Детали релиза : Steve Khan (1977-2007) [FLAC (image + .cue)]

Label: Columbia, Sony Music
Catalog: COL 496-852 2
Format: CD, Album, Reissue, Remastered
Country: Austria
Released: 1998
Original: 1977
Genre: Funk, Soul, Jazz
Style: Jazz-Funk, Fusion, Post-Bop, Smooth Jazz

Credits:
Steve Khan - guitar
Bob James - guitar
Michael Brecker - tenor saxophone
Randy Brecker - trumpet
David Sanborn - alto saxophone
Don Grolnick - keyboards
Will Lee - bass
Steve Gadd - drums
Ralph MacDonald - percussion
David Spinozza - guitar
Jeff Mironov - guitar

Produced by Bob James
Co-Producer - Joe Jorgensen
Engineer - Joe Jorgensen
Assistant Engineer - Doug Epstein
Mastering Engineer - Vladimir Meller
Recorded at Sound Media Inc.NYC 1977

Review by John W. Patterson:
* What do you get when you have a superb rhythm section, saucy keyboards, a hot and brassy mini-horn section, and one very tasteful jazz- and chops-laden guitarist all come together with some jazz and some fusion in mind? You have the magic of Steve Khan and the Brecker Brothers coming together. With folks like this, and Steve Gadd and Bob James too, you have a formula for success.
* Khan's compositions are smooth yet lively enough not to bore. His unique drive, and pristine flourish and tone on his modded Fender Telecaster, and even his deft acoustic work, all come together to make a very satisfying blend of sexy jazz and funked-up, be bop fusion. Yet there is that special touch that only Steve Khan can add that makes his releases a signature sound on each outing. If you listen closely, you will hear Larry Coryell-ian riffs and stylings (as Khan and Coryell used to jam together, and did record together).
* Much ado is made about Mike Stern's guitar work in the '80s and '90s, but one listen to Khan and you will immediately hear who his big inspiration was. Next time you pick up an old Stern release you stand a good chance of seeing the words «produced by Steve Khan».

http://www.stevekhan.com/discog2.htm

Label: Legacy, Columbia, Sony Music Distribution
Catalog: 5083562, 5083562
Format: CD, Album, Remastered
Country: Europe
Released: 2002
Original: 10.1978
Genre: Jazz
Style: Fusion, Jazz-Funk, Post-Bop

Credits:
Artwork By (Original Design) - Paula Sacher
Artwork By (Package Design For Cd Reissue) - CREAMAX
Bass (Electric, Electric Fretless), Synthesizer (Bass Pedal), Chapman Stick (Electric Stick) - Alphonso Johnson
Composed By - Billy Cobham (tracks: 1, 6), Tom Scott (tracks: 3, 5)
Electric Guitar, Acoustic Guitar - Steve Khan
Engineer - Don Puluse
Other (Liner Notes) - Arnold Jay Smith
Other (Reissue Coordination) - Doug Drohan, Eric Guillemaud, Tim Fraser-Harding
Percussion - Billy Cobham
Photography - Jim Houghton
Piano, Electric Piano (Fender Rhodes), Clavinet, Synthesizer (Arp Odyssey, Mini-moog, Arp, String Ensemble) - Mark Soskin
Producer - Alphonso Johnson, Billy Cobham, Steve Khan, Tom Scott
Remastered By - Bob Whitney
Saxophone (Tenor, Soprano), Lyricon, Percussion - Tom Scott

Notes:
Engineered and mixed at CBS Recording Studios, N.Y.C.
Track 2 mixed at Cherokee Studios, Los Angeles.
Remastered at the Sony Music Studios, London

