HANK CRAWFORD — Wildflower (1973-2002) Serie Best Value | FLAC (tracks+.cue), lossless

Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 – one of eight cut between 1971 and 1978 – is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto – check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Corazon 6:02
Written-By – C. King
2    Wildflower 3:54
Written-By – D. Richardson, D. Edwards
3    Mr. Blues 6:05
Written-By – H. Crawford
4    You've Got It Bad Girl 9:34
Written-By – Y. Wright
5    Good Morning Heartache 6:08
Written-By – D. Fisher, E. Drake, I. Higginbothan
Credits :
Alto Saxophone – Hank Crawford
Arranged By, Conductor – Bob James
Backing Vocals – Hilda Harris, Maeretha Stewart, Randy Peyton, Bill Eaton
Bass – Bob Cranshaw
Bass Trombone – Tony Studd
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
French Horn – Brooks Tillotson, Jim Buffington
Guitar – Joe Beck
Percussion – Arthur Jenkins, David Friedman, George Devans, Phil Kraus, Ralph MacDonald, Rubens Bassini
Piano, Organ – Richard Tee
Trombone – Paul Faulise, Wayne Andre
Trumpet – Alan Rubin, Bernie Glow, Marvin Stamm

GROVER WASHINGTON , Jr. — All the King's Horses (1972) Two Version (1993, MCA Records – MCD 10930) + (2008, RM | Serie Verve Originals) FLAC (tracks+image+.cue), lossless

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

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)

HUBERT LAWS — Afro-Classic (1970-1988) RM | The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

Issued in 1970 as his second album for Creed Taylor's CTI label, Hubert Laws' Afro-Classic is a classic for the manner in which Laws, with brilliant assistance from arranger Don Sebesky, melded the jazz and classical worlds -- not to mention pop -- into a seamless whole. Laws was the first artist signed to Taylor's imprint. His debut for the label, Crying Song, won critical notice, but it was Afro-Classic that established a new role for the flute in contemporary jazz. Herbie Mann may have been the first, but Laws explored jazz and all the sound worlds that informed it -- especially in the electric domain -- with the kind of grace and innovative vision that made him a mainstay. Sebesky was deeply enamored of Laws' classical training, and his ability to swing -- check out his playing on Quincy Jones' "Killer Joe" for early evidence. The players assembled for the session included Bob James (himself classically trained and a graduate of the University of Michigan's music school) on electric piano, bassist Ron Carter, guitarist Gene Bertoncini, drummer Fred Waits, vibraphonist David Friedman, bassoonist Fred Alston, Jr., and percussionists Airto Moreira and Pablo Landrum. The program included James Taylor's hit "Fire and Rain," "Theme from Love Story" by Francis Lai, a pair of Bach pieces, including the stunning Passacaglia in C Minor, and Mozart's Flute Sonata in F. While the gentle version of "Fire and Rain" proves moving and subtle, and engages the ensemble as a chamber jazz group, it is with Bach's Allegro from Concerto No. 3 in D that the true revelation takes place. Sebesky arranges in a painterly manner, illustrating the tune with bassoon and vibes with Laws' flute floating through the melody. This is a chamber reading for the piece that not only maintains its integrity but showcases a different side that is revelatory. The liberties taken with the Passacaglia, however, are revolutionary, beginning with Carter's bass, slowly and purposefully illustrating the theme as James' Fender Rhodes enters in double "p." When Laws enters with the haunting, mournful melody, he does so with Bertoncini's guitar playing in muted tones followed by the electrified vibes of Friedman and then Alston's bassoon. Near the three-minute mark, Sebesky opens the arrangement for a vibes solo underscored by guitar and Rhodes, and at the five-minute mark the theme is restated. But it is no longer simply a classical tune; it begins to swing with Latin, blues, and jazz undertones. When Laws finally takes his solo, the tune simply grooves its way through to the end -- with subtle sound effects that Brian Eno would be envious of because he hadn't thought of them yet. It's stunning. The Mozart piece is pretty, but compared to what preceded it, it feels just a tad quaint. This album has been reissued on CD in Japan and from Mosaic Records, and in both cases its sound is warm and immediate.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Fire and Rain  7:58
James Taylor
2 Allegro  3:47  
Johann Sebastian Bach
3 Theme  7:32  
Francis Lai
4 Passacaglia  15:14
Johann Sebastian Bach
Cello [Electric] – Ron Carter
Flute [Electric] – Hubert Laws
5 Movement 1  3:17
Wolfgang Amadeus Mozart
Credits
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Fred Alston, Jr.
Drums – Fred Waits
Electric Piano – Bob James
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto, Richie "Pablo" Landrum
Vibraphone – David Friedman

