LUIZ BONFÁ —Jacarandá (1973) Vinyl LP | FLAC (tracks) 24-96Hz

After the initial shockwaves of Miles Davis' seminal fusion recordings began to settle, jazz rock fusion began to become a genre unto itself. What Miles had created as a way of opening both the disciplines up to one another -- in the same manner that bossa nova and rhythm and blues did in the 1960s -- created a slew of musical possibilities before fusion closed in on itself in the later 1970s and became its own restrictive genre, full of sterile, workmanlike chops, and endlessly repetitive rhythmic constructs. But perhaps no one, not even Weather Report's Joe Zawinul or Creed Taylor at CTI realized the full aesthetic and panoramic potential of fusing seemingly disparate elements together in an entirely new tapestry, the way that Brazilian composer and guitarist Luiz Bonfá did on Jacarandá in 1973. His collaborators, producer John Wood and arranger/conductor Eumir Deodato, assembled a huge cast of musicians in both New York and Los Angeles, and came up with nothing short of a grooving, blissed-out masterpiece of fusion exotica. The cast of players is in and of itself dizzying: Airto, Deodato, Bonfá on acoustic guitars, Stanley Clarke, Wood, Mark Drury, Ray Barretto, John Tropea (on electric guitars), Bill Watrous, Randy Brecker, Idris Muhammad, Jerry Dodgion, Sonny Boyer, Phil Bodner, Maria Toledo, and many others -- including full string and horn sections. The ambitious Deodato charts opened up the principals and brought hard Afro-Cuban rhythms, softer Brazilian ones, funky riffing soul and R&B interludes, and classical themes and variations, as well as sophisticated jazz harmonics and syncopation to a collection of tunes by Bonfá and others. Sound like a mess? Hardly. This is one of the most disciplined and ambitions recordings to be issued during that decade. Here Bonfá's gorgeous palette of samba and bossa melodies is married to film score dynamics, lush romantic cadenzas, smoking jazz grooves and cultured extrapolations of folk and popular music schemas. creating a stunning mosaic of color, release, pastoral elegance and bad-ass, intoxicating, polyrhythmic Latin soul vistas. While the entire album flows form front to back with seamless ease, there are a few standouts. The opener, "Apache Talk," features Barretto's congas creating a bottom for Muhammad's brushes and snare, as Clarke's bass plays one note insistently and hypnotically before Wood's Rhodes and finally Bonfá's 12-string come shimmering in with a funky urgency that is underscored by Tropea's bluesy fills. When the horns finally enter, the entire thing is popping and grooving on its own punchy axis. It's a wonder that Gilles Peterson hasn't picked up on this cut yet. Elsewhere, Bonfá's velvety tropical read of Enriqué Granados' "Dance No. 5," with its slippery classical guitar and extended harmonic palette, is a whispering wonder of sensual delight. The minor-key riffing in "Strange Message" that becomes a full-blown soundtrack-esque anthem is a wonder, and the jazzy soul of the title track with Drury's popping stand-up bass playing counterpoint to Bonfá's 12-string before Muhammad and Wood kick it on the funky side is breathtaking (Man, if Ralph Towner could only play 12-string like this, he might have been a contender!). Reissued on the JR label, in magnificent, warm, crystalline, 24-bit remastered sound, the album contains an excellent essay on Bonfá by executive producer Arnaldo DeSouteiro. This is the great fusion album that was never released here in the States, where the full possibilities of the new music were personified. If ever there were a case to order a CD online, this is it. It's so fine it's hardly even believable. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    Apache Talk 5:21
Written-By – Luiz Bonfá
2.    Empty Room 6:55
Written-By – Luiz Bonfá
3.    The Gentle Rain 5:35
Written-By – Luiz Bonfá
4.    Dance No. 5 6:47
Adapted By – Luiz Bonfá
Written-By – Enrique Granados
5.    Song Thoughts 3:25
Written, Arranged By – Luiz Bonfá 
6.    You Or Not To Be 2:31
Written-By – Octavio Burnier
7.    Don Quijote 3:30
Written, Arranged By – Luiz Bonfá 
8.    Strange Message 3:28
Written-By – Luiz Bonfá
9.    Jacarandá 4:09
Written, Arranged By – Luiz Bonfá 
10.    Sun Flower 5:23
Written-By – Luiz Bonfá
Credits :
Acoustic Bass – Mark Drury (tracks: 7, 9)
Acoustic Guitar [6 & 12-String] – Luiz Bonfá
Arco Bass – Alvin Brehm, Russ Savakus
Backing Vocals – Luiz Bonfá, Maria Toledo, Sonia Burnier
Bass Trombone – Tony Studd
Cello – Alan Shulman, Charles McCracken, George Ricci, Gloria Lanzarone
Concertmaster, Violin – Harry Lookofsky
Congas – Ray Barretto
Contractor [Strings] – Alfred Brown
Drums – Idris Muhammad, Richard O'Connell (tracks: 9)
Electric Bass – Stanley Clarke
Electric Guitar – John Tropea
Electric Piano – John Wood (tracks: 3, 9)
Flute [Solos], Oboe, Clarinet, English Horn – Phil Bodner
Flute, Alto Saxophone – Jerry Dodgion
Flute, Bass Clarinet, Baritone Saxophone – Romeo Penque
French Horn – Jim Buffington, Peter Gordon (8)
Percussion – Airto Moreira
Piano, Electric Piano, Synthesizer, Arranged, Conductor – Eumir Deodato
Tenor Saxophone – Sonny Boyer
Trombone – Bill Watrous, Garnett Brown, Wayne Andre
Trumpet – Burt Collins, John Frosk, Marky Markowitz
Trumpet, Flugelhorn – Marvin Stamm, Randy Brecker
Viola – Alfred Brown, Emanuel Vardi, Harold Coletta, Selwart Clarke
Violin – David Nadien, Elliot Rosoff, Gene Orloff, Harold Kohon, Harry Cykman, Harry Katzman, Irving Spice, Joe Malin, Max Ellen, Paul Gershman

