Live in Tokyo [Original recording remastered] [Import]

Live in Tokyo [Original recording remastered] [Import]

Track Listings

1. Hirokazu Nambu Announces AD II Nada Moonshine Number

2. Black Pearls Of Wisdom

3. Dry Your Ears

4. Castaneda Da Dream

5. Deutsch Nepal

6. Kiss Ma EEE

7. Speed Inside My Shoes

8. Lilac Lilies

9. Wolf City

10. La Paloma

11. Flowers Of The Orient

12. Surrounded By The Stars

13. Archangel Thunderbird

14. Jam Hai

Editorial Reviews
Product Description
2003 remastered & remixed reissue of 1996 live album from the reunited original lineup of the German experimental band, that's unavailable domestically, features 14 tracks recorded live at Club 'On Air West', Tokyo, April 1996. Gammarock.

Tracks:

Time Again
Wildest Dreams
One Step Closer
Roundabout
Without You
Cutting It Fine
Steve Howe Guitar Solo
Fanfare For The Common Man
The Smile Has Left Your Eyes

Tracks:

Don't Cry
Court Of The Crimson King
Here Comes The Feeling
Video Killed The Radio Star
The Heat Goes On / Carl Palmer Drum Solo
Only Time Will Tell
Sole Survivor
Ride Easy
Heat Of The Moment

Album Description

Asia, featuring members of Yes, ELP and King Crimson, was the first "supergroup" of the eighties. Their eponymous debut album, released in 1982, was a huge success racking up global sales in excess of 15 million copies. In 2006 the original four members reunited for the first time in over 20 years for a series of concerts in the US and the UK. The success of this tour led to a full-blown world tour running throughout 2007 in celebration of their 25th anniversary. This CD was recorded in Tokyo in March 2007 on the Japanese leg of the tour. The companion DVD will be released in Fall 2007 on Eaglevision.

Customer Reviews:

And yet..........2007-07-28

I bought this CD mainly for a nostalgia factor, since my memories of past live albums should have kept me away from it. But it was the original band...To my surprise this is the best sounding live CD from the band so far. Wetton is much better here than Lake was in '83, and nobody wants to remember Moscow. The band seems relaxed, even in their solos, and there is a level of showmanship (which is expected), that really outshines other recordings.
I generally dislike "unplugged" versions of anything, but I was surprised that "Don't Cry" and "the Smile has Left Your Eyes" sound extraordinary in their new incarnations.
The real gem of the CD (worth the price of admission) is "In the Court of the Crimson King", a 4 1/2 minute rendition that sounds solid, with a guitar arrangement from Howe that sounds like a respectful hommage to both his own 70's work in Yes, and the intricate virtuosity of Fripp (Yes, I'm a Crimson fan).
And now, the bad news... The voice and keyboards are a bit forward on the sound mix, and unfortunately some songs have the drums buried in an ancient tomb. I think Palmer's drum sound is a bit outdated, a pity because I love his playing on most ELP recordings (including the live ones). "Only time will tell" has the worst drum mix of the CD, hi-hats and cymbals are all over the place, when you hear them; and I refuse to think it's the drummer's fault (c'mon this guy played Prokofiev live!).
Other than that "Roundabout" should have been rehearsed a bit, it's too erratic even at the slower tempo which they chose (listen to recent Yes live in "The House of Yes" for a killer version).
The rest of the songs are fine, and I can actually confess that as a nostalgia item, it turned out be better than a lot of the stuff out there today!

AR

Surprising & Enjoyable...........2007-07-26

The vintage tracks from Yes, ELP, & King Crimson alone were nearly worth buying the record. I never thought the Buggles were anything to brag about since their only claim to fame was being the first video.. you know the rest. They played that tune just to appease Geoff Downes who really never had any success on his own. It was evident when he tried to hold Asia together after everyone split. Anyway.... wish they would have recorded a show in the states somewhere, probably wouldn't have drawn what they did in Japan though. Wish they would have put Starless & Bible Black on here. Like I said up top, they earned some serious cool points for Roundabout, In the Court, etc... & did Steve Howe a solid by letting him do his virtuoso thing. Should have went all out on Don't Cry... forget doing the acoustic version.

