1-1 Shadow Dance 15:30 	
1-2 Indigo Dreamscapes 7:03 	
1-3 9 Over Reggae 7:35 	
1-4 Solar 13:09 	
1-5 Silver Hollow 8:25 	
2-1 The Good Life 6:08		download 	
2-2 Blue 7:02 	
2-3 Eye Of The Hurricane 5:30 	
2-4 The Bat 8:25 	
2-5 Cantaloupe Island 9:42 	

Lineup:
Jack DeJohnette - cymbals, drums, keyboards, bass
Herbie Hancock - piano, keyboards
Dave Holland - alectric and acoustic bass
Pat Metheny - acoustic and electric guitar, synthesizer, orchestration

Live at The Mellon Jazz Festival, 23.06.1990 - Philadelphia, USA 	

In June of 1990, drummer Jack Dejohnette, pianist Herbie Hancock, bassist Dave Holland, and guitarist Pat Metheny, went on tour together to promote Dejohnette's album, Parallel Realities. The two of these shows, which were performed at the Mellon Jazz Festival, were edited to make the very exciting DVD, Dejohnette, Hancock, Holland, Metheny in Concert. Watching the disc, I became very envious of the audience for being able to see four musicians of this caliber play together on one stage. In fact, watching the tremendous amount of skill and creative energy exhibited by the musicians in this DVD is a good reminder of why jazz is such an important school of music. Although the concert does at times stray into musical styles that are not so tasteful, namely smooth jazz, the distinctions seem less important when the music is actually being performed live by these four men.

This wide range of styles is seen in just the first few tunes, if not the first song. The show opens with only Dejohnette on stage performing a very expressive percussion solo. Holland then joins him at which point the two lay into a very dissonant and funky groove. After just a few bars of this, a very excited Herbie Hancock runs out to the stage and attacks his piano only to make the tune all the more dissonant. Finally, a very playful looking Pat Metheny joins his colleges to play the head of the first tune, "Shadow Dance," by Dave Holland. The head speeds up to take on more of a straight-ahead rhythm, but becomes funky again for Metheny's solo, which he plays with his trade-mark guitar synthesizer, while Hancock comps with his own keyboard synthesizer. Hancock takes his solo on the acoustic piano as the piece jumps back into the straight-ahead feel. This first composition is characteristic of the entire video in that Metheny and Hancock take the lead. However, the musical styles change with the next tune.

This tune, "Indigo Dreamscape," is a Dejohnette original from the Parallel Realities" album. For this piece, Hancock switches to play only synthesizers and Holland trades his upright bass for an electric one. They come together with these new tambres to play smooth jazz, which varies stylistically from the very hard edged fusion sound of the first tune. Although I tend to believe that, for the most part, smooth jazz is just a more easily marketable genre of real jazz, I also think that it can be done well if the musicians really put their soul into their work, as is true with all genres. This is achieved by the quartet in "Indigo Dreamscape.". However, on the following tune, "9 Over Reggae", not even the combined brilliance of these four individuals could save the composition from the excessively "cheesy" sound of synthesizers and pop rhythms. Fortunately, this is the only such tune on the DVD.

The rest on the Concert continues to be very eclectic. The quartet covers "Solar," a Miles Davis original which is played essentially as a hard-bop tune with all four taking very long, thoughtful, and exciting solos. Then they slow down considerably to play "Silver Hollow," another Dejohnette original, mostly featuring Metheny on the nylon string guitar. Another Dejohnette composition follows which is appropriately titled "Blue" because of its very bluesy feel, although it is not in a twelve bar format. The video continues to vary in style, thanks in no small part to the unique compositions of all four featured musicians.

Basically, what it all comes down to in the end is the fact that all four of the musicians are, very appropriately, jazz legends. All have contributed significantly to modern jazz and all are at the top of their game. The only aspect of this video I would like to see changed is the instrumentation. It is my opinion that Herbie Hancock's talents are wasted on the synthesizer sounds that he chooses. However, while some of the styles played are somewhat dated and commercial, the skill and heart-felt intentions of the musicians comes through brilliantly. The manner in which the DVD was filmed allows this to happen. The camera work is totally free of gimmicks such as excessive pans and video effects which tend to ruin many concert videos. The video simply shows the musicians playing, focusing mostly on the individual who is soloing. Although it may be impossible to accurately recreate the energy of attending a live performance, this DVD comes close. ---amazon.com

