HARVIE SWARTZ — Urban Earth (1985) Vinyl LP | FLAC (tracks), lossless

Urban Earth would also be the name of bassist Harvie Swartz's short-lived group of the late '80s, but for this Gramavision release, he used an all-star lineup: altoist David Sanborn, Bob Mintzer on soprano, guitarist Mike Stern, pianist Ben Aranov, drummer Victor Lewis and percussionist Manolo Badrena. The music (five Swartz originals, "'Round Midnight," and Dave Brubeck's "The Duke") is mostly straight-ahead yet has its unpredictable and exploratory moments. In fact, there are plenty of subtle surprises throughout this relaxed yet consistently stimulating session. Scott Yanow
Tracklist :
1. Sweet Walk 6:08
 Harvie Swartz
2. Falling 6:46
 Harvie Swartz
3. Pyramid 5:38
 Harvie Swartz
4. Until Tomorrow 6:24
 Harvie Swartz
5. The Duke 4:25
 Dave Brubeck
6. Mother Ship 6:36
 Harvie Swartz
7. Round Midnight 2:44
Thelonious Monk / Cootie Williams
Credits :
Acoustic Bass – Harvie Swartz
Alto Saxophone – David Sanborn
Drums – Victor Lewis
Guitar – Mike Stern
Percussion – Manolo Badrena
Piano – Ben Aronov
Soprano Saxophone – Bob Mintzer 

BILL EVANS — Big Fun (2002) Two Version | FLAC (tracks+.image+.cue), lossless

Shining a light on the underappreciated jazz-funk idiom that was fiercely popular in the '50s and '60s, saxophonist Bill Evans profiles his amazing talent on ten great songs that comprise Big Fun. The songs also provide interesting vehicles for such creative musicians as Vinnie Colaiuta on drums, Ricky Peterson on Hammond B-3 organ, Hiram Bullock on guitar, among others. Special guests Randy Brecker, Robben Ford, Les McCann, Mickey Raphael, and Willie Nelson have found ample material on which to shine -- especially "Catch You When You Fall," which features McCann providing his sly, earthy vocals, and "For What It's Worth," which features Nelson still carrying the message represented in Buffalo Springfield's huge hit and by the political activists of the '60s. Unfortunately the message espoused by "For What It's Worth" is still very relevant in this new millenium. Evans' saxophone work is sensational on "Real Heroes." He expertly captures the personality of the 9-11 American tragedy with a lyrically haunting perspective. His assessment of the importance of music within that emotionally charged time is the most evocative of the ten songs on this program. "Blues for Stanley" is also noteworthy. Evans' original intention was to record the song with the tenor saxophone legend Stanley Turrentine. However, Turrentine passed away before they could record it. Evans replaced the tenor saxophone part intended for Turrentine with Hiram Bullock's splendid guitar work and the resulting paean to the subject is outstanding. Music enthusiasts whose scope includes the jazz-funk idiom with lots of groove and infectious funk should consider Big Fun essential for their collections. Paula Edelstein   
Tracklist  :
1 Big Fun 6:40
 Bill Evans
2 Road To Bilbao 5:47
 Bill Evans
3 Catch You When You Fall 5:05
 Alan V. Abrahams / Bill Evans / Margaret Fowler
Vocals – Les McCann
4 Houdou Basin 5:18
 Bill Evans
5 For What It's Worth  4:04
 Stephen Stills
Guitar, Vocals – Willie Nelson
6 Midnight Creeper 5:49
 Bill Evans
7 That's That  4:59
 Alan V. Abrahams / Bill Evans / Margaret Fowler / Les McCann
Vocals – Les McCann
8 Blues For Stanley 6:23
 Bill Evans
9 Real Heroes 5:29
 Bill Evans
10 Street Corner Man 5:06
 Bill Evans
Credits :
Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Arranged By – Bill Evans
Bass – James Genus
Drums – Vinnie Colaiuta
Guitar – Hiram Bullock, Robben Ford
Harmonica – Mickey Raphael
Organ – Ricky Peterson
Percussion – Manolo Badrena
Piano – Clifford Carter
Trombone – Conrad Herwig
Trumpet – Lew Soloff, Randy Brecker
Vocals – Manolo Badrena, Mickey Raphael
Vocals [Background] – Bruce Hornsby, Clifford Carter, Hiram Bullock, Ricky Peterson, Vaneese Thomas

TORBJØRN SUNDE — Meridians (1998) FLAC (image+.cue), lossless

Tracklist :
1    Arctic (Prologue)    5:04
2    Kjære Maren    9:46
3    Vertigo    6:55
4    Imensidão Do Mar    6:37
5    Rotation    7:14
6    Tell Us, Tellus    4:29
7    Confronting Hemispheres    5:51
8    Antarctic (Epilogue)    7:34
Credits :
Acoustic Bass – Bjørn Kjellemyr (tracks: 2 to 5)
Acoustic Guitar – Børge Petersen-Øverleir (tracks: 1, 8), Eivind Aarset (tracks: 3)
Alto Saxophone – Morten Halle (tracks: 7)
Bass Drum [Concert Bassdrum] – Joakim Nordin (tracks: 6)
Bongos – Manolo Badrena (tracks: 1), Rune Arnesen (tracks: 3, 5)
Chimes [Barchimes] – Joakim Nordin (tracks: 6, 7)
Congas, Tambourine, Triangle [Triangles], Cabasa, Finger Cymbals [Fingercymbals] – Manolo Badrena (tracks: 8)
Cowbell, Percussion [Jamblock], Percussion [Handdrum], Shekere, Finger Cymbals [Fingercymbals], Gong – Joakim Nordin (tracks: 7)
Drums – Per Oddvar Johansen (tracks: 6, 7), Rune Arnesen (tracks: 2 to 5)
Electric Bass – Geir Holmsen (tracks: 7)
Electric Guitar – Børge Petersen-Øverleir (tracks: 6, 7), Eivind Aarset (tracks: 5), Terje Rypdal (tracks: 2)
Fretless Bass – Geir Holmsen (tracks: 6)
Grand Piano – Bugge Wesseltoft (tracks: 4, 6, 7)
Grand Piano, Keyboards – Jon Balke (tracks: 1)
Keyboards – Bugge Wesseltoft (tracks: 2 to 7), Jon Balke (tracks: 8)
Percussion [Timba], Percussion [Indian Drums] – Celio De Carvalho (tracks: 8)
Shaker [Shakers], Flute [Flutes] – Manolo Badrena (tracks: 4)
Tenor Saxophone – Petter Wettre (tracks: 7)
Trombone – Torbjørn Sunde
Trumpet – Jens Petter Antonsen (tracks: 7)
Udu – Celio De Carvalho (tracks: 1)
Vocals – Torbjørn Sunde (tracks: 1, 3, 4, 6, 8)
Wood Block [Woodblocks], Triangle [Triangles] – Celio De Carvalho (tracks: 4)