around an 88%.......2007-07-25

Strong sounding CD with solid bottom end (kick drum and bass) ... What I really like about it is it's from one live show ... I don't like live CDs that are a hodge-podge of different shows ... I'm as big an ASIA fan as there is so I'll give my straight impressions:
Track: Time Again - Just a kick-a#* song, get's everybody going. Always loved the cynical lyrics
Wildest Dreams - One of ASIA's strongest, most epic-sounding songs ...
bass is strong as are drums, Steve Howe's guitar sound is weak on this one for some reason, Wetton's voice is sort of weak in places but he pretty much nails the high parts when they come along.
Roundabout - Way better than the orginal Yes version ... totally different vocals of course but heavier and ballsier courtesy of Wetton's rumbling bass and Carl Palmer's heavier drums. Those out there who say this doesn't compare to the Yes version are living in the past. Yes are a prog band / Asia are a ROCK band (a semi-heavy rock band when you hear other tracks like "Soul Survivor" ~ which Wetton absolutely nails the vocals in that one ...)
Without You - This one doesn't really work, live, and I'm not sure why. Now, on the tour, they're doing "Midnight Sun" I think, which is a kooler song anyway. On "Without You" the instrumental breaks are great, the end verse is nice with the chimes and acoustic guitar (of some sort, I don't know enough about guitars to know what it is ...) I don't know, live parts of this song sound choppy.
Cutting It Fine - Kool tune, Geoff does kool job of blending the original intrumental ending with new modern keyboard sounds.
Guitar Solo - Very good but I'm not a fan of that style of guitar playing
Fanfare For Common Man - Asia's version of this just kicks the crap out of everthing, ELP or otherwise ... Steve Howe really shines on this as does Geoff.
Smile Has Left Your Eyes - Still quite the emotional ballad, in a lower key these days but JW sings a couple real powerful notes at the end
Don't Cry - This acoustic version, turning it into a ballad is NOTHING SHORT OF BRILLIANT. If they record some new song that has this type of sound and can get it some airplay with a video it could bring Asia back in a huge way.
Court of Crimson King - Wetton does a good job on this one. The original is a super long sprawling piece of music that defines everything I hate about old-school progressive music. Geoff has his keyboard doing the Mellotron exactly. (Carl really does a kick-a#* job on this one).
Here Comes the Feeling - This is a live version that really works, with JW strongly belting the high notes. Interesting this version is a half-step below the original studio version, but a half-step ABOVE the key Greg Lake sang it in, back at the disastrous Asia in Asia show 12/1983. I own Enko Sai on CD (someone got it for me) and if you listen to both "Here Comes the Feeling"s you hear how Wetton is miles better now, in his late 50s, than Lake was in his 30s at the time of that MTV broadcast show.
(However, Greg Lake's voice was at one point quite good ... I have the live CD of his '81 solo tour) ..... side notes aside this is a good Wetton/Howe creation and it's kool how crisp they wrap up the ending of the song.
VKTRS - My favorite of the non-Asia songs, sounds more rock and it just plain ........ works. Still has that haunting melody at the end: "You
were___________________________ "
The Heat Goes On - Good rockin' song, drum solo shows why Carl is still pretty much the best in the business ... that guy is a monster ..... so-so
Wetton vocals, he doesn't consistently hold that high G in the chorus that's real important in the cut on the record (ALPHA). On the other hand, the live version is more raw, if you hear the studio version off ALPHA that's just an absolutely brilliantly recorded song (perhaps too brilliant?)
Sole Survivor and Only Time Will Tell - Both of these songs just rule!
Amazing how much emotion Wetton put into the verse melody of OTWT. These 2 songs are ASIA, I've always like them both better than "Heat of the Moment"
At least for "Heat of the Moment" this version closing the show has a heavier sound, with a crashing snare/tambourine hit of Carl Palmer and
Geoff using very kool 'voices' on his keyboards in the middle. The jam session at the end is interesting to hear.
Possibly the koolest thing on the whole CD is the acoustic guitar/piano version of "Ride Easy". Just has a kool vibe to it you might not expect from the band ASIA ..... now it would be kool if in future shows they maybe throw in the ALPHA-session b-side "Lying To Yourself", which is a great song.
This CD is just awesome ... These guys are bad-as-he*# musicians, that's
the short the long and the end of it. And the voice of JW (one of the
clearest voices in music) is leading this band ... which is as a band should be. {unless you're Velver Revolver}

ASIA's Live Show Now on CD.......2007-07-17

WOW! If you remeber the early 80's power prog and pop hit makers you'll love this collection. All the Wetton era hits summed up on two CD's. One of the things that caught my ear when I saw ASIA live and on this cd was Carl Palmer's fantastic playing. As a matter of fact the whole band is spot on. If we can only get them to do a DRAMA era yes song.

Outstanding!.......2007-07-15

I was a bit more than pleasantly surprised upon my first listen of this fantastic album. Meticulous in every respect, you'd be hard pressed to find four musicians that top these gentlemen. I love their rendition of "video killed the radio star". And truly the finest rendition of "the smile has left your eyes" they've done to date. I too consider John Wetton one of the finest vocalists on earth. And Steve Howe's guitar and mandolin playing never sounded better.

The press and public did them "dirty" a few decades ago, but Asia has staying power and excellent material to see them through. I'm ecstatic that they're back again. I met John Wetton in May 1996. You won't find a finer gent anywhere. And his guitar and bass playing coupled with Downes and Palmer move like a well-oiled music machine. Great album (er`oops CD). Buy it and ride easy.

Average customer rating:

Anita O'Day a Jazz Icon
Anita O'Day at her very best in Tokyo
Anita at her best surfaces after 44 years in the vault

Live in Tokyo '63
Anita O'Day
Manufacturer: Kayo Stereophonics
ProductGroup: Music
Binding: Audio CD

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Essential O'Day: Basin Street West 1964
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Anita O'Day and the Three Sounds
Pick Yourself Up with Anita O'Day

ASIN: B000MMLPF0
Release Date: 2007-03-06

Tracks:

Boogie Blues
Trav'lin' Light
Honeysuckle Roe
Avalon
Bewitched
You'd Be So Nice To Come Home To
Night and Day
Let's Fall In Love
Sweet Georgia Brown
Tea For Two
Stella By Starlight
Love For Sale
Get Out Of Town
That Old Feeling
Four Brothers

Album Description

This astounding soundtrack to the 1963 live televised concert from Japan is destined to become the quintessential Anita O'Day concert. Anita is backed by a full orchestra. This particular concert has never been released, until now. It is a classic performance capturing Anita at the pinnacle of her Verve period. Bob Corwin on piano with Toshiyuki Miyama and The All-Star Orchestra and Takeshi Inomata and His West Liners. Arranged by Buddy Bregman.

Customer Reviews:

Anita O'Day a Jazz Icon.......2007-05-14

I first heard Miss Anita O'Day in 1956 at a friends house and have never ceased listning. she was a natural jazz voice and her interpretations of the lyrics swung every time.whether in front of some of biggest bands or small groups. this album is a glowing example and I do not why it so long to be released.

Anita O'Day at her very best in Tokyo.......2007-04-11

Anyone wishing to understand the fully greatness of that most swinging and original of jazz singers need look no further than this sizzling release. Never before on CD, this is an unedited, live concert featuring O'Day fronting a top-notch Japanese band playing her famous arrangements. It's all here: her sensual sound, her hip, flip attitude, her incomparable use of musical time, her unparalleled improvisational gifts, an entire arsenal of talents focused on the task at hand. If you already know and love O'Day, grab this one with confidence. If not, what a voyage of discovery this disc will provide. Freeman Gunter

Anita at her best surfaces after 44 years in the vault.......2007-04-07

Kayo Stereophonic has has a real knock out with this sound track of a TV concert songstress Anita O'Day performed in Tokyo 44 years ago during the acme of her jazz singing career. With a minimum of comments and a maximum of music, the late legend offers 15 of her best-known tunes from her years with Verve and her own Emily label. Kayo has issued or reissued other O'Day CDs in recent years, and this is the best of the bunch. Anita plus fine tunes, sound quality and musicianship from two Japanese groups add up to a real bargain. Agent Robbie Cavolina and producer Takao Ishizuka have outdone themselves in adding this to the Kayo inventory.

