One of the "big three" of current jazz guitarists (along with Pat Metheny and Bill Frisell), Scofield's influence grew in the '90s. Possessor of a very distinctive rock-oriented sound that is often a bit distorted, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, fusion, and soul jazz. He started on... [+] Read More

One of the "big three" of current jazz guitarists (along with Pat Metheny and Bill Frisell), Scofield's influence grew in the '90s. Possessor of a very distinctive rock-oriented sound that is often a bit distorted, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, fusion, and soul jazz. He started on guitar while at high school in Connecticut, and from 1970-1973 Scofield studied at Berklee and played in the Boston area. After recording with Gerry Mulligan and Chet Baker at Carnegie Hall, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and later joined the Gary Burton quartet and Dave Liebman's quintet. His own early sessions as a leader were funk-oriented. During 1982-1985 Scofield toured the world and recorded with Miles Davis. Since that time he has led his own groups, played with Bass Desires, and recorded frequently as a leader for Gramavision and Blue Note, using such major players as Charlie Haden, Jack DeJohnette, Joe Lovano, and Eddie Harris.

Scofield started a long-term relationship with the Verve label in 1996 with his acoustic album Quiet. He cut the funky A Go Go with Medeski, Martin & Wood in 1997 while 2000's Bump featured members of Sex Mob, Soul Coughing, and Deep Banana Blackout. 2001's Works for Me featured a more traditional jazz sound but for 2002's Uberjam and 2003's Up All Night he was back to playing fusion. Drummer Bill Stewart and bassist Steve Swallow rounded out the John Scofield Trio for 2004's cerebral and complex live album EnRoute. In 2005, Scofield paid tribute to legendary soul man Ray Charles with That's What I Say. ~ Scott Yanow, All Music Guide [-] Hide

Marcus Roberts is a very talented -- if very raw -- young musician, whose good fortune it was to capture the attention and goodwill of the all-powerful Wynton Marsalis. Roberts is one of the generation of young African-American jazz musicians who seems bent on forging the future by reinventing the past; his infatuation with older forms renders... [+] Read More

Marcus Roberts is a very talented -- if very raw -- young musician, whose good fortune it was to capture the attention and goodwill of the all-powerful Wynton Marsalis. Roberts is one of the generation of young African-American jazz musicians who seems bent on forging the future by reinventing the past; his infatuation with older forms renders his music a pastiche of obsolete styles. Roberts is a gifted mimic, though his adoption of his idols' surface mannerisms does not penetrate to the essence of their art.

Roberts is without sight; he attended a school for the blind near his childhood home of Jacksonville, FL. He began playing piano in his youth, and studied the instrument at Florida State University in the mid-'80s. Roberts replaced Kenny Kirkland as Marsalis's pianist in 1985. He recorded as a sideman with the trumpeter through the rest of the decade and into the '90s, while at the same time making records under his own name for Columbia. Roberts became Marsalis's aide de camp at Jazz at Lincoln Center, writing and arranging extensively for the house big band, and participating in most of the cultural center's activities variously as a composer, performer, or teacher. Roberts is an outspoken proponent of jazz traditionalism; he has little patience for styles of jazz that lie outside the narrow parameters set down by his mentors. His lack of interest in expanding jazz's creative possibilities causes his music to have a hermetic quality, which is unfortunate, because one gets the feeling by listening to his recent compositions that, were Roberts to broaden his horizons a bit, he might be capable of doing excellent work. ~ Chris Kelsey, All Music Guide [-] Hide

Although her recording career has been somewhat erratic, Cassandra Wilson became one of the top jazz singers of the '90s, a vocalist blessed with a distinctive and flexible voice who is not afraid to take chances. She began playing piano and guitar when she was nine and was working as a vocalist by the mid-'70s, singing a wide variety of... [+] Read More

Although her recording career has been somewhat erratic, Cassandra Wilson became one of the top jazz singers of the '90s, a vocalist blessed with a distinctive and flexible voice who is not afraid to take chances. She began playing piano and guitar when she was nine and was working as a vocalist by the mid-'70s, singing a wide variety of material. Following a year in New Orleans, Wilson moved to New York in 1982 and began working with Dave Holland and Abbey Lincoln. After meeting Steve Coleman, she became the main vocalist with the M-Base Collective. Although there was really no room for a singer in the overcrowded free funk ensembles, Wilson did as good a job of fitting in as was possible. She worked with New Air and recorded her first album as a leader in 1985. By her third record, a standards date, she was sounding quite a bit like Betty Carter.

