Grover Washington, Jr. — Winelight (1980-2014) RM | Serie Fusion Best Collection 1000 | FLAC (tracks+.cue), lossless

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz. Scott Yanow

Tracklist  :
1    Winelight 7:32
Written-By – William Eaton
2    Let It Flow (For "Dr. J") 5:52
Written-By – Grover Washington, Jr.
3    In The Name Of Love 5:26
Written-By – Ralph MacDonald, William Salter
4    Take Me There 6:16
Written-By – Grover Washington, Jr.
5    Just The Two Of Us 7:23
Written-By – Bill Withers, Ralph MacDonald, William Salter
6    Make Me A Memory (Sad Samba) 6:32
Written-By – Grover Washington, Jr.
Credits :
Backing Vocals – Hilda Harris, Ullanda McCullough, Yvonne Lewis
Bass – Marcus Miller
Clavinet – Paul Griffin (tracks: 1), Raymond Chew (tracks: 1)
Congas, Percussion, Electronic Drums [Syndrums] – Ralph MacDonald
Drums – Steve Gadd
Electric Piano [Fender Rhodes] – Paul Griffin (tracks: 2, 4), Richard Tee (tracks: 1, 3, 5, 6)
Guitar – Eric Gale
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Grover Washington, Jr.
Steel Drums – Robert Greenidge
Synthesizer [Oberheim 8-Voice] – Ed Walsh
Synthesizer [Oberheim] – Bill Eaton (tracks: 5)
Technician [Steel Drums Tuned By] – Rudolph Charles
Vocals – Bill Withers (tracks: 5)

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 — Yellow And Green (1976-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | APE (image+.cue), lossless

A low point for bassist Ron Carter, this aimless set suffers from the malaise that hit the jazz scene after the fusion boom of the late '60s and early '70s. Somewhere about the time of this 1976 release, fusion's creative energies were being overtaken by a new drive to blend jazz with pop music. The theory was this would expand the jazz audience. The reality was music that only alienated jazz fans and held limited appeal to pop audiences. Yellow and Green is a representative product of this era. For the most part, it's a hollow, pointless exercise, afflicted by the stylistic tug of war inherent in the jazz-pop hybrids of the late '70s. The writing is directionless and the playing mainly indifferent. The LP chiefly serves as a showcase for Carter's overdubbed piccolo and acoustic basses. Unfortunately, the performances are too often a clutter of busy fingers, with the bassist's overly enthusiastic virtuosity getting in the way of any chance for musical dialogue between his instruments. Not surprisingly, the best tracks -- the respectable ballad "Opus 1.5" and a jaunty version of Thelonious Monk's "Epistrophy" -- are the most straight-ahead, done without overdubbing and with some decent piano from Kenny Barron. Elsewhere, Don Grolnick chimes blandly on electric piano and Hugh McCracken contributes wispy guitar accompaniment that serves no purpose, while drummer Billy Cobham tries to keep from being overwhelmed by the dullness of it all. An episode best forgotten. Jim Todd
Tracklist :
1    Tenaj 7:44
Composed By – Ron Carter
2    Receipt, Please 7:05
Composed By – Ron Carter
3    Willow Weep For Me 2:39
Composed By – Ann Ronell
4    Yellow & Green 6:13
Composed By – Ron Carter
Electric Bass – Ron Carter
Harmonica – Hugh McCracken
5    Opus 1.5 6:54
Composed By – Ron Carter
6    Epistrophy 6:08
Composed By – Kenny Clarke, Thelonious Monk
Drums – Ben Riley
– BONUS TRACK – (Alternate Takes)    
7    Receipt, Please 5:25
Composed By – R. Carter
8    Yellow & Green 5:03
Composed By – R. Carter
Credits :
Acoustic Bass – Ron Carter (tracks: 1, 2, 4 to 8)
Arranged By – Ron Carter
Bass [Piccolo Bass] – Ron Carter (tracks: 2 to 4)
Cowbell, Tambourine – Ron Carter (tracks: 2, 4)
Drums – Billy Cobham (tracks: 1, 2, 4, 5), Steve Gadd (tracks: 7, 8)
Electric Piano – Don Grolnick (tracks: 2, 4), Richard Tee (tracks: 7, 8)
Engineer – Rudy Van Gelder
Flute – Hubert Laws (tracks: 7, 8)
Guitar – Eric Gale (tracks: 7, 8), Hugh McCracken (tracks: 1, 2, 4, 5)
Percussion – Arthur Jenkins (tracks: 7, 8), Dom Um Romao (tracks: 2, 5), George Devens (tracks: 7, 8), Ralph MacDonald (tracks: 7, 8)
Piano – Don Grolnick (tracks: 2), Kenny Barron (tracks: 1, 5, 6)
Producer – Creed Taylor
Saxophone – Dave Sanborn (tracks: 7, 8), Mike Brecker (tracks: 7, 8), Phil Woods (tracks: 7, 8)
Trumpet, Flugelhorn – Alan Rubin (tracks: 7, 8), Randy Brecker (tracks: 7, 8)