Review by Scott Yanow:
* Drummer Billy Cobham is heard on this live set heading an all-star quintet also including Tom Scott on tenor, soprano and lyricon, keyboardist Mark Soskin, guitarist Steve Khan and electric bassist Alphonso Johnson. Although the music is mostly funky and uses plenty of electronics (Scott sounds quite faceless on lyricon), there are some strong solos, particularly from Khan and Scott (when he is on tenor). The six group originals are highlighted by «Bahama Mama,» «Some Punk Funk» and «On a Magic Carpet Ride». Due to the amount of variety and spontaneity, Alivemutherforya is superior to most of these musicians' individual projects of the era.

http://www.stevekhan.com/discog2b.htm

Label: Columbia
Catalog: 496853 2
Format: CD, Album
Country: Austria
Released: 2000
Original: 1978
Genre: Jazz
Style: Fusion, Post-Bop

Review by John W. Patterson:
* Steve Khan's second release was a self-produced/arranged gem. It was similar in many respects to his prior debut, yet fans will probably recall this release as their all-around favorite from Steve Khan's '70s era recordings. The horn section and solos are still there, but Khan does more conversational soloing with the reed lines. This is especially evident on «An Eye Over Autumn», and its fusion jam-fest.

* The Blue Man might seem, overall, tighter, focused, and polished, and Khan's guitar tone more overdriven, more jazz rocking, and intensely penetrating in solos and intricate ostinato embellishment around song themes. The delicate reverb, delay, and crystal-clear tones on his solos are rarely heard done so well these days. Khan shows a mastering of tone and subtle bends. His phrasing is so melodic and emotionally rich that it delivers a spine-chill «rush» nearly every ten or fifteen notes. The keyboards and vibes are wonderful, sexy-silky-smooth, like a fine wine, Steely Dan, jazz rocker ballad throughout. Horns do more staccato bursts, and the percussion is more varied and polyrhythmic, becoming outright funkified boogie in places. That Latin-flavored Santana-esque groove slips through in spots. Khan again offers a beautifully executed acoustic/electric guitar outing, echoing a Larry Coryell friendship on «Daily Valley».

* This release is excellent. It's no wonder his name is resident now with the lists of the great jazz guitarists of fame and genius.

http://www.stevekhan.com/discog3.htm

Label: Novus, BMG Music
Catalog: 3074-2-N
Format: CD, Album
Country: U.S.A.
Released: 1990
Original: 1980
Genre: Jazz
Style: Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Credits:
Guitar - Steve Khan
Percussion - Steve Khan

Review by Scott Yanow:
* Steve Khan gained his initial reputation as a fusion guitarist, so this session (which has been reissued on CD) was a revelation to many when it was released. A rather introspective set of melodic music, the program is highlighted by an 18-and-a-half-minute, nine-song Thelonious Monk medley that is performed solo. Khan is actually the only performer throughout the date, although he uses overdubbing on some cuts («In a Silent Way» has eight guitars). With its strong melodies (including Wayne Shorter's «Infant Eyes») and subtle but creative playing, this is still one of Steve Khan's most rewarding recordings.

http://www.stevekhan.com/discog6.htm

Label: Antilles
Catalog: 422-848 821-2
Format: CD, Album
Country: USA
Released: 1983
Genre: Jazz
Style: Fusion

Credits:
Bass - Anthony Jackson
Drums - Steve Jordan
Engineer - Doug Epstein
Guitar - Steve Khan
Percussion - Manolo Badrena
Producer - Doug Epstein, Steve Khan

Notes:
®© 1983 Island Records Inc.
Recorded at MEDIA Sound, New York, November 7-8, 1981

Review by John W. Patterson:
* This release marked a new era for Steve Khan. Eyewitness was essentially birthed of earlier jam session/improv ideas, and the chemistry between each musician, plus polished-up ideas readied for final studio recording. Khan had returned to his college-days Gibson guitar purity of tone and a touch of reverb, laying aside his Fender Telecaster and big band mindset to groove with friends over eclectic rhythms of Manolo Badrena, Steve Jordan, and exotic bass grooves only the creative genius of Anthony Jackson could lay down. Just listen to "Guy Lafleur" and stand slack-jawed at Jackson's solo.
* Khan states this is probably his favorite recording due to that synergistic magic that came about in the presence of his bandmates. This melodic and relaxed jazz fusion holds a fiery tension that is evident everywhere. A sense of mystery and dreamy expectation flow within each song, as Khan weaves a tapestry of excellent guitarscapes and meandering solos that flirt with structure and form, but always avoid the expected norm.
* The groundbreaking compositions and their execution on Eyewitness have served to unlock the creative spark of many a jazz and jazz fusion musician to come.

