Ojos de Brujo return with their most original, experimental, yet listenable album yet. Its hard to believe how many different styles are seamlessly blended with flamenco in this album. On their third album they add flirtations with Bhangra, Jazz, and Persian sounds to the already potent mix of flamenco, hip-hop, funk, south american, and electronic music so ably flaunted on their first two recordings.

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1926 was a good year, in terms of musical births. It marked, for example, the biological arrival of the jazz innovator John Coltrane and the chachachá inventor Enrique Jorrín, as well as the nativity of Carlos Valdés Jr. (better known as Patato), one of the most influential and distinctive tumbadores (conga players) in the history of our planet.

Patato´s unparalleled and usual playing, including but not limited to his inventive approach and melodic time, was expressed in even more eloquent terms when he recorded Único y Diferente.

Please beware that Único y Diferente is not another predictable, prototypical mainstream Latin jazz disc. It is nos another "latinized" collection of North American standards. The title of the recording is well justified in view of the original repertoire. Each tune is designed to pay homage, directly or indirectly, to a concrete or abstract fixture of our musical planet.

Listening to this album, however, one is bound to identify, sooner than later, the inexhaustible fountain of rhythm: Patato´s heart.

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Evoking memories from a simpler time, bassist Renaud Garcia-Fons and accordionist Jean-Louis Matinier sing beautiful melodies through their instruments, supplemented by finely structured improvisations. The collaborations of Grappelli and Reinhardt come to mind, but only as influences, as the instant duo uses dramatic rhythmic touches, a more Eastern European feel, perhaps, and a Spanish or Latin influence to create something different.

There is an insistent jazz influence, or style, that permeates the whole, but the pieces are all originals, relying more on the unique rhythms than on any simple formula of heads and variations on themes. Some of the slower tunes, such as "Perpetua," feature an almost mournful, though majestic, solitude in which the soaring accordion imitates a violin, and the bass appears to be strummed like a guitar. In their notes, the musicians correctly compare their creations to that of a symphonic orchestra, the permutations of sound being broadly diversified within a traditional framework.

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Who said fusion was dead? With Thonk Michael Manring has managed to create an exciting, humorous and technically amazing body of work. His quirky approach to the bass and hyperbass give a style and sound that is truly unique and can be heard throughout the many different journeys the listener is taken on. "Big Fungus" is a romping number that finds Manring sounding like a fusion guitar player on the hyperbass. Former Primus drummer Tim "Herb" Alexander proves to be a perfect partner for Manring by adding his own complexities and individual style to the mix. Alex Skolnick, Steve Morse and Steve Smith also lend excellent support. "Monkey Businessman" is a breathtaking solo performed on the hyperbass, which makes a case for calling Manring the Tuck Andress of the bass. However, it is not just the playing of Manring (which would have been enough) and his stellar sidemen that separate this session from its colleagues; rather, it is his fresh approach to composition. This is a brilliant recording by a brilliant musician and should be documented as one of the most important fusion recordings of the '90s.

(Robert Taylor, All Music GuidE)

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Pastorius fanatics will no doubt already have everything here in one form or another. Casual listeners will be astonished by the sheer multi-dimensional nature of his limitless musicality and vision. Even those well acquainted with Pastorius will be surprised as to how well the sequencing of these tracks offers such a prismatic view of Pastorius' growth as a bassist — check out the silky funky grooves on Little Beaver's "I Can Dig It Baby" and the gutbucket greasy R&B of "Amelia," as they give way to adventurous early fusion of "Batterie" with Metheny, Bley, and Bruce Ditmas. Even in abstraction, Pastorius had a groove. The more pop side of Jaco's work is highlighted on the first disc with his contributions to Joni Mitchell's Mingus and Shadows and Light albums, as well as his more exotic, atmospheric work with Airto and Flora.

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Renaud Garcia-Fons brings a rare passion and understanding to the bass. His approach is pure genius, seen in the way he styles his pizzicato and in the manner he opens the arco to encompass melodic and improvisatory richness.

Sounds like: Flamenco, Oriental music

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