FOURPLAY — Esprit De Four (2012) FLAC (tracks+.cue), lossless

For over 20 years, the collaborative ensemble Fourplay has grown ever more cohesive in its approach to modern jazz. When the three founding members added guitarist Chuck Loeb to the lineup for 2010's Let's Touch the Sky, the group attained perfect dialogic balance. Fourplay had made fine records before, but the guitar chair always felt either under- or overutilized. Though the long established leader, Loeb's writing, arranging, and playing are more ensemble-oriented than either of his two predecessors, Lee Ritenour or Larry Carlton. On Esprit de Four, Fourplay display themselves as among the most intuitive, forward-thinking, and focused groups in modern jazz -- yet remain very accessible. While their aesthetic has been and remains contemporary, they employ classic approaches to composition, melodic improvisation, rhythm, and harmony. Loeb's "December's Dream" kicks things off. It's an airy composition that weaves together folk, pop, jazz, and even Americana. The shimmering cymbal work of Harvey Mason highlights the interplay between Bob James and Loeb, while Nathan East's bassline instills the melody with an irresistible groove. On "Sonnymoon," his bassline is deeply funky, preceding a fine exchange between the rich colors in Loeb's chords and the warm texture of James' electric piano, all given weight by Mason's trademark breaks. The latter's title tune presents a Brazilian groove illustrated by Loeb's acoustic guitar atop unobtrusive background synth and organic percussion. James supports with fills and subtle timbral voicings. Vocals have been prevalent on past Fourplay records, but here they are upfront only on the bluesy nocturnal soul of East's "All I Wanna Do," and the closer, a vocal version of James' "Put Our Hearts Together," sung beautifully by Seiko Matsuda. The rest are used as wordless textures, like another instrument in the mix. The tune, originally an instrumental, was written by James for a concert in Japan right after the earthquake and tsunami. His daughter Hilary heard it and asked to write lyrics for an abbreviated version. Both are present here. The instrumental commences as a haunting, pop-classical piece that gives way to a weave of lyric conversation that eventually becomes a swinging post-bop jam with an excellent solo by James. Esprit de Four is a shining example of jazz as a collaborative endeavor; these well-established soloists play as equals in a band that communicates on a level that most groups only dream of. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    December Dream  7:47
Vocals [Additional] – Lizzy Loeb
Written-By – C. Loeb
2.    Firefly  4:11
Written-By – N. East, T. Keane
3.    Vênus  7:11
Written-By – H. Mason
4.    Sonnymoon  4:13
Written-By – C. Loeb
5.    Put Our Hearts Together (Instrumental)  5:18
Written-By – B. James, H. James
6.    All I Wanna Do  4:18
Arranged By – B. James
Written-By – N. East, T. Keane
7.    Logic Of Love  7:03
Written-By – C. Loeb
8.    Esprit De Four  6:24
Written-By – H. Mason, J. Peters
9.    Sugoi  4:22
Written-By – B. James
10.    Put Our Hearts Together (Vocal Track)  3:22
Lead Vocals – Seiko Matsuda
Written-By – B. James, H. James
Credits :
Bass, Vocals – Nathan East
Drums, Percussion, Vibraphone, Synthesizer, Concept By [Cover] – Harvey Mason
Guitar, Synthesizer – Chuck Loeb
Design [Cover], Keyboards – Bob James

TILL BRÖNNER and BOB JAMES — On Vacation (2020) FLAC (tracks+.cue), lossless

During the summer of 2019, Bob James met Till Brönner at La Fabrique, a residential studio located inside a 200-year-old mansion in Saint-Rémy-de-Provence, France. Intent on relaxing while making music, they sought to mentally transport listeners (and themselves) to places and spaces they wanted to travel to on vacation. Using a rotating cast of studio aces in their rhythm section, they deliver a carefully curated program of originals, covers, and standards.

