STEVE KUHN — The Early 70's (1971-2007) FLAC (tracks+.cue), lossless

This is the almost more about the other Jazz side of Steve Khun the vocalist, not the Pianist. When he plays piano, it is within the language of avant garde classical, and the presence of a string quartet affirms that soundscape, yet the Jeckyll to the Hyde of that is the singing is mellifluous, accompanied by gentle Electric piano. It is in the spirit of Michael Franks, and a delight in being so. In a long and distinguished career with some of jazz' s greats, this is his oddity. Yet for the most part, the unusual experiment works, I think for the most part that there is a nostalgia for early fusion, and this is the sleeper in that format. The best instrumental tracks on the lp are comparable with the Return to Forever tracks with no guitarist on them. The later Kuhn ECM albums embrace that early hard to post bop language and have him back in the piano seat without the vocal mike. Mark Harrington
Tracklist :
1    The Zoo (a.k.a. Pearlie's Swine)    5:29
Written-By – Steve Kuhn
2    Silver    4:38
Written-By – Steve Kuhn
3    Tomorrow's Son (a.k.a. Time To Go)    3:23
Written-By – Steve Kuhn
4    The Heat Of The Moment    1:56
Written-By – Steve Kuhn
5    Saharan (a.k.a. The Baby)    4:46
Written-By – Steve Kuhn
6    The Drinking Song (a.k.a. Hold Out Your Hand)    3:12
Written-By – Steve Kuhn
7    The Meaning Of Love    2:54
Written-By – Steve Kuhn
8    Remembering Tomorrow (a.k.a. Ulla)    4:22
Written-By – Steve Kuhn
9    A Change Of Face    3:34
Written-By – Steve Kuhn
10    Day Dreaming 2:59
Written-By – Aretha Franklin
11    Something Everywhere    4:47
Written-By – Steve Kuhn
12    Trance    4:41
Written-By – Steve Kuhn
13    Last Tango In Paris 2:37
Written-By – Gato Barbieri
14    Life's Backward Glance    3:06
Written-By – Steve Kuhn
Credits :
Acoustic Bass, Electric Bass – Ron Carter (tracks: 1 to 8)
Arranged By – Gary McFarland (tracks: 1 to 8), Steve Kuhn (tracks: 1 to 8)
Conductor – Gary McFarland (tracks: 1 to 8)
Drums – Billy Cobham (tracks: 1 to 8), Bruce Ditmas (tracks: 9 to 14)
Electric Bass – Steve Swallow (tracks: 9 to 14)
Electric Piano – Steve Kuhn
Percussion – Susan Evans (tracks: 9 to 14)
Percussion [Latin] – Airto Moreira (tracks: 1 to 8)
Piano – Steve Kuhn (tracks: 1 to 8)
Vocals – Steve Kuhn (tracks: 1 to 8, 14)

RON CARTER — Blues Farm (1973-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album. Nathan Bush
Tracklist :
1    Blues Farm    8:06
 Ron Carter
2    A Small Ballad    5:40
 Ron Carter
3    Django    5:31
 John Lewis
4    A Hymn For Him    8:12
 Ron Carter
5    Two-Beat Johnson    2:50
 Ron Carter
6    R2, M1    6:08
 Ron Carter
Credits :
Ron Carter - Bass, Arranger, Conductor
Hubert Laws - Flute (tracks 1, 5 & 6)
Richard Tee - Electric Piano, Piano (tracks 1, 4 & 5)
Bob James - Piano (tracks 2, 3 & 6)
Gene Bertoncini (track 5), Sam Brown (track 3) - Guitar
Billy Cobham - Drums
Ralph MacDonald - Percussion (tracks 1 & 4-6)

RON CARTER — All Blues (1973-2011) RM | CTI Records 40th Anniversary Series | FLAC (image+.cue), lossless