Average customer rating:

For Jambased Music Fans Everywhere...
Astounding!
Make my Funk the L-Funk
Diggin on the Live Funk
TOOK A CHANCE

Live in Tokyo
Lettuce
Manufacturer: KUFALA Recordings
ProductGroup: Music
Binding: Audio CD

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Outta Here
Super Heavy Organ
The Zone
Flyin' the Koop
Breakout

ASIN: B0002IYLEG
Release Date: 2004-06-29

Tracks:

Intro
Nyack
Break Out
The Dump
Kron Dutch
Reunion
Flu The Coop
4 On 6
Squadlive
Break Out Reprise

Album Description

Live in Tokyo captures Lettuce on their November 2003 tour of Japan. After a week of shows the tour climaxed at their Blue Note performance in Tokyo. Taking the greatest moments of that night and condensing it down to one disc was a five month process. Let the Funk begin.

Customer Reviews:

For Jambased Music Fans Everywhere..........2006-01-14

In order to find quality tracks, quality musicians, you must dig in the crates! It took a little while to discover this CD, and I am happy to have stumbled upon this treasure. These cats understand, straight pocket, injecting jazz funk and hip hop flavors through out. Ride with this one. g

Astounding!.......2005-05-11

Absolutely the best cd I've heard in a long, long time! This bad is powerful enough to turn goat p*ss into gasoline! I loved the disc from the time I hit play and on through the last tune. These guys are great and deserve more recognition. Nothing like a great music that makes you wanna move! If you like Soulive, you'll love Lettuce....The Soulive Big Band! Hit me!

Make my Funk the L-Funk.......2005-02-24

As I try to sum up what exactly has drawn me to this group, and how it differs from old school funk, I simply quote Bootsy Collins: "Somebody been messin' with my funk. Funkin' 'round, funkin' with it 'till they funked it up!"

If you want a straight answer, these guys are not only the real deal, but will be what other new funk bands are measured by. These guys are nasty, low-down, self-proclaimed "Defenders of the Funk". I challenge anyone to show these guys down.

If you're a lover of funk, and love to hear how funk can evolve, this album is defnintely for you. Eric Krasno (Soulive)and Adam Deitch (John Scofield Band) have furthered the sound of funk, and this ensemble is right on their wavelength. With the addition of Neal Evans (Soulive) on keys, Lettuce found the missing ingredient from their studio release, "Outta Here", which was a brilliant piece of work in its own right. But in this release, "Kron Dutch" explodes with the most modernized funk sound to date.

If Parliament's P-Funk were the rulemakers for an oppressed society, Lettuce's L-Funk may very well be today's lovers of the oppressed Mother Earth.

Funk on.

Diggin on the Live Funk.......2005-01-21

I'm a big fan of the genre: Soulive, Greyboy Allstars, Galactic, Karl D and all those cats. But as anyone who listens to live music knows: Studio albums fall so short of the live act. It's all about the energy shared by the musicians and the crowd. It is a shared experience. This CD rocked my world from start to finish. I had just come off a wailing Galactic show the night before and I was ready for some funk. Lettuce delivered the produce ( forgive the pun, Just had to) The energy of this live album is off the charts, just some funky cats throwing down some nasty grooves. It comes highly recommended by someone who knows the scene. Pick this one up...you're gonna love it!

Beers

TOOK A CHANCE.......2004-11-11

I'm a Soulive fan so I figurd I'd take a chance, man was I stoked! This live record captures live funk at it's best, not to mention for a live show the sound quality AMAZING!

Live in Tokyo with Special Guest Robben Ford

Average customer rating:

Its ok.

Live in Tokyo with Special Guest Robben Ford
Larry Carlton
Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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CARLOS SANTANA & WAYNE SHORTER/LIVE @ MONTREUX JAZZ FEST/CD
Close as You Get
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Truth

ASIN: B000NVL0AK
Release Date: 2007-03-26

Tracks:

That Road
Burnable
Cold Gold
Rio Samba
Derrick's Blues
Two Bad
Talk to Your Daughter

Album Details

Features a Performance from September Four - Seven 2006 at the Blue Note Tokyo.

Customer Reviews:

Its ok........2007-05-12

First of all, this is really Robben Ford and Larry Carlton--not the other way around. And with all due respect to those who think Larry Carlton is some kind of mellow jazz god, Robben is the better player (singer, too).

The good news is that Steve Lukather is not on this so there's no "bull in the china shop". The bad news is, these guys pretty much coast through the whole thing. As always, Robben is gutsier, blusier and knocks off some sensational jazz licks. Larry has that nice tone and the volume swells but when he tries to play fast its just a jumble of good, bad and sloppy notes. He's like your friend who's a great guy, but wasn't born funny, trying to tell a joke. The strain is obvious.

Of course, if you're not a guitar player you won't notice any of this. And when the chords are simple, as with Talk To Your Daughter, Larry does fine. In fact, its the best track on the disc. But before you spend the money on this one, why not get On Solid Ground (Larry's last great album) and any Robben Ford and the Blue Line disc.

Average customer rating:

Straight To The Brain!
scary...
The Early Weather Report, Rare and Live!!
sensational early Weather Report!
Intense, electrified free jazz!

Live in Tokyo
Weather Report
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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Procession
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Forecast: Tomorrow

ASIN: B000024XGM
Release Date: 1998-01-23

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Medley: Vertical Invader/Seventh Arrow/T.H./Doctor Honoris Causa
Medley: Surucucu/Lost/Early Minor/Directions

Tracks:

Orange Lady
Medley: Eurydice/The Moors
Medley: Tears/Umbrellas

Album Details

Recorded live in Tokyo, 1972. Features the line-up of: Wayne Shorter (saxes), Joe Zawinul (keybooards), Miroslav Vitous (bass), Dom Um Romao (percussion) and Eric Gravitt (drums). Complete concert recording on two CD's.

