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 — Blues Farm (1973-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album. Nathan Bush
Tracklist :
1    Blues Farm    8:06
 Ron Carter
2    A Small Ballad    5:40
 Ron Carter
3    Django    5:31
 John Lewis
4    A Hymn For Him    8:12
 Ron Carter
5    Two-Beat Johnson    2:50
 Ron Carter
6    R2, M1    6:08
 Ron Carter
Credits :
Ron Carter - Bass, Arranger, Conductor
Hubert Laws - Flute (tracks 1, 5 & 6)
Richard Tee - Electric Piano, Piano (tracks 1, 4 & 5)
Bob James - Piano (tracks 2, 3 & 6)
Gene Bertoncini (track 5), Sam Brown (track 3) - Guitar
Billy Cobham - Drums
Ralph MacDonald - Percussion (tracks 1 & 4-6)

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

HUBERT LAWS - The Rite of Spring (1971-1987) RM / FLAC (tracks+.cue), lossless

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Pavane 7:43
Gabriel Fauré
2     Rite of Spring 9:03
Igor Stravinsky
3     Syrinx 3:34
Claude Debussy
4     Brandenburg Concerto No. 3, First Movement 6:01
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
5     Brandenburg Concerto No. 3, Second Movement 4:27
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
Credits :
Bass – Ron Carter
Bassoon – Wally Kane
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto Moreira
Piano, Electric Piano, Harpsichord [Electric] – Bob James
Producer – Creed Taylor
Vibraphone, Percussion – David Friedman

ETHEL ENNIS - If Women Ruled the World (1998) FLAC (tracks+.cue), lossless

This is a historic release on two levels. It was one of the first recordings of new jazz for Savoy in a couple decades (unfortunately the label's venture into recording new music did not last long) and it was singer Ethel Ennis' first recording in quite some time. For this project, she interprets a dozen songs written by women, ranging from "God Bless the Child" and "Willow Weep for Me" to more recent songs by Joan Osborne, Joan Armatrading, Joni Mitchell, Tracy Chapman, Carole King, and herself ("Hey You"). The performances range from swinging pieces to folk music with Ennis assisted by pianist Marc Copland, trumpeter Ingrid Jensen, guitarist John Abercrombie, soprano saxophonist Jane Ira Bloom, and a couple different rhythm sections. This is a fine effort, making one wish that Ethel Ennis would record much more often. by Scott Yanow
Tracklist:
1  Spider Web 5:07
    Written-By – Chris Palmaro, Gary Michael Lucas, Joan Osborne, Richard E. Chertoff, Sammy Merendino
2  If Women Ruled The World 5:00
    Written-By – Joan Armatrading
3  God Bless The Child  5:55
    Written-By – Arthur Herzog, Jr., Billie Holiday
4  You Gotta Be 4:44
    Written-By – Ashley Ingram, Des'ree
5  For Free 5:33
    Written-By – Joni Mitchell
6  Sometimes I Don't Wanna Go Home 4:43
    Written-By – Joan Armatrading
7  Tell It Like It Is  6:32
    Written-By – Tracy Chapman
8  So Far Away 4:08
    Written-By – Carole King
9  When I Need You 3:14
   Written-By – Albert Louis Hammond, Carole Bayer Sager
10  Willow Weep For Me  5:45
    Written-By – Ann Ronell
11  Nick Of Time  4:08
    Written-By – Bonnie Raitt
12  Hey You  4:48
Written-By – Ethel Ennis
Credits :
Arranged By – Ethel Ennis (faixas: 12), Marc Copland (faixas: 1 to 11)
Bass – Drew Gress (faixas: 1, 2, 4, 5, 7, 8), Ron McClure (faixas: 3, 6, 9 to 12)
Drums – Billy Hart (faixas: 3, 6, 9 to 12), Dennis Chambers (faixas: 1, 2, 4, 5, 7, 8)
Guitar – Gene Bertoncini (faixas: 6, 10, 11), John Abercrombie (faixas: 4, 6, 7)
Piano – Marc Copland (faixas: 1 to 12)
Soprano Saxophone – Jane Ira Bloom (faixas: 5, 8)
Trumpet – Ingrid Jensen (faixas: 1, 2, 4, 7)
Vocals – Ethel Ennis (faixas: 1 to 12) 