BILL EVANS — The Alternative Man (1986) FLAC (tracks+.cue), lossless

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man -- an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon." Alex Henderson
Tracklist :
1    The Alternative Man 5:45
Bass Guitar – Mark Egan
Drums – Danny Gottlieb
Electric Guitar – Jeff Golub
Keyboards – Mitchel Forman
2    The Path Of Least Resistance 4:37
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards – Clifford Carter
Percussion – Manolo Badrena
Vocals, Composed By – Clifford Carter
3    Let The Juice Loose 5:40
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Hiram Bullock
Percussion – Manolo Badrena
Trumpet – Lew Soloff
4    Gardiners Garden 4:30
Bass – Mark Egan
Electric Guitar, Composed By – Chuck Loeb
Percussion – Danny Gottlieb
5    Survival Of The Fittest 3:25
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena
6    Jojo 6:21
Composed By – Rich Meitin
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards, Composed By – Clifford Carter
Percussion – Manolo Badrena
7    The Cry In Her Eyes 5:41
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Dave Hart, Hiram Bullock
8    Miles Away 5:24
Bass Guitar – Marcus Miller
Drums – Al Foster
9    Flight Of The Falcon 7:23
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena

JOE ZAWINUL + THE ZAWINUL SYNDICATE — World Tour (1998) 2xCD | FLAC (tracks+.cue), lossless

This version of the Zawinul Syndicate could swing harder than any Zawinul-led unit since the heyday of Weather Report, as this two-CD set -- taken from three concerts in Berlin and Trier, Germany -- triumphantly illustrates. Small wonder, for the lineup of the Syndicate looks almost like a Weather Report alumni gathering, with Zawinul, the brilliant percussionist Manolo Badrena from the 1977 Heavy Weather band, and bassist Victor Bailey, from the great '80s global-funk edition forming a quorum, with Paco Sery on drums and Gary Poulson on guitar filling out the ranks. Zawinul remains a marvel at 65, always in touch with the idea and feel of the groove, weaving spare, enigmatic electronic comments and spangled layers of synthesizers into the mix, creating a touching dialogue in "Zansa II" with Sery's kalimba. Some of the material stems from the early years of the Syndicate, and "Indiscretions" and "Two Lines" date all the way back to Weather Report. Among the greatest groovathons -- at last presented in full glorious concert length on CD -- are "Indiscretions," which gets the voodoo going in an insinuating manner, and "N'awlins," which manages to evoke the Crescent City R&B feeling in a swingingly original way. The set's two anomalies are "When There Was Royalty," a curious intermezzo consisting of Zawinul's polystylistic solo piano musings poorly recorded in his home studio on a Walkman, and "Success," a spoken poem by Erich Fried set against the stunning blend of Berlin church bells and electronics. For a souvenir of the state of Zawinul's art in the 1990s, this is the album to get. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL & THE ZAWINUL SYNDICATE — Vienna Nights | Live At Joe Zawinul's Birdland (2005) 2xCD | WV (image+.cue), lossless

Considering the stunning array of jazz fusion talent that legendary composer and keyboardist Joe Zawinul has employed as leader of the pioneering Weather Report and his ever-evolving Zawinul Syndicate, our expectations should be raised when he says of his current multi-national lineup, "It's the best band I've ever had." Recorded at his Birdland Club in his hometown of Vienna over two engagements in 2003, this explosive, multi-faceted disc is a wonderful showcase for the largely African-leaning sounds of the current Syndicate. The most fascinating aspect of Zawinul over his decades in the spotlight has been his desire to play it cool in the shadows as he showcases brilliant young talent; he does this immediately here, as African vocal pop star Salif Keita shines on the rumbling, heavy grooving "Y'elena" (which Zawinul originally produced in 1991) and which features an irrepressible groove by drummer Nathaniel Townsley and Linley Marthe, a native of Mauritius who is the latest of the leader's post-Jaco Pastorius bass discoveries. The African express continues on the bubbly "Two Lines," which blends the exotic drumming of Algerian native Karim Ziad and frenetic soloing by the familiar electric guitar genius Scott Henderson. The joyful moodswinging spirit of the rest of the set is summed up in wacky, locomotive jams like "Rooftops of Vienna" contrasted by more mystical, rhythmically varied excursions like "Do You Want Some Tea, Grandpa?" and "Café Andalusia." Zawinul eventually takes more of a spotlight on the Argentine-flavored "Borges Buenos Aires," and pays homage to his jazz roots on a dreamy, impressionistic Ellington classic, "Come Sunday." Zawinul fans will eat this dual set up instantly, but lovers of fusion and world music will come around quickly thereafter. Jonathan Widran
Tracklist & Credits :

TONINHO HORTA - To Jobim with Love (2008) FLAC (tracks+.cue), lossless

Toninho Horta has been a reliable sideman and occasionally a leader in his lengthy career playing contemporary Brazilian music. The acoustic and electric guitarist has a quiet intensity that reflects the passion and verve of genius composer Antonio Carlos Jobim. This tribute to Jobim is quite laden with string charts, most done quite tastefully, rarely overarranged, and pleasantly emphasizing a flute section. Horta has an impressive complementary combo of pianist Dave Kikoski, bassist Gary Peacock, percussionists Paulo Braga and Manolo Badrena, special guests as saxophonist Bob Mintzer, harmonicist William Galison, trumpeter Glenn Drewes, Charles Pillow on oboe, John Clark on French horn, and several members of the large Horta family. Gal Costa sings in a choir, or individually for the CD's sweetest and beautiful moments - where flutes accent but do not swarm during a great take of "No More Blues," and the simple "Modinha" with only Horta's guitar where you clearly hear the depth of both artists' souls. Herat is an accomplished singer, heard in melancholy strains for "Without You," or in brighter spirits with wordless and worded lyrics for the sensual "Agua De Beber." And the hits keep on comin' with a no-frills take of "Desafinado" with strings and choral vocals melding beautifully, while the restraint of "Meditation" echoes the holding back on love until the right moment in time. Mintzer's cameos on Horta's original "Infinite Love" and the Paulo Horta/Donato Donatti tune "Promises I Made" show the neo-bop tenorman as a player who has his heart in the right place. Only during Horta's tiny notes on "Portrait in Black & White" and Kikoski's always brilliant pianistics for "If Everyone Was Like You" do the strings bury the solo instrumentalists. This is a good outing for Horta and friends, perhaps a tad self-indulgent or overproduced, but only by degrees. Those who are just discovering this Brazilian jazz giant should explore his discography, but this CD is a fine and satisfying entry point. by Michael G. Nastos  
Tracklist :
1     Agua de Beber 5:49
Antônio Carlos Jobim / Vinícius de Moraes
Arranged By [Basic Track Co-arranged By], Programmed By [Synthesizer Programming By] – Andre Dequech
2     Portrait in Black and White 5:44
Chico Buarque / Antônio Carlos Jobim
3     If Everyone Was Like You 5:15
Antônio Carlos Jobim / Vinícius de Moraes
Lead Vocals – Luisa Schiavon Horta
4     From Ton to Tom (Silent Song) 4:45
Toninho Horta / Hillary James
5     Cristiana 4:38
Toninho Horta
6     Meditation 4:35
Antônio Carlos Jobim / Vinícius de Moraes
7     No More Blues (Chega De Saudade) 6:08
Antônio Carlos Jobim / Vinícius de Moraes
Edited By [Pro-tools Editing] – Pat Thrall
8     Infinite Love 4:00
Toninho Horta
9     Promises I Made 4:54
Paulo Horta
10     Modinha 3:30
Antônio Carlos Jobim / Vinícius de Moraes
11     The Girl from Ipanema 0:40
Antônio Carlos Jobim / Vinícius de Moraes
Acoustic Guitar – Manuel Shiavon Horta
Edited By – Jack Lee
12     Without You 3:30
Antônio Carlos Jobim / Vinícius de Moraes
13     Desafinado 5:14
Antônio Carlos Jobim / Newton Mendonça
All Credits

