On Papa Lips, the legendary American tenor saxophonist, composer, and big band architect Bob Mintzer steps into the studio spotlight alongside his powerhouse Horn Man Big Band to deliver a towering, historically volcanic, and masterfully panoramic large ensemble document. Released in 1983 and later preserved beautifully on compact disc via the specialized independent vanguard imprint Explore Records, this monumental milestone stands as an exceptionally fluid, high-octane monument capturing the birth of Mintzer's modern big band era. Spanning over 42 minutes of immaculate high-fidelity spatial design, the 6-track landscape operates with an intense, heavily syncopated, and masterfully balanced brass and reed kinetic energy. Mintzer acts as a brilliant sonic visionary, weaponizing sophisticated modern jazz harmonies against heavy, funk-infused rhythms—tracking spectacular landmarks like the roaring, groove-heavy title track opener Papa Lips, the expansive melodic canvas of Lazy Day, a blazing, high-voltage reading of the standard I Hear a Rhapsody, and the rhythmically intricate, fan-favorite fusion sprint of Mr. Fonebone. Driven by Mintzer's brilliant writing and an absolutely unmatched constellation of New York session titans, this archive remains an indispensable masterpiece for serious modern big band purists and jazz fusion collectors worldwide.

On Astro Boy Blues, the revolutionary American virtuoso Paul Hanson delivers a jaw-dropping, deeply grooving, and masterfully inventive studio document that completely redefines the boundaries of his instrument. Released in 1997 by Periscope Records, this exhilarating collection highlights Hanson as a pioneering force, utilizing the acoustic bassoon combined with complex electronic synthesis, distortion pedals, and pitch-shifters to spearhead a hard-hitting jazz-fusion landscape. Spanning nearly an hour of immaculate high-fidelity audio design, the 8-track environment operates with an electric, highly synchronized kinetic energy. Backed by a legendary powerhouse rhythm section including drum icons Peter Erskine and David Garibaldi alongside stellar bass work from Brian Bromberg and Kai Eckhardt, the tracks run fluidly through intricate fusion networks. From the burning electric momentum of B-Jack and the expansive, deep title cut Astro Boy Blues to the funky syncopations of Juke Joint, this pristine archive remains an indispensable masterclass for serious fusion purists and open-minded jazz completionists worldwide.

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut – so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish – and some surprises.

Guamba is a profoundly atmospheric, brilliant, and historically monumental avant-garde masterpiece by the legendary American double bass pioneer Gary Peacock, captured at the iconic Rainbow Studio in Oslo and released in 1987 on the definitive ECM Records label. Spanning over 44 minutes across seven highly cohesive, exploratory compositions, this high-fidelity document captures an extraordinary studio summit pairing Peacock with a supreme, cross-continental dream-team vanguard. Bypassing a traditional chordal instrument like piano or guitar entirely, the quartet thrives in an expansive world of open air, rich sonic geometry, and deep spatial stillness. Flanking Peacock’s resonant, muscular acoustic bass lines are the crystalline horn textures of Norwegian tenor and soprano sax titan Jan Garbarek and Danish brass master Palle Mikkelborg on trumpet and flugelhorn, all anchored by the flawlessly nuanced, painterly drumming of Peter Erskine. Moving fluidly from fiery, interactive free-improvisation sprints to haunting, ECM-signature chamber jazz minimalism, the ensemble operates as a single, telepathic creative unit. The tracklist is an absolute tour de force, highlighting the driving momentum of Thyme Time, the starkly beautiful, multi-movement architecture of the 13-minute centerpiece Lila, and the deeply moving elegiac textures of Requiem. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full retail booklet scans, this rare archive stands as an absolute mandatory cornerstone and a prized collector's holy grail for global purists of modern creative bass-led jazz, European-American avant-garde heritage, and historic ECM catalog documents.

For several years, decades in fact, a lost gem issued originally not just in the US but in the UK as well (and our vinyl pressings were always much better than their US counterparts), on Chrysalis records who, for a while, had some very good material in this genre, for example the two Auracle albums (and wouldn't lots of us like to get those on CD). But finally it's now reappeared on CD and how very nice it is to be reacquainted with it in that format. Anyway, this album ~ his second, as far as I know ~ features a host of jazz luminaries of the day (Hancock, Erskine, Pastorius, Carlton, Ritenour, Gadd, etc.) and its only failing is its mildly raw upper registers, though thankfully there are no vocals to pollute the proceedings and Jaco Pastorius' electric bass work is of truly sterling calibre. On this album, if anywhere, you can hear why he was held in such very high esteem by his contemporaries.

"Wanderlust" is a sophisticated jazz fusion album by vibraphonist and composer Mike Mainieri, released in 1981 on NYC Records. The album showcases Mainieri’s innovative approach to blending jazz improvisation with contemporary fusion elements, creating a rich and textured sound. Featuring an impressive lineup of musicians, including Michael Brecker, Peter Erskine, Tony Levin, and Steve Khan, the recording delivers a dynamic mix of intricate rhythms, expressive melodies, and advanced harmonic structures. Tracks like "Bullet Train" and "Bamboo" highlight energetic interplay and rhythmic precision, while "Sara's Touch" and the title track offer more lyrical and atmospheric moments. With its seamless integration of electronic and acoustic instrumentation, "Wanderlust" stands as a compelling example of early 1980s jazz fusion, reflecting both technical brilliance and artistic depth.