DEODATO — Prelude (1972) Four Version | Vinyl LP 24-48Hz | The Master Series | Blu-spec CD | CTI Supreme Collection – 1 Series | CTI Records 40th Anniversary | FLAC (tracks+.cue), lossless

Eumir Deodato de Almeida, also known as Eumir Deodato, is a Brazilian pianist, composer, record producer and arranger, primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music.
Prior to Prelude, Eumir Deodato was primarily known, if at all, as a tasteful, lyrical, bossa nova-based sometime arranger for the likes of Antonio Carlos Jobim, Frank Sinatra, Wes Montgomery, and others. Enter Creed Taylor, who gave Deodato a chance to step out on his own as a pianist/leader, doing a few tunes of his own plus a healthy quota of CTI-patented jazz interpretations of classical pieces by Richard Strauss ("Also Sprach Zarathustra (2001)"), Debussy ("Prelude to the Afternoon of a Faun"), and bowdlerized Borodin ("Baubles, Bangles and Beads"). Well, "2001" -- a clever, up-tempo Latin-groove takeoff on the opening measures of Strauss' tone poem suddenly exploded and became an improbable hit single. In its wake, Prelude soared to number three on the pop LP charts, and Deodato was propelled out of the arranger-for-hire business. Though overshadowed by "2001," the other tracks also hold up well today, being mostly medium-tempo, sometimes lushly orchestrated, conga-accented affairs that provide velvety showcases for Deodato's lyrical electric piano solos. The record also made a temporary star out of John Tropea, whose electric guitar has a lot of rock & rolling zip and fire, and Hubert Laws, Stanley Clarke, and Marvin Stamm each get a little solo room too. This would be the biggest hit Deodato and CTI ever had, and though short on playing time (32 minutes), it still makes enjoyable listening. Richard S. Ginell
Tracklist :
1 Also Sprach Zarathustra 9:01
Arranged By, Adapted By – Eumir Deodato