CHET BAKER - She Was Too Good To Me (1974-2010) CTI Records 40th Anniversary / FLAC (tracks+.cue), lossless

Baker began his comeback after five years of musical inactivity with this excellent CTI date. Highlights include "Autumn Leaves," "Tangerine," and "With a Song in My Heart." Altoist Paul Desmond is a major asset on two songs and the occasional strings give variety to this fine session. by Scott Yanow
Tracklist :
1. Autumn Leaves  7:02
Written-By – Johnny Mercer, Joseph Kosma
2. She Was Too Good to Me 4:40
Written-By – Rodgers & Hart
3. Funk in Deep Freeze 6:06
Written-By – Hank Mobley
4. Tangerine 5:27
Written-By – Johnny Mercer, Victor Schertzinger
5. With a Song in My Heart 4:04
Written-By – Rodgers & Hart
6. What'll I Do? 3:55
Written-By – Irving Berlin
7. It's You or No One 4:28
Written-By – Jule Styne, Sammy Cahn
8. My Future Just Passed 4:46
Credits :
Alto Saxophone – Paul Desmond
Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Cello – George Ricci, Jesse Levy, Warren Lash
Drums – Jack DeJohnette (faixas: 5, 6, 7), Steve Gadd (faixas: 1 to 4, 8)
Electric Piano – Bob James
Engineer – Rudy Van Gelder
Flute [Alto], Oboe [D'amore] – George Marge
Flute, Clarinet – Romeo Penque
Flute, Flute [Alto] – Hubert Laws
Producer – Creed Taylor
Trumpet, Vocals – Chet Baker
Vibraphone – Dave Friedman
Violin – Barry Finclair, David Nadien, Emanuel Green, Harold Kohon, Harry Glickman, Herbert Sorkin, Lewis Eley, Max Ellen, Paul Gershman

HUBERT LAWS - The Rite of Spring (1971-1987) RM / FLAC (tracks+.cue), lossless

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Pavane 7:43
Gabriel Fauré
2     Rite of Spring 9:03
Igor Stravinsky
3     Syrinx 3:34
Claude Debussy
4     Brandenburg Concerto No. 3, First Movement 6:01
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
5     Brandenburg Concerto No. 3, Second Movement 4:27
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
Credits :
Bass – Ron Carter
Bassoon – Wally Kane
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto Moreira
Piano, Electric Piano, Harpsichord [Electric] – Bob James
Producer – Creed Taylor
Vibraphone, Percussion – David Friedman

HUBERT LAWS - The Chicago Theme (1974-2017) CTI+RVG / UHQ / FLAC (tracks+.cue), lossless