One of bassist Ron Carter's better albums as a leader, this CTI LP features a very compact quartet comprised of tenor saxophonist Joe Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on one number), drummer Billy Cobham and Carter. All of the music (even the ballad "Will You Still Be Mine?") has a blues feeling although several are not really blues. However, the quality of the solos is high, and this date lives up to one's expectations. Scott Yanow
Tracklist :
1    A Feeling 3:20
Written-By – Ron Carter
2    Light Blue 6:43
Written-By – Ron Carter
3    117 Special 7:02
Written-By – Ron Carter
4    Rufus 5:10
Written-By – Ron Carter
5    All Blues 9:31
Written-By – Miles Davis
6    Will You Still Be Mine 3:56
Written-By – Matt Dennis, Tom Adair
Credits :
Ron Carter - Acoustic and Piccolo Bass
Roland Hanna - Piano
Richard Tee - Electric Piano (#3)
Billy Cobham - Drums and Percussion
Joe Henderson - Tenor Saxophone

RON CARTER — Spanish Blue (1975-1988) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | APE (image+.cue), lossless

 Interesting concept with good solos by Carter and Hubert Laws (fl). Ron Wynn
Tracklist :
1    El Noche Sol 5:56
Written-By – Ron Carter
2    So What 11:24
Written-By – Miles Davis
3    Sabado Sombrero 6:14
Written-By – Ron Carter
4    Arkansas 10:33
Written-By – Ron Carter
Credits :
Ron Carter - Bass
Hubert Laws - Flute
Roland Hanna - Electric Piano, Piano (tracks 1-3)
Leon Pendarvis - Electric Piano (track 4)
Jay Berliner - Guitar (track 3)
Billy Cobham - Drums, Field Drum
Ralph MacDonald - Percussion

RON CARTER — Yellow And Green (1976-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | APE (image+.cue), lossless

A low point for bassist Ron Carter, this aimless set suffers from the malaise that hit the jazz scene after the fusion boom of the late '60s and early '70s. Somewhere about the time of this 1976 release, fusion's creative energies were being overtaken by a new drive to blend jazz with pop music. The theory was this would expand the jazz audience. The reality was music that only alienated jazz fans and held limited appeal to pop audiences. Yellow and Green is a representative product of this era. For the most part, it's a hollow, pointless exercise, afflicted by the stylistic tug of war inherent in the jazz-pop hybrids of the late '70s. The writing is directionless and the playing mainly indifferent. The LP chiefly serves as a showcase for Carter's overdubbed piccolo and acoustic basses. Unfortunately, the performances are too often a clutter of busy fingers, with the bassist's overly enthusiastic virtuosity getting in the way of any chance for musical dialogue between his instruments. Not surprisingly, the best tracks -- the respectable ballad "Opus 1.5" and a jaunty version of Thelonious Monk's "Epistrophy" -- are the most straight-ahead, done without overdubbing and with some decent piano from Kenny Barron. Elsewhere, Don Grolnick chimes blandly on electric piano and Hugh McCracken contributes wispy guitar accompaniment that serves no purpose, while drummer Billy Cobham tries to keep from being overwhelmed by the dullness of it all. An episode best forgotten. Jim Todd
Tracklist :
1    Tenaj 7:44
Composed By – Ron Carter
2    Receipt, Please 7:05
Composed By – Ron Carter
3    Willow Weep For Me 2:39
Composed By – Ann Ronell
4    Yellow & Green 6:13
Composed By – Ron Carter
Electric Bass – Ron Carter
Harmonica – Hugh McCracken
5    Opus 1.5 6:54
Composed By – Ron Carter
6    Epistrophy 6:08
Composed By – Kenny Clarke, Thelonious Monk
Drums – Ben Riley
– BONUS TRACK – (Alternate Takes)    
7    Receipt, Please 5:25
Composed By – R. Carter
8    Yellow & Green 5:03
Composed By – R. Carter
Credits :
Acoustic Bass – Ron Carter (tracks: 1, 2, 4 to 8)
Arranged By – Ron Carter
Bass [Piccolo Bass] – Ron Carter (tracks: 2 to 4)
Cowbell, Tambourine – Ron Carter (tracks: 2, 4)
Drums – Billy Cobham (tracks: 1, 2, 4, 5), Steve Gadd (tracks: 7, 8)
Electric Piano – Don Grolnick (tracks: 2, 4), Richard Tee (tracks: 7, 8)
Engineer – Rudy Van Gelder
Flute – Hubert Laws (tracks: 7, 8)
Guitar – Eric Gale (tracks: 7, 8), Hugh McCracken (tracks: 1, 2, 4, 5)
Percussion – Arthur Jenkins (tracks: 7, 8), Dom Um Romao (tracks: 2, 5), George Devens (tracks: 7, 8), Ralph MacDonald (tracks: 7, 8)
Piano – Don Grolnick (tracks: 2), Kenny Barron (tracks: 1, 5, 6)
Producer – Creed Taylor
Saxophone – Dave Sanborn (tracks: 7, 8), Mike Brecker (tracks: 7, 8), Phil Woods (tracks: 7, 8)
Trumpet, Flugelhorn – Alan Rubin (tracks: 7, 8), Randy Brecker (tracks: 7, 8)

