Mike Stern

Mélangeant les pièces lentes et les pièces rapides dans son style unique et particulier, Mike Stern est un véritable magicien ave son instrument. Weckl est quand à moi le meilleur batteur pour ce style de musique.

Mike Stern has got to be one of the Tastiest Cats out there in the music scene today. He defenitly has his own sound going, which is so great to hear these days. This is a great cd. Every song kills....I own all Mike's stuff, and seems to me, each one he puts out just keeps on getting better and better....

I've been a fan of Mike Stern for many years. Who Let The Cats Out is easily one of his best releases to date. The production quality is excellent. The drum tones alone should be studied by anyone interested in this genre. The guest musicians are outstanding and play an integral part of the recording as a whole. This is not a one man show, as Stern lets his guests cut loose and share the spotlight. How many Jazz Cds have slide guitar or harmonica? This one does!

Mike Stern has solidified himself in the top echelon of jazz/blues/fusion guitarists. Who Let the Cats Out is a varied disc that shows off what he can do when supported by a top notch band, each with something to add. Mike knows how to vary the mix enough so that he doesn't become predictable.. there is always an edge of newness to his playing and this album doesn't disappoint. While I would not hold out "Who Let the Cats Out" as the quintessential Stern recording, it surely belongs in your collection of you appreciate his styling, chops, and musicality.

I think like this album.
It's a bit easy , but pleasant -in a good way.
Won't listen to it every day, but it makes perfect background music, and the playing is of usual standard.
It's "Odds or Evens" though which is on my Ipod - In my mind a completelly different calibre of an album altogether.

This is my first Mike Stern CD. It will definitely not be my last. I really, really like it. I decided to buy it because I heard it featured my favourite guitarist after Pat Metheny, John Scofield. Actually, (and to my delight), Stern is joined here by Mr Scofield and another of my favourite guitarists, Bill Frisell.

I found it fascinating that three men playing essentially the same instrument, i.e. electric guitar, could each sound so very different, so very individual and so immediately identifiable. Stern himself reminds me a lot of the late Eric Gale, of whom I've been a huge fan for decades now.

It's a lovely guitar album, though of course, the album also features Ben Perowsky and Dennis Chambers on drums, Lincoln Goines on bass, Bob Malach on tenor saxophone and last but by no means least, Jim Beard on keyboards, who also produced the album.

My favourite tracks? Well, as soon as you hear the opening licks on the opening track "Play", you just know you're in for a treat. "Small World" is instantly funky. The ominously haunting ballad "Blue Tone" is my favourite track of all and I also love "Goin' Under", another ballad, naturally.

Great album, great guitar music. Mike Stern seems to have put out so many albums, my only dilemma now is which one to buy next...

As a jazz vocalist, I am always looking to instrumentalists for new ideas in my interpretations of song and normally, I would listen to horns solos (for some reason, my ear finds it easier to hear all the notes of the solo). However, I've begun look towards guitar players and Mike Stern has to be my favorite. "Play" has to Mike Stern's love affair with the blues, which has gives me a new and fresh way of thinking about the blues. On top of that, there is John Scofield and Bill Frisell, which gives me even more to think about. And what more can be said about Dennis Chambers? 'Nuff said....Buy the CD because you will never get tired of listening to it!!!!

my first Mike Stern record
Definately not my last
Mike's a wizard on that guitar
This album is well above than par

This album is why the universe needs Mike Stern. I can't seem to take this one out of my car and as a result, I have listened to it all the way through almost every day for the last 2-3 weeks.

The contrast of Frisell and Stern is otherworldly, and you really get to hear their personalities come out and gel together. Scofield is also here, and this cd shows that he is still badass. This one ranges from modern bebop sounding on the title track, "Play", to soft and spaced out ballads like "Blue Tone", to hard edged emotion of "Tipatina's". Link is a modal fusion tune with not many chord changes, which, could get boring. However, this one is supercharged all the way through; a testament to the musicians'abilities (THERE ARE SAX SOLOS, AND GREAT DRUMMING HERE TOO! NOT JUST GUITARS).