Customer Reviews:

Straight To The Brain!.......2004-04-20

This album is a sample of what the Miles Davis Alumni learned with him. It's so intelligent like many of the Miles' Recordings. Also, in this album you will appreciate Miroslav Vitous as a bass player, let's recognize it: Jaco Pastorius is a really good bass player but Miroslav Vitous is so good as him (and sometimes i think that he's better) because of the really good tone that Vitous gives with is acoustic bass. Eric Gravitt and Dom Um Romao make an excellent percussion and rythm section, Wayne Shorter plays an strange, but good, form of free-fusion jazz and Joe Zawinul is here at his peak of experimentation using ring modulators, rhodes, wah-wah, and some other paraphernalia, its sound sometimes makes you think that there is a guitar player in the stage, but no, it's just Zawinul!. Amazing album with music that makes you follow every single sound, finding so much things every time you listen, that's really, music that goes straight to the brain!

scary..........2003-12-29

... straight up scary. "Lets hit them hard, right from the first note" is what Zawinul is said about this recording. And they (Zawinul, Wayne Shorter, and Miroslav Vitous) do JUST that.

The Early Weather Report, Rare and Live!!.......2003-12-20

"Live In Tokyo" captures the Jazz-rock fusion band Weather Report in a stunning performance at Shibuya Hall in January 1972. The band line-up for the concert consisted of Joe Zawinul on pianos, Wayne Shorter on saxophone, Miroslav Vitous on bass, Eric Gravatt on drums and Dom Um Romao on percussion.
Segments from this album were released as half of the band's second album "I Sing The Body Electric". On this album however, it is a complete 90-minute performance consisting of five lengthy tracks (four of which are continuous suites containing different pieces).
The band was definitely on a musical high during this particular concert displaying a sound that is raw and full of fierce improvisation. Joe Zawinul's keyboard work is at its most experimental here as he modifies his electric piano with a distortion box, wah-wah pedal and a ring modulator. This sometimes gives the impression that there's a guitarist on-stage during the performance when in fact there is no guitar to be heard. His acoustic piano work is also experimental as he sometimes plays it from the inside striking its strings by hand instead of with the keyboard.
Miroslav Vitous's bass work is also at its best here, alternating between acoustic and electric. There are several moments during this album (especially in the opening medley) where Vitous grabs the spotlight with his unique style. His work with the bowed bass on "Orange Lady" is particularly strking and haunting.
Wayne Shorter's sax playing is at its most free form here. It's not exactly like Ornette Coleman or John Coltrane but it is highly improvisational and momentous. His work on the band's studio albums tends to be more refined and subdued but here, Wayne lets it rip and tear.
Drummer Eric Gravatt is a sadly underrated drummer but nonetheless does an outstanding job here. His extended drum solo is the first thing heard on this album. Throughout this performance, he pushes the rhythm with full force.
Percussionist Dom Um Romao also has some moments in the spotlight here. Besides spicing up Gravatt's rhythms with various percussive toys, Romao also has a solo moment in the album's second suite using whistles, a thumb piano and using his own body as an instrument. There is a similar moment in the intro to "Orange Lady".
Overall, the "Live In Tokyo" performance captures the early Weather Report at its very best. This music is extremely agressive and loud. The other live albums from the band ("8:30" and the recent "Live and Unreleased") are a lot mellower compared to this one. "Live In Tokyo" is definitely an essential title if you're a Weather Report fan. If you're new to the band's music, this may not be the place to start, however it certainly is not unlistenable.
This album has yet to be released in the U.S. even after its intial release in Japan over 30 years ago. Hopefully, that will all change in the near future. This is some great music and a great live performance from a great band. Definitely worth checking out.

sensational early Weather Report!.......2001-08-09

On the heels of the slew of 2-disc electric Miles, Sony has released from the vaults the full live Weather Report concert from November 1971 in Tokyo! With Shorter and Zawinul fresh out of Miles' band, this is definitely in that vein -- funky avant jazz fusion, not the catchier radio-friendly "Birdland" of a few years later. I SING THE BODY ELECTRIC has always been one of my 2 favorite Weather Report records, along with MYSTERIOUS TRAVELLER, and if you like I SING you're sure to like LIVE IN TOKYO as it's the source of the live portions of that record.

You can clearly hear why the sections that were lifted for I SING THE BODY ELECTRIC were chosen -- they include some of the tightest, punchiest moments of the concert. The highlights of what was left out include Zawinul imitating Miles' muted trumpet with synthesizer in a duet with Gravatt on drums, a dramatic shift from frenetic electric piano to dramatic acoustic piano on one of the first disc medleys, and Shorter cutting loose on the live version of "The Moors." Zawinul's impressionistic "Orange Lady" and Shorter's bop piece "Eurydice," which lead off the second disc, are the least compelling.

This is not "free jazz" -- no need to be quite that intimidated. While LIVE IN TOKYO lacks strong melodies, can be harmonically complex, and is definitely rhythmically complex, Weather Report sticks with Miles in NOT following Ornette Coleman, Cecil Taylor and the late Coltrane. This quintet can be intensely funky, but they don't stick with the groove as the group would later -- that's part of what makes the overall effect more abstract. Great to hear, after 30 years!

Intense, electrified free jazz!.......2001-04-01

In principle, this live concert from 1972 follows the same approach as Weather Report's self-titled debut: ensemble improvisation where pretty much anything goes. But whereas the debut is a dreamy, laid-back affair, Live in Tokyo is a fierce, aggressive document of a band that was more "free" than "fusion". (Compare this to Miles Davis's 1970 Fillmore concerts, which have a similar point of departure.) Zawinul's playing on the Fender Rhodes is dissonant and processed with primitive electronics, and on the acoustic piano he's all over the place -- from Bill Evans-like meditations to messing around with the piano's innards. Wayne Shorter, little more than sonic wallpaper on some later albums, blows like a madman on the tenor and soprano saxophones. And the rhythm section (Miroslav Vitous, Eric Gravatt, Dom Um Romeo) is the most spontaneous in WR's catalogue, and arguably the most exciting. The music is organized into 5 lengthy medleys, containing some material from Weather Report's debut as well as otherwise unreleased stuff. There's also a compact, blistering version of Zawinul's "Directions". This music is not for the faint of heart (fans of Black Market and Heavy Weather won't find much to like here) but showcases a band at the peak of its abilities. This essential live recording isn't available domestically so snap it up while you can!