AHMAD JAMAL - The Essence, Part 1 (1995) FLAC (tracks+.cue), lossless

Mostly recorded in Paris, with two additional tracks from New York, this absorbing collection is a testament to the continuing ability of Ahmad Jamal to startle and engage jazz listeners who are tired of Tyner/Evans clones and want to hear something different. An equal mixture of standards and Jamal compositions, some of which move through several contrasting sections, this CD reaches its peaks when Jamal and company dive in and work around a single bass ostinato and a propulsive rhythm groove. Bassists James Cammack (Paris) and Jamil Nasser (New York) provide the former, drummer Idris Muhammad and percussionist Manolo Badrena are in charge of the latter, and a tough-sounding George Coleman turns up on tenor on the New York tracks. One fascinating quirk -- Jamal seemed fixated upon Oliver Nelson's "Stolen Moments" at these sessions, for he quotes the tune several times on the album. These sessions were so fruitful that Verve was able to serve up a tasty second helping a year later. by Richard S. Ginell
Tracklist :
1    Flight    6:32
Ahmad Jamal
2    Toulouse    6:56
Ahmad Jamal
3    The Essence    10:14
Ahmad Jamal
Bass – Jamil Nasser
Tenor Saxophone – George Coleman
4    Lover Man     5:49
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
5    Catalina    6:44
Ahmad Jamal
6    Autumn Leaves    6:58
Joseph Kosma / Johnny Mercer / Jacques Prévert
Bass – Jamil Nasser
Tenor Saxophone – George Coleman
7    Street Of Dreams    5:33
Sam M. Lewis / Victor Young
8    Bahia    6:35
Abelardo Barroso
Credits :
Bass – James Cammack (faixas: except tracks 3 & 6)
Drums – Idris Muhammad
Percussion – Manolo Badrena
Piano – Ahmad Jamal
 

AHMAD JAMAL - Big Byrd : The Essence, Part 2 (1996) FLAC (tracks+.cue), lossless

The elements that made The Essence Part One such a success - bright, crisp, rhythmically alive piano work often revolving around a tense bass ostinato and propulsive percussion - are abundantly present on Part Two, which was drawn from the same Paris and New York sessions but released a year after its predecessor. In no way is this a collection of leftovers; the quality level is so high that one can only conclude that marketing considerations alone prevented The Essence from being issued as a double album in the first place. Jamal fields two trios, anchored on bass by James Cammack in the Paris sessions and former colleague Jamil Nasser in the New York ones and by drummer Idris Muhammad on both. Everyone gets an extra jolt of momentum whenever the Afro-Latin percussion of Manolo Badrena goes into action, and violinist Joe Kennedy Jr. adds a potent, slightly raw-edged solo voice to "Manhattan Relfections." A muted, skittering Donald Byrd appears only on the title track - hence its name - which winds its way through several tempo changes and dramatically charged sections over a vast 15-minute timespan. Into his mid-60s, Jamal remained as distinctive and inventive a pianist as ever, with delightful surprises lurking around every bend. by Richard S. Ginell 
Tracklist :
1    Lament    8:59
Ahmad Jamal
2    There's A Lull In My Life    6:38
Mack Gordon / Harry Revel
3    Manhattan Reflections    8:35
Ahmad Jamal
4    Big Byrd    15:13
Ahmad Jamal
5    Jamie My Boy    9:36
Ahmad Jamal
6    I Love You    8:30
Cole Porter
Credits :
Bass – James Cammack (faixas: 1, 2, 5, 6), Jamil Nasser (faixas: 3, 4)
Drums – Idris Muhammad
Percussion – Manolo Badrena (faixas: 3 to 6)
Piano – Ahmad Jamal
Trumpet – Donald Byrd (faixas: 4)
Violin – Joe Kennedy, Jr. (faixas: 3) 

AHMAD JAMAL — It's Magic (2008) FLAC (image+.cue), lossless

Ahmad Jamal's minimalist style has served him well throughout his career, as he enjoys making frequent sudden detours in the midst of a performance, with his intuitive rhythm section able to adapt on the fly. His longtime bassist James Cammack and drummer Idris Muhammad are joined by Latin percussionist Manolo Badrena for these 2007 sessions. The half-dozen originals include the curious "Back to the Island," which blends a calypso air (while interpolating "Ol' Man River" and "Hot House" in his solo) with Latin flavor and even a bit of an Irish jig in spots, along with the dark, exotic "Arabesque," which sounds as if it might have been adapted from an impressionist composer in classical music. Jamal also works wonders with standards, including a lush, dramatic solo rendition of "The Way You Look Tonight" and a leisurely "It's Magic" that adds a few of his trademark flourishes. Even though Ahmad Jamal can sometimes rely a bit too heavily on song quotes (his insertion of the Beatles' "Eleanor Rigby" into "Dynamo" comes off a bit ham-handed), jazz piano fans will enjoy this release. Ken Dryden
Tracklist :
1    Dynamo    4:06
Ahmad Jamal
2    Swahililand    3:59
Ahmad Jamal
3    Back To The Island    5:53
Ahmad Jamal
4    It's Magic 4:57
Sammy Cahn / Jule Styne
5    Wild Is The Wind / Sing 9:12
[Sing] – Joe Raposo
[Wild Is The Wind] – Dimitri Tiomkine, Ned Washington
6    The Way You Look Tonight 3:16
Dorothy Fields, Jerome Kern
7    Arabesque    7:30
Ahmad Jamal
8    Papillon    6:27
Ahmad Jamal
9    Fitnah    8:33
Ahmad Jamal
Credits :
Bass – James Cammack
Drums – Idris Muhammad
Percussion – Manolo Badrena
Piano – Ahmad Jamal