Hubert Laws made his finest recordings playing arrangements by Don Sebesky. Unfortunately, starting with this project, Bob James began to take over the writing chores, and the flutist's recordings became much more commercial. Rather than performing with a small group, as he did on his best sessions, Laws is joined by strings and funky rhythm sections playing now-dated commercial grooves. The six selections (which include James' forgettable "Chicago Theme," "Midnight at the Oasis" and Dvorák's "Going Home") are listenable, but nothing special. The only reason to acquire this out of print LP is for Laws' still-superb flute playing. by Scott Yanow
Tracklist :
1    The Chicago Theme 5:37
Alto Saxophone [Solo] – David Sanborn
Arranged By – Bob James
Bass – Doug Bascomb
Guitar – Joe Beck, Phil Upchurch
Written-By – Bob James
2    Midnight At The Oasis 5:28
Arranged By – Bob James
Bass – Doug Bascomb
Guitar [Solo] – George Benson
Written-By – David Nichtern
3    You Make Me Feel Brand New 5:50
Arranged By – Bob James
Bass – Ron Carter
Guitar [Solo] – Eric Gale
Written-By – Linda Creed, Thom Bell
4    Going Home 5:04
Adapted, Arranged By – Bob James
Bass – Ron Carter
Guitar – Richie Resnicoff
Written-By – Dvorak
5    I Had A Dream 6:00
Arranged By – Hubert Laws
Bass – Doug Bascomb
Clavinet – Bob James
Piano [Solo] – Bob James
Written-By – Hubert Laws
6    Inflation Chaser 6:00
Arranged By – Hubert Laws
Bass – Stanley Clarke
Drums – Andrew Smith
Tenor Saxophone [Solo] – Mike Brecker
Written-By – Hubert Laws
Credits :
Cello – Alan Shulman, George Ricci
Drums – Steve Gadd
Flute – Hubert Laws
Keyboards – Don Grolnick
Percussion – Ralph MacDonald
Producer, Reissue Producer – Creed Taylor
Recorded By, Mixed By, Remastered by – Rudy Van Gelder
Trumpet – Randy Brecker
Viola – Al Brown, Manny Vardi
Violin – Charles Libove, David Nadien, Emanuel Green, Gayle Dixon, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Paul Gershman

HUBERT LAWS - Romeo & Juli|et (1976) APE (image+.cue), lossless

Light jazz (with strings, keyboards, voices, etc.) and a classical/Eastern flavor. by Michael Erlewine
Tracklist :
1     Undecided 6:07
Sydney Robin / Charlie Shavers
2     Tryin' to Get the Feeling Again 8:17
David Pomeranz
3     Forlane 4:11
Maurice Ravel
4     Romeo and Juliet 7:41
Pyotr Il'yich Tchaikovsky
Arranged By, Adapted By – Bob James, Hubert Laws
5     What Are We Gonna Do? 5:33
Hubert Laws
6     Guatemala Connection 5:44
Hubert Laws
Credits :
Acoustic Guitar – Barry Finnerty (faixas: 2), Richie Resnicoff (faixas: 5)
Arranged By [Voice] – Stanley Stroman
Bass – Gary King
Clavinet – Mark Gray (faixas: 6)
Producer, Clavinet, Electric Piano [Fender Rhodes] – Bob James
Drums – Andy Newmark (faixas: 2, 3, 4, 5, 6), Steve Gadd (faixas: 1)
Electric Guitar – Barry Finnerty (faixas: 3, 6), Eric Gale (faixas: 1, 2, 5, 6), Richie Resnicoff (faixas: 6)
Electric Guitar, Acoustic Guitar – Steve Khan (faixas: 4)
Flute, Piccolo Flute, Alto Flute, Flute [Bass] – Hubert Laws
Illustration – Pencil Pushers
Percussion – Ralph MacDonald
Strings – Alan Shulman, Alfred Brown, Barry Sinclair, Charles McCracken, David Nadien, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab
Trombone – Alan Raph, David Taylor, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Bernie Glow, Jon Faddis, Marvin Stamm, Randy Brecker
Voice – Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson 

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

GABOR SZABO — Macho (1975-2013) RM Blu-Spec | Serie CTI Supreme Collection – 40 | FLAC (image+.cue), lossless