I have been listening to what Scofield and Frisell, and Metheny are doing. They seem to be taking jazz sensabilities to music that is really not jazz anymore. It is improvised music and thats great stuff, really great stuff, but what jazz needs, what the world needs is "Play". Stern takes his rock influence with his voice to jazz and not the other way around. I can still hear all the way back to Charlie Parker on "outa town" (i'm 24). Not only that him and his band play their hearts out. In summation if you have to buy one jazz record that matters in the world, it is Mike Stern's Play or Wayne Shorter's Alegria. In short, I hope you get it and give it a good listening because it is beatiful NEW BEBOP CRACK ROCK.

mike stern is doing things with jazz, he always gets hammered by the critics, for his rock edge, but this album along with the last, between the lines, break down musical barriers in a music (jazz) that should incourage new voices, but of course dosen't, and has become mundane,since the passing of miles, stern keeps the torch burning!and by the way mike doen't loose the rock edge ! its a uniquie voice in a day when everyone is encouraged to sound the same.

without a doubt one of stern' s best works. the closest he' ll get to traditional, straight ahead jazz. stern' s bread and butter - the high voltage, distortion and what many of his fans have come to expect, is all but non-existent. jazz purists should be able to enjoy this one, aswell as the folks who loved to hate stern for his high-tech excursions and the glossy, foot-tapping music he was playing in the 80's and early 90's. miles even went so far as to tell stern 'play some Hendrix (turn it up) or turn it off!'. cheers to mike for sticking to guns and his signature style!

this album for stern is down a diferrent alley of sound. after hearing this album, u' ll be scratchin yer head as to why stern has refrained from this type of material. ultra slick leads, excellent arrangements, interesting choice of playlist, it' s all here. patitucci and dejohnette are with mike every step of the way. both brecker and sanborn churn out some great raunchy sax playing. all this comes together for a outstanding outing!

Yes, buy every album, including this one, which clearly demonstrates the artists continuing drive to improve his chops and compose new tunes. But, come on....I mean, go see this guy. Absolutely scalding. It's Mike Stern, for God's sake.

jc

It is a album worth having, as well as other CDs with Mike Stern as guest recorded in last years, as, for example SPAJAZZY (www.spajazzy.com)

Continuing in the tradition of his bestselling "Standards (and Other Songs)", this is Stern at his best. The rhythm section of John Patitucci and Jack DeJohnette is both cooking & unpredictable. The songs are mostly standards, sometimes with new melodies written by Stern. The cast is augmented by appearances by Michael Brecker, David Sanborn, Don Alias and Gil Goldstein (who also produced). The performances are live in the studio. Those who have heard Mike live at the 55 Bar will instantly recognize this as the "real deal" Stern. A first-rate album, both for guitar fans and jazz fans.

A beautiful album. He has a great voice and style. He sounds as good as he looks.

I really enjoyed listening to this cd. His voice is very soothing and easy to listen to. I especially enjoy listening to "Last Morning of my Life". It includes songs made famous by others such as"Back on my Feet" and "Young Girl". I have his other cd which features music from various operas. I would say you won't be sorry that you bought this cd!!!!!!

I have seen Michael Amante in concert and this CD is not the best of his voice. He has a very powerful voice and it did not come out in this CD. The music he picked to record was good, mostly Tom Jones type music, but his voice is not at it's best. I think it needed better back-up or accoustics to bring out the power of his voice.

Michael Amante is back. Much to the chagrin of his many detractors and surely to equal delight of his many fans.

I purchased this CD not sure what to expect since Mr. Amante's first CD was a rather uneven attempt at Opera.
Luckily the old adage " It get's better with time" applies to his sophmore CD.

I find the song selection and style much more appropriate to his voice and with the exception of songs like "Young Girl" and "Delilah" this is a very nice CD.

Mr. Amante's voice seems more setteled and just a tad darker than on his first CD and he displays masterful command over the stylistic nuances of the English selections.
I particularily enjoyed the Jazz influenced styling of the Mario Lanz stanadrs "Be My Love" and " Because You're Mine" as well as the old Neapolitan fav "Dicitencello Vuie".
Also his reading of the classic "Caruso" is surpassed only by Maestro Pavarotti and even that is disputable.

Of course Mr. Amante still seems to have some trouble with the Italian language at times but nothing of the massive difficulty he displayed last time around.