After a few more albums in which she mostly performed original and rather inferior material, Cassandra Wilson changed directions and performed an acoustic blues-oriented program for Blue Note called Blue Light 'Til Dawn. By going back in time, she had found herself, and Wilson has continued interpreting in fresh and creative ways vintage country blues and folk music up until the present day. During 1997 she toured as part of Wynton Marsalis' Blood on the Fields production. Traveling Miles, her tribute to Miles Davis, followed two years later. For 2002's Belly of the Sun, she drew on an array of roots musics -- blues, country, soul, rock -- to fashion a record that furthered her artistic career while still aligning well with trends in popular music. Glamoured, released in 2003, posed a different kind of challenge; half the material was composed by Wilson herself. Unwilling to stand still, Wilson gently explored sampling and other hip-hop techniques for 2006's Thunderbird. ~ Scott Yanow, All Music Guide [-] Hide

A fine guitarist who has made a stir with his Columbia records of the early to mid-'90s, Russell Malone started playing music when he was five. He was with Jimmy Smith's band for two years in the late '80s and since 1989 has often toured with Harry Connick, Jr. Malone's influences range from swing to R&B and he has an appealing bop-oriented...

A fine guitarist who has made a stir with his Columbia records of the early to mid-'90s, Russell Malone started playing music when he was five. He was with Jimmy Smith's band for two years in the late '80s and since 1989 has often toured with Harry Connick, Jr. Malone's influences range from swing to R&B and he has an appealing bop-oriented approach that often pays tribute to earlier styles. ~ Scott Yanow, All Music Guide [-] Hide

Patricia Barber's unique style and unusual voice made her an easy target for critics in the early days of her career. Her piano playing and singing, while inventive, never ventured close enough to the avant-garde to earn her artistic license, and her insistence on writing her own material and adapting songs from the pop world made her difficult... [+] Read More

Patricia Barber's unique style and unusual voice made her an easy target for critics in the early days of her career. Her piano playing and singing, while inventive, never ventured close enough to the avant-garde to earn her artistic license, and her insistence on writing her own material and adapting songs from the pop world made her difficult to categorize. A tireless performer who refused to conform to more conventional vocal jazz idioms, she worked her way up through the Chicago jazz scene slowly, almost reluctantly, after having spent several years in Iowa attending college and performing with local groups.

The daughter of Floyd "Shim" Barber and a blues vocalist, she had all but rejected the idea of becoming a jazz musician, but found herself drawn to the performing world after college. When she returned to Chicago, she was trashed by the local critics, and only after winning a five-day-a-week gig at the intimate Gold Star Sardine Bar and releasing her first album on her own Floyd label (1989's Split) did the tide begin to turn for her. She signed a contract with Verve and released A Distortion of Love in 1992, which brought her some positive critical attention and earned her a more national audience, but the big-label experience was trying for Barber and she sought a place where she could have more creative control. Her next two albums were issued by the tiny local label Premonition (1994's Café Blue and 1998's Modern Cool).