HEBIE HANCOCK — Fat Albert Rotunda (1969-2001) RM | Warner Bros. Masters Series | FLAC (image+.cue), lossless

Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk -- and his last until Head Hunters -- making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- have a rhythm and feeling that tell you exactly how this music saunters and swaggers along -- just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks. Richard S. Ginell  

Tracklist :

1 Wiggle-Waggle 5:51

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler, Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

2 Fat Mama 3:49

3 Tell Me A Bedtime Story 5:03

4 Oh! Oh! Here He Comes 4:08

5 Jessica 4:12

6 Fat Albert Rotunda 6:28

7 Lil' Brother 4:25

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler (3), Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

Credits :
Acoustic Bass, Electric Bass, Soloist – Buster Williams (tracks: 2, 3, 4, 5, 6)
Drums, Soloist – Tootie Heath (tracks: 2, 3, 4, 5, 6)
Engineer – Rudy Van Gelder
Flute [Alto], Tenor Saxophone, Soloist – Joe Henderson
Piano, Electric Piano, Producer, Written-By, Arranged By, Conductor, Soloist – Herbie Hancock
Trombone, Soloist – Garnet Brown
Trumpet, Flugelhorn [Fluegel Horn], Soloist – Johnny Coles

OLIVER NELSON — Verve Jazz Masters 48 (1995) FLAC (tracks+.cue), lossless

 Considering that he was the equal of such heralded arrangers as Quincy Jones, Gil Evans, and Tadd Dameron, it's a shame Oliver Nelson has, for the most part, gone unsung. Maybe Nelson's eventual TV and film work tainted him in the eyes of critics and purists; but, then again, most jazz arrangers made that move, often out of sheer financial necessity -- and let's not scold them if it was simply a matter of wanting to expand their horizons. Before his Hollywood switch, though, Nelson used several '60s dates to not only display those pen skills, but to reveal his considerable saxophone chops (tenor, alto, and soprano!), as well. The fruits can be found on many dates for OJC, Impulse (the classic Blues and the Abstract Truth), and Verve. It's his work for the latter label that is nicely showcased on this collection. Covering the years 1962-1967 and culled to a large extent from his Full Nelson album and various Leonard Feather-sponsored releases, the 16 tracks here find Nelson at the helm of various big band lineups, plying his always swinging yet often complex and distinct sound. The mix contains a dazzling array of treats, including some of the most sophisticated jazz charts ("Patterns for Orchestra"), a taste of his later soundtrack work ("A Typical Day in New York"), beautiful ballads ("Penthouse Dawn"), and even some contemporary R&B-tinged fare ("Full Nelson"). Along with these and several other original pieces, Nelson also does fine by Ellington ("Paris Blues") and W.C. Handy ("St. Louis Blues"). And it's Joe Newman's fine solo on this last cut that ably demonstrates how Nelson, like Mingus, had a knack for bringing out the best in his players. With an all-star cast of players and plenty of fine sides to go, this Nelson roundup offers the perfect way to familiarize yourself with one of the great jazz architects of the '60s. Stephen Cook   Tracklist & Credits :