BILLY COBHAM — Crosswinds (1974-2001) RM | Atlantic Masters Series | FLAC (tracks+.cue), lossless

Billy Cobham's second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise "Spanish Moss -- A Sound Portrait," and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on "Storm." Worth searching for by fusion collectors. Scott Yanow
Tracklist :
Spanish Moss - "A Sound Portrait" 17:08
1.a Spanish Moss 4:08
Acoustic Bass, Electric Bass – John Williams 
Guitar – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker
1.b Savannah The Serene 5:09
Acoustic Bass – John Williams  
Acoustic Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Trombone [Solo] – Garnett Brown
1.c Storm  2:46
Percussion [Solo] – Billy Cobham
1.d Flash Flood 5:05
Acoustic Bass, Electric Bass – John Williams  
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet [Solo] – Randy Brecker
Woodwind – Michael Brecker
2 The Pleasant Pheasant 5:11
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion [Latin, Solo] – Lee Pastora
Percussion [Solo] – Billy Cobham
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
3 Heather 8:25
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
4 Crosswind 3:39
Acoustic Bass, Electric Bass – John Williams 
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker

BILLY COBHAM — Alivemutherforya (1978-2002) RM | Serie Columbia Jazz | FLAC (image+.cue), lossless

Drummer Billy Cobham is heard on this live set heading an all-star quintet also including Tom Scott on tenor, soprano and lyricon, keyboardist Mark Soskin, guitarist Steve Khan and electric bassist Alphonso Johnson. Although the music is mostly funky and uses plenty of electronics (Scott sounds quite faceless on lyricon), there are some strong solos, particularly from Khan and Scott (when he is on tenor). The six group originals are highlighted by "Bahama Mama," "Some Punk Funk" and "On a Magic Carpet Ride." Due to the amount of variety and spontaneity, Alivemutherforya is superior to most of these musicians' individual projects of the era. Scott Yanow

