JACQUES LOUSSIER TRIO - Mozart : Piano Concertos 20 / 33 with String Orchestra (2005) APE (image+.cue), lossless

This doesn't really work, but Jacques Loussier's attempt to make Mozart work as jazz is sufficiently complex enough to make you ask, as you're hearing it, why it isn't working, and maybe that's a worthwhile thing. As the liner notes point out, it is most often Bach among classical composers whose music has served as the basis for jazz experiments. Mozart-jazz is much rarer. Chick Corea has played Mozart piano concertos with jazz cadenzas, introducing improvisation where Mozart would have included it anyway -- a natural solution. But Loussier is more ambitious: he tries to recast the Piano Concerto No. 20 in D minor and Piano Concerto No. 23 in A major entirely as jazz. The problem is that Mozart lacks the combination of clear harmonic framework and steady rhythmic pulse that is fundamental to Bach's music. Mozart may seem to have a clear rhythmic pulse, but one key to his deceptive simplicity is that his manipulations of the listener's perception of time are both highly complex and perfectly balanced. The speed at which things are happening changes constantly but is perfectly controlled. Tamper with it, and the whole thing can fall apart.
Loussier goes to great lengths to stop that from occurring. First, he simplifies the overall picture by dropping Mozart's wind parts. Then he breaks up Mozart's flow of music into sections, treating each in a characteristic way. Mozart's opening themes are presented more or less straight, with a few syncopations and light jazz percussion added. It is in transitional material or material leading toward a transition (such as second themes and their subsidiary themes), that he sets his trio (piano, bass, and drums) loose with jazz improvisations upon Mozart's melodies and harmonic progressions. The jazz element thus partially stands in for developmental passages in which Mozart increases the tension by revving up the harmonic rhythm. This doesn't get from point A to point B as smoothly as Mozart does, but it's inventive, and Loussier's unfoldings of his ideas are interesting to follow. In rhythmically intense passages such as the opening of the last movement of the Piano Concerto No. 20 -- and only in these -- he turns the drummer loose. The opening themes to these (jazz-loving) ears just sounded bizarre, and sometimes one gets the feeling that the various elements of the music are competing with each other rather than working together. Yet Loussier did not approach his task with anything less than a full appreciation of the complexity of the job, and if he has not delivered a recording that is exactly attractive, he has shown us something of how difficult musical fusion really is when it has aims above the superficial. Any jazz musician who has wrestled with similar questions will find much to chew on here. by James Manheim
Tracklist:
Piano Concerto No. 20 in D minor, K. 466    
1     Allegro 13:39
2     Romance 9:29       
3     Rondo presto 9:18        
Piano Concerto No. 23 in A major, K. 488    
4     Allegro 12:26        
5     Adagio 5:58        
6     Allegro assai 8:27
Credits:
Acoustic Bass – Benoît Dunoyer de Segonzac
Composed By – Wolfgang Amadeus Mozart
Drums – André Arpino
Piano – Jacques Loussier
with Strig Orchestra:
Jean Claude Auclin - Cello
David Braccini - Violin
Vincent Debruyne - Viola
David Naulin - Violin
Paul Rouger - Violin
Jacques Saint-Yves - Violin
Richard Schmoucler - Violin
Renaud Stahl - Viola
Mathilde Sternat - Cello
Mathias Tranchant - Violin

JACQUES LOUSSIER TRIO - Schumann : Kinderszenen (2011) FLAC (image+.cue), lossless

Over the years, third stream music has been criticized in both the jazz and Euro-classical worlds. Jazz snobs have argued that if a jazz musician is playing something by Beethoven or Chopin, he/she can't possibly maintain an improviser's mentality; classical snobs will argue that great classical works need to be played exactly as they were written, and that jazz artists can't possibly do the compositions of Schubert or Debussy justice if they improvise. Thankfully, Jacques Loussier hasn't paid attention to the naysayers in either the jazz or classical worlds, and after all these years, the French pianist (who turned 76 in 2010) is still taking chances. This 2011 release finds Loussier putting his spin on Kinderszenen (Scenes from Childhood), which German romanticist Robert Schumann (born 1810, died 1856) composed in 1838. Schumann turned 28 that year, and he wrote that nostalgic, 13-song work in memory of his childhood. Loussier (who forms an acoustic piano trio with bassist Benoit Dunoyer de Segonzac and drummer André Arpino) performs Kinderszenen (Scenes from Childhood) in its entirety, and he approaches it not as European classical music, but as acoustic post-bop jazz. Thankfully, Kinderszenen (Scenes from Childhood) is appropriate for Loussier, who maintains the 13 songs' nostalgic outlook but does so in a consistently jazz-oriented fashion. Loussier sounds like he is fondly remembering his own childhood, which came about long after Schumann's. Indeed, Loussier was born in 1934, which was 96 years after Kinderszenen (Scenes from Childhood) was composed and 78 years after Schumann's death; Loussier grew up surrounded by a lot of music and technology that didn't exist when Schumann was a kid. But the more things change, the more they stay the same, and nostalgia continues to inspire musicians today just as it did in Schumann's pre-jazz, pre-electricity, pre-records time. This 49-minute CD is among Loussier's creative successes; his experimentation hasn't always worked, but it works impressively well for him on this imaginative interpretation of Kinderszenen (Scenes from Childhood). by Alex Henderson 
Tracklist:
1     Von Fremden Ländern Und Menschen (Of Foreign Lands & People)     2:52
2     Kuriose Geschichte (A Curious Story)     1:41
3     Haschemann (Blind Man's Bluff)     3:17
4     Bittendes Kind (Pleading Child)     2:56
5     Glückes Genug (Happy Enough)     3:01
6     Wichtige Begebenheit (An Important Event)     2:54
7     Traümerei (Dreaming)     9:54
8     Am Kamin (At The Fireside)     3:16
9     Ritter Vom Steckenpferd (Knight Of The Hobby Horse)     3:36
10     Fast Zu Ernst (Almost Too Serious)     6:03
11     Fürchtenmachen (Frightening)     2:30
12     Kind Im Einschlummern (Child Falling Asleep)     4:19
13     Der Dichter Spricht (The Poet Speaks)     3:04
Credits:
Bass – Benoit Dunoyer De Segonzac
Drums – Andre Arpino
Piano – Jacques Loussier

