EARL KLUGH — The Spice Of Life (2008) Two Version | FLAC (image+.tracks+.cue), lossless

Smooth jazz guitarist Earl Klugh’s SPICE OF LIFE shows that he hasn’t lost any of his mellow flair. Plus, he’s learned a thing or two. SPICE reflects the influence of Latin American classical and pop music forms, as Klugh alternates lush orchestration and unaccompanied solo guitar. Variety, in this case, is the SPICE OF LIFE--Klugh effortlessly mixes straight-up jazz (a Thelonious Monk classic getting a Brazilian makeover), romantic R&B, chilled-out balladry, pop, and a touch of funk. Mark Keresman
Tracklist :
1.    Ocean Blue  5:10
Acoustic Bass – Jeff Cox 
Drums – Yonrico Scott
Written-By – Earl Klugh
2.    Sleepyhead  5:09
Drum Programming – Gene Dunlap
Drums – Ron Otis
Electric Upright Bass – Al Turner
Keyboards – David Lee Spradley
Synthesizer [Wind Synth] – Lenny Price
Written-By – Earl Klugh
3.    Canadian Sunset  5:34
Acoustic Bass – Jeff Cox 
Drums – Yonrico Scott
Written-By – Norman Gimbel
4.    Venezuelan Nights  2:35
Written-By – Earl Klugh
5.    Driftin'  3:48
Drums – Scott Meeder
Electric Bass – Joe Reda
Keyboards – John Corrozzu
Percussion – Scott Meeder, Yonrico Scott
Written-By – Earl Klugh
6.    Snap!  4:41
Drum Programming – Gene Dunlap
Drums – Ron Otis
Electric Bass – Al Turner
Keyboards – David Lee Spradley
Saxophone – Lenny Price
Written-By – Al Turner, Earl Klugh
7.    Bye Ya  3:59
Acoustic Bass – Jeff Cox 
Drums – Yonrico Scott
Written-By – Thelonious Monk
8.    Heart Of My Life  4:14
Arranged By [Chamber Group] – Eddie Horst
Arranged By [Rhythm Arrangements] – Earl Klugh
Bassoon – Carl Nitchie
Cello – Daniel Laufer
Conductor [Chamber Group] – Eddie Horst
French Horn – Brice C. Andrus
Oboe – Ann E. Lilya
Viola – William Paul Murphy
Written-By – Earl Klugh
9.    Morning In Rio  5:27
Drum Programming – Gene Dunlap
Drums – Ron Otis
Electric Bass – Al Turner
Keyboards – David Lee Spradley, Earl Klugh, John Corrozzu
Percussion – Scott Meeder, Yonrico Scott
Written-By – Earl Klugh
10.    C'Est Si Bom  4:53
Acoustic Bass – Jeff Cox 
Drums – Yonrico Scott
Written-By – André Hornez, Eugene Ange Betti, Jerry Seelen
11.    Lucy's World  3:49
Acoustic Bass – Jeff Cox
Keyboards – Earl Klugh
Percussion – Bert Elliott (2), Earl Klugh, Scott Meeder, Yonrico Scott
Synthesizer [Wind Synth] – Lenny Price
Written-By – Earl Klugh
12.    My Foolish Heart  6:18
Acoustic Bass – Jeff Cox 
Drums – Yonrico Scott
Written-By – Catherin Hinen*, Ned Washington, Victor Young
13.    The Toy Guitar  2:36
Written-By – Earl Klugh
Credits :
Acoustic Guitar, Arranged By [Orchestral Rhythm Arrangements], Producer – Earl Klugh
Cello [Orchestra] – Laura Bontrager, Richard Locker, Sarah Siever
Conductor, Arranged By [Orchestra Arrangements] – Don Sebesky
Flute [Alto Flute, Bass Flute - Orchestra] – Bob Bush 
Flute [Alto Flute, Bass Flute, Contra Bass Flute - Orchestra] – Keith Underwood
Flute [C Flute, Alto Flute, Bass Flute - Orchestra] – Hubert Laws, Pamela Sklar
Harp [Orchestra] – Grace Paradise
Vibraphone, Shaker, Bell Tree [Mark Tree - Orchestra] – Gordon Gottlieb
Viola [Orchestra] – Deborah Shufelt, Kenji Bunch, Maxine Roach
Violin [Orchestra] – Carol Pool, Cecelia Hobbs Gardner, Cenovia Cummins, Dale Stuckenbruck, Eric Degoya, Helen H. Kim, Karen Karlsrud, Laura Oatts, Martin Agee, Rick Dolan, Rob Shaw, Una Tone