Premonition was purchased by Blue Note in 1998, and the label put some marketing muscle behind Barber, helping to bolster the international reputation she had already begun to earn. Blue Note released Companion in 1999 -- intended to act as her introduction to a wider audience, the album reprised much of her popular material and was recorded live at Chicago's Green Mill, a historic jazz club where Barber had been performing weekly for several years. 2000's Night Club took her back into a studio setting, but still featured many of the inventive interpretations that had distinguished her work in the past. Barber issued her edgy, critically acclaimed Verse on the Blue Note label in 2002. She won a Guggenheim in March of 2003 to create a song cycle based on Ovid's Metamorphses. Her concert set Live: A Fortnight in Paris was issued on the label in 2004, consisting of five originals, five covers, and two brand new songs. Mythologies followed in 2006. ~ Stacia Proefrock, All Music Guide [-] Hide

Vocalist/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on "I Don't Know Enough About You," "I Don't Stand a Ghost of a Chance... [+] Read More

Vocalist/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on "I Don't Know Enough About You," "I Don't Stand a Ghost of a Chance With You," and "How Deep Is the Ocean." However, Krall's earlier Nat King Cole tribute had more variety in tempos and moods and is recommended first. A decent but not essential release. ~ Scott Yanow, All Music Guide [-] Hide

All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track. Most of Breezin' is a softer-focused variation of Benson's R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including... [+] Read More

All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track. Most of Breezin' is a softer-focused variation of Benson's R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including Ronnie Foster on keyboards and sparkplug Phil Upchurch on rhythm guitar) pumping up the funk element. Yet it is the sole vocal track (his first in many years), Leon Russell's "This Masquerade" -- where George unveiled his new trademark, scatting along with a single-string guitar solo -- that reached number ten on the pop singles chart and drove the album all the way to number one on the pop (!) LP chart. The attractive title track also became a minor hit single, although Gabor Szabo's 1971 recording with composer Bobby Womack is even more fetching. In the greater scheme of Benson's career, Breezin' is really not so much a breakthrough as it is a transition album; the guitar is still the core of his identity. ~ Richard S. Ginell, All Music Guide [-] Hide

This intriguing release features pianist Marcus Roberts and a dozen of his originals played by a variety of young musicians in groups as large as 11 pieces. The compositions (other than Robert Johnson's "Cross Road Blues" and Jelly Roll Morton's "Jungle Blues") are all by the pianist, as are the arrangements. In general, the original tunes... [+] Read More

This intriguing release features pianist Marcus Roberts and a dozen of his originals played by a variety of young musicians in groups as large as 11 pieces. The compositions (other than Robert Johnson's "Cross Road Blues" and Jelly Roll Morton's "Jungle Blues") are all by the pianist, as are the arrangements. In general, the original tunes themselves are not all that memorable (none of the melodies are destined to catch on), but the charts are quite colorful and often make the ensembles sound like a distortion of early-1930s Duke Ellington (with some McCoy Tyner-like piano here and there from Roberts). There are plenty of excellent solos from the band (which includes trumpeter Marcus Printup, trombonist Ronald Westley and altoist Sherman Irby) during the episodic music, and the CD rewards repeated listenings. An intriguing set. ~ Scott Yanow, All Music Guide [-] Hide

Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although... [+] Read More

Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds. ~ Scott Yanow, All Music Guide [-] Hide

Singer Cassandra Wilson, who has had a rather diverse career that has ranged from the free funk of M-Base to standards à la Betty Carter, has in recent times adopted a folk-oriented style a little reminiscent of Nina Simone. On New Moon Daughter her repertoire ranges from U2 to Son House, from Hoagy Carmichael to Hank Williams ("I'm So Lonesome... [+] Read More

Singer Cassandra Wilson, who has had a rather diverse career that has ranged from the free funk of M-Base to standards à la Betty Carter, has in recent times adopted a folk-oriented style a little reminiscent of Nina Simone. On New Moon Daughter her repertoire ranges from U2 to Son House, from Hoagy Carmichael to Hank Williams ("I'm So Lonesome I Could Cry"); it is certainly the only album ever that contains both the Monkees' "Last Train to Clarksville" and "Strange Fruit." This CD is a surprise best-seller, for Wilson's voice actually sounds quite bored and emotionally detached. She deserves great credit for stretching herself, but one has to dig deep to find any warmth in her overly cool approach. ~ Scott Yanow, All Music Guide [-] Hide