PAUL DESMOND - Skylark (1973-2003) RM / FLAC (image+.cue), lossless

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. For those who missed it the first time, Desmond remakes "Take Ten" -- without the Middle Eastern elements -- "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. by Richard S. Ginell  
Tracklist:
1 Take Ten 6:08
Paul Desmond
2 Romance de Amor 9:40
Traditional
3 Was a Sunny Day 4:52
Paul Simon
4 Music for a While 6:45
Henry Purcell
5 Skylark 5:21
Hoagy Carmichael / Johnny Mercer
6 Indian Summer 4:00
Al Dubin / Victor Herbert
7 Music for a While 5:56
Henry Purcell
8 Skylark 5:39
Hoagy Carmichael / Johnny Mercer
9 Indian Summer 5:27
Al Dubin / Victor Herbert
Credits:
Alto Saxophone – Paul Desmond
Arranged By, Supervised By – Don Sebesky
Bass – Ron Carter
Cello – George Ricci
Drums – Jack DeJohnette
Engineer – Rudy Van Gelder
Guitar – Gene Bertoncini
Guitar, Soloist [All Solos] – Gabor Szabo
Percussion – Ralph MacDonald
Piano, Electric Piano – Bob James
Producer – Creed Taylor

LALO SCHIFRIN - The Dissection And Reconstruction Of Music From The Past As Performed By The Inmates Of Lalo Schifrin's Demented Ensemble As A Tribute To The Memory Of The Marquis De Sade [1966] Verve / Lp / FLAC

Come again? This crackpot title -- probably the longest ever concocted for a jazz album -- actually is a front for a not-so-dangerous, hard-swinging album in which Schifrin invents or borrows 18th-century classical themes and sets them into big band or small-combo contexts. Such is Schifrin's chameleonic mastery that his own inventions are a match for the themes of the period, and he is tasteful enough not to overload the window dressing and keep the rhythm section loosely swinging nearly all the time. Once, Lalo tries something wacky; on "Beneath a Weeping Window Shade," he has singer Rose Marie Jun intoning a madrigal-like Francis Hopkinson song against some avant-garde multiphonic flute from Jerome Richardson, ministrations from a string quintet, and Schifrin's own comments on harpsichord. There is also a stimulating pastiche "Aria" that sounds like Schifrin arguing with Heitor Villa-Lobos and Henry Purcell in 9/8 time. With the cream of New York's jazz session men of the '60s on board -- including the inimitable Grady Tate on drums, Richardson on flute and tenor, Gene Bertoncini on guitar, and J.J. Johnson and Kai Winding on trombones -- and Creed Taylor's production dictating the distinctive timbres, jazz buffs will have a fine time with this collision of the centuries, which leans heavily to the jazz side. The album was reissued on CD as part of Verve's limited Elite Editions series.

Tracklist
A1. Old Laces 4:20
A2. The Wig 2:40
A3. The Blues For Johann Sebastian 3:05
A4. Renaissance 3:15
A5. Beneath A Weeping Willow Shade 2:30
B1. Versailles Promenade 3:55
B2. Troubadour 3:00
B3. Marquis De Sade 2:45
B4. Aria 2:30
B5. Bossa Antique 3:26

Arranged By, Conductor, Leader, 

Piano, Harpsichord– Lalo Schifrin

Bass – Richard Davis (2)

Cello – George Ricci (tracks: A4, A5, B4)

Drums – Grady Tate

Flute [Tenor & Alto] – Jerome Richardson

Saxophone (tracks: A2, A3, A4, A5, B2, B4, B5)

Flute, Flute [Alto] – Romeo Penque (tracks: A2, A3, B2, B5)

French Horn – James Buffington* (tracks: A2, A3, B2, B5), 

Ray Alonge (tracks: A2, A3, B2, B5), 

Richard Berg (3) (tracks: A2, A3, B2, B5)

Guitar – Gene Bertoncini (tracks: A4, A5, B4)

Guitar [Classic], Electric Guitar (tracks: A1, B1, B3)

Harp – Gloria Agostini (tracks: A4, A5, B4)

Trombone – J. J. Johnson* (tracks: A2, A3, B2, B5),

 Kai Winding (tracks: A2, A3, B2, B5), 

Thomas Mitchell (tracks: A2, A3, B2, B5), 

Urbie Green (tracks: A2, A3, B2, B5)

Trumpet – Clark Terry (tracks: A2, A3, B2, B5),

 Ernie Royal, Snooky Young* (tracks: A2, A3, B2, B5), 

Jimmy Maxwell (tracks: A2, A3, B2, B5)

Tuba – Don Butterfield (tracks: A2, A3, B2, B5)

Violin – Alfred Brown (tracks: A4, A5, B4), 

Christopher Williams (10) (tracks: A4, A5, B4), 

Gene Orloff (tracks: A4, A5, B4),

 Harry Lookofsky (tracks: A4, A5, B4)

Vocals – Rose Marie Jun (tracks: A4, A5, B4)

O Púbis da Rosa