JOE SAMPLE — Rainbow Seeker (1978-1996) FLAC (tracks+.cue), lossless

Back in 1978 when this set was recorded, fusion (the mixture of jazz improvisation with rock rhythms) was declining. Keyboardist Joe Sample, best-known for his work with the Crusaders, was in the process of being one of the founders of "contemporary jazz," an idiom that has since solidified into smooth jazz. Sample emphasized catchy melodies, light funk rhythms, appealing chord changes and a pop sensibility. For this accessible release, Sample is joined by the late legendary guitarist Billy Rogers, bassist Pops Popwell, his old Crusaders drummer Stix Hooper, a horn section and several guest guitarists. All eight tunes (which include "Fly with the Wings of Love" and "Islands in the Rain") are by the leader, who is heard throughout in melodic form, setting up a variety of light grooves that serve as superior background music. Scott Yanow    Tracklist & Credits :

JOE SAMPLE — Carmel (1979-1985) APE (image+.cue), lossless

Pianist Joe Sample is a pioneer at creating melodic and accessible pop-jazz. His recordings of the 1970s and '80s were consistently popular, especially this best-seller. Sample is joined on most selections by fellow Crusader Stix Hooper on drums, electric bassist Abraham Laboriel, percussionist Paulinho Da Costa, and, often, guitarist Dean Parks. Flutist Hubert Laws guests on "Midnight and Mist." The memorable melodies, clean harmonics, and Sample's fine playing make Carmel a high point among his solo recordings  Scott Yanow    
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JOE SAMPLE — Voices in the Rain (1980) FLAC (tracks+.cue), lossless

There is a fair amount of variety on this reasonably enjoyable but not essential release from keyboardist Joe Sample. Most of the tunes fall into the area of funky crossover with strong melodies, danceable rhythms and few chances taken. Flora Purim takes the vocal on "Shadows" and is joined by two other singers for the spirited "Burnin' Up The Carnival." The acoustic "Sonata In Solitude" has violinist L. Subramaniam, guitarist John Collins and bassist Ray Brown, but that is a one-time departure on what is basically a commercial set geared for radio airplay. Scott Yanow    Tracklist & Credits :

JOE SAMPLE — The Hunter (1983) FLAC (tracks+.cue), lossless

Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. William Ruhlmann    Tracklist & Credits :

JOE SAMPLE — Oasis (1985) FLAC (tracks+.cue), lossless

Pianist Joe Sample, who has had easily the most successful solo career of any of the Crusaders, recorded a series of melodic and lightly funky sets for MCA in the 1980s. This particular outing (which is available on CD) is unfortunately quite weak due to the forgettable melodies. Sample is joined by Dean Parks, Carlos Fearing, David T. Walker and/or Barry Finnerty on guitars, either Wilton Felder, Abraham Laboriel or Nathan East on bass, drummer Ndugu, percussionist Paulinho Da Costa and occasional synthesizers and strings; he plays well enough, but the material is quite inferior. One song ("The Survivor") features Phyllis Hyman's over-the-top R&B singing. Otherwise, the program consists of lightweight instrumentals, pleasant but mundane. Get Sample's Carmel instead. Scott Yanow    Tracklist & Credits :

JOE SAMPLE — Roles (1987) APE (image+.cue), lossless

Tracklist & Credits :

JOE SAMPLE — Old Places Old Faces (1996) FLAC (tracks+.cue), lossless

 Pianist Joe Sample's Warner Bros. session mostly features relaxed acoustic music. Sample emphasizes his original melodies during his improvisations and is backed quite ably by bassist Jay Anderson, drummer Ralph Penland and an occasional percussionist. Most notable is that tenor saxophonist Charles Lloyd guests on three tracks, playing in his usual mellow version of John Coltrane. But in general this is a relaxing trio set, not overly memorable but relatively quite pleasing. Scott Yanow   Tracklist & Credits :

JOE SAMPLE — Sample This (1997) FLAC (tracks+.cue), lossless

In case anyone has forgotten how ingratiating and prolific Joe Sample the songwriter has been, the master of elegant funk re-records 14 songs here. And it is a cooler, more reflective light in which Sample and producer George Duke see his old tunes in the '90s: with relaxed, uncomplicated, to-the-point acoustic piano leads; a mildly percolating beat; and a veneer-thin garnish of electronics. It is both safe and risky to revisit the past -- safe because one is surrounded by comfortable material and risky because artists seldom recapture all of the old spark. Alas, more often than not, the latter applies to Sample's attempt to go home again, though the good tunes remain good tunes. Some of the songs go back to the Crusaders; "Free as the Wind" especially lacks the energy of the original, but "Put It Where You Want It," thanks in part to Sample's use of a funky old Wurlitzer electric piano, has a nice groove. Finally, just for fun, Sample slips in a jaunty solo benediction courtesy of Jelly Roll Morton, "Shreveport Stomp." Richard S. Ginell
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RANDY CRAWFORD & JOE SAMPLE — Feeling Good (2006) FLAC (tracks+.cue), lossless

After a quarter of a century in the Warner Bros. camp and five years on the recording sidelines, Randy Crawford drew a circle back to the beginning, reuniting with keyboardist Joe Sample. In turn, the old Crusader put together a genuinely distinguished rhythm section, bassist Christian McBride and drummer Steve Gadd, and called upon Tommy LiPuma to produce the disc. That combination ought to guarantee a certain floor of competence from the get-go -- and it's great to report that this disc always rises above it, sometimes considerably above it. By this time, both Crawford and Sample were established veterans -- and the music they make here seems to come so easily from within, with only minimal backing and nothing getting in their way. Gadd puts out a propulsive beat on brushes that pushes the title track along just fine -- and his work on "See Line Woman" and "Last Night at Danceland" generates something resembling the irresistible Crusaders groove, giving Sample something to trip lightly and soulfully through. Every track seems to change style with a smooth movement of the clutch -- the slinky R&B funk of "Lovetown," the gentle Latin beat of "Rio de Janeiro Blue," the pure mainstream piano trio jazz of "But Beautiful," the heavy blues atmosphere of "Tell Me More and More and Then Some," a trip back to the 1960s' Top 40 with "Everybody's Talking" (dig Randy's fervent high note that Harry Nilsson once hit in falsetto). A very gratifying release -- considering how tempting it would have been to crank this out on autopilot. Richard S. Ginell
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MARILYN SCOTT — Nightcap (2004) FLAC (tracks+.cue), lossless

Over the course of seven previous recordings, while establishing herself as a premier adult contemporary singer/songwriter, Marilyn Scott has carried on a quiet but steady love affair with the Great American Songbook. Her rendition of "The Look of Love" (from 1998's Avenues of Love) earned producer George Duke a Grammy nomination for Best Arrangement with vocals. Earlier recordings feature stunning versions of the classics "Let Me Be the One," "The Summer Knows," and "You Don't Know Me." On this much too short but still very satisfying collection, Scott's flirtation with pop standards evolves beautifully into a life-changing romance with the help of some of Los Angeles' most acclaimed studio musicians and jazz performers -- Brandon Fields (sax), Rick Baptist (trumpet), Ray Fuller (guitar), Brian Bromberg (upright bass), Dan Higgins (flute), Brazilian guitarist Dori Caymmi, and Vinnie Colaiuta (drums). Nightcap also marks the first time that frequent collaborator Duke has produced and arranged an entire Scott recording. The choices are inspired, from the coolly swinging Brazilian romance of "I Wished on the Moon" (from the Billie Holiday catalog) to the tender trio arrangement of "Smile" and understated poetry of "Stardust" (featuring Duke on piano and Rhodes). Scott skips through a nice variety of moods -- the heartfelt melancholy of "Here's that Rainy Day" balancing the optimistic "Isn't This a Lovely Day," with her bright vocal cruising gracefully over Bromberg's throbbing bass. The soulful big-band brass textures on "If It's the Last Thing I Do" adds a classy closing touch. Jonathan Widran 
Tracklist :
1 I Wished on a Moon 5:02
Dorothy Parker / Ralph Rainger
2 Smile 4:00
Charlie Chaplin / Geoffrey Parsons / John Turner
3 Here's That Rainy Day 4:59
Johnny Burke / James Van Heusen
4 Stardust 5:28
Hoagy Carmichael / Mitchell Parish
5 Isn't This a Lovely Day 4:04
Irving Berlin
6 Here's to Life 5:15
Artie Butler / Phyllis Molinary
7 Yesterdays 5:04
Jerome Kern
8 If It's the Last Thing I Do 6:10
Sammy Cahn / Saul Chaplin
Credits 
Alto Saxophone – Brandon Fields
Bass – Brian Bromberg
Drums – Vinnie Colaiuta
Guitar – Dean Parks, Ray Fuller
Guitar, Vocals – Dori Caymmi
Keyboards, Producer – George Duke
Percussion – Lenny Castro
Tenor Saxophone, Flute – Dan Higgins
Trumpet – Rick Baptist
Vocals – Marilyn Scott