AHMAD JAMAL — A Quiet Time (2009) FLAC (tracks+.cue), lossless

Well into his golden years, Ahmad Jamal continues to tour and record with the vigor of a man half his age. What is also evident is that his artistic sense is as high as it has ever been, as he consistently doles out fresh new melodies charged by his extraordinary talent, which is hardly reined in. A Quiet Time might be a bit deceiving in that there's plenty of Jamal's energy to go around on this set of originals and two standards, sans ballads except for the finale "I Hear a Rhapsody." With longtime partners in bassist James Cammack and drummer Kenny Washington, Jamal breeds the utmost confidence that his music succeeds on the upper end of modern mainstream jazz. Percussionist Manolo Badrena (ex-Weather Report) spices up the music without overt Latin overtures, and balances the swing inherent in Jamal's style. When you hear Jamal's fast and loose but controlled "Paris After Dark" in swinging or heavy modal context, you know your are listening to an undisputed master craftsman at work. The bouncy track "Flight to Russia" has Cammack's bass locked in tight with the others, while Jamal's bright dancing lines across the keyboard during "Tranquility," and his heavy-to-lighter traipsing of notes for the title track indicate that this pianist has plenty in the tank in terms of sheer artistry. While he does a rather polite version of Randy Weston's "Hi-Fly," the contemporary beat of "The Blooming Flower" suggests it is an updated version of his all-time favorite "Poinciana." More of his originals include the cascading freedom exuded in "Poetry" as notes tumble from waterfalls, while the lilting to free to tick-tock pace of "After JALC" proves Jamal can shift gears at will effortlessly. There's nothing even remotely mediocre or rote about this effort, as Ahmad Jamal proves once again his viability to play jazz piano music is still on the rise, and inspired beyond most mortals. Michael G. Nastos  
Tracklist :
1    Paris After Dark    4:56
Ahmad Jamal
2    The Love Is Lost    4:02
Ahmad Jamal
3    Flight To Russia    7:46
Ahmad Jamal
4    Poetry    6:03
Ahmad Jamal
5    Hi Fly    8:21
Randy Weston
6    My Inspiration    5:15
Ahmad Jamal
7    After JALC (Jazz At Lincoln Center)    6:26
Ahmad Jamal
8    A Quiet Time    6:34
Ahmad Jamal
9    Tranquility    7:23
Ahmad Jamal
10    The Blooming Flower    4:29
Ahmad Jamal
11    I Hear A Rhapsoday    5:18
Jack Baker / George Fragos / Dick Gasparre
Credits :
Bass – James Cammack
Drums – Kenny Washington
Percussion – Manolo Badrena
Piano – Ahmad Jamal
 

MIKE STERN - Jigsaw (1989) FLAC (image+.cue), lossless

This is a fairly typical Mike Stern fusion date, featuring his rocking guitar on seven of his pieces. Stern is joined by his usual sidemen -- tenor saxophonist Bob Berg, keyboardist Jim Beard, electric bassist Jeff Andrews, either Peter Erskine or Dennis Chambers on drums and percussionist Manolo Badrena -- and plays with plenty of fire, yet a good amount of restraint. Michael Brecker is a guest on "Chief," jamming on his fairly anonymous-sounding EWI. A decent effort, easily recommended to fans of the more adventurous rock guitarists. by Scott Yanow
Tracklist:
1. Another Way Around 6:25
Mike Stern
2. Loose Ends 6:11
Mike Stern
3. To Let You Know 6:30
Mike Stern
4. Jigsaw 7:06
Mike Stern
5. Chief  7:45
Mike Stern
6. Rhyme or Reason 5:46
Mike Stern
7. Kwirk 6:58
Mike Stern
Credits :
Mike Stern – Guitar
Jim Beard – Keyboard, Synthesizer
Peter Erskine – Drums (except tracks 1, 4, 5)
Dennis Chambers – Drums (tracks 1, 4, 5)
Manolo Badrena – Bongo, Shaker
Don Alias – Percussion
Jeff Andrews – Bass
Bob Berg – Saxophone
Michael Brecker – Saxophone

BILL EVANS - Escape (1996) FLAC (tracks+.cue), lossless

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz -- essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style -- a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T -- is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. by Alex Henderson

Tracklist:
1    Swing Hop 5:34
Drums – Billy Kilson
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trombone – Ken Meccia
Trumpet – Wallace Roney
Vocals – Loni Groves, Mark Ledford, Robin Beck
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
2    Escape 5:59
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Scratches – Max Risenhoover
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
3    Reality 6:19
Backing Vocals – Mark Ledford
Drums – Billy Kilson
Electric Bass – Ron Jenkins
Guitar – Gary Poulson
Keyboards, Drum Programming – Jim Beard
Percussion, Backing Vocals – Manolo Badrena
Soprano Saxophone – Bill Evans
Words By, Rap – Ahmed Best
Written-By – Bill Evans
4    The Sunday After 6:00
Backing Vocals – Mark Ledford
Electric Bass – Mark Egan
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
5    Rattletrap 4:36
Bass – Ron Jenkins
Drums – Steve Ferrone
Guitar – Gary Poulson
Organ [Hammond B-3] – Jim Beard
Tenor Saxophone, Alto Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans
6    Flash In Dreamland 5:17
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone – Bill Evans
Vocals – M.C. 900 Ft Jesus
Words By – Mark Griffin
Written-By – Bill Evans, Jim Beard
7    Coravilas 7:39
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Written-By – Bill Evans, Jim Beard
8    Easilee 4:55
Bass – Victor Bailey
Drums – Steve Ferrone
Guitar [Lead] – Lee Ritenour
Keyboards – Jim Beard
Percussion – Manolo Badrena
Rhythm Guitar – Jon Herington
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
9    Undercover 5:26
Drums – Steve Ferrone
Electric Bass – Marcus Miller, Ron Jenkins
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Tenor Saxophone, Alto Saxophone – Bill Evans
Written-By – Bill Evans
10    La Di Da 5:55
Backing Vocals – Mark Ledford
Bass – Victor Bailey
Drums – Jim Beard, Max Risenhoover
Guitar – Jon Herington
Keyboards – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
11    Armsakimbo 4:38
Bass – Victor Bailey
Drums [Additional] – Max Risenhoover
Guitar – Jon Herington
Keyboards, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
12    Aftermath 6:15
Backing Vocals – Mark Ledford
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Jon Herington
Keyboards, Programmed By [Bass] – Jim Beard
Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
13    Undercover (Remix - Marcus' Mad Flav) 5:30
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Mixed By – Jim Beard
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Remix – Marcus' Mad Flav
Tenor Saxophone, Alto Saxophone, Written-By – Bill Evans

BILL EVANS - Touch (1999) FLAC (tracks+.cue), lossless

Mixing laid-back melodies with go-for-broke jams with some of the greatest names in modern instrumental music, saxophonist Bill Evans lives in the middle ground between smooth jazz and what could easily be termed of as contemporary jazz fusion. On his Zebra Records debut, Touch, the distinction is based on each song's sense of adventure. "In Your Heart," for instance, is the kind of right in the pocket, sweet little slice of passion that radio drools over, made unique (as Evans does on all tunes) by switching off from the high tones of the soprano with the darker shades of tenor to better discuss the emotional complexities of love. Likewise there's the cool, urban-flavored "Remember," which features subtle vocal chanting floating off in the distance. But then there's the edgier side of Evans intertwining his soprano with Lew Soloff's staccato trumpet energy on the brisk blues of "Dixie Hop," and kicking up all sorts of dust on the last two tunes, "Back to the Walls" and the ten-minute "Country Mile." "Back to the Walls" blends both of Evans's axes with Soloff's trumpet, an African vocal chant, the insistent wah-wah guitar of Adam Rogers, and a jamming Memphis soul-inspired horn section featuring Soloff and trombonist Conrad Herving as the Voodoo Horns. by Jonathan Widran 

