GEORGE BENSON & AL JARREAU — Givin' It Up (2006) FLAC (tracks+.cue), lossless

Givin' It Up finds crossover jazz icons guitarist George Benson and vocalist Al Jarreau teaming up for a breezy, enjoyably melodic session that highlights both artists' long careers. Technically a duo album, it is Benson's first since signing with Concord Records. As such, it works as a nice reintroduction to both artists and even finds them reworking the Bobby Womack classic "Breezin'," which Benson originally covered on his 1976 album of the same name. Here listeners get Jarreau adding lyrics and vocals on a version that really evokes the classic '70s jazz-meets-R&B sound that was an original hallmark of smooth jazz. In that sense, Givin' It Up is a true joy for fans of that more organic, song-oriented approach to crossover music, with Benson and Jarreau digging in to such great songs as Seals & Crofts' "Summer Breeze," John Legend's "Ordinary People," and Darryl Hall's "Every Time You Go Away." Also adding some unexpected fun and celebrity sheen to the proceedings is an impromptu appearance by Paul McCartney, who joins in on Sam Cooke's gospel-inflected "Bring It on Home to Me." Throw in appearances by trumpeter Chris Botti, vocalist Patti Austin, pianist Herbie Hancock, and bassist Marcus Miller and Stanley Clarke, and Givin' It Up proves music is always fun with a little help from your friends. Matt Collar 
Tracklist :
1 – Breezin' 5:40

Arranged By – Larry Williams

Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards – Larry Williams
Percussion – Paulinho Da Costa
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Bobby Womack
2 – Mornin' 5:02
Arranged By – Michael Broening
Backing Vocals, Vocal Percussion – Al Jarreau
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Saxophone – Marion Meadows
Written-By – Al Jarreau, David Foster, Jay Graydon
3 – 'Long Come Tutu 6:37
Arranged By – Marcus Miller
Bass – Marcus Miller
Co-producer – Marcus Miller
Drums – Michael White
Guitar – George Benson
Keyboards – Patrice Rushen
Piano – Herbie Hancock
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Marcus Miller
4 – God Bless The Child 3:40
Featuring Jill Scott
Arranged By – George Benson, John Burk, Patrice Rushen
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Vocal Percussion – Al Jarreau
Vocals – George Benson, Jill Scott
Written-By – Arthur Herzog, Jr., Billie Holiday
5 – Summer Breeze 5:01
Arranged By – Larry Williams
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards, Piano – Larry Williams
Percussion – Paulinho Da Costa
Vocals – Al Jarreau, George Benson
Written-By – Darrell Crofts, Jimmy Seals
6 – All I Am 3:23
Arranged By – Rex Rideout
Drums – Gregg Field, Ricky Lawson
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar, Vocals – George Benson
Piano – Rex Rideout
Written-By – Phillip "Taj" Jackson, Rex Rideout
7 – Ordinary People 5:18
Arranged By – Michael Broening
Backing Vocals – Al Jarreau, George Benson
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Written-By – John Legend, will.i.am
8 – Let It Rain 4:54
Featuring Patti Austin
Arranged By – Al Jarreau, Barry Eastmond
Arranged By [Background Vocals] – Patti Austin
Backing Vocals – Darlene Perry, Lorraine Perry, Maxi Anderson, Patti Austin, Sandra Simmons Williams, Sharon Perry, Valerie Pinkston
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Keyboards – Barry Eastmond
Percussion – Bashiri Johnson, Paulinho Da Costa
Producer – Patti Austin
Producer [Additional Production] – Barry Eastmond, Gregg Field
Rhythm Guitar – Dean Parks
Trumpet – Chris Botti
Vocals – Al Jarreau, Patti Austin
Written-By – Al Jarreau, Barry Eastmond
9 – Givin' It Up For Love 3:57
Arranged By – Freddie Ravel
Arranged By [Background Vocals] – Fred Martin, Freddie Ravel
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Clavinet, Drums, Electric Piano, Organ, Programmed By [Percussion], Synthesizer [Moog Bass], Synthesizer – Freddie Ravel
Guitar – George Benson
Producer – Freddie Ravel, John Burk
Rhythm Guitar – Michael O'Neill
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Freddie Ravel
10 – Every Time You Go Away 4:30
Arranged By – Larry Williams
Bass – Marcus Miller
Co-producer – Larry Williams
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, Michael Thompson
Keyboards – Patrice Rushen
Percussion – Paulinho Da Costa
Piano – Larry Williams
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Darryl Hall
11 – Four 5:15
Bass – Stanley Clarke
Co-producer – Chris Dunn
Drums – Vinnie Colaiuta
Guitar – George Benson
Piano – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Jon Hendricks, Miles Davis
12 – Don't Start No Schtuff 4:44
Arranged By – Joe Turano
Bass – Stanley Clarke
Drums – Vinnie Colaiuta
Electric Piano, Organ – Joe Turano
Guitar – George Benson
Keyboards – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Joe Turano
13 – Bring It On Home To Me 4:25
Featuring Paul McCartney
Arranged By – Randy Waldman
Arranged By [Background Vocals] – Fred Martin
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar – Dean Parks, George Benson
Organ – Michael Broening
Percussion – Paulinho Da Costa
Piano – Randy Waldman
Vocals – Al Jarreau, George Benson, Paul McCartney
Written-By – Sam Cooke