BILL EVANS - Escape (1996) FLAC (tracks+.cue), lossless

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz -- essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style -- a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T -- is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. by Alex Henderson

Tracklist:
1    Swing Hop 5:34
Drums – Billy Kilson
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trombone – Ken Meccia
Trumpet – Wallace Roney
Vocals – Loni Groves, Mark Ledford, Robin Beck
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
2    Escape 5:59
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Scratches – Max Risenhoover
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
3    Reality 6:19
Backing Vocals – Mark Ledford
Drums – Billy Kilson
Electric Bass – Ron Jenkins
Guitar – Gary Poulson
Keyboards, Drum Programming – Jim Beard
Percussion, Backing Vocals – Manolo Badrena
Soprano Saxophone – Bill Evans
Words By, Rap – Ahmed Best
Written-By – Bill Evans
4    The Sunday After 6:00
Backing Vocals – Mark Ledford
Electric Bass – Mark Egan
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
5    Rattletrap 4:36
Bass – Ron Jenkins
Drums – Steve Ferrone
Guitar – Gary Poulson
Organ [Hammond B-3] – Jim Beard
Tenor Saxophone, Alto Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans
6    Flash In Dreamland 5:17
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone – Bill Evans
Vocals – M.C. 900 Ft Jesus
Words By – Mark Griffin
Written-By – Bill Evans, Jim Beard
7    Coravilas 7:39
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Written-By – Bill Evans, Jim Beard
8    Easilee 4:55
Bass – Victor Bailey
Drums – Steve Ferrone
Guitar [Lead] – Lee Ritenour
Keyboards – Jim Beard
Percussion – Manolo Badrena
Rhythm Guitar – Jon Herington
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
9    Undercover 5:26
Drums – Steve Ferrone
Electric Bass – Marcus Miller, Ron Jenkins
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Tenor Saxophone, Alto Saxophone – Bill Evans
Written-By – Bill Evans
10    La Di Da 5:55
Backing Vocals – Mark Ledford
Bass – Victor Bailey
Drums – Jim Beard, Max Risenhoover
Guitar – Jon Herington
Keyboards – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
11    Armsakimbo 4:38
Bass – Victor Bailey
Drums [Additional] – Max Risenhoover
Guitar – Jon Herington
Keyboards, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
12    Aftermath 6:15
Backing Vocals – Mark Ledford
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Jon Herington
Keyboards, Programmed By [Bass] – Jim Beard
Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
13    Undercover (Remix - Marcus' Mad Flav) 5:30
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Mixed By – Jim Beard
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Remix – Marcus' Mad Flav
Tenor Saxophone, Alto Saxophone, Written-By – Bill Evans

BILL EVANS - Touch (1999) FLAC (tracks+.cue), lossless

Mixing laid-back melodies with go-for-broke jams with some of the greatest names in modern instrumental music, saxophonist Bill Evans lives in the middle ground between smooth jazz and what could easily be termed of as contemporary jazz fusion. On his Zebra Records debut, Touch, the distinction is based on each song's sense of adventure. "In Your Heart," for instance, is the kind of right in the pocket, sweet little slice of passion that radio drools over, made unique (as Evans does on all tunes) by switching off from the high tones of the soprano with the darker shades of tenor to better discuss the emotional complexities of love. Likewise there's the cool, urban-flavored "Remember," which features subtle vocal chanting floating off in the distance. But then there's the edgier side of Evans intertwining his soprano with Lew Soloff's staccato trumpet energy on the brisk blues of "Dixie Hop," and kicking up all sorts of dust on the last two tunes, "Back to the Walls" and the ten-minute "Country Mile." "Back to the Walls" blends both of Evans's axes with Soloff's trumpet, an African vocal chant, the insistent wah-wah guitar of Adam Rogers, and a jamming Memphis soul-inspired horn section featuring Soloff and trombonist Conrad Herving as the Voodoo Horns. by Jonathan Widran 

Tracklist:
1     Wild Ride     3:41
2     In Your Heart     4:46
3     Remembering     4:30
4     Dixie Hop     4:54
5     Girl By The Sea     5:20
6     Nashville Cowboys     4:01
7     Touch     5:00
8     Little Hands     4:44
9     Skippin'     4:46
10     BackTo The Walls     5:30
11     Country Mile     10:32
Credits:
Acoustic Bass – Chris Minh Doky
Acoustic Bass, Electric Bass – Tim Lefebvre
Bass – Mark Egan, Victor Bailey
Drum Programming – Michael Colina, Zach Danziger
Drums – Lionel Cordew, Vinnie Colaiuta
Grand Piano – Jim Beard
Grand Piano, Keyboards [Additional] – Henry Hey
Guitar – Adam Rogers, Chuck Loeb, Dean Brown, Lee Ritenour
Percussion – Manolo Badrena
Producer, Written-By, Arranged By – Bill Evans
Saxophone, Soprano Saxophone, Tenor Saxophone, Keyboards – Bill Evans
Trombone – Conrad Herwig
Trumpet – Lew Soloff, Wallace Roney
Vocals – Lani Groves, Philip Hamilton

YELLOWJACKETS - Samurai Samba (1985) FLAC (tracks+.cue), lossless

T he hive is alive with the sound of saxophones, but it’s still all about the groove on Samurai Samba. Keyboardist Russell Ferrante chooses soft keyboard textures, the rhythm section of Haslip and Lawson keep things funky, and Russo’s saxophone comments on the action but doesn’t drive it the way he would on Shades. Otherwise, there’s not much that separates this Samba from their other moves: you have the crossover pop song (“Lonely Weekend”), intoxicating grooves (“Homecoming,” “Deat Beat”) and soulful, smooth jazz (“Daddy’s Gonna Miss You,” “Silverlake”). Since I’m naturally distrustful of jazz, I tend to watch a band that will slip a “Sylvania” and “Silverlake” onto the same album with a raised eyebrow. 