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1. Jack In (DeJohnette)
2. Exotic Isles (DeJohnette)
3. Dancing (Pat Metheny)
4. Nine Over Reggae (DeJohnette y Metheny)
5. John McKee (Metheny)
6. Indigo Dreamscapes (DeJohnette)
7. Parallel Realities (Metheny)

Musicians:
Jack DeJohnette – drums, keyboards bass
Pat Metheny – guitar, keyboards bass, Synclavier synthesizer
Herbie Jancock – piano, keyboards, saxophone

This 1990 release is one of DeJohnette's finest. A trio recording, PARALLEL REALITIES showcases the talents of Herbie Hancock and Pat Metheny, as well as the highly acclaimed drummer. All three of these players should require no formal introduction to jazz aficionados. However, first time listeners will be impressed by the playing ability of these three jazz icons. Tracks such as "Jack In" and "Dancing" display, strikingly, the improvisational skill of these three performers. On the latter, Hancock and Metheny solo, employing both a lyrical sensitivity, and a superlative ability to navigate their way around complex chord progressions; use of fast flourishes and melodic whispers dot their elegant performances.

Surprisingly, the lack of bass does not affect the feel of the music. DeJohnette plays keyboard bass to add bottom, as it were, to the sound. He also layers additional keyboards adding texture and timbral variety to the music. Along different lines, DeJohnette's drumming is less active than usual. However, he never comes across bland or restrained, simply naturally relaxed and introspective. Sometimes understated, sometimes forthright, this album is as intriguing as it is virtuosic. ---cduniverse.com

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1. Enter Here [02:24]
2. Salsa for Luisito [06:56]
3. Dirty Ground [04:49]
4. New Muse [06:06]
5. Sonny Light [05:40]
6. Sound Travels [01:43]
7. Oneness [05:59]
8. Indigo Dreamscapes [08:05]
9. Home [04:34]		play

Personnel:
Jack DeJohnette - piano (1-7, 9), drums (2-6, 8), resonating bell (1), vocal (2), keyboards (3);
Tim Ries - tenor saxophone (2, 3, 5, 8), soprano saxophone (3, 4);
Ambrose Akinmusire - trumpet (2, 4, 5);
Lionel Loueke - guitar (2, 3, 5, 6);
Esperanza Spalding - bass (2-6, 8), vocal (2, 3);
Luisito Quintero - percussion (2-8), vocal (2);
Bruce Hornsby - vocal (3);
Bobby McFerrin - vocal (7);
Jason Moran - piano (8).

In his sixth decade as a professional musician, Jack DeJohnette has established himself as a musical chameleon. He's led bands and recorded and performed with an array of jazz legends as well as funk and pop artists. DeJohnette has even made new age music listenable with Peace Time and Music in the Key of Om (the latter won him a Grammy). And he has always cultivated and acted on his deep, abiding interest in indigenous musics from Latin America and Africa. Sound Travels is his first recording of new material since 2009's Music We Are. True to form, DeJohnette, who plays drums and piano here, ranges widely. The disc begins with the brief "Enter Here," a grounded yet ambitious offering with the sound of a resonating bell that gives way to DeJohnette's lilting solo piano. "Salsa for Luisto" features the percussionist Luisto Quintero playing grooved-out, modern Afro-Cuban son. Esperanza Spalding is the upright bassist in the band, and on this track, she sings alongside Ambrose Akinmusire's trumpet and Lionel Loueke's guitar. DeJohnette plays piano and drums. This salsa is of the earthier yet breezier Caribbean variety. It's lovely. Just as quickly, things shift into down-home New Orleans-style funky blues with Tim Ries on soprano and tenor saxophones. Bruce Hornsby appears on vocals singing about not surrendering in the face of disaster more soulfully than on any of his own records. Loueke's unique guitar style makes this track sound more like the Band than Allen Toussaint, though Wardell Quezergue's ghost inhabits the horn chart. "New Music" is modern, modal post-bop with Middle Eastern overtones. It features fine traded solos by Ries on soprano and Akinmusire. Township jazz crossed with Latin groove is the bedrock for "Sonny Light," with Loueke's lyric solo being the tune's centerpiece as DeJohnette finds a perfect space to comp behind him and enhance the guitar's presence. The two horns and Quintero's hand drums weave a wonderful, rhythmic lyricism around the pair. The title track is an exercise in rhythm from DeJohnette, Loueke, Quintero, and Spalding (who really drives this track and shines brightly on the album as a whole). "Oneness" is a sparse and moving ballad played by DeJohnette and Quintero, backing vocalist Bobby McFerrin. The song feels deeply indebted to Milton Nascimento's excellent mid-'70s work. The set's longest cut is "Indigo Dreamscapes," a breezy, midtempo, fingerpopping Latin number. DeJohnette's piano work alongside Ries' tenor create an irresistible harmonic progression even when they move the tune toward straight-ahead jazz, then walk it back. The closer, "Home," is another languid, crystalline solo piano piece that is the bookend to "Enter Here." It's quiet, reverent, warm, and inviting, and it pays an indirect homage to Abdullah Ibrahim's South African style. Sound Travels is a current, understated, well-disciplined glimpse into DeJohnette's current musical world view, which is worth celebrating for its own sake. ---Thom Jurek, Rovi