Tracklist:
1     Wild Ride     3:41
2     In Your Heart     4:46
3     Remembering     4:30
4     Dixie Hop     4:54
5     Girl By The Sea     5:20
6     Nashville Cowboys     4:01
7     Touch     5:00
8     Little Hands     4:44
9     Skippin'     4:46
10     BackTo The Walls     5:30
11     Country Mile     10:32
Credits:
Acoustic Bass – Chris Minh Doky
Acoustic Bass, Electric Bass – Tim Lefebvre
Bass – Mark Egan, Victor Bailey
Drum Programming – Michael Colina, Zach Danziger
Drums – Lionel Cordew, Vinnie Colaiuta
Grand Piano – Jim Beard
Grand Piano, Keyboards [Additional] – Henry Hey
Guitar – Adam Rogers, Chuck Loeb, Dean Brown, Lee Ritenour
Percussion – Manolo Badrena
Producer, Written-By, Arranged By – Bill Evans
Saxophone, Soprano Saxophone, Tenor Saxophone, Keyboards – Bill Evans
Trombone – Conrad Herwig
Trumpet – Lew Soloff, Wallace Roney
Vocals – Lani Groves, Philip Hamilton

WEATHER REPORT – Heavy Weather (1977-2007) RM | FLAC (image+.cue), lossless

Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom. Richard S. Ginell 
Tracklist:
1 Birdland 5:59
Bass, Mandocello, Vocals – Jaco Pastorius
Composed By, Synthesizer [Oberheim Polyphonic, Arp 2600], Piano [Acoustic], Vocals, Melodica – Joe Zawinul
Drums – Alejandro "Alex" Acuña
Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Tambourine – Manolo Badrena
2 A Remark You Made 6:52
Bass – Jaco Pastorius
Composed By, Electric Piano [Rhodes], Synthesizer [Arp 2600, Oberheim Polyphonic] – Joe Zawinul
Drums – Alejandro "Alex" Acuña
Tenor Saxophone – Wayne Shorter
3 Teen Town 2:53
Composed By, Drums, Bass – Jaco Pastorius
Congas – Manolo Badrena
Electric Piano [Rhodes], Synthesizer [Arp 2600, Oberheim Polyphonic], Melodica – Joe Zawinul
Soprano Saxophone – Wayne Shorter
4 Harlequin 4:00
Bass – Jaco Pastorius
Composed By, Soprano Saxophone – Wayne Shorter
Drums – Alejandro "Alex" Acuña
Synthesizer [Arp 2600, Oberheim Polyphonic], Piano [Acoustic], Electric Piano [Rhodes] – Joe Zawinul
Vocals – Manolo Badrena
5 Rumba Mamá 2:12
Composed By [Co-composer], Congas, Tom Tom [Tom Toms] – Alejandro "Alex" Acuña
Composed By, Vocals, Timbales, Congas – Manolo Badrena
6 Palladíum 4:45
Bass, Steel Drums – Jaco Pastorius
Composed By, Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Congas, Percussion – Manolo Badrena
Drums – Alejandro "Alex" Acuña
Synthesizer [Arp 2600], Electric Piano [Rhodes] – Joe Zawinul
7 The Juggler 5:05
Bass, Mandocello – Jaco Pastorius
Composed By, Electric Piano [Rhodes], Synthesizer [Arp 2600], Piano [Acoustic], Guitar, Tabla – Joe Zawinul
Drums, Handclaps – Alejandro "Alex" Acuña
Percussion – Manolo Badrena
Soprano Saxophone – Wayne Shorter
8 Havona 6:03
Composed By, Bass – Jaco Pastorius
Drums – Alejandro "Alex" Acuña
Piano [Acoustic], Synthesizer [Oberheim Polyphonic, Arp 2600] – Joe Zawinul
Soprano Saxophone – Wayne Shorter

THE BRECKER BROTHERS - Straphangin' (1981) FLAC (tracks+.cue), lossless

The early '80s were a confusing time for many a jazz musician. The temptation to dabble in such waters as disco, funk, and rock was a risky proposition: pull it off and you were a genius, fail and you were the laughing stock of the industry. Falling somewhere in the large grey area between those two poles, the Brecker Brothers started the decade with Straphangin', a seven-song excursion into all sorts of fusion and AOR-like territories. No doubt taking sonic cues from Spyro Gyra and Steely Dan, the guys open the album with the mellow title track and the equally suggestive "Threesome" before stepping things up with the highly percussive "Bathsheba." "Why Can't I Be There" could easily find its way onto the playlist of a soft rock fan, but on the whole Straphangin' is a mixed blessing. Not the best album they ever put out, but certainly far from their worst. by Rob Theakston
Tracklist:
1 Straphangin' 8:04
Written-By – Michael Brecker
2 Threesome 6:21
Written-By – Randy Brecker
3 Bathsheba 6:58
Written-By – Michael Brecker
4 Jacknife 6:16
Written-By – Randy Brecker
5 Why Can't I Be There 4:58
Written-By – Randy Brecker
6 Not Ethiopia 5:41
Written-By – Michael Brecker
7 Spreadeagle 5:54
Written-By – Randy Brecker
Credits:
Bass – Marcus Miller
Drums – Richie Morales
Guitar – Barry Finnerty
Keyboards – Mark Gray
Percussion – Don Alias (tracks: 6), Manolo Badrena (tracks: 1, 3, 4, 5, 7), Sammy Figueroa (tracks: 1, 3, 4, 5, 7)
Producer – Michael Brecker, Randy Brecker
Tenor Saxophone – Michael Brecker

GRORGE DUKE – 1977-1984 (9 Albums, Japanese Remasters 2014) FLAC (image+.cue), lossless

George Duke - From Me to You

George Duke was never a myopic jazz purist -- the keyboardist/singer/producer/composer always had a healthy appreciation of soul, funk, and rock. Nonetheless, instrumental jazz was his main focus prior to 1977. It was in 1977 that Duke placed jazz on the back burner and made vocal-oriented R&B his top priority. The album that marked this change of direction was From Me to You, which was the first of two R&B-oriented releases that Epic put out for the artist in 1977 -- the second was the superb Reach for It. This LP contains a few noteworthy fusion instrumentals, including the driving "Up on It" and the contemplative "Seasons." But From Me to You is an R&B album more than anything, and Duke lets the funk prevail on vocal-oriented tracks like "Sing It" and "Carry On" (which he revisited when he produced Flora Purim's Carry On LP in 1979). Occasionally, this album is excellent, although most of the time, it is merely decent -- on From Me to You, Duke doesn't wear the soul/funk hat as confidently as he did on subsequent R&B-oriented projects like Reach for It, Don't Let Go, and Follow the Rainbow. This record is a bit uneven, although it has more plusses than minuses and is worth hearing if you're among Duke's hardcore fans. Alex Henderson

