The exceptionally talented Jazz group Weather Report have released their CD entitled Heavy Weather. I am very confident and happy to announce that I believe Weather Report fans, and Jazz fans alike will be pleased with this one. With the release of Heavy Weather their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

I wish it weren’t the case but, it’s not everyday that I get a CD for review that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Heavy Weather. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Heavy Weather is a nicely varied, mix of 8 tracks that are very well written and brilliantly performed songs by these clearly superb musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

Listen to this CD and I believe you’ll find there’s not much to dis-like about it. The songs are inspired, the production is simply outstanding, and this is clearly the work of a group of musicians in top form. So much so that if you’re even mildly into Jazz music you’ll enjoy this CD.

While the entire CD is really very good the truly standout tunes are track 2 – A Remark You Made, track 5 – Rumba Mama, and track 8 – Havona.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Birdland. This is a great track!

Heavy Weather Release Notes:

Weather Report originally released Heavy Weather on September 23, 1997 on the Legacy Recordings label.

CD Track List Follows:

1. Birdland 2. A Remark You Made 3. Teen Town 4. Harlequin 5. Rumba Mama 6. Palladium 7. Juggler, The 8. Havona

Weather Report: Joe Zawinul (vocals, piano, synthesizer, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion).

Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland.

By: Clyde Lee Dennis

Obon is the latest Smooth Jazz CD released by the highly talented group Hiroshima who once again have delivered a brilliant collection of tracks. I’m confident Hiroshima fans, and Smooth Jazz fans alike will be pleased with this one.

I wish it weren’t the case but, it’s not everyday that I get a CD from an artist or group that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Obon. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

The nice thing about a CD like this is when the talent is this rich even if Smooth Jazz isn’t your favorite style you still can’t help but appreciate the greatness of the players.

Listen to this CD and I believe you’ll find there’s not much to dis-like about it. The songs are inspired, and the production is simply outstanding. If you’re even mildly into Smooth Jazz music you’ll enjoy this CD.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 10, The Lighthouse. Great track!

Obon Release Notes:

Hiroshima originally released Obon on Apr 26, 2005 on the Heads Up Records label.

CD Track List Follows:

1. Swiss Ming

2. China Latina

3. Kototsu-Han (San Kyoku)

4. Atomic Cafe

5. Obon Two-Five

6. One Thursday Morning

7. Mr. Robben

8. Paris (Ici Avec Moi)

9. Pharoah

10. The Lighthouse

11. Heritage

Hiroshima: June Kuramoto (koto); Dan Kuramoto (flute, shakuhachi, soprano saxophone, tenor saxophone, keyboards); Kimo Cornwell (piano, keyboards); Dean Cortez (bass instrument); Danny Yamomoto (drums); Shoji Kameda (taiko, percussion). Additional personnel include: Allen Hinds (guitar); Munyungo Jackson, Richie Gajate Garcia (percussion); DJ T-Rock (scratches).

By: Clyde Lee Dennis

When you think of electric guitars, you envision rock and roll, heavy metal, and screaming punk bands. These genres depend heavily on the amplification and special effects that this sort of guitar provides. It is natural to assume that the inventor of electric guitar would be a rock and roller or a metal head, but an unlikely player in the game, jazz, actually contributed heavily to the development of the modern day electric guitar.

Early Concepts

The 1930’s and 1940’s, the big band era was in full swing. Jazz orchestras were increasing in size, and the powerful bass sections were simply drowning out guitarists, who were an integral part of the ensemble. Inventors and guitar makers experimented with attaching microphones to guitars, but the excess noise created by the player’s hands and the rest of the body were distracting and not pleasing to the ears. Bandleaders and guitarists saw a pressing need to amplify the sounds of the guitar in order to make it a more obvious presence on the bandstand.

Early Hollow Electrics

Just one person cannot be credited as the inventor of electric guitar, and the credit is therefore generally bestowed upon the entire genre of jazz, which created a need and practical use for it. The first electric guitars were basically designed from hollow acoustic guitar bodies and featured an electromagnetic transducer attachment. A documented performance using an electric guitar took place in 1932, the earliest appearance of anything of its kind. A recording would be made just six years later in 1938 featuring guitarist George Barnes, and 15 days after Barnes’ recording was made, young Eddie Durham made another that went on to become famous.

Early Solid Body Electrics

The more commonly known solid body electric guitar started to appear in 1931. It is rumored that a version of it may have been available in stores in the early 1930’s, but the instrument did not take off with great success. Guitar giant Fender became the first company to commercially manufacture an electric guitar and sell it with a great deal of success.

Early Electric Guitarists

Charlie Christian is often heralded as the very first true electric guitarist. He developed many techniques and best practices for the instrument, and he applied them in his career as a jazz guitarist. His work contributed to the transition of jazz from the big band era into cool jazz, bebop, and modern styles. The foundation he laid made it possible for people like Les Paul, B.B. King, and Jimi Hendrix to transform musical styles and create new avenues for the electric guitar.

Since its early concepts, the electric guitar has gone on to penetrate all genres of music. Elements from the electric guitar are now applied to amplify acoustic electric instruments as well, such as violins, classical guitars, and mandolins. A great number of special effects and distortions can add to the diverse offerings that electronics can give musicians, and it is all thanks to jazz – the unlikely inventor of electric guitars.

By: David Smithe