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1. Atmosphere – Seventh D – Serpentine Fire		26:07
2. Lydia – Segment		23:22
3. Blues in Green		14:24
4. Wise On		16:46

Jack Dejohnette – drums, percussion
Ravi Coltrane – saxophone
Matt Garrison – bass

In a career that spans five decades and includes collaborations with some of the most iconic figures in modern jazz, NEA Jazz Master and Grammy-winner Jack DeJohnette has established an unchallenged reputation as one of the greatest drummers in the history of the genre. The Jack DeJohnette Trio represents the prestigious lineage of today’s great jazz families with saxophonist Ravi Coltrane and bassist Matt Garrison and explores open improvisation, as well as their own compositions. According to the Los Angeles Times, "Jack DeJohnette generally is regarded as one of the finest living jazz drummers, a limber musical thinker and technical dynamo, one who challenges tradition by pushing outward while digging in.” --- berklee.edu

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1. -talking
2. Blue/Ahmed The Terrible
3. -talking
4. Priestesses of the Mist
5. Tango African
6. -station ID
7. -talking
8. Miles
9. -outro/band introductions

Jack DeJohnette - drums
Rudresh Mahanthappa - alto saxophone
David Fiuczynski - guitar
George Colligan - piano, keyboards
Jerome Harris - bass, acoustic guitar

The Jack DeJohnette Special Trio
September 21, 2012
Monterey Jazz Festival, Monterey, California

In a career that spans five decades and includes collaborations with some of the most iconic figures in modern jazz, NEA and Grammy winner Jack DeJohnette has established an unchallenged reputation as one of the greatest drummers in the history of the genre. The list of creative associations throughout his career is lengthy and diverse: John Coltrane, Miles Davis, Ornette Coleman, Sonny Rollins, Thelonious Monk, Bill Evans, Stan Getz, Keith Jarrett, Chet Baker, George Benson, Stanley Turrentine, Herbie Hancock, Dave Holland, Joe Henderson, Freddy Hubbard, Betty Carter and so many more. Along the way, he has developed a versatility that allows room for hard bop, R&B, world music, avant-garde, and just about every other style to emerge in the past half-century.

In 2011, he was chosen to perform at the Kennedy Center in tribute to his longtime friend and musical inspiration, Sonny Rollins. Marking his 70s birthday in 2012, he received a National Endowment for the Arts Jazz Master Fellowship – the highest U.S. honor for jazz musicians – in recognition of his extraordinary life achievements, contributions to advancing the jazz art form, and for serving as a mentor for a new generation of aspiring young jazz musicians. The year-long birthday celebration included performances at the Monterey and Newport Jazz festivals, a tour of Europe with The Jack DeJohnette Group (a quintet he formed in 2010) and several concerts with Chick Corea and Stanley Clarke. --- jackdejohnette.com

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A1 	Minya's The Mooch 	11:22
A2 	Lydia 	3:41
A3 	Flys 	6:03
B1 	New Rags 	9:06
B2 	Steppin' Thru 	10:28

Bass, Electric Bass – Mike Richmond
Drums, Piano – Jack DeJohnette
Electric Guitar, Mandolin [Electric] – John Abercrombie
Tenor Saxophone, Soprano Saxophone – Alex Foster

Today's Rediscovery is an album that, despite never being released officially on CD, is a relatively regular play chez Kelman, getting spun at least a couple times every year. New Rags (ECM, 1977), the third—and, sadly, final—recording by drummer Jack DeJohnette's Directions group, pares down the quintet of its second album and ECM debut to a quartet, where Cosmic Chicken bassist Peter Warren is replaced by Mike Richmond and keyboardist Warren Bernhardt is eliminated from the lineup after making his single set appearance with the group on Untitled (ECM, 1976).

