JACO PASTORIUS BIG BAND — Word Of Mouth Revisited (2003) Two Version | FLAC (image+.tracks+.cue), lossless

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it's because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on "Punk Jazz" -- which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on "Teen Town" is fundamentally unmusical, focusing on the player more than the material being played -- which is, come to think of it, the real revelation here. Pastorius' tunes reflect a compositional maturity that wasn't always evident in the more improvisational context of Weather Report, and his arrangements -- notably an idiosyncratic treatment of "Killing Me Softly" and the marimba-flavored exotica of "Opus Pocus" -- suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius' voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words. Robert L. Doerschuk
Tracklist :
1. Jaco Speaks 0:07
2. Havona 5:19
 Arranged By – Larry Warrilow
Bass – Jimmy Haslip
Written-By – Jaco Pastorius
3. Teen Town 4:10
 Arranged By – Larry Warrilow
Bass – Victor Wooten
Written-By – Jaco Pastorius 
4. Jaco Speaks 0:04
5. Punk Jazz 5:03
 Bass – Richard Bona
Tenor Saxophone – Mike Scaglione
Written-By, Arranged By – Jaco Pastorius
6. Jaco Speaks 0:05
7. Barbary Coast 5:55
 Arranged By – Larry Warrilow
Bass – Gerald Veasley
Written-By – Jaco Pastorius
8. Killing Me Softly 4:22
 Arranged By – Jaco Pastorius
Bass – Jeff Carswell
Written-By – Charles Fox, Norman Gimbel
9. Jaco Speaks 0:05
10. (Used to Be A) Cha Cha 6:54
 Arranged By – Dan Bonsanti
Bass – Victor Bailey
Written-By – Jaco Pastorius
11. Wiggle Waggle 5:46
 Arranged By – Stan Webb
Bass – Jaco Pastorius
Written-By – Herbie Hancock
12. Jaco Speaks 0:10
13. Continuum 3:23
 Bass – Jimmy Haslip
Written-By, Arranged By – Jaco Pastorius 
14. Jaco Speaks 0:04
15. Elegant People 6:29
 Arranged By – Jaco Pastorius
Bass – Gerald Veasley
Drums [Hand Drums] – Bobby Thomas Jr.
Written-By – Wayne Shorter
16. Opus Pocus 5:16
 Arranged By – Larry Warrilow
Bass – David Pastorius
Marimba – Gary Mayone
Written-By – Jaco Pastorius
17. Peter & Jaco Speak 0:47
18. Domingo 6:44
 Bass – Victor Bailey
Written-By, Arranged By – Jaco Pastorius
19. Forgotten Love 4:01
 Arranged By – Larry Warrilow
Bass – Christian McBride
Flute – Mike Scaglione
Written-By – Jaco Pastorius
20. Jaco Speaks 7:18
21. Punk Jazz Revisited
 Arranged By – Marcus Miller
Bass, Bass Clarinet, Drums, Clavinet, Soprano Saxophone, Scratches – Marcus Miller
Soprano Saxophone – Roger Byman
Trumpet – Michael "Patches" Stewart
Written-By – Jaco Pastorius, Marcus Miller 
Line-up / Musicians
Victor Bailey, Jaco Pastorius, Jimmy Haslip, Gerald Veasley, Marcus Miller, Christian McBride, Victor Wooten, Richard Bona, Jeff Carswell, Dave Pastorius - Bass 
Randy Bernsen - Guitar, Koto 
Peter Graves - Conductor 
Joe Zawinul - Keyboards 
Michael Brignola - Flute, Bass Clarinet, Baritone Sax, Woodwinds
Ed Calle - Clarinet, Soprano Sax, Tenor Sax, Woodwinds
Kenneth Faulk - Trumpet, Flugelhorn, Brass 
Michael Levine - Synthesizer, Piano, Keyboards 
Billy Ross - Flute, Piccolo, Alto Sax, Soprano Sax, Woodwinds
Dana Teboe - Trombone, Brass 
John Kricker - Bass Trombone, Brass 
Mike Scaglione - Flute, Tenor Sax 
Jason Carder, Jeff Kievit - Trumpet, Flugelhorn 
Mark Griffith - Drums
Gary Keller - Clarinet, Flute, Alto Sax, Tenor Sax 
Gary Mayone - Marimba 
Michael "Patches" Stewart - Trumpet 
Bobby Thomas, Jr. - Hand Drums
Roger Byman - Soprano Sax