http://www.stevekhan.com/discog7.htm

Trio Records - (Also known as "Blades" on Passport records) - Live in Japan with Steve Jordan, Anthony Jackson and Manolo Badrena

Label: Polydor K.K.
Catalog: POCJ 1894
Format: CD, Album, Live
Country: Japan
Released: 1982
Genre: Jazz
Style: Contemporary Jazz, Post-Bop, Guitar Jazz, Fusion

Credits:
Bass - Anthony Jackson
Drums - Steve Jordan
Percussion - Manolo Badrena
Producer - Doug Epstein
Producer, Guitar - Steve Khan

What band is crazy enough to make a 'live' recording the first time they perform in front of people? Well, this band was crazy enough to do it. There was a great reaction to the release of «Eyewitness» in Japan and the group was immediately booked for some gigs at the famous PIT INN in Tokyo. We were advised by George Braun live in Japanthat fans would not really believe that we were, in fact, a 'group' until we had released three recordings. So, we thought we could immediately make record #2 while we were there in Japan. When we arrived in Japan, the 'group' had no name and «Eyewitness» had been released under my name because none of the other guys wanted to sign the contract. So, as we walked into the PIT INN for the first show, the poster outside read: Steve Khan & Eyewitness, and from that day forward, everyone has just referred to us as: Eyewitness. People often ask why was the same recording released with two different titles? Well, initially the recording was to be titled «Modern Times»....period, end of story. But, before we could find a label to release this recording in the U.S., Steps Ahead had just released their own LP titled, «Modern Times». So, in order not to be confused with their recording, I changed the title for the U.S. release on Passport Jazz. A 'miracle' release because NO ONE wanted a recording with four tunes, each over 10-minutes in length. In truth, IF this recording had been done during the height of the CD era, each tune would have been about 17-minutes long, and we had to do some serious editing to make it even fit on an LP! The only release of this recording as a CD was in Japan, and sadly it's been out-of-print for sometime now. Highlights for me include: the drum/bass duet during the 'Intro' to «The Blue Shadow» (one of the best recorded examples of the ESP-like chemistry that exists between Steve and Anthony); the texture Anthony and Manolo create at the beginning of the guitar solo on «Blades». Steve Jordan's unique approach to the drums, to music-making, to the sound of each drum and cymbal makes this recording so sought after by drum nuts everywhere. My nightmare about the sound of this recording is that none of the wonderful Japanese recording technicians told me that one of my two Roland JC-120s was completely distorted during the entire recording, and that track became useless! Often times, it is mistakenly thought that all American musicians know exactly what they're doing at all times! In the end though, it's my responsibility to make certain these details are correct. So, I was stuck with a sound which, to me, is not representative. Monstrous bummer! I also made the huge mistake of recording myself with too much 'live' digital reverb....and, of course, once that's committed to tape, you're stuck with it!

http://www.stevekhan.com/discog8.htm

Label: Antilles
Catalog: 422-848822-2
Format: CD, Album
Country: US
Released: 1983
Original: 21-22.05.1983
Genre: Jazz
Style: Jazz, Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Credits:
Manolo Badrena - Percussion, Sound Effects, Vocals
Doug Epstein - Engineer, Producer
Anthony Jackson - Bass, Drums, Guitar, Guitar (Bass)
Steve Jordan - Drums
Steve Khan - Guitar, Producer