JOHNNY HODGES | WILD BILL DAVIS ft. LES SPANN & MUNDELL LOWE - Blue Hodge (2007) FLAC (tracks+.cue), lossless

"Blue Hodge"    
1    And Then Some 4:06
Written-By – Johnny Hodges
2    I Wonder Why 4:30
Written-By – Mercer Ellington
3    Azure Te 2:57
Written-By – Duke Ellington, Irving Mills
4    Blue Hodge 6:19
Written-By – Gary McFarland
5    Hodge Podge 4:04
Written-By – Duke Ellington, Johnny Hodges
6    It Shouldn't Happen To A Dream 3:10
Written-By – Don George, Duke Ellington, Johnny Hodges
7    Why Are You Blue? 3:25
Written-By – Gary McFarland
8    Knuckles 5:11
Written-By – Johnny Hodges
9    Stand By Blues 4:30
Written-By – Johnny Hodges
10    There Is No Greater Love 3:27
Written-By – Isham Jones, Marty Symes
Personnel 1-10 :
Alto Saxophone – Johnny Hodges
Organ – Wild Bill Davis
Bass – Sam Jones
Drums – Louis Hayes
Guitar, Flute – Les Spann
From "Blue Rabbit"    
11    Blues O'Mighty 4:57
Written-By – Johnny Hodges
12    Fiddler's Fancy 2:52
Written-By – Johnny Hodges
13    Things Ain't What They Used To Be 4:18
Written-By – Mercer Ellington, Ted Persons
14    Wisteria 3:14
Written-By – Jimmy Jones, Mercer Ellington
15    Satin Doll 2:32
Written-By – Billy Strayhorn, Duke Ellington, Johnny Mercer
16    Mud Pie 4:10
Written-By – Johnny Hodges
Personnel 11-16 :
Organ – Wild Bill Davis
Alto Saxophone – Johnny Hodges
Bass – Richard Davis
Guitar – Mundell Lowe
Drums – Osie Johnson
From "Blue Notes"    
17    Rent City 3:52
Written-By – Johnny Hodges
18    Sometimes I'm Happy 2:46
Written-By – Clifford Grey, Irving Caesar, Vincent Youmans
19    The Midnight Sun Will Never Set 3:35
Written-By – Quincy Jones
20    Sneakin' Up On You 5:38
Written-By – Chip Taylor, Ted Daryll
Personnel 17-20 :
Alto Saxophone – Johnny Hodges
Arranged By, Conductor – Jimmy Jones
Baritone Saxophone, Bass Clarinet – Danny Bank
Bass – George Duvivier
Bass Trombone – Tony Studd
Drums – Grady Tate
Guitar – Eric Gale
Harmonica – Buddy Lucas
Piano – Hank Jones
Tenor Saxophone, Clarinet – Jimmy Hamilton
Tenor Saxophone, Flute – Frank Wess, Jerome Richardson
Trumpet – Ernie Royal, Snooky Young
Vibraphone – Joe Venuto
Notas.
Tracks 1 to 10 recorded in New Jersey on August 23 and 24, 1961, and issued as Blue Hodge.
Tracks 11 to 16 recorded in New York on April 28 and 30, 1964, and issued on Blue Rabbit.
Tracks 17 to 20 recorded in New York on October 24, 1966, and issued on Blue Notes.
The CD erroneously credits track 13 to "Ted Parsons" and track 20 to "Creed Taylor."