JESSICA MOLASKEY — Make Believe (2004) FLAC (tracks+.cue), lossless

Veteran Broadway actress Jessica Molaskey's third CD for PS Classics is a mix of favorites from musicals and standards from the Great American Songbook, though many of these compositions have not been recorded much at all for quite some time. Backed by a band that includes husband John Pizzarelli on guitar along with her guitarist father-in-law Bucky Pizzarelli, trombonist John Mosca, tenor saxophonist Harry Allen, and a number of superb New York-based musicians, Molaskey's acting skills come across even though the listener can't see her perform these timeless tunes. She sounds young and flirty in "I Cain't Say No" (from Oklahoma!) in a superb orchestration by John Clayton, while restoring the often omitted verse. She soars in the stunning strings and piano arrangement of "Make Believe." But one of the assets of Molaskey's choice of songs is rediscovering overlooked gems like "Stepsisters' Lament," making the most of its hilarious lyrics in a rapid-fire rendition. A very welcome guest is singer Adam Guettel (Richard Rodgers' grandson) in the warm duet of Rodgers' melancholy "Glad to Be Unhappy" with a brilliant orchestration by Don Sebesky. Husband John Pizzarelli sings with his wife in the humorous interwoven medley of Jon Hendricks' bop classic "Cloudburst" and Stephen Sondheim's "Getting Married Today," a real laugh riot arranged by Jason Robert Brown. Molaskey jointly wrote the bittersweet ballad "Cradle and All" with Ricky Ian Gordon, which features another fine orchestration by Sebesky. The only thing better than listening to this outstanding CD is getting to hear Jessica Molaskey perform in person. Ken Dryden 
Tracklist:
1 I Cain't Say No
Arranged By – John Clayton
Orchestrated By – John Clayton
Written-By – Rodgers & Hammerstein
2 Guys And Dolls
Arranged By – John Clayton
Orchestrated By – John Clayton
Written-By – Frank Loesser
3 Make Believe
Arranged By – Larry Goldings
Orchestrated By – Don Sebesky
Written By – Hammerstein-Kern
4 Stepsisters' Lament
Arranged By, Orchestrated By – Don Sebesky
Written-By – Rodgers & Hammerstein
5 Glad To Be Happy
Arranged By, Orchestrated By – Don Sebesky
Written-By – Rodgers & Hart
6 Hey, Look Me Over, [With A Touch Of] Big Spender
Written-By – Carolyn Leigh, Cy Coleman, Dorothy Fields
7 So Many People
Written-By – Stephen Sondheim
8 Medley
Orchestrated By – Don Sebesky
8a Cloudburst
Written-By – Jon Hendricks
8b Getting Married Today
Written-By – Stephen Sondheim
9 Growing Pains
Written-By – Arthur Schwartz, Dorothy Fields
10 All That Jazz
Arranged By, Orchestrated By – John Clayton
Written-By – Kander And Ebb
11 Right As The Rain
Written-By – E.Y. Harburg, Harold Arlen
12 You're A Builder Upper
Written-By – E.Y. Harburg, Harold Arlen, Ira Gershwin
13 Cradle And All
Orchestrated By – Don Sebesky
Written-By – Jessica Molaskey, Ricky Ian Gordon
14 Goodnight My Someone
Written-By – Meredith Willson
Credits :
Alto Saxophone – Andy Fusco
Baritone Saxophone – Ken Berger
Bass – Martin Pizzarelli
Cello – Clay Ruede
Drums – Tony Tedesco
Flute – Pam Sklar, Shelley Woodworth
Guitar – Bucky Pizzarelli, John Pizzarelli (tracks: 9)
Lead Vocals, Liner Notes – Jessica Molaskey
Piano – Larry Goldings (tracks: 3, 7, 11, 14), Lee Musiker, Ray Kennedy (tracks: 6, 8)
Producer – John Pizzarelli
Tenor Saxophone – Harry Allen
Trombone – John Mosca
Trumpet – "Bud" Burridge, Tony Kadleck
Viola – Conway Kuo
Violin – Antoine Silverman, Paul Woodiel
Vocals – Adam Guettel (tracks: 5), John Pizzarelli (tracks: 8) 