Macho is right. This 1975 album is one of the headiest in the Hungarian-born guitarist Gabor Szabo's entire catalog. Produced by Bob James, the album is deep in fretless Fender basslines courtesy of Louis Johnson, funky Rhodes pianos and synthesizers from James and former Mother of Invention Ian Underwood, guitar savvy from Szabo with Eric Gale on rhythm, and a horn section that features no less than George Bohanon, Jon Faddis, and Tom Scott, with the venerable Harvey Mason Sr. on drums. This is a tough, in-your-face, funky soul-jazz band. Szabo's sense of camp was eternal as he covers, disco-style, Franz Liszt's "Hungarian Rhapsody #2," but slips into the souled-out groove-jazz of his own "Time," without a seam. Szabo's playing, with its mysterious, liquid runs and razor sharp melodic sensibilities, is centered here by James, who attempts to make Szabo's six strings be at the absolute dead-center of the mix. Tracks like James' own "Transylvania Boogie," (the long title track), and Phoebe Snow's "Poetry Man," offer a glimpse of Szabo as the consummate melodist: with teeth. Harmonically, this band was as disciplined as the charts would allow, giving nothing away in the ensemble sections. This is a tough, streetwise, commercial jazz album that has plenty to offer to anyone with an open mind. In the pocket, groove-soaked, and flawlessly executed.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Hungarian Rhapsody No. 2 6:56
Arranged By – Bob James
Written-By – F. Liszt
2 Time 5:41
Gabor Szabo
3 Transylvania Boogie 5:37
Bob James
4 Ziggidy Zog 6:03
Harvey Mason, Sr.
5 Macho 9:16
Gabor Szabo
6 Poetry Man 4:32
Arranged By – Bob James
Written-By – Phoebe Snow
Credits :
Bass – Louis Johnson, Scott Edwards
Drums – Harvey Mason
Guitar – Gabor Szabo
Lyricon, Tenor Saxophone – Tom Scott
Percussion – Idris Muhammad, Ralph MacDonald
Piano, Electric Piano, Synthesizer – Bob James, Ian Underwood
Rhythm Guitar – Eric Gale
Trombone – George Bohanon
Trumpet – Jon Faddis

MAYNARD FERGUSON - Primal Scream (1976-2004) FLAC (tracks+.cue), lossless

An all-star cast assists Maynard Ferguson in this disco-tinged big-band outing. Ferguson's trademark trumpet playing is featured in all its screaming glory, and Mark Colby contributes a couple of high-energy sax solos. "Primal Scream" and "Invitation" sound as though they were lifted right off the mid-'70s disco dancefloor, complete with T.S.O.P.-type strings and pulsing rhythms. "Pagliacci," too, has the disco beat pounding underneath a Jay Chattaway adaptation of an operatic melody, with Bobby Militello featured on an energetic, overblown flute solo. Chick Corea's "The Cheshire Cat Walk" sounds like latter-day Return to Forever, as Corea's synth trades licks with Ferguson's horn over a familiar RTF rhythmic/chordal bassline sequence. The final cut, Eric Gale's "Swamp," stands out because of its reggae beat. This album was an obvious attempt to jump on the disco-funk bandwagon, and serves as a well-played, though dated, document of that era. by Jim Newsom
Tracklist :
1     Primal Scream 7:09
Jay Chattaway / Maynard Ferguson
2     The Cheshire Cat Walk 10:09
Chick Corea
3     Invitation 5:32
Bronislaw Kaper
4     Pagliacci 5:55
Jay Chattaway / Ruggero Leoncavallo
5     Swamp 7:24
Eric Gale
Credits :
Alto Saxophone – Dave Sanborn
Bass – Gary King
Bass Trombone – David Taylor, Paul Faulise
Cello – Alan Shulman, Charles McCracken
Drums – Steve Gadd
Flute, Baritone Saxophone – Bobby Militello
French Horn – Brooks Tillotson, Earl Chapin
Guitar – Eric Gale, Jeff Mirenov, Jerry Friedman
Percussion – Ralph MacDonald
Piano, Synthesizer [Arp], Clavinet – Bob James
Producer – Bob James
Soprano Saxophone, Tenor Saxophone – Mark Colby
Tenor Saxophone – Joe Farrell
Trombone – Tony Studd
Trumpet – Marvin Stamm
Trumpet [All Solos] – Maynard Ferguson
Trumpet, Flugelhorn – Bernie Glow, Jon Faddis, Stan Mark
Viola – Emanuel Vardi, Theodore Israel
Violin – Charles Libove, David Nadien, Emanuel Green, Frederick Buldivini, Harry Cykman, Joseph Malin, Max Ellen, Paul Gershman
Vocals – Hilda Harris, Lani Groves, Patti Austin 