Considering that his musical genre, "Popera", is dominated by Italians (Bocelli & Safina)& Brits (Russell Watson & Sarah Brightman)I think Mr. Amante deserves the credit due him as being a worthy American representative. Of course there is also the over-rated Josh Groban but that's neither here nor there.

4 stars for this CD over the 3 stars for his last effort. Couldn't give it 5 stars because in all fairness, Mr. Amante really ought to get a better understanding of the foreign languages he interprets. Other than that this is a fine CD.

To the Music Fan in Calgary. You are living proof that the cold weather in Canada is not good for one's hearing. Dear Michael's voice is stronger than ever. All you have to do is hear him live singing in Rao's Restaurant on a Monday night without a microphone or amplification and you will realize the error in your ways.
Trashing a talent like Michael Amante is further proof of your inability to distinguish between a good voice and a great voice. Obviously with all of the positive reviews that you see herew and read throughout the world, all of our ears cannot be lieing to us all at once.
Perhaps you were in a bad mood or your stereo just couldn't handle his high notes and was distorting?
Give his first album another listen (as long as your ears are thawed out) and I believe you will reconsider. You may end up throwing your trash where it belongs. In the garbage can !

upside downside is a great title for this cd. as the songs are total jazz numbers, they are played with a real jeff beck, rock attitude, and guitar tone. stern really wails, on the opening track, and lets you know right away, that he has all the chops he needs for his medium. although i have a number of his albums, this one just has that special vibe, that will put it on your list of top albums.

micawber999

Mike Stern has a long resume as a session axeman with some mean licks. There are some technically fantastic tracks on this album, but only one stands out for me, Mood Swings, with Jaco Pastorius on bass - enough said. It stands head, shoulders and hips above the others. However, all the other tracks are well produced, all sound good, and have that mid-eighties fusion feel to them that is no bad thing.

Stern was known for his work in the late seventies with Blood, Sweat and Tears and a brief tenure in the Miles Davis in the early eighties.

It was this album that really displayed the full scope of his talents. As pal Brecker put it, "Sten is a prolific composer." This album really displays his talents as both a composer and player as well as any.

While the running time is a bit short, but there's a lot to like here. Stern's guitar sings on the ballads, and is smoking hot on numbers like Scuffle.

I find this a more consistently powerful disc than some of his later releases...

Shawn

Mike Stern's debute isn't very long but still great. Scuffle is
one of Mike's best songs ever and guitarsolo is absolute tuff. Ballad's (Goodbye again and After you) aren't so wonderful but
other songs are just great, expecially Scuffle!

This is Stern's debut solo outing and it finds him in excellent company with fellow fusion guitarist Hiram Bullock at the producers chair. The compositions are interesting and varied. The individual performaces are very good and the album sounds like a tight band. Stern's amazing solo on the Jeff Andrews (bass) composition "Little Shoes" alone is worth the price of admission. I find Stern's overdrive tones more organic - sweeter - here than on his newer work. Highly recommended.

It's hard to argue with Stern's compositional skills, arrangements, chops or the expertise of the other players in his band, so why is Jigsaw kind of tedious? Because the compositional style, Stern's guitar tone, the arrangements, and the instrumentation are virtually unchanged from Upside Downside and Time in Place. Even the solos follow the same slow build to the really fast single note lines and "impassioned" bending. Sorry for the sarcasm (I really do believe that Stern is passionate about this material), but the music on Jigsaw sounds pretty rote to this listener. Thankfully, since this cd, Stern has developed somewhat and avoided monotony. Maybe the problem for me is that Stern tends to develop new musical ideas at a glacial pace, as opposed to musical chameleon John McLaughlin or even John Scofield, who seems to makes a conscious effort to avoid repeating himself, even if only by changing the musical setting. I recommend getting Time in Place (superior songs) and Upside Downside (has Jaco on one cut and a slightly different feel). Then check out the samples on other Stern cds and look for something a little different. Or broaden your horizons and check out Tribal Tech's Scott Henderson or any number of other wonderful musicians. If you would like to read more reviews like this, check out JazzboNotes.com.