Tracklist  :
1 "Anteres" - The Star 5:35
Soloist [Lyricon] – Tom Scott
2 Bahama Mama 8:29
Composed By – Alphonso Johnson
Mixed By – Dennis MacKay
Soloist [Electric Fretless Bass] – Alphonso Johnson
Soloist [Guitar] – Steve Khan
3 Shadows 7:51
Soloist [Acoustic Guitar] – Steve Khan
Soloist [Soprano Sax] – Tom Scott
4 Some Punk Funk 4:31
Composed By – Steve Khan
Soloist [Guitar] – Steve Khan
Soloist [Tenor Sax] – Tom Scott
5 Spindrift 7:21
Soloist [Acoustic Piano] – Mark Soskin
Soloist [Soprano Sax] – Tom Scott
6 On A Magic Carpet Ride 7:22
Soloist [Drums] – Billy Cobham
Soloist [Fender Rhodes] – Mark Soskin
Soloist [Guitar] – Steve Khan
Soloist [Tenor Sax] – Tom Scott
Credits
Bass [Electric, Electric Fretless], Synthesizer [Bass Pedal], Chapman Stick [Electric Stick] – Alphonso Johnson
 Composed By – Billy Cobham (tracks: 1, 6), Tom Scott (tracks: 3, 5)
 Electric Guitar, Acoustic Guitar – Steve Khan
Lyricon, Percussion, Tenor Saxophone, Soprano Saxophone – Tom Scott
Percussion – Billy Cobham
Piano, Electric Piano [Fender Rhodes], Clavinet, Synthesizer [Arp Odyssey, Mini-moog, Arp, String Ensemble] – Mark Soskin
Producer – Alphonso Johnson, Billy Cobham, Steve Khan, Tom Scott

BILLY COBHAM'S GLASSMENAGERIE — Stratus (1981) Serie Inak Digital, Limited Compact Disc Reference Edition | FLAC (tracks+.cue), lossless

This is the companion disc to Flight Time, which was also recorded for the Inakustik label. While not quite as original as its predecessor, it is still highly recommended. A young Mike Stern had not completely developed his sound yet, but he's still unmistakable. Violinist Michal Urbaniak's presence gives Cobham classics like "Stratus," "AC/DC," and "Total Eclipse" a fresh sound. Here again, Cobham is more than willing to let his colleagues step to the forefront and offer up their unique ideas, some better than other (Gil Goldstein's "Wrapped in a Cloud" is enchanting while Landers' reggae offering, "All Hallows Eve," falls flat). The biggest disappointment here are the short song lengths, especially the early fadeout on "Brooze," but hearing Cobham and Stern together make this an essential recording for jazz-rock fans. Robert Taylor
Tracklist :
1. Stratus (4:36)
2. AC/DC (3:59)
3. Kasia (4:08)
4. All Hallow's Eve (3:17)
5. Wrapped in a Cloud (6:26)
6. Drum Solo (3:26)
7. Total Eclipse (4:11)
8. Brooze (3:52)
Personnel :
Billy Cobham - Percussion, Drums
Gil Goldstein - Piano, Keyboards
Tim Landers - Bass
Mike Stern - Guitar
Michal Urbaniak - Saxophone, Vocals, Lyricon, Violone, Electric Violin

DEODATO — Deodato 2 (1973-1988) RM | Bonus Tracks | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (tracks+.cue), lossless

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Super Strut 9:29
2. Rhapsody In Blue 8:43
3. Nights In White Satin 6:01
4. Pavane For A Dead Princess 4:24
5. Skyscrapers 7:00
6. Latin Flute 4:19
– BONUS TRACKS –
7. Venus 3:28
8. Do It Again 5:30
Credits :
Eumir Deodato - keyboards
Stanley Clarke, John Giulino - Bass
Billy Cobham, Rick Marotta - Drums
Rubens Bassini, Gilmore Degap - Percussion, Congas
John Tropea - Guitar
Hubert Laws, Jerry Gordon, Romeo Penque, George Marge - Flute
Jon Faddis, Burt Collins, Victor Paz, Alan Rubin, Marvin Stamm - Trumpet, Flugelhorn
Garnet Brown, Wayne Andre - Trombone
Tony Studd - Bass Trombone
Jim Buffington - French Horn
Joe Temperley - Baritone Sax
String Section - Violins, Violas, Cellos

GIL EVANS – Live at the Public Theater New York 1980 Vol. I (1980-1994) FLAC (tracks+.cue), lossless

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections. Scott Yanow    Tracklist + Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. II (1980-1994) FLAC (tracks+.cue), lossless