Average customer rating:

Holdsworth Live!!!
Live Holdsworth.... Simply amazing
Alan Holdsworth's Dilemma
The ultimate live Holdsworth experience!!!

Then! Live in Tokyo
Alan Holdsworth Group
Manufacturer: Alternity Records
ProductGroup: Music
Binding: Audio CD

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I.O.U.

ASIN: B0002A2WI6
Release Date: 2004-06-01

Tracks:

Zone I
Proto-Cosmos
White Line
Atavachron
Zone II
Pud Wud
House Of Mirrors
Non-Brewed Condiment
Zone III

Customer Reviews:

Holdsworth Live!!!.......2005-11-16

Awsome! The man is simply the best of the best. Holdsworth, Husband, Johnson, and Hunt are a tight group here. The classisc are here White Line, Atavachron, Pud Wud, House Of Mirrors & Non-Brewed Condiment. I just wish this was a double disc with the other show on it with more of the classics. But Holdsworth live 1990 is better than nothing. Heck, it's about as good as it gets.

Live Holdsworth.... Simply amazing.......2005-01-13

A second live release from Allan Holdsworth in one year. This one, however was recorded in 1990, 12 years (to the day) before All Night Wrong. I'd hate to compare the two, because the bands were quite different (Then! is a quartet and ANW features a trio) and each features a completely different set list.

Steve Hunt (keyboards; Stanley Clarke, Mahavishnu Project) uses many of Allan's synth patches and plays many of the Synthaxe parts that Allan originally played on the studio versions of some of these tunes. Steve does a commendable job filling Allan shoes keeping the chording consistent with the originals. Thus, he allows the master to experiment with his Bill Delap Baritone guitars, a breath-taking event! Jimmy Johnson (bass; Flim and the BB's, James Taylor and a host of others) holds down the bottom in his own unique fashion. He gets a few chances to jump into the spotlight and shine. Gary Husband' drums sound huge. He plays with such intensity and control. Any student drummer would be well advised to check this out.

The tunes, nine in all, cover a large spectrum of Allan's career. Proto Cosmos, a Tony Williams Lifetime favorite, is given a rousing performance. Atavachron is simply elevated to another level, which I feel blows away the original. White Line, sans Paul Williams vocals, is wonderfully reconstructed with Allan playing the vocal lines with much more emotion than any vocalist ever could, beautiful. Pud Wud features a brilliant bass solo from Jimmy Johnson, playful and intricate. My favorite moment on the track. Steve Hunt's synth work really comes alive on this tune, as well. House of Mirrors, slowly builds with a gorgeous melody and soft suspended notes cascading and drifting. This is one of Allan's most emotive solos I've heard. Non-Brewed Condiment rocks and pushes the band with muscular drumming and wild soloing.

The improvs, Zone's I, II and III, are phenominal examples of exploration. Each piece is interspersed throughout the CD, beginning, middle and end. They take the listener to uncharted territory, on the spot creations of what only highly skilled musicians can achieve. These tracks are not for the weak of heart nor short attention spans. The push and pull of each instrument creates tension, not to fight for the spotlight, but to add splashes of color onto a spectacular work of art. Curious and inspirational.

This is not a starting place for Allan's work. This one requires some previous exposure to Allan's music. It is a facsinating look at what can be done, on stage, by one of music's most enigmatic guitarists, as well as a snapshot of musical history.

PS: Be sure to have a pint of your favorite ale whilst listening, to salute the master.

Alan Holdsworth's Dilemma.......2004-10-25

Somehow AH found himself stuck between two worlds, where the jazz purists disparagingly refer to him as 'progressive rock', and the rockers miss their favorite cliches.....The problem for those camps is that their attitudes are keeping them from enjoying the greatest lead,(jazz -or- rock), guitarist of the last thirty years or more. Head and shouders above the next best, if you have the ears to hear.

The ultimate live Holdsworth experience!!!.......2004-07-14

This album captures a 1990 performance when Holdsworth toured with one of the world's most talented electric jazz quartets, including master drummer Gary Husband, bassist Jimmy Johnson, and keyboardist Steve Hunt (Stanley Clarke/Mahavishnu Project). What's unique about this record are alternate arrangements, its audiophile recording quality, and particularly the three improv pieces or "Zones" featuring Holdsworth blistering and growling on a huge baritone electric guitar. Some of Holdsworth's solos on this record are unforgettable--and even with some of the lighter moments "Pud Wud" -- the interplay between the band members is at once loose and locked in. This is instrumental rock, jazz, fusion--call it what you will, but Holdsworth has an approach to the guitar and sound that is one of the most revolutionary of all time, and this is a rare "official" live recording produced and mixed by Holdsworth, after he let it sit in the vaults for a dozen years -- a must have for both the guitar connoisseur and anyone who appreciates Holdsworth's monumental talent.

Average customer rating:

Third time's the charm. Gimme a P...Gimme an E...Gimme a T...
Let Alone John's Performance
Worth it for Petrucci's performance alone
Power Trio Triumphs!

Live in Tokyo
G3
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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G3: Live in Concert
An Evening with John Petrucci & Jordan Rudess

ASIN: B000CDSS3G
Release Date: 2005-10-25

Tracks:

Glasgow Kiss [DVD]
Damage Control [DVD]
Audience Is Listening [DVD]
Building the Church [DVD]
K'M-Pee-Du-Wee [DVD]
Up in Flames [DVD]
Searching [DVD]
War [DVD]
Foxey Lady [DVD]
Grange [DVD]
Smoke on the Water [DVD]
Bonus Material [DVD] [*]

Customer Reviews:

Third time's the charm. Gimme a P...Gimme an E...Gimme a T..........2007-02-17

Each of the three currently available "G3" CDs has its merits, but if I were to pick the "third" player that fits most comfortably with Vai and Satriani, it's GOT to be John Petrucci. That's not a statement about the talents of Eric Johnson OR Yngwie Malmsteen...just an observation on the obvious chemistry found on "Live In Tokyo." Dream Theater...and John Petrucci by default...are part of the second wave, post-Yes / Genesis / ELP / King Crimson school of Progressive Rock. Because of that, Petrucci gets pegged by some as a "prog player" rather than simply a virtuoso guitarist. The jam on "Smoke On The Water" is red hot, as is "La Grange." The playing on "Foxey Lady" is explosive, but Satriani's monotone vocal takes a bit of the edge off. Events like this area always hit and miss, but this one hits so often that the misses are hardly worth mentioning.