FREDDIE HUBBARD — First Light (1971-2011) RM | Serie CTI Records 40th Anniversary Edition | FLAC (tracks+.cue), lossless

Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor's studio for the third time in 1971 with the express purpose of making a record radically different from anything he'd cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him. The band was also supported by the truly ethereal and adventurous string arrangements of Don Sebesky (a first for Hubbard). The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard's most exciting playing ever. The title track and Hubbard's ingenious read of Paul and Linda McCartney's "Uncle Albert/ Admiral Halsey," as well as Leonard Bernstein's "Lonely Town," are so in the pocket that they bleed soul. Benson's uncharacteristically edgy guitar playing juxtaposed against Hubbard's warm tone, and Hancock's beautifully modal Rhodes lines that are drenched with big, open, minor chord voicings, are simply made more illustrious and graceful by Sebesky's strings. While Red Clay and Straight Life are both fine albums, First Light is the one that connects on all levels -- and it did with the jazz-buying public as well. A masterpiece.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    First Light 11:05
Written-By – Freddie Hubbard
2    Uncle Albert / Admiral Halsey 8:17
Written-By – Paul & Linda McCartney
3    Moment To Moment 5:43
Written-By – Henry Mancini, Johnny Mercer
4    Yesterday's Dreams 3:55
Written-By – Don Sebesky, Norman Martin
5    Lonely Town 7:00
Written-By – Adolph Green, Betty Comden, Leonard Bernstein
6    Fantasy In D (Polar AC) 6:55
Written-By – Cedar Walton
7    First Light (Live) 16:04
Written-By – Freddie Hubbard
Credits :
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Jane Taylor, Wally Kane
Cello – Charles McCracken, Emanuel Vardi
Clarinet – George Marge, Romeo Penque
Drums – Jack DeJohnette
English Horn, Oboe – Romeo Penque
Flute – George Marge, Hubert Laws, Romeo Penque, Wally Kane
French Horn – James Buffington, Ray Alonge
Guitar – Eric Gale (tracks: 7), George Benson
Harp – Margaret Ross
Percussion – Airto Moreira
Piano – Richard Wyands
Trumpet, Flugelhorn – Freddie Hubbard
Vibraphone [Vibes] – Phil Kraus
Viola – Alfred Brown, Emanuel Vardi
Violin – David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Irving Spice, Joe Malin, Matthew Raimondi, Paul Gershman, Tosha Samaroff

CHET BAKER | JIM HALL | HUBERT LAWS — Studio Trieste (1982-2007) RM | Serie CTI Timeless Collection | FLAC (image+.cue), lossless

Tracklist :
1.    Swan Lake 8:42
Composed By – Tchaikovsky
2.    All Blues 9:43
Composed By – Miles Davis
3    Malagueña 9:44
Composed By – Ernesto Lecuona
4    Django 10:02
Composed By – John Lewis
Credits :
Arranged By – Don Sebesky
Bass – George Mraz (tracks: 1, 4)
Drums – Steve Gadd
Electric Bass – Gary King (tracks: 2, 3)
Engineer – Rudy Van Gelder
Flugelhorn, Trumpet – Chet Baker (tracks: 1, 2, 3)
Flute – Hubert Laws (tracks: 1, 2, 3)
Guitar – Jack Wilkins (tracks: 2), Jim Hall (tracks: 1, 3, 4)
Keyboards – Jorge Dalto (tracks: 2, 3)
Percussion – Sammy Figueroa
Piano, Electric Piano, Synthesizer – Kenny Barron (tracks: 1, 4)
Producer – Creed Taylor

LARRY CORYELL — Fallen Angel (1993) Two Version (1993, Essential Jazz – ESJCD 237) + (1993, CTI Records – MA 70 01 236) FLAC (tracks+.cue), lossless