The second of two Gil Evans LPs originally recorded for the Japanese Trio label and put out in the United States on the now-defunct Black-Hawk company features the veteran arranger leading a 14-piece group at a pair of 1980 concerts. The five selections (which include Jimi Hendrix's "Stone Free," Charles Mingus' "Orange Was the Color of Her Dress" and Evans's "Zee Zee") are given colorful treatment by the unique band, which consists of three keyboardists, a rhythm section propelled by drummer Billy Cobham, three trumpets (Lew Soloff, Jon Faddis and Hannibal Marvin Peterson), two trombones (including George Lewis), John Clark on French horn, baritone saxophonist Hamiet Bluiett and altoist Arthur Blythe. Although the end results do not quite live up to the potential of this unique ensemble, there are plenty of colorful moments. Scott Yanow
Tracklist + Credits :

JOHNNY GRIFFIN - Live at Ronnie Scott's (2008) FLAC (tracks+.cue), lossless

Johnny Griffin spent several decades living and working in Europe prior to his death, though he made occasional trips to the U.S. These live tracks come from two nights at Ronnie Scott's in London in 2008 a little over a month after Griffin's 80th (and what turned out to he his final) birthday, with the Little Giant joined by trumpeter Roy Hargrove and drummer Billy Cobham, plus bassist Reggie Johnson (an expatriate American also living in Europe) and English pianist David Newton, a last-minute substitute for James Pearson, who had worked with Griffin previously leading the house rhythm section but was unable to make one of the evenings booked. Griffin frequently has Hargrove solo first and the trumpeter steps things up a notch above his usual fine playing in the jazz master's presence. An obvious favorite is Griffin's sassy blues "The JAMFs are Coming," in which he leaves no doubt about how he feels about them, working in a hilarious quote from "Turkey in the Straw"; Hargrove's rich flügelhorn and Griffin's heartfelt tenor shine in the saxophonist's touching, bittersweet ballad "When We Were One"; while their chemistry is also extraordinary in Clifford Brown's exuberant bop vehicle "The Blues Walk." James Pearson spells Newton on the rousing take of "Lester Leaps In," with Hargrove and the pianist bracketing the leader's tightly knit solo. Paul Kuhn takes over the piano for a warm vocal rendition of "How Deep Is the Ocean." The rousing finale is an extended workout of Griffin's "Hot Sake," an easily recognizable reworking of "What Is This Thing Called Love." It's sad that Johnny Griffin died only two months after these performances, but one hearing will tell you he played his heart out during his final record date. Ken Dryden  
Tracklist :
1     Lester Leaps In 8'58        
Lester Young    
2     When We Were One 12'52
Johnny Griffin / Mike Hennessey
3     The Blues Walk 6'00
C. Brown
4     Mentor 6'08
Roy Hargrove
5     How Deep Is the Ocean 5'24
Irving Berlin
6     The JAMFs Are Coming 8'57
Johnny Griffin
7     Hot Sake 12'27
Johnny Griffin
Credits :
Drums – Billy Cobham
Piano – David Newton (pistas: 2 to 4, 6, 7), James Pearson (pistas: 1), Paul Kuhn (pistas: 5)
Trumpet, Flugelhorn – Roy Hargrove

RON CARTER - New York Slick (1979-1996) RM / APE (image+.cue), lossless

Tracklist :
1     NY Slick 4:19
Ron Carter
2     A Slight Smile 4:19
Ron Carter
3     Tierra Española 8:48
Ron Carter
4     Aromatic 8:53
Ron Carter
5     Alternate Route 9:35
Ron Carter
Credits :
Acoustic Guitar – Jay Berliner (faixas: 3)
Drums – Billy Cobham
Engineer – Rudy Van Gelder
Flugelhorn – Art Farmer
Flute – Hubert Laws
Percussion – Ralph MacDonald (faixas: 3)
Piano – Kenny Barron
Trombone – J.J. Johnson