Review by John W. Patterson:
* This is the third release in a series of improv-based, live studio/ live recordings Steve Khan released with bandmates Anthony Jackson, Steve Jordan, and Manolo Badrena. It has a very similar flow and groove to Eyewitness and Blades (USA release), or Modern Times on Polydor, the second release in the trio of Khan's '80s Gibson guitar tone period.
* What immediately stands out, notably on «Some Sharks» - The Police-esque track and «The Suitcase,» are the excellent vocals by Badrena. On this song and others, he has quite a great time cutting loose, wild-man style, in a heavily reverbed fashion adding a deeper Latin-flavored atmosphere. This instantly causes one to think of Andy Summers' chord stylings and voicings in Khan's guitar.
* Paralleling Khan's masterful guitar work, it is noted by Khan that bass and drumming enthusiasts cite this as the record to get of the trio's '80s releases. Sadly, due to many financial and lack-of-touring issues, this master lineup finally broke up after this release. All the aforementioned Antilles recordings barely saw a US release coming out four years after they were recorded.

http://www.stevekhan.com/discog9.htm

Label: Polydor K.K.
Catalog: POCJ-1896
Format: CD, Album
Country: Japan
Released: 1987
Genre: Jazz
Style: Fusion

Credits:
Steve Khan - guitars
Anthony Jackson - electric bass
Steve Jordan - drums
Manolo Badrena - percussion,vocals
Bill Evans - soprano sax
Clifford Carter - keyboards
Neil Jason - electric bass
Christopher Parker - drums
Cafe - percussion
Produced by Steve Khan
Graphic - Folon poster from 1980
Folon Tokyo Gas Original Storyboard from 1987

* Once again, my old friend George Braun entered the picture with a phone call and an offer to compose some music for three Folon digitally-animated commercials for Tokyo Gas of Japan. Obviously, just to be involved in a project with Jean-Michel was an honor to which I could not say «No». Knowing that making a 'commercial' for Japan is not the same as in the U.S., I felt that this was a great creative opportunity. So, I submitted a cross-section of my recorded work Folon Steve Khan Poster 1980including selections from the just recorded «Local Color». After some consideration, the Japanese production company responded and said that they wanted new compositions which, in spirit and attitude, resembled «Candles» (from «Arrows»); and «Tafiya» and «The Blue Rose» (from «Local Color»). The titles for these three pieces, like many song titles from earlier tunes, came from my view of what a Folon painting looked like to me. And, I saw images that suggested: «Tree of Building» (because there was a tree and the leaves were all concrete structures); «Warm Blue Town»; and «In a Star's Arms». You should understand that Folon was trying to project an image of a gas and electric company trying to work hand-in-hand with nature. In principle, an environmentally sound concept. What's nice about the recording process is that they want you to just go in and do what you'd normally do. So, we went in and just played and, as usual, the tracks were long. The Japanese production company then edited together the pieces they needed to make commercials which were: 15,: 30 and: 60 in length. At the time, my entire old catalog from «Evidence» forward had been picked-up by Polydor K.K. of Japan, and they decided to take these three new tracks and make a «Best Of» package to be titled «Helping Hand». In the end, it was such a thrill to hear the music with the beautiful computer-animated Folon visuals.

http://www.stevekhan.com/discog11.htm

Label: Denon Records, Nippon Columbia Co., Ltd.
Catalog: 81757 1840 2
Format: CD, Album
Type: Instrumental
Country: U.S.A.
Released: 1987
Genre: Jazz
Style: Fusion, Post-Bop, Latin Folk, Progressive Jazz, Guitar Jazz, Jazz Instrument

Credits:
Richard Alderson - Engineer
Neil Dignon - Assistant Engineer, Mixing Assistant
Duke Ellington - Composer
Steve Khan - Guitar, Guitar (12 String), Guitar (Acoustic), Guitar (Steel), Performer, Producer
Christine Martin - Executive Producer
Rob Mounsey - Keyboards, Performer, Piano, Producer, Programming, Sequencing, Synthesizer, Voices
Malcolm Pollack - Mixing
David Tan - Photography
Doug West - Art Direction, Artwork