CLARK TERRY - Mumbles (1966) lp | FLAC (tracks), lossless

Clark Terry launched his "Mumbles" routine (where he delivered semi-coherent vocals interspersed with scat) with two numbers on a studio date for Verve led by Oscar Peterson; this Mainstream LP finds him expanding the concept to album length, with mixed success. Unfortunately, the effort becomes a little too commercial, not only de-emphasizing the jazz element to focus on the vocals, but adding lackluster songs like "Big Spender." Although multi-reed player Jerome Richardson, bassists George Duvivier or Richard Davis, and drummer Grady Tate are on hand, the arrangements by Joe Cain (who also composed three forgettable originals and co-wrote "Rum and Mumbles" with the leader) don't really give the musicians a chance to shine. Although Terry has continued his now familiar routine into his eighties, it is better heard in small doses, so this long unavailable record is likely to be of more interest to the most fanatical collectors of Clark Terry's music. Ken Dryden
Tracklist :
1     The Mumbler Strikes Again 3'07
Clark Terry
2     Big Spender  2'29
Cy Coleman / Dorothy Fields
3     Rum and Mumbles 2'50
Joe Cain / Clark Terry
4     The Shadow of Your Smile 2'19
Johnny Mandel / Paul Francis Webster
5     Mumbles 2'42
Clark Terry
6     Grand Dad's Blues 3'52
Clark Terry
7     The Cat from Cadiz 4'35
Joe Cain
8     Never 3'37
Clark Terry
9     I'm Beginning to See the Light 2'34
Duke Ellington / Don George / Johnny Hodges / Harry James
10     Night Song 2'40
Lee Adams / Charles Strouse
11     El Blues Latino 3'07
Joe Cain
Credits :
Bass – George Duvivier, Richard Davis
Bongos – Jose Mangual
Congas – Willie Bobo
Drums – Grady Tate
Guitar – Eric Gale, Vinnie Bell
Percussion – Phil Kraus
Piano, Organ – Frank Anderson
Tenor Saxophone, Baritone Saxophone, Sopranino Saxophone, Flute, Piccolo Flute – Jerome Richardson
Trumpet, Flugelhorn – Clark Terry

ART FARMER - Crawl Space (1977-2016) RM | Blu-spec | CTI Supreme Collection | FLAC (tracks+.cue), lossless

Some of the finer CTI recordings of the late '70s were those led by flugelhornist Art Farmer. Although the emphasis was generally on obscure material (in this case Farmer plays one original, two songs by Dave Grusin and one piece by pianist Fritz Pauer) and often featured musicians who did not normally play together, the results were generally quite rewarding. For this CTI LP (long out-of-print), the focus is almost entirely on Farmer who is joined by keyboardist Grusin, guitarist Eric Gale, flutist Jeremy Steig, either Will Lee or George Mraz on bass and drummer Steve Gadd. The moody music holds one's interest throughout. Scott Yanow
Tracklist :
1    Crawl Space 8'52
Arranged By – David Grusin
2    Siddhartha 7'36
Arranged By – Fritz Pauer
3    Chanson 8'36
Arranged By – David Grusin
4    Petite Belle 9'41
Arranged By – Fritz Pauer
Credits :
Acoustic Bass – George Mraz (pistas: 2)
Drums – Steve Gadd
Electric Bass – Will Lee
Engineer – Rudy Van Gelder
Flute – Jeremy Steig
Guitar – Eric Gale
Keyboards – David Grusin
Producer – Creed Taylor
Trumpet, Flugelhorn – Art Farmer

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 

LENA HORNE + GABOR SZABÓ - Watch What Happens! (1970-1990) FLAC (image+.cue), lossless