FLORA PURIM - Speed of Light (1994) APE (image+.cue), lossless

A brilliant cross between Flora Purim's '70s work with Chick Corea & Return to Forever (some of the only fusion albums that don't sound terribly dated decades later) and mid-'90s chill-out music, 1995's Speed of Light is one of the Brazilian-born singer's finest albums. Opening with the meditative instrumental "A Secret From the Sea," Speed of Light is a seamless blend of 12 smoothly danceable tracks combining Brazilian jazz; spacious, fusion-based arrangements heavy on the percussion and synthesizers; and cool, contemporary beats and loops. The combination works effortlessly, since so much acid jazz and ambient house music already cribs from '60s bossa nova and '70s fusion. Throughout it all, Purim's still-astonishing voice remains at center stage, whether murmuring softly on the slinky "Portal da Cor" or trilling wordlessly on the hypnotic "The Goddess of Thunder." Diana Moreira (daughter of Purim and percussionist Airto Moreira, her regular producer and collaborator) takes on an expanded writing and performing role, performing and arranging the complex overdubbed backing vocals that give the largely electronic songs a more intimate, human feel. Speed of Light is essential listening for both Brazilian jazz and chill-out fans. by Stewart Mason  
Tracklist :
1     A Secret From the Sea 1:03
Jovino Santos Neto
2     Wings (Asas) 3:12
3     Portal da Cor 4:40
Milton Nascimento / Ricardo Silveira
4     Rhythm Runner 5:41
Flora Purim
5     Light as My Flo' 5:41
Kushna Booker
6     Mojave Crossing 8:25
Giovanni Hidalgo / Airto Moreira
7     O Canto da Sereia 4:42
8     This World (Esse Mundo E Meu) 1:58
Flora Purim / Sérgio Ricardo
9     Overture 3:07
Jovino Santos Neto
10     The Goddess of Thunder 3:17
11     What You See 4:47
Kushna Booker
12     Maiasta (Miraculous Bird) 4:52
Credits :
Backing Vocals – Diana Moreira
Bass – Gary Brown
Djembe, Timbales – Giovanni Hidalgo
Drums – Billy Cobham, Walfredo Reyes
Drums, Percussion – Airto Moreira
Guitar – Jose Neto, Ricardo Silveira
Keyboards – Freddie Ravel
Keyboards, Piano, Strings – Jose Neto
Percussion – Freddie Santiago
Vocals – Flora Purim

 

STANLEY TURRENTINE WITH MILT JACKSON - Cherry (1972-2014) CTI Supreme Collection 12 / RM / FLAC (tracks+.cue), lossless

Album by tenor sax man Stanley Turrentine with vibraphonist Milt Jackson recorded for Creed Taylor's label CTI in 1972. The backing band has some of Jazz music's heaviest hitters such as Ron Carter on acoustic bass, Billy Cobham on drums, Bob James on mostly Fender Rhodes electric piano and session ace Cornell DuPre on guitar.
This album is typical of what the CTI record label was putting out in the early 70s. In this case the players blend hard bop with slight overtones of soul jazz. The medium tempo tunes swing like mad thanks to the amazing hook up of Cobham Carter and James. This came out after Turrentine's successful album "Sugar" and if you're familiar with that album "Cherry" is very similar except with the addition of Milt Jackson's vibes. They share many of the same backing musicians. The music on Cherry is pretty diverse with an interesting take on Lee Morgan's tune "Speedball" that opens the album. There are two tunes composed by Weldon Irving who you may know as the composer of the tune "Mr Clean" made famous by trumpeter Freddie Hubbard on his CTI album "Straight Life". I recommend this to fans of Stanley Turrentine's CTI period and fans of albums like Freddie Hubbard's "Red Clay". by Jonathan Guarriello

 