My tastes tend to run more traditional, which is to say I favor the sly dissonance of bop and its related offspring. Yellowjackets do that too, on the closing “Samurai Samba” of all places, but making an album with a little something for everyone only makes everyone a little happy. Of course, as I’ve said before, I have a big blind spot when it comes to jazz, and the ‘80s saw a transitional period where jazz, funk and pop music got swirled together into a kind of supermarket samba that initially attracted new listeners to jazz. If you ask me, the new listeners were people in silly turtlenecks with unpronounceable audiophile components (“The D is silent...”) who were convinced that jazz was the audio equivalent of wheat germ, but I don’t know why you would ask me. It is interesting, however, that jazz critics who would pore over every note recorded by Miles Davis or John Coltrane and gush at the achievements of Weather Report and Pat Metheny would seldom devote a fraction of the energy to breaking down the work of Yellowjackets or Tom Scott. But then I tend to lump jazz into one big bucket, and clearly there’s a little jazz elf at work in the bucket rolling some of the jazz grapes to one side and some to another. And that’s how I started with a hive analogy and ended up with a grape-rolling elf in a bucket. web

Tracklist:

1. Homecoming 5:13

Russell Ferrante

2. Deat Beat 5:25

Russell Ferrante / Jimmy Haslip / Ricky Lawson / Marc Russo

3. Daddy's Gonna Miss You 4:33

Russell Ferrante / Jimmy Haslip / Ricky Lawson / Marc Russo

4. Sylvania 4:14

Russell Ferrante / Jimmy Haslip / Ricky Lawson

5. Silverlake 5:45

Russell Ferrante

6. Lonely Weekend 4:20

Bobby Caldwell / Joseph Curiale / Russell Ferrante / Ricky Lawson

7. Los Mambos 4:24

Paulinho Da Costa / Russell Ferrante / Marc Russo

8. Samurai Samba 5:18

Russell Ferrante

Credits:

Vocals – Bobby Caldwell, Carl Caldwell, Marilyn Scott, Paulinho Da Costa

Bass [5-string] – Jimmy Haslip

Drums, Drums [Electric] – Ricky Lawson

Guitar – Carlos Rios, Michael Landau

Keyboards – Russell Ferrante

Percussion – Paulinho Da Costa

Saxophone [Alto] – Marc Russo

YELLOWJACKETS - Lifecycle (2008) FLAC (tracks+.cue), lossless

If the Yellowjackets needed a guest guitarist, who would be the best person for the job? Pat Metheny would be an excellent choice, as would Al di Meola, John McLaughlin, Larry Coryell, or John Scofield. Well, the Yellowjackets did hire a guest guitarist for Lifecycle -- an excellent and well-known guitarist, in fact -- and they feature him extensively on this 2008 release. The guitarist is Mike Stern, who enjoys a strong rapport with the Yellowjackets' 2008 lineup: Russell Ferrante on acoustic piano and electric keyboards, Jimmy Haslip on electric bass, Bob Mintzer on tenor and soprano sax and bass clarinet, and Marcus Baylor on drums and percussion. Stern and the Yellowjackets are a perfectly logical combination -- especially in light of the hell-bent-for-jazz direction the Yellowjackets have favored since 1991's Greenhouse. With Greenhouse (which was Mintzer's first album with the outfit), Ferrante and Haslip made it clear that they wanted the Yellowjackets to be considered a serious, heavy-duty jazz combo instead of a group that pandered to smooth jazz stations. That isn't to say that the Yellowjackets' 1980s output lacks merit -- many of their '80s recordings are quite creative -- but with Greenhouse, Ferrante and Haslip really emphasized their Weather Report/Miles Davis/Return to Forever heritage. And that mindset continues to serve the Yellowjackets well 17 years later on Lifecycle. Jazz purists and bop snobs, of course, would argue that if you use electric instruments and have been influenced by rock or funk in any way, you aren't playing jazz, but the truth is that Stern and the Yellowjackets do bring a serious jazz improviser's mentality to engaging tracks like Haslip's bluesy "Country Living," Mintzer's mysterious "Falken's Maze," and Ferrante's probing, somewhat John Coltrane-ish "Measure of a Man." With its blend of electric and acoustic instruments, Lifecycle is relevant to both fusion and post-bop -- and it is also proof that collaborating with Stern was a very wise move for the Yellowjackets. by Alex Henderson

Tracklist:

1 Falken's Maze 6:25

Written-By – B. Mintzer

2 Country Living 6:24

Written-By – J. Haslip

3 Double Nickel 6:42

Written-By – M.Stern

4 Dreams Go 6:49

Written-By – M.Stern

5 Measure Of A Man 7:33

Written-By – R.Ferrante

6 Yahoo 4:52

Written-By – B. Mintzer

7 I Wonder 6:01

Written-By – B. Mintzer

8 3 Circles 7:30

Written-By – B. Mintzer, J. Haslip, M. Baylor, R.Ferrante

9 Claire's Closet 5:05

Written-By – R.Ferrante

10 Lazaro 5:15

Programmed By [Programming], Sequenced By [Sequencing] – Jimmy Haslip

Written-By – B. Mintzer, J. Haslip

Credits:

Marcus Baylor : Drums, Percussion

Russell Ferrante : Keyboards, Percussion, Piano

Jimmy Haslip : Bass (Electric), 

Bob Mintzer : Clarinet, Clarinet (Bass), Sax (Soprano), Sax (Tenor)

Jerry Mitkowski : Piano Technician

Mike Stern : Featured Guitar 

LALO SCHIFRIN - Black Widow (1976-2001) FLAC (tracks+.cue), lossless

Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals. Highlights among the covers include "Quiet Village," which transforms the exotica classic into a slow-burning funk vamp dressed with plenty of spacey synthesizer, and "Moonglow & Theme From Picnic," which reworks these classic film themes by giving them keyboard-driven arrangements that are gently nudged along by an insistent beat. Black Widow also spawned a dancefloor hit with Schifrin's imaginative reworking of "Jaws," which transformed John Williams' spooky monster-movie theme into an ominous, percolating slice of nocturnal funk built on wah-wah guitar and Schifrin's elegantly jazzy keyboard excursions. In terms of the original tunes, the standout is the title track, a keyboard showcase that weaves surging strings around a funky bass groove that is fleshed out with all manner of synth and electric piano shadings. The strong disco edge to the proceedings may turn off jazz purists, but Schifrin's imaginative and stylish arrangements keep the music from succumbing to disco-beat boredom, and his expert backup band (including session stalwarts like Andy Newmark and John Tropea) attacks the material with energy and style to burn. The end result is one of the peak albums in Lalo Schifrin's lengthy catalogue and a necessity for anyone interested in his jazz work. by Donald A. Guarisco   
Tracklist:
1 Black Widow 4:15
Written-By – Lalo Schifrin
2 Flamingo 4:28
Written-By – Ed Anderson, Ted Grouya
3 Quiet Village 3:59
Written-By – Les Baxter
4 Moonglow / Theme From Picnic 5:36
Written-By – DeLange, Mills, Hudson
5 Jaws 5:47
Written-By – J. Williams
6 Baia 4:03
Written-By – A. Barroso, R. Gilbert
7 Turning Point 3:28
Written-By – Lalo Schifrin
8 Dragonfly 5:15
Written-By – Lalo Schifrin

- Bonus Tracks - 

9 Frenesi 3:53

10 Tabu 4:33

11 Baia (Alt. Take) 7:44

12 Con Alma 6:30

Credits:
Alto Saxophone – Joe Farrell
Arranged By, Conductor – Lalo Schifrin
Backing Vocals – Patti Austin
Baritone Saxophone – Pepper Adams
Bass – Anthony Jackson
Bass Trombone – Dave Taylor
Congas – Carlos Martin (tracks: 2 to 8)
Drums – Andy Newmark
Flute – George Marge, Jerry Dodgion, Joe Farrell
Flute [Solo] – Hubert Laws (tracks: 5)
Guitar – Eric Gale (tracks: 3), John Tropea
Guitar [Solo] – Jerry Friedman (tracks: 3)
Keyboards – Clark Spangler, Lalo Schifrin
Percussion – Carter Collins, Don Alias, Sue Evans
 Trombone – Barry Rogers, Billy Campbell, Wayne Andre
Trumpet – Jon Faddis
Violin – Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Lookofsky, Matthew Raimondi, Max Ellen, Paul Gershman

LENNY WHITE - Streamline (1978-2002) APE (image+.cue), lossless

Lenny White's 1977 recording The Adventures of Astral Pirates was an incredibly tough act to follow -- so tough, in fact, that anything less than a five-star gem was likely to seem a bit disappointing. Streamline, the 1978 LP that came right after The Adventures of Astral Pirates, isn't a five-star gem, but it isn't bad either. Although not in a class with The Adventures of Astral Pirates or 1975's Venusian Summer, let alone White's work with Return to Forever, Streamline is a generally decent, if mildly uneven, collection of instrumental jazz fusion and R&B vocal numbers. While this album (which White produced with Earth, Wind & Fire keyboardist Larry Dunn) isn't as R&B-oriented as White's Twennynine projects would be, the drummer is obviously going after R&B audiences on "Time" (a somewhat Earth, Wind & Fire-ish funk item) and an interesting cover of the Beatles' "Lady Madonna" (which features soul goddess Chaka Khan). But there is also plenty of fusion, and instrumentals like "Night Games," "Struttin'," and the Brazilian-influenced "Pooh Bear" are enjoyable even though they fall short of the brilliance of the material on The Adventures of Astral Pirates and Venusian Summer. While Streamline isn't among White's essential albums, it's a likable set. by Alex Henderson 
Tracklist:
1     Struttin'    4:45
    Synthesizer [Mini Moog] – Larry Dunn
2     Lady Madonna     3:54
    Lead Vocals, Backing Vocals – Chaka Khan
3     12 Bars From Mars     3:10
4     Earthlings     4:48
5     Spazmo Strikes Again     0:25
6     Time     2:58
7     Pooh Bear     5:02
8     Lockie's Inspiration     0:41
9     I'll See You Soon     6:30
    Bass – Marcus Miller
10     Night Games     3:58
11     Cosmic Indigo     0:50
    Bass – Marcus Miller
Credits:
Bass [Basses] – Marcus Miller
Drums, Percussion – Lenny White
Guitar – Jamie Glaser, Nick Moroch
Keyboards – Denzil "Broadway" Miller
Keyboards, Vocals – Donald "Captain Keyboards" Blackman
Programmed By [All Synthesizers] – Larry Dunn
Chaka Khan – lead vocals (track 2)

Diane Reeves – vocals (track 4), background vocals

MILES DAVIS - You're Under Arrest (1985) FLAC (image+.cue), lossless

Miles Davis's final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper's "Time After Time" and the Michael Jackson-associated "Human Nature," two songs he would play in most of his concerts for the remainder of his life. Other tunes (including "You're Under Arrest," "One Phone Call" and "Ms. Morrisine") were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield and guest John McLaughlin get in a few decent solos on this competent but not overly memorable effort. by Scott Yanow
Tracklist:
1 One Phone Call / Street Scenes 4:36
Performer [Handcuffs] – James Prindiville
Voice [French Policeman] – Sting
Voice [Police Voices, Davis Voices] – Miles Davis
Voice [Polish] – Marek Olko
Voice [Spanish] – Steve Thornton
2 Human Nature 4:30
3 Intro: MD 1 / Something's On Your Mind / MD 2 7:18
4 Ms. Morrisine 4:56
5 Katia Prelude 0:42
Synthesizer [Obxa] – Miles Davis
6 Katia 7:39
Synthesizer [Obxa] – Miles Davis
7 Time After Time 3:39
8 You're Under Arrest 6:13
Organ, Clavinet – Robert Irving III
9 Medley: Jean Pierre / You're Under Arrest / Then There Were None 3:27
Celesta – Robert Irving III
Credits:
Bass – Darryl Jones
Drums – Al Foster (tracks: 1, 7 to 9), Vincent Wilburn, Jr. (tracks: 2 to 6)
Guitar – John McLaughlin (tracks: 4 to 6), John Scofield (tracks: 1 to 3, 7, 9)
Illustration – Miles Davis
Percussion – Steve Thornton
Producer – Miles Davis
Soprano Saxophone – Bob Berg (tracks: 1, 8, 9)
Synthesizer – Robert Irving III
Trumpet – Miles Davis

MILES DAVIS - doo-bop (1992) FLAC (tracks+.cue), lossless

If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles' teaming with producer Easy Mo Bee is a natural -- more in league with England's acid jazz scene than anything in the trumpeter's recent canon. Those who've howled over the post-Bitches Brew work will find no solace here; instead, chalk this up as one of Miles' most entertaining efforts. by Steve Aldrich
Tracklist:
1 Mystery 3:55
Mixed By – D'Anthony Johnson
2 The Doo-Bop Song 5:00
Featuring – A.B. Money, Easy Mo Bee, J.R.
Mixed By – D'Anthony Johnson
3 Chocolate Chip 4:38
Mixed By – D'Anthony Johnson
4 High Speed Chase 4:41
Mixed By – Eric Lynch
5 Blow 5:06
Featuring – Easy Mo Bee
Mixed By – Matthew "Boomer" Lamonica
6 Sonya 5:31
Mixed By – Eric Lynch
7 Fantasy 4:35
Featuring – Easy Mo Bee
Mixed By – Roy Hendrickson
8 Duke Booty 4:55
Mixed By – D'Anthony Johnson
B5 Mystery (Reprise)
Mixed By – D'Anthony Johnson
Credits:
Producer – Easy Mo Bee
Written-By – Donald Hepburn (tracks: 3), Easy Mo Bee, Larry Mizell (tracks: 4), Miles Davis

JEAN-LUC PONTY - Upon the Wings of Music (1975) APE (image+.cue), lossless

Jean-Luc Ponty, who at the time was still with the second version of the Mahavishnu Orchestra, is heard playing his own brand of fusion on this excellent recording. Upon the Wings of Music set the standard for his music of the next decade. With keyboardist Patrice Rushen, Dan Sawyer or Ray Parker on guitars, bassist Ralphe Armstrong and drummer Ndugu, the violinist performs eight of his highly arranged but spirited originals. His early Atlantic recordings (of which this is the first) remain underrated for their important contributions to the history of fusion. by Scott Yanow
Tracklist:

1 Upon The Wings Of Music 5:24

2 Question With No Answer 3:25
3 Now I Know 4:25
Synthesizer [Strings Synthesizer] – Jean-Luc Ponty
4 Polyfolk Dance 5:10
5 Waving Memories 5:40
6 Echoes Of The Future 3:08
7 Bowing-Bowing 4:52
8 Fight For Life 3:34
Credits:

Arranged By, Composed By, Electric Violin, Electric Violin [Violectra], Violin [Acoustic] – Jean-Luc Ponty

Bass Guitar, Electric Bass – Ralphe Armstrong
Drums, Rototoms, Percussion – Leon Ndugu Chancler
Electric Guitar – Dan Sawyer (tracks: Except 8), Ray Parker Jr. (tracks: 8)
Electric Piano, Piano [Acoustic], Synthesizer, Organ, Clavinet – Patrice Rushen
Producer, Composed By, Arranged By – Jean-Luc Ponty

JEAN-LUC PONTY - Imaginary Voyage (1976) WV (image+.cue), lossless)

As of 1976, Jean-Luc Ponty's variations on the Mahavishnu Orchestra theme were still fresh and imaginative, cast in a distinctively different, more lyrical, more controlled framework. For Imaginary Voyage, Ponty's instrumental lineup is identical to that of Mahavishnu -- electric violin, guitar, keyboards, bass, drums -- but he turns the emphasis on its head, with all commands coming directly from the violin (his) and less competitive crossplay emanating from his colleagues. For starters, "New Country" is a lively jazz-rock hoedown, one of those periodic C&W side trips that some fusioneers attempt for a lark, and "The Gardens of Babylon" is a wonderfully memorable tune, the beginnings of which grow out of "New Country." The last half of the LP is taken up by the title composition, a strong four-part suite that hangs together with barely a snag in interest over its 20-minute span. by Richard S. Ginell

Tracklist:

1. New Country (3:07)

2. The Gardens Of Babylon (5:06)

3. Wandering On The Milky Way (Violin Solo) (1:50)

4. Once Upon A Dream (4:08)

5. Tarantula (4:04)

6. Imaginary Voyage

Part I (2:22)

Part II (4:05)

Part III (5:28)

Part IV (8:00)

Total Time 38:10

Line-up / Musicians

- Jean-Luc Ponty / Electric and acoustic violins, organ and background synthesizers

- Marc Craney / Percussion

- Tom Fowler / Electric bass

- Daryl Steurmer / Electric and acoustic guitars

- Allan Zavod / Electric keyboards and acoustic piano

RAMSEY LEWIS - Sun Goddess (1974-1999) RM / FLAC (tracks+.cue), lossless

Pianist Ramsey Lewis first came to fame as the purveyor of swinging soul-jazz in the mid-'60s, but like a lot of musicians he underwent some major changes by the end of that decade. Sun Goddess (1974), Lewis' biggest success of the decade, is miles away from the finger-snapping supper club sounds of "The In Crowd." By this time, Lewis had transformed himself into a jazz fusion funkateer, riffing on electric piano and synthesizer amid arrangements that meld jazz with funk, R&B, and yes, even touches of progressive rock. Sun Goddess is also something of a stealth Earth, Wind & Fire album, as it features most of the key players from that band, and bears echoes of EW&F's jazzier, more atmospheric side. by Rovi Staff

Tracklist:

1 Sun Goddess 8:29

Bass, Vocals – Verdine White

Congas, Vocals – Philip Bailey

Electric Piano [Fender Rhodes], Synthesizer [Arp Ensemble] – Charles Stepney

Guitar – Johnny Graham

Tenor Saxophone – Don Myrick

Timbales, Drums, Vocals – Maurice White

2 Living For The City 5:20

Bass [Upright Bass], Bass [Fender Bass] – Cleveland Eaton

Drums, Tambura, Congas, Percussion – Maurice Jennings

3 Love Song 5:53

Bass [Upright Bass], Bass [Fender Bass] – Cleveland Eaton

Drums, Tambura, Congas, Percussion – Maurice Jennings

Guitar – Byron Gregory

4 Jungle Strut 4:40

Bass [Upright Bass], Bass [Fender Bass] – Cleveland Eaton

Congas, Drums, Sounds [Weeah], Vocals – Derf Rehlew Raheem

Drums, Tambura, Congas, Percussion – Maurice Jennings

Guitar – Byron Gregory

Synthesizer [Freeman String Symphonizer] – Ramsey Lewis

5 Hot Dawgit 3:00

Bass, Vocals – Verdine White

Congas, Vocals – Philip Bailey

Electric Piano [Fender Rhodes], Synthesizer [Arp Ensemble] – Charles Stepney

Guitar – Johnny Graham

Timbales, Drums, Vocals – Maurice White

6 Tambura 2:53

Bass [Upright Bass], Bass [Fender Bass] – Cleveland Eaton

Drums, Tambura, Congas, Percussion – Maurice Jennings

Guitar – Byron Gregory

7 Gemini Rising 5:50

Bass [Upright Bass], Bass [Fender Bass] – Cleveland Eaton

Drums, Tambura, Congas, Percussion – Maurice Jennings

ARTURO SANDOVAL - A Time for Love (2010) FLAC (tracks+.cue), lossless

Arturo Sandoval is a true maestro: despite his reputation as a bop-based trumpeter who plays jazz inspired by his native Cuban tradition, he has delved deeply into tango, swing, and electric jazz in his long career. He is also a fine pianist and percussionist. That said, the notion of him recording a collection of classical pieces, standards, and ballads with a trio and a string orchestra as backing is more than a bit of a surprise. Nonetheless, that’s what A Time for Love basically is. Sandoval claims that this is the realization of a 20-year dream. He wanted it bad enough to make and release the record himself, but fate stepped in. Pianist Shelly Berg heard the demos and brought him to Concord’s Greg Field, who in turn brought in Grammy-winning arranger Jorge Calandrelli. They co-produced while Calandrelli arranged eight of the nine string charts -- Berg arranged the other and brought in his trio to back up Sandoval.
The classical readings include Fauré’s “Aprés un Reve" and “Pavane,” Ravel’s "Pavane Pour une Infante Defunte" (with Chris Botti on second trumpet), and Astor Piazzolla's “Oblivion” (with Monica Mancini on vocals). All reveal the emotional depth of Sandoval's playing, not just his technical acumen. While his fiery jazz playing can emote, it is often overshadowed by his expertise. Here, it is softness and tenderness without sentimentality that speak to the listener. The standards such as “I Loves You Porgy,” the shimmering swing in “Speak Low,” and the deep romance in the Johnny Mandel-Johnny Mercer classic “Emily” seemingly come from the vocal jazz tradition. Yet in them one can readily hear what Sandoval claims are his two greatest inspirations for this album: trumpeter Bobby Hackett's playing with the Jackie Gleason Orchestra, and the album Clifford Brown with Strings. The musical economy of those influences is reflected in the emotional weight and complex lyrical dimension carried in each note by Sandoval; the arrangements serve to heighten that revelation rather than overtake it. There are two very satisfying bonus tracks included as well, “The Windmills of Your Mind,” a stellar duet with Berg, and Cole Porter's “Every Time We Say Goodbye,” with Kenny Barron guesting on piano. It’s tempting to call A Time for Love Sandoval's masterpiece, but that is based on the sharp contrast with virtually everything else in his catalog; only time will reveal whether or not it is. For now, what is certain is that it is one of them. by Thom Jurek  
Tracklist:
1 Apres Un Reve (After The Dream) 5:10
Arranged By – Jorge Calandrelli
Written-By – Gabriel Fauré
2 Emily 2:46
Written-By – Johnny Mandell, Johnny Mercer
3 Speak Low 4:37
Arranged By – Shelly Berg
Written-By – Kurt Weill, Ogden Nash
4 Estate 3:59
Arranged By [Rhythm Arrangement] – Shelly Berg
Arranged By [String Arrangement] – Jorge Calandrelli
Vocals – Arturo Sandoval
Written-By – Bruno Martino
Written-By – Bruno Brighetti
5 A Time For Love 5:05
Arranged By [Rhythm Arrangement] – Shelly Berg
Arranged By [String Arrangement] – Jorge Calandrelli
Written-By – Johnny Mandel
6 Pavane Pour Une Infante Defunte (Pavane For A Dead Princess) 5:14
Arranged By – Jorge Calandrelli
Featuring, Trumpet – Chris Botti
Written-By – Maurice Ravel
7 I Loves You Porgy 5:15
Arranged By – Shelly Berg
Written-By – Heyward Du Bose
Written-By – George Gershwin-Ira Gershwin
8 Oblivion (How To Say Goodbye) 5:26
Featuring, Vocals – Monica Mancini
Written-By – Astor Piazzolla, Gregg Field, Marty Panzer
9 Pavane 4:52
Arranged By – Jorge Calandrelli
Written-By – Gabriel Fauré
10 Smile 4:01
Arranged By [Rhythm Arrangement] – Shelly Berg
Arranged By [String Arrangement] – Jorge Calandrelli
Vocals – Arturo Sandoval
Written-By – Geoffrey Parsons
Written-By – Charlie Chaplin, James Phillips 
11 All The Way 4:03
Written-By – Sammy Cahn-Jimmy Van Heusen
12 Smoke Gets In Your Eyes 4:23
Arranged By [Rhythm Arrangement] – Shelly Berg
Arranged By [String Arrangement] – Jorge Calandrelli
Written-By – Jerome Kern, Otto Harbach
Encore
13 Windmills Of Your Mind 5:35
Arranged By – Arturo Sandoval, Shelly Berg
Featuring – Shelly Berg
Written-By – Alan Bergman-Marilyn Bergman, Michel Legrand
Very Special Bonus Track
14 Every Time We Say Goodbye 5:54
Arranged By – Mark Joggerst
Featuring, Piano – Kenny Barron
Written-By – Cole Porter
Credits:
Bass – Chuck Berghofer
Cello – Christine Ermacoff, Dennis Karmazin, Trevor Handy, Vanessa Freebairn-Smith
Concertmaster – Bruce Dukov
Drums, Percussion – Gregg Field
Orchestra [Orchestra Conducted By] – Jorge Calandrelli
Piano – Shelly Berg
Trumpet, Flugelhorn, Vocals – Arturo Sandoval
Viola – Alma Fernandez, Darren McCann, Harry Shirinian, Keith Greene
Violin – Charlie Bisharat, Darius Campo, David Ewart, Kevin Connolly, Liane Mautner, Natalie Legget, Phillip Levy, Razdan Kuyumijian, Robin Olson, Searmi Park, Songa Lee, Tamara Hatwan, Tiffany Yi Hu

VICTOR FELDMAN - Suite Sixteen (1958-1991) RM / APE (image+.cue), lossless

This interesting set features Victor Feldman shortly before he left England for the United States. Feldman, mostly heard on vibes but also making strong appearances on piano and drums, heads several groups filled with English All-Stars, including such notable musicians as trumpeters Jimmy Deuchar and Dizzy Reece, tenors Ronnie Scott and Tubby Hayes, and pianist Tommy Pollard. The music is boppish with some surprises in the consistently swinging arrangements, giving one a definitive look at Victor Feldman near the beginning of his  by Scott Yanow
Tracklist:
1 Cabaletto 2:52
2 Elegy 3:32
3 Suite Sixteen 8:45
4 Sonar 6:40
5 Big Top 3:38
6 Duffle Coat 5:18
7 Brawl For All 4:16
8 Sunshine On A Dull Day 5:51
9 Maenya 3:49
Credits:
Alto Saxophone – Derek Humble (tracks: 3,4,7,8)
Baritone Saxophone – Harry Klein (tracks: 1,2,5,9)
Bass – Eric Peter (tracks: 3), Lennie Bush (tracks: 1,2,4 to 9)
Congas – Victor Feldman (tracks: 9)
Drums – Phil Seamen (tracks: 1,2,5,9), Tony Crombie (tracks: 3,4,6,7,8,), Victor Feldman (tracks: 1)
French Horn – John Burden (tracks: 1,2,5,9)
Piano – Norman Stenfalt (tracks: 1,2,5,9), Terry Pollard (tracks: 1 to 6, 8,9), Victor Feldman (tracks: 7)
Tenor Saxophone – Ronnie Scott (tracks: 1,2,5,9), Tubby Hayes (tracks: 1,2,5,9)
Trumpet – Dizzy Reece (tracks: 1,2,4,5,7,8,9), Jimmy Deuchar (tracks: 1,2,4,5,7,8,9)
Vibraphone – Victor Feldman (tracks: 2 to 6, 8)

LYLE MAYS - Street Dreams (1988) FLAC (tracks+.cue), lossless

Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music. The solo "Chorinho" is a running classical exercise on electric keyboards, almost a contemporary Bachianas Brasileiras (to borrow Villa-Lobos' term) and a considerable feat of invention. The biggest surprise of all may well be "Possible Straight," a brief, straight-ahead piece of big band hard bop, and "Before You Can Go" seems to be the token emulation of the Metheny groove. There's a lot of inventive, mostly easygoing music here, though if one must choose, the level is not as consistently high as on Mays' first album. by Richard S. Ginell  

JASON MILES - Cozmopolitan (2005) FLAC (image+.cue), lossless

THE BRECKER BROTHERS - The Brecker Bros. (1975-2015) 24-96

Tracklist:

1 Some Skunk Funk 5:51

2 Sponge 4:05

3 A Creature Of Many Faces 7:40

4 Twilight 5:43

5 Sneakin' Up Behind U 4:54

6 Rocks 4:39

7 Levitate 4:31

8 On My Stars 3:13

9 D.B.B. 4:46

Credits:

Alto Saxophone – Dave Sanborn

Drums – Harvey Mason

Electric Bass – Will Lee

Guitar – Bob Mann

Keyboards – Don Grolnick

Percussion – Ralph MacDonald

Tenor Saxophone – Michael Brecker

Trumpet, Flugelhorn – Randy Brecker

Vocals – Randy Brecker, Will Lee

THE BRECKER BROTHERS - Back to Back (1976) FLAC (image+.cue), lossless

Tracklist:

1 Keep It Steady (Brecker Bump) 6:24

Written-By – D. Sanborn, L. Vandross, R. Brecker, S. Khan

2 If You Wanna Boogie...Forget It 3:58

Written-By – D. Grolnick, S. Khan, W. Lee

3 Lovely Lady 6:18

Written-By – A. Willis, C. Crossley, R. Brecker

4 Night Flight 6:15

Written-By – M. Brecker

5 Slick Stuff 4:48

Written-By – R. Brecker

6 Dig A Little Deeper 4:00

Written-By – A. Willis, D. Lasley, D. Grolnick, W. Lee

7 Grease Piece 5:47

Written-By – D. Sanborn, M. Brecker, R. Brecker, S. Khan

8 What Can A Miracle Do 4:16

Written-By – D. Grolnick, L. Vandross

9 I Love Wastin' Time With You 6:32

Written-By – A. Willis, C. Crossley, M. Brecker

Credits:

Alto Saxophone – David Sanborn

Baritone Saxophone – Lew Del Gatto (tracks: 2)

Drums – Christopher Parker, Steve Gadd (tracks: 4, 9)

Electric Bass, Lead Vocals – Will Lee

Guitar – Steve Khan

Keyboards – Don Grolnick

Marimba – Dave Friedman (tracks: 6)

Percussion – Ralph MacDonald, Rafael Cruz (tracks: 4), Sammy Figueroa (tracks: 4)

Tenor Saxophone, Flute – Michael Brecker

Trumpet, Trumpet [Electric Trumpet], Flugelhorn – Randy Brecker

THE BRECKER BROTHERS - Don't Stop the Music (1977) Mp3

This 1977 effort continues their hitmaking streak of one of fusion and R&B's durable and respected units. While this album's predecessor, Back to Back, was credited to the Brecker Brothers Band and featured members including David Sanborn and Steve Khan, it came off as underdone and facile. Don't Stop the Music does present their gifts in a more cogent fashion, but not without a few odd detours. The title track and "Finger Licking Good" are pure disco efforts, with pushy rhythms and ingratiating backing vocals. Although they are both a little silly, they have great horn riffs and boast a potent production. Despite those danceable offerings, Don't Stop the Music also features some of the brothers' most challenging work. The funky and quirky "Squids" features Randy Brecker's customarily offbeat and singular electric trumpet work. Hiram Bullock's articulate guitar also shines on that track and he fit into the Breckers sound like no other player. "Funky Sea, Funky Dew" is a reflective, urbane mid-tempo offering that has great tenor solos from Michael Brecker. The just-as-strong "Petals" features a poignant trumpet work from Randy Brecker. Don't Stop the Music enlists rock producer Jack Richardson, and he and co-producer Steve Backer both capture the more powerful aspects of the duo. Recorded at Atlantic Studios and engineered by Gene Paul, Don't Stop the Music boasts an interesting sound, and is one of the Brecker Brothers' better efforts. by Jason Elias  
Tracklist:
1 Finger Lickin' Good 3:58
Lyrics By – Ticky Brecker
Written-By – Randy Brecker
2 Funky Sea,Funky Dew 6:13
Written-By – Michael Brecker
3 As Long As I've Got Your Love 4:14
Written-By – Beverly Billard, Doug Billard
4 Squids 7:42
Written-By – Randy Brecker
5 Don't Stop The Music 6:30
Written-By – Jerry Friedman
6 Petals 4:20
Written-By – Randy Brecker
7 Tabula Rasa 8:19
Written-By – Randy Brecker
Credits:
Alto Saxophone [Alto Sax] – Lou Marini
Arranged By [Horns And Strings] – Doug Riley
Backing Vocals – Beverly Billard (tracks: 3), Christine Faith, Doug Billard (tracks: 3), Josh Brown, Robin Clark, Will Lee
Baritone Saxophone [Baritone Sax] – Lew Del Gatto
Bass – Will Lee
Bass Trombone – David Taylor
Cello – Jesse Levy, Richard Locker
Concertmaster – Gene Orloff
Congas – Sammy Figueroa (tracks: 7)
Drums – Chris Parker (tracks: 1 to 3, 5), Lenny White (tracks: 7), Steve Gadd (tracks: 4, 6)
Electric Guitar, Electric Guitar [Electric 12 String Guitar] – Steve Khan
Electric Piano – Jerry Friedman (tracks: 5)
Guitar – Hiram Bullock (tracks: 2 to 4, 6), Jerry Friedman (tracks: 1), Sandy Torano (tracks: 1, 3)
Keyboards – Don Grolnick, Doug Riley
Percussion – Ralph MacDonald
Tenor Saxophone [Tenor Sax], Flute – Michael Brecker
Trombone – Barry Rogers
Trumpet – Alan Rubin
Trumpet, Flugelhorn, Trumpet [Electric Trumpet] – Randy Brecker
Viola – Alfred Brown, Lamar Alsop, Richard Maximoff
Violin – Aaron Rosand, Ariana Bronne, Guy Lumia, Harold Kohon, Harry Lookofsky, Matthew Raimondi, Paul Gershman, Peter Dimitriades, Sanford Allen