The Bad Plus, “Seven Minute Mind” from Made Possible (2012). The latest from jazz’ power piano trio.
Don Pulen/George Adams Quartet, “Mr. Smoothie” from Breakthrough (Blue Note, 1986). Pullen on piano with Adams on tenor and fellow Mingus alumnus Dannie Richmond on drums. Maybe top group of the 80s, making serious jazz than connected with a lot of people.
Portico Quartet, “Spinner” from 2011 LP by British jazz/jam group.
Oliver Nelson, “Stolen Moments” from Blues and the Abstract Truth (Impulse, 1961). Considered by Pete, and many jazz aficionados, to be the most intensely romantic modern jazz song ever recorded.
Wayne Shorter and Milton Nascimiento. “From the Early Afternoons” from Native Dancer (1975). One of the great world jazz records.
Monte Alexander, “I Shot the Sheriff” from Stir It Up: The Music of Bob Marley (1998). The Jamaican jazz pianist embracing Marley’s music. Steve Turre featured on trombone and conch shell.
Lee Morgan, “Totem Pole” from the Sidewinder (Blue Note, 1964). Hard bop at it’s very best. The leader’s mercurial trumpet with sax by Joe Henderson and Billy Higgins on the skins. Two words: Sa. Weet.
Ralph Peterson Fo’tet, “One False Move” from The Duality Principle (2012). What Peterson calls swunk — swing and funk. WIth the vibes and clarinet sound that is this group’s signature sound.
Charlie Hunter Trio, “Come As You Are” from Bing, Bing, Bing (1995). The 8-string guitarist covering Nirvana. Really nice modern fusion jazz guitar record.
David Sanches, “La Maquina” from Trevisia. Puerto Rican saxist with a snaky track from a 2001 LP.
Herbie Hancock, “Spank-a-Lee” from Thrust (1974). Period fusion with cheesy synth. Goes down easy.
The Bad Plus, “Beryl Loves to Dance” from Never Stop (2010). Closing as well as opening with the jazz power trio.