I got my hands on Mike's tape, so I'm going to share it. BOB's performance really stood out. Mike Stern Band/Jazztage, Forum Leverkusen, DEO, 1997.10.16. (SBD)

Setlist:
01 Jones Street
02 Wing And A Prayer
03 Bait Tone Blues
04 Chromasone
05 Tipitina's

Musicians:
Mike Stern - Guitar
Bob Malach - Tenor Sax
Lincoln Goines - Bass
Dave Weckl - Drums

Hey everyone! My latest album is available to stream today!

"Can You Not " by Daniel DeLorenzo is the latest exploration of his anomalous compositional style and approach to the guitar. DeLorenzo's playing is complemented by the masterful musicianship of Theous Jones (drums) and Casey Toll (bass). The album features six original compositions and a reimagining of Robert Schumann's Kinderszenen Op.15 (Scenes from Childhood). Can You Not continues the musical relationship between the trio developed through countless improvisations and creative collaborations.

Available wherever you stream music, links below! If you'd like to support real music made by real humans considering purchasing on Bandcamp

Bandcamp

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A trio record, my first time listening, what a phenomenal group.

Stanley Clarke performing at Yoshi's, San Francisco, October 10, 2009. (Photo: David Becker, CC BY 3.0, via Wikimedia Commons)

Stanley Clarke Put a Bass Riff on the Pop Charts. He'd Rarely Touched the Instrument.

In 1981, a bassist and a keyboardist built a song around an electric sitar riff, and radio treated it like any other single. "Sweet Baby," the first release from The Clarke/Duke Project, climbed to No. 19 on the Billboard Hot 100 and No. 6 on the R&B chart, and stayed on the charts for 20 weeks. The bassist half of that duo is Stanley Clarke, and by the time "Sweet Baby" hit the radio he had already spent most of a decade proving a jazz musician could headline arenas without giving up improvisation to do it.

He almost didn't end up on bass at all. Clarke was born in Philadelphia on June 30, 1951, and started on violin and then cello at the city's Settlement Music School. He picked up the upright bass mostly by accident: he showed up late on the day the school handed out instruments, and bass was one of the only ones left. He kept the classical training anyway, which is part of why he could later move between acoustic and electric bass in the same set without either one sounding like a compromise...

To read on, Stanley Clarke's full profile on JazzProfiles.com

or head over to r/CrossoverJazz

Been playing this one live again lately and decided to try it out on a beautiful ESP LTD Telecaster a friend lent me. Interesting how a different guitar changes the way you approach a tune you've known for 10+ years.

Originally recorded in 2014 as part of my jazz-fusion work. Still holds up — at least I think so! Would love to hear what you think.

A few months a go I went to a convenience store to buy some beers and cigs and the clerknwas hearing some like of electronic music that sounded like japanese stuff, not because it sounded "asian" or "oriental", but specifically japanese stuff, and he said it was Chick Corea but I couldn't ask what tune of album was because the store was getting crowded; can anyone help and said what could that possibly was?, I've heard a few Elektric Band tunes before that but didn't liked them at all so I don't know if that could be or if it could be a solo record.

Alright people, can we talk about this record?

The more time I spend with it the more it gets its hooks into me and less I understand why. It's not like anything I've ever heard before, I'm not even sure what the focal point of it is, all the players are just adding to this swirly melange of sound and it's just incredible from start to finish.

Those of you who love it, why do you love it? What's the seemingly indefinable quality that I'm semi-detecting? Are there elements that stand out to you or do you just let it wash over you as one long collective artistic statement?

For those who haven't heard it: Clamber aboard, trust me, it's as good as the cover art suggests.

Hi, I’m Cam Keys and I recently released a jazz fusion EP as part of a trio at my music uni. I’d love opinions :) https://open.spotify.com/album/0bvAe8KWbwAGIXOX2HdWRA?si=Kkf0CgttS_eBzdsrnGxCdw&utm_source=copy-link

I asked my friends to draft up an ultimate jazz band where everyone involved could be dead or alive and I went with a wacky fusion idea that sounds so insane that it MIGHT work. I am not insanely talented enough to know jazz theory but hopefully you guys can critique my idea

Lead Guitar: Santana
Bass Guitar: Thundercat
Drums: Lars Ulrich (yes the metallica guy)
Saxophone: Bill Clinton
Trumpet: Louis Armstrong
Vocals: Vicente Hernandez (yes he sings entirely in Spanish)

Tell me this wouldn't be the best performance ever

I just uploaded this kind of content to Instagram.

I'm sharing this even though I didn't play it very well.

Thanks.

Did you know?

What do you think?

Thanks.

A three-chorus solo and demo recording I wrote for Spain.

I'm curious to hear your thoughts and opinions.

Thanks.

(I am open to all opinions and suggestions)

I didn't mix it and I could have played it well. This is just a demo recording.

... too many more to name. Then, there are a few that simply change the landscape of music for a person. They introduce something you never knew was possible. As in, I didn't know I could feel like this. Thanks to Ronny Jordan a most special 'in the pocket' thing for acid jazz happened that planted a flag in my soul and flipped the script like few others. I am forever changed. Maxwell's Urban Hang Suite did the same thing. So did Butterfly Wings. So did Aretha. And Sting. And YES. And Mark Knoppler. And Jamiroquai. And Trent Reznor. And Massive Attack. There are more I can name. I love so much great music of all kinds - but only a precious few have literally changed the game for me. Some music just hits different. When people as gifted as Kenny Kirkland and Tim Reynolds and Branford Marsalis and Geoff Downes and Carter Beauford and Steve Lukather among others are jamming - I am simply transported.. to another place. To another space. Food tastes tastier. Sunsets are prettier. Life is better.

I just got onto David Stapleton. Ahem, more of this please. So more came. And my soul said "Thank You". Then, Executive Life by Jeff Parker dropped in. And Whoa. Yeah, another 'Whoa' moment happened. I went somewhere else.

I always loved a microsecond delayed beat drop. "Are you dragging or rushing?!" the maestro accused. Boy, if ever there was dragging that made my toes curl, this presses that button but good. If I close my eyes I feel like I'm floating. I've heard some I think it was trip-hop with a delayed drum beat like this that I adored.. Then this joint comes along. This here is like 'dope squared'. This sh¡t is so good it needs an exponent. I'm sober and this is like someone just passed a twisty of sour diesel over. And this here fool has just been ignorant to the fact.

Best Santana live experience ?
I’m keeping this advanced tape. This was before the actual album came out.