The pairing of chanteuse Lena Horne and guitarist Gabor Szabo may seem incongruous on paper, but Watch What Happens! is an unexpected delight, capturing a soulfulness and sass largely absent from the singer's previous efforts. Producer and arranger Gary McFarland's candy-coated orchestral settings afford Horne the opportunity to step out of the elegant but often stuffy refinement of her classic LPs and let down her hair. Her vocals pirouette around Szabo's hypnotically funky guitar leads with the focused abandon of a child playing hopscotch. Keyboardist Richard Tee, bassist Chuck Rainey, and drummer Grady Tate contribute the supple grooves that highlight so many McFarland sessions, and the material is top-notch, including no fewer than three Beatles covers: "In My Life," "Fool on the Hill," and "Rocky Raccoon," the latter featuring the most purely joyful performance of Horne's career. [Watch What Happens! was originally released on Szabo's Skye Records label as Lena & Gabor in 1970.]  by Jason Ankeny
Tracklist :
1 Watch What Happens 4:00
Jacques Demy / Norman Gimbel / Michel Legrand  
2 Something 3:08
George Harrison
3 Everybody's Talkin' 2:52
Fred Neil
4 The Fool on the Hill 3:35
John Lennon / Paul McCartney
5 Yesterday, When I Was Young 4:00
Charles Aznavour / Herbert Kretzmer
6 Rocky Raccoon 3:27
John Lennon / Paul McCartney
7 My Mood Is You 4:45
Carl Sigman
8 A Message to Michael 3:14
Burt Bacharach / Hal David
9 Night Wind 3:35   
Erroll Garner / Bobby Scott
10 In My Life 2:52
John Lennon / Paul McCartney
Credits :
Bass – Chuck Rainey
Guitar – Cornell Dupree, Eric Gale, Gabor Szabo
Orchestrated By, Arranged By, Conductor – Gary McFarland
Organ – Richard Tee
Vocals – Howard Roberts Singers, Lena Horne

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

JIMMY SMITH - Respect + Livin' It Up (2010) FLAC (tracks+.cue), lossless

Jazz organist Jimmy Smith redefined the instrument with his classic recordings for Blue Note in the 1950s, working the drawbars and pedals of his Hammond B-3 like no one before him and bringing a pianist’s speed to his fills and runs, drawing the blues base out of bop and setting the stage for the later soul-jazz movement. Smith's records for Verve in the 1960s were quite different. His style as a player didn’t change so much as the personnel around him and the kind of material he tackled -- the two albums combined here, 1967’s Respect and 1968’s Livin’ It Up!, are a case in point. One could call it the pop Jimmy Smith, although his lightning-fast and sinewy organ runs aren’t all that removed from his Blue Note days. Respect features Smith in a funky soul mood, tackling Otis Redding's “Respect,” Allen Toussaint's “Get Out of My Life,” and Joe Zawinul's “Mercy, Mercy, Mercy” with characteristic verve and energy, and it’s pretty exciting stuff. Livin’ It Up! features Smith backed by Oliver Nelson's big band and sweeping cinematic string arrangements taking on Tinseltown movie themes like “Valley of the Dolls” and “Mission: Impossible,” pure pop fare like Gerry Goffin and Carole King's “Go Away Little Girl,” soothing ballads like Antonio Carlos Jobim's “The Gentle Rain,” and even gruffly singing on Willie Dixon's “Big Boss Man” (which Smith co-wrote). What’s most surprising here is the bonus track, a version of Smith singing the Mickey Mouse Club theme that was recorded at the Respect sessions. Do these two albums work together on a single disc? They do, and the reason they do is that Jimmy Smith was Jimmy Smith no matter what kind of ocean he sailed across -- yeah, he was a jazz organ player, but even more than that, he was an organ player like no other. by Steve Leggett  
Tracklist :
Respect (1967)
1     Mercy, Mercy, Mercy 6:39
Joe Zawinul
2     Respect 2:19
Otis Redding
3     Funky Broadway 6:40
Ariester Christian
4     T-Bone Steak 7:24
Jimmy Smith
5     Get Out of My Life 8:58
Allen Toussaint
6     Mickey Mouse 3:24
Jimmy Dodd
Livin`It Up (1968)
7     Mission: Impossible 3:37
Lalo Schifrin
8     Refractions 4:50
Oliver Nelson
9     The Gentle Rain 2:40
Luiz Bonfá / Matt Dubey
10     Burning Spear 3:56
Richard Evans
11     Go Away Little Girl 2:53
Gerry Goffin / Carole King
12     Livin' It Up 5:07
Jimmy Smith
13     This Nearly Was Mine 3:16
Oscar Hammerstein II / Richard Rodgers
14     Big Boss Man 6:27
Willie Dixon / Jimmy Smith
15     Valley of the Dolls 4:51
André Previn / Dory Previn
Credits :
Tracks 1-6
Bass – Bob Bushnell, Ron Carter
Drums – Bernard Purdie, Grady Tate
Engineer – Rudy Van Gelder
Guitar – Eric Gale, Thornel Schwartz
Organ – Jimmy Smith
Producer – Creed Taylor
Tracks 7-15
Arranged By, Conductor – Oliver Nelson
Bass – Ray Brown
Bass Guitar [Fender] – Carol Kaye
Guitar – Howard Roberts
Organ – Jimmy Smith
Percussion – Larry Bunker
Soloist, Tenor Saxophone – Plas Johnson (faixas: 9)
Vocals – Jimmy Smith (faixas: 9)