This CD by Mike Stern reaffirms why he was such aqn important component of Miles Davis' bands in the 80's. This probably can't be called a "jazz" CD, because on many solos such as "Another Way Around," Stern squeals and crunches and bends his notes in a way a rock guitarist would , but also has the sense to run with the solo different from how a rock guitarist would by improvising his notes like a jazzman. His wood hardbody electric guitar that he features on the cover of the CD has such an interesting sound. Its tone is hard to describe, just listen to it for yourself. He rocks as hard as any jazz guitarist i've heard. Excellent CD of guitar work. Buy the CD, because one of the songs is cut out of the tape version. All the songs on this CD must be heard

Pat Metheny Group's "Offramp" and "Letter From Home" defined the category of jazz guitar and non-word vocal accompaniment. Al DiMeola's "Kiss My Axe" was a carbon copy of that approach, but nicely done due to DiMeola's superior guitar skills. There's nothing objectionable about Stern's copycatting here on "Voices" but it falls short. The band is energetic but it isn't proficient as a group in either concept or execution and Stern is only good, not "WOW!" or particularly gifted melodically.

What can I say? This CD is just a gorgeous piece of work. Nothing profound here - no shadows, pretty much all sunshine, but those who remember Pat Metheny in his Nana Vasconcelos period will welcome this effort. Michael Brecker puts in a couple of appearances too, and his strong jazz sound is a perfect counterbalance to the wordless singing of Richard Bona, Elizabeth Kontomanou, Philip Hamilton et al. We oldtimers may remember that Brecker and Metheny had an equally fertile collaboration back in 80/81. And those who fear Mike Stern may have compromised his chops should give a good listen to his blazing work on the final track, "Way Out East". Thanks, J. Dennis, Jazz Longboarder, for your recommendation.

OK. I'm sitting at my desk, and I'm hearing voices. Not voices in my head, like a crazy person. Rather, I'm hearing Mike Stern's latest recording, Voices. The difference between me and a lot of the other reviewers on this site is that I'm really HEARING Voices, whereas it seems a lot of people are listening to it but not REALLY hearing it.

That doesn't make me right and them wrong; it just means, I think, that I've found "hermeneutic access" to it and they haven't.

A confession. For me, brilliantly executed world jazz is just about my all-time favorite music. This won't be news to those (all two of you) who've faithfully followed my Amazon reviews for the last three years or so; I plump it and promote it every chance I get, both through reviews and Listmania Lists. Just to recap, for me world jazz is an authentic jazz sensibility mapped onto an authentic world music. Both must be present for it to work properly. An authentic jazz vibe without an authentic world music vibe sounds like musical carpet bagging. An authentic world music vibe without an authentic jazz vibe sounds flaccid and cheesy. Two artists who define world jazz for me are early-mid Egberto Gismonti and Omar Sosa. Check out their records if you want concrete examples of what I mean.

Mike Stern comes at world jazz rather atypically: by the seldom assayed guitar hero route. The only three other people I can think of who've done this are the Fuzemeister, the great Dave Fiuczynski, especially with his rapturous disc, Kef; Al Di Meola, especially with his World Sinfonia group's The Grand Passion; and Nguyen Le, especially his breathtaking Bakida. OK, I guess to be fair Pat Matheny probably really started the whole guitar-hero-as-world-jazz-maestro with Off Ramp. Whatever. Anyhow, for me to place this disc in such exalted company goes a long way towards saying how great I think it is.

Including Richard Bona and Arto Tuncboyaciyan alone practically guarantees world jazz success. These two, who've got world jazz recording credentials out the wazoo, always bring something special to the table. Here, it's Tuncboyaciyan's percussion stylings more than his eerie wordless vocals, featured only on the final, but, it must be admitted, astounding number, "Way Out East," which also features the mesmerizing sax of Michael Brecker, THE defining tenor player of his generation.