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

AL JARREAU — My Old Friend : Celebrating George Duke (2014) FLAC (tracks+.cue), lossless

Al Jarreau got his start playing in a jazz trio led by pianist/keyboardist George Duke, so it is fitting that Jarreau pays tribute to Duke, who passed away in 2013, on his 2014 album My Old Friend: Celebrating George Duke. It was while working as a vocal rehab counselor at a hospital in San Francisco in the late '60s that Jarreau began singing with Duke's trio. It was also due in part to the popularity of these early performances that both musicians' storied solo careers were launched. On My Old Friend: Celebrating George Duke, Jarreau delves into a batch of Duke compositions with a select group of guest artists, many of whom also had connections to Duke. Joining Jarreau here are such luminaries as Gerald Albright, Lalah Hathaway, Jeffrey Osborne, Dianne Reeves, and others. Similarly, backing Jarreau at various times is a superb ensemble of musicians including bassist Stanley Clarke (who also produced the album), keyboardists John Beasley and Patrice Rushen, guitarist Paul Jackson, Jr., and drummer John "J.R." Robinson. In fact, Duke himself makes an appearance here via the wonders of modern technology on the languidly romantic "Bring Me Joy." Elsewhere, Jarreau turns his sonorous, joyful voice to such Duke songs as "Sweet Baby," "No Rhyme, No Reason," "You Touch My Brain," and more. Ultimately, My Old Friend: Celebrating George Duke is a heartfelt tribute album that, as with many of Jarreau and Duke's previous albums, feels fresh, warm, and full of love. Matt Collar  
Tracklist :
1 My Old Friend 4:57
Backing Vocals – Jeffrey Osborne, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Gerald Albright
Guitar – Paul Jackson Jr.
Keyboards, Piano – Patrice Rushen
Producer – John Burk, Stanley Clarke
Saxophone – Gerald Albright
Vocals – Al Jarreau
Written-By – John Lang, Richard Page, Steve George
2 Someday 4:21
Bass – Marcus Miller
Drums – John Robinson
Featuring – Dianne Reeves
Guitar – Jubu
Keyboards – John Beasley
Producer – John Burk, Marcus Miller
Vocals – Al Jarreau, Dianne Reeves
Written-By – George Duke
3 Churchyheart (Backyard Ritual) 4:56
Bass, Bass Clarinet, Programmed By – Marcus Miller
Drums – John Robinson
Featuring – Marcus Miller
Guitar – Jubu
Keyboards – John Beasley
Lyrics By – Al Jarreau
Music By – George Duke
Producer – John Burk, Marcus Miller
Trumpet – Mike Cotton
Vocals – Al Jarreau
4 Somebossa (Summer Breezin') 4:41
Backing Vocals – Patrick Lundquist
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Gerald Albright
Guitar – Paul Jackson Jr.
Keyboards – Greg Phillinganes
Lyrics By – Al Jarreau, George Duke, Patrick Lundquist
Music By – George Duke
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Saxophone – Gerald Albright
5 Sweet Baby 4:31
Backing Vocals – Patrick Lundquist
Bass, Backing Vocals – Stanley Clarke
Drums – John Robinson
Featuring – Lalah Hathaway
Guitar – Paul Jackson Jr.
Keyboards, Piano – Greg Phillinganes
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Vocals – Al Jarreau, Lalah Hathaway
Written-By – George Duke
6 Every Reason To Smile / Wings Of Love 3:51
Backing Vocals – Fred Martin, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Jeffrey Osborne
Guitar – Paul Jackson Jr.
Keyboards, Piano – Patrice Rushen
Producer – John Burk, Stanley Clarke
Vocals – Al Jarreau, Jeffrey Osborne
Written-By – George Duke, Jeffrey Osborne, Peter Schless, Stanley Clarke
7 No Rhyme, No Reason 4:05
Drums – Rob Bacon
Featuring – Kelly Price
Keyboards – Brandon Coleman
Percussion – Lenny Castro
Producer – Boney James
Programmed By – Boney James
Vocals – Al Jarreau, Kelly Price
Written-By – George Duke
8 Bring Me Joy 4:36
Bass – Alex Al
Drums – Omari Williams
Featuring – Boney James, George Duke
Guitar – Rob Bacon
Keyboards – George Duke
Percussion – Lenny Castro
Producer – Boney James
Tenor Saxophone – Boney James
Vocals – Al Jarreau
Written-By – George Duke
9 Brazilian Love Affair / Up From The Sea / It Arose And Ate Rio In One Swift Bite 4:46
Backing Vocals – Fred Martin, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Dianne Reeves
Guitar – Paul Jackson Jr.
Keyboards – Patrice Rushen
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Producer [Additional] – Chris Dunn
Vocals – Al Jarreau, Dianne Reeves
Written-By – George Duke
10 You Touch My Brain 4:44
Backing Vocals – Patrick Lundquist
Bass – Marcus Miller
Drums – John Robinson
Featuring – Dr. John
Guitar – Jubu
Keyboards – John Beasley
Producer – John Burk, Marcus Miller
Vocals – Al Jarreau
Vocals, Piano – Dr. John
Written-By – George Duke