Electric Bass [Solo] – Stanley Clarke
Electric Guitar [Solo] – John Tropea
Written-By – Richard Strauss
2 Spirit Of Summer 4:14
Guitar [Solo] – Jay Berliner
Written-By – E. Deodato 
3 Carly & Carole 3:41
Written-By – E. Deodato 
4 Baubles, Bangles And Beads 5:20
Electric Bass – Ron Carter
Electric Guitar [Solo] – John Tropea
Written-By – A. Borodin, G .Forrest, R. Wright 
5 Prelude To The Afternoon Of A Faun 5:13
Arranged By, Adapted By – Eumir Deodato
Flute [Solo] – Hubert Laws
Trumpet [Solo] – Marvin Stamm
Written-By – C. Debussy 
6 September 13 5:56
Electric Guitar [Solo] – John Tropea
Written-By – B. Cobham, E. Deodato
Credits :
Arranged By, Conductor,  Electric Piano, Piano – Eumir Deodato
Bass – Ron Carter
Cello – Charles McCracken, Harvey Shapiro, Seymour Barab
Congas – Ray Barretto
Drums – Billy Cobham
Electric Bass – Stanley Clarke
Electric Guitar – John Tropea
Engineer – Rudy Van Gelder
Flute – George Marge, Hubert Laws, Phil Bodner, Romeo Penque
French Horn – Jim Buffington, Peter Gordon
Guitar – Jay Berliner
Percussion – Airto
Producer – Creed Taylor
Trombone – Bill Watrous, Garnett Brown, George Strakey, Paul Faulise, Wayne Andre
Trumpet – Joe Shepley, John Frosk, Marky Markowitz, Marvin Stamm
Viola – Al Brown, Emanuel Vardi
Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Lookofsky, Max Ellen, Paul Gershman 

RAY BARRETTO — Eye of the Beholder (1977-2004) RM | Fusion Best Collection 1000 Series | FLAC (tracks+.cue), lossless