Review by Ron Wynn:
* Good '87 duo session, in which session and studio ace guitarist Steve Khan went against his reputation and did an album of duets with keyboardist and vocalist Rob Mounsey that weren't just funk and fusion, but mostly jazz-tinged instrumentals.

http://www.stevekhan.com/discog10.htm

Label: GRP Records
Catalog: GRD-9599
Format: CD, Album
Country: US
Released: 1990
Genre: Jazz
Style: Fusion

Credits:
Steve Khan - guitar
Anthony Jackson - bass
Dave Weckl - drums
Manolo Badrena - percussion (acoustic & electric),vocals,lyricist
Lani Groves, Vivian Cherry, Janie Barnett, Kurt Yahjian - additional vocals
Graphic - Ned Shaw pen & ink sketch of Eyewitness for CD cover
Produced by Steve Khan

Digitally recorded and mixed at Skyline Studios, NYC

Review by Robert Taylor:
* Steve Khan is a bit of an enigma in jazz guitar circles, as he neither clearly succeeds nor fails in any of his efforts. This is an exception, however, as the presence of Dave Weckl makes for one of the best GRP releases of the '90s. Khan's sound is still a bit weak, but his compositions are strong, as is the amazing percussion of Manolo Badrena. A longtime collaborator with Khan, Badrena seems to have every type of percussion ever made and uses them all effectively. Weckl thrives on the Latin rhythms and both players are complementary to each other. As with his other recordings, Khan's solos are not very interesting, and like Larry Coryell, he tries to play too fast. Despite this, they all seem to be having a great time. "Kamarica" is one of the happiest tunes here and contains some phenomenal soloing by Weckl. "Botero People" has a nice relaxed feel and a great bassline, proving that the tunes here are well written with a focus on rhythm rather than just improvisation. Although Badrena's singing is in Spanish, it is pleasant and an integral part of the music even if you don't know what he's saying. "Mama Chola" is the most intense piece here and features more great soloing by Weckl, who not only helps hold the band together, but actually manages to carry it for the majority of the session.

http://www.stevekhan.com/discog12.htm

Label: Bluemoon, Polydor K.K. Inc.
Catalog: R2 79168
Format: CD, Album
Country: Japan
Released: 1991
Genre: Jazz
Style: Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Credits:
Steve Khan - guitar
Ron Carter - acoustic bass
Al Foster - drums

Produced by Steve Khan
Associate Producer - Malcolm Pollack
Executive Album Producer - Christine Martin
Executive Producer - Hiroshi Itsuno
Recorded and Mixed - Malcolm Pollack, Assisted by Katherine Miller
Recorded and Mixed at Skyline Studios, New York City, January 19-20, 1991
Mastered at Sterling Sound, Mastering Engineer - Greg Calbi
Cover Art - Jean-Michel Folon
Photography - David Tan
Cover Design - Ruri Fujita

Notes:
Recorded 19-20 January 1991
(P)(C) 1991 Polydor K.K. Inc., Made in Japan

Review by Scott Yanow:
* Best-known for his fusion recordings, Steve Khan (ten years after recording the purely acoustic solo date Evidence) stretches out on this pure jazz date. Accompanied by bassist Ron Carter and drummer Al Foster, Khan explores a variety of superior jazz standards (including songs by Thelonious Monk, Wayne Shorter, Larry Young, Freddie Hubbard and Lee Morgan) along with his own «Buddy System.» This is one of Steve Khan's finest recordings to date and is highly recommended to those listeners not familiar with this side of his musical personality.

