Stanley Clarke Find Out Rar

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The 2010 self-titled release by the Stanley Clarke Band is aptly titled; it actually feels more like a band record than anything he's done in decades. This isn't saying that Clarke's solo work is somehow less than, but when he surrounds himself with musicians that are all prodigies in their own right, the end results tend to be more satisfying. Produced by Clarke and Lenny White, his band is made up Compton double-kick drum maestro Ronald Bruner, Jr., Israeli pianist/keyboardist Ruslan Sirota, and pianist Hiromi Uehara (aka Hiromi) who plays selectively but is considered a member.

There are guests, too, including a horn section, a couple of guitarists in Rob Bacon and Charles Altura, and saxophonist Bob Sheppard. Clarke plays his usual arsenal of basses.

Sirota and Hiromi also contribute compositions to the album. They include the former's set opener 'Soldier.' While its intro is quiet and melodic enough, it evolves, first into a modal study with Clarke playing the melody before it kicks into jazz-rock overdrive with Altura playing a distorted rhythm guitar to Clarke's Alembic tenor bass. Dynamics shift and turn; they make the track a multi-faceted investigation with Sirota's piano solo sourcing both McCoy Tyner and Herbie Hancock. Hiromi's 'Labyrinth' melds elements of 'My Favorite Things' to modern post-bop and classical architectures; the breakbeats by Bruner add a funky touch, and Clarke's layered basses become a focal foil for the piano.

There is also an updated reading of Chick Corea's 'No Mystery,' from Clarke's days with Return to Forever, that captures the tune's near transcendent curiosity without trying to re-create it. The drama brought by Clarke's bass is tense and declamatory. 'Sonny Rollins' contains the theme from 'Don't Stop the Carnival' and is Caribbean-flavored, but pays tribute to the saxophonist's entire career. Written by Clarke, it contains wonderfully knotty passages on acoustic as well as electric basses; Sheppard's fine soloing and fills make it a jumper. 'I Wanna Play for You Too' is funkily self-explanatory for Clarke fans, while 'Bass Folk Song #10' is a gorgeous solo piece.

'Fulani' is an excellent piece of contemporary fusion, where 'Larry Has Traveled 11 Miles and Waited a Lifetime for the Return of Vishnu's Report,' dedicated to Joe Zawinul, is a clumsy, failed attempt at summing up the music's history to date. The ballads, including 'Bass Folk Song No.

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6,' which closes the set, work less well, but these are minor complaints on an otherwise fine recording. Thom Jurek.

Realizingthe wealth of talent that had assembled, Bruce Lundvall at Elektra/Musicianasked for an album featuring just the instrumentalists. The Griffith ParkCollection opens with White's 'L's Bop,' a 60's Blue Note paeanshowcasing some vintage Hubbard hornwork that evokes those sunny days when BlueNote producer Alfred Lion was repeatedly capturing the blinding brilliance ofan era.This is a stunning live recording. Magically resurrected from a soundboardcassette of one of the shows during the group's five day California tour,Griffith Park Collection 2: In Concert starts with 'Why Wait,' thistime at a slightly slower tempo that seems to open up the arrangement and allowthe soloists room to swing even harder.

Like wanderers returning to their homehearth, they play with a mounting sense of urgency and passion as the nightwears on, pursuing the music like it was the source of life itself. Theseguys were certainly ready for something. Without preamble Hubbard starts byblowing a series of runs that sound like cascades of sparks sprayed from an arcwelder's torch (it's tempting to imagine the other players wearing protectivegoggles as they watch him intently.) No question, Hubbard's unbridled,over-the-ramparts approach might have had a daunting effect on another stage,but on this spring evening it leads the charge and sets a standard. Eachplayer's solo invites the next until it is clear that each is ready to takefull advantage of this rare opportunity. White's 'Guernica' is anunforgettable, hair-raising blowing session that evokes the passionateemotional landscape of that war-torn Spanish city. Hubbard's flashy, headlongbopper 'Happy Times' is followed by Corea's tone poem 'OctoberBallade,' and then it's back to the races with a hard-driving 'I MeanYou,' and finally a gently swaying 'Here's That Rainy Day' witha handful of lyrical flourishes from Hubbard to close things out.