Many pure salsa and Latin jazz fans have a difficult time with Ray Barretto's Atlantic Records period in the late 1970s because he was making a deliberate run at the crossover jazz/dance music charts. Who better to strive for such a thing? Barretto established his bona fides in jazz two decades earlier -- and returned to them time and again until the end of his life. He was also one of the prime innovators in New York's salsa explosion, and even played on pop records as a sideman. His credits are book-length. This set from 1977 has dated well. A very large cast date, it features Stix Hooper, Joe Sample, and Wilton Felder of the Crusaders, as well as a host of West Coast session players from the pop, jazz, and Latin worlds: saxophonist Pete Christlieb, trumpeter Louis "Perico" Ortiz, trombonist Garnett Brown, drummers Terry Bozzio and Angel "Cachete" Maldonado, guitarist Ray Gomez, and bassist Jeff Berlin are just a few of the players who appear. The vibe here is more jazz-funk than fusion or salsa. It features loads of keyboards to balance the percussion load, making it more accessible to non-Latin fans, though the grooves balance the smooth with the steamy. The best tracks are "Here We Go Again," Leti," and "Tumbao Africano," while "Señor Funk" and "Expresso" are fine songs as well.    
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1    Here We Go Again 4:59
Baritone Saxophone, Soprano Saxophone – Bill Green
Bass – Wilton Felder
Guitar – Barry Finnerty
Keyboards – Joe Sample
Tenor Saxophone – Pete Christalieb
Trombone – Garnett Brown
Written-By – J. Sample
2    Señor Funk 4:44
Baritone Saxophone, Soprano Saxophone – Roger Rosenberg
Bass – Jeff Berlin
Drums – Steve Ferrone, Terry Bozzio
Guitar – Marcus Fiorillo
Keyboards – Gil Goldstein, Joe Sample
Tenor Saxophone – Todd Anderson
Trombone – Reinaldo Jorge
Written-By – M. Fiorillo
3    Eye Of The Beholder 4:25
Baritone Saxophone, Soprano Saxophone – Roger Rosenberg
Bass – Jeff Berlin
Drums – Steve Ferrone
Guitar – Marcus Fiorillo
Keyboards – Gil Goldstein
Tenor Saxophone – Todd Anderson
Trombone – Reinaldo Jorge
Written-By – G. Goldstein
4    Salsa-Con-Fusion 6:10
Baritone Saxophone, Soprano Saxophone – Bill Green
Bass – Wilton Felder
Drums – Terry Bozzio
Guitar – Barry Finnerty
Keyboards – Joe Sample
Tenor Saxophone – Pete Christalieb
Trombone – Garnett Brown
Trumpet – Gene Goe
Written-By – B. Finnerty
5    Numero Uno 4:47
Baritone Saxophone – Bill Green
Drums – Steve Ferrone
Keyboards – Joe Sample
Tenor Saxophone – Pete Christalieb
Trombone – Garnett Brown
Written-By – W. Felder
6    Expresso 4:05
Baritone Saxophone, Soprano Saxophone – Roger Rosenberg
Bass – Jeff Berlin
Drums – Steve Ferrone
Guitar – Marcus Fiorillo
Keyboards – Gil Goldstein
Tenor Saxophone – Todd Anderson
Trombone – Reinaldo Jorge
Written-By – G. Goldstein
7    Leti 6:59
Baritone Saxophone, Soprano Saxophone – Roger Rosenberg
Bass – Jeff Berlin
Drums – Steve Ferrone
Guitar – Marcus Fiorillo
Keyboards – Gil Goldstein, Joe Sample
Percussion – Rafael Cruz
Tenor Saxophone – Todd Anderson
Trombone – Reinaldo Jorge
Written-By – G. Edgehill
8    Tumbao Africano 4:28
Baritone Saxophone, Soprano Saxophone – Roger Rosenberg
Bass – Jeff Berlin
Bata – Angel Maldonado, Ray Romero
Drums – Steve Ferrone
Keyboards – Eddy Martinez
Lead Guitar – Ray Gomez
Percussion – Rafael Cruz
Synthesizer – Clifford Carter
Tenor Saxophone – Todd Anderson
Timbales – Jimmy Delgado
Trombone – Reinaldo Jorge
Trumpet – Luis "Perico" Ortiz
Written-By – R. Barretto

ROY AYERS UBIQUITY — Virgo Red (1973-2009) RM | Serie Verve Originals | FLAC (tracks+.cue) lossless

