YELLOWJACKETS — Yellowjackets (1981) FLAC (tracks+.cue), lossless

The Yellowjackets made a splash with their first record, an accessible mixture of jazz, rock, and funk bearing the unmistakable mark of the L.A. session scene that spawned them. In fact, the Yellowjackets had their roots in the sessions for Robben Ford's 1979 album The Inside Story. Russell Ferrante, Jimmy Haslip, and Ricky Lawson all appeared on that album and reenlisted Ford's help for their own debut, with the guitarist's fluid soloing often taking the lead role. As fun an album as it is -- and there are times when the melodies rise to a joyful exuberance that recalls Weather Report's "Birdland" -- Yellowjackets isn't a true fusion record. Ricky Lawson provides rock beats to the material, Haslip's bass work is as funky as it is jazzy, and the arrangements tend to stick with the same groove (as ingratiating as they may be) rather than explore the musical themes like an esoteric jazz band might. The opening "Matinee Idol" is as much the Jackson 5 (one of Lawson's previous gigs) as fusion, "Rush Hour" is jazzy in a Steely Dan sense, while "Sittin' in It" actually borrows from the old funk classic "For the Love of Money." There are some nice, chunky grooves that give the album a sense of substance ("The Hornet," "Imperial Strut"), a wistful track in "It's Almost Gone," and a neat melody tucked into "Priscilla," all of which contribute to the album's charm. But compared to their GRP recordings, the Yellowjackets' debut does seem a little one-dimensional. If you enjoy the smooth, guitar-led jazz from this period (e.g., Earl Klugh, Lee Ritenour), Yellowjackets is worth checking out, both for the upbeat melodies and Ford's seemingly effortless solos. Dave Connolly  
Tracklist :
1.     Matinee Idol 5:08
Russell Ferrante
Saxophone [Tenor] – Ernie Watts    
2.     Imperial Strut 5:25
Russell Ferrante
3.     Sittin' in It 5:06
Ricky Lawson / Bobby Lyle
4.     Rush Hour 5:13
Russell Ferrante / Robben Ford
5.     The Hornet 5:29
Russell Ferrante / Jimmy Haslip
6.     Priscilla 5:11
Robben Ford / Jimmy Haslip / Chris Palmaro
7.     It's Almost Gone 6:00
Russell Ferrante
Credits :
Arranged By [Horns] – Bill Reichenbach, Larry Williams
Bass – Jimmy Haslip
Drums – Ricky Lawson
Guitar – Robben Ford
Keyboards – Russell Ferrante
Percussion – Lenny Castro, Paulinho Da Costa
Saxophone [Tenor], Flute – Gary Herbig, Larry Williams
Saxophone [Tenor], Saxophone [Baritone] – Kim Hutchcroft
Trombone – Bill Reichenbach
Trumpet, Flugelhorn – Jerry Hey

YELLOWJACKETS — Mirage a Trois (1983) FLAC (tracks+.cue), lossless

Tracklist :
1.    Claire's Song 5:07
Composed By – Russell Ferrante
2.    Top Secret 6:00
Composed By – Jimmy Haslip, Russell Ferrante
3.    I Got Rhythm 4:32
Composed By – George Gerschwin, Ira Gerschwin
4.    Pass It On 6:10
Composed By – Russell Ferrante
5    Goin' Home 5:36
Composed By – Russell Ferrante
6.    Man In The Moon 4:35
Composed By – Jimmy Haslip, Russell Ferrante
7.    Elamar 4:08
Composed By – Mike Miller
8.    Nimbus 4:44
Composed By – Russell Ferrante
Credits :
Bass – Jimmy Haslip
Drums – Ricky Lawson
Guitar – Mike Miller (pistas: 3, 6 to 8), Robben Ford (pistas: 2, 4 to 6)
Keyboards, Piano – Russell Ferrante
Lyricon, Saxophone – Richard Elliot (pistas: 2)
Percussion – Paulinho Da Costa
Synthesizer, Programmed By – James Newton Howard (pistas: 7, 8)
Vocals – Bill Labounty (pistas: 3), Brenda Russell (pistas: 3), Bruce Hornsby (pistas: 3), Marilyn Scott (pistas: 3), Max Gronenthal (pistas: 3), Pauline Wilson (pistas: 3), Randy Crawford (pistas: 3), Yolan Fischer (pistas: 3)