Lastly, I want to be perfectly clear about one thing. Although Voices marks a distinct departure from Stern's earlier recordings, what's going on here has nothing to do with an attempt to get radio play, to broaden his audience, or to become more commercial, as some have suggested. Diehard Stern fans may not like this disc, and that's perfectly OK, but please don't impute to him reasons for making this move that simply aren't there. If he had wanted to be commercial, Voices would've ended up sounding like Bob Baldwin or Steve Oliver or The Rippingtons or hundreds of other jazz lite acts, and it bears little or no resemblance to them. What we get instead is authentic, deeply delved world jazz or jazz beat of the highest order complete with complex rhythms from a wide range of Third and Fourth World cultures and haunting, ethereal wordless vocals integrated into some of Mike Stern's finest playing on record.

All in all, it makes for some mighty fine listening, at least to these ears.

I saw Mike Stern last year at a guitar clinic in Logan, UT. He essentially brought the band used on Voices, complete with bassist/vocalist Richard Bona. I had chills down my back the entire night. Voices effectively captures the sound I remember. It is an excellent album, and although I'm new to the world of Jazz/Fusion Guitar, I listen to it along with my rock and roll.

Ok, crazy asses. Mike Stern is still a jazz guitarist. He's not the one doing the vocals. Its the bassist, who is simoultaneously ripping it up on the bass. The vocals are not words or lyrics, but may be called a different type of scat. I saw the "Mike Stern Group" in concert at the Aridium in Manhattan and it was the single most amazing experience of my life. Slow Change was the only song from this CD that they played, the rest were new ones. Almost all of the soloing, including the bassist/vocalist were impromptu. I have honestly never experienced anything like it in my life, watching these musicians groove like nobody can these days. I bought "Voices" and got it signed. Anyone who does not like this album has lost their groove. Most soulful, intricate, moving album I've ever heard.

If you're a Stern fan and have heard/are familiar with his gigs at the 55 Bar (which is likely since you're here), check out Bunny Brunel's Dedication album, from about the same time period. Brunel on bass, Stern, Vinny Colaiuta on drums, and Billy Childs on piano on some tunes. Also, Chick Corea guesting on one tune. All the tunes are standards, including Fall(!), Someday My Prince Will Come, Dolphin Dance, Stella By Starlight, etc. The only "original" tune is a head over "All The Things You Are" changes in waltz time. For all intents and purposes, this IS a Stern album. And if you've ever seen Stern do his thing at the 55, you'll know *exactly* what to expect.

As for this album, it's classic. His intro/outro for Peace is worth the price alone.

Mike has such a unique sound and approach. You can listen to a few notes and you know it's him. He can wail in the bluesiest (if there is such a word) fashion or play in the this unique bebop mode. Unique because he doesn't sound like other jazz guitarists playing the same tunes.

This recording is filled with fresh readings of some often performed standards. Mike's quirky original approach along with the setting here allows form some room for all parties to re-interpret. Both bassists Larry Grenadier and Jay Anderson shine with their sense of swing and their dialog with Mike. Ben Perowsky and Al Foster are absolutely impeccable on this recording.

This, for me, is Mike Stern at his best. His imagination is shown in the best light with these pieces. He took great care with these pieces and it shows. He has a particular gift with ballads, he doesn't over run them.

Is he a true jazz guitarist in the traditional sense? Who knows? It really doesn't matter because it's this one foot in one realm, one foot in another gives him enough to actually revitalize these pieces and make this recording worth getting.

Gil Goldstein is one of the truly underrated producers. He is an excellent musician and his production of this recording shows that he knows what these musicians need to thrive. There is "live" feel in the studio and improvisation flourished as a result.

Stern's tone is rich, fat, bluesy. The man can play bop and with fire.

This one is a real treat. One of his absolute best.

Mike Stern always has displayed a large be-bop influence in both his playing and compositions so this Cd was inevitable. What we end up hearing on this disc is the closest thing to seeing Mike Stern's band live until he actually releases a live disc. The playing is amazing and he adds new life to some standards. Although all of the covers were written for piano or saxophone, Mike shows that guitar is a great medium for Jazz. Among the highlights are "There is no greater Love" and "Straight No Chaser". There isn't a dissapointing moment on the entire disc. The one noticable difference between this one and the others is the sound of Mr. Stern's guitar. Unlike the other discs ,where he will incorporate a distorted tone during a part of a song, the whole Cd is played with a clean tone. However, this does not stop Mike from displaying non-jazz influences in his playing. Mike Stern doesn't play with the unbelievable speed of other guitarists (Holdsworth,Lane,Etc.) but he does have a unique style and nobody puts together phrases better than him. For anyone that would like to learn another way to approach the instrument this is a great place to start. Actually this Cd is great for any jazz/fusion lover because there are many lessons to be learned on this recording.