Let Alone John's Performance.......2006-06-17

John Petrucci comes first and plays only 2 tracks from his new Album, Suspended Animation 1)Glasgow Kiss and 2)Damage Control. The price is worth only these two songs. I am sure Petrucci sounds a lot lot better live, the trade mark feel in his playing that simply makes you sway your head. Since I have this DVD only once I have seen the whole show and for the rest of the million times I have seen only John performing those 2 tracks.

Vai comes second and Satriani in the last, both played their usual stuff.

In the end all 3 guitar virtuosos came on stage to perform Foxy Lady, the Hendrix classic and once again Petrucci's performance was really outstanding.

Buy this DVD, you won't be disappointed, that's for sure.

Worth it for Petrucci's performance alone.......2006-04-21

This is a great G3 live performance and a superb recording. John Petrucci's performance is mind blowing, even though he only performs two tracks from his new solo CD.

Petrucci in some ways outshines Vai and Satriani on this disc. I think his performance is most impressive when you consider that he is basically backed only by drums and bass - whereas Vai and Satriani are augmented with keyboards and extra (rhythm) guitarists. Petrucci manages to sound like several guitarists ... it's amazing how much sound he gets out of his guitar!

Don't get me wrong - Vai and Satriani's performances are fantastic as well. I think the biggest difference is, Petrucci's material is all new, whereas Vai and Satriani deliver previously released material.

If I was to make any suggestion to Vai and Satriani regarding future G3 releases, it is that they should take opportunity to introduce at least some new material to their fans in a live format. This would probably go a long way to increase the sales of these G3 releases ...

Power Trio Triumphs!.......2005-12-03

Aficionados of power lead guitar will not be disappointed with yet another live offering of G3, this time featuring what could be its most powerful and complementary iteration in Joe, Steve and John Petrucci. Petrucci's playing is simply wonderful, one of the few guys I know that can sweep pick and shred with the best, yet also knows how to bend a wire and produce a melody you can actually whistle along with...to wit, his infectious "Glasgow Kiss" track. Steve, the Jimi of our time, is his usual playful self and sounds more inspired than ever on this live album. Joe simply rules, especially with his weird, trance-inducing Doors-ian tune in "D" that precedes a chugging, kick-arse Up in Flames - his most powerful adrenalin-rush since Summer Song. The boys come together at the end with a classic rock setlist replete with jaw-dropping fretboard acrobatics. Highly recommend purchasing the DVD as a companion to this instant live classic!

Average customer rating:

April 23 and 24 2001 stages in Tokyo, splendid!
WHAT IF YOU'RE NOT THE TYPE?
Free, playful, spellbinding
4.5
Random and Strange

Always Let Me Go / Live in Tokyo
Keith Jarrett , Gary Peacock , and Jack Dejohnette
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Inside Out
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ASIN: B00006L3GD
Release Date: 2002-10-15

Tracks:

Hearts In Space
The River
Tributaries
Paradox

Tracks:

Waves
Facing East
Tsunami
Relay

Amazon.com

In the liner notes of 2001's Inside Out, Keith Jarrett told us that he and his long-running standards trio would be doing more unscripted free music in the future. Recorded live in Japan, this double-CD is everything this world-class trio is capable of when they are mining pure inspiration to improvise. While in the past this group has taken standards and radically reworked them, here Jarrett, Gary Peacock, and Jack DeJohnette begin with the leap of improvisation: short cells of tuneful melody pop up and fade; a soloist pulls the music in new directions; ideas and interplay reach epic proportions (with two tunes passing the half-hour mark). All in all, this is a fine representation of the band, working at each member's highest creative level. Whereas many groups travel the same old paths after years of working together, this trio rightly chooses new branches, using that long-running trust and familiarity to set off in search of the new and revel in its vibrancy. Bravo. --Tad Hendrickson

Customer Reviews:

April 23 and 24 2001 stages in Tokyo, splendid!.......2004-12-13

When their previous album "Inside out" appeared, truly "Free Jazz" by this trio was since the Album "Changes". This album goes further to be truly free, such as "341 free fade" in CD "Inside out". Disk 1 of this ablum was from the stage Part 1 on April 23, 2001 at Tokyo (Shibuya). Tunes 1 - 3 were played without stop (and without applause) because I (we) could not predict how the three players proceeded. Especially, "Tributaries" was splendid. It starts with a quiet rhythm by base and drum and progresses to the earthy ultimate. This sounds like sophisticated "Death and Flowers" in the 21 century. "Paradox" was the last tune of April 23 Tokyo concert. I did not go the April 24, 2001 concert, but disk 2 of this album is from stage Part I on the night. The play on the night was harder featuring DeJohonette's drum than the night before. It is funny that his drum sometimes sounds like Japanese traditional Drum (Taiko) on Disk 2. Only the "Relay" seems to be taken from the concert on April 30, 2001 Tokyo (Ueno).

During the Japan tour, also standards were played but only free tunes are selected in this album. I like this album for this reason. Big tunes e.g. "Hearts in space" and "Waves" sound best for their avant-guard tone and rhythm. The interactions of the three when Keith poses a phrase with new rhythm are far beyond the level found in "Inside out". Thus, this album should be regarded to persue different musical fulfillment compared to other albums, basically based on standards. This album is well satisfactory judging from the liner note in "Inside out" by Keith that is saying "the play by this trio will be much more hard and free". I do not really understand the direction of this trio because their recent two CD are based on standards and no truly free tune is included. Personally, I look forward to listening much more free tunes by this trio, as further development of their free style. Fourth instrument may be added to aid their fulfillment of free style.