YELLOWJACKETS — Dreamland (1995) FLAC (tracks+.cue), lossless

Perhaps the finest recording of this quartet's illustrious career, Dreamland captures the Yellowjackets at the peak of their compositional and performing craft. This band has moved far beyond its peers with this release. The music here is simply intoxicating, full of gorgeous melodies, deceptively intricate changes, subtle rhythmic and harmonic nuances, and flawless playing. Because of the consistency of the music, it is impossible to point out high spots. Bobby McFerrin has never sounded better than on his guest appearance on "Summer Song," but it's the high level maintained by the four Yellowjackets throughout the disc that especially entrances the listener. This is a Dreamland where any connoisseur of quality music will find delight and quiet satisfaction. Jim Newsom
Tracklist :
1.     The Chosen 4:59
Russell Ferrante / Jimmy Haslip
Percussion – Luis Conte
Trumpet – Chuck Findley
2.     Blacktop 5:02
Russell Ferrante / Jimmy Haslip / Bob Mintzer
3.     Summer Song 6:35
Russell Ferrante / Jimmy Haslip
Percussion – Luis Conte
Vocals, Percussion – Bobby McFerrin
4.     Small Town 6:31
Russell Ferrante / Jimmy Haslip
5.     A Walk in the Park 5:21
Bob Mintzer
Trumpet, Trombone – Chuck Findley
6.     Turn in Time 5:05
Russell Ferrante / Jimmy Haslip
7.     Father Time 4:39
Bob Mintzer
8.     New Lullaby (For Gabriela) 4:34
Russell Ferrante / Jimmy Haslip
9.     Dreamland 5:42
Russell Ferrante / Jimmy Haslip / William Kennedy
10.     Take My Hand 4:31
Russell Ferrante / William Kennedy
Credits :
Bass, Bass [Shop] – Jimmy Haslip
Drums – William Kennedy
Keyboards – Russell Ferrante
Producer [Produced By] – Yellowjackets
Saxophone, Clarinet, Bass Clarinet – Bob Mintzer 

YELLOWJACKETS — Blue Hats (1997) FLAC (tracks+.cue), lossless

As they continue to evolve, the Yellowjackets have gradually gone from being an R&B-oriented fusion band to a more acoustic group that emphasizes fairly straight-ahead improvisations. Although this CD has nine originals by bandmembers and some electronics are utilized (primarily by keyboardist Russell Ferrante for color), much of the music would satisfy even hard bop listeners. Bob Mintzer's many solos on tenor, soprano, bass clarinet and EWI are excellent, but it is the tightness of the rhythm section (which also includes bassist Jimmy Haslip and drummer William Kennedy) that continues to give the Yellowjackets their own original sound. Scott Yanow
Tracklist :
1.    Capetown 5:37
Composed By – Jimmy Haslip, Russell Ferrante, William Kennedy
2.    With These Hands 6:56
Composed By – Russell Ferrante, William Kennedy
3.    Prayer For Peace 6:48
Composed By – Bob Mintzer
4.    Statue Of Liberty 6:12
Composed By – Russell Ferrante
5.    Coal Minor Blues 5:57
Composed By – Russell Ferrante
6.    Savanna 7:09
Composed By – Jimmy Haslip, Russell Ferrante, William Kennedy
7.    New Rochelle 6:07
Composed By – Bob Mintzer
8.    Coquimbo 4:31
Composed By – Jimmy Haslip, Russell Ferrante, William Kennedy
9.    Angelina 7:15
Composed By – Jimmy Haslip, Russell Ferrante
Credits :
Bass – Jimmy Haslip
Drums – William Kennedy
Keyboards – Russell Ferrante
Saxophone – Bob Mintzer 