MONGO SANTAMARIA - Red Hot (1979-1997) RM / FLAC (tracks+.cue), lossless

In reaching for another shot at the big time, Mongo Santamaria sold much of the heart out of his music by turning himself over to producer Bob James, his arranger Jay Chattaway, and the fading disco fad. The result is a near disaster, an overproduced, overdubbed, rhythmically overbearing affair, staffed largely by James and his family of New York session players (including the Brecker Brothers, Eric Gale, and Steve Gadd) with only a handful of Mongo's sidemen, polished to a slick fare-thee-well. "You Better Believe It" is the sole Marty Sheller-arranged track; despite the Anglo-sounding chorus, the Guajiro groove conquers the production. Mongo alumni Hubert Laws has some nice moments in the Brazil-flavored "Sambita," but when you hear "Watermelon Man" redone to a horrible disco beat ... goodbye. by Richard S. Ginell
Tracklist :
1     Watermelon Man 6:34
Arranged By, Conductor – Jay Chattaway
Backing Vocals – Brenda Frazier, Gwen Guthrie, Vivian Cherry
Bass – Gary King
Congas, Bongos, Solo Vocal – Mongo Santamaria
Drums – Jimmy Young
Featuring, Vocals – La Lupe
Guitar – Jeff Layton, Lance Quinn
Percussion – Jimmy Maelen
Piano, Synthesizer [Oberhieim] – Bob James
Tenor Saxophone, Soloist, Backing Vocals – Mike Brecker
Trumpet, Backing Vocals – Randy Brecker
Written-By – H. Hancock
2     A Mi No Me Enganan (You Better Believe It) 4:40
Arranged By, Conductor – Marty Sheller
Bass – Sal Cuevas
Congas, Percussion – Mongo Santamaria
Lyrics By – M. Santamaria
Music By – T. Guerra
Piano – Charlie Palmieri
Timbales, Drums – Steve Berrios
Tres – Harry Vigiano
Vocals – Brenda Frazier, Frank Floyd, Gwen Guthrie, Hector Aponte, Raymond Simpson, Vivian Cherry, Zach Sanders
3     Jai Alai (Rena) 7:38
Arranged By, Conductor – Jay Chattaway
Bass – Gary King
Congas, Soloist – Mongo Santamaria
Drums – Steve Berrios
Guitar – Eric Gale
Guitar, Soloist – Jeff Layton
Other [Electric Balls] – Bob James
Synthesizer [Mini Moog], Electric Piano [Fender Rhodes] – Barry Miles
Trumpet, Soloist – Jon Faddis
Written-By – G. King    
4     Jamaican Sunrise 5:54
Arranged By, Conductor – Jay Chattaway
Bass – Gary King
Bongos – Mongo Santamaria
Drums – Idris Muhammad
Flute – Doug Harris
Guitar – Eric Gale
Percussion – Jimmy Maelen
Piano – Barry Miles
Written-By – D. Harris
5     Afro-Cuban Fantasy 7:36
Arranged By, Conductor – Jay Chattaway
Bata – Hector Hernandez, Julio Collazo
Bata, Percussion [Guataca] – Mongo Santamaria
Bata, Shekere – Steve Berrios
Drums – Steve Gadd
Electric Piano [Fender Rhodes], Electronic Drums [Electric Log Drums] – Bob James
Guitar – Eric Gale
Soprano Saxophone, Soloist – Mark Colby
Written-By – J. Chattaway
6     Sambita 5:45
Justo Almario
Arranged By, Conductor – Jay Chattaway
Bass – Lee Smith
Congas, Bongos, Soloist – Mongo Santamaria
Drums, Percussion – Thelmo Porto
Flute – Hubert Laws
Guitar – Eric Gale
Piano – Bill O'Connell
Written-By – J. Gellardo, J. Almario

