis using a ring modulator to layer frequencies and "Bulgarian Bulge" in 33/16 and 35/16, shows that he never intended on abandoning what made his music. There are great "tongue-in-cheek" laughs to be had listening to the track "Blues in Elf" an 11/8 (3 3 3 2) blues that opens with a transposed Moonlight Sonata by Milcho Leviev. A personal favorite on the album is the track "Quiet Longing" due to its exploration into light orchestration as it opens and the tone colors that present an intensely emotional piece. "Quiet Longing" is a perfect example of how the string quartet really opened possibilities for Ellis as a writer. Another personal favorite, "Loss" seems to have a similar sound quality to some Asian music in the string parts. The sound quality remind me a lot of the sound of the kokyu, a Japanese bowed instrument. The real masterpiece of the album and Ellis' career is undoubtedly the track "Strawberry Soup." The track opens with the strings and winds improvising. It's important to note that they are improvising, because to the listener it will sound like it is what is written. The rhythmic superimposition of 9 is quite remarkable; 9/2, 9/4, and 9/8 are overlapping rhythmic ideas that often interlock so well, one might not realize this feat. The sheer amount of moods and voicings used in this track in unbelievable. There is the interplay of strings and woodwinds in the beginnings, the transition to the full ensemble aided by a French Horn, and the numerous solos in the seventeen and a half minute piece that show how mature of a writer Don Ellis was for his time. I often think this is the furthest that "big band" jazz has come in its entire history. Sure, there are many writers of today that are experimenting and writing good original material, but they don't have the worldly view and the vast concept of music that Don Ellis had.