Buddy Johnson's classic "Save Your Love for Me" opens with a languid shuffle. Brönner's flügelhorn offers the melody with elegance and warm trills as James adorns the changes gracefully with his grand piano. Drummer Harvey Mason carries the shuffle with double bassist Christian Von Kaphengst accenting the downbeat. Brönner's "Lemonade" is a tender, jaunty samba with James on electric piano. The composer contributes trumpet, keyboards, and airy vocals -- with phrasing derived directly from Michael Franks. James' "Late Night" is a wonderfully expressionist engagement with harmony, fluid rhythms, and subtly articulated melodic hooks. Brönner's "Lavender Fields" is the most speculative number here, employing a nocturnal swing, pillowy keyboard strings, hovering electric piano, and warm, liquidy reverbed flügelhorn. Only James' acoustic piano solo keeps it from floating away. The inclusion of Gilbert Becaud's and Neil Diamond's "September Morn" feels out of place here (though it is the single). Its tortoise-like pace is slower than the original's, and the saccharine sweetness in Brönner's playing is almost wince-inducing. The slippery smooth funk groove in James' "Elysium" could easily have come off one of the pianist's mid-'80s chart-toppers. Its inviting resonance is underscored by a finely wrought muted trumpet solo from Brönner. The cover of "I Get It from You" (by forgotten 20th century L.A. yacht poppers Pages), is an unexpected delight. Its fingerpopping chart includes Brönner swinging the lyrics and James adding sparkling fills and canny melodic articulations, topped by a grooving bassline and a swooping trumpet break. The pianist follows with the spectral, emotionally hefty waltz "Miranda," using Brönner's muted horn in sparse melodic phrases above syncopated harmonic changes. The trumpeter's slow groover "Scent of Childhood" is likely to be sampled often for Brönner's bluesy playing entwined with James' meaty chords. While Brönner sounds like he's having a ball singing on the title track, it's James' sprightly, weave of organ and electric piano filling out the groove that carries his lyrics, and thus the tune, home. The set bookend is another standard: A restrained read of Spencer Johnson's nugget "Basin Street Blues." The interplay between primaries is tender, even sweet (absent are any traces of Louis Armstrong or Jack Teagarden), yet its accents, fills, and interjections are colorful and in impeccable taste. On the surface, On Vacation, might seem slight upon first listen. Further investigation reveals an abundance of sophisticated melodic invention and classy, intuitive arrangements that expand on and underscore the album's intended, good-time feel. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    Save Your Love For Me 5:26
Arranged By – Bob James, Rachel Kwag
Composed By – Buddy Johnson
Double Bass – Christian Von Kaphengst
Drums – Harvey Mason
Flugelhorn – Till Brönner
Piano, Keyboards – Bob James
2.    Lemonade  4:50
Composed By – Till Brönner
Drums – David Haynes
Electric Bass – Christian Von Kaphengst
Flugelhorn, Vocals – Till Brönner
Keyboards – Bob James, Till Brönner
Lyrics By – Robin Meloy Goldsby
3.    Late Night  5>24
Composed By – Bob James
Double Bass – Christian Von Kaphengst
Drums – Wolfgang Haffner
Piano – Bob James
Trumpet – Till Brönner
4.    Lavender Fields  5:12
Composed By, Arranged By – Till Brönner
Double Bass – Christian Von Kaphengst
Drums – Wolfgang Haffner
Piano, Keyboards – Bob James
Trumpet – Till Brönner
5.    September Morn   4:11
Arranged By – Till Brönner
Composed By – Gilbert Bécaud, Neil Diamond
Double Bass – Yuri Goloubev
Drums – Harvey Mason
Flugelhorn – Till Brönner
Piano – Bob James
6.    Elysium  5:16
Composed By, Arranged By – Bob James, Rachel Kwag
Double Bass – Christian Von Kaphengst
Drums – Harvey Mason
Piano, Keyboards – Bob James
Trumpet – Till Brönner
7.    I Get It From You  4:46
Arranged By – Bob James
Arranged By [Horns] – Till Brönner
Composed By – John Lang, Richard Page, Steve George
Double Bass – Christian Von Kaphengst
Drums – Wolfgang Haffner
Flugelhorn, Vocals – Till Brönner
Piano, Keyboards – Bob James
8.    Miranda  4:36
Arranged By – Bob James, Rachel Kwag
Composed By – Bob James
Double Bass – Yuri Goloubev
Drums – Harvey Mason
Piano – Bob James
Trumpet – Till Brönner
9.    Scent Of Childhood  4:35
Composed By, Arranged By – Till Brönner
Double Bass – Christian Von Kaphengst
Drums – Harvey Mason
Piano – Bob James
Trumpet, Keyboards – Till Brönner
10.    On Vacation  3:45
Composed By, Arranged By – Till Brönner
Double Bass – Christian Von Kaphengst
Drums – David Haynes
Flugelhorn, Keyboards, Vocals – Till Brönner
Lyrics By – Robin Meloy Goldsby
Piano, Keyboards – Bob James
11.    Sunset Vale  5:43
Composed By, Arranged By – Harvey Mason, Scott Tibbs
Double Bass – Yuri Goloubev
Drums – Harvey Mason
Flugelhorn – Till Brönner
Piano – Bob James
12.    Basin Street Blues  5:15
Arranged By – Bob James, Till Brönner
Composed By – Spencer Williams 
Double Bass – Yuri Goloubev
Drums – Harvey Mason
Flugelhorn – Till Brönner
Piano, Keyboards – Bob James
– BONUS TRACKS –
13.    If Someone Had Told Me  4:05
Arranged By – Bob James
Composed By – Peter de Rose
Flugelhorn, Vocals – Till Brönner
Lyrics By – Charles Tobias
Piano – Bob James 