Tracklist :
1. Speedball 6:35
Lee Morgan
2. I Remember You 5:10
Johnny Mercer / Victor Schertzinger
3. The Revs 8:00
Milt Jackson
4. Sister Sanctified 6:00
Weldon Irvine
5. Cherry 5:10
Ray Gilbert / Don Redman
6. Introspective 6:55
Weldon Irvine
Credits :
Bass – Ron Carter
Drums – Billy Cobham
Guitar – Cornell Dupree
Piano, Electric Piano – Bob James
Tenor Saxophone – Stanley Turrentine       
Vibraphone – Milt Jackson

KENNY BURRELL — God Bless the Child (1971-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition "Love Is the Answer" and "Do What You Gotta Do" -- and stroke it smooth and mellow as on the title track, the truly sublime "Be Yourself," and Thad Jones' "A Child Is Born." This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Be Yourself    5:53
Kenny Burrell
2    Love Is The Answer    4:57
Kenny Burrell
3    Do What You Gotta Do    9:27
Kenny Burrell
4    Ballad Of The Sad Young Men    2:14
Fran Landesman / Thomas Wolf / Tommy Wolf
5    A Child Is Born    9:21
Thad Jones
6    God Bless The Child    8:00
Fran Landesman / Thomas Wolf / Tommy Wolf
7    Lost In The Stars    2:25
M. Anderson / Kurt Weill
Credits :
Arranged By – Don Sebesky
Bass – Ron Carter
Cello – Alan Shulman, Charles McCracken, George Ricci, Lucien Schmit, Seymour Barab
Drums – Billy Cobham
Engineer – Rudy Van Gelder
Flute – Hubert Laws
Guitar – Kenny Burrell
Percussion – Airto Moreira, Ray Barretto
Piano, Electric Piano – Hugh Lawson, Richard Wyands
Producer – Creed Taylor
Trumpet – Freddie Hubbard

RAY BARRETTO - The Other Road (1973) FLAC (tracks+.cue), lossless

Percussionist Ray Barretto has long been a legend in both the jazz and salsa communities, performing and recording with Tito Puente, Oliver Nelson, and Herbie Mann. THE OTHER ROAD, originally released in 1973, highlights the jazz side of Barretto’s musical personality while still maintaining roots in Afro-Cuban and Latin sounds. A set of originals, save for a cover of the Thelonious Monk classic “’Round (About) Midnight,” ROAD features smooth, classy ensemble playing and inspired soloing from the likes of Art Webb, Manny Duran (who also contributed arrangements), and Roberto Rodriguez. Barretto gives the Monk tune a bolero rhythm, putting an unexpected Latin spin on a well-known ballad. by Mark Keresman
Tracklist :
1. The Other Road 6:00
Written-By – Eddy Martinez
2. Round About Midnight 6:16
Written-By – Thelonious Monk
3. Lucretia The Cat 5:34
Written-By – Manny Duran
4. Oracion (The Prayer) 8:06
Written-By – Manny Duran
5. Little Ting 5:49
Written-By – Luis Cruz, Ray Barretto
6. Abidjan Revisited 4:16
Written-By – Ray Barretto
Credits :
Bongos – Tony Fuentes
Congas, Talking Drum, Bell Tree [Chinese],
Liner Notes, Producer – Ray Barretto
Drums – Billy Cobham
Electric Bass – Guillermo Edghill
Flute – Arthur Webb
Piano, Electric Piano [Fender Rhodes] – Eddy Martinez
Timbales – Ray Romero
Trumpet – Joseph Roman, Roberto Rodriguez
Trumpet, Flugelhorn – Manny Duran 