Any jazz cat will tell you that the art of improvising is the primary contributing factor in what sets jazz apart from other genres. It is the artists' ability to continuously and freely explore a composition. As they expand the notes and the feel, they expand and open our minds along with them.

The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson's stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, "Samurai Hee-Haw," as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound.

In the summer of 1999, Steps Ahead founder/vibraphonist Mike Mainieri joined Eliane Elias, Bob Berg, Marc Johnson and Peter Erskine for a reunion tour of Europe. They recorded several of those shows but Mainieri didn’t listen to the tapes for two years. He eventually did, and the result is the two-CD set Holding Together (N.Y.C.). The musicians perform the tunes with great sensitivity to one another, both as an ensemble and in solo spotlights. “Uncle Bob” just swings along, while Mainieri’s gliding vibes impart an almost magical quality to a lovely version of Ellington’s “In a Sentimental Mood,” and “The Time Is Now” is a 22-minute-plus opus that gives everyone a chance to shine. There are too many high points on this solid set to mention, but it should be noted that Berg’s playing is vigorous and inventive throughout and provides a poignant reminder of the profound loss the jazz world suffered when he was killed in a car accident.

Peter Erskine and Vienna's JAM Music Lab All-Stars celebrate the music of two iconic Viennese composers who, after moving to Hollywood in 1929 & 1934, transformed the dynamics of film as they set the standards for movie scoring. Through their work on Gone With the Wind, King Kong, and many dozens more, their role in shaping popular culture since is legion. First exposed to the music in the late '70s as he was touring with Weather Report, Erskine heard Joe Zawinul playing a beautiful melody and learned it was by Korngold, a fellow Viennese composer. He was moved to search out transcripts and recordings ever since. With his artist-in-residency at Vienna's cutting-edge JAM Music Lab University, his desire to reimagine this music in an improvised jazz setting finally became a reality. "… Erskine and the Jam Music Lab All-Stars demonstrate virtuosity, versatility and a keen attention to detail… creating a fitting tribute to the most influential figures in 20th-century music." The New York City Jazz Record

Ballads have a way of comforting us. When imbued with real emotive powers, they have the capacity to elevate and transport. We become lost in romance or reverie. This second orchestral collaboration between iconic Swiss trumpeter Franco Ambrosetti and two-time, Grammy-winning arranger Alan Broadbent takes us there. The album title is an apt description of Franco's approach to each golden note he plays on flugelhorn. Backed by an all-star group of pianist Broadbent, guitarist John Scofield, bassist Scott Colley and drummer Peter Erskine, along with a 29-piece orchestra arranged and conducted by Broadbent, Ambrosetti pulls heartstrings on a program of four originals and four well-chosen covers.

A towering cultural figure throughout the second half of the 20th century, Leonard Bernstein mediated between different musical worlds, borrowing freely from jazz, blues and popular music, eventually shaping a "classical" sound that became his deeply influential signature. From his decades of working alongside Austria's most illustrious musicians, Vienna's JAM Music Lab University was inspired to celebrate his music and legacy. With the addition of drumming great Peter Erskine as a Visiting Artist in 2021—bringing along his own decades of contributions to blending popular musics at the highest levels—they handed him the task of shaping the ambitious project. With this live recording, Erskine, JAM students and faculty, and pianist/musical director Danny Grissett honor Bernstein's genius and fulfill JAM's chief mission—inspired by the jazz masters, educate and nurture jazz's next generation—and on this night, Peter Erskine, and Leonard Bernstein, led the charge.

Although it is easy to stereotype Peter Erskine as a fusion drummer due to his notable work with Weather Report, in reality he is a very flexible percussionist. On his trio session for ECM, Erskine is mostly content to back his sidemen (pianist John Taylor and bassist Palle Danielsson). This CD is actually most interesting for the playing of Taylor who contributes three of the originals and plays in a style not that far from Keith Jarrett

In addition to a few group originals, vibraphonist Mike Mainieri performs some unusual pieces with his quartet (Joe Lovano on tenor, soprano, and alto clarinet; bassist Eddie Gomez; and drummer Peter Erskine) on this CD, including two folk songs and selections by Leonard Bernstein ("Somewhere"), Frank Zappa ("King Kong"), Aaron Copland ("Piano Sonata"), Roger Sessions ("Piano Sonata No. 1"), and Samuel Barber ("Overture to the School for Scandal"). The pianoless quartet (which displays a lot of versatility by Joe Lovano) turns all of the music into creative jazz. The most interesting aspect to this thought-provoking disc is how difficult it is to tell which compositions are taken from classical music and which are new. There is a surprising unity to the potentially difficult material; the performances on the rather moody outing reward repeated listenings.