http://www.stevekhan.com/discog13.htm

Label: Polydor K.K., Blue Moon
Catalog: R2 79179
Format: CD, Album
Country: Japan
Released: 15 Sep 1992
Original: 12.01-19.01.1992
Genre: Jazz
Style: Jazz, Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Credits:
Manolo Badrena - Percussion
Greg Calbi - Mastering
Ron Carter - Bass, Bass (Acoustic)
Dennis Chambers - Drums
Doug Epstein - Engineer
Al Foster - Drums
Ruri Fujita - Cover Design
Hiroshi Itsuno - Executive Producer
Anthony Jackson - Bass, Contrabass Guitar, Guitar
Steve Khan - Guitar, Producer
Katherine Miller - Mixing Assistant
Malcolm Pollack - Associate Producer, Engineer, Mixing
David Tan - Photography

Review by Scott Yanow :
* Guitarist Steve Khan is heard in two different settings on this CD: in an acoustic trio with bassist Ron Carter and drummer Al Foster on six songs, and jamming with electric bassist Anthony Jackson, drummer Dennis Chambers and percussionist Manolo Badrena on three tunes. Actually, there is a definite unity to the program, and Khan is featured on a variety of jazz tunes including numbers by Larry Young, Ornette Coleman ("The Blessing" and "Turnaround"), Clare Fischer, Wayne Shorter, Thelonious Monk and Joe Henderson. He even plays a song ("Autumn In Rome") by his father, Sammy Cahn. The guitarist consistently stretches himself during these performances (which include a 10,5-minute version of "All or Nothing at All") and is heard throughout at his most creative.

http://www.stevekhan.com/discog14.htm

Label: Polydor K.K.
Catalog: 314 523 269-2
Format: CD, Album
Country: USA
Released: 1993
Genre: Jazz
Style: Fusion, Post-Bop

Credits:
Steve Khan - guitar
Anthony Jackson - contrabass guitar
Dennis Chambers - drums
Manolo Bedrena - percussion
Michael Brecker - tenor saxophone
Graphic - Anthony Jackson, Dennis Chambers & Steve from a special European Tour
Poster - by Ned Shaw

Review by S. Guernsey:
* The title of this review is for the artist as well as this recording. Steve Kahn has been a vital and sustaining force in modern music for almost 40 years. He has played with the best musicians on the planet and has contributed to the jazz and latin jazz catalog with wonderful compostitions. He was the principal guitarist on Steely Dan's "Gaucho". "Crossings" is one of my favorite recordings. Kahn's deep respect as well as his creative brilliance make these standards shine. And I include his originals as standards. The band is fantastic, Dennis Chambers on drums; Anthony Jackson on electric contra-bass, and Manolo Badrena on percussion, with Michael Brecker on tenor on a few tracks. Very highly recommnded!

http://www.stevekhan.com/discoglite.htm

Label: Tone Center
Catalog: 454063
Format: 2xCD, Live Performances
Country: U.S.A.
Released: 20.02.2008
Original: 17.05.1994
Genre: Jazz
Style: Jazz, Guitar Jazz, Jazz Instrument, Live Performances

Credits:
Greg Calbi - Mastering
Dennis Chambers - Drums
Wolfgang Gonaus - Photography
Anthony Jackson - Contrabass Guitar
Steve Khan - Composer, Guitar, Liner Notes, Producer
Ulrich Kurth - Producer
Rob Mounsey - Post Production
Janet Perr - Design
Michael Peschko - Sound Supervision
Thomas Sehringer - Engineer
Wayne Shorter - Composer
Ulrich Vormehr - Executive Producer

Review by Pierre Larroque:
* After so many years since his European tour Steve Khan finally presents the live registration of the fantastic 1994 Koln concert. The German sound engineer did an excellent job and produced a fine recording of outstanding technical quality. Also a great advantage was the fact that drummer Dennis Chambers used headphones playing live instead of using loud monitors. That made the recording transparent and very agreeable to listen to. Steve Khan shows one of the best guitar performances ever recorded live. His clear and warm guitar sound combined with a phenomenal harmonic approach, not only take his own compositions but also standards written by Joe Henderson, Wayne Shorter and Sammy Cahn to a higher level. One can also enjoy the sublime drum playing by Dennis Chambers and Anthony Jackson's clear sounding bass. These accompanist were given a lot of space by Steve Khan to express their own virtuosity.