YELLOWJACKETS — Club Nocturne (1998) FLAC (tracks+.cue), lossless

For their fourteenth album as a band, the Yellowjackets announced the desire to go in a different direction from their previous outings. The difference on Club Nocturne is the inclusion of four vocal tracks. Fortunately, there is no difference here in the high level of musicianship and compositional quality long associated with this quartet. In fact, Club Nocturne is very much of a piece with its immediate predecessors, Dreamland and Blue Hats. "Spirit of the West" and "Stick_to_it_ive_ness" kick the CD off in a buoyant mood, emphasizing Russell Ferrante's inventive songwriting, Jimmy Haslip's nimble-fingered, melodic basswork, and Bob Mintzer's soprano saxophone mastery. The groove is solid, unmistakably Yellowjackets. Track three, the ultra-funky "Up From New Orleans," is a diversion for the band only because it features Kurt Elling singing Mintzer's homage to the Crescent City. The music itself is pure Mintzer-Yellowjackets, fortified with a brass band-inspired, crawfish-fed N'Orleans backbeat. "The Evening News" moves in a syncopated groove laid down by Haslip and drummer William Kennedy, who delivers his usual polyrhythmic virtuoso performance throughout the disc. The two most surprising tracks here are "Even the Pain," featuring a vocal by Jonathan Butler, and "Love and Paris Rain," with Brenda Russell carrying the vocal duty. Though these tracks would be right at home on smooth jazz radio, each has enough character to set it apart from the formulaic ballads clogging up the playlists of such stations. Butler's track has the feel of his native South Africa blended with a touch of Irish pennywhistle, while Ms. Russell's feature stands out because of its unexpected chord progressions. "The Village Church" harkens back to Ferrante's days as a youngster whose dad was a church choir director. "Twilight for Nancy" is a beautiful instrumental ballad, while "Automat" is reminiscent of earlier bandworks, with a sax and synth counterpoint played against and within the melody, conjuring up images of robotic automatons roaming back and forth across a futuristic plain. The final piece, "All is Quiet," again brings Elling to the mike, this time in an atypical setting for a Yellowjackets recording, mostly space and openness, as Elling trades lines with Mintzer's sax while the rest of the band fills in the beatless background with washes and accents. From start to finish, Club Nocturne is a satisfying addition to the Yellowjackets' catalog. While obviously seeking to expand their appeal to a wider audience, they have managed to avoid compromising their high musical standards. Jim Newsom  
Tracklist :
1.    Spirit Of The West 5:07
Composed By – R. Ferrante
2.    Stick To It Ive Ness 5:32
Composed By – R. Ferrante
3.    Up From New Orleans 5:34
Composed By – B. Mintzer
Vocals – Kurt Elling
4.    The Evening News 4:16
Composed By – B. Mintzer, R. Ferrante, W. Kennedy
5.    Even In The Pain 5:24
Backing Vocals [Background Vocals] – Jonathan Butler, Richard Page
Composed By – R. Page
Percussion – Munyungo Jackson
Vocals – Jonathan Butler
6.    Love And Paris Rain 5:06
Composed By – B. Russell, R. Ferrante, W. Kennedy
Guitar – James Harrah
Vocals – Brenda Russell
7.    The Village Church 4:50
Composed By – R. Ferrante
8.    Twilight For Nancy 5:25
Composed By – J. Haslip, R. Ferrante
9.    Automat 6:58
Composed By – J. Haslip, R. Ferrante
10.    All Is Quiet 5:45
Composed By – B. Mintzer, K. Elling
Vocals – Kurt Elling
Credits :
Bass – Jimmy Haslip
Drums – William Kennedy
Piano, Keyboards – Russell Ferrante
Producer [Produced By] – Yellowjackets
Tenor Saxophone, Soprano Saxophone – Bob Mintzer