GATO BARBIERI with LONNIE LISTON SMITH — Bolivia (1973-2001) JAZZ! Series | FLAC (tracks+.cue), lossless

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1 Merceditas 9:04
Composed By – Gato Barbieri
2 Eclypse / Michellina 6:21
 – Traditional
Composed By [Michellina] – Gato Barbieri
3 Bolivia 7:43
Composed By – Gato Barbieri
4 Ninos 7:11
Composed By – Gato Barbieri
5 Vidala Triste 5:30
Composed By – Gato Barbieri, Michelle Barbieri
Credits :
Acoustic Guitar – John Abercrombie (tracks: 4 to 6)
Bass – J.-F. Jenny-Clark (tracks: 1 to 3), Stanley Clarke (tracks: 2 to 4, 5, 6)
Drums – Pretty Purdie (tracks: 1)
Electric Guitar – John Abercrombie (tracks: 1)
Percussion – Airto Moreira, Gene Golden (tracks: 2), James M'tume (tracks: 1, 3 to 6), Moulay "Ali" Hafid (tracks: 5)
Piano, Electric Piano [Rhodes] – Lonnie Liston Smith
Tenor Saxophone, Flute, Vocals – Gato Barbieri

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 

AIRTO — Virgin Land (1974) Two Version | RM | I Love Kudu Series + Vynil LP 24-96Hz | FLAC (tracks+.cue), lossless

An all-star cast accompanies Brazilian percussion master Airto Moreira on this percolating collection of jazz fusion pieces. Produced by drummer extraordinaire Billy Cobham, the album locks into a steamy groove on Stanley Clarke's "Stanley's Tune" and never lets up. The Middle Eastern flavor of some of the melodies, Moreira and wife Flora Purim's unique vocalizations, and the use of unusual instrumentation on several cuts help make this recording a unique highlight of the electric fusion era. Standout soloists include Eddie Daniels on clarinet and guitarists David Amaro and Gabriel DeLorme, while bassist Clarke provides his usual stellar performance. Jim Newsom
Tracklist :
1    Stanley's Tune 4:31
Arranged, Written-By – Stanley Clarke
2    Musikana 7:03
Written-By – Gabriel DeLorme
3    Virgin Land 8:15
Written-By – Airto Moreira
4    Peasant Dance 3:30
Arranged, Written-By – Milcho Leviev
5    Lydian Riff 7:15
Arranged, Written-By – Milcho Leviev
6    Hot Sand 5:30
Written-By – Airto Moreira
7    I Don't Have To Do What I Don't Want To Do 3:16
Written-By – Airto Moreira, Gabriel DeLorme
Credits :
Airto Moreira - Vocals, Drums & Percussion 
Flora Purim - Vocals, Vocal special effects (2, 4, 5), Vocals, Percussion (6)
David Amaro - Guitar (1, 3), 12-String Guitar (2)
Gabriel DeLorme - Guitar (5-7) 
George Duke - Keyboards (1, 3)  Piano & Arp Synthesizer (6) 
Milcho Leviev - Keyboards (4, 5)
Stanley Clarke - Bass (1-3, 6), Alex Blake (4, 5, 7) 
George Marge - Oboe (4, 5), Piccolo Flute (4) 
Eddie Daniels - Clarinet (4, 5) 
Jane Taylor - Bassoon  (5) 
Kenny Ascher - Piano & Mellotron (7) 
Billy Cobham - Producer 

COREA, CLARKE & WHITE — Forever (2011) 2CD | FLAC (tracks+.cue), lossless

This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out “Señor Mouse,” “Space Circus,” and “After the Rain,” all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1. On Green Dolphin Street 8:41
 Kaper / Washington
2. Waltz for Debby 9:55
  Bill Evans
3. Bud Powell 7:10
  Chick Corea
4. La Canción de Sofia 7:38
 Stanley Clarke
5. Windows 8:54
 Chick Corea
6. Hackensack  7:30
 Thelonious Monk
7. No Mystery 10:55
 Chick Corea
8. Señor Mouse 12:06
  Chick Corea
Tracklist 2 :
1. Captain Marvel 4:13
 Chick Corea
2. Señor Mouse 12:06
  Chick Corea
3. Crescent 1:45
  John Coltrane
4. Armando's Rhumba 5:12
 Chick Corea
5. Renaissance 5:29
 Jean-Luc Ponty
6. High Wire--The Aerialist 3:41
 Chick Corea
7. I Loves You Porgy 5:13
  George Gershwin / DuBose Heyward
8. After the Cosmic Rain 10:38
 Stanley Clarke
9. Space Circus 6:06
 Chick Corea
10. 500 Miles High 12:45
 Chick Corea
Credits :
Chick Corea - Piano (CD1, CD2#3-7, CD2#10) Keyboards (CD2#1-2, CD2#8-9)
Stanley Clarke - Acoustic Bass (CD1, CD2#1, CD2#4-7, CD2#10), Electric Bass (CD2#2, CD2#8-9)
Lenny White - Drums (CD1, CD2#1-3, CDF2#5-10)
Bill Connors - Guitar (CD2#2, CD2#7-9)
Jean-Luc Ponty - Violin (CD2#4-5, CD2#7-9)
Chaka Khan - Vocals (CD2#6-7)