PATTI AUSTIN — Every Home Should Have One (1981-1991) Two Version | FLAC (image+.tracks+.cue), lossless

The talented Patti Austin launched a successful jazz album career on CTI by the mid-'70s. Working with Quincy Jones since 1976, Every Home Should Have One was her long-awaited solo album with Jones as a producer. The hit singles "Do You Love Me" and "Every Home Should Have One" are polished -- pleasing but derivative. Rod Temperton -- who did four songs here, including the smooth "The Genie" -- comes up with a true gem, the classic Austin and James Ingram duet "Baby Come to Me." The most telling aspect of Every Home Should Have One isn't the L.A. pop/R&B Austin could do standing on her head, it's the most meditative offerings. A cover of Thom Bell and Linda Creed's "Stop, Look and Listen" gets an effortless treatment. The album-closing "The Island," with music from Ivan Lins and Vitor Martins and lyrics by Alan and Marilyn Bergman, seems best suited for Austin as she gives a sensual and flawless reading. Every Home Should Have One doesn't possess Quincy Jones' all-encompassing production style of albums like The Dude and George Benson's Give Me the Night. While this seems like a debut album, it's far from it, but it's a perfect introduction to Austin and her more pop-orientated work. Jason Elias
Tracklist :
1.    Do You Love Me?  3:23
Backing Vocals [Male Background Vocals] – James Ingram
Bass – Louis Johnson
Lead Vocals, Backing Vocals [Female Background Vocals] – Patti Austin
Written-By – Rod Temperton
2.    Love Me To Death  4:08
Acoustic Guitar, Electric Guitar – Steve Lukather
Soloist, Synthesizer [Synthesizer Solo] – Greg Phillinganes
Written-By – Rod Temperton
3.    The Way I Feel  4:20
Arranged By [Synthesizer Arrangement] – Jerry Hey, Quincy Jones
Piano [Acoustic] – Richard Tee
Written-By – Eric Kaz, Wendy Waldman
4.    Every Home Should Have One 3:27
Keyboards – Richard Tee
Soloist, Tenor Saxophone [Tenor Sax Solo] – Ernie Watts
Written-By – Dominic Bugatti And Frank Musker
5.    Baby, Come To Me  3:37
Backing Vocals [Vocal Backgrounds] – James Ingram, Patti Austin
Lead Vocals [Lead Female Vocal] – Patti Austin
Vocals [Duet, Lead Male Vocal] – James Ingram
Written-By – Rod Temperton
6.    The Genie  3:59
Bass – Louis Johnson
Soloist, Synthesizer [Synthesizer Solo] – Greg Phillinganes
Written-By – Rod Temperton
7.    Stop, Look, Listen  3:09
Arranged By [Rhythm Arrangement] – Rod Temperton
Arranged By [Synthesizer Arrangement] – Jerry Hey, Quincy Jones
Written-By – Linda Creed, Thom Bell
8.    Symphony Of Love  3:41
Arranged By [Percussion Arrangement] – Ralph MacDonald
Written-By – Rod Bowkett
9.    Oh No, Margarita 3:54
Arranged By [Rhythm And Synthesizer Arrangements] – Michael Boddicker
Soloist, Tenor Saxophone [Tenor Sax Solo] – Ernie Watts
Written-By – Michael Boddicker, Patti Austin
10.    The Island 3:47
Lyrics By – Alan And Marilyn Bergman
Music By – Ivan Lins, Vitor Martins
Piano [Acoustic] – Bob James
Credits :
Arranged By [Rhythm Arrangement] – Quincy Jones (tracks: 3, 4, 7, 8)
Arranged By [Rhythm, Vocal And Synthesizer Arrangements] – Rod Temperton (tracks: 1, 2, 5, 6)
Arranged By [Vocal Arrangement] – Patti Austin (tracks: 4, 7 to 9), Quincy Jones (tracks: 3, 4, 7), Rod Temperton (tracks: 3, 4, 8)
Bass – Anthony Jackson (tracks: 4, 7, 8, 10), Eddie Watkins, Jr. (tracks: 3, 5, 9)
Drums – Chris Parker (tracks: 4, 7, 8, 10), John Robinson (tracks: 1 to 3, 5, 6, 9)
Electric Piano – Richard Tee (tracks: 7, 8, 10)
Guitar – Eric Gale (tracks: 4, 7, 8, 10), Steve Lukather (tracks: 1, 3, 4 to 6, 9)
Keyboards – Greg Phillinganes (tracks: 1 to 3, 5, 6, 9)
Percussion – Paulinho Da Costa (tracks: 1 to 3, 5, 6, 9), Ralph MacDonald (tracks: 4, 7, 8)
Producer – Quincy Jones
Synthesizer – Bob James (tracks: 3, 4, 8, 10), David Foster (tracks: 1, 5, 6), Greg Phillinganes (tracks: 1 to 7, 10), Michael Boddicker (tracks: 1, 2, 5 to 10), Rod Temperton (tracks: 2, 5, 7)
Vocals [All Vocals] – Patti Austin (tracks: 2 to 4, 6 to 10)