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

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

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

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

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

QUINCY JONES - Gula Matari (1970-1999) RM / FLAC (image+.cue), lossless

With his second and last album under the Creed Taylor aegis, the complexities of Quincy Jones' catholic, evolving tastes start to reveal themselves. We hear signs of his gradual gravitation toward pop right off the bat with the churchy R&B cover of Paul Simon's mega-hit "Bridge Over Troubled Water," dominated by Valerie Simpson's florid soul vocal and a gospel choir. His roots fixation surfaces in the spell-like African groove of the title track, a dramatic tone poem that ebbs and flows masterfully over its 13-minute length. From this point on, it's all jazz; the roaring big band comes back with a vengeance in "Walkin'," where Milt Jackson, Herbie Hancock, Hubert Laws, and other jazzers take fine solo turns, and things really get rocking on Nat Adderley's "Hummin'." Major Holley is a riot with his grumble-scat routine on bass. The whole record sounds like they must have had a ball recording it.  by Richard S. Ginell
Tracklist 
1 Bridge Over Troubled Water 6:10
Composed By – Simon & Garfunkel
2 Gula Matari 13:05
Composed By – Quincy Jones
3 Walkin' 7:55
Composed By – Richard Carpenter

4 Hummin' 8:05
Composed By – Nat Adderley
Credits
Arranged By, Conductor – Quincy Jones
Baritone Saxophone – Danny Bank, Pepper Adams
Bass – Ray Brown, Richard Davis (tracks: 2), Ron Carter (tracks: 2)
Bass Saxophone – Danny Bank
Bass, Soloist – Major Holley
Cello – Alan Shulman, Kermit Moore, Lucien Schmit, Seymour Barab
 Drums – Grady Tate
Engineer – Rudy Van Gelder
Flute, Soloist – Hubert Laws
Guitar, Soloist – Eric Gale
Guitar, Whistle, Soloist – Toots Thielemans
Keyboards – Bob James, Bobby Scott, Herbie Hancock
Marimba [Bass] – Don Elliott (tracks: A2)
Percussion – Don Elliott, Jimmy Johnson, Warren Smith
 Producer – Creed Taylor
Soprano Saxophone, Soloist – Jerome Richardson
Trombone – Benny Powell, Tony Studd, Wayne Andre
Trombone, Soloist – Al Grey
Trumpet – Danny Moore, Ernie Royal, Gene Young, Freddie Hubbard, Marvin Stamm
Vibraphone – Milt Jackson
Vocals – Barbara Massey, Hilda Harris, Maretha Stewart, Marilyn Jackson
Vocals, Soloist – Valerie Simpson
Voice, Soloist – Major Holley

RON CARTER Presents ERIC GALE – In a Jazz Tradition (1988) FLAC (tracks+.cue), lossless