CARMEN LUNDY — Old Devil Moon (1997) FLAC (tracks+.cue), lossless

The deep voice of Carmen Lundy is well showcased on this varied set. With assistance from an impressive backup crew (pianist Billy Childs, flugelhornist Randy Brecker, Frank Foster or Bob Mintzer on tenor, and a pair of rhythm sections), Lundy performs six standards, four of her stimulating originals, and Donny Hathaway's "Flying Easy." The music ranges from fairly straight-ahead to more R&B-oriented, with Carmen Lundy's appealing voice being the main star. Scott Yanow 

Tracklist :
1 Star Eyes 4:42
Gene DePaul / Don Raye
2 When Your Lover Has Gone 4:46
Einar A. Swan
3 Just One More Chance 4:46
Sam Coslow / Arthur Johnston
4 You're Not in Love 4:35
5 I Didn't Know What Time It Was 3:21
Lorenz Hart / Richard Rodgers
6 Flying Easy 4:14
Donny Hathaway / Walter Lowe
7 I'm Worried About You Baby 3:30
Carmen Lundy
8 Old Devil Moon 4:24
E.Y. "Yip" Harburg / Burton Lane
9 At the End of My Rope 4:24
Carmen Lundy
10 In a Sentimental Mood 6:29
Duke Ellington / Manny Kurtz / Irving Mills
11 Love Me Forever 4:26
Carmen Lundy
Credits :
Acoustic Bass – Santi Debriano
Arranged By – Carmen Lundy
Drums – Omar Hakim, Winston Clifford
Electric Bass – Victor Bailey
Flugelhorn – Randy Brecker
Keyboards – Harry Whitaker
Piano – Billy Childs
Tenor Saxophone – Bob Mintzer, Frank Foster
Vocals – Carmen Lundy

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 — Faces & Places (2002) FLAC (tracks+.cue), lossless

Keyboardist/composer Joe Zawinul's accomplishments with Miles Davis, Cannonball Adderley, and Weather Report, amid his revolutionary approach to synths, cannot be undermined. In some instances, artists such as Zawinul set paradigms of excellence and inventiveness that might seem difficult to repeat. Naturally, the listener shouldn't expect any performer to continually rest on his or her laurels, or abide by a proven or perhaps unwavering formula. To that end, Zawinul's 2002 solo effort seems to be a summarization of his recent jazz/fusion/world music stylizations, witnessed by his Zawinul Syndicate band. As this solo effort offers more of the same. Here, the keyboardist enlists a multinational cast of percussionists (including ex-Weather Report personnel), vocalists, and soloists for an album that more or less mirrors his recent output. Regrettably, few if any of these works impart a permanent impression. Many of these arrangements feature Zawinul's wily synth passages and otherworldly Vocoder (digital EFX) based vocalese. He pays homage to his former employer, Julian "Cannonball" Adderley, on the piece titled "The Spirit of Julian "C" Adderley." The basis for this production entails an array of rather predictable worldbeat-style discourses consisting of shifting percussion vamps, North African modalities, and quaint Austrian folk melodies. There are some touching moments to complement a few rousing opuses. Overall, there are some compelling musical events to coincide with what appears to be a hodgepodge of contrasting notions stitched together. Glenn Astarita   Tracklist & Credits :

JOE ZAWINUL — Brown Street (2007) 2xCD | Serie WDR The Cologne Broadcasts | FLAC (tracks+.cue), lossless