BOB JAMES — Jazz Hands (2023) FLAC (tracks+.cue), lossless

Tracklist :
1.    Bob James–    Mambalicious     3:43
2.    Bob James–    The Otherside    5:28
3.    Bob James, Cee-Lo–    Jazz Hands (ft. CeeLo Green)    3:18
4.    Bob James, Dave Koz–    Come Into My Dream (ft. Dave Koz)    5:15
5.    Bob James–    Beerbohm    4:37
6.    Bob James–    The Alchemist    4:39
7.    Bob James–    Mophead    4:39
8.    Bob James, DJ Jazzy Jeff–    That Bop (ft. DJ Jazzy Jeff)    4:45
9.    Bob James–    The Secret Drawer    4:01
10.    Bob James–    Sea Goddess    9:59
Notas :
Jazz Hands is Bob James’ third outing for evosound, following in the wake of 2018’s Espresso and 2022’s Feel Like Makin’ LIVE. Produced by the pianist with his manager Sonny Abelardo, the ten-track album was mostly recorded during the months of the Covid pandemic and featured James in a number of different musical settings. It also features a stellar cameo from the ex-Gnarls Barkley singer CeeLo Green on the sensuous title track and includes production input from the legendary hip-hop turntablist DJ Jazzy Jeff, who rose to fame as half of the hit-making ‘80s/’90s rap duo, DJ Jazzy Jeff And The Fresh Prince, early samplers of James’ music. Blending cool jazz tropes with funky dance floor grooves, blues-tinged ballads, cinematic mood pieces, and sensuous slow jams, Jazz Hands is the Missouri pianist’s most eclectic album of his long career. Simultaneously classic and contemporary, it’s Bob James at his majestic, ground-breaking, and timeless best. The album will be available on 180g Solid Blue and black vinyl LP, SACD- Hybrid Stereo and MQA-CD on the 15th September 2023. discogs.com

FOURPLAY — Silver (2015) Two Version | FLAC (image+.tracks+.cue), lossless

Silver marks the silver anniversary of Grammy-nominated jazz collective Fourplay, a supergroup consisting of bassist Nathan East, keyboardist Bob James, guitarist Chuck Loeb (who joined five years ago) and drummer Harvey Mason. Over their 25 year history, the four musicians have continued to explore together and celebrate their unprecedented bond with their most wide-ranging and gratifying recording to date. Following the theme of the occasion, most of the original compositions play off the anniversary and just like its namesake, Silver shines, each track a brilliant example of what has made this formidable ensemble one of the most respected in the jazz world. Former members Lee Ritenour and Larry Carlton return to Fourplay as guest artists on the album.

    On Silver, Fourplay celebrates that unprecedented bond with their most wide-ranging and gratifying recording to date. Following the theme of the occasion, most of the 10 new original compositions comprising Silver play off of the anniversary, bearing titles such as Sterling, Precious Metal and A Silver Lining. Just like its namesake, Silver shines, each track a brilliant example of what has made this formidable ensemble each of whom also has a highly successful career outside of the band one of the most respected in the jazz world. Silver also reunites two key earlier members of Fourplay with the current lineup: Larry Carlton, the world-class guitarist; and original Fourplay guitarist Lee Ritenour. Also featured is a high-profile guest player, the beloved saxophonist Kirk Whalum.

    For each member of Fourplay, the group s ability to remain so creative after so many years together has been a reward in itself. Says Nathan East, It became apparent from our very first album that this particular group of musicians had a special sound. We appreciate whatever that chemistry or magic has been between us and have had a great time on our journey together as we ve developed our music. Fourplay is four voices melding together to create a truly distinct and recognizable sound, says Harvey Mason, explaining the quartet s ability to continually find new avenues of expression. This group has so much musical experience that the accompanying and the listening are over the top. We ve all been sidemen as well as leaders and we cover the gamut of musical genres. It s a great feeling to know you can go in any direction and you ll be supported and pushed. We work together that is what you hear when you listen to Fourplay. web
Tracklist :
1.    Quicksilver  (6:44)
2.    Horace  (4:26)
3.    Sterling  (7:32)
4.    A Silver Lining (4:53)
5.    Silverado  (5:55)
Guitar – Larry Carlton
Organ – Mitch Forman
6.    Mine  (5:35)
7.    Silver Streak (6:23)
Backing Vocals – Chris Wells
8.    Precious Metal 7:22
Tenor Saxophone – Kirk Whalum
9.    Aniversario  (4:10)
Synth – Tom Keane
10.    Windmill  (5:38)
Guitar – Lee Ritenour
Keyboards [Additional] – John Beasley
Credits :
Acoustic Guitar, Electric Guitar, Synth – Chuck Loeb
Bass, Vocals – Nathan East
Drums, Percussion, Vibraphone, Synth – Harvey Mason
Piano, Electric Piano [Rhodes], Synthesizer – Bob James
Producer – Fourplay 

CARMEN CUESTA-LOEB — Dreams (2002) FLAC (tracks), lossless

Tracklist :
1    Dreams 5:46
Written-By – C. Cuesta
2    Invitation 5:23
Written-By – B. Kaper, P. F. Webster
3    Vuelvo A Ti 5:33
Written-By – C. Cuesta
4    No Te Olvidare 4:35
Written-By – C. Cuesta
5    Blue Kiss 4:12
Written-By – C. Cuesta, C. Loeb
6    Corcovado 4:45
Written-By – A. C. Jobim
7    Estrana 4:50
Written-By – C. Cuesta
8    The Shadow Of Your Smile 5:06
Written-By – J. Mandel, P. F. Webster
9    Something 4:00
Written-By – G. Harrison
10    Until 5:17
Written-By – C. Cuesta
11    The Garden 5:01
Written-By – C. Cuesta
12    My Romance 5:05
Written-By – L. Hart, R. Rodgers
Credits :
Arranged By, Producer [Produced By] – Carmen Cuesta-Loeb, Chuck Loeb
Backing Vocals – Lizzy Loeb (tracks: 6)
Bass – John Patitucci, Kevin Katz, Will Lee
Drums – Brian Dunne, Wolfgang Haffner
Flugelhorn – Till Brönner (tracks: 6)
Guitar, Keyboards, Drum Programming – Chuck Loeb
Keyboards, Piano – Mike Ricchiuti (tracks: 11)
Percussion – David Charles
Piano – Bob James (tracks: 4)
Tenor Saxophone – Andy Snitzer (tracks: 7), Michael Brecker (tracks: 1)
Vocals – Carmen Cuesta-Loeb 

BOB JAMES — In Hi-Fi (2003) SACD | APE (image+.cue), lossless

11 favorites compiled by Bob James from the Tappan Zee years. Making this collection even more special are Bob's own liner notes giving his personal insights into each of the recordings.
Tracklist :
1. Touchdown 5:41
 Bob James
2. Spunky 6:59
 Bob James
3. Rush Hour 6:39
 Bob James
4. Zebra Man 6:06
 Marcus Miller
5. Heads 6:40
 Dave Brock / Bob James / R. Neville
6. Westchester Lady 7:25
 Bob James
7. Tappan Zee 6:51
 Bob James
8. Blue Lick 5:31
 Bob James
9. Nautilus 5:45
 Bob James
10. Angela (Theme From 'Taxi') 5:42
 Bob James
11. Farandole 8:33
 Georges Bizet
Credits :
ft. Hiram Bullock, Steve Khan, Eric Gale - Guitar
Jon Faddis, Art Farmer - Trumpet
Harvey Mason, Sr., Steve Gadd - Drums
Leonard "Doc" Gibbs - Percussion
Groover Washington, Jr., David Sanborn - Sax
Hubert Laws - Flute

BOB JAMES TRIO — Straight Up (1996) FLAC (tracks+.cue), lossless

This record is an unexpected treat. Bob James has had a lucrative career writing and playing crossover jazz/pop. Although he had actually started his career with a straight-ahead trio date for Mercury in 1962 and also led a bizarre avant-garde session for ESP in 1965, his career since 1974 has offered very little of interest to consumers who prefer to hear inventive jazz as opposed to pleasant background music. But for this session, James returned to the roots few knew he had. Playing in an acoustic trio with bassist Christian McBride and drummer Brian Blade, James contributes five straightforward originals in addition to the standard "Lost April," and interprets tunes by Pat Metheny/Lyle Mays, Horace Silver ("The Jody Grind"), and Denny Zeitlin. While not hinting at all at his usual pop material, James plays quite well, takes plenty of chances, and sounds influenced a bit by Bill Evans. With McBride and Blade contributing consistently stimulating interplay, Bob James has recorded what is certainly the finest jazz album of his career. Scott Yanow 
Tracklist :
1 Night Crawler 4:43
Bob James 
2 Ambrosia 7:18
Bob James
3 James 4:52
Billy Joel / Lyle Mays / Pat Metheny
4 The Jody Grind 7:07
Horace Silver 
5 Lost April 5:39
Eddie DeLange / Emil Newman / Hubert Spencer 
6 Three Mice Blind 7:18
Bob James 
7 Hockney 6:10
Bob James 
8 Shooting Stars 6:20
Bob James 
9 Quiet Now 6:20
Denny Zeitlin 
Credits :
Bass – Christian McBride
Drums – Brian Blade
Piano – Bob James

FOURPLAY – Elixir (1995) FLAC (tracks+.cue), lossless

The third outing from Fourplay (Lee Ritenour, Nathan East, Bob James, and Harvey Mason clubbing together) is another lightly sautéed jazz offering, low-key and relaxed. Vocals this time are contributed by Phil Collins, East, Patti Austin, and Peabo Bryson (the latter two on an undistinguished version of "The Closer I Get to You"), but the main attraction for most is likely to be Ritenour's flexible guitar work. Steven McDonald
Tracklist :
1    Elixir    7:23
 Nathan East / Bob James / Lee Ritenour / Harvey Mason, Sr.
2    Dream Come True    5:15
 Nathan East / Ricky Lawson
3        Play Lady Play 4:36
 Bob James / Lee Ritenour
Arranged By – Lee Ritenour
4        Why Can't It Wait Till Morning 5:17
 Phil Collins
Arranged By – Bob James
Vocals – Phil Collins
5    Magic Carpet Ride    6:27
 Lee Ritenour
6    Whisper In My Ear    6:12
 Bob James
7    Fannie Mae    5:31
 Harvey Mason, Sr.
8    The Closer I Get To You 5:01
Arranged By – Fourplay
Producer [Vocals], Arranged By [Vocals] – Nathan East
Vocals – Patti Austin, Peabo Bryson
9    East 2 West    5:56
 Marcel East / Nathan East
10    Licorice    5:12
 Bob James
11    In My Corner 6:56
 Harvey Mason, Jr. / Harvey Mason, Sr.
Arranged By [Vocals] – Harvey Mason, Jr.
Credits :
Bass – Nathan East
Drums, Percussion, Marimba [Acoustic & Electric], Bongos, Jew's Harp – Harvey Mason
Executive Producer, Keyboards, Arranged By [Synth Orchestrations] – Bob James
Guitar [Guitars], Programmed By [Additional Computer & Synth], Recorded By [Additional] – Lee Ritenour
Producer – Fourplay
Programmed By [Computer & Synth], Recorded By [Additional] – Harvey Mason, Jr.

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) Two Version | The Original CTI Recordings Digitally Remastered For Compact Disc Series + CTI Records 40th Anniversary Series | 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. 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