PAUL DESMOND - Skylark (1973-2003) RM / FLAC (image+.cue), lossless

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. For those who missed it the first time, Desmond remakes "Take Ten" -- without the Middle Eastern elements -- "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. by Richard S. Ginell  
Tracklist:
1 Take Ten 6:08
Paul Desmond
2 Romance de Amor 9:40
Traditional
3 Was a Sunny Day 4:52
Paul Simon
4 Music for a While 6:45
Henry Purcell
5 Skylark 5:21
Hoagy Carmichael / Johnny Mercer
6 Indian Summer 4:00
Al Dubin / Victor Herbert
7 Music for a While 5:56
Henry Purcell
8 Skylark 5:39
Hoagy Carmichael / Johnny Mercer
9 Indian Summer 5:27
Al Dubin / Victor Herbert
Credits:
Alto Saxophone – Paul Desmond
Arranged By, Supervised By – Don Sebesky
Bass – Ron Carter
Cello – George Ricci
Drums – Jack DeJohnette
Engineer – Rudy Van Gelder
Guitar – Gene Bertoncini
Guitar, Soloist [All Solos] – Gabor Szabo
Percussion – Ralph MacDonald
Piano, Electric Piano – Bob James
Producer – Creed Taylor

BOB JAMES — Rhodes Scholar : Jazz-Funk Classics 1974-1982 (2013) 2CD | FLAC (tracks+.cue), lossless

A Bob James compilation such as this was long overdue. Rhodes Scholar collects 22 tracks he recorded for CTI and Tappan Zee, ranging from One in 1974 to One on One in 1979. The music is arranged chronologically for the most part, with derivations made for musical continuity. As much as his music, however, is the manner in which this comp showcases his development of the Fender Rhodes piano's sound as jazz-funk began to emerge in the mainstream. Disc one commences with the nocturnal, break-driven groove of "Nautilus" (the sampling favorite was originally the last track on One). While that cut was expected, it is juxtaposed with the lengthy arrangement masterpiece that is "Valley of the Shadows." This cut uses everything from exotic chorus vocals (decades before other producers thought to wed Gregorian chant to dancefloor pop) to a Headhunters-esque knotty groove, to rolling tom-toms, fat, bright brass, and turbulent strings to create a jazz labyrinth with striking breaks from Steve Gadd. Other standouts on the disc include the James version of Paul Simon's "(Take Me to The) Mardi Gras" (he had played on the singer's version); Bizet's Farandole, which outdoes Deodato at his own game; the synth, Rhodes, and horn funk of "Storm King," and two groovers from Heads, its title track and the expansive "Night Crawler." Disc two opens with a live version of his smash "Westchester Lady," with its screaming electric guitar (courtesy of Hiram Bullock), popping Gary King bassline, and the abstract Rhodes expressionism at the end that hints back to James' first LP for ESP in the mid-'60s. While "Angela (Theme from Taxi)" is ubiquitous in any James comp, it's overshadowed by the inclusion of "Caribbean Nights" from the same album, with its organic percussion (courtesy of Mongo Santamaria), sexy Rhodes, Ron Carter's subtle bassline undergirding wordless vocals, a lilting nylon-string guitar, and woodwinds. "Shamboozie," from Hands Down, melds an infectious reggae rhythm, an unforgettable melody (it has its roots in "Angela"), and the modern production on Heads, while "Spunky" is a driving four-on-the-floor cousin derived from that set's title track with a punchier bassline. While some might argue that compilation producers Bob Perry and Andrew Mason should have gone deeper into the earlier records at the expense of the latter, it would miss the point -- Rhodes Scholar reveals the spectrum of James' vision and influence as a pianist, composer, arranger, producer, and sonic technician who presented the Rhodes' unique sound as the centerpiece of the influential pop-jazz he was creating. Another hip thing is that the liners contain a wealth of track-by-track info from the man himself, making this indispensable. 