The Chicago-born drummer is left, on New Rags, alongside guitarist (and fellow ECM label mate) John Abercrombie, lesser known but still busy session saxophonist Alex Foster and Richmond, another name less familiar to casual jazz fans but with a sizeable discography to suggest plenty of name power amongst musicians, It's an album that, perhaps even more than its broad-scoped predecessor, succeeds in positioning DeJohnette as not just one of jazz's most impressive drummers—even at this relatively early stage, about a decade into the then 35 year-old drummer's career, having already clocked up two major gigs with Charles Lloyd and Miles Davis—but as a composer, instrumentalist and bandleader of increasing significance.

DeJohnette and Abercrombie were already good friends by this time, the guitarist having played on the drummer's two Prestige dates: 1974's Sorcery, as well as 1975's Cosmic Chicken—neither particularly well-received. DeJohnette returned the favour by appearing on Abercrombie's Timeless—the guitarist's 1975 ECM leader debut that quickly became a classic for both Abercrombie and the label—while the two began their on-again/off-again collaborative trio with bassist (and fellow Miles Davis alum) Dave Holland, Gateway, with its critically acclaimed eponymous ECM debut the same year.

But if Timeless explored a combination of keyboard-driven electricity and stripped down acoustic elegance, and Gateway found that unique nexus where Holland's predilection for groove met with the freewheeling trio's collective improvisational chemistry, New Rags explores three DeJohnette compositions of remarkable diversity, along with Foster's more harmonically ambiguous but potently swinging "Flys," and "Steppin' Through"—the rocking, near (but not quite) fusion powerhouse that closes the album on a supremely fiery note, moving from pedal- to-the-metal intensity with Foster's opening salvo to more spacious, open terrain, only to return to its unrelenting, riff-driven intro for a solo from Abercrombie. Overdriven and unfettered, it's one of the guitarist's best of the set—pushed to even greater extremes by DeJohnette's cymbal-heavy power groove before the entire quartet brings things down for an ultimate fade-out.

One of DeJohnette's most enduring qualities as a writer throughout the years has been a wry sense of humor, which has imbued many of his best compositions, including "One for Eric" and "Zoot Suite," both from the drummer's eponymous 1980 debut of the twin-saxophone (and occasionally trumpet)-driven Special Edition group, whose four ECM recordings were reissued in one of the label's Old & New Masters Edition boxes, Special Edition, in 2013. New Rags may wax lyrical on "Lydia," a gorgeous ballad named after the drummer's wife that features DeJohnette on piano, but on his episodic title track, DeJohnette drives his group to shift gears seamlessly between ambling free bop, challenging stop/start compositional segues with brief moments of bump-and-grind burlesque...and an irregularly metered calypso ending that may seem like a non sequitur but, ultimately, makes perfect sense in DeJohnette's stylistically unbound musical universe.

It's not particularly uncommon for drummers to play piano, but few are as good as DeJohnette, who could easily have focused his energy on that instrument rather than drums with similar success...but we'll never know, as it's an instrument he only brings out occasionally. Still, when he does—as he does here on "Lydia" and later on the even more memorable "Silver Hollow"—a standout track on the subsequent debut of his reconfigured New Directions group (with only Abercrombie remaining in the lineup) on its 1978 ECM debut of the same name—he invariably demonstrates a particular penchant for melodic specificity.

The lengthy, open-ended "Minya's the Mooch"—named after his then-young daughter and a play on "Minnie the Moocher," made famous by Cab Calloway—opens the album with an elliptical, visceral bass line from Richmond that anchors an atmospheric collection of delicate cymbals and volume pedal-swelling guitar. Foster enters with powerful aplomb, ultimately pushing the group first towards double time energy, but then dissolving into a melée of apparent chaos—except for the cued figure that reveals more method than madness—before a closing section that returns to the more ethereal atmospherics of the intro.