BILLY COBHAM - Spectrum (1973-2007) RM / FLAC (tracks+.cue), lossless

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include "Red Baron") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising. by Scott Yanow
Tracklist:
1 Quadrant 4 4:20
2 Searching For The Right Door 1:24
Soloist [Uncredited], Drums [Uncredited] – Billy Cobham
3 Spectrum 5:09
Acoustic Bass – Ron Carter
Congas – Ray Barretto
Electric Piano, Synthesizer [Moog] – Jan Hammer
Flugelhorn – Jimmy Owens
Flute, Soprano Saxophone – Joe Farrell
4 Anxiety 1:41
Soloist [Uncredited], Drums [Uncredited] – Billy Cobham
5 Taurian Matador 3:03
6 Stratus 9:50
7 To The Women In My Life 0:51
Soloist [Uncredited], Piano [Uncredited] – Jan Hammer
8 Le Lis 3:20
Acoustic Bass – Ron Carter
Alto Saxophone – Joe Farrell
Congas – Ray Barretto
Electric Piano, Synthesizer [Moog] – Jan Hammer
Flugelhorn, Trumpet – Jimmy Owens
Guitar – John Tropea
9 Snoopy's Search 1:02
Soloist [Uncredited], Synthesizer [Uncredited] – Jan Hammer
10 Red Baron 6:37
Credits:
Electric Bass [Fender Bass] – Leland Sklar
Electric Piano, Piano [Acoustic], Synthesizer [Moog] – Jan Hammer
Guitar – Tommy Bolin
Percussion, Producer, Written-By – Billy Cobham

BILLY COBHAM - Inner Conflicts (1977-2014) Fusion Best Collection 1000 – 4 / RM / FLAC (image+.cue), lossless

A solid effort that has been dismissed based upon its associations with two Cobham lemons, Simplicity of Expression: Depth of Thought and B.C., all recorded around the same time. This recording finds Cobham continuing to explore the funk genre; however, the overall mood here is quite darker and more introspective, similar to Crosswinds. "Inner Conflicts" is a haunting song that includes Cobham's experimentation with electronic percussion and synthesizer. "Nickles and Dimes" is a page out of Cobham's early work, while "El Barrio" is heavily influenced by African rhythms. Of note, Prince's former sidekick Sheila E. performs here with her father Pete. The closer, "Arroyo," is another of Cobham's memorable compositions that he continues to perform.  by Robert Taylor
Tracklist 
1 Inner Conflicts 10:49
Programmed By [Synthesizer] – Billy Cobham, John Bowen
Synthesizer, Drums, Percussion – Billy Cobham
2 The Muffin Talks Back 9:52
Bass – Alfonso Johnson
Congas, Percussion [Latin Percussion] – Sheila Escovedo
Drums – Billy Cobham
Keyboards – Don Grolnick
Percussion [Latin Percussion] – Jose Najeira
Timbales, Percussion [Latin Percussion] – Pete Escovedo
3 Nickels And Dimes 7:21
Bass – John Williams 
Drums – Billy Cobham
Guitar – John Scofield
Keyboards – Dawilli Gonga
Trombone – Julian Priester
Trumpet – Randy Brecker
Trumpet, Flugelhorn – Jimmy Owens
Woodwind – Ernie Watts, Michael Brecker
Xylophone, Marimba – Ruth Underwood
4 El Barrio 6:30
Bass – Alfonso Johnson
Congas, Percussion [Latin Percussion] – Sheila Escovedo
Drums – Billy Cobham
Guitar – Steve Kahn
Keyboards – Don Grolnick
Percussion [Latin Percussion] – Jose Najeira
Timbales, Percussion [Latin Percussion] – Pete Escovedo
Trombone – Julian Priester
5 Arroyo 4:15
Bass – John Williams 
Drums – Billy Cobham
Guitar – John Scofield
Keyboards – Dawilli Gonga

MILES DAVIS - Jack Johnson (Original Soundtrack Recording) (1971-1990) FLAC (tracks+.cue), lossless

 None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Davis' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero. by Thom Jurek 

Tracklist:

1. Right Off - 26:54

2. Yesternow - 25:36

Personnel:

Trumpet – Miles Davis

Bass [Fender] – Michael Henderson

Drums – Billy Cobham

Guitar – John McLaughlin

Keyboards – Herbie Hancock

Liner Notes – Miles Davis

Saxophone – Steve Grossman

Voice [Jack Johnson's Voice] – Brock Peters