STANLEY CLARKE | CHICK COREA | JOE HENDERSON | FREDDIE HUBBARD | LENNY WHITE – The Griffith Park Collection (1982-2008) FLAC (tracks+.cue), lossless

This unique straight-ahead jazz project unites three core members of Return to Forever with post-bop horn heavyweights Freddie Hubbard and Joe Henderson. Stanley Clarke makes an unusual appearance on upright bass, and plays it well. Chick Corea and Lenny White round out the ensemble. The set is strictly acoustic, beginning and ending with two Lenny White tunes, the lively "L's Bop" and the somber, dramatic "Guernica," respectively. Clarke contributes the catchy, mid-tempo blues "Why Wait," while Corea gives us "October Ballade" and Hubbard dusts off his hard-bop classic "Happy Times." Corea's trio featured on Steve Swallow's "Remember" breaks things up nicely. David R. Adler
Tracklist :
 1 - L's Bop 5:17
 Lenny White
2 - Why Wait 8:12
 Stanley Clarke
3 - October Ballade 5:36
  Chick Corea
4 - Happy Times 7:14
 Freddie Hubbard
5 - Remember 4:12
 Steve Swallow
6 - Guernica
 Lenny White
Credits :
 Chick Corea – Piano
 Freddie Hubbard – Flughelhorn; Trumpet
 Joe Henderson –Tenor Saxophone
 Lenny White – Drums
 Stanley Clarke – Bass [Upright Bass]

STANLEY CLARKE | CHICK COREA | JOE HENDERSON | FREDDIE HUBBARD | LENNY WHITE – The Griffith Park Collection 2 In Concert (1983-2008) 2CD | FLAC (tracks+.cue), lossless

The first four tracks on this double live record are extended version of tunes from the group's 1982 studio album. The last two are Thelonius Monk's "I Mean You" and the standard "Here's That Rainy Day." There's some great playing from all involved, especially Joe Henderson and Chick Corea, but the recording quality leaves something to be desired. David R. Adler
Tracklist 1 :
1    Why Wait 18:53
Written-By – Stanley Clarke
2    Guernica 19:35
Written-By – Lenny White
Tracklist 2 :
1    Happy Times 12:30
Written-By – Freddie Hubbard
2    October Ballad 14:36
Written-By – Chick Corea
3    I Mean You 11:51
Written-By – Coleman Hawkins, Thelonious Monk
4    Here's That Rainy Day 12:22
Written-By – Johnny Burke & Jimmy VanHeusen
Credits :
Bass [Upright Bass] – Stanley Clarke
Drums, Producer, Liner Notes – Lenny White
Flugelhorn, Trumpet – Freddie Hubbard
Painting [Cover] – Edward Hopper
Piano – Chick Corea
Tenor Saxophone – Joe Henderson

