CHARLES MINGUS — Mingus at Carnegie Hall (1974-2006) RM | Serie Atlantic 60th | FLAC (tracks+.cue) lossless

Atlantic Records, somewhat perversely, chose to release two performances from this concert that had the strongest aura of "jam session" about them. But the show included a solid opening set by the working band of the time, as well as a freer finale, all of which remains unissued. This is a fun 45 minutes, particularly for the jovial interplay between saxophonists Kirk and Adams, but in its released form, only hints at the strength of The Jazz Workshop in 1974. Stuart Kremsky
Tracklist :
1    C Jam Blues 24:40
Written-By – Duke Ellington
2    Perdido 21:57
Written-By – Ervin Drake, Hans Lengsfelder, Juan Tizol
Credits :
Alto Saxophone – Charles McPherson
Alto Saxophone, Tenor Saxophone – John Handy
Baritone Saxophone – Hamiet Bluiett
Bass – Charles Mingus
Drums – Dannie Richmond
Piano – Don Pullen
Tenor Saxophone – George Adams
Tenor Saxophone, Saxophone [Stritch] – Rahsaan Roland Kirk
Trumpet – Jon Faddis

JON FADDIS — Legacy (1986) FLAC (tracks+.cue), lossless

After too long a period in the studios, talented trumpeter Jon Faddis returned to jazz with this brilliant effort. Best known for his ability to closely emulate his idol, Dizzy Gillespie (far from an easy feat), Faddis pays tribute to Gillespie with "Night in Tunisia" and "Things to Come." However, he also does a close imitation of Roy Eldridge on "Little Jazz," pays homage to Louis Armstrong on "West End Blues," shows sensitivity on Thad Jones' "A Child Is Born," and performs three other numbers. With the assistance of tenor saxophonist Harold Land, pianist Kenny Barron, bassist Ray Brown, and drummer Mel Lewis, Jon Faddis is in superb form throughout this outstanding release, his definitive recording. Scott Yanow
Tracklist :
1    West End Blues 5:35
Written-By – Clarence Williams, Joe "King" Oliver
2    Little Jazz 5:37
Written-By – Roy Eldridge
3    Night In Tunisia 6:02
Written-By – Dizzy Gillespie, Frank Paparelli, Jon Hendricks
4    Instigator 4:44
Written-By – Jon Faddis
5    Things To Come 3:31
Written-By – Dizzy Gillespie, Gil Fuller
6    A Child Is Born 7:00
Written-By – Thad Jones
7    Li'l Darlin' 4:09
Written-By – Neal Hefti
8    Whisper Not 5:31
Written-By – Benny Golson, Leonard Feather
Credits
Bass – Ray Brown
Drums – Mel Lewis
Flugelhorn, Trumpet – Jon Faddis
Piano – Kenny Barron
Tenor Saxophone – Harold Land

TERESA BREWER — Live At Carnegie Hall & Montreaux, Switzerland (2001) FLAC (tracks+.cue), lossless

Two previously unissued live concerts from 1978 and 1983 find Teresa in rare form, singing and swinging in front of big bands simply top-heavy with great players. Kicking off with a duet with Dizzy Gillespie on "It Don't Mean a Thing" (where Dizzy plays a Jew's harp funkier than any electronic gizmo you can think of), Brewer puts the torch to tunes like "After You've Gone," "St. Louis Blues," and a smoky medley of "It Had to Be You" and "I've Got a Crush on You." The Montreux set repeats many of the same tunes, but with Clark Terry in the fold, Teresa is recharged, and the different interpretations make for very interesting comparisons. Anyone who wants to file Brewer in the "pop singer" category only needs to hear her sink her formidable chops into this material with a hot band kicking behind her. Cub Koda

Tracklist :
1    It Don't Mean A Thing (If It Ain't Got That Swing)    3:54
Duke Ellington / Irving Mills
2    Breakin' Up Is Hard To Do    3:32
Howard Greenfield / Neil Sedaka
3    St. Louis Blues    3:14
W.C. Handy
4    After You've Gone    4:12
Henry Creamer / Turner Layton
5    Medley: It Had To Be You / I've Got A Crush On You    4:07
George Gershwin / Ira Gershwin / Isham Jones / Gus Kahn
6    Romance In The Dark    3:49
Lillian "Lil" Green
7    Mood Indigo    4:53
Barney Bigard / Duke Ellington / Irving Mills
8    Some Songs    3:52
Dennis Linde
9    That's When The Music Takes Me    3:20
Neil Sedaka
10    Medley: I Ain't Got Nobody / Baby Won't You Please Come Home    5:29
Roger Graham / Charles Warfield / Clarence Williams / Spencer Williams
11    Fats Waller Medley: We Love You Fats / Ain't Misbehavin' / Find Out What They Like / The Joint Is Jumpin'    6:22
Teresa Brewer / Harry Brooks / J.C. Johnson / Frank Owens / Andy Razaf / Bob Thiele / Fats Waller
12    Come On And Drive Me Crazy    3:30
Teresa Brewer
13    It Don't Mean A Thing (If It Ain't Got That Swing)    4:01
Duke Ellington / Irving Mills
14    Mood Indigo    4:27
Barney Bigard / Duke Ellington / Irving Mills
15    St. Louis Blues    3:34
W.C. Handy
16    New Orleans    5:47
Frank Guida
Personnel Includes :
Teresa Brewer - Vocals
Dizzy Gillespie - Vocals, Jews Harp
Cootie Williams, Clark Terry - Trumpet
Bucky Pizzarelli - Acoustic Guitar
Hiram Bullock - Electric Guitar
Derek Smith, Patrick Coil - Piano

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

RAY BROWN TRIO — Some of My Best Friends Are ... The Trumpet Players (2000) FLAC (tracks), lossless

Ray Brown did it again with the fourth installment in his Some of My Best Friends Are... series, spotlighting some of the hottest trumpet players around and producing one of the finest trumpet-fronted small group recordings to come down the jazz pike in a while. Featuring a six-pack of hornmen ranging from octogenarian Clark Terry to youngsters Roy Hargrove and Nicholas Payton, this CD alternately cooks and simmers, with the ballads especially standing out in their spaciousness and beauty. The blend of Brown's bass and Jon Faddis' trumpet on a slowed-down "Bag's Groove" is particularly appealing in its sparseness. The intro and outro duets between Brown's bass and James Morrison's dry trumpet tone on "I Thought About You" are also entrancing in their openness. Terrence Blanchard lays out a smoky lead line over Geoff Keezer's bluesy late-night piano on Benny Goodman's old sign-off theme, "Goodbye," bringing a new poignancy to the tune. On the most noteworthy upbeat number, Payton really smokes on Joe Henderson's composition, "The Kicker," though the track mysteriously fades out too early. Brown himself is fantastic throughout this disc, and he and his trio mates Keezer and drummer Karriem Riggins anchor the proceedings masterfully. Jim Newsom   Tracklist & Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. I (1980-1994) FLAC (tracks+.cue), lossless

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections. Scott Yanow    Tracklist + Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. II (1980-1994) FLAC (tracks+.cue), lossless

The second of two Gil Evans LPs originally recorded for the Japanese Trio label and put out in the United States on the now-defunct Black-Hawk company features the veteran arranger leading a 14-piece group at a pair of 1980 concerts. The five selections (which include Jimi Hendrix's "Stone Free," Charles Mingus' "Orange Was the Color of Her Dress" and Evans's "Zee Zee") are given colorful treatment by the unique band, which consists of three keyboardists, a rhythm section propelled by drummer Billy Cobham, three trumpets (Lew Soloff, Jon Faddis and Hannibal Marvin Peterson), two trombones (including George Lewis), John Clark on French horn, baritone saxophonist Hamiet Bluiett and altoist Arthur Blythe. Although the end results do not quite live up to the potential of this unique ensemble, there are plenty of colorful moments. Scott Yanow
Tracklist + Credits :

DIZZY GILLESPIE – To Diz, With Love (Live At The Blue Note) (1992) APE (tracks+.cue), lossless

Dizzy Gillespie's final recording, taken from a month he spent featured at the Blue Note in New York, matches the aging giant with such fellow trumpeters as Jon Faddis, Wynton Marsalis, Claudio Roditi, Wallace Roney, Red Rodney, Charlie Sepulveda and the ancient -- but still brilliant -- Doc Cheatham (who cuts both Diz and Faddis on "Mood Indigo"). Although Gillespie was no longer up to the competition, the love that these fellow trumpeters had for him (and some fine solos) makes this historic CD worth getting. Scott Yanow              Tracklist + Credits :

ANTHONY BRAXTON - Creative Orchestra Music 1976 (1987) RM | FLAC (tracks+.cue), lossless

This is one of Braxton's most interesting recordings. Six of his compositions are performed by groups ranging from 15-20 pieces and featuring such soloists as trumpeters Cecil Bridgewater, Leo Smith, Kenny Wheeler and Jon Faddis, baritonist Bruce Johnstone, trombonist George Lewis, reed player Roscoe Mitchell, bassist Dave Holland, pianist Muhal Richard Abrams and Braxton himself. There is a lot of variety on this set. One of the pieces finds Braxton combining free elements with a Sousa-type march while another one looks toward Ellington. There are quite a few memorable moments on this program. Scott Yanow
Tracklist :
1    Piece One 5:10
Alto Saxophone – Anthony Braxton, Seldon Powell
Baritone Saxophone – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Earl McIntyre
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
2    Piece Two 7:36
Bass – Dave Holland
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Clarinet – Ronald Bridgewater, Seldon Powell
Contrabass Clarinet – Anthony Braxton
Gong [Gongs], Percussion – Barry Altschul
Percussion – Philip Wilson
Piano – Frederic Rzewski, Muhal Richard Abrams
Soprano Saxophone – Roscoe Mitchell
Synthesizer – Richard Teitelbaum
Timpani, Bass Drum – Warren Smith
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
3    Piece Three 6:43
Alto Saxophone [Alto Sax], Clarinet – Anthony Braxton
Alto Saxophone [Alto Sax], Flute – Seldon Powell
Baritone Saxophone [Baritone Sax], Bass Clarinet – Bruce Johnstone
Bass – Dave Holland
Bass Drum – Frederic Rzewski
Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Trombone – Jack Jeffers
Cymbal [Marching Cymbals] – Philip Wilson
Glockenspiel – Karl Berger
Snare [Snare Drum] – Barry Altschul, Warren Smith
Tenor Saxophone [Tenor Sax] – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Kenny Wheeler
Trumpet [Solo Trumpet], Conductor – Leo Smith
Trumpet, Piccolo Trumpet – Jon Faddis
Tuba – Jonathan Dorn
4    Piece Four 6:26
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Bells, Percussion, Chimes [Orchestra] – Barry Altschul
Cello – Dave Holland
Clarinet – Ron Bridgewater
Drums, Percussion – Philip Wilson
Flute – Seldon Powell
Flute, Bass Saxophone [Bass Sax] – Roscoe Mitchell
Flute, Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Marimba [Bass Marimba], Chimes [Orchestra] – Warren Smith
Piano – Frederic Rzewski, Muhal Richard Abrams
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Wadada Leo Smith
Tuba – Jonathan Dorn
Vibraphone, Xylophone, Chimes [Orchestra] – Karl Berger
5    Piece Five 7:19
Alto Saxophone [Alto Sax] – Seldon Powell
Alto Saxophone [Alto Sax], Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Baritone Saxophone [Baritone Sax] – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Jack Jeffers
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone [Tenor Sax] – Ron Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
Vibraphone – Karl Berger
6    Piece Six 6:40
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Clarinet – Bruce Johnstone
Bass Trombone – Earl McIntyre
Cello – Dave Holland
Clarinet – Ronald Bridgewater
Conductor – Muhal Richard Abrams
Flute – Seldon Powell
Sopranino Saxophone [Sopranino Sax], Clarinet, Contrabass Clarinet – Anthony Braxton
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
Credits :
Composed By [All Music Composed By], Arranged By [All Music Arranged By] – Anthony Braxton

THE HEATH BROTHERS - As We Were Saying (1997) FLAC (tracks), lossless

During the Modern Jazz Quartet's temporary retirement from 1975-83, bassist Percy Heath teamed up with tenor and soprano great Jimmy Heath and drummer Albert "Tootie" Heath (who left after a few years) to form the Heath Brothers. There had been occasional reunions since then, but this is the first record done under the Heath Brothers name in over a decade, and it finds the musical communication between the three siblings as strong as ever. Joined by either Stanley Cowell or Sir Roland Hanna on piano and such guests as guitarist Mark Elf, trombonist Slide Hampton, trumpeter Jon Faddis (brilliant during his three appearances) and percussionist James Mtume (Jimmy's son), the Heaths perform a varied yet continually colorful set. The music is largely bop-oriented and includes six likable originals, "I'm Glad There Is You," "Daydream," and Fats Navarro's "Nostalgia." Although Percy has some solo spots, as do the guests, the main voice throughout is Jimmy Heath, who has long had his own distinctive sounds on tenor and soprano. Without exaggeration, it can be accurately stated that all nine performances on this CD are memorable in their own way. Highly recommended. Scott Yanow  
Tracklist :
1     The Newest One 6'18
Jimmy Heath
2     Bop Again 7'13
Jimmy Heath
3     For Seven's Sake 4'47
Albert "Tootie" Heath
4     South Filthy 3'29
Albert "Tootie" Heath / Jimmy Heath / Percy Heath
5     I'm Glad There Is You 7'38
Jimmy Dorsey / Paul Mertz
6     Dave's Daze 6'06
Percy Heath
7     Day Dream 6'46
Duke Ellington / John Latouche / Billy Strayhorn
8     Nostalgia 8'20
Fats Navarro
9     This Is What It Is 8'18
Jimmy Heath
Credits
Acoustic Bass, Cello [Jazz Cello] – Percy Heath
Drums, Percussion – Albert "Tootie" Heath
Guitar – Mark Elf (pistas: 1, 2, 3, 6)
Percussion – James Mtume (pistas: 4)
Piano – Sir Roland Hanna (pistas: 1, 6, 7, 9)
Piano, Kalimba – Stanley Cowell (pistas: 2, 3, 5)
Tenor Saxophone, Soprano Saxophone – Jimmy Heath
Trombone – Slide Hampton (pistas: 1, 8, 9)
Trumpet, Flugelhorn – Jon Faddis (pistas: 1, 8, 9)

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 

RON CARTER - Parade (1979-2000) RM / FLAC (image+.cue), lossless

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well. by Ron Wynn
Tracklist :
1     Parade 9:01
Ron Carter
2     A Theme in 3/4 5:54
Ron Carter
3     Sometimes I Feel Like a Motherless Child 2:46
Traditional
4     Tinderbox 5:07
Ron Carter
5     Gypsy 8:41
Ron Carter
6     G.J.T. 4:48
Ron Carter
Credits :
Arranged By [Horns], Conductor [Horns] – Wade Marcus
Bass Trombone – Tom Malone
Bass, Bass [Piccolo], Producer, Written-By – Ron Carter
Drums – Tony Williams
Flute, Clarinet, Alto Saxophone – Jerry Dodgion
Flute, Clarinet, Tenor Saxophone – Frank Wess
Piano – Chick Corea
Recorded By, Mixed By – Rudy Van Gelder
Tenor Saxophone – Joe Henderson
Trombone – Urbie Green
Trumpet, Flugelhorn – Joe Shepley, John Frosk, Jon Faddis

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

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

OSCAR PETERSON & JON FADDIS - Oscar Peterson & Jon Faddis (1975-2000) RM / FLAC (image+.cue), lossless

In the mid-'70s, Oscar Peterson recorded duet albums with veteran trumpeters Dizzy Gillespie, Roy Eldridge, Clark Terry, and Harry "Sweets" Edison. He paid the young Jon Faddis a huge compliment by also recording a set with him. Faddis, very much under Gillespie's influence but already displaying a wide range, clearly enjoyed the challenge, and on a set of standards and basic material, he often tears into the songs with reckless abandon. The Peterson-Faddis encounter is generally quite exciting and a high point in the early career of Jon Faddis. by Scott Yanow
Tracklist:
1 Things Ain't What They Used to Be 10:23
Mercer Ellington / Ted Persons
2 Autumn Leaves 6:51
Joseph Kosma / Johnny Mercer / Jacques Prévert
3 Take the "A" Train 7:58
Billy Strayhorn
4 Blues for Birks 7:22
Jon Faddis / Oscar Peterson
5 Summertime 7:28
George Gershwin / Ira Gershwin / DuBose Heyward
6 Lester Leaps In 6:25
Lester Young
Credits:
Piano – Oscar Peterson
Trumpet – Jon Faddis

ROY AYERS - Coffy (Original Motion Picture Soundtrack) (1973-2001) RM / APE (image+.cue), lossless

A blaxploitation masterpiece on par with Curtis Mayfield's Superfly and Isaac Hayes' Shaft, Roy Ayers' soundtrack for the 1973 Pam Grier vehicle Coffy remains one of the most intriguing and evocative film scores of its era or any other. Ayers' signature vibes create atmospheres and textures quite distinct from your average blaxploitation effort, embracing both heavy, tripped-out funk ("Brawling Broads") and vividly nuanced soul-jazz ("Aragon"). The vocal numbers are no less impressive, in particular the rapturous opening cut, "Coffy Is the Color." Richly  by Jason Ankeny

Tracklist:

1 Coffy Is The Color 2:58

Vocals – Dee Dee Bridgewater, Roy Ayers, Wayne Garfield

2 Pricilla's Theme 3:53

3 King George 2:55

Vocals – Roy Ayers

4 Aragon 2:52

5 Coffy Sauna 2:13

6 King's Last Ride 1:05

7 Coffy Baby 2:23

Vocals – Dee Dee Bridgewater

8 Brawling Broads 2:40

9 Escape 2:14

10 Shining Symbol 3:49

Vocals – Wayne Garfield

11 Exotic Dance 3:14

12 Making Love 2:45

13 Vittroni's Theme - King Is Dead 1:58

14 End Of Sugarman 1:04

Credits:

Bass [Electric], Bass – Richard Davis  

Congas, Bongos, Percussion – William King  

Drums – Dennis Davis

Guitar – Billy Nichols, Bob Rose

Orchestrated By, Electric Piano, Organ, Harpsichord, Piano – Harry Whitaker

Producer, Composed By, Arranged By – Roy Ayers

Strings – Emanuel Vardi, Harry Lookofsky, Irving Spice, Peter Dimitriades

Trombone – Garnett Brown, Wayne Andre

Trumpet, Flugelhorn – Cecil Bridgewater, Jon Faddis

STANLEY CLARKE - Stanley Clarke (1971-2007) RM / FLAC (image+.cue), lossless

Stanley Clarke is the second album of jazz fusion bassist Stanley Clarke. This is a classic in the jazz rock fusion genre. Highly electric featuring an all-star band of Stanley Clarke, Jan Hammer, Bill Connors, and the incomparable Tony Williams. To listen to this album/cd at less than full volume does not do it justice.

No one ever accused Return to Forever of playing too few notes, and bass wonder Stanley Clarke commits a few similar sins of excess on his first solo album (see "Life Suite, Parts 1-4"). But, hey, this was 1975, and there's no denying Clarke's genius for sublime grooves and fancy fretwork. As funky as Larry Graham and more fun than Jaco Pastorius, he moves agilely between the convoluted pleasures of "Lopsy Lu" and the more highbrow charms of "Spanish Phases for String and Bass." The album is one of the best showcases for Clarke's mastery of both double bass and electric.

While some jazz purists will detest this LP for it's marriage of jazz improvisation and rock, the simple truth is, "Stanley Clarke" (both the LP and the man)are stunning and ingenious. The late, great Tony Williams is volcanic in his drumming, notice how he plays slightly behind the bass on "Lopsy Lu", or plays in circles around guitarist Bill Connors on Part IV of the "Life Suite"? There is not a wasted note here and listeners who are looking for 'light' or 'smooth' jazz are barking up the wrong tree! Clarke himself is an astounding bassist and takes on shades of Charles Mingus on "Phases for Strings and Bass" and all of the opening "Vulcan Princess". Electro-funk, hard rock and jazz rarely live on the same street these days, but this kind of adventurous music making(a treasure for us more discriminating music lovers)tells me that the 3 should visit each other more frequently. Stanley Clarke is the man! 

This was one of the best jams of it's time.If you ever heard Tony in the mid to late 60ies with miles you know how fast his foot work was. He takes it to a new high on this whole jam sesson. And you know how Stanley got down. anyone who cant understant this fusion all time great. Dont know Jazz. I am very very happy to have this calabaration of Rock&Jazz to my long list of unforgetable moments in Jazz history.

Tony Williams on drums, Jan Hammer on keyboards, Bill Conners on guitar and, of course, Stanley on bass(es). The pedigree of this line up rivals any, and when the Jazz Fusion style of this album is considered, this line up is as close to unbeatable as can be. Even relative unknown NoCal guitarist Bill Conners steps up with impressive performances. Tony's driving, if not frenetic style and Jan's melodic fills compliment Stanley's virtuoso. For fans of Jazz Fusion, or Stanley, this recording is a must. It will be tough to remove from your changer. As an aside I would like to mention that Stanley released an album previous to this as a solo artist. It is called "Stan Clarke: Children of Forever. Chick Corea, Pat Martino, Andy Bey, Dee Dee Bridgewater. Not Fusion, not pure jazz. Well worth checking out (especially "Bass Folk Song). 

I first heard "Stanley Clarke" way back in the mid seventies. I was in a rock band while I was in high school, and the bass player played the album for me in his basement. I had never heard a bass sound the way Clarke's did: more of a lead rather than rhythm or "bottom" instrument. My reaction was "Who is this dude?"

"Stanley Clarke" is full of fine performances: keyboardist Jan Hammer, guitar player Bill Connors, Clarke himself, and the guy who steals the show from everyone else, the legendary Tony Williams. Williams does amazing work throughout this album, but his solos on "Power" and "Life Suite" are simply incredible. In the second movement of "Life Suite", Williams' solo is otherworldly; the work he does on the high hat, bass drum and toms is beyond anything I have ever heard in my 50 years. Williams then moves on to cover what seems like every single piece of his drum kit: toms, cymbals, high hat, and snare-and he does it with such fluidity and speed that it seems like there is more than one person playing simultaneously. When the song drops in volume and tempo, Williams then does a sort of "background solo" with rim shots on his snare drum.

This is tremendous stuff. "Stanley Clarke" is perhaps not as polished as some of his later solo works such as "School Days" or "Journey to Love", but it is still a marvel to behold. The big thing is Tony Williams is on this album, and not the others. The only reason I subtract one star is Stanley somehow thought he could pull off what he thought would pass for singing on "Yesterday Princess". Maybe he got the idea from Tony, who also "sang" on his "Lifetime" albums. Bad idea for both of them...

More than 30 years hence "Stanley Clark" can still tingle my spine when I listen to "Life Suite"! As far as I'm concerned, that qualifies this album as a classic.

Stanley Clarke is Jazz Fusion Bass. There is not now, never was, and never will be an equivalent . Few artist achieve instant greatness with their solo debut album...Stanley did. The opening cut..."Vulcan Princess"...winds its way from a sassy rythmic dance, into a bold, fully ripe melody, fermenting into a beautifully eerie vocal ballad of love and longing. "Vulcan Princess" leads-sans pause- into a (now classic) string popping, synchopathic jaunt through the spacey landscape which is titled "Yesterday Princess". "YP creates musical slices of synthesizer, electric guitar and percussion which seem to fragment, then cascade back together, pulled sytematically into line by the ever present "syncho-Stanley- pops". The "Princess" tunes are wonderful introductions for the middle of the six tune album...they make us like Stanley, appreciate Stanley, recognize that Stanley is an extremely passionate and talented musical poet. Tunes 3 and 4, "Lopsy Lu" and "Power" creep up on you teasing with an underlying, pseudo-subtle flavor of the beast which lurks in the fantastic fingers of Monsieur Clarke. "Lopsy" is poignant. "Power" is, well... powerful. The next cut "Spanish Phases for Strings and Bass" is moody,seductive, occassionaly lilting, nearly passifying. The "SPfSaB" calms you, soothes you, puts you at just the right place to best handle the adrenelaine shot to the heart that concludes the album...The final cut "Life Suite" states simply that if life starts with a slap on the rear and a cry...it surely ends with a hard swift kick in the pants and a passionate scream. That's Stanley.... (web)

Tracklist:

1. Vulcan Princess (4:00)

2. Yesterday Princess (1:41)

3. Lopsy Lu (7:03)

4. Power (7:20)

5. Spanish Phases for Strings & Bass (6:26)

6. Life Suite

Part I - 1:51

Part II - 4:12

Part III - 1:03

Part IV - 6:41

Credits:

    Stanley Clarke - acoustic and electric basses, guitar, piano, vocals

    Jan Hammer - acoustic and electric pianos, organ, Moog synthesizer

    Bill Connors - acoustic and electric guitars

    Tony Williams - drums

    Airto Moreira - percussion

    Peter Gordon, Jon Faddis, James Buffington, Lew Soloff, Garnett Brown - brasses

    David Taylor - brasses, trombone

   David Nadien, Charles McCracken, Jesse Levy, Carol Buck, Beverly Lauridsen, Harry Cykman, Harold Kohon, Paul Gershman, Harry Lookofsky, Emanuel Green - string section

    Michael Gibbs (string & brass arrangement) 

STANLEY CLARKE - Journey to Love (1975-2007) RM / FLAC (image+.cue), lossless

It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.  by Daniel Gioffre
Tracklist:
1 Silly Putty
Composed By – S. Clarke
2 Journey To Love
Composed By – Clarke
Lyrics By – Steinberg, Geltman
3 Hello Jeff
Composed By – S. Clarke
4 Song To John (Part I) (Dedicated To John Coltrane)
Composed By – C. Corea, S. Clarke
5 Song To John (Part II) (Dedicated To John Coltrane)
Composed By – C. Corea, S. Clarke
Concerto For Jazz / Rock Orchestra
6a Part I
Composed By – S. Clarke
6b Part II
Composed By – S. Clarke
6c Part III
Composed By – S. Clarke
6d Part IV
Credits:
Acoustic Guitar – Mahavishnu John McLaughlin (tracks: 4, 5)
Arranged By, Conductor – Stanley Clarke
Bass [Piccolo With Maestro Synthesizer] – Stanley Clarke (tracks: 6)
Brass – Allen Rubin, David Taylor, Earl Chapin, John Clark, Jon Faddis, Lewis M. Soloff, Peter Gordon, Thomas Malone, Wilmer Wise
Double Bass – Stanley Clarke (tracks: 4, 5)
Drums – Lenny White (tracks: 3)
Drums, Percussion – Steve Gadd (tracks: 1, 2, 6)
Electric Bass [Alembic], Double Bass [Acoustic Bass], Handbell [Hand Bells], Tubular Bells, Organ, Gong, Vocals – Stanley Clarke (tracks: 1, 2, 6)
Electric Bass, Organ – Stanley Clarke (tracks: 3)
Electric Guitar – Jeff Beck (tracks: 3)
Electric Guitar, Guitar [12-string] – David Sancious (tracks: 1, 2, 6)
Piano – Chick Corea (tracks: 4, 5)
Producer – Ken Scott, Stanley Clarke
Synthesizer [Mini-moog, Arp Odyssey, Arp String Ensemble], Organ, Clavinet, Piano, Electric Piano, Bells, Vocals – George Duke (tracks: 1, 2, 6)

MANHATTAN JAZZ ORCHESTRA - Moanin' (1989) APE (image+.cue), lossless

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