Guitarist Eric Gale, best known for his work in R&B, funk, and commercial settings, was presented by bassist/producer Ron Carter on a strictly jazz date in 1987. With tenor saxophonist Houston Person, organist Lonnie Smith, and drummer Grady Tate completing the quintet, the music is soul-jazz with a strong dose of bebop. Gale performs his original "Eric's Gale," a couple of basic tunes by Carter, and four standards, including Charlie Parker's "Bloomdido" and "Jordu." Since Eric Gale rarely recorded in this type of freewheeling group, the swinging set was his definitive jazz recording. Scott Yanow
Tracklist :
1 Eric's Gale 6:14
Written-By – Eric Gale
2 If You Could See Me Now 6:38
Written-By – C. Sigman, T. Dameron
3 Bloomdido 5:42
Written-By – Charlie Parker
4 Lover Man 7:52
Written-By – J. Davis, J. Sherman, R. Ramirez
5 Jordu 7:16
Written-By – Duke Jordan
6 Loose Change 7:37
Written-By – Ron Carter
7 Blues For Everybody 8:27
Written-By – Ron Carter
Credits:
Bass – Ron Carter
Drums – Grady Tate
Engineer, Mastered By – Rudy Van Gelder
Guitar – Eric Gale
Organ – Lonnie Smith
 Tenor Saxophone – Houston Person

ESTHER PHILLIPS - From a Whisper to a Scream (1972-2007) FLAC (image+.cue), lossless

One of Esther Phillips finest '70s releases, From a Whisper to a Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where the Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (Its meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From a Whisper to a Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album. by Andy Kellman   

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

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

WELDON IRVINE - Simbad [1976] RCA / FLAC (tracks+.cue), lossless

Recorded with an exemplary supporting cast featuring pianist Don Blackman, guitarist Eric Gale, and saxophonist Michael Brecker, Sinbad explores the extremes of Weldon Irvine's music, juxtaposing several of the keyboardist's funkiest, most energetic grooves to date alongside mellow, contemplative performances of uncommon intricacy and beauty. Inspired in both sound and spirit by the soul-searching Motown efforts of Marvin Gaye and Stevie Wonder, complete with covers of their respective "What's Going On" and "Don't You Worry 'Bout a Thing," Sinbad contrasts the elegant soul-jazz contours and luminous, horn-driven arrangements of the title cut and "Do Something for Yourself" alongside the nuances and soft pastels of "I Love You" and "Music Is the Key." The resiliency of Irvine's vision and the vibrant performances of his collaborators nevertheless create a kind of yin-yang dynamic that enables the album's divided soul to operate in harmony.  by Jason Ankeny
Tracklist:
1 Sinbad 6:25
W. Irvine
2 Don't You Worry 'Bout a Thing 5:53
Stevie Wonder
3 What's Goin' On? 4:39
Marvin Gaye
4 I Love You 3:04
D. Blackman
5 Do Something For Yourself 4:48
W. Irvine
6 Music is the Key 7:37
Weldon Irvine / Tommy Smith
7 Here's Where I Came In 3:47
W. Irvine
8 Gospel Feeling 4:16
W. Irvine
Credits
Alto Saxophone – George Young
Backing Vocals – Adrienne Albert, Bunny McCullough, Deborah McDuffie
Baritone Saxophone – Phil Bodner
Bass – Gordon Edwards
Bass Trombone – Alan Raph
Congas – Martin Charles
Drums – Chris Parker, Steve Gadd (tracks: 2)
Guitar – Cornell Dupree, Eric Gale
Percussion – Napoleon Revels-Bey
Piano [Acoustic], Lead Vocals – Don Blackman
Producer, Arranged By, Conductor, Keyboards, Synthesizer – Weldon Irvine
Tenor Saxophone – Michael Brecker
Trombone – Wayne Andre
Trumpet – Randy Brecker

WELDON IRVINE - Simbad [1976] 

RE [2011] Sony / FLAC (tracks+.cue), lossless

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