Despite contributions from an abundance of soul-jazz greats including Dee Dee Bridgewater, Jimmy Owens, and Garnett Brown, Virgo Red is the most stripped-down and nuanced of Roy Ayers' Ubiquity LPs. Its sinuous funk grooves are first and foremost a showcase for the intuitive interplay of Ayers and electric keyboardist Harry Whitaker, whose Fender Rhodes' fills orbit Ayers' vibes' solos like a planet circling the sun. The material is a crazy quilt of righteously soulful originals and deeply funky covers spanning Leroy Hutson's soul classic "Giving Love" to Stories' soft pop smash "Brother Louie" to absolute treacle like The Poseidon Adventure's "The Morning After" -- by all rights it shouldn't work, but as the astrological overtones winding through Virgo Red attest, sometimes the stars align. Jason Ankeny
Tracklist :
1    Brother Louie 6:08
Composed By – E. Brown, T. Wilson
2    Virgo Red 2:58
Composed By – C. Clay, R. Ayers
3    I Am Your Mind 6:13
Composed By – C. Clay, R. Ayers
4    The Morning After 4:37
Composed By – A. Kasha, J. Hirschhorn
5    Love From The Sun 2:43
Composed By – C. Clay, R. Clay, W. Garfield
6    It's So Sweet 4:23
Composed By – R. Alderson, W. Salter
7    Giving Love 4:26
Composed By – J. Reaves, L. Hutson
8    Des Nude Soul 4:49
Composed By – R. Ayers
Credits
Arranged By [Vocals] – Bert DeCoteaux
Artwork – Haruo Miyauchi
Baritone Vocals – Argerie Ayers, Arthur Clark, D.D Bridgewater, Leslie Carter, Seldon Powell, Willie Michael
Bass – David Johnson, Gordon Edwards
Congas, Bongos, Vocals – Chano O'Ferral
Drums, Percussion – Dennis Davis
Guitar – Dennis Heaven, Will Hawes
Percussion – Adrian Dey, Stephen Sadiz Shbazzberrios
Piano, Electric Piano, Organ – Harry Whitaker
Sitar [Electric Sitar] – Jerry Friedman
Trombone – Garnett Brown
Trumpet – Cecil Bridgewater, Jimmie Owens
Vibraphone, Organ, Vocals, Percussion, Arranged By [Vocals] – Roy Ayers

BILLY COBHAM — Crosswinds (1974-2001) RM | Atlantic Masters Series | FLAC (tracks+.cue), lossless

Billy Cobham's second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise "Spanish Moss -- A Sound Portrait," and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on "Storm." Worth searching for by fusion collectors. Scott Yanow
Tracklist :
Spanish Moss - "A Sound Portrait" 17:08
1.a Spanish Moss 4:08
Acoustic Bass, Electric Bass – John Williams 
Guitar – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker
1.b Savannah The Serene 5:09
Acoustic Bass – John Williams  
Acoustic Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Trombone [Solo] – Garnett Brown
1.c Storm  2:46
Percussion [Solo] – Billy Cobham
1.d Flash Flood 5:05
Acoustic Bass, Electric Bass – John Williams  
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet [Solo] – Randy Brecker
Woodwind – Michael Brecker
2 The Pleasant Pheasant 5:11
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion [Latin, Solo] – Lee Pastora
Percussion [Solo] – Billy Cobham
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
3 Heather 8:25
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
4 Crosswind 3:39
Acoustic Bass, Electric Bass – John Williams 
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker

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

DEODATO — Deodato 2 (1973-1988) RM | Bonus Tracks | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (tracks+.cue), lossless

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Super Strut 9:29
2. Rhapsody In Blue 8:43
3. Nights In White Satin 6:01
4. Pavane For A Dead Princess 4:24
5. Skyscrapers 7:00
6. Latin Flute 4:19
– BONUS TRACKS –
7. Venus 3:28
8. Do It Again 5:30
Credits :
Eumir Deodato - keyboards
Stanley Clarke, John Giulino - Bass
Billy Cobham, Rick Marotta - Drums
Rubens Bassini, Gilmore Degap - Percussion, Congas
John Tropea - Guitar
Hubert Laws, Jerry Gordon, Romeo Penque, George Marge - Flute
Jon Faddis, Burt Collins, Victor Paz, Alan Rubin, Marvin Stamm - Trumpet, Flugelhorn
Garnet Brown, Wayne Andre - Trombone
Tony Studd - Bass Trombone
Jim Buffington - French Horn
Joe Temperley - Baritone Sax
String Section - Violins, Violas, Cellos

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 :

DUKE PEARSON – The Right Touch (1967-1994) FLAC (tracks+.cue), lossless

Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of "Los Malos Hombres") played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson's career. Scott Yanow    Tracklist & Credits

ALBERT AYLER — New Grass (1969-2005) RM | Impulse! Originals Series | FLAC (tracks+.cue), lossless

