On this exceptional acoustic guitar duo document, two undisputed giants of jazz-rock fusion step away from their electric rigs to deliver a stunning masterclass in pure, unamplified dialogue. Recorded live during their highly acclaimed 1977 tour and beautifully reissued on this high-fidelity Japanese press, Larry Coryell and Steve Khan showcase an extraordinary level of telepathic interplay. The expansive tracklist serves as a brilliant bridge between genres, deconstructing classic fusion anthems like Chick Corea's "Spain," modal post-bop staples by Wayne Shorter, and intricate original compositions. Coryell's legendary, fiery technical velocity and adventurous note choices pair flawlessly with Khan's meticulously clean lines, precise chordal voicing, and exquisite sense of structure. Stripped of all studio production, the raw resonance of their acoustic guitars creates an incredibly intimate, rhythmically propulsive, and intellectually vibrant sonic journey that remains a definitive classic of the guitar duet format.

On Tjader-Ized: A Cal Tjader Tribute, the legendary American mallet virtuoso and Spyro Gyra anchor Dave Samuels leads an absolute vanguard assembly of Afro-Caribbean masters to deliver a spectacularly sun-drenched, heavy-grooving, and masterfully explosive studio document. Released in 1998 by the historic Verve label, this vibrant tribute milestone stands as the definitive contemporary celebration of vibraphone icon Cal Tjader's monumental legacy, seamlessly bridging classic mambo structures with modern post-bop and electronic keyboard sensibilities. Spanning over 63 minutes of immaculate high-fidelity spatial design, the 11-track landscape operates with an intense, heavily syncopated, and beautifully infectious kinetic energy. Samuels acts as a brilliant sonic bridge for a cross-generational mega-ensemble—firing off magnificent tracking highlights like the hard-hitting, percussion-heavy anthem Soul Sauce, the fierce horn arrangements of Viva Cepeda, and a breathtakingly soulful, modal transformation of Antonio Carlos Jobim's Triste. Driven by Samuels's sparkling, lightning-fast vibraphone runs, a staggering dual-piano cockpit featuring icons Eddie Palmieri and Michael Wolff, and the volcanic polyrhythmic push of Ray Barretto and Horacio "El Negro" Hernandez, this pristine archive remains an indispensable masterpiece for serious Latin jazz purists and global percussion collectors worldwide.

On Ten Degrees North, the legendary American mallet virtuoso and Spyro Gyra member Dave Samuels steps out as a leader to deliver a spectacularly sun-drenched, sophisticated, and masterfully rhythmic studio document. Released in 1989 by MCA Records, this vibrant crossover landmark serves as a brilliant exploration of global grooves, seamlessly weaving together Afro-Caribbean rhythms, contemporary jazz-fusion textures, and lush, melodic pop sensibilities. Spanning over 45 minutes of immaculate high-fidelity spatial design, the 11-track landscape operates with a shimmering, upbeat, and beautifully balanced kinetic energy. Samuels leads an absolute powerhouse assembly of contemporary jazz elite, firing off magnificent tracking highlights like the soaring, polyrhythmic opener White Nile, the smooth, driving syncopation of the title track Ten Degrees North, and the deeply moving, lyrical tribute Para Pastorius. Driven by Samuels's sparkling vibraphone runs, rich marimba counterpoint, John Patitucci's hyper-fluid basslines, and Alex Acuña's precision percussion engine, this pristine archive remains an indispensable masterpiece for serious contemporary fusion purists and tropical jazz collectors worldwide.

Liberal Arts is a spectacularly expressive, historically monumental, and masterfully synchronized jazz fusion studio masterpiece co-engineered by a brilliant multi-generational collective of musical vanguard monarchs—the legendary rhythm section duo of bassist Mark Egan and drummer Danny Gottlieb under their acclaimed co-led project Elements—digitally preserved and released on compact disc in 1989 under the prestigious independent alternative-jazz and contemporary crossover preservation imprint RCA, Novus. Spanning over 58 minutes of breathtakingly intense, conceptually profound instrumental interactions across 10 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1980s progressive fusion archaeology. Born out of the deep sonic chemistry forged in the original Pat Metheny Group, this landmark studio session executes a fierce, forward-thinking sonic blueprint that seamlessly integrates soaring, atmospheric melodic contours with complex polyphonic interplay, muscular post-bop technical facility, and pioneering electronic soundscapes.

"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.

Intermittently on the road as an acoustic duo between gaps in the schedules of their respective ultra-hip fusion bands, Larry Coryell and Steve Khan managed to record several shows and then panned the tape stream to find the nuggets for posterity. There are choices that might have been made out of the fashions of the day, such as the version of Chick Corea's "Spain" that opens the album's first side. Thankfully there are also selections that are here because both guitarists must have realized they were playing magnificently.

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…