WHAT IF YOU'RE NOT THE TYPE?.......2004-11-30

Listeners to this CD will fall into four general groups:

1.) Creative/Edgy Types. For the most part, these are musicians as well. Creative/Edgy types find "free jazz" refreshing, inspirational and sometimes even relaxing. They get a genuine kick out of accomplished musicians just letting it all hang out in steam of consciousness improvisation. Those experienced with various musical scales and works of the past musicians will even be able to follow "the conversation". Creative/Edgy types may be the best qualified to judge particular pieces of "free jazz"-unfortunately they are largely incapable of explaining their appreciation to those outside their circle.

2.) Phony And Pretentious Avant Garde: Unfortunately, we all know someone like this. They have no real appreciation or love for "free jazz" of any kind; but they wish to count themselves as among the "elect" who "get it". They will speak disparagingly of the philistines who reject such fine art; but one suspects that when no one else is around they secretly listen to Britney Spears or Garth Brooks.

3.) Struggling But Not Up To It Music Lovers: These are folk who genuinely love music from many different genres and try to give "free jazz" a chance. They love jazz and particular jazz musicians. They may even be fans. And so they try to listen and learn to appreciate these excursions musicians they really respect find so revitalizing. Bits and pieces may be interesting-but for the most part "free jazz" passing them by.

4.) "I Know What I Like And This Isn't It" Crowd: Admittedly the largest group in this discussion. Resources are small, dollars scarce, and time short-so why waste any of the preceding for music that doesn't have a beat, you can't dance to, or whistle as you walk down the street. You have to give some grudging respect to these honest "every men". When all is said and done is it this group that pays the bills. There are stories of the Paris audiences rioting in rage and disgust at the premiere performances of Stravinsky's "Rites Of Spring". On the one hand, you could look down your nose at "those who can't recognize real art". On the other hand, there is something commendable about quite intelligent people thinking for themselves and letting the "artiste" know what they think by throwing chairs around and burning the curtains.

I for the most part belong in group #3; but on occasion I mess up and slip into group #4. Wild horses would have to drag me a "live" concert of "free jazz" for fear that I might suddenly leap for my chair and start a fist fight with the musicians. My own desire is to give "free jazz" a chance occasionally in order to expand my musical horizons. After all, music I once hated in the past I have come around to embrace and love today. But I have to admit that the initial exposure is somewhat akin to having the hairs in my nose ripped out.

Keith Jarrett is no stranger to free-form improvisation as demonstrated by his landmark KOLN CONCERT (1975) and SOLO CONCERTS (1973) albums in the mid-1970's. My brother who is an actual musician and an optometrist once told me that when he got an office of his own that he would fill the waiting room with a tape loop of Jarrett's SUN BEAR CONCERTS album. Indeed, after all these years I have developed a certain fondness for "Part I"-the first cut on KOLN CONCERT. But I must confess that I found it a great relief when Jarrett switched to his "standards" performances long ago. I simply found Jarrett's more "conventional" records more superior and enjoyable.

My reaction to ALWAYS LET ME GO thus is quite predictable. I want to be on Jarrett's side on this; but for the most part I can only take these improvisations in bits and chunks. Most of these cuts initially sound like mice are running across the instruments. There are great stretches of chaotic noise with small islands of brilliant playing that suddenly appear and catch your interest like suddenly waking from a deep sleep wide awake. These "small islands" float to the surface only to disappear moments later.

Strangely enough, the most effective cuts on this CD are the longest. "Waves" and "Hearts In Space" clock in at over 30 minutes each. Notes of chaos and brief flashes of melody and inspiration float in and out of conscious thought; but when these pieces end one is left with a feeling of deep satisfaction. In the wake of these two cuts, the rest simply pale in comparison. Taken by themselves, one can listen to the shorter pieces with some benefit and enjoyment but they are not quite as rewarding.

It seems that you just can't listen to this kind of music as you normally would more mainstream jazz. You have to relax and let the music work on you. This can be quite frustrating if you can't take it on its own terms-which admittedly I can't a good deal of the time. Thus Jarrett's following album UP FOR IT comes as sweet water after a parched walk through the desert.

My advice is to consult the list of people types above and honestly confess at least to yourself who you are.

If you are a number 4, stay away. By all means, if you are newly tipping your toe into jazz, don't start here.

If you are a number 3, maybe try it. Success may depend on the mood you are in and your ability to just listen to a cut or two at a time

If you are a number 1, this will be manna from heaven. The album will come like love letters from God. Buy it now.

If you are a number 2, please stay away from this album and spare the rest of us your verbal diarrhea. I find you guys everywhere and you just spoil it for the rest of us.

Free, playful, spellbinding.......2004-10-08

Keith Jarrett (piano), Gary Peacock (bass), Jack DeJohnette (drums): their collective resume is impeccable. Their usual method as a trio is to stick to common standards (inventive though the reworkings may be), but they've got some good experience in the more freeform jazz camp as well. On 2001's Inside Out they tried scrapping the framework and improvising from scratch, and liked the result so much that they delivered over two hours of similar explorations with Always Let Me Go. I'd recommend Inside Out to anyone, Jarrett fan or not, and if you like it enough to want more, you'll probably want to eat this one up. It's a jewel.

ALMG isn't free jazz in the sense of being tuneless or formless - well, most of the time - but in the sense that the forms & melodies emerge on the spot as a collective creation (and it remains beautifully listenable, which isn't always a given in the free-jazz camp). Throughout the whole course of the album they're constantly listening and responding to each other in a beautiful three-way dialogue. The water theme that runs through the titles is very appropriate, as everything they do is in a perpetual state of flowing and changing, never quite repeating itself.

"Waves," for example, begins with Keith starting a quiet little melody on his own. Gary picks it up and fleshes it out. Jack stays quiet, as any percussion at this point would be out of place, but begins adding a splash or two once things start picking up. All three finally hit the groove together at around eight minutes. Then Jack takes over, his relentless clattering pushing the others into a busier and busier jam. The others stop on a dime as Keith switches gears into a loose rambling line; then they start up again as a trio as fast as they stopped, this time staying in hyper mode for a couple minutes. Then, as if on cue, everything goes quiet again before Gary takes the lead into something slow and almost bluesy.