Possibly the most notorious Albert Ayler release and universally misunderstood (i.e., hated) by fans and critics alike. When New Grass was released in 1969 it received a hostile outcry of "sell-out." Listening to New Grass in hindsight; it must be taken into account that even though commercial elements are apparent -- a soul horn section, backup singers, boogaloo drumming from Bernard "Pretty" Purdie, and electric rock bass -- Ayler's vocals and tenor playing could hardly gain commercial radio exposure at any time. It's likely Impulse prodded Ayler to move into a more pronounced blues-oriented sound and he went willingly. Ayler wasn't a stranger to R&B or gutbucket blues; he had started his career playing saxophone with Chicago bluesman Little Walter in the '50s. Ayler's screeching tone remains intact on New Grass, but it's mixed with definite R&B riffs like the obvious honkin' nod to "Slippin and Sliddin" on "New Generation." Ayler's attempt to explain himself on the opening track with "Message from Albert Ayler," reveals his impending dread over controversy concerning the material. It is a problem many artists face at some point in their careers when trying to move in a different direction, no matter what the reason; they may end up losing a majority of their audience by taking a foreign approach. Al Campbell
Tracklist :
1     Message From Albert/New Grass 3'55
Albert Ayler / Bert DeCoteaux
Flute – Seldon Powell
Voice [Recitation On Message From Albert] – Albert Ayler
2     New Generation 5'10
Albert Ayler / Rose Marie McCoy / Mary Parks
3     Sun Watcher 7'30
Albert Ayler
Piano, Organ – Call Cobbs
Whistling – Albert Ayler
4     New Ghosts 4'12
Albert Ayler / Mary Parks
Piano – Call Cobbs
Tambourine – Unknown
Vocals – Albert Ayler    
5     Heart Love 5'34
Albert Ayler / Mary Parks    
6     Everybody's Movin' 3'44
Albert Ayler / Rose Marie McCoy / Mary Parks
7     Free at Last 3'08
Albert Ayler / Rose Marie McCoy / Mary Parks
Credits :    
Baritone Saxophone – Buddy Lucas (tracks: 1, 2, 5 to 7)
Conductor, Arranged By – Bert DeCoteaux (tracks: 1, 2, 5 to 7)
Drums – Bernard Purdie (tracks: 2 to 7)
Electric Bass – Bill Folwell
Electric Harpsichord – Call Cobbs (tracks: 2, 5 to 7)
Tenor Saxophone – Albert Ayler, Seldon Powell (tracks: 2, 5 to 7)
Trombone – Garnett Brown (tracks: 1, 2, 5 to 7)
Trumpet – Burt Collins (tracks: 1, 2, 5 to 7), Joe Newman (tracks: 1, 2, 5 to 7)
Vocals – The Soul Singers (tracks: 2, 5 to 7)

ROLAND KIRK - Slightly Latin (1965-1997) RM | FLAC (tracks+.cue), lossless

Tracklist :
1     Walk on By 2:32
Burt Bacharach / Hal David
2     Raouf 3:03
Rahsaan Roland Kirk
3     It's All in the Game 5:14
Charles G. Dawes / Carl Sigman
4     Juarez 5:22
Rahsaan Roland Kirk
5     Shaky Money 2:36
Rahsaan Roland Kirk
6     Nothing But the Truth 3:33
Rahsaan Roland Kirk
7     Safari 4:26     
Eddie Mathias
8     And I Love Her 2:53
John Lennon / Paul McCartney
9     Ebrauqs 8:16
Rahsaan Roland Kirk
Credits :
Arranged By [Vocals] – Coleridge Perkinson
Baritone Saxophone, Tenor Saxophone, Saxophone [Manzello, Strich] – Roland Kirk
Bass – Edward Mathias
Congas – Montego Joe
Drums – Gerald Brown
Flugelhorn – Martin Banks
Percussion – Manuel Ramos
Piano, Celesta [Celeste] – Horace Parlan
Trombone, Harp [Nagoya Harp], Arranged By – Garnett Brown
Trumpet – Virgil Jones

