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

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

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

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

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

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

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

WES MONTGOMERY — So Much Guitar (1961) RM | Four Version | Original Jazz Classics Remasters Series | 24-Karat Gold Plated | FLAC (image+.tracks+.cue), lossless

One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with "Cottontail," "I'm Just a Lucky So and So," and a brief unaccompanied "While We're Young" being high points. -Scott Yanow
Tracklist :
1. "Twisted Blues" (Wes Montgomery) – 5:31
2. "Cotton Tail" (Duke Ellington) – 3:38
3. "I Wish I Knew" (Mack Gordon, Harry Warren) – 5:26
4. "I'm Just a Lucky So-and-So" (Ellington, Mack David) – 5:57
5. "Repetition" (Neal Hefti) – 3:48
6. "Somethin' Like Bags" (Montgomery) – 4:44
7. "While We're Young" (Morty Palitz, Alec Wilder) – 2:12
8. "One for My Baby (and One More for the Road)"  (Harold Arlen, Johnny Mercer) – 7:38
Credits :
Wes Montgomery – Guitar
Ron Carter – Bass
Lex Humphries – Drums
Ray Barretto – Conga
Hank Jones – Piano 

GENE AMMONS — Boss Tenor (1960) RM | Five Version | 20bit K2 | XRCD | SACD | RVG Remasters | The Prestige Stereo Series | FLAC (image+.tracks+.cue), lossless

The great tenor saxophonist Gene Ammons was of the generation of swing-era players that easily adapted to bop. But though he was a modernist, Ammons maintained that breathy, old-school romantic approach to the tenor. Boss Tenor, a quintet session from 1960, is one of Ammons' very best albums. Ray Barretto's congas subtly add a bit of Latin spice, but otherwise this is a collection of standards rendered with a gorgeous late-night bluesy feel. Accompaniment by Tommy Flanagan, one of the best mainstream pianists ever, certainly doesn't hurt, either. A gem. Mark Keresman
Tracklist :
1. Hittin' The Jug 8:29
 Gene Ammons
2. Close Your Eyes 3:46
 Bernice Petkere
3. My Romance 4:16
 Lorenz Hart / Richard Rodgers
4. Canadian Sunset 5:24
 Norman Gimbel / Eddie Heywood
5. Blue Ammons 4:57
 Gene Ammons
6. Confirmation 5:24
 Charlie Parker
7. Stompin' At The Savoy 3:31
 Bill Doggett / Lucky Millinder
Credits :
Gene Ammons - Tenor Saxophone
Tommy Flanagan - Piano
Doug Watkins - Bass
Arthur Taylor - Drums
Ray Barretto - Conga

KENNY BURRELL — Midnight Blue (1963) Three Version (1986, Serie Blue Note CD Super 50 – 29) + (1999, RM | Serie RVG Edition) + (2010, RM | SACD, Hybrid, DSD | Serie The Blue Note Reissues | FLAC (image+.cue), lossless & FLAC (tracks+.cue), lossless

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." Scott Yanow
Tracklist :
1 Chitlins con Carne 5:30
Kenny Burrell
2 Mule 6:56
Kenny Burrell / Major Holley
3 Soul Lament 2:43
Kenny Burrell
4 Midnight Blue 4:02
Kenny Burrell
5 Wavy Gravy 5:47
Kenny Burrell
6 Gee Baby, Ain't I Good to You 4:25
Andy Razaf / Don Redman
7 Saturday Night Blues 6:16
Kenny Burrell
8 Kenny's Sound 4:43
Kenny Burrell
9 K Twist 3:37
Kenny Burrell
Credits:
Bass – Major Holley, Jr.
Congas – Ray Barretto
Drums – Bill English
Guitar – Kenny Burrell
Tenor Saxophone – Stanley Turrentine

KENNY BURRELL WITH COLEMAN HAWKINS — Bluesey Burrell (1962-2019) RM | SACD Hybrid, DSD | The Prestige Stereo Series | FLAC (tracks+.cue), lossless