-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1:
1. Nautilus 4:59
 Bob James
2. Valley Of The Shadows 9:37
 Bob James
3. Farandole 8:23
 Georges Bizet
4. (Take Me To The) Mardi Gras 5:45
 Paul Simon
5. You're Right As Rain 5:26
 Thom Bell / Linda Creed
6. One Mint Julep 9:02
 Rudy Toombs
7. Storm King 6:32
 Bob James
8. Tappan Zee 6:47
 Bob James
9. Treasure Island 6:07
 Bob James
10. Heads 6:37
 Bob James
11. Night Crawler 6:16
 Bob James
Tracklist 2:
1. Westchester Lady (live) 8:33
 Bob James
2. Caribbean Nights 9:18
 Bob James
3. I Want To Thank You (Very Much) 7:07
 Bob James
4. Angela (Theme From Taxi) 5:40
 Bob James
5. Look - Alike 5:30
 Bob James
6. Sign Of The Times 5:34
 Rod Temperton
7. The Steamin' Feelin' 5:19
 Rod Temperton
8. Love Lips 6:31  
 Earl Klugh
9. Shamboozie 5:16
 Bob James
10. Spunky 6:55
 Bob James
11. (Take Me To The) Mardi Gras (7-inch version) 3:03
 Paul Simon

STEVE KHAN - Tightrop (1977) FLAC (image+.cue), lossless

What do you get when you have a superb rhythm section, saucy keyboards, a hot and brassy mini-horn section, and one very tasteful jazz- and chops-laden guitarist all come together with some jazz and some fusion in mind? You have the magic of Steve Khan and the Brecker Brothers coming together. With folks like this, and Steve Gadd and Bob James too, you have a formula for success.
Khan's compositions are smooth yet lively enough not to bore. His unique drive, and pristine flourish and tone on his modded Fender Telecaster, and even his deft acoustic work, all come together to make a very satisfying blend of sexy jazz and funked-up, be bop fusion. Yet there is that special touch that only Steve Khan can add that makes his releases a signature sound on each outing. If you listen closely, you will hear Larry Coryell-ian riffs and stylings (as Khan and Coryell used to jam together, and did record together).
Much ado is made about Mike Stern's guitar work in the '80s and '90s, but one listen to Khan and you will immediately hear who his big inspiration was. Next time you pick up an old Stern release you stand a good chance of seeing the words "produced by Steve Khan." by John W. Patterson   
Tracklist:
1 Some Punk Funk 5:20
Piano [Acoustic] – Don Grolnick
Written-By – Steve Khan
2 Darlin' Darlin' Baby (Sweet, Tender, Love) 6:29
Written-By – Gamble & Huff
3 Tightrope (For Folon) 5:44
Written-By – Steve Khan
4 The Big Ones 6:02
Alto Saxophone [Solo], Soloist – Dave Sanborn 
Written-By – Randy Brecker
5 Star Chamber 5:19
Written-By – Steve Khan
6 Soft Summer Breeze 5:00
Written-By – Eddie Heywood, J. Spencer 
7 Where Shadows Meet 3:40
Written-By – Steve Khan
Credits:
Alto Saxophone – Dave Sanborn (tracks: 2, 3, 5)
Arranged By – Bob James (tracks: 2, 6), Steve Khan (tracks: 1, 3 to 5, 7)
Bass – Will Lee
Clavinet – Don Grolnick (tracks: 3 to 5)
Drums – Steve Gadd
Electric Piano [Fender Rhodes] – Bob James (tracks: 1, 4, 5), Don Grolnick (tracks: 2, 3, 6, 7)
Guitar – David Spinozza (tracks: 3, 7), Jeff Mironov (tracks: 2, 4 to 7), Steve Khan (tracks: 1 to 4, 6, 7)
Percussion – Ralph MacDonald
Producer – Bob James
Synthesizer [Oberheim Polyphonic] – Bob James (tracks: 1, 2, 4 to 7)
Tenor Saxophone – Mike Brecker (tracks: 1, 3, 4)
Trumpet – Randy Brecker (tracks: 3, 4)
Twelve-String Guitar [Electric] – Steve Khan (tracks: 1, 5, 7)