CHARLES LLOYD - Nirvana (1968-2014) RM | Jazz Collection 1000 | FLAC (tracks+.cue), lossless

Tracklist :
1    Charles Lloyd & His Quintet–    Island Blues 3:26
Written-By – C. Lloyd
2    Charles Lloyd & His Quintet–    Carcara 1:45
Written-By – J. Candido, J. Vale
3    Charles Lloyd & His Quintet–    Long Time, Baby 2:12
Written-By – C. Lloyd
4    Charles Lloyd & His Quintet–    East Of The Sun (And West Of The Moon) 4:57
Written-By – B. Bowman
5    Charles Lloyd & His Quintet–    Love Theme From 'In Harm's Way' 2:11
Written-By – J. Goldsmith
6    Charles Lloyd & His Quintet–    Sun Dance 3:17
Written-By – C. Lloyd

7    Charles Lloyd & His Quintet–    You Know (From "Ecco") 1:39
Written-By – R. Ortolani
8    Chico Hamilton & His Quintet Featuring Charles Lloyd–    One For Joan/Freedom Traveler (Part I-Prayer) (Part II-Journey) 14:39
Written-By – C. Lloyd
Credits :
Bass – Albert Stinson (pistas: 1, 2, 3, 5, 6, 8, 9), Ron Carter (pistas: 4, 7)
Drums – Anthony Williams (pistas: 4, 7), Chico Hamilton (pistas: 8, 9), Pete La Roca (pistas: 1, 2, 3, 5, 6)
Guitar – Gabor Szabo
Producer – Teo Macero
Tenor Saxophone, Flute – Charles Lloyd
Trombone – Garnett Brown (pistas: 7, 8)

LOU DONALDSON — Lush Life (1967-2007) RM | RVG Edition Series | FLAC (image+.cue), lossless

After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop -- only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant -- it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide. Nonets are unwieldy, to be certain, but Duke Pearson's arrangements are clean, sparkling, and attractive, and the superstar band -- Wayne Shorter (tenor sax), Jerry Dodgion (alto sax, flute), Pepper Adams (bari sax), Freddie Hubbard (trumpet), Garnett Brown (trombone), McCoy Tyner (piano), Ron Carter (bass), Al Harewood (drums) -- knows enough to provide sympathetic support and not steal the show. When they do take solos, it enhances Donaldson's original statements, and helps make Lush Life the singularly enchanting record it is. Stephen Thomas Erlewine
Tracklist :
1    Sweet Slumber 5'56
Lucky Millinder / Al J. Neiburg / Henri Woode
2     You've Changed 4'23
Bill Carey / Carl Fischer    
3     The Good Life 4'53
Jean Broussole / Sacha Distel    
4     Star Dust 3'40
Hoagy Carmichael    
5     What Will I Tell My Heart 4'25
Irving Gordon / Jack Lawrence / Peter Tinturin
6     It Might as Well Be Spring 5'58
Oscar Hammerstein II / Richard Rodgers
7     Sweet and Lovely 5'58
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
Credits :
Alto Saxophone – Lou Donaldson
Alto Saxophone, Flute – Jerry Dodgion
Arranged By – Duke Pearson
Baritone Saxophone – Pepper Adams
Bass – Ron Carter
Drums – Al Harewood
Piano – McCoy Tyner
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trombone – Garnett Brown
Trumpet – Freddie Hubbard