This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on half of the eight tracks. Released on the Prestige subsidiary Moodsville -- a label that specialized in recordings with an intimate, reflective atmosphere -- the Moodsville sound doesn't sit comfortably on Hawkins. His playing is brilliantly relaxed, but it's not mood music. Leader Kenny Burrell's playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric. Unlike Hawkins, Burrell's subdued contribution is made to measure for this date. Listeners expecting to hear Burrell the hard bopper won't. The key moments come during the interaction between the guitarist and tenor player, especially during their exchanges on Burrell's "Montono Blues." The rhythm section, Hawkins' working band from this period (pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke) provides impeccable, sublime support. Jim Todd
Tracklist :
1    Tres Palabras 6:44
Written-By – Osvaldo Farres
2    No More 1:53
Written-By – Russell, Camarata
3    Guilty 4:17
Written-By – Kahn, Akst, Whiting
4    Montono Blues 4:45
Written-By – Kenny Burrell
5    I Thought About You 4:40
Written-By – Van Heusen, Mercer
6    Out Of This World 4:54
Written-By – Arlen, Mercer
7    It's Getting Dark 6:53
Written-By – Burrell
8    I Never Knew 5:19
Written-By – Kahn, Fiorito
Credits :
Alto Saxophone – Leo Wright (pistas: 8)
Bass – George Tucker (pistas: 8), Major Holley (pistas: 1 to 7)
Congas – Ray Barretto (pistas: 1 to 7)
Drums – Eddie Locke (pistas: 1 to 7), Jimmie Smith (pistas: 8)
Guitar – Kenny Burrell
Piano – Gildo Mahones (pistas: 8), Tommy Flanagan (pistas: 1 to 7)
Tenor Saxophone – Coleman Hawkins (pistas: 1, 4 to 5, 7)

OLIVER NELSON — The Argo, Verve And Impulse Big Band Studio Sessions (2006) RM | 6xCD BOX-SET | FLAC (tracks+.cue), lossless

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. Scott Yanow   Tracklist & Credits :

OLIVER NELSON WITH JOE NEWMAN — Main Stem (1961-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Unlike most of Oliver Nelson's recordings, this one has the feel of a jam session. A Prestige set, Nelson (on tenor and alto) teams up with trumpeter Joe Newman (in exciting form), pianist Hank Jones, bassist George Duvivier, drummer Charlie Persip, and Ray Barretto on congas. There are two superior standards ("Mainstem" and "Tangerine") and four of Nelson's more basic originals. The spirited solos of Nelson and Newman are strong reasons to get this colorful session. Scott Yanow    Tracklist & Credits :

OLIVER NELSON ORCHESTRA — Afro-American Sketches (1961-1993) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Oliver Nelson merged the rhythmic fervor of Africa and Black America with the organizational flair of Europe on this release. The often spectacular work features the orchestra sometimes whooping and clashing in the backdrop and other times giving soulful statements or converging in a blues setting. While Nelson combined Afro-Latin rhythmic support from Ray Barretto with crisp jazz drumming from Ed Shaughnessy, he also contributed his own soaring alto and tenor sax solos and conducted the orchestra. It was a monumental job, and Nelson exceeded it. Ron Wynn   Tracklist & Credits :

THE OLIVER NELSON ORCHESTRA ft. PHIL WOODS — Impressions Of Phaedra (1962) Vinyl, LP MONOAURAL | FLAC (tracks), lossless

Moody and long-forgotten, like the film it was inspired by, Phaedra interchanges film-like cues with some torrid jazz content (mostly courtesy of Phil Woods). Makes an interesting case for "Greek Jazz."  Douglas Payne
Tracklist & Credits :

THE RED GARLAND TRIO PLUS RAY BARRETTO — Manteca (1958-1990) RM | FLAC (image+.cue), lossless

This is a solid LP that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session. Scott Yanow
Tracklist :
1 Manteca 8:06
Written-By – Gillespie, Fuller
2 S'Wonderful 6:41
Written-By – Gershwin-Gershwin
3 Lady Be Good 5:50
Written-By – Gershwin-Gershwin
4 Exactly Like You 7:09
Written-By – Fields, McHugh 
5 Mort's Report 12:11
Written-By – Red Garland
6 Portrait Of Jenny 7:18
Written-By – Burdge, Robinson
Credits :
Bass – Paul Chambers
Congas – Ray Barretto
Drums – Art Taylor
Piano – Red Garland

THE RED GARLAND TRIO PLUS RAY BARRETTO — Rojo (1961-2014) RM | Prestige Masters Collection 1000 | FLAC (tracks+.cue), lossless

Pianist Red Garland recorded frequently with trios for Prestige during the second half of the 1950s. For this set (reissued on CD), Garland, bassist George Joyner and drummer Charlie Persip are joined by Ray Barretto on congas and the emphasis is on forceful swinging. Garland takes such ballads as "We Kiss in a Shadow" and "You Better Go Now" at faster-than-expected tempos. "Ralph J. Gleason Blues" and the Latin feel of "Rojo" are among the highlights of this enjoyable disc. Scott Yanow
Tracklist & Credits :

RED GARLAND — Blues in the Night (1960-1997) RM | FLAC (tracks+.cue), lossless

The emphasis is on the blues (although not exclusively) on Blues in the Night. The original eight-song program was played by the trio of pianist Red Garland, bassist Sam Jones, and drummer Art Taylor, from an earlier date. Most unusual about the set is that Garland makes a rare (and effective) appearance on organ during "Halleloo-Y'All." Otherwise, this is a conventional but enjoyable set of bluesy bop, highlighted by "Revelation Blues," "Everytime I Feel the Spirit," and "Rocks in My Bed." Scott Yanow   Tracklist & Credits :

RED GARLAND — Rediscovered Masters, Vol.1 (1992) FLAC (tracks+.cue), lossless

Originally released for the first time on a 1977 double LP and later reissued on two separate CDs, these performances are up to pianist Red Garland's usual level. Since he was teamed with bassist Paul Chambers, drummer Art Taylor and Ray Barretto on conga, the same lineup used on the Manteca date of two months earlier, the date went unreleased for decades, but in reality, the music is excellent. Highlights include "Lover," "Blues In Mambo," "Estrellita" and "East of the Sun." Scott Yanow   Tracklist & Credits :

LOU DONALDSON QUINTET - Swing and Soul (1957-2000) RM | 24 Bit By RVG | FLAC (tracks+.cue), lossless

Tracklist :
1     Dorothy 5:24
Rudy Nichols    
2     I Won't Cry Any More 4:22
Al Frisch / Fritz Wise    
3     Herman's Mambo 4:54
Herman Foster    
4     Peck Time 5:20
Lou Donaldson    
5     There'll Never Be Another You 5:06
Mack Gordon / Harry Warren    
6     Groove Junction 6:18
Lou Donaldson    
7     Grits And Gravy 6:17
Lou Donaldson
Credits :
Alto Saxophone – Lou Donaldson
Bass – 'Peck' Morrison
Congas – Ray Barretto
Drums – Dave Bailey
Piano – Herman Foster
Recorded By [Recording By], Remastered By – Rudy Van Gelder

LOU DONALDSON - Blues Walk (1958-2010) RM | SACD, Hybrid | The Blue Note Reissues | WV (image+.cue), lossless

Lou Donaldson's undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop vein, and the mellower moments aren't as sleepy as some of Donaldson's subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. That makes it the definitive release in Donaldson's early, pre-soul-jazz period, but what elevates Blues Walk to classic status is its inviting warmth. Donaldson's sweetly singing horn is ingratiating and melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible. The easy-swinging title cut is a classic, arguably Donaldson's signature tune even above his late-'60s soul-jazz hits, and his other two originals -- "Play Ray" and "Callin' All Cats" -- are in largely the same vein. Elsewhere, Donaldson displays opposite extremes of his sound; the up-tempo bebop classic "Move" provokes his fieriest playing on the record, and his romantic version of "Autumn Nocturne" is simply lovely, a precursor to Lush Life. The addition of Ray Barretto on conga is a subtle masterstroke, adding just a bit more rhythmic heft to the relaxed swing. There are numerous likable records in Donaldson's extensive catalog, but Blues Walk is the best of them all. Steve Huey  
Tracklist :
1     Blues Walk 6:44
Lou Donaldson    
2     Move 5:54
Denzil Best    
3     The Masquerade Is Over 5:54
Herbert Magidson / Allie Wrubel    
4     Play Ray 5:32
Lou Donaldson    
5     Autumn Nocturne 4:55
Kim Gannon / Josef Myrow
6     Callin' All Cats 5:15
Lou Donaldson
Credits :
Alto Saxophone – Lou Donaldson
Bass – 'Peck' Morrison
Congas – Ray Barretto
Drums – Dave Bailey
Engineer [SACD Authoring] – Gus Skinas
Piano – Herman Foster
Recorded By – Rudy Van Gelder
Remastered By – Kevin Gray, Steve Hoffman

LOU DONALDSON - Light Foot (1959-2000) RM | 24 Bit By RVG | FLAC (tracks), lossless