Tracklist :
1. From Me to You (Duke) - 1:45
2. Carry On (Duke) - 4:36
3. What Do They Really Fear? (Duke) - 4:28
4. 'Scuse Me Miss (Duke) - 3:37
5. You and Me (Duke) - 3:41
6. Broken Dreams (Duke) - 2:50
7. Up on It (Duke) - 9:05
8. Seasons (Duke) - 5:45
9. Down in It (Duke-Clarke-Sembello-Chancler) - 1:22
10. Sing It (Duke) - 4:10
Credits:
George Duke - keyboards, vocals, percussion (5)
Stanley Clarke - acoustic bass (1,8), electric bass (7,9)
Byron Miller - electric bass
Leon "Ndugu" Chancler - drums
Mike Sembello - electric and acoustic guitars
Diane Reeves - vocals (5,6)
Maxine Willard Waters, Julia Tillman Waters, Jessica Smith - background vocals

George Duke - Reach for It 

By 1977, the jazz content of George Duke's albums had decreased considerably, and soul and funk had become his main priorities. Reach for It has more to offer from an R&B standpoint than a jazz standpoint, though the fusion it does contain is first rate -- including the Latin-influenced "Hot Fire" and "Lemme at It" (an aggressive gem that's in a class with some of the keyboardist/pianist's best work with the Billy Cobham/Duke Band). Reach's heavy R&B content resulted in Duke facing the same accusation as George Benson, Patrice Rushen and other improvisers who moved away from jazz in the '70s -- that he was a sellout. But none of this CD's R&B content comes across as contrived or formulaic. In fact, Duke is downright inspired on the haunting "Just for You" and the Parliament-influenced title song. Even so, it's always regrettable when a gifted improviser pretty much abandons jazz -- and Duke is a prime example. It should be stressed that the high rating awarded this CD is primarily from an R&B standpoint -- and that those strictly interested in hearing Duke playing jazz would be better off investing in earlier efforts like Faces in Reflection. Alex Henderson
Tracklist :
1. The Beginning (Duke) - 1:50
2. Lemme at It (Duke) - 4:14
3. Hot Fire (Chancler) - 5:31
4. Reach for It (Duke) - 4:54
5. Just for You (Duke) - 4:28
6. Omi (Fresh Water) (Duke) - 4:50
7. Searchin' My Mind (Duke) - 3:12
8. Watch Out Baby! (Duke-Chancler-Sembello-Clarke) - 5:25
9. Diamonds (Duke) - 6:45
10. The End (Duke) - 1:07
11. Bring It on Home (Duke) - 4:25
Credits :
George Duke - keyboards, vocals
Leon "Ndugu" Chancler - drums, remo roto toms, timbales, vocals (4,8)
Charles Icarus Johnson - guitar, vocals (4,9)
Deborah Thomas, Dee Henrichs, Sybil Thomas - vocals
Manolo Badrena - congas, bongos, percussion
Mike Sembello - guitar (8)
Raul de Souza - trombone (6)

George Duke - Don't Let Go

With a hot funk band and a big hit, "Reach for It," behind him, George Duke appears mostly in his persona as R&B star on this ebullient package of sometimes Latin-inflected '70s funk. The centerpiece is a self-parodic bit of shuck and jive called "Dukey Stick," which became a number four hit single on the R&B charts (at his gigs, Duke used to flaunt a gaudy, lit-up, perhaps phallic wand, the "Dukey stick," during this number). The percussion section is pretty potent, staffed by Leon "Ndugu" Chancler and Sheila Escovedo in her pre-pop star days; they even get a Latin workout of their own simply titled "Percussion Interlude." While some of Duke's considerable keyboard and electronic prowess breaks through now and then, this album is mainly aimed at the R&B market, as the preponderance of soul vocals indicates. As such, it is a cut or two above the routine fare of the time, though not as infectious as its predecessor Reach for It. Richard S. Ginell
Tracklist :
1. We Give Our Love (Duke-Chancler-Miller-Johnson) - 4:33
2. Morning Sun (Duke) - 4:15
3. Percussion Interlude (Chancler-Escovedo) - 2:02
4. Dukey Stick (Duke) - 6:07
5. Starting Again (Duke) - 4:30
6. Yeah, We Going (Chancler) - 3:41
7. The Way I Feel (Duke) - 4:45
8. Movin' On (Duke) - 4:23
9. Don't Let Go (Duke) - 3:26
10. Preface (Duke) - 1:30
11. The Future (Duke) - 3:28
12. Dukey Stick Part 1 (Duke) - 3:35
13. Dukey Stick Part 2 (Duke) - 4:43
14. Dukey Stick (12" Single Version) (Duke) - 8:07
Credits :
George Duke - keyboards, vocals, narration
Leon "Ndugu" Chancler - drums, narration (4), timbales
Byron Miller - bass, narration (4)
Charles "Icarus" Johnson - guitar, narration (4)
Sheila Escovedo - congas, percussion, nrration (4), vocals
Josie James, Napolean Murphy Brock - vocals
Petsye Powell, Pattie Brooks - background vocals
Roland Bautista - rhythm guitar (9)
Wah Wah Watson - Hot Licks (1)
Carol Shive - violin
Jody Geist - viola (10)

George Duke - Follow the Rainbow

When George Duke made the transition from jazz instrumentalist to R&B star in 1977, he received both negative and positive reviews. R&B-oriented publications tended to provide favorable reviews-even glowing ones-whereas much of the jazz media routinely trashed soul/funk efforts like 1979's Follow the Rainbow. To many jazz critics, Duke was a sellout-a virtuoso who had forsaken creativity and was pandering to the lowest common denominator in order to enjoy financial security. But truth be told, jazz musicians don't have the market cornered on creativity. Follow the Rainbow is, in fact, a creative album, and it's an album that has very little to do with jazz. The LP includes a few fusion instrumentals, including the Brazilian-flavored "Festival." But 90% of Follow the Rainbow is devoted to R&B, and anyone who judges it by those standards instead of jazz standards will have to agree that Duke is triumphant on sweaty funk tunes ("Party Down," "I Am for Real") as well as mellow soul ballads and slow jams like "Say That You Will," "Straight From the Heart," and the Earth, Wind & Fire-influenced "Sunrise." This album is consistently excellent, but it isn't recommended to jazz snobs -- only those with a healthy appreciation of 1970s soul and funk will enjoy this album. Alex Henderson
Tracklist :
1. Party Down (Duke-Champlin) - 3:10
2. Say That You Will (Duke) - 3:06
3. Funkin' for the Thrill (Miller) - 4:03
4. Sunrise (Duke) - 4:45
5. Festival (Duke) - 6:43
6. I Am for Real (May the Funk Be with You) (Duke) - 5:19
7. Straight from the Heart (Duke) - 3:53
8. Corine (Duke) - 6:02
9. Pluck (Duke) - 4:48
10. Follow the Rainbow (Duke) - 1:28
11. I Am for Real (May the Funk Be with You) (Single Edit) (Duke) - 3:35
12. Pluck (Single Edit) (Duke) - 3:25
Credits :
George Duke - vocals, keyboards
Byron Miller - bass, vocals (3)
Ricky Lawson - drums
Charles Icarus Johnson - guitar
Sheila Escovedo - percussion, vocals
Napolean Murphy Brook, Lynn Davis, Josie James - vocals
Everybody - narration

George Duke - A Brazilian Love Affair

George Duke had been fairly visible in the R&B world thanks to funk gems like "Reach for It" and "Dukey Stick" when he ventured to Rio to record A Brazilian Love Affair, a superb date employing such greats as singers Flora Purim and Milton Nascimento and percussionist Airto Moreira. Although not the return to instrumental jazz some hoped it would be, this heartfelt effort does contain its share of jazz-influenced material. From a jazz standpoint, the CD's most noteworthy songs include Nascimento's "Cravo e Canela," the charming "Brazilian Sugar," "Love Reborn," and the exuberant "Up from the Sea It Arose and Ate Rio in One Swift Bite." Meanwhile, Nascimento's vocal on the ballad "Ao Que Vai Nascer" is a fine example of Brazilian pop at its most sensuous. But however one labels or categorizes this music, the album is clearly a labor of love from start to finish. Alex Henderson
Tracklist :
1. Brazilian Love Affair (Duke) - 7:23
2. Summer Breezin' (Duke) - 4:49
3. Cravo e Canela (Nascimento-Bastos) - 3:06
4. Alone-6AM (Duke) - 1:07
5. Brazilian Sugar (Duke) - 5:34
6. Sugar Loaf Mountain (Duke) - 4:10
7. Love Reborn (Duke) - 4:28
8. Up from the Sea It Arose and Ate Rio in One Swift Bite (Duke) - 5:24
9. I Need You Now (Duke) - 4:43
10. Ao Que Vai Nascer (Nascimento-Brant) - 3:31
11. Caxanga (Nascimento-Brant) - 4:10
12. Brazilian Love Affair (Single Edit) (Duke) - 3:52
Credits :
George Duke - piano, synthesizers
Milton Nascimento, Simone, George Duke - lead vocals
Byron Miller, Jamil Joanes - bass
Roberto Silva, Ricky Lawson - drums
Chico Batera, Airto Moreira, Sheila Escovedo - percussion
Toninho Horta, Roland Bautista - guitar
Raul de Souz, Bill Reichenbach - trombone
Jerry Hey - trumpet, flugelhorn
Larry Williams - alto saxophone
Lucinha Lins, Zeluiz, Flavio Faria, Lucia Turnbull, Flora Purim, Josie James, Lynn Davis - vocals
Murrey Adler - string contractor

George Duke - Master of the Game

Although George Duke first made his mark as a jazz instrumentalist, late-1970s classics like Reach for It, Don't Let Go, and Follow the Rainbow made it clear that he could also be an expressive R&B singer. But he didn't want to handle all of the lead vocals himself; so during that period, his role was that of a producer/keyboardist/songwriter who was more than happy to share the lead vocals with Lynn Davis, Josie James, and others. Davis enjoyed a lot of exposure on R&B stations when, in 1979, Duke featured her on "I Want You for Myself," the haunting single that made Master of the Game one of his best-selling albums. Her charismatic performance makes the listener wonder why she never had a solo career; the talent was certainly there. This album contains a few jazz fusion instrumentals (including the Latin-flavored "Dog-Man"), but it's an R&B release first and foremost -- and those who like Duke as an R&B artist will find this album to be enjoyable, if less than essential. "I Want You for Myself" and the mellow, Stylistics-influenced "Every Little Step I Take" are gems, but most of the other selections are merely decent instead of excellent. On the whole, this album isn't in a class with Reach for It, Don't Let Go, or Follow the Rainbow, which are arguably his most essential R&B-oriented albums. But it has more pluses than minuses and is worth having in your collection if you're a serious fans of Duke's late 1970s/early 1980s output. Alex Henderson
Tracklist :
1. Look What You Find (Duke) - 4:45
2. Every Little Step I Take (Duke) - 3:49
3. Games (Escovedo-Duke) - 3:14
4. I Want You for Myself (Duke) - 6:38
5. In the Distance (Duke) - 2:24
6. I Love You More (Duke) - 3:06
7. Dog-Man (Duke) - 4:40
8. Everybody's Talkin' (Duke) - 4:19
9. Part 1 - The Alien Challenges the Stick (Duke-Miller-Lawson-Myles) - 2:27
10. Part 2 - The Alien Succumbs to the Macho Intergalactic Funkativity of the Funkblasters (Duke-Miller-Lawson-Myles) - 6:59
11. I Want You for Myself (Single Edit) (Duke) - 3:55
12. Every Little Step I Take (Single Edit) (Duke) - 3:43
Credits :
George Duke - vocals, keyboards
Byron Miller - bass
Ricky Lawson - drums
David Myles - electric guitars, sitar, 6 & 12 string acoustic guitars, Ovation
Sheila Escovedo - percussion, drums
Napoleon Brock, Lynn Davis, Josie James - vocals
Jerry Hey - trumpet, flugelhorn
Ray Obeido, Roland Bautista - guitar
Gary Herbig - alto saxophone, tenor saxophone, flute, piccolo
Bill Reichenbach - trombone, bass trombone
Fred Washington - bass (3)
Gary Grant - trumpet (7)