How the entire group moves through these various passages as one is what makes Directions such a memorable group that, building on the success of Untitled, delivers an even more impressive sophomore effort. What's less impressive is that both Untitled and New Rags remain unavailable—and would make a perfect double-disc set to bring all of DeJohnette's albums as a leader on ECM into print on CD. Until then, both albums—both worthy of Rediscovery, but with New Rags beating out Untitled by a hair— are enjoyed, chez Kelman, in a vinyl>CDR transfer that sounds absolutely wonderful on the Tetra Listening Instruments. ECM's painstaking attention to sonic transparency and pristine clarity is a particularly beautiful thing to behold here, on a record that covers considerable dynamic territory...and is all the better for it.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it? ---John Kelman, allaboutjazz.com

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01. Hudson 10:55
02. El Swing 05:28
03. Lay Lady Lay 08:16
04. Woodstock 05:59
05. A Hard Rain's a-Gonna Fall 09:13
06. Wait Until Tomorrow 05:28
07. Song for World Forgiveness 08:35
08. Dirty Ground 03:58
09. Tony Then Jack 05:03
10. Up on Cripple Creek 05:35
11. Great Spirit Peace Chant 03:16

Jack DeJohnette - drums
Larry Grenadier - bass keyboardist 
John Medeski - keyboards 
John Scofield – guitar

This all-star band calls themselves Hudson, named after the Hudson River Valley they each call home. Drummer Jack DeJohnette, bassist Larry Grenadier, keyboardist John Medeski, and guitarist John Scofield team up to celebrate their musical histories and Jack’s 75th birthday year in a tour de force of creative interplay. Fans know them as hard swinging jazz masters, deft and creative jam purveyors, rocking funky groove maestros, each musician at the top of his game. It’s rare that so impressive a group of individuals finds time away from their own projects to tour together. True to the spirit of the project’s name, they have collected a repertoire of Hudson Valley materials from Bob Dylan and The Band to the Woodstock Festival’s Joni Mitchell anthem and blues-rock-soul from Jimi Hendrix. Their June 2017 album release and performances will feature original compositions as well, inspired by their surrounds and each other. This is a band with wide ranging appeal. ---bouldertheater.com

Too often, musicians of this caliber who come together under the particular umbrella of a "project" find the end result muddied by any number of difficulties, from individual egos to production excesses. Thankfully, none of that is the case with Hudson, the collective recording by the all-star, multi-generational quartet of drummer Jack DeJohnette, bassist Larry Grenadier, keyboardist John Medeski, and guitarist John Scofield. The album title has a two-fold meaning: It signifies the geographical region in upstate New York where these players currently reside, and highlights the notion that the area has always offered a place of solace for artists -- especially musicians. The latter is reflected in the choice of covers here.

The mood throughout is loose and conversational. These guys play songs they love to discover what else is inside them. The collective's lengthy title-track opening jam emerges from a funky bass and drum vamp, and evolves into something akin to the early electric music by Miles Davis via Medeski's wonky organ and electric piano sounds and Scofield's deeply rhythmic playing style. The entire band works that vamp to the point where it becomes something wholly other. Grenadier's playing is remarkable not for what he plays, but for how his woody grooves are so deep they build a dancefloor for the others to move on. Scofield's "El Swing" is a lithe, slippery, post-bop number with a lovely melody steeped in blues. There are four covers in a row. First is a reggae-cum-soul-jazz take on Bob Dylan's "Lay Lady Lay," where Medeski does his best Jackie Mitoo, while Scofield layers the lyric line with a biting tenderness and the rhythm section cuts deep. Joni Mitchell's "Woodstock" builds on the wispy mystery in the original with a beautiful, bluesy, acoustic piano solo by Medeski, and Scofield's quotations from "Eleanor Rigby." Dylan's "A Hard Rain's Gonna Fall" becomes a vehicle for intimate and edgy exploration utilizing psychedelia, swing rhythms, Scofield's more angular rock abstractions -- which always return to the blues -- and Medeski's spacy chord voicings. Jimi Hendrix is represented by "Wait Until Tomorrow," in which the quartet uncover the R&B grooves underneath its rock exterior. Of the remaining originals, DeJohnette's "Song for World Forgiveness" is a highlight for its laid-back tempo and reflective but emphatic interaction between pianist and guitarist. Scofield's "Tony Then Jack" has an uptempo swagger with a knotty organ, a bouncy, walking bassline, and skittering snare work from DeJohnette, while the Band's "Up on Cripple Creek" reveals the NOLA funk at its core. Hudson is a modern update that harkens back -- in feel -- to the great Blue Note sessions of the '60s, when a group of jazz masters could come together to play good music and let off some steam. We need more records like this. ---Thom Jurek, AllMusic Review

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