http://www.stevekhan.com/discog20.htm

Label: Evidence Music, Inc.
Catalog: ECD 22197-2
Format: CD, Album
Country: US
Released: 14.10.1997
Original: 05.09-06.09.1996
Genre: Jazz
Style: Jazz, Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Notes:
Recorded 5-6 September 1996

Credits:
Matt Curry - Assistant Engineer
Pete Karam - Assistant Engineer
Malcolm Pollack - Associate Producer, Engineer, Mixing
John Patitucci - Bass (Acoustic)
Cafe - Berimbau, Percussion, Vocals, Voices
Bobby Allende - Conga, Guiro
Jack DeJohnette - Drums
Steve Khan - Guitar, Producer
Michel Folon - Illustrations
Josef Woodward - Liner Notes
Greg Calbi - Mastering
Kaori Kinoshita - Mixing Assistant
David Tan - Photography
Christine Martin - Production Coordination
Don Alias - Shekere, Timbales
Marc Quinones - Timbales

Review by David R. Adler:
* Got My Mental is a satisfying trio date with bassist John Patitucci and drummer Jack DeJohnette, and a nice complement to Let's Call This, Khan's 1991 trio album with Ron Carter and Al Foster. As on the earlier outing, Khan includes only one original tune, focusing instead on challenging material by eminent post-bop figures. Wayne Shorter and Lee Morgan are again represented, but this time in the company of Keith Jarrett («Common Mama»), Eddie Harris («Sham Time»), and Ornette Coleman («R.P.D.D.»). Khan also presents his laid-back take on two standards, «I Have Dreamed» by Rodgers & Hammerstein and «The Last Dance» by Jimmy Van Heusen and Khan's father, Sammy Cahn. Four rotating percussionists - Don Alias, Bobby Allende, Marc Quinones, and Cafe - join the trio intermittently. It's fairly uncommon to hear Khan in such a straight-ahead setting. His articulation is superb on the tough bop-oriented lines of the Coleman piece and original title track, although he can become a bit stiff as his solos progress. Shorter's «Paraphernalia», like «Masqualero» on the previous record, was once played by the Miles Davis Quintet and is particularly difficult to carry off with a guitar trio. But Khan doesn't let that stop him. His big, reverby sound and spacious chords create a full spectrum of sound on this and every other tune.

http://www.stevekhan.com/discog16.htm

Label: Siam Records, LLC
Catalog: SMD-50004
Format: CD, Album
Country: U.S.A.
Released: 13.10.1998
Original: 06.10.1998
Genre: Jazz
Style: Fusion, Post-Bop, Guitar Jazz, Jazz Instrument

Credits:
Steve Khan - acoustic guitars
Rob Mounsey - keyboards, voice, percussion
Marc Quinones - timbales, congas, bongos.

Review by Jonathan Widran:
* Steve Khan and Rob Mounsey seem interested in putting us in a sort of trance on You Are Here, but often that's more the result of our vain search for a clear-cut melody than by perfect design. The guitarist and keyboardist make an intriguing tandem as they play with different world rhythms (the cover art suggests a global unity theme at work) and draw their percussive keyboard meets acoustic string experimentations out to seven, eight, and ten minutes. But only the sharply composed, fiery Latin jam «Platanos Maduros» (with synth steel pans and horns) and the Brazilian flavored shuffle «Viajar y Viajar» (on which Mounsey's synth harmonica approximates Toots Thielemans on the legendary Brazilian's projects) offer a memorable melody to go along with the bouncing percussive textures of Marc Quinones. Most of the other tunes have swaying beats, occasionally inspired soundscaping fills, and synth riffs, but take a bit too long to develop. Glum pieces like «Pallbearers» come across like atmospheric noodling. Mounsey is a whiz with electronics, and he seems to have fun finding pockets for Khan to toss in a melodic line here and there. But his greatest contribution is his soaring voice, which adds desperately needed focus and humanity to «Fazendeiro» and the Latin pieces.