George Duke - Dream On

On his R&B-oriented records of the late '70s, George Duke often shared the lead vocals with such band members as Lynn Davis, Josie James, and Napoleon Brock, but none of them are employed on 1982's Dream On, which finds him handling most of the lead vocals himself. And that isn't a bad thing, because Duke is a soulful and charismatic singer -- there is no reason why he shouldn't hog the microphone on his own albums. Unfortunately, he doesn't have a lot of first-rate material to work with on this competent, if uneven and unfocused, LP. Dream On isn't a bad album; sleek R&B ballads like "I Will Always Be Your Friend," "Let Your Love Shine," and "You" are pleasant, but they aren't remarkable, and while Dream On simmers, it never burns and never explodes. Even "Son of Reach for It (The Funky Dream)" -- a sequel to Duke's 1977 smash "Reach for It" -- isn't all that exciting. The best thing on the record is a remake of the mellow soul ballad "Someday," which he had previously recorded for 1975's I Love the Blues, She Heard My Cry. Again, Dream On isn't a disaster, but it isn't one of Duke's more impressive albums either. This LP is strictly for completists. Alex Henderson
Tracklist :
1. Shine On (Duke) - 5:13
2. You (Duke) - 4:39
3. Dream On (Martin-Pilate) - 4:02
4. I Will Always Be Your Friend (Duke) - 3:28
5. Framed (Duke) - 3:20
6. Ride on Love (Duke) - 5:26
7. Son of Reach for It (Miller-Duke-Chancler-Johnson) - 4:26
8. Someday (Duke) - 3:53
9. Positive Energy (Duke) - 3:35
10. Let Your Love Shine (Duke) - 4:31
11. Shine On (Single Edit) (Duke) - 3:53
12. Ride on Love (Single Edit) (Duke) - 3:58
Credits :
George Duke - lead vocals, piano, keyboards
Byron Miller - bass
Leon "Ndugu" Chancler - drums
Paulinho da Costa - percussion
Mike Sembelo, Charles "Icarus" Johnson - guitar
Carl Carlwell, Sybil Thomas, Dee Hendricks, Deborah Thomas, Flora Purim, Jean Carn - background vocals
Jerry Hey, Gary Grant - trumpet, flugelhorn
Bill Reichenbach - trombone
Larry Williams - saxophone
Strings:
Charles Veal,Jr. - concertmaster
Rosemary Veal - contractor
Mari Botnick, Bonnie Douglas, Henry Ferber, Ron Folsom, Franklin Foster, Bob Sanov, Carol Shive, Dorothy Wade, Ken Yerke, Sheldon Sanov, Paul Shure, Endre Granat, Arnold Belnick, Marcia Van Dyke - violin
Rollice Dale, Denyse Buffum, Virginia Majenski, Barbara Thomason - viola
Julie Buffun, Paula Hochhalter, Dennis Karmazyn, Danny Rothmuller, Nils Oliver - cello

George Duke - Guardian of the Light

Coming to the close of his tenure with Epic records, Duke's great work seemed to be overshadowed by bunk. At the same time, he was becoming an in-demand producer with assignments from Jeffrey Osborne, Phillip Bailey, and Deniece Williams filling his schedule. Guardian of the Light reflects that strain. Released in 1983, Guardian of the Light also had the added baggage of a hard-to-follow concept of a fictional character's mystical exploits. This being George Duke, although the idea is odd, he was sure to get some good songs done here. It doesn't come easily however. Despite the good intentions, "Light," "Shane," and "Reach Out" differ little from the melodically challenged songs that typified his post-Brazilian Love Affair efforts. That being said, Guardian of the Light does include a classic. The gorgeous and soaring "You (Are the Light)" has Duke giving a particularly strong vocal performance. Duke also does one of his best Rhodes solos on the track as well. "Born to Love You" is also very affecting. This album closes with the rock-influenced and surprisingly effective "Fly Away." This effort is worth seeking out for its highs, but the middling work does seem to win out here. Jason Elias
Tracklist :
1. Overture (Duke) - 1:38
2. Light (Duke) - 3:23
3. Shane (Duke) - 3:14
4. Born to Love You (Duke) - 3:10
5. Silly Fightin' (Duke) - 5:07
6. You (Are the Light) (Duke) - 4:16
7. The War Fugue Interlude (Duke) - 1:13
8. Reach Out (Duke) - 4:57
9. Give Me Your Love (Duke) - 4:19
10. Stand (Duke) - 2:14
11. Soon (Duke) - 2:43
12. Celebrate (Duke) - 3:54
13. Fly Away (Duke) - 4:03
14. Reach Out (12" Single Version) (Duke) - 6:54
Credits:
George Duke - vocals, keyborads
Louis Johnson, Byron Miller - bass
John Robinson, Leon "Ndugu" Chancler - drums
Michael Sembello, Charles Fearing, Johnny McGhee - guitar
Paulinho da Costa, Steve Forman - percussion
Craig Harris - vocorder programming
Jeffrey Osborne, Lynn Davis, Portia Griffin, Patti Austin,
George Duke - background vocals
Jerry Hey, Gary Grant - trumpet, flugelhorn, piccolo trumpet
Larry Williams - tenor saxophone
Lou McCreary - trombone
Lynn Davis, Rachelle Fields, Portia Griffin, George Duke - handclaps
Strings:
Paul Shure, Charles Veal - concert master
Murray Adler, Israel Baker, Brenton Banks, Sherrill Coltrin Baptist, Bonnie Douglass, Assa Drori, Reginald Hill, Karen Jones, Nathan Ross, Sheldon Sanov, Robert Sushel, Mari Botnick, Henry Ferber, Ron Folsom, Franklin Foster, Bob Sanov, Carol Shive, Dorothy Wade, Ken Yerke, Endre Granat, Arnold Belnick, Marcia Can Dyke, Charles Veal, Jr - violin
Rollice Dale, Denyse Buffum, Virginia Majenski, Barbara Thomason, Allan Harshman, Myer Bello, David Schwartz - viola
Douglas Davis, Raymond Kelley, Jan Kelley, Earl Madison, Julie Buffum, Paula Hochhalter, Dennis Karmazyn, Danny Rothermuller, Nils Oliver - cello
George Del Barrio - string conductor

George Duke - Rendezvous

 Most of this album consists of the same general early 1980's danceable R&B funk fare and pop balladry that marked the rest of his catalog around this time, most of it on the smoother side. But on "Better Ways" George Duke throws down some truly NAS-TAY funk-rock with a scathing message and "Ipanema Lady" heads back to sunny Rio. Then again "Got To Get Back To Love", "Take It All" and the synth-spiked "Secret Rendevous" aren't bad period funk either, if a little commercial. Warning: NOT FOR JAZZ LISTENERS! But everyone else (especially fans of 80's funk) enjoy!  Andre S Grindle
Tracklist :
1. Got to Get Back to Love (Duke) - 5:31
2. Stay Awhile (Duke) - 2:59
3. Secret Rendezvous (Knight) - 4:53
4. Thinking of You (Duke) - 4:10
5. Take It On (Duke-Anderson) - 3:55
6. She Can Wait Forever (Leib) - 4:01
7. Better Ways (Duke) - 4:25
8. Your Life (Duke) - 2:49
9. Ipanema Lady (Duke) - 3:41
10. Secret Rendezvous (Single Edit) (Knight) - 4:11
Credits:
George Duke - vocals, piano, Fender Rhodes piano, Clavinet, keyboards, Moog & ARP synthesizers, electronic drums, programming
Ernie Watts, Gary Herbig - tenor saxophone
Jerry Hey, Gary Grant - trumpet, flugelhorn
Chuck Findley - flugelhorn
Bill Reichenbach - trombone
Larry Williams - flute, piccolo
Mike Sembello - guitar, background vocals
Paul Jackson, Charles Fearing - guitar
Stanley Clarke - piccolo bass
Nathan East, Byron Miller - bass
Steve Ferrone - drums, hi-hat
John Robinson, Leon "Ndugu" Chancler - drums
Paulinho da Costa - percussion, background vocals
Lynn Davis, Josie James, Oscar Castro-Neves - background vocals