In many ways, Blues Walk marked the culmination of Lou Donaldson's prime period as a hard-driving, straight-ahead bop saxophonist. Until that point, he had been turning out intense, furious bop workouts -- afterward, as its successor Light Foot shows, he began to slow down a bit. With Light Foot, Donaldson still was pretty firmly grounded in bop, but the tempos began to slow down, and his blues influence came to the forefront; furthermore, the bop tracks are hard bop, not straight bop, which tended to dominate his previous recordings. That diversity makes Light Foot an interesting listen, but the record suffers from slightly uneven material and performances. His quintet -- featuring pianist Herman Foster, bassist Peck Morrison, drummer Jimmy Wormsworth, and conga player Ray Barretto -- is usually up to the task at hand, but they tend to play conventionally. And, ultimately, that's what Light Foot is -- an entertaining but conventional release from an alto saxophonist capable of greatness. Stephen Thomas Erlewine
Tracklist :
1     Light Foot 5:35
Lou Donaldson    
2     Hog Maw (False Start) 7:39
Lou Donaldson    
3     Mary Ann 6:41
Ray Charles    
4     Green Eyes 5:21
Nilo Menendez / Adolfo Utrera    
5     Walking by the River 5:39
Una Mae Carlisle / Robert Sour    
6     Day Dreams 5:39
Herman Foster    
7     Stella by Starlight 5:50
Ned Washington / Victor Young
Credits :
Alto Saxophone – Lou Donaldson
Bass – 'Peck' Morrison
Congas – Ray Barretto
Drums – Jimmy Wormworth
Piano – Herman Foster
Recorded By [Recording By], Remastered By – Rudy Van Gelder

LOU DONALDSON - The Time Is Right (1960-2011) RM | SACD, Hybrid | The Blue Note Reissues | FLAC (tracks+.cue), lossless

Tracklist :
1    Lou's Blues 5'55
Written-By – Lou Donaldson
2    Be My Love 5'45
Written-By – Nicholas Brodszky, Sammy Cahn
3    Idaho 5'10
Written-By – Jesse Stone
4    The Nearness Of You 4'42
Written-By – Hoagy Carmichael, Ned Washington
5    Mack The Knife 5'17
Written-By – Bertolt Brecht, Kurt Weill, Marc Blitzstein
6    Crosstown Shuffle 5'15
Written-By – Lou Donaldson
7    Tangerine 4'57
Written-By – Johnny Mercer, Victor Schertzinger
Credits :
Alto Saxophone – Lou Donaldson
Bass – Laymon Jackson
Congas – Ray Barretto
Drums – Dave Bailey
Engineer [SACD Authoring] – Gus Skinas
Piano – Horace Parlan
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell

LOU DONALDSON - Midnight Sun (1960-1980) lp | FLAC (tracks), lossless

Recorded in July of 1960, Midnight Sun sat unissued in Blue Note's vaults until the early '80s, when it was issued as part of their LT series. Like many of the previously unreleased albums in the series, it's clear that the only reason this remained in the vaults was because the label was releasing too many records, not because the session itself was second-rate. Granted, there are a couple of awkward moments on the date, but for the most part, Midnight Sun is as strong as any of the hard bop records Donaldson released in the early '60s. Part of the reason the quality is so high is the fact his supporting quartet is so strong. Pianist Horace Parlan has a number of fine moments on the record, and Lou's longtime rhythm section of bassist Ben Tucker, drummer Al Harewood, and conga player Ray Barretto is as reliable as ever. Any dedicated Donaldson fan should search for this record; even if it doesn't reach the heights of Blues Walk and Here 'Tis, it still has plenty of fine music. Stephen Thomas Erlewine
A1    Candy 6:12
Written-By – Alex Kramer, Joan Whitney, Mack David
A2    Midnight Sun 5:46
Written-By – Johnny Mercer, Lionel Hampton, Sonny Burke
A3    Avalon 5:18
Written-By – Al Jolson, Buddy G. De Sylva, Vincent Rose
B1    The Squirrel 3:33
Written-By – Tadd Dameron
B2    Si Si Safronia 4:31
Written-By – Lou Donaldson
B3    Exactly Like You 5:04
Written-By – Dorothy Fields, Jimmy McHugh
B4    Dog Walk 4:24
Written-By – Lou Donaldson
Credits :
Alto Saxophone – Lou Donaldson
Bass – Ben Tucker
Congas – Ray Barretto
Drums – Al Harewood
Engineer – Rudy Van Gelder
Piano – Horace Parlan