S.M.V. — CLARKE | MILLER | WOOTEN — Thunder (2008) FLAC (tracks+.cue), lossless

Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two. Clarke was no stranger to playing with his fellow bottom dwellers, as he proved on his Night School DVD where he joined with about ten other bassists for an extended version of "School Days." Still, it's amazing how well these guys navigate their strummed, plucked, and thumped parts around each other without clashing. Horns, drums, loops, and keyboards (from guests Chick Corea and George Duke as well as Miller) flesh out the upper registers while Miller's clean, unfussy production also keeps things in order. Acoustic bowed bass and strings on "Milano" shift the sound away from the more rhythmic approach naturally favored on the majority of the tracks. The three amigos take on a Spanish spaghetti Western feel for "Los Tres Hermanos," a refreshing changeup that features some of the disc's most nimble playing and its prettiest melody. Some tunes will be familiar to jazz fans. "Tutu" was written by Miller for Miles Davis and Clarke's "Quiet Afternoon" gets referenced, as does his "Silly Putty," but these versions are quite different than the originals. All three musicians weave their lines together on the lovely ballad "Lil' Victa," with Clarke's high end sounding enough like a guitar to hold down the strong melodic line. The closing "Grits" is a hot slab of funky jazz that gives each a chance to solo over a sparse beat. Although their styles are relatively distinct, it would have been helpful if the liner notes described who was playing which part, especially for newcomers. Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners. Hal Horowitz
Tracklist :
1    Maestros De Las Frecuencias Bajas 2:52
Bass – SMV
Bass Clarinet, Alto Saxophone, Tenor Saxophone – Marcus Miller
Drums – Ronald Bruner Jr.
Keyboards – Ruslan Sirota
Synthesizer – Ariel Mann
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By, Arranged By – Stanley Clarke
2    Thunder 6:37
Bass – SMV
Vocals, Voice [Voice Trumpet], Human Beatbox – Butterscotch
Written-By, Synthesizer, Programmed By – Marcus Miller
3    Hillbillies On A Quiet Afternoon 6:11
Bass – SMV
Clavinet – George Duke
Drums – Derico Watson
Synthesizer – Marcus Miller
Written-By – Stanley Clarke, Victor Wooten
4    Mongoose Walk 5:57
Bass – SMV
Drums – Derico Watson
Percussion – Kevin Ricard
Piano – Chick Corea
Written-By – Stanley Clarke, Victor Wooten
Written-By, Synthesizer, Keyboards – Marcus Miller
5    Los Tres Hermanos 5:25
Bass – SMV
Drums – Poogie Bell
Percussion – Kevin Ricard
Written-By, Synthesizer – Marcus Miller
6    Lopsy Lu - Silly Putty 6:12
Arranged By – Victor Wooten
Arranged By, Synthesizer, Programmed By – Marcus Miller
Bass – SMV
Drums – Poogie Bell
Keyboards – George Duke
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By – Stanley Clarke
7    Milano 4:21
Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Percussion – Kevin Ricard
Written-By, Bass, Synthesizer – Marcus Miller
8    Classical Thump 4:50
Arranged By, Bass – Marcus Miller
Written-By, Arranged By, Bass – Victor Wooten
9    Tutu 5:04
Arranged By, Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Drums – J.D. Blair
Keyboards – Karlton Taylor
Vocals – Butterscotch
Written-By, Arranged By, Bass, Bass Clarinet, Synthesizer, Programmed By – Marcus Miller
10    Lil' Victa 4:10
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By – Stanley Clarke
11    Pendulum 4:15
Bass – SMV
Human Beatbox – Butterscotch
Written-By – Antoinette Clinton, Stanley Clarke, Victor Wooten
Written-By, Synthesizer – Marcus Miller
12    "Lemme Try Your Bass" 0:57
Written-By, Bass – Marcus Miller, Stanley Clarke
13    Grits 5:24
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By, Synthesizer – Marcus Miller

STANLEY CLARKE | BIRÉLI LAGRÈNE | JEAN-LUC PONTY — D-Stringz (2015) FLAC (tracks+.cue), lossless

The occasion for this trio to work together was a 2010 concert that celebrated violinist Jean-Luc Ponty's 50th anniversary as a recording artist. Both the violinist and Stanley Clarke had collaborated before (a previous electric trio set with Al Di Meola, The Rite of Strings was issued in 1995), but neither had collaborated with French jazz guitarist Biréli Lagrène prior to that evening. In playing for a mere 20 minutes, they created the impetus for D-Stringz -- though it took two years for them to clear their schedules and get into a Brussels studio. These ten tunes are an assortment of standards and originals. The album is an acoustic, straight-ahead date that employs flawless swinging bop and post-bop, as well as 21st century takes on gypsy and soul-jazz and funk. John Coltrane's "Blue Train" is offered in cut time. Ponty covers the horn lines while Lagrène plays choppy, meaty chords and Clarke redefines the bass' role in a walking 12-bar blues. Ponty's solo offers the right amount of flash and punch, touching on both gypsy and modal jazz traditions. Lagrène syncopates his butt off in the changes. The reading of Joe Zawinul's Cannonball Adderley vehicle, "Mercy Mercy Mercy," is a showcase for Lagrène's gorgeous chord voicings. Ponty's solo nearly sings, and further, a call-and-response exchange between Clarke and the guitarist -- before the latter's slippery solo -- is gritty and tight. In another Coltrane reference, the reading of Jimmy McHugh's and Harold Adamson's "Too Old to Go Steady" (that the saxophonist rendered so beaut-fully on Ballads in 1963) offers a lovely conversation between the guitarist and violinist, but it's Clarke's counterpoint that steals the show. Given the trio's collective love of Django Reinhardt, it makes sense they would cover his iconic "Nuages." Ponty moves it along the ledge by rendering it contemporary; he provides a simmering bossa lilt in the melody. The bassist's "Bit of Burd" is fleet, driving bebop; everyone is on fire, but Lagrène's arpeggios are on stun. The guitarist's "Strech" binds progressive jazz, modernism, post-bop, and gypsy swing. Ponty's "To and Fro," built on a four-note riff, allows the trio to really stretch out and get their funk on. In the latter, Clarke's bassline is fat, woody, and hard-grooving. The closer, "One Take," is built on a simple two-chord vamp. Loping violin and guitar lines twist, turn, and soar, creating a lithe, breezy, funky feel but Clarke whomps down hard, binding them to the tune's groove. The sound on D-Stringz is warm and bright, but so pristine, it lends an intimate living room feel to the proceedings. All the playing is relaxed, inquisitive and inventive. D-Stringz is the sound of musical invention and delight put on offer directly. It is a thoroughly enjoyable listening experience.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist:
1 Stretch 3:30
Composed By – Biréli Lagrène
2 To And Fro 6:15
Composed By – Jean-Luc Ponty
3 Too Young To Go Steady 7:30
Composed By – Jimmy McHugh
Lyrics By – Harold Adamson
4 Bit Of Burd 3:29
Composed By – Stanley Clarke
5 Nuages 5:16
Composed By – Django Reinhardt
6 Childhood Memories (Souvenirs D'Enfance) 5:39
Composed By – Jean-Luc Ponty
7 Blue Train 6:17
Composed By – John Coltrane
8 Paradigm Shift 6:14
Composed By – Stanley Clarke
9 Mercy, Mercy, Mercy 6:31
Composed By – Joe Zawinul
10 One Take 4:03
Credits:
Acoustic Guitar – Biréli Lagrène
Double Bass – Stanley Clarke
Percussion – Steve Shehan (tracks: 8)
Violin – Jean-Luc Ponty