MARILYN SCOTT – Avenues of Love (1998) FLAC (tracks+.cue), lossless

A top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads. Jonathan Widran 
Tracklist :
1.    Starting to Fall    4:47
 George Duke / Marilyn Scott 
2.    I Like to Dance    5:00
 George Duke / Bob Mintzer / Marilyn Scott 
3.    Avenida del Sol    4:27
 Bob Mintzer / Marilyn Scott 
4.    The Look of Love    5:38
 Burt Bacharach / Hal David 
5.    Heaven's Design    5:53
 Bobby McFerrin 
6.    Love is a Powerful Thing    4:30
 Michael Ruff 
7.    Hold You Up    5:34
 Russell Ferrante / Jimmy Haslip / Marilyn Scott 
8.    Hey Love    6:16
 Russell Ferrante / Jimmy Haslip / Marilyn Scott 
9.    Get Home    5:45
 Russell Ferrante / Jimmy Haslip / Marilyn Scott 
10.    The Last Day    3:38
 John Ewbank / Brenda Russell 
Credits :
Bob Mintzer - Composer, Guest Artist, Horn
Brandon Fields, Steve Allen - Saxophone
Fred Washington - Bass
George Duke - Bass, Bass Programming, Composer, Executive Producer, Guest Artist, Keyboards, Piano, Producer, Vocal Producer
Jimmy Haslip - Bass, Composer, Producer
Joe Heredia - Drums
Lori Perry - Arranger, Vocal Arrangement, Vocals (Background), Voices
Marilyn Scott - Composer, Primary Artist, Producer, Vocals, Vocals (Background)
Michael Landau, Mike Miller, Ray Fuller - Guitar
Michael Ruff - Composer, Keyboards, Vocals (Background)
Paul Jackson, Jr. - Guest Artist, Guitar
Paulinho Da Costa - Guest Artist, Percussion
Rafael Padilla - Percussion
Ralph Rickert - Trumpet
Russell Ferrante - Arranger, Composer, Keyboards, Producer
Take 6 - Guest Artist
Walt Fowler - Horn
William Kennedy - Drums
Yellowjackets - Guest Artist
Alvin Chea, Sharon Perry, Carolyn Perry, Darlene Perry, David Porter Thomas, David Powell,  Lynn Davis, Richard Montgomery, Lisa Horton, Jim Gilstrap, Mary Turner, Maxayn Lewis - Vocals (Background) Voices 

BÉLA FLECK AND THE FLECKTONES — Bela Fleck And The Flecktones (1990) FLAC (tracks+.cue), lossless

After disbanding New Grass Revival, Béla Fleck began re-creating the role of the banjo in the same way Charlie Parker redefined the role of the saxophone. But Fleck may be the least innovative member of this quartet: Howard Levy gets chromatics from his blues harp, Victor Wooten picks banjo rolls on his bass, and Roy "Future Man" Wooten plays a Frankenstein-monster drum-machine/guitar synthesizer. For all the flash, there's little pretense; the group's astonishing musicianship keeps an "aw-shucks" accessibility that lets everybody follow the melody while they marvel. Brian Mansfield
Tracklist :
1. Sea Brazil 3:41
 Béla Fleck 
2. Frontiers 6:10
 Béla Fleck 
3. Hurricane Camille 2:34
 Béla Fleck 
4. Half Moon Bay 5:10
 Béla Fleck 
5. The Sinister Minister 4:38
 Béla Fleck 
6. Sunset Road 5:01
 Béla Fleck 
7. Flipper 4:19
 Béla Fleck 
8. Space Is A Lonely Place 4:00
 Béla Fleck 
9. They're Here 4:28
 Béla Fleck 
10. Reflections Of Lucy 3:38
 Béla Fleck / John Lennon / Paul McCartney 
11. Tell It To The Gov'nor 4:06
 Béla Fleck 
Credits :
Banjo – Bela Fleck
Bass – Victor Lemonte Wooten
Electronic Drums [Synth-axe Drumitar] – Roy Wooten
Harmonica, Keyboards, Jew's Harp, Guiro – Howard Levy 

BOB JAMES TRIO — Straight Up (1996) FLAC (tracks+.cue), lossless

This record is an unexpected treat. Bob James has had a lucrative career writing and playing crossover jazz/pop. Although he had actually started his career with a straight-ahead trio date for Mercury in 1962 and also led a bizarre avant-garde session for ESP in 1965, his career since 1974 has offered very little of interest to consumers who prefer to hear inventive jazz as opposed to pleasant background music. But for this session, James returned to the roots few knew he had. Playing in an acoustic trio with bassist Christian McBride and drummer Brian Blade, James contributes five straightforward originals in addition to the standard "Lost April," and interprets tunes by Pat Metheny/Lyle Mays, Horace Silver ("The Jody Grind"), and Denny Zeitlin. While not hinting at all at his usual pop material, James plays quite well, takes plenty of chances, and sounds influenced a bit by Bill Evans. With McBride and Blade contributing consistently stimulating interplay, Bob James has recorded what is certainly the finest jazz album of his career. Scott Yanow 
Tracklist :
1 Night Crawler 4:43
Bob James 
2 Ambrosia 7:18
Bob James
3 James 4:52
Billy Joel / Lyle Mays / Pat Metheny
4 The Jody Grind 7:07
Horace Silver 
5 Lost April 5:39
Eddie DeLange / Emil Newman / Hubert Spencer 
6 Three Mice Blind 7:18
Bob James 
7 Hockney 6:10
Bob James 
8 Shooting Stars 6:20
Bob James 
9 Quiet Now 6:20
Denny Zeitlin 
Credits :
Bass – Christian McBride
Drums – Brian Blade
Piano – Bob James