Like his friend and onetime collaborator Miles Davis, Joe Zawinul was not one to look back on his past and savor the view. Yet as in the case of Miles (his parting concert in Montreux), Zawinul finally took the plunge in central Europe late in life by revisiting his old Weather Report repertoire -- live at his Vienna nightclub, Joe Zawinul's Birdland. The significant difference is that while Miles doubled back to a re-creation of the original Gil Evans charts, Zawinul retrofitted his tunes with new big-band arrangements by Vince Mendoza, read with gusto and heft by the crack visiting WDR Big Band of Cologne, Germany. To this, Zawinul added his own synthesizer virtuosity and some overdubs from his Malibu studio, two distinguished WR alumni who still play with him off and on -- bassist Victor Bailey and percussionist Alex Acuña -- and drummer Nathaniel Townsley. In just about every case, Mendoza's charts replicate and flesh out every twist and turn in the Weather Report originals, paying off big-time with "Brown Street," an overlooked swinger from the WR 8:30 album that gets the remake album off to a percolating start. Occasionally he piles on additional harmonic tissue, as in the Miles-period "In a Silent Way." Some of the writing seems a bit redundant, yet things never become too overloaded thanks to the ceaseless drive of the rhythm section, and there is plenty of room for solos. Only on "Procession" does Zawinul write his own big-band chart; though tied tightly to the original recording, it sounds looser than most of the Mendoza charts as it works out over the drone. A few of the song choices are unexpected: the frantic "Fast City" and the strutting title tune from the Night Passage album; the former features some liquid synth solos by Zawinul and stimulating tenor sax by Paul Heller, and the latter some relaxed flügelhorn from Kenny Rampton. Others aren't from the WR catalog at all; "Silent Way" predates it, of course, though WR did play the tune in concert, and "March of the Lost Children" and the perennial "Carnavalito" are from the post-WR solo years. Unlike most jazz tribute projects -- including a fairly bloodless, multi-artist 1999 salute to Weather Report on Telarc -- this double-CD set isn't burdened with artificial nostalgia, and it benefits a lot from the presence of one of the two founding co-leaders (the other being the absent Wayne Shorter). And Zawinul is the crucial one, because the crusty Austrian keyboardist sees to it that the swing is the thing and that the groove is deep. Richard S. Ginell   Tracklist & Credits :

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

MICHAEL BRECKER - Now You See It... (Now You Don't) (1990) FLAC (image+.cue), lossless

For Now You See It..., Michael Brecker's third recording as a leader, the tenor great used different personnel on most of the selections but played consistently well. Jim Beard's synthesizers were utilized for atmosphere, to set up a funky groove, or to provide a backdrop for the leader. Some of the music sounds like updated John Coltrane (Joey Calderazzo's McCoy Tyner-influenced piano helps), while other pieces could almost pass for Weather Report, if Wayne Shorter rather than Joe Zawinul had been the lead voice. Most of the originals (either by Brecker, Beard, or producer Don Grolnick) project moods rather than feature strong melodies, but Michael Brecker's often-raging tenor makes the most of each opportunity. by Scott Yanow

PHILIPPE SAISSE - Masques (1995) FLAC (tracks+.cue), lossless

Tracklist:

1 Me & The Boyz 4:31

Alto Saxophone – Andy Snitzer

Baritone Saxophone – Roger Rosenberg

Bass [Upright] – Chris Minh Doky

Drums – Poogie Bell

Electric Piano, Synthesizer – Philippe Saisse

Flugelhorn, Trumpet – Chris Botti, Tony Kadleck

Trombone – Michael Davis

2 Masques 4:57

Fretless Bass – Pino Palladino

Piano, Synthesizer – Philippe Saisse

3 Madison Rose 5:14

Bass [Upright] – Chris Minh Doky

Drums – Poogie Bell

Percussion – Mino Cinelu

Piano, Synthesizer, Vocals – Philippe Saisse

4 Feelin' Kinda Sexy 4:36

Bass [Upright] – James Genus

Piano, Keyboards – Philippe Saisse

Trumpet – Chris Botti

Vocals – Yvette Cason

5 Proko-Groove 6:47

Guitar – Nick Moroch

Piano, Synthesizer – Philippe Saisse

Soprano Saxophone – Kenny Garrett

6 Secret Garden 1:10

Piano – Philippe Saisse

7 Wolverine 5:26

Alto Saxophone – Andy Snitzer

Electric Guitar – Nick Moroch

Synthesizer – Philippe Saisse

8 Maurice & Igor 5:42

Flute [Alto] – Roger Rosenberg

Fretless Bass – Marcus Miller

Piano, Synthesizer, Drums, Drum Programming – Philippe Saisse

Soprano Saxophone – Kenny Garrett

Trombone – Michael Davis

9 Prelude 6:15

Fretless Bass – Victor Bailey

Piano, Synthesizer, Drum Programming, Sampler [Sampled Vocals] – Philippe Saisse

Soprano Saxophone – Bill Evans 

Trombone – Michael Davis

Trumpet – Chris Botti

10 Images 6:10

Acoustic Guitar – Jonathan Butler

Bass [Upright] – Chris Minh Doky

Drums – Poogie Bell

French Horn – John Clark 

Piano, Synthesizer, Vocals – Philippe Saisse

11 Will You Ever Know 2:46

Piano – Philippe Saisse

Tenor Saxophone – Kirk Whalum

WILL DOWNING – A Dream Fulfilled (1991-2008) FLAC (tracks+.cue), lossless

BILL EVANS - Petite Blonde (1992) FLAC (image+.cue), lossless