207. Stan Getz / Captain Marvel (1972)

Here, we find Getz in good form alongside the boys from Return to Forever. His own notes tell us it was Chick Corea who arranged the date, and most of the music is from his pen. But it is the tenor man from another era who craftily renders the smoothly stated leads that flavor the proceedings -- Stan Getz. He's a melodic monster, and a little like Zoot Sims, just can't seem to put a note wrong. At this point in his career, Getz's tone and the agility of his fingers were still intact, and his technique even thriving. So I hear the overlay of the players' contexts and their respective styles as the key to the session, with Getz relinquishing little of his modern cred, leaving the Corea contingent to provide the updated message. Remember, in 1972, Return to Forever was still newly formed. Miles Davis was active, the impact of fusion was unseen, and it was all still very fresh. Appreciate this disc for its personnel pairings as much as for its place in the later Getz canon. And it's got Tony Williams, reason enough for me to plop down for a listen. 

203. The Jeff Lorber Fusion / Wizard Island (1980)

If you don't listen to jazz, you've probably heard Lorber's music on the Weather Channel while checking your local forecast! The back catalog is a bit more interesting, but not by much. This record was a #1 seller for Arista, and it sounds every bit the part. Cast in the same mold as the heavy hitters like Hancock, Corea, Clarke, et al, it lacks the trailblazing and depth found in those acts (Corea guests on "Rooftops"). Selections are heavy on the funk and Arista Records' special sauce, a superb studio product. It's got a lot of production on it and in spite of the funky corners, some of the songs do take on a two-dimensional pop simplicity. But if you're a fan of good bass playing or vintage synths like Minimoog and the Sequential Circuits Prophet 5, Lorber's album might interest you. I'm not a big fan of soft jazz or heavily produced wallpaper, but I do spin it sometimes. Dennis Bradford and Danny Wilson get high marks for drums and bass, respectively. Bland as this example may be, funky fusion grooves were an entry point for countless musicians of the 70's and early 80's, and Wizard Island does well to show you the ropes.