http://www.stevekhan.com/discog17.htm

Label: ESC Records
Catalog: ESC 03705-2
Format: CD, Album
Country: GMbH
Released: 2006
Original: 2005
Genre: Jazz
Style: Post-Bop, Guitar Jazz, Jazz Instrument

Photos in collage: Steve, John Patitucci, and Jack DeJohnette
Manolo Badrena, Ralph Irizarry, and Roberto Quintero
Photos by Richard Laird
Collages by: Youngsuk Fallis

Review by Greg Prato:
* For Steve Khan's first solo release in nearly ten years, 2006's The Green Field, the guitarist assembled quite a supporting cast. Once more, Khan has called upon his old pals John Patitucci on bass and Jack DeJohnette on drums, with percussionist Manolo Badrena rounding out the cast. Despite the layoff between solo releases, it's not to say that Khan wasn't busy since his previous solo effort, 1998's You Are Here - the guitarist toured as part of Dave Samuels' tour in support of Tjader-ized: A Cal Tjader Tribute - appeared on Dave Valentin's Sunshower, and also re-formed the Caribbean Jazz Project. For fans waiting patiently for Khan's next solo outing, The Green Field proves that the wait was certainly worth it, as Khan's trademark fluid guitar playing is on display throughout. Instead of focusing on succinct songs, the majority of the album's nine tracks are of the extended variety, which makes the album a fine mood setter - especially the album opening "El Vinon" and the salsa sounds of "Cosecha lo Que Has Sembrado." Also of note is the all-encompassing, nearly 20-minute long album closing title track. Steve Khan's The Green Field is highly recommended to fans of expertly played latin tinged progressive jazz.

http://www.stevekhan.com/discog18.htm

Label: 55 Records
Catalog: FNCJ-5520
Format: CD, Album, Issued
Country: Japan
Released: 2007
Genre: Jazz
Style: Fusion

Personnel:
Badal Roy - tabla
Bob Mintzer - bass clarinet
Gabriela Anders - vocals
Geeta Roy - tamboura
Jack DeJohnette - drums
John Patitucci - acoustic bass
Manolo Badrena - percussion.
Marc Quinones, Bobby Allende - bongos
Ralph Irizarry - timbales
Randy Brecker - flugelhorn
Rob Mounsey - keyboards
Robert Quintero - conga drum
Ruben Rodriguez - bass instrument
Steve Khan - acoustic guitar

Photos in collage: John Patitucci, Steve, Bob Mintzer and Jack DeJohnette
Geeta & Badal Roy, Ralph Irizarry, and Manolo Badrena & Roberto Quintero
Photos by: Richard Laird
Collages by: Youngsuk Fallis


Review by Scott Yanow:
* Guitarist Steve Khan sounds quite laid-back throughout this set, even when soloing at his most passionate. He is featured in a wide variety of material and fares quite well in each setting. With bassist John Patitucci sometimes taking solo honors, Khan explores a Latinized version of "I Mean You" and an obscure Ornette Coleman tune ("Mr. and Mrs. People"), has features for flugelhornist Randy Brecker ("Face Value") and bass clarinetist Bob Mintzer (the Bitches Brew-inspired "El Faquir"), and modernizes one of his father's songs ("You're My Girl"). Also on Borrowed Time are two McCoy Tyner compositions, a salsa version of "Have You Met Miss Jones?," and a vocal by Gabriela Anders on "Luna y Arena." Overall, this is a worthy effort. This CD was nominated in 2007 for a Grammy award as Best Latin Jazz Album.

http://www.stevekhan.com/discog19.htm