01. 4 a.m. 
02. Bedtime voyage 
03. Chan’s song 
04. Three finger snap 
05. The naked camera 
06. Eye of the hurricane 
07. Diana 					download
08. Hear and now 
09. Still time 				download
10. Vein melter

Personnel: 
John Beasley (piano, grand piano, Fender Rhodes piano, Clavinet, synthesizer); 
Michael O'Neill (guitar); 
Steve Tavaglione (alto flute, bass clarinet, synthesizer); 
Roy Hargrove (trumpet); 
Christian McBride (acoustic bass, electric bass); 
Jeff "Tain" Watts, Luis Conte (drums, percussion).

Those who don't yet know John Beasley are missing the opportunity to hear one of the best pianists and improvisers on the jazz scene today. Beasley is a master musician, with total command of the jazz language, and his playing is always intense in both emotion and technique.

John Beasley's 2009 album, Positootly (Resonance) was nominated, more than deservedly, for a Grammy Award for best jazz instrumental album. Even though Letter to Herbie, his previous album released in 2008, was not nominated for a Grammy, it might as well have been.

Both albums have striking similarities in the quality of the music and musicians; every one of them is at the top of their game on this album. What comes out of this group of jazz giants is music that keeps the mind engaged and always guessing what's coming up next; with constant tempo changes and creative, virtuosic improvisations.

Contrary to Positootly's collection of mostly Beasley originals, Letter to Herbie is dedicated to the music of Herbie Hancock. The swinging "Three Finger Snap" and the elegant "Here and Now" are the only John Beasley originals on the album, both featuring the rhythmic and harmonic complexity to stand beside Hancock's compositions.

Taking on the music of Herbie Hancock, one of the best pianists in jazz history, is not an easy task, but Beasley and his group do a superb job reinventing some of his masterpieces. Beasley's arrangements of "The Naked Camera" and "Vein Melter" are funkier and livelier than Hancock's versions, while the waltz-like arrangement of "Diana" and fast swinging tempo of "Eye of the Hurricane" are closer to the originals.

Letter to Herbie is an excellent tribute to an excellent musician. ---Wilbert Sostre, allaboutjazz.com

Jazz pianist John Beasley embarks upon a supremely inspired effort with his new album, Letter to Herbie, taking its cues from both the philosophies and compositions of music great Herbie Hancock. The 10-song CD features Beasley reshaping classic works from across several decades of Hancock's catalog while also contributing originals that bear the stamp of his ideologies. Beasley is primarily showcased in a trio format flanked by first-call bassist Christian McBride and propulsive drummer Jeff "Tain" Watts, with special guest trumpeter Roy Hargrove sitting in on a few numbers and the addition of flautist Steve Tavaglione, percussionist Luis Conte and guitarist Michael O'Neal adding color to a few others. ---resonancerecords.org

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1 	Caddo Bayou	5:04
2 	Positootly!	4:32
3 	Dindi	5:30
4 	Black Thunder	6:41
5 	Shatita Boom Boom (Club Desire)	4:58
6 	Tanguedia III	5:29
7 	Elle	4:53
8 	So Tired	4:45
9 	8 Winds	4:51
10 	Hope...Arkansas	2:32

John Beasley - piano, Fender Rhodes, synthesizer
Bennie Maupin - tenor and soprano saxophones
Brian Lynch - trumpet
James Genus - bass
Jeff "Tain" Watts - drums
Munyungo Jackson - percussion

On Positootly!, pianist John Beasley explores a variety of styles for a thoroughly enjoyable and stimulating experience. Each track benefits immensely from the indelible touch of drumming great Jeff "Tain" Watts, in alliance here with percussionist Munyungo Jackson.

Hailing from Louisiana, Beasley started playing in the late seventies, getting his seasoning with such jazz greats as Miles Davis, Freddie Hubbard and Dianne Reeves. Lately, he has gravitated towards composing for film and television, but he continues to release new music and tour with his band.

This recording follows-up Letter to Herbie (Resonance, 2008), in which Beasley presented an impressionistic take on Herbie Hancock's music. Besides Watts and Jackson on drums, the musicians participating here are bassist James Genus, along with the blistering front line of saxophonist Bennie Maupin and trumpeter Brian Lynch.

Most numbers are Beasley originals with three notable exceptions. The standout is a knockout rendition of, Argentine composer Astor Piazzolla's tango "Tanguedia III." On most selections, Beasley plays piano, but here he uses Fender Rhodes and synthesizer to create bandoneon accordion effects essential to tango. It's uniquely tango-jazz all the way in 2/4 start-stop fashion, building to a dynamic climax

Other selections range from funk and soul to bop and bossa nova. Staying in a South American vein, Beasley puts forth his take on Antonio Carlos Jobim's "Dindi." Genus' bass sets the tone for this soft reflective piece, with the piano delivering softly swaying interludes. Watts and Jackson, as expected, add complexity to the beat.

A further highlight is Beasley's "Black Thunder," dedicated to the late drummer Elvin Jones, and featuring Watts as a positive dynamo with pounding sticks. Maupin and Lynch deliver stirring solos as well. On Beasley's vigorous "The Eight Winds," Lynch's muted trumpet effectively leads the pianist into a burning,double-time solo, again resolutely backed by the churning drum duo.

For hard boppers, there is Beasley's opener, "Caddo Bayou," featuring the whole band in this energized tribute to the leader's hometown. For soulful funk there is Bobby Timmons "So Tired," with Beasley again On Fender Rhodes, framing Maupin's strong tenor solo. ---Larry Taylor, allaboutjazz.com

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