MIKE CATALANO - A Manhattan Affair (2007) APE (image+.cue), lossless

A follow-up of sorts to his 1989 debut A Rio Affair, A Manhattan Affair features pianist/composer Mike Catalano performing his crisp and breezy smooth jazz that touches on melodic rock, lightly funky R&B and bossa nova. Joining Catalano here are not only his superb rhythm section of bassist Will Lee and drummer Peter Erskine, but also a bevy of name artists and longtime Catalano associates including guitarist Chuck Loeb, trumpeter Randy Brecker, keyboardist Bob James, bassist Nico Assumpção and others. Fans of organic '70s fusion and contemporary pop should find much to enjoy here as Catalano delivers a sparkling afterglow version of "Beauty and the Beast," turns the Beatles' "Fool on the Hill" into a perfect soft rock noir ballad and showcases vocalist Ivan Lins' deeply emotive vocals on the atmospheric Brazilian classic "Dindi." Similarly engaging are such catchy Catalano originals as the cinematic and danceable "Take Me Back to Rio," the smoky ballad "Lelena," the driving Weather Report-esque "Moonlight in Baja" and the moodily funky lead-off single "Smooth as Silk." These are refreshing, often lushly arranged and endlessly melodic cuts that make the most of Catalano's tasteful keyboard chops. by Matt Collar  

ERIC GALE - Forecast (1973) FLAC (tracks+.cue), lossless

Eric Gale's 1973 Forecast album on the Kudu label is one of his most varied texturally. Produced by Kudu label boss Creed Taylor, the rhythm tracks were arranged by Gale, and the horns and strings by Bob James. Taylor surrounded Gale with the cream-of-the-crop of the current session players: jazz's most soulful drummer, Idris Muhammad, was in the house for most of the album, and Rick Marotta filled out the rest. Saxophonists included Joe Farrell, Pepper Adams, and Jerry Dodgion (an underrated ace who made his name with Curtis Amy on his Pacific jazz sides in the early '60s), and trumpeters included Randy Brecker and Jon Faddis. Hubert Laws and George Marge sat in the flute chairs, and James played piano and synths. Gale, for his part, was blended into a meticulously arranged and gorgeously orchestrated set of mixed tempo originals, and a pair of carefully chosen covers: "Killing Me Softly," by Charles Fox and Norman Gimbel, and Antonio Carlos Jobim's and Aloysio de Oliviera's deeply moving "Dindi." Gale's single string lines bite harder than some of the Brazilian counterparts, but because his blues inflection is so pronounced against the lush strings, keyboards, and horns, it works wonderfully. Gale's own grooved out "Cleopatra," and the otherworldly funk and blues feel of "White Moth," are just off-kilter enough to add a labyrinthine dimension to the album. Gale was a tear when he was on Kudu, and this album is the first example of his particular brand of street tough yet bedroom romantic soul-jazz for the label. by Thom Jurek 
Tracklist:
1 Killing Me Softly with His Song 3:37
Charles Fox / Norman Gimbel
2 Cleopatra 4:50
Eric Gale
3 Dindi 7:21
Antônio Carlos Jobim / Aloysio de Oliveira
4 White Moth 5:57
Eric Gale
5 Tonsue Corte 4:18
Eric Gale
6 Forecast 7:48
Eric Gale
Credits:
Arranged By [Rhythm Section], Guitar – Eric Gale
Arranged By [Stings & Horns], Piano, Organ, Percussion [Bass Marimba], Synthesizer – Bob James
Baritone Saxophone – Pepper Adams
Cello – George Ricci, Seymour Barab
Congas, Percussion – Ralph MacDonald
Congas, Tambourine – Arthur Jenkins
Drums – Idris Muhammad, Rick Marotta
Electric Bass – Gordon Edwards
Electric Bass – Bill Salter
Flute, Piccolo Flute – Hubert Laws
Tenor Saxophone – Joe Farrell
Tenor Saxophone, Alto Saxophone – Jerry Dodgion
Tenor Saxophone, Flute – George Marge
Trombone – Alan Ralph, Garnett Brown, Tony Studd
Trumpet – John Frosk, Jon Faddis, Marvin Stamm, Randy Brecker, Victor Paz