THE BOOKER ERVIN SEXTET - Heavy!!! (1966-1998) RM / FLAC (tracks+.cue), lossless

This 1998 CD reissue differs from the original LP in that the immediately distinctive tenor saxophonist Booker Ervin is featured on a previously unreleased four-minute dirge, "Ode to Charlie Parker." The set matches Ervin with a remarkable rhythm section (pianist Jaki Byard, bassist Richard Davis, and drummer Alan Dawson), plus trumpeter Jimmy Owens and trombonist Garnett Brown (who sometimes takes co-honors). The music is quite moody, soulful, and explorative yet not forbidding. Although the originals are fine (particularly Brown's "Bächafillen"), the main highlights are an inventive reworking of "Bei Mir Bist du Schön" and Ervin's quartet feature on an emotional rendition of "You Don't Know What Love Is." by Scott Yanow
Tracklist :
1     Bächafillen 8:15
Garnett Brown
2     You Don't Know What Love Is 8:43
Gene DePaul / Don Raye
3     Aluminum Baby 5:00
Jaki Byard
4     Not Quite That 7:54
Garnett Brown
5     Bei Mir Bist du Shoen 12:28
Sammy Cahn / Saul Chaplin / Jacob Jacobs / Sholom Secunda
6     Ode to Charlie Parker 3:57
Jaki Byard
Credits :
Bass – Richard Davis
Drums – Alan Dawson
Flugelhorn – Jimmy Owens (faixas: 1)
Piano – Jaki Byard
Tenor Saxophone – Booker Ervin
Trombone – Garnett Brown (faixas: 1, 3 to 6)
Trumpet – Jimmy Owens (faixas: 3 to 6)

THE GIL EVANS ORCHESTRA — Blues in Orbit (1980-2009) RM | Serie Enja · 24bit Master Edition | FLAC (tracks+.cue), lossless

Arranger Gil Evans's first recording as a leader in five years found him leading an orchestra that could be considered a transition between his 1950s groups and his somewhat electric band of the 1970s. Several of these charts, particularly his reworking of George Russell's "Blues in Orbit," are quite memorable, and Evans utilizes his many interesting sidemen, including the distinctive voices of trombonist Jimmy Cleveland, Howard Johnson on tuba and baritone, tenor-saxophonist Billy Harper and guitarist Joe Beck, in unexpected and unpredictable ways. A near-classic release which has been made available on CD by Enja. Scott Yanow
Tracklist :
1 Thoroughbred 4:55
Baritone Saxophone – Howard Johnson 
Drums – Alphonse Mouzon
Flute, Soprano Saxophone – George Marge
Flute, Written-By – Billy Harper
French Horn – Ray Alonge
Percussion – Donald McDonald
Trombone – Garnett Brown
Trumpet – Ernie Royal, Johnny Coles
2 Spaced 3:03
Written-By – Gil Evans
3 Love In The Open 6:47
Written-By – Warren Smith
4 Variation On The Misery 3:01
Written-By – Gil Evans
5 Blues In Orbit 6:47
Baritone Saxophone – Howard Johnson
Drums – Alphonse Mouzon
Flute – Billy Harper
Flute, Soprano Saxophone – George Marge
French Horn – Ray Alonge
Percussion – Donald McDonald
Trombone – Garnett Brown
Trumpet – Ernie Royal, Johnny Coles
Written-By – George Russell
6 Proclamation 1:46
Written-By – Gil Evans
7 General Assembly 7:10
Written-By – Gil Evans, Miles Davis
8 So Long 2:27
Written-By – Gil Evans
Créditos
Bass – Herb Bushler
Drums – Elvin Jones (tracks: 2 to 4, 6 to 8)
Flute – Hubert Laws (tracks: 2 to 4, 6 to 8)
French Horn – Julius Watkins
Guitar – Joe Beck
Harp – Gene Bianco (tracks: 2 to 4, 6 to 8)
Percussion – Sue Evans (tracks: 2 to 4, 6 to 8)
Piano, Electric Piano, Arranged By, Conductor – Gil Evans
Tenor Saxophone – Billy Harper
Trombone – Jimmy Cleveland, Jimmy Knepper (tracks: 2 to 4, 6 to 8)
Trumpet – Snooky Young (tracks: 2 to 4, 6 to 8), Mike Lawrence (tracks: 2 to 4, 6 to 8)
Tuba – Howard Johnson