On Fallen Angel, Larry Coryell teams up with arranger Don Sebesky to produce a wide-ranging album full of sampled sounds and programmed tracks in an attempt to mix the old CTI sound of the '70s with the production techniques and rhythms of the '90s. "Inner City Blues" kicks things off with great promise, as Coryell jams over a pre-programmed rhythm track with background vocalists. On "(Angel on Sunset) Bumpin' on Sunset," he improvises along with a sampled Wes Montgomery, then turns Erroll Garner's classic "Misty" into a mid-tempo reggae jaunt through which he and pianist Mulgrew Miller travel lightly. The CTI connection is brought to the forefront with a remake of Deodato's "2001" hit called "Thus Spoke Z," on which the famous theme is implied but never stated. Other highlights include a funky, angular tribute called "Monk's Corner," Sebesky's attractive "I Remember Bill" and the solo "Westerly Wind." There are also two pleasant smooth jazz vocal pieces at the front of the album, the beautiful ballad, "Fallen," a duet between vocalists Klyde Jones and Jeanie Bryson, and the funky made-for-radio "Never Never," featuring saxophonist Richard Elliot and a vocal from Ms. Jones.
Fallen Angel was obviously an attempt to find Larry Coryell a place on the smooth jazz playlist, a task it didn't really accomplish. While it is not likely to appease those who bemoan the guitarist's failure to live up to his initial promise, it can be enjoyed if taken on its own terms. Jim Newsom
Tracklist :
1. Inner City Blues (3:31)
Vocals – Klyde Jones
Written-By – James Nyx, Marvin Gaye
2. Fallen (3:45)
Saxophone [Tenor] – Richard Elliot
Vocals – Jeanie Bryson, Klyde Jones

Written-By – Lauren Wood
3. Never Never (3:34)
Lyrics By – Klyde Jones
Music By – Don Sebesky
Saxophone [Tenor] – Richard Elliot
Vocals – Klyde Jones
4. Angel On Sunset (5:40)
Electric Guitar – Wes Montgomery
Written-By – Don Sebesky, Wes Montgomery

5. Stardust (5:55)
Piano – Mulgrew Miller
Written-By – Hoagy Carmichael, Mitchell Parish
6. Misty (4:32)
Piano – Mulgrew Miller
Written-By – Erroll Garner
7. I Remember Bill (3:07)
Written-By – Don Sebesky
8. Pieta (5:53)
Adapted By – Don Sebesky
Piano – Ted Rosenthal
Written-By – Rachmaninoff
9. Thus Spoke Z (4:49)
Adapted By – Don Sebesky, Larry Coryell
Piano – Mulgrew Miller
Saxophone [Alto] – Chris Hunter
Written-By – Richard Strauss
10. Stella By Starlight (4:31)
Written-By – Ned Washington, Victor Young
11. Monk's Corner (6:26)
Piano – Ted Rosenthal
Written-By – Don Sebesky, Larry Coryell
12. Westerly Wind (2:04)
Written-By – Larry Coryell
13. The Moors (2:53)
Written-By – Larry Coryell
Credits :
Arranged By – Don Sebesky
Electric Guitar – Larry Coryell

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

CHET BAKER - You Can't Go Home Again (1977-2005) RM / APE (image+.cue), lossless

Verve/A&M's reissue of Chet Baker's 1977 album You Can't Go Home Again features the trumpeter/vocalist supported by an all-star band that includes guitarist John Scofield, tenor saxophonist Michael Brecker, and alto saxophonist Paul Desmond in his final recording session. Former Miles Davis sidemen Tony Williams and Ron Carter also add an organic touch to the proceedings and a warm contrast to the electric pianos and Moogs that flow through Don Sebesky's arrangements. Alternate takes of the title track and others including "I'm Getting Sentimental Over You/You've Changed," "The Best Thing for You," and "If You Could See Me Now" make this double-disc set a more complete look at one of Baker's most important latter-day albums. by Heather Phares
Tracklist :
1     Love for Sale 13:03
Cole Porter
2     Un Poco Loco 9:26
Bud Powell
3     You Can't Go Home Again 5:47
Don Sebesky
4     El Morro 14:18
Don Sebesky
Credits :
Alto Saxophone – Paul Desmond (faixas: 3)
Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Bassoon – John Campo (faixas: 4)
Cello – Alan Shulman, Charles McCracken, Jesse Levy
Clavinet – Richie Beirach (faixas: 1)
Drums – Tony Williams
Electric Bass – Alphonso Johnson (faixas: 1, 2,)
Electric Piano – Don Sebesky (faixas: 2, 3), Kenny Barron (faixas: 2), Richie Beirach (faixas: 1, 2, 4)
Flute – Hubert Laws (faixas: 2)
Flute [Bass], Piccolo Flute – Hubert Laws (faixas: 4)
Guitar – John Scofield (faixas: 1, 2, 4)
Percussion – Ralph MacDonald (faixas: 1, 3)
Producer – Don Sebesky
Tenor Saxophone – Michael Brecker (faixas: 1, 2, 4)
Trumpet – Chet Baker
Violin – Charles Libove, David Nadien, Diana Halprin, Harold Kohon, Marvin Morgenstern, Matthew Raimondi, Max Ellen, Paul Gersham, Rochelle Abramson

