Nearly 32 years after his passing, Bill Evans remains an influential force for several generations of jazz pianists-including Chick Corea, who teams with Evans alumni Eddie Gomez (bass) and Paul Motian (drums) to create the fascinating double CD live recording Further Explorations. The multifaceted 19-song set was culled from a series of performances the trio did May 4-17, 2010 at the Blue Note in NYC.

Calling the project that emerged from these sets Further Explorations is a tip of the cap to Evans' original Explorations album, featuring Motian and bassist Scott LaFaro as his first trio, released in 1961. Though Corea is the leader of the current group, Gomez and Motian -- who passed away in November, 2011 -- have more direct connections to the legend. Both performed and recorded with Evans during some of his peak periods. Motian, who first appeared with Evans on New Jazz Conceptions in 1956, left the group in the early-'60s, nearly four years before Gomez would commence an eleven year run with the pianist.

Corea's connection is more spiritual/emotional, like a student studying from a mentor. Over the years, he adapted many of Evans' harmonic concepts and playing techniques. Besides the creative arrangements and expectedly powerful playing, the most remarkable aspect of Further Explorations is the way the trio approaches their muse.

Rather than create a mere tribute, the Evans catalog is a mere starting point, and open door pointing towards new and surprising ventures. Refashioned versions of classic Evans pieces (including songs penned by Irving Berlin and Thelonious Monk) are complemented by thematically relevant original tunes by Corea, Gomez and Motian.

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Although still renowned as the original guitarist in the Paul Shaffer-led house band on Late Night With David Letterman, Hiram Bullock's versatility as a guitarist knew few bounds -- and he even sang lead on a few tracks of Carrasco, his sole date on Fantasy Records in 1997.

While jazz fans may better remember the late musician's work with Bob James, David Sanborn and the 24th Street Band, and pop enthusiasts will note his enduring work on classics like Billy Joel's The Stranger, Steely Dan's Aja and Sting's Nothing Like The Sun, Bullock also amassed a solid solo discography. He called the mostly chill, laid back Carrasco "My Spanish album" because there's a strong Latin percussion element throughout and a prominent salsa element behind his always-stellar guitar work.

While some fans were surprised that he for the most part set aside his more fiery playing style, others welcomed the departure and appreciated his soulful vocal turns on covers of "What You Won't Do For Love" and "Don't You Worry 'Bout A Thing" and the originals "We're Gonna Get It Right" and the tongue in cheek "Bean Burrito."

Those who might call this Bullock's "vocal album" can head straight to a medley of Dizzy Gillespie's "Night In Tunisia" and "And The Melody Lingers On" to see Bullock's guitar electricity on prominent display. A decade later, after several more releases and overcoming throat cancer, he died in 2008 -- but not before recording Plays The Music Of Jimi Hendrix, which was released posthumously a year later.

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Originally released on Chick Corea's Stretch Records in 1994 and re-released when Stretch became part of the Concord family in 1997, this self-titled recording by legendary session and touring drummer Vinnie Colaiuta was a true player's album that invited daring listeners to experience his slightly experimental side.

The wide range of styles and impressive guest list (including Corea, Herbie Hancock, John Patitucci, Dominic Miller and many of L.A.'s top jazz and session cats) is befitting of an eclectic musician who has pretty much traversed the musical landscape. A few highlights: Colaiuta launched his career with Frank Zappa, toured with Sting for seven years, has appeared on hundreds of pop and jazz recordings and movie and TV soundtracks, won 18 Drummer of the Year Awards from Modern Drummer and was inducted into the magazine's Hall of Fame in 1996.

Beginning with the funky, metallic, jazzy rocker "I'm Tweeked," the 8-track set eases into everything from hip-hop and world beats to bluesy atmospheres, straight ahead jazz and a rock jazz vibe. Along the way there is a wailing dance cut ("Momoska"), moody sonic effects, monster expressions by his high powered pals and, for the listener, the overall feeling that Colaiuta is extending an invitation to jazz fusion's version of The Twilight Zone.

Softening the intensity is a gentle, ambient piano-focused oasis called "Darlene's Song." Colaiuta's whirlwind schedule as a consummate sideman prevented him from recording a follow up, but he continues to be omni-present in the jazz world. His first recorded appearance of 2012 is on Galaxy, the new album by Jeff Lorber Fusion on Heads Up.

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With the release of Roseland, Acoustic Alchemy's debut release on Heads Up in conjunction with the band's newly formed Onside Records, the brilliantly melodic and rhythmic British guitar duo of Greg Carmichael and Miles Gilderdale has been the core of the group for as long as Carmichael vibed with founding member, the late Nick Webb.

While Carmichael believes the dynamic and eclectic 13-track set represents an entirely new chapter for AA, it also marks nearly a quarter century since he and Webb helped define the early days of New Adult Contemporary Music, the genre which morphed into smooth jazz via classic albums like Red Dust & Spanish Lace and Natural Elements. Roseland celebrates the renewed spirit and distinct electric edges AA has embraced since Carmichael stepped into the co-lead role from his original spot as backing guitarist.

The brooding, contemplative "Templemeads" perfectly captures the way the duo integrates their dual acoustic core with fiery electric crackle. The track is Carmichael's ode to his daughter, who received her master's in chemistry from a school in the Templemeads area of Bristol, England.

Along the easy rolling journey to "Roseland," AA mixes up exotic grooves with bluesy Hammond B-3 (courtesy of Ricky Peterson) on "Marrekesh," gets sly and sassy on "One for Shorty," goes gently tropical with "Sand In Her Toes," eases into pedal steel country on "Stealing Hearts" and delves into trippy electric reggae on the uniquely titled "The Ebor Sound System." Roseland was recorded in Gilderdale's newly constructed home studio in York, England, a place where the band could explore these many territories without the pressure of a ticking clock.

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