DEODATO — Deodato 2 (1973-1988) RM | Bonus Tracks | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (tracks+.cue), lossless

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Super Strut 9:29
2. Rhapsody In Blue 8:43
3. Nights In White Satin 6:01
4. Pavane For A Dead Princess 4:24
5. Skyscrapers 7:00
6. Latin Flute 4:19
– BONUS TRACKS –
7. Venus 3:28
8. Do It Again 5:30
Credits :
Eumir Deodato - keyboards
Stanley Clarke, John Giulino - Bass
Billy Cobham, Rick Marotta - Drums
Rubens Bassini, Gilmore Degap - Percussion, Congas
John Tropea - Guitar
Hubert Laws, Jerry Gordon, Romeo Penque, George Marge - Flute
Jon Faddis, Burt Collins, Victor Paz, Alan Rubin, Marvin Stamm - Trumpet, Flugelhorn
Garnet Brown, Wayne Andre - Trombone
Tony Studd - Bass Trombone
Jim Buffington - French Horn
Joe Temperley - Baritone Sax
String Section - Violins, Violas, Cellos

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

Tracklist & Credits :

PHAROAH SANDERS - Black Unity (1971-1997) RM | FLAC (tracks+.cue), lossless

By 1971, Pharoah Sanders had taken the free thing as far as he could and still live with himself. He was investigating new ways to use rhythm -- always his primary concern -- inside his music and more tonally strident ways of involving the front line in extrapolating tonal and harmonic diversions from the melodic framework of his music. To that end, he entered into a more groove-laden arrangement with himself and employed some funkier players to articulate his muse. Along with Cecil McBee and Billy Hart, who were frequent Sanders sidemen, a young Stanley Clarke fills the second bass chair, and Norman Connors fills out the second drum seat. Carlos Garnett accompanies Sanders on tenor, Joe Bonner on piano, and Hannibal Peterson on trumpet. Sanders also added a full-time percussionist in Lawrence Killian. The only cut on the album is "Black Unity," over 37 minutes of pure Afro-blue investigation into the black sounds of Latin music, African music, aborigine music, and Native American music, with a groove that was written into the standard three-chord vamp Sanders used, opening up a world of melodic and tonal possibilities while also bringing a couple of stellar talents to the fore -- Garnett being one of them and Connors being another. The heavy, hypnotic groove and a double-time tempo are controlled by dynamics and the groupings of instruments, signaled by Bonner with his stacked fifths, sevenths, and ninths. This is a solid, moving piece of work that seals the cracks in Sanders' vocabulary. His arrangement and the staggering of solos into the whole are magnificent. Here was Sanders as he saw himself in the mirror, a mass of contradictions, and the embodiments of the full fury and glory of music in one man.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1     Black Unity 37:21
Pharoah Sanders    
Credits :
Bass – Cecil McBee, Stanley Clarke
Congas, Talking Drum, Balafon [Balophone] – Lawrence Killian
Drums – William Hart, Norman Connors
Piano – Joe Bonner
Tenor Saxophone – Carlos Garnett
Tenor Saxophone, Balafon [Balophone] – Pharoah Sanders
Trumpet – Marvin Peterson

PHAROAH SANDERS — Live At The East (1971-2007) RM | Serie Pharoah Sanders Collection – 8 | FLAC (tracks+.cue), lossless

By 1971 Pharoah Sanders' playing essentially alternated between two moods: ferocious and peaceful. This live record gives one a good example of how the passionate tenor sounded in clubs during the early '70s. Sanders is joined by an impressive group of players: trumpeter Marvin "Hannibal" Peterson, flutist Carlos Garnett, Harold Vick on tenor, pianist Joe Bonner, the basses of Stanley Clarke and Cecil McBee, drummers Norman Connors and Billy Hart, and percussionist Lawrence Killian. On the 20-minute "Healing Song," the lengthy "Memories of J.W. Coltrane," and the two-part "Lumkili," Sanders is heard in top form. Scott Yanow
Tracklist :
1    Healing Song 21'46
Written-By – J. Bonner, F. Sanders
2    Memories Of J. W. Coltrane 12'52
Written-By – F. Sanders
3    Lumkili 8'35
Written-By – F. Sanders
Credits :
Bass – Cecil McBee, Stanley Clarke
Congas, Marimba [Bailophone] – Lawrence Killian
Drums – William Hart, Norman Connors
Flute, Voice – Carlos Garnett
Piano, Harmonium – Joseph Bonner
Saxophone – Pharoah Sanders
Tenor Vocals – Harold Vic
Trumpet – Marvin Peterson