FOURPLAY – Elixir (1995) FLAC (tracks+.cue), lossless

The third outing from Fourplay (Lee Ritenour, Nathan East, Bob James, and Harvey Mason clubbing together) is another lightly sautéed jazz offering, low-key and relaxed. Vocals this time are contributed by Phil Collins, East, Patti Austin, and Peabo Bryson (the latter two on an undistinguished version of "The Closer I Get to You"), but the main attraction for most is likely to be Ritenour's flexible guitar work. Steven McDonald
Tracklist :
1    Elixir    7:23
 Nathan East / Bob James / Lee Ritenour / Harvey Mason, Sr.
2    Dream Come True    5:15
 Nathan East / Ricky Lawson
3        Play Lady Play 4:36
 Bob James / Lee Ritenour
Arranged By – Lee Ritenour
4        Why Can't It Wait Till Morning 5:17
 Phil Collins
Arranged By – Bob James
Vocals – Phil Collins
5    Magic Carpet Ride    6:27
 Lee Ritenour
6    Whisper In My Ear    6:12
 Bob James
7    Fannie Mae    5:31
 Harvey Mason, Sr.
8    The Closer I Get To You 5:01
Arranged By – Fourplay
Producer [Vocals], Arranged By [Vocals] – Nathan East
Vocals – Patti Austin, Peabo Bryson
9    East 2 West    5:56
 Marcel East / Nathan East
10    Licorice    5:12
 Bob James
11    In My Corner 6:56
 Harvey Mason, Jr. / Harvey Mason, Sr.
Arranged By [Vocals] – Harvey Mason, Jr.
Credits :
Bass – Nathan East
Drums, Percussion, Marimba [Acoustic & Electric], Bongos, Jew's Harp – Harvey Mason
Executive Producer, Keyboards, Arranged By [Synth Orchestrations] – Bob James
Guitar [Guitars], Programmed By [Additional Computer & Synth], Recorded By [Additional] – Lee Ritenour
Producer – Fourplay
Programmed By [Computer & Synth], Recorded By [Additional] – Harvey Mason, Jr.

HEBIE HANCOCK — Fat Albert Rotunda (1969-2001) RM | Warner Bros. Masters Series | FLAC (image+.cue), lossless

Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk -- and his last until Head Hunters -- making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- have a rhythm and feeling that tell you exactly how this music saunters and swaggers along -- just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks. Richard S. Ginell  

Tracklist :

1 Wiggle-Waggle 5:51

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler, Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

2 Fat Mama 3:49

3 Tell Me A Bedtime Story 5:03

4 Oh! Oh! Here He Comes 4:08

5 Jessica 4:12

6 Fat Albert Rotunda 6:28

7 Lil' Brother 4:25

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler (3), Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

Credits :
Acoustic Bass, Electric Bass, Soloist – Buster Williams (tracks: 2, 3, 4, 5, 6)
Drums, Soloist – Tootie Heath (tracks: 2, 3, 4, 5, 6)
Engineer – Rudy Van Gelder
Flute [Alto], Tenor Saxophone, Soloist – Joe Henderson
Piano, Electric Piano, Producer, Written-By, Arranged By, Conductor, Soloist – Herbie Hancock
Trombone, Soloist – Garnet Brown
Trumpet, Flugelhorn [Fluegel Horn], Soloist – Johnny Coles

MILTON NASCIMENTO — Angelus (1993) FLAC (image+.cue), lossless

The list of prominent North American and British fans of Milton Nascimento continues to grow almost exponentially -- and as a result, his first album for Warner Bros, recorded in Rio, New York, Pittsburgh and L.A., has a longer guest list than ever before. On the jazz side, Wayne Shorter reunites with his Brazilian soulmate on two tracks, his beam-of-light soprano soaring brightly, and a quintet containing Pat Metheny, Herbie Hancