CURTIS FULLER — Crankin' (1973-2017) RM | Serie Mainstream Records Master Collection – 15 | FLAC (tracks+.cue), lossless

Tracklist & Credits :

GATO BARBIERI - Fenix (1971-1996) APE (image+.cue), lossless

Some artists totally change directions; some reinvent their personalities. It is hard to know exactly what to make of the case of this Argentinian tenor saxophonist, who first appeared as a sideman on several extremely important Don Cherry projects, making such an essential contribution to the overall feel of these records that listeners expected great things. After a few attempts at finding a meeting place between the energy and harshness of free jazz and the his own rhythmic roots, he created this album in which everything seemed to come together perfectly. If a judgement is to be made based on Barbieri's overall career, then a lot of credit would be given to his accompanying musicians here, who are strictly the cream of the crop. A horn player certainly couldn't complain about a rhythm section featuring bassist Ron Carter, drummer Lenny White, and pianist Lonnie Liston Smith, the last fresh out of the band of Pharoah Sanders, where he had established himself as the absolute king of modal, vaguely Latin or African sounding vamps. Smith was able to fit right in here, and he of course knew just what to do when the saxophonist went into his screaming fits, because he surely had plenty of practice with this kind of stuff playing with Sanders. The leader adds a nice touch of ethnic percussion with some congas and bongos and Na Na on berimbau; in fact, this was the first time many American listeners heard this instrument. From here, Barbieri continued to build, reaching a height with a series of collaborations with Latin American musicians playing traditional instruments. He would then switch gears, tone down the energy, and become kind of a romantic image with a saxophone in his mouth, producing music that brought on insults from reviewers, many of whom would have bit their tongues if they'd known much worse sax playing was to come via later artists such as Kenny G. But at this point in 1971, well before the Muppets would create a caricature out of him, Barbieri was absolutely smoking, and for a certain style of rhythmic free jazz, this is a captivating album indeed.  by Eugene Chadbourne 
Tracklist :
1 Tupac Amaru 4:14
Gato Barbieri 
2 Carnavalito 9:08
Gato Barbieri 
3 Falsa Bahiana 5:50
Geraldo Pereira 
4 El Dia Que Me Quieras 6:12
Carlos Gardel / Alfredo Le Pera 
5 El Arriero 7:22
Atahualpa Yupanqui 
6 Bahia 6:22
Ary Barroso 
Credits :
Berimbau, Congas – Naná Vasconcelos
Congas, Bongos – Gene Golden
Drums – Lenny White
Electric Bass – Ron Carter
Piano, Electric Piano – Lonnie Liston Smith
Tenor Saxophone – Gato Barbieri

GATO BARBIERI - Ruby, Ruby (1977-2007) Verve Originals / RM / FLAC (tracks+.cue), lossless

Charming and romantic fit the description of Gato Barbieri and the work he presents here, the album Ruby, Ruby. The production of the record, mastered and engineered handsomely by Herb Alpert, is very lush and beautiful to a lasting degree. Barbieri turns his first song, "Ruby," from an early-on haunting love ballad to an appealing and gripping all-out Latin jam session. This theme happens to find itself playing roles several times over throughout the record. The musicianship explored is captivating and adventurous, taking the listener on a passionate journey to whatever part of the soul he or she wishes to find or dares to pursue. A soaring sound at times, with Barbieri's splendid, racing saxophone melody lines. "Nostalgia" brings the delicate and eloquent guitar work of Lee Ritenour, who also takes part in the creation of "Sunride" and bits of "Ruby." As with most jazz records, percussion is responsible for playing a key role in the inception of the groove and depth of the material. Because of this album's Latin context, Barbieri does a wonderful job inspiring his friends in the rhythm section to come to life. Joe Clayton plays the textured conga on "Latin Reaction," and Lenny White leads a band of fellow passionate drummers, including Paulina da Costa, Steve Gadd, Steve Jordan, and Bernard Purdie. The entire atmosphere of the record changes smoothly in texture and tempo, drifting like a channeling stream from subdued and slow to rampant and passionately loud. Certainly, Barbieri intended it to be a delight of the first degree in the Latin scene, and one listen should win the hearts and minds of the listener. Conjuring up romance and scenes of a starry night in Latin America, this music is the soul of Latin music at its peak in the late '70s. A soothing and ethereal delight, even considering its only weakness: the lack of words and lyrics. by Shawn M. Haney  
Tracklist :
1 Ruby 6:29
Written-By – Heinz Roemheld, Michael Parish
2 Nostalgia 5:25
Written-By – Gato Barbieri
3 Latin Reaction 4:58
Written-By – Marvin Gaye
4 Ngiculela - Es Una Historia - I Am Singing 5:45
Written-By – Stevie Wonder
5 Sunride 5:55
Written-By – Gato Barbieri
6 Adios 4:42
Written-By – Gato Barbieri
7 Blue Angel 5:46
Written-By – Gato Barbieri
8 Midnight Tango 4:27
Written-By – Herb Alpert
Credits :
Bass – Chuck Domanico (tracks: 7), Eddie Guagua (tracks: 6), Gary King
Congas – Joe Clayton (tracks: 3)
Contractor [Strings] – David Nadien
Drums – Bernard Purdie (tracks: 7), Lenny White, Steve Gadd (tracks: 5), Steve Jordan (tracks: 6)
French Horn – John Gale, Peter Gordon , Tom Malone
Guitar – David Spinozza, Joe Caro, Lee Ritenour (tracks: 1, 2, 5)
Keyboards – Eddy Martinez
Organ – Don Grolnick (tracks: 3)
Percussion – Cachete Maldonado, Paulinho Da Costa (tracks: 1, 2, 4 to 7), Portinho (tracks: 6)
Piano – Don Grolnick (tracks: 1)
Producer, Arranged By – Herb Alpert
Synthesizer – Ian Underwood (tracks: 2 to 4)
Tenor Saxophone, Arranged By – Gato Barbieri
Trombone – David Taylor, Paul Faulise, Wayne Andre
Trumpet – Herb Alpert (tracks: 2)
Trumpet, Flugelhorn – Alen Rubin, Jon Faddis, Lou Soloff, Marvin Stamm

MIKE STERN - Trip (2017) FLAC (tracks), lossless

Trip was an album that happened because of Mike Stern's relentless determination to remain Mike Stern. On July 3, 2016, he was hailing a cab when he tripped over some concealed construction debris, broke both arms, and was taken to the hospital. He fractured both humerus bones and was left with significant nerve damage in his right hand, preventing him from accomplishing even the simplest of tasks -- including holding a guitar pick. Following a surgery in which 11 screws were put into his arm, Stern emerged in late October with Chick Corea, playing seated and wearing a black glove outfitted with Velcro attached to a Velcro-fitted pick. A second surgery followed and he gained more control of his nerve-damaged right hand by literally gluing and taping his fingers to a pick. It gradually strengthened his grip, and allowed him to regain his speed and technical precision. The recording of Trip began in January of 2017, six months after the accident. While the title's meaning has a double entendre, some of its song titles -- "Screws," "Scotch Tape and Glue" --also reference his surgical events.
Stern enlisted an all-star cast playing in different configurations, achieving a diversity that even exceeds All Over the Place. The title track with drummer Dennis Chambers, bassist Victor Wooten, keyboardist/album producer Jim Beard, and saxophonist Bob Franceschini is a knotty exercise in rocking jazz-funk fusion with peeling guitar riffs, solos, and fills. There's a Miles Davis lilt to "Blueprint" with Randy Brecker guesting on muted trumpet, while Beard plays B-3 and synths, and Chambers offers his best take on Al Foster. Stern eventually touches on the blues before it winds out. "Half Crazy" is blazing, hard-grooving post-bop, with Beard on piano, swinging tenorist Bill Evans, drummer Lenny White, and Teymur Phell on bass. "Screws" commences slowly and quixotically with Wallace Roney on trumpet and the rest of the rhythm section above, as well as percussionist Arto Tuncboyaciyan. While the melody builds in layers and spirals upwards, Roney and Stern each solo hard, adding limber bluesy funk until they deconstruct it to a fade. Leni Stern adds her ngoni to the West African-tinged "Emilia" with Gio Moretti on wordless vocals hovering above the band's interplay. Stern's ngoni also adds a lithe dimension to the grooving, midtempo ballad "I Believe You." "Hope for That" is another intense, even transcendent fusion jam that bumps into rockist Latin terrain with drummer Dave Weckl driving a mean set of crossbeats. While fleet post-bop governs the hard swinging "Scotch Tape and Glue," with Evans returning on tenor, it is Stern's overdriven playing that sets the tone and controls its flow. Stern even picks up an acoustic guitar for the lovely quartet ballad "Gone," offering a side of himself we seldom hear. Stern may have been proving something to himself on Trip. But what he delivers is a tenacious, heartfelt work of imagination, discipline, technical facility, and pure pleasure. 
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')  
Tracklist :
1 Trip 7:24
Mike Stern
2 Blueprint 7:27
Mike Stern
3 Half Crazy 5:37
Mike Stern
4 Screws 7:21
Mike Stern
5 Gone 4:06
Mike Stern
6 Whatchacallit 6:44
Mike Stern
7 Emilia 5:33
Mike Stern
8 Hope For That 5:52
Mike Stern
9 I Believe You 5:03
Mike Stern
10 Scotch Tape And Glue 5:36
Mike Stern
11 B Train 5:20
Mike Stern
Credits :
Bass – Edmond Gilmore (tracks: 5,9), Teymur Phell (tracks: 3,4,7,8,10,11), Tom Kennedy (tracks: 2,6), Victor Wooten (tracks: 1)
Drums – Dave Weckl (tracks: 8), Dennis Chambers (tracks: 1,2,6), Lenny White (tracks: 3,4,10,11), Will Calhoun (tracks: 5,9)
Guitar – Mike Stern
Ngoni – Leni Stern (tracks: 7,9)
Percussion – Arto Tuncboyaciyan (tracks: 1,2,4,7,8), Elhadji Alioune Faye (tracks: 10)
Piano, Keyboards – Jim Beard
Tenor Saxophone – Bill Evans (tracks: 3,10), Bob Franceschini (tracks: 1,6)
Trumpet – Randy Brecker (tracks: 2), Wallace Rooney (tracks: 4,11)
Vocals – Giovanni Moretti (tracks: 7)

JOE HENDERSON – The Milestone Years (1994) RM | 8xCD Box Set | FLAC (tracks+.cue), lossless

Tenor saxophonist Joe Henderson's most famous recordings are his early Blue Notes and his more recent Verves, but in between he recorded exclusively for Milestone and, although Henderson was in consistently fine form in the diverse settings, he was somewhat neglected during his middle years. This massive eight-CD set contains all of the music from Henderson's dozen Milestone LPs, plus a duet with altoist Lee Konitz and his guest appearances with singer Flora Purim and cornetist Nat Adderley. The music ranges from Blue Note-style hard bop and modal explorations to fusion and '70s funk, with important contributions made by trumpeters Mike Lawrence, Woody Shaw, and Luis Gasca, trombonist Grachan Moncur III, and keyboardists Kenny Barron, Don Friedman, Joe Zawinul, Herbie Hancock, George Cables, Alice Coltrane, Mark Levine, and George Duke, among others. Not all of the music is classic (some of the later sets are unabashedly commercial), but none of the 82 selections are dull and the very distinctive Henderson always gives his best. It's highly recommended. Scott Yanow
Tracklist:
Joe Henderson Sextet - The Kicker
1-1 Mamacita 3:20
1-2 The Kicker 4:04
1-3 Chelsea Bridge 4:37
1-4 If 5:32
1-5 Nardis 4:40
1-6 Without A Song 5:59
1-7 Mo' Joe 4:08
1-8 I Amor Em Paz (Once I Loved) 5:32
Joe Henderson - Tetragon
1-9 Tetragon 5:37
1-10 First Trip 5:12
1-11 I Got You Under My Skin 4:57
1-12 Invitation 6:13
1-13 "R.J." 5:33
1-14 Waltz For Zweetie 4:25
2-1 The Bead Game 8:36
Lee Konitz - The Lee Konitz Duets
2-2 You Don't Know What Love Is 3:27
Nat Adderley - The Scavenger
2-3 Unilateral 6:04
2-4 The Scavenger 8:09
2-5 But Not For Me 5:54
Joe Henderson - Power To The People
2-6 Power To The People 8:36
2-7 Afro-Centric 7:00
2-8 Black Narcissus 4:46
2-9 Isotope 4:51
2-10 Opus One-Point-Five 4:52
2-11 Lazy Afternoon 4:31
2-12 Foresight And Afterthought 7:31
Joe Henderson Quintet - At The Lighthouse
3-1 Caribbean Fire Dance 5:37
3-2 Recorda-Me 8:18
3-3 A Shade Of Jade 10:28
3-4 Isotope 4:28
3-5 'Round Midnight 9:02
3-6 Mode For Joe 8:34
3-7 If You're Not Part Of The Solution, You're Part Of The Problem 11:29
3-8 Blue Bossa 9:43
3-9 Closing Theme 0:47
 Joe Henderson - In Pursuit Of Blackness 
4-1 Gazelle 7:31
4-2 Invitation 7:32
4-3 Mind Over Matter 13:14
4-4 No Me Esqueca 7:04
4-5 A Shade Of Jade 7:42
Joe Henderson In Japan
4-6 'Round Midnight 12:33
4-7 Out 'N In 9:03
4-8 Blue Bossa 8:25
5-1 Junk Blues 14:42
Joe Henderson - Black Is The Color
5-2 Terra Firma 12:10
5-3 Vis-A-Vis 6:45
5-4 Foregone Conclusion 4:55
5-5 Black Is The Color (Of My True Love's Mind) 7:01
5-6 Current Events 5:33
Joe Henderson - Multiple
5-7 Tress-Cun-Deo-La 10:32
5-8 Turned Around 6:36
5-9 Song For Sinners 6:21
6-1 Me, Among Others 7:03
6-2 Bwaata 10:52
Joe Henderson - Canyon Lady
6-3 Tres Palabras 10:09
6-4 All Things Considered 8:36
6-5 Canyon Lady 9:03
6-6 Las Palmas 9:54
6-7 In The Beginning, There Was Africa... 6:01
Joe Henderson ft. Alice Coltrane - The Elements
6-8 Air 9:53
7-1 Water 7:29
7-2 Fire 11:05
7-3 Earth 13:11
Flora Purim - Encounter
7-4 Butterfly Dreams 6:58
7-5 Light As A Feather 5:53
7-6 Love Reborn 3:40
7-7 Summer Night 5:51
Joe Henderson - Black Narcissus
7-8 Black Narcissus 5:07
7-9 Hindsight And Forethought 2:39
7-10 Power To The People 12:27
8-1 The Other Side Of Right 7:16
8-2 Good Morning, Heartache 6:55
8-3 Amoeba 5:37
Joe Henderson - Black Miracle
8-4 Gazelle 5:21
8-5 My Cherie Amour 6:44
8-6 Old Slippers 6:00
8-7 Immaculate Deception 4:12
8-8 Soulution 7:04
8-9 Black Miracle 9:18
Flora Purim - That's What She Said
8-10 Black Narcissus 6:34
8-11 What Can I Say 5:04
8-12 Windows 5:32
Credits :
Performer [With] – Airto, Alice Coltrane, Alphonso Johnson, Bill Summers, Charlie Haden, Curtis Fuller, Daniel Humair, Dave Holland, Don Friedman, Eric Gravatt, Flora Purim, Francisco Aguabella, George Cables, George Duke, Grachan Moncur, Harvey Mason, Herbie Hancock, J.-F. Jenny-Clark, Jack DeJohnette, Joachim Kühn, Joe Zawinul, John Heard, Kenneth Nash, Kenny Barron, Larry Willis, Lee Konitz, Lee Ritenour, Lenny White, Ndugu Leon Chancler, Louis Hayes, Luis Gasca, Mike Lawrence, Nat Adderley, Patrick Gleeson, Peter Yellin, Ralph MacDonald, Ron Carter, Ron McClure, Roy McCurdy, Stanley Clarke, Woody Shaw
Reissue Producer – Orrin Keepnews
Remastered By [Digital Remastering] – Joe Tarantino
Tenor Saxophone – Joe Henderson
Note:
This compilation includes all 12 Milestone albums of Joe Henderson with some previously unissued tracks as well as some tracks from releases where Joe Henderson primarily appeared as a guest soloist:
• 1-1 to 1-8 recorded NY, August 10, 1967 (1-1 to 1-7) and Sept. 27, 1967 (1-8), issued on
Joe Henderson Sextet - The Kicker
• 1-9 to 2-1 recorded NY, Sept. 27, 1967 (1-9 to 1-11) and May 16, 1968 (1-10 to 2-1), issued on Joe Henderson - Tetragon
• 2-2 recorded NY, Sept. 25, 1967 and issued on
Lee Konitz - The Lee Konitz Duets
• 2-3 to 2-5 recorded NY, January 19, 1968 and issued on
Nat Adderley - The Scavenger
• 2-6 to 2-12 recorded NY, May 23 & 29, 1968 and issued on
Joe Henderson - Power To The People
• 3-1 to 4-2 recorded live at the Lighthouse,Cafe, Hermosa Beach, CA, Sept. 24-26, 1970; 3-2 to 3-4 previously unissued, 3-1 & 3-5 to 3-9 issued on
Joe Henderson Quintet - At The Lighthouse "If You're Not Part Of The Solution, You're Part Of The Problem",
• 4-1 & 4-2 issued on
 Joe Henderson - In Pursuit Of Blackness with 4-3 to 4-5, recorded NY, May 12, 1971
• 4-6 to 5-1 recorded live at the Junk Club, Tokyo, Japan, August 4, 1971 and issued on
Joe Henderson - Henderson's Habiliment
• 5-2 to 5-6 recorded NY, March & April, 1972 and issued on
Joe Henderson - Black Is The Color
• 5-7 to 6-2 recorded NY, January 30-31, 1973, with additional recording in February & April, 1973, issued
Joe Henderson - Multiple
• 6-3 to 6-7 recorded October 1-3, 1973 and issued on
Joe Henderson - Canyon Lady except 6-7, previously unissued
• 6-8 to 7-3 recorded Los Angeles, October 15- 16, 1973 and issued on
Joe Henderson Featuring Alice Coltrane - The Elements
• 7-4 to 7-7 recorded Berkeley, December 3 & 4, 1973 and issued on
Flora Purim - Butterfly Dreams
• 7-8 to 8-3 recorded Paris, France, October, 1974 (7-8 to 8-1) and Berkeley, April 26, 1975 (8-2, 8-3), with additional recording in April, 1975, July & September, 1976, issued on
Joe Henderson - Black Miracle
• 8-4 to 8-9 recorded Berkeley, February 13 & 14, 1975, with additional recordings in April & September, 1975, issued on
Joe Henderson - Black Narcissus
• 8-10 and 8-12 recorded Los Angeles, August- September, 1976 with additional recording in December, 1976 and January, 1977, issued on
Flora Purim - Encounter,
• 8-11 recorded Los Angeles, August, 30, 1976 with additional recording in September & December, 1976 and January, 1977, issued on
Flora Purim - That's What She Said

LENNY WHITE - Venusian Summer (1975-1992) FLAC (tracks+.cue), lossless

One of the better entries to emerge from a genre that was quickly growing tired. Return to Forever drummer Lenny White, while not as powerful or talented as counterparts Billy Cobham or Alphonse Mouzon, had an excellent feel for funk and an amazing sense of taste. "Chicken-Fried Steak" contains enough odd-time beats and fills to satisfy any drum fanatic, but White proves to be more than just a technician. "The Venusian Summer Suite" and "Mating Drive" are both moody pieces that were obviously influenced by the music of Tangerine Dream. But the primary reason this session succeeds is "Prince of the Sea." It is a strong composition that features Al di Meola and Larry Coryell. This was their only recorded performance together in the '70s and fans are still seeking this recording out to see "who won". This is a must-have fusion recording. by Robert Taylor
Tracklist:
1 Chicken-Fried Steak 4:36
Bass – Doug Rauch
Drums, Clavinet [Wandering Clavinet] – Lenny White
Organ – Jimmy Smith
Rhythm Guitar – Raymond Gomez
Rhythm Guitar, Lead Guitar – Doug Rodrigues
Written-By – Doug Rauch, Doug Rodrigues
2 Away Go Troubles Down The Drain 3:33
Bass – Doug Rauch
Drums – Lenny White
Electric Piano, Clavinet – Onaje Allan Gumbs
Organ – Weldon Irvine
Rhythm Guitar, Lead Guitar – Doug Rodrigues
Synthesizer [Minimoog], Organ – David Sancious
Written-By, Arranged By – Doug Rauch, Doug Rodrigues, Lenny White
The Venusian Summer Suite (10:15)
Orchestrated By – Tom Harrel
Written-By, Arranged By – Lenny White
3a Part 1. Sirenes
Arranged By [Brooklyn Syntharmonic Orchestra & Inner-mission Choir Orchestra Realizations By] – Patrick Gleeson
Synthesizer [Eu Synthesizer, ARP 2600] – Peter Robinson
Synthesizer [Eu Synthesizer, Minimoog, ARP 2500/2600, Oberheim, Digital Sequencer] – Patrick Gleeson
Synthesizer [Minimoog, Eu Synthesizer, ARP 2600], Piano – Lenny White
Synthesizer [Minimoog] – Tom Harrel
3b Part 2. Venusian Summer
Bass – Doug Rauch
Clavinet, Synthesizer [Minimoog] – Peter Robinson
Drums, Bass [Snap Bass] – Lenny White
Electric Piano, Piano – Onaje Allan Gumbs
Flute – Hubert Laws
Synthesizer [Eu Synthesizer, ARP 2600, Minimoog] – Patrick Gleeson
Synthesizer [Minimoog] – David Sancious
4 Prelude To Rainbow Delta 1:13
Gong [Backwards Gong] – Dennis MacKay
Synthesizer [Eu Synthesizer], Arranged By [Orchestra Realizations] – Patrick Gleeson
Timpani [Tympani], Snare [Snare Drum], Rototoms, Wood Block, Gong [Triangle Gong], Marimba, Cymbal [Suspended Cymbal] – Lenny White
Written-By – Patrick Gleeson
5 Mating Drive 7:44
Bass – Doug Rauch
Drums – Lenny White
Electric Piano, Mellotron – Onaje Allan Gumbs
Lead Guitar – Raymond Gomez
Organ – Khalid Yasin, Larry Young
Rhythm Guitar – Doug Rodrigues
Written-By, Arranged By – Lenny White
6 Prince Of The Sea 11:39
Bass – Doug Rauch
Drums, Gong – Lenny White
Electric Guitar – Al DiMeola, Larry Coryell
Flugelhorn – Tom Harrel
Piano [Acoustic Piano], Electric Piano, Organ – Onaje Allan Gumbs
Written-By, Arranged By – Lenny White

LENNY WHITE - The Adventures of Astral Pirates (1978-2002) FLAC (tracks+.cue), lossless

One of Lenny White's finest, most essential albums, The Adventures of Astral Pirates is a jazz-fusion masterpiece with a futuristic science-fiction theme. Star Wars was number one at the box office when, in 1977, White produced this disc with Al Kooper, and perhaps Elektra was hoping to cash in on the film's popularity. If you open the record's foldout cover, you can read White's tale of sci-fi battles that take place in the fifth millennium A.D. But you don't have to be a sci-fi fan to appreciate the mostly instrumental songs on this imaginative, risk-taking album, which finds White blending a jazz/rock/funk foundation with elements of everything from Middle Eastern music to Asian music. This set isn't the least bit predictable, and it could easily be described as "the sound of surprise" -- critic Whitney Balliett's term for jazz -- even though no one will mistake it for straight-ahead bop any time soon. by Alex Henderson
Tracklist:
1  Prelude: Theme For Astral Pirates  1:13
    Written-By – White
2  Chapter One: Pursuit  3:08
    Written-By – Blake, Blackman, White, Moroch
3  Chapter Two: Mandarin Warlords  5:07
    Written-By – Blackman, White
4  Chapter Three: The Great Pyramid  2:29
    Written-By – Blackman, White
5  Chapter Four: Universal Love  3:27
    Written-By – Blackman, White
6  Chapter Five: Remembering  0:36
    Written-By – White
7  Chapter Six: Revelation (Astral Pirates)  3:26
    Written-By – White
8  Chapter Seven: Stew, Cabbage And Galactic Beans  3:56
    Written-By – Blake
9  Chapter Eight: Heavy Metal Monster  4:39
    Written-By – Moroch
10  Chapter Nine: Assault  3:36
    Written-By – White
11  Chapter Ten: Climax: Theme For Astral Pirates  7:40
    Written-By – White
Credits:
    Arranged By – Alex Blake, Don Blackman, Lenny White, Nick Moroch
    Arranged By [All String Arrangements] – Don Blackman
    Bass [Basses] – Alex Blake
    Concept By [Album & Story Concept By] – Don Mizell, Lenny White
    Drums, Electronic Drums [Syndrums], Synthesizer, Percussion [All Percussion] – Lenny White
    Lead Guitar [Lead Guitars] – Nick Moroch
      Organ, Piano [Acoustic Piano], Electric Piano, Synthesizer, Vocals [All Vocals] – Don "Captain Keyboards" Blackman
    Programmed By [All Synthesizer Programming] – Patrick Gleeson
    Rhythm Guitar – Jeff Sigman

LENNY WHITE - Streamline (1978-2002) APE (image+.cue), lossless

Lenny White's 1977 recording The Adventures of Astral Pirates was an incredibly tough act to follow -- so tough, in fact, that anything less than a five-star gem was likely to seem a bit disappointing. Streamline, the 1978 LP that came right after The Adventures of Astral Pirates, isn't a five-star gem, but it isn't bad either. Although not in a class with The Adventures of Astral Pirates or 1975's Venusian Summer, let alone White's work with Return to Forever, Streamline is a generally decent, if mildly uneven, collection of instrumental jazz fusion and R&B vocal numbers. While this album (which White produced with Earth, Wind & Fire keyboardist Larry Dunn) isn't as R&B-oriented as White's Twennynine projects would be, the drummer is obviously going after R&B audiences on "Time" (a somewhat Earth, Wind & Fire-ish funk item) and an interesting cover of the Beatles' "Lady Madonna" (which features soul goddess Chaka Khan). But there is also plenty of fusion, and instrumentals like "Night Games," "Struttin'," and the Brazilian-influenced "Pooh Bear" are enjoyable even though they fall short of the brilliance of the material on The Adventures of Astral Pirates and Venusian Summer. While Streamline isn't among White's essential albums, it's a likable set. by Alex Henderson 
Tracklist:
1     Struttin'    4:45
    Synthesizer [Mini Moog] – Larry Dunn
2     Lady Madonna     3:54
    Lead Vocals, Backing Vocals – Chaka Khan
3     12 Bars From Mars     3:10
4     Earthlings     4:48
5     Spazmo Strikes Again     0:25
6     Time     2:58
7     Pooh Bear     5:02
8     Lockie's Inspiration     0:41
9     I'll See You Soon     6:30
    Bass – Marcus Miller
10     Night Games     3:58
11     Cosmic Indigo     0:50
    Bass – Marcus Miller
Credits:
Bass [Basses] – Marcus Miller
Drums, Percussion – Lenny White
Guitar – Jamie Glaser, Nick Moroch
Keyboards – Denzil "Broadway" Miller
Keyboards, Vocals – Donald "Captain Keyboards" Blackman
Programmed By [All Synthesizers] – Larry Dunn
Chaka Khan – lead vocals (track 2)

Diane Reeves – vocals (track 4), background vocals

VERTÚ - Vertú (1999) FLAC (image+.cue), lossless

Vertu is undeniably an ambitious project, certainly more so than most contemporary fusion projects. At the core of the collective are Stanley Clarke and Lenny White, the renowned rhythm section of Return to Forever; they're augmented by violinist Karn Briggs, keyboardist Rachel Z, and former Poison guitarist Richie Kotzen, of all people. It's a wildly eclectic group of musicians, and they appropriately tackle all sorts of music, from straight-ahead fusion and post-bop to worldbeat and classical-tinged rock. Thanks to the fine musicianship of all involved, it's not nearly the mess that it could have been, but it's hardly an unqualified success, either. The main problem is the weird blend of songs and compositions. Vertu is basically divided between songs (only a handful of which feature Kotzen's strained bluesy vocals), which have one simple melody, and flowing, multi-layered, multi-sectioned compositions. In each case, they're graced by some truly extraordinary playing (laugh you may, but Kotzen is a gifted guitarist and it's a pleasure to hear him stretch out, instead of being confined to pop-metal), but the songs often are built around lame themes that feel like excuses for improvisations; even worse, those themes are often delivered with the tone and grace of a television commercial. Vertu is much better with "Topasio Es Puro Corazon" and "Danse of the Harlequin" -- opportunities to build fascinating contrasts in sound, both through themes and improvisations. These pieces, along with the plentiful solo sections in the flawed songs, have some great interplay that will certainly be of interest to fans of all the involved musicians. And if they're longtime fans of any of the members (especially Clarke, White, and Return to Forever), they'll realize that creative risks are often successful and flawed in equal measure, so they won't be discouraged by the awkward moments on Vertu. by Stephen Thomas Erlewine  
Tracklist:
1 V-Wave 5:09
Composed By – Lenny White
2 On Top Of The Rain 7:40
Composed By – Stanley Clarke
3 Anoché 5:29
Composed By – Karen Briggs
4 The Call 7:21
Composed By – Lenny White
5 Topasio Es Puro Corazon, Part One 4:47
Composed By – Stanley Clarke
6 Topasio, Part Two 5:00
Composed By – Stanley Clarke
7 Danse Of The Harlequin 6:38
Composed By – Lenny White
8 Start It Again 4:10
Composed By – Richie Kotzen
9 Marakesh 5:35
Composed By – Karen Briggs, Lenny White, Rachel Z, Richie Kotzen, Stanley Clarke
Mastered By – Vlado Meller
Mixed By – John X
10 Toys 7:54
Composed By – Stanley Clarke
Credits:
Bass Guitar – Stanley Clarke
Drums – Lenny White
Guitar, Vocals – Richie Kotzen
Keyboards – Rachel Z
Violin – Karen Briggs

MILES DAVIS – Bitches Brew (1970-2013) RM | 2xCD Blu-spec | Serie Legacy Recordings | FLAC (tracks+.cue), lossless

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. "Pharaoh's Dance" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century. Thom Jurek  

Tracklist 1:

1. Pharoah's Dance (Zawinul) 20:07

2. Bitches Brew (Davis) 27:00.

Tracklist 2:

1. Spanish Key (Davis) 17:30

2. John McLaughlin (Davis) 4:23

3. Miles runs the voodoo down (Davis) 14:03

4. Sanctuary (Shorter) 10:54

Credits:

Bass – Dave Holland

Bass Clarinet – Bennie Maupin

Design [Cover] – John Berg

Drums – Charles Alias, Jack DeJohnette, Lenny White

Electric Bass [Fender] – Harvey Brooks

Electric Guitar – John McLaughlin

Electric Piano – Chick Corea,

Joe Zawinul (tracks: 1-1 to 2-1, 2-4),

Larry Young (tracks: 1-1, 2-1 to 2-3)

Percussion – Jim Riley

Soprano Saxophone – Wayne Shorter

Trumpet – Miles Davis

Artwork [Cover Art] – Mati Klarwein

JACO PASTORIUS - Jaco Pastorius (1976-2000) RM / FLAC (tracks+.cue), lossless

It's impossible to hear Jaco Pastorious' debut album today as it sounded when it was first released in 1976. The opening track -- his transcription for fretless electric bass of the bebop standard "Donna Lee" -- was a manifesto of virtuosity; the next track, the funk-soul celebration "Come On, Come Over" was a poke in the eye to jazz snobs and a love letter to the R&B greats of the previous decade (two of whom, Sam & Dave, sing on that track); "Continuum" was a spacey, chorus-drenched look forward to the years he was about to spend playing with Weather Report. The program continues like that for three-quarters of an hour, each track heading off in a different direction -- each one a masterpiece that would have been a proud achievement for any musician. What made Jaco so exceptional was that he was responsible for all of them, and this was his debut album. Beyond his phenomenal bass technique and his surprisingly mature compositional chops (he was 24 when this album was released), there was the breathtaking audacity of his arrangements: "Okonkole Y Trompa" is scored for electric bass, French horn, and percussion, and "Speak Like a Child," which Pastorious composed in collaboration with pianist Herbie Hancock, features a string arrangement by Pastorious that merits serious attention in its own right. For a man with this sort of kaleidoscopic creativity to remain sane was perhaps too much to ask; his gradual descent into madness and eventual tragic death are now a familiar story, one which makes the bright promise of this glorious debut album all the more bittersweet. (This remastered reissue adds two tracks to the original program: alternate takes of "(Used to Be a) Cha Cha" and "6/4 Jam"). by Rick Anderson  
Tracklist:
1 Donna Lee 2:28
2 Come On, Come Over 3:52
Vocals – David Prater, Sam Moore
3 Continuum 4:33
4 Kuru/Speak Like A Child 7:42
5 Portrait Of Tracy 2:22
6 Opus Pocus 5:29
7 Okonkole Y Trompa 4:25
8 (Used To Be A) Cha-Cha 8:57
9 Forgotten Love 2:14
10 (Used To Be A) Cha-Cha (Alternate Take - Previously Unreleased) 8:49
11 6/4 Jam (Alternate Take - Previously Unreleased) 7:45
Credits:
Alto Saxophone – David Sanborn
Baritone Saxophone – Howard Johnson
Bass Trombone – Peter Graves
Cabasa [Afuche], Bells, Bongos, Congas, Bata [Okonkolo Lya], Percussion – Don Alias
Cello – Alan Shulman, Beverly Lauridsen, Charles McCracken, Kermit Moore
Concertmaster, Violin – David Nadien
Conductor [Strings] – Michael Gibbs
Double Bass – Homer Mensch, Richard Davis
Drums – Bobby Economou, Lenny White, Narada Michael Walden
Electric Bass, Arranged By [String Arrangement] – Jaco Pastorius
Electric Piano, Electric Piano [Fender Rhodes] – Alex Darqui
Flute, Piccolo Flute – Hubert Laws
French Horn – Peter Gordon
Liner Notes [CD] – Pat Metheny
Liner Notes [Original] – Herbie Hancock
Piano [Acoustic], Clavinet, Keyboards, Electric Piano [Fender Rhodes] – Herbie Hancock
Soprano Saxophone – Wayne Shorter
Steel Drums – Leroy Williams, Othello Molineaux
Tenor Saxophone – Michael Brecker
Trumpet – Randy Brecker, Ron Tooley
Viola – Al Brown, Manny Vardi, Julian Barber, Selwart Clarke
Violin – Arnold Black, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Matthew Raimondi, Max Pollikoff, Paul Gershman

STANLEY CLARKE - Children Of Forever (1973-2007) RM / FLAC (tracks+.cue), lossless

Stanley Clarke's debut solo effort was issued when he was already a seasoned jazz veteran, and a member of Chick Corea's Return to Forever, which at the time of this recording also included Joe Farrell on soprano sax and flute, and the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira. Produced by Corea, who plays Rhodes, clavinet, and acoustic piano on Children of Forever, the band included flutist Art Webb, then-new RtF drummer Lenny White, guitarist Pat Martino, and a vocal pairing between the inimitable Andy Bey and Dee Dee Bridgewater on three of the five cuts -- Bey appears on four. Clarke plays both electric and acoustic bass on the set; and while it would be easy to simply look at this recording as an early fusion date, that would be a tragic mistake. If anything, Children of Forever is a true cousin to Norman Connors' classic Dance of Magic and Dark of Light albums, which were also released in 1973; Clarke played bass on both. This is basically funky, spiritual jazz in the best sense. Yes, jazz. That wonderfully mercurial, indefinable force that brings into itself the whole of music, from popular to classical and folk forms, and makes something new out of them. The long title track with its killer vocal interplay between Bridgewater and Bey is seductive from the jump. Add Clarke's big fat bassline, which is mellow and meaty at the beginning, but after the long piano and guitar breaks in the middle becomes dirty, fuzzy, and spacy by the end as the cut leans into souled-out funk.
The "message" tunes that make up this music balance the dawning of the future as the logical place of Black consciousness -- where a new day was indeed emerging from the struggles of the '50s and '60s. Add to this the cosmic looking cover, and its weighed electric and acoustic underpinnings, and you have the makings of a timeless classic. Indeed, no matter how one feels about Clarke's later work, which aimed for the harder and funkier realms of disco and urban soul as well as keeping his jazz chops intact, this disc in every sense is forward-looking and memorable. Bridgewater's lead vocal interaction with Webb's flute on "Unexpected Days," with Bey helping on the bridge and refrain, is awe-inspiring. The ensemble is focused on "song." Corea's has rarely sounded so naturally funky as he does here and his production is free of the hard, sometimes brittle sound he would employ with the Al DiMeola-Lenny White version of RtF. The centerpiece of the disc is a vehicle for Clarke, called "Bass Folk Song." At nearly eight minutes, Clarke plays both upright and electric bass, sometimes employing a wah wah pedal on the former. It shows his virtuosity; he could literally make either instrument sing. Corea is fantastic in his supporting role, playing fills and vamps behind the bassist and Martino -- who also has never sounded so nasty as he does here on electric guitar and 12-string acoustic -- they're full of innovative rhythms and eclectic harmonics. And White is simply a powerhouse, breaking beats and taking Clarke for a real ride in almost unconscious rhythmic interplay.
The last half of the set is equally wonderful with the ballad "Butterfly Dreams" that launches into something wholly other by its midpoint, and never loses sight of its melody, lush harmonics, and very real sense of abstract swing. Clarke propels the ensemble from the bass chair, and allows everyone the room to blend into that big wood sound he gets on his upright. Bey's vocal performance on the cut is one of his best on record. The set closes with Corea's "Sea Journey," the longest track here, coming in at over 16 minutes. There is quite a bit of improvisation here as one might expect, with Corea playing intense Latin contrapuntal melodies on his Rhodes and clavinet -- even moving into descarga at one point -- and Bridgewater and Bey stretching their vocals to drape the music; their pairing is utterly elegant, soulful, and lovely. Clarke and White are a force maejure as a rhythm section, they push and entwine with one another in a dance of double, triple, and half-time beats and pulses, bringing a sense of not only movement but travel to the proceedings without ever leaving the groove. The beautiful front line of Corea and Webb in the head and during the middle section is subtle and haunting; it literally drifts, anchored only by the rhythm section that keeps them from lifting off into more modal explorations. Martino is free to fill, solo, vamp, and project. Clarke's bowed bass fiddle solo, which interplays with Bey's vocal, is brave and deeply moving; there isn't a trace of gimmickry in it (or anywhere else on this set, for that matter). Like the aforementioned Connors' recordings, Children of Forever has aged exceedingly well, and sounds as warm, inviting, and full of possibility in the early 21st century as it did in the early '70s. It's full of heart, soul, passion, and truly inspired musicianship. by Thom Jurek  
Tracklist:
1 Children Of Forever 10:41
2 Unexpected Days 5:51
3 Bass Folk Song 7:58
4 Butterfly Dreams 6:51
5 Sea Journey 16:28
Credits:
Double Bass [Bass Fiddle], Electric Bass – Stanley Clarke
Drums – Lenny White
Electric Guitar, Twelve-String Guitar – Pat Martino
Electric Piano, Clavinet [Clavinette], Piano [Acoustic], Producer – Chick Corea
Flute – Arthur Webb
Vocals – Andy Bey (tracks: 1, 2, 4, 5), Dee Dee Bridgewater (tracks: 1, 2, 5)

RETURN TO FOREVER - Where Have I Known You Before (1974) FLAC (tracks+.cue), lossless

This Return to Forever set finds guitarist Al DiMeola debuting with the pacesetting fusion quartet, an influential unit that also featured keyboardist Chick Corea, electric bassist Stanley Clarke and drummer Lenny White. On this high energy set, short interludes separate the main pieces: "Vulcan Worlds," "The Shadow of Lo," "Beyond the Seventh Galaxy," "Earth Juice" and the lengthy "Song to the Pharoah Kings." Acoustic purists are advised to avoid this music, but listeners who grew up on rock and wish to explore jazz will find this stimulating music quite accessible. by Scott Yanow

Tracklist:

1. Vulcan Worlds (7:54)

2. Where Have I Loved You Before (1:01)

3. Shadow Of Lo (7:34)

4. Where Have I Danced With You Before (3:11)

5. Beyond The Seventh Galaxy (3:11)

6. Earth Juice (3:45)

7. Where Have I Known You Before? (2:20)

8. Song To The Pharoah Kings (14:21)

Credits:

Chick Corea / organ, synthesizer, percussion, piano, clavinet)

Al DiMeola / acoustic guitar, guitar, electric guitar

Stanley Clarke / organ, bass, percussion, bass guitar

Lenny White / percussion, bongos, conga, drums

RETURN TO FOREVER — Romantic Warrior (1976-1990) FLAC (image+.cue), lossless

The most popular and successful lineup of Return to Forever -- Chick Corea, Stanley Clarke, Lenny White, and Al Di Meola -- was coming off the Grammy-winning No Mystery when it recorded its third and final album, Romantic Warrior. It has been suggested that in employing a medieval album cover (drawn by Wilson McLean), using titles like "Medieval Overture" and "Duel of the Jester and the Tyrant," and occasionally playing in a baroque style, particularly in Clarke's "The Magician," Corea was responding to Rick Wakeman's successful string of albums on similar themes. Certainly, the music suggests that the musicians have been listening to Wakeman's band, Yes, among other progressive rock groups. But they bring more of a traditional jazz approach to their sound, particularly in the opening statement of intent "Medieval Overture" and the original side one closer, "The Romantic Warrior," both of which feature extensive acoustic piano soloing by Corea. The original side two -- Di Meola's "Majestic Dance," "The Magician," and "Duel of the Jester and the Tyrant" -- is much more in a jazz-rock style, with Di Meola particularly rocking out on extensive, fast-paced electric guitar solos. Meanwhile, the rhythm section of Clarke and White is always extremely busy, maintaining a funky, driving pulse and several cross rhythms no matter what's going on above it. This is particularly noticeable, naturally, on White's sole composition, "Sorceress," but it continues to keep the music in the fusion camp even when Corea is sounding like a more traditional jazz pianist. Romantic Warrior is the sound of a mature band at the top of its game, which may help explain why it was Return to Forever's most popular album, eventually certified as a gold record, and the last by this assemblage. Having expressed themselves this well, they decided it was time for them to move on.  by William Ruhlmann  

Tracklist :
1  Medieval Overture  5:14
Written-By – Chick Corea
2  Sorceress  7:34
Written-By – Lenny White
3  The Romantic Warrior  10:52
Written-By – Chick Corea
4  Majestic Dance  5:01
Written-By – Al Di Meola
5  The Magician  5:29
Written-By – Stanley Clarke
6  Duel Of The Jester And The Tyrant (Part I & Part II)  11:26
Written-By – Chick Corea
Credits
Bass [Alembic Bass With Instant Flanger, Piccolo Bass], Acoustic Bass, Bell Tree, Bells [Hand Bells] – Stanley Clarke
Drums, Timpani, Congas, Timbales, Bells [Hand Bells], Drums [Snare Drums], Cymbal [Suspended Cymbals], Other [Alarm Clock] – Lenny White
Electric Guitar [Electric Guitars], Acoustic Guitar, Guitar [Soprano Guitar], Bells [Hand Bell], Slide Whistle – Al Di Meola
Piano [Acoustic Piano], Electric Piano [Fender Rhodes], Clavinet [Honer Clavinet], Synthesizer [Mini Moog, Moog 15, Micro Mini Moog, ARP Odyssey, Polymoog], Organ [Yahama Organ], Marimba, Percussion – Chick Corea

FREDDIE HUBBARD — Red Clay (1970-2010) RM | Serie CTI 40th Anniversary | FLAC (tracks+.cue), lossless

This may be Freddie Hubbard's finest moment as a leader, in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. On Red Clay, Hubbard combines hard bop's glorious blues-out past with the soulful innovations of mainstream jazz in the 1960s, and reads them through the chunky groove innovations of '70s jazz fusion. This session places the trumpeter in the company of giants such as tenor saxophonist Joe Henderson, pianist Herbie Hancock, bassist Ron Carter, and drummer Lenny White. Hubbard's five compositions all come from deep inside blues territory; these shaded notions are grafted onto funky hard bop melodies worthy of Horace Silver's finest tunes, and are layered inside the smoothed-over cadences of shimmering, steaming soul. The 12-minute-plus title track features a 4/4 modal opening and a spare electric piano solo woven through the twin horns of Hubbard and Henderson. It is a fine example of snaky groove music. Henderson even takes his solo outside a bit without ever moving out of the rhythmatist's pocket. "Delphia" begins as a ballad with slow, clipped trumpet lines against a major-key background, and opens onto a midtempo groover, then winds back into the dark, steamy heart of bluesy melodicism. The hands-down favorite here, though, is "The Intrepid Fox," with its Miles-like opening of knotty changes and shifting modes, that are all rooted in bop's muscular architecture. It's White and Hancock who shift the track from underneath with large sevenths and triple-timed drums that land deeply inside the clamoring, ever-present riff. Where Hubbard and Henderson are playing against, as well as with one another, the rhythm section, lifted buoyantly by Carter's bridge-building bassline, carries the melody over until Hancock plays an uncharacteristically angular solo before splitting the groove in two and doubling back with a series of striking arpeggios. This is a classic, hands down.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Red Clay 12:09
2 Delphia 7:21
3 Suite Sioux 8:37
4 The Intrepid Fox 10:42
Bonus Tracks
5 Cold Turkey 10:25
6 Red Clay (Alternate Version) 18:44
Drums [Uncredited] – Billy Cobham
Guitar [Uncredited] – George Benson
Organ, Electric Piano [Uncredited] – Johnny Hammond
Percussion [Uncredited] – Airto Moreira
Tenor Saxophone [Uncredited] – Stanley Turrentine
Credits
Bass – Ron Carter
Drums – Lenny White (tracks: 1 to 5)
Piano – Herbie Hancock (tracks: 1 to 5)
Producer – Creed Taylor
Recorded By – Rudy Van Gelder
Saxophone – Joe Henderson (tracks: 1 to 5)
Trumpet – Freddie Hubbard

 

RACHELLE FERRELL - First Instrument (1990) FLAC (tracks+.cue), lossless

Rachelle Ferrell made her name performing R&B, but this strictly acoustic jazz CD is her earliest recording. Her voice is quite soulful, making her later shift to R&B less of a surprise in hindsight, but Ferrell seems quite unsure of how to use her wide range, and her improvisations are often quite eccentric. Her lack of warmth and subtlety (along with a tendency to scream and screech in unexpected spots without a buildup) makes it difficult to listen to several of the numbers on this standards-oriented set. Trumpeter Terence Blanchard and Wayne Shorter on tenor make worthwhile cameo appearances, but Rachelle Ferrell at that point in her career did not really sound ready for prime time, despite her potential. by Scott Yanow

Tracklist:

1-You Send Me. 

Sam Cooke / Clarence Paul / Ed Townsend

2-You Don't Know What Love Is. 

Gene DePaul / Don Raye

3-Bye Bye Blackbird. 

Mort Dixon / Ray Henderson

4 Prayer Dance

Morris Bailey / Eddie Green

5-Inchworm.  

Frank Loesser

6-With Every Breath I Take.  

Cy Coleman

7-What Is This Thing Called Love?.  

Cole Porter

8-My Funny Valentine.  

Lorenz Hart / Richard Rodgers

9-Don't Waste Your Time.  

Rachelle Ferrell

10-Extensions.  

Rachelle Ferrell

11-Autumn Leaves.  

Joseph Kosma / Johnny Mercer / Jacques Prévert

Credits:

Rachelle Ferrell, Piano, Vocals

Lenny White, Drums, Producer 

Terrence Blanchard, Trumpet 

Tyrone Brown, Bass, Stick Bass

Stanley Clarke, Bass

Kenny Davis, Bass

Alex Foster, Sax (Soprano) 

Doug Goldstein, Synthesizer, Drums

Gil Goldstein, Synthesizer, Piano

Eddie Green, Piano

Pete Levin, Synthesizer

Doug Nally, Drums

Michel Petrucciani, Piano 

Wayne Shorter, Sax (Tenor)