You get the picture. It's all like this. They don't really know where they're going, but the richness of the journey is how they get there together.

The fact that we get the proceedings without any fades (as there were on Inside Out) means that it can seem to drag in spots; two tracks alone run over half an hour each. So for those who don't care for the aimless-sounding stuff, ALMG will probably seem 20 or 25 minutes longer than it needs to be. But for those listeners who want to hear the whole process unfold at its own pace, beginning to end, here's everything presented as it happened. It's a wonderful and colorful ride.

Here's to new explorations.

4.5.......2004-10-05

To the KJ fans who disparage this release, open your minds. Yes, Disc 1 opens with free, free jazz but like always, Jarrett's conflicts resolve. Tributaries is mesmerizing, like the Jarrett compositions on the Blue Note sets. And it's completely improvised. DeJohnette's drums on this track are simply amazing. And Paradox could be any strong be-bob standard. Disc 2 follows with more of the same. And to accuse these men of flaunting egos!! That's exactly what I want out of these amazing musicians.

Random and Strange.......2004-09-02

Ok, I'm missing the 'Genius' here. Being a huge KJ fan I find this double CD terribly egotistical and equally unlistenable. I agree 100% with the 1 star review below.

Basically what you get is a bunch of random improvisation (the 3 instrumentalists playing 3 different songs at once). There are a few sweets spots when Jarrett decides to stop playing random disonnace but for the most part this is Jazz grandstanding at it's worst. Lack of melody, rythym or coherency. Just ego. Even worse, Jarrett's signature vocal atonal grunts, moans and squeaks are here in full force to detract from what quality Jazz there is. I'll stick with his standards.

Average customer rating:

Live in Tokyo 1990.09.29

ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
ASIN: B000MQ4Y86
Release Date: 2007-03-13

Average customer rating:

Can't go wrong with the tunes or the group
Outstanding!

Live in Tokyo at the Blue Note
Mingus Big Band
Manufacturer: Sunny Side
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

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ASIN: B000HIVQIA
Release Date: 2006-09-26

Tracks:

Wham Bam
Opus Four
Celia
Bird Calls
Meditations
Prayer For Passive Resistance
Free Cell Block F
Ecclusiastics

Customer Reviews:

Can't go wrong with the tunes or the group.......2007-01-15

Based out of New York City and boasting some of the city's finest musicians, the Mingus Big Band is one of four ensembles (the others being the Mingus Dynasty, Mingus Orchestra, and Epitaph Orchestra) dedicated to its namesake's music.
"Live in Tokyo" features new arrangements of eight classic Mingus compositions which span three decades and are delivered with gusto and nuance by the fourteen-members of the MBB.
Half of the tunes are culled from the `50s. "Bird Calls," is Mingus' tribute to Charlie Parker and the gorgeous ballad "Celia," features Craig Handy as the lone soloist.
"Meditations" and "Ecclusiastics" were both composed in the `60s with the latter including trombonist Ku-Umba Frank Lacy fervently preaching from the pulpit of the blues.
The program is rounded out with "Opus Four" and "Free Cell Block F," two gems from the `70s, the latter of which was first performed by Mingus' last great quintet which included saxophonist George Adams and Don Pullen. Originally appearing on the album "Changes Two" with the expanded moniker of "Free Cell Block F, Tiz Nazi U.S.A.," the tunes' breezy theme belies its deadly-serious title and provides an excellent backdrop for inspired solos by Handy on flute, Conrad Herwig and Lacy on trombone, and Ronnie Cuber on baritone sax.

Outstanding!.......2006-09-30

In December of 1976, Charles Mingus and his quintet performed a series of concerts in Tokyo playing a stripped down version of big band arrangements by Mingus, and of those he admired. Thirty years later, the fourteen piece band that keeps the Mingus name as a legacy performed in Tokyo, playing fully orchestrated versions of the songs Mingus' quintet offered Japanese audiences a generation beforehand. Live In Tokyo is a document of this return engagement.

This is an amazing album. From the opening notes of "Wham Bam", to the final moments of "Ecclusiastics", The Mingus Big Band swings and sways through these songs like a typhoon of exalted joy blowing the roof off the famous Blue Note Club. The band is a Who's Who of jazz performers, featuring Eddie Henderson, Jack Walrath, and Alex Sipiagin on trumpets, Abe Burton, Craig Handy, Wayne Escoffery, Seamus Blake, and Ronnie Cuber on saxophones, Ku-umba Frank Lacy, Conrad Herwig, and Earl McIntyre on trombones and tuba, Dave Kikowski on piano, Kenny Davis on bass and Jonathan Blake on drums. Big band enthusiasts will find themselves exhausted by the extremely powerful horn arrangements on "Opus Four", "Free Cell Block F", and "Bird Calls"; Escoffery's solo sax on "Prayer for Passive Resistance", Handy's solo arrangement of "Celia" and the smooth, cool jazz of "Meditations", a quartet piece which includes Davis' brilliant bass lines, Handy playing a la Eric Dolphy on Melody Flute, Kikowski's piano and Abe Burton's frenetic sax.

There isn't one false note on Live In Tokyo, and like all great albums, the music stays with you. After listening to the album a third time yesterday, I found myself inadvertently pounding out the back beat by slapping my thighs while waiting for the bus. The album lingers on in my head even now, and I haven't played it since yesterday afternoon. Most importantly, the pleasure the musicians take in playing this date transcends the recording process as each piece pulls you in and makes you feel like you're sitting right there with them.

Live In Tokyo is a marvelous tribute to Mingus. It allows his work to breathe again; grow into directions Mingus would have challenged had he lived long enough. But even if you're not a huge Mingus fan, Live In Tokyo is an extremely solid work which will set your foot tapping and tempt you into turning your living room into a temporary swing club. It is a masterful work of art that allows Mingus to live again in the hearts of jazz aficionados' everywhere.

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