AIRTO MOREIRA - Free (1972-2003) RM / APE (image+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor. by Alex Henderson
Tracklist :
1  Return to Forever - 10:17
(Chick Corea)
2 Flora's Song - 8:30
(Flora Purim)
3 Free - 11:50
(Airto Moreira)
4 Lucky Southern - 2:36
(Keith Jarrett)
5 Creek (Arroio) - 6:12
(Victor Brazil)
- Bonus Track -
6 So Tender - 5:01
(Keith Jarrett)
7 Jequié - 2:57
(Moacir Santos)
8 Creek (Arroio) (Altenate Version) - 9:23  
Personnel :
Airto - Percussion, Vocals
Hubert Laws - Flute
Joe Farrell - Soprano Saxophone, Alto Flute, Bass Flute, Piccolo
Chick Corea - Piano, Electric Piano
Keith Jarrett - Piano
Nelson Ayres - Electric Piano
George Benson - Guitar
Jay Berliner - Guitar
Ron Carter - Bass
Stanley Clarke - Electric Bass
Flora Purim - vocals
Burt Collins, Mel Davis, Alan Rubin - Trumpet, Flugelhorn
Wayne Andre, Garnett Brown, Joe Wallace - Trombone
Don Sebesky - Arranger

JIM HALL - Concierto (1975-2003) RM / SACD / FLAC (tracks+.cue), lossless

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez." by Anthony Tognazzini
Tracklist:
1    You'd Be So Nice To Come Home To 7:05
Written-By – Cole Porter
2    Two's Blues 3:50
Written-By – Jim Hall
3    The Answer Is Yes 7:35
Written-By – Jane Hall
4    Concierto De Aranjuez 19:20
Written-By – Joaquin Rodrigo
- Bonus Tracks -
5    Rock Skippin' 6:11
Written-By – Billy Strayhorn, Duke Ellington
6    Unfinished Business (La Paloma Azul) 4:40
Written-By – Carlos Chávez, Johnny Andrews
7    You'd Be So Nice To Come Home To (Alternate Take) 7:26
8    The Answer Is Yes (Alternate Take)    5:34
9    Rock Skippin' (Alternate Take)    6:06
Credits:
Adapted By – Don Sebesky (tracks: 4)
Alto Saxophone – Paul Desmond
Arranged By – Don Sebesky
Bass – Ron Carter
Drums – Steve Gadd
Guitar – Jim Hall
Piano – Roland Hanna
Producer – Creed Taylor
Recorded By – Rudy Van Gelder
Trumpet – Chet Baker

ASTRUD GILBERTO - The Shadow of Your Smile [1965] VERVE / FLAC

 For her second Verve LP, Astrud Gilberto expanded her range from a raft of Gilberto/Jobim standards to embrace the large and obviously daunting catalogue of classic American pop. With arrangements by Don Sebesky and Claus Ogerman (as well as two by country-mate João Donato), The Shadow of Your Smile can't help but shine a bright spotlight on Gilberto's weak voice, especially when she's singing material previously enlightened by singers with the weight of Frank Sinatra or Sarah Vaughan. Even the intimate, understated arrangements on songs like "Day by Day," the title track, and "Fly Me to the Moon" overshadow the chanteuse's limited range. Brazilian material like the five songs by Luiz Bonfá make for better listening, though the preponderance of flutes, strings, and muted trumpet in the arrangements is very mid-'60s, for better and worse. (And the notes' description of "O Ganso" as an "exercise in vocalise based on bah and dah sounds" is being more than generous.) Certainly, no American vocalist could hope to equal the tortured syntax and somehow endearing performances on these songs; still, Verve did much better by Gilberto later on when they gave her good-time Brazilian songs to sing and didn't attempt to force comparison with standard jazz/pop vocalists.  by John Bush   
Tracklist
1 The Shadow of Your Smile 2:31
Johnny Mandel / Paul Francis Webster
2 Aruanda (Take Me to Aruanda) 2:30
Norman Gimbel
3 Manhã de Carnival 1:57
Antônio Maria
4 Fly Me to the Moon 2:22
Bart Howard
5 The Gentle Rain 2:26
Luiz Bonfá
6 Non-Stop to Brazil 2:27
Luiz Bonfá / Norman Gimbel
7 O Ganso 2:09
Luiz Bonfá
8 Who Can I Turn To (When Nobody Needs Me) 2:10
Leslie Bricusse / Anthony Newley
9 Day by Day 2:09
Sammy Cahn / Axel Stordahl / Paul Weston
10 Tristeza (Goodbye Sadness) 2:23
Luiz Bonfá / Maria Toledo
11    Funny World 2:24
Alan Brandt
Credits
Arranged By, Conductor – Claus Ogerman (tracks: 4, 8, 9, 11), Don Sebesky (tracks: 1 to 3, 5, 6), João Donato (tracks: 7)
Engineer – Bob Simpson, Phil Ramone, Rudy Van Gelder
Producer – Creed Taylor
Trombone – Kai Winding (tracks: 1 to 3, 5, 6), Urbie Green (tracks: 4, 8, 9, 11)
Valve Trombone – Bob Brookmeyer (tracks: 1 to 3, 5, 6, 10)
Vocals – Astrud Gilberto