AIRTO MOREIRA - Free (1972-2003) RM / APE (image+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor. by Alex Henderson
Tracklist :
1  Return to Forever - 10:17
(Chick Corea)
2 Flora's Song - 8:30
(Flora Purim)
3 Free - 11:50
(Airto Moreira)
4 Lucky Southern - 2:36
(Keith Jarrett)
5 Creek (Arroio) - 6:12
(Victor Brazil)
- Bonus Track -
6 So Tender - 5:01
(Keith Jarrett)
7 Jequié - 2:57
(Moacir Santos)
8 Creek (Arroio) (Altenate Version) - 9:23  
Personnel :
Airto - Percussion, Vocals
Hubert Laws - Flute
Joe Farrell - Soprano Saxophone, Alto Flute, Bass Flute, Piccolo
Chick Corea - Piano, Electric Piano
Keith Jarrett - Piano
Nelson Ayres - Electric Piano
George Benson - Guitar
Jay Berliner - Guitar
Ron Carter - Bass
Stanley Clarke - Electric Bass
Flora Purim - vocals
Burt Collins, Mel Davis, Alan Rubin - Trumpet, Flugelhorn
Wayne Andre, Garnett Brown, Joe Wallace - Trombone
Don Sebesky - Arranger

AIRTO MOREIRA - Struck by Lightning (1990) FLAC (image+.cue), lossless

Tracklist :
1    It's Time For Carnival 5:56
Acoustic Guitar – José Neto
Electric Bass [Fretless] – Randy Tico
Electric Guitar – José Neto
Electric Guitar, Acoustic Guitar – José Neto
Lyrics By – Airto Moreira
Percussion – Airto Moreira
Tamborim – Junior Homrich
Vocals – Airto Moreira
Written-By – A. Moreira
2    Burning Money (Queimando Dinheiro) 4:08
Acoustic Bass ["John Hawk" Fretless] – Randy Tico
Acoustic Guitar – José Neto
Electric Bass [Fretless] – Randy Tico
Flute, Keyboards [Korg M-1] – Gary Meek
Percussion, Vocals – Airto Moreira
Twelve-String Guitar – José Neto
Written-By – J. Neto
3    Berimbau First Cry 5:07
Berimbau, Vocals, Flute [Wooden], Percussion, Noises [Background Noises], Voice – Airto Moreira
Written-By – A. Moreira
4    Sea Horse 6:48
Acoustic Bass ["John Hawk" Fretless] – Randy Tico
Acoustic Guitar – José Neto
Electronic Wind Instrument [EWI] – Gary Meek
Lyrics By [Underwater] – Airto Moreira
Percussion, Vocals, Electronics [Electronic Water Bottle] – Airto Moreira
Twelve-String Guitar – José Neto
Written-By – J. Neto
5    Struck By Lightning 4:42
Drums [Trap Drums] – Mike Shapiro
Electric Bass – Rob Harrison
Keyboards – Marcos Silva
Lyrics By – Flora Purim
Percussion – Airto Moreira
Vocals – Flora Purim
Written-By – G. Meek
6    Samba Louco (Crazy Samba) 2:03
Electric Bass – Mark Egan
Percussion – Airto Moreira
Synthesizer [Yamaha Tx-7, Roland D-50, Fairlight SG10] – Chick Corea
Tenor Saxophone – Gary Meek
Written-By – A. Moreira, C. Corea, M. Egan
7    Seven Dwarfs 4:18
Electric Bass – Mark Egan
Electronic Wind Instrument [EWI] – Gary Meek
Percussion, Drums [Trap Drums], Vocals – Airto Moreira
Piano – Chick Corea
Soprano Saxophone – Gary Meek
Written-By – A. Moreira
8    Samba Nosso (Our Samba) 9:04
Electric Bass – Stanley Clarke
Electronic Wind Instrument [EWI] – Gary Meek
Percussion, Drums [Trap Drums], Vocals – Airto Moreira
Piano, Synthesizer [Yamaha Tx-7, Roland D-50, Fairlight SG10] – Herbie Hancock
Soprano Saxophone – Gary Meek
Written-By – A. Moreira, H. Hancock, S. Clarke
9    Skins & Rattle 5:56
Percussion – Airto Moreira
Written-By – A. Moreira

AIRTO MOREIRA AND THE GODS OF JAZZ - Killer Bees (1989) APE (image+.cue), lossless

In November of 1989, after ten years of California living, Brazilian percussionist Airto Moreira felt the need to get back in touch with the free-music roots he established two decades earlier in New York City. A spate of slumberous L.A. studio sessions, in combination with a tired scene in his adoptive hometown of Santa Barbara, was beginning to take its toll on the creative percussionist. New York of the late 1960s bustled with musical vibrancy for Moreira. All night jam sessions with the likes of Chick Corea, Dave Holland, Jan Hammer, Stanley Clarke, Joe Zawinul, Wayne Shorter, and Walker Booker were the rule for the artist. On occasion, even such heavyweight legends as Lee Morgan, Cannonball Adderley, Buster Williams, and Thelonious Monk would sit in. In an effort to shake off L.A. studio stupor and re-create the wonder days of impromptu dream team sessions, he invited long time jazz comrades Chick Corea, Herbie Hancock, Mark Egan, and Stanley Clarke to record improvised music with him in a local Santa Barbara studio. Jumping at the opportunity to play with their friends for the sake of playing, these musicians ended up producing the Killer Bees CD. Peppered with subtle overdubs by vocalist Flora Purim, saxophonist Gary Meek, and guitarist Hiram Bullock, Killer Bees is a set of nine tracks characterized by the sense of spontaneity and adventurousness that Airto intended to revisit. From the opening "Banana Jam," a track in which Moreira, Corea, and Egan experiment with sounds in an improvised section that eventually crescendos into a powerful bass and piano ostinato, to the concluding "Chicken on the Mind," a whimsical track that builds on the sounds of a barking dog and the cackles of Corea, this CD captures superb studio musicians playing out on a limb. If you are looking for the precise articulation of rigid song structures, then this CD may leave you feeling a bit unsatisfied. On the other hand, if you enjoy listening to evolving and amorphous forms full of mercurially virtuosic content, then Killer Bees will make you yearn for more projects that recreate Moreira's free-jazz jams of yore. by John Vallier  
Tracklist :
1     Banana Jam 6:03
Chick Corea / Mark Egan / Airto Moreira / Flora Purim
2     Be There 4:43
Stanley Clarke / Herbie Hancock / Airto Moreira
3     Killer Bees 7:36
Hiram Bullock / Chick Corea / Mark Egan / Airto Moreira
4     City Sushi Man 4:03
Hiram Bullock / Chick Corea / Mark Egan / Airto Moreira
5     See Ya Later 5:36
Chick Corea / Mark Egan / Airto Moreira
6     Never Mind 7:46
Stanley Clarke / Herbie Hancock / Airto Moreira
7     Communion 8:39
Stanley Clarke / Herbie Hancock / Airto Moreira
8     Nasty Moves 2:12
Hiram Bullock / Mark Egan / Airto Moreira
9     Chicken in the Mind 3:29
Chick Corea / Mark Egan / Airto Moreira
Credits :
Acoustic Bass, Electric Bass – Stanley Clarke
Drums, Percussion, Vocals – Airto Moreira
Electric Bass, Fretless Bass – Mark Egan
Guitar – Hiram Bullock
Overdubbed By – Steve Hart
Piano, Keyboards – Chick Corea, Herbie Hancock
Tenor Saxophone, Soprano Saxophone – Gary Meek
Vocals, Producer – Flora Purim

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

STALEY CLARKE | AL DI MEOLA | JEAN-LUC PONTY — Rite of Strings (1995) WV (image+.cue), lossless

Any time the likes of Stanley Clarke, Al DiMeola and Jean-Luc Ponty are assembled, there is a good chance the results are going to be impressive. Clarke and DiMeola had played together in the legendary Return to Forever, producing some of the most intense playing in all of fusion; Jean-Luc Ponty had also made several excellent, very diverse recordings. The chops of these three musicians are pretty much unsurpassed in the industry, which in itself makes Rite of Strings worthy of a listen. The real treat, however, is in the song selections. Three of DiMeola's more recent compositions are here, including the uplifting "Chilean Pipe Song." On this song, Clarke and Ponty's dual-bow sound provides a nice backdrop to DiMeola's introduction before DiMeola and Ponty state the melody together. Ponty has always been one of the more interesting violinists, mostly because he experiments with the instrument's tonal possibilities. His plucking introduction to "Renassaince" and the strumming on "Change of Life" are evidence of this. Clarke's finest moment comes on his own beautiful "Topanga," on which his bow playing is enough to evoke tears. This is a classic recording that should not be missed; the integrity, musicianship, compositions, and improvisations are all first-rate. Robert Taylor  
Tracklist:

1 Indigo 7:15

Written-By – Al Di Meola
2 Renassaince 4:32
Written-By – Jean-Luc Ponty
3 Song To John 6:00
Written-By – Chick Corea, S. Clarke
4 Chilean Pipe Song 6:12
Written-By – Al Di Meola
5 Topanga 5:50
Written-By – Stanley Clarke
6 Morocco 5:45
Written-By – Al Di Meola
7 Change Of Life 5:30
Written-By – Jean-Luc Ponty
8 La Cancion De Sofia 8:30
Written-By – Stanley Clarke
9 Memory Canyon 6:00
Written-By – Jean-Luc Ponty
Credits:
Band, Acoustic Bass – Stanley Clarke
Band, Acoustic Guitar [Acoustic Guitars] – Al Di Meola
Band, Violin [Acoustic] – Jean-Luc Ponty
Producer – Al Di Meola, Jean-Luc Ponty, Stanley Clarke