Mike Stern - Standards and Other Songs
Stern is a fusion guitarist, but here turns his attention to jazz standards. This CD shows them played in a way I had never before heard them played on the guitar. His playing is fleet and his lines run nimbly ... there is an irrepressible momentum that makes every bar compelling and propels the music onward. There is great subtlety of dynamic control too, and beauty in the tracks 'Circles' and 'Peace'. (His tone is lightly chorussed, an effect that usually does not appeal to me, but in Stern's handsk it fits perfectly - he has made this sound his own.) It changed forever my way of thinking about jazz guitar: here are standards, played in a non-standard way, with virutosity and without cliche. A totally fresh and essential jazz guitar album.

Stern's 'Standards and Other Songs' originally came as a disappointment to me, though I'm ashamed to admit it. The issue, I think, was that I expected the same sort of 'balsy' distorted funk-bebop of, say, 'Play'--a great album in and of itself--yet, 'Standards' is much more subdued than any other Stern outings I can think of. No distortion. Quiet. Little audible harmonic accompanyment to many of the solos.

The great thing about this album, then, is the way Stern really comes through as the killer bebopper that he is. Close listeners will hear the harmonic movement imbedded in the lines and not miss another comping instrument (there is a keyboard on a few tracks, but it is quite subdued and quiet).

Though, I confess, I think 'Between the Lines' and 'Give and Take' are my favorites of Stern's, 'Standards' offers something that these don't. Much like Metheny's Trio outings, it gives one a different perspective and a different flavor--and a wonderful one at that. It's technically impressive, grooving, and it also helps to solidify Stern as one of the best bebop guitarists out there today.

A few other points
* For those who've seen Mike at the 55 Bar in NYC or wish to, 'Standards' is much more in line with that sort of playing than his other work, save perhaps 'Give and Take'.

* Those who are not well-versed in Bird, Trane, etc--ie, rock fans getting into jazz via Stern, Chick, etc (as I was when I first got the album at 16) will probably not "get it" first time out; conversely, close listening will speed that transition

* Again, it is a very quiet album--indeed, perhaps this is my biggest complaint; not only is the playing subdued (not a problem), but recording volume is not especially high.

It's hard to argue with Stern's compositional skills, arrangements, chops or the expertise of the other players in his band, so why is Jigsaw kind of tedious? Because the compositional style, Stern's guitar tone, the arrangements, and the instrumentation are virtually unchanged from Upside Downside and Time in Place. Even the solos follow the same slow build to the really fast single note lines and "impassioned" bending. Sorry for the sarcasm (I really do believe that Stern is passionate about this material), but the music on Jigsaw sounds pretty rote to this listener. Thankfully, since this cd, Stern has developed somewhat and avoided monotony. Maybe the problem for me is that Stern tends to develop new musical ideas at a glacial pace, as opposed to musical chameleon John McLaughlin or even John Scofield, who seems to makes a conscious effort to avoid repeating himself, even if only by changing the musical setting. I recommend getting Time in Place (superior songs) and Upside Downside (has Jaco on one cut and a slightly different feel). Then check out the samples on other Stern cds and look for something a little different. Or broaden your horizons and check out Tribal Tech's Scott Henderson or any number of other wonderful musicians. If you would like to read more reviews like this, check out JazzboNotes.com.

This CD by Mike Stern reaffirms why he was such aqn important component of Miles Davis' bands in the 80's. This probably can't be called a "jazz" CD, because on many solos such as "Another Way Around," Stern squeals and crunches and bends his notes in a way a rock guitarist would , but also has the sense to run with the solo different from how a rock guitarist would by improvising his notes like a jazzman. His wood hardbody electric guitar that he features on the cover of the CD has such an interesting sound. Its tone is hard to describe, just listen to it for yourself. He rocks as hard as any jazz guitarist i've heard. Excellent CD of guitar work. Buy the CD, because one of the songs is cut out of the tape version. All the songs on this CD must be heard