ASTRUD GILBERTO - The Shadow of Your Smile 

[1965] VERVE / FLAC / scans

O Púbis da Rosa

PAUL DESMOND — Summertime (1969-2005) RM | Serie A&M Horizon Jazz Archives – 1 | FLAC (tracks+.cue), lossless

In the midst of lolling away his time in semi-retirement after the Dave Brubeck Quartet broke up in 1967, Paul Desmond allowed himself to be lured back into the recording studio by producer Creed Taylor, who knew exactly what to do with his idle, but by no means spent, alto player. The result is a beautifully produced, eclectic album of music that revives Desmond's "bossa antigua" idea and sends it in different directions, directly toward Brazil and various Caribbean regions, as well as back to the jazzy States. "Samba With Some Barbecue" is a marvelous bossa nova treatment of Louis Armstrong's New Orleans rouser "Struttin' With Some Barbecue," whose opening bars bear an uncanny resemblance to those of "Samba de Orpheus" (which the erudite Desmond was no doubt aware of). No matter how many times you've heard "Autumn Leaves," Desmond's bossa nova treatment will give you a fresh jolt as he offhandedly tosses off the most exquisitely swinging ruminations; too bad it fades after only three minutes. In a pliable mood, Desmond even consents to record a then-new Beatles tune, "Ob-La-Di, Ob-La-Da," samba-style, quoting "Hey Jude" along the way (it's very possible that he was attracted by the main character of the lyric, a fellow named Desmond), and he makes potent music out of movie tunes like "Emily" and even the snazzy "Lady in Cement." Don Sebesky brings in some intelligently crafted arrangements for big band augmented by French horns, Herbie Hancock turns in some often brilliant solo work in several featured spots, Ron Carter is on bass, and Leo Morris and Airto Moreira alternate on drums. Never before had Desmond's alto been recorded so ravishingly -- Rudy Van Gelder's engineering gives it a new golden-mellow glow -- and the original LP had a great, sarcastic cover: gleaming icicles. Richard S. Ginell

Tracklist :

1.    Samba with Some Barbecue [4:30]

Don Raye

2.    Olividar [5:37]

Don Sebesky

3.    Ob-La-Di, Ob-La-Da [2:16]

John Lennon / Paul McCartney

4.    Emily [4:47]

Composed By – Johnny Mandel

Lyrics By – Johnny Mercer

5.    Someday My Prince Will Come [3:10]

Frank Churchill, Larry Morey

6.    Autumn Leaves [3:03]

Joseph Kosma / Johnny Mercer / Jacques Prévert

7.    Where Is Love? [5:34]

Lionel Bart

8.    Lady in Cement [3:10]

Hugo Montenegro

9.    North by Northeast [4:33]

Paul Desmond

10.    Summertime [3:59]

George Gershwin

Lyrics By – DuBose Heyward

Time: 40:44 

Credits :

Alto Saxophone – Paul Desmond
Arranged By – Don Sebesky

Bass – Frank Bruno (tracks: 3), Ron Carter

Drums – Airto Moreira (tracks: 1, 8), Leo Morris

Engineer – Rudy Van Gelder

French Horn – Jim Buffington, Ray Alonge, Tony Miranda

Guitar – Bucky Pizzarelli (tracks: 3), Eumir Deodato (tracks: 3), Jay Berliner (tracks: 6, 8,10), Joe Beck (tracks: 1)

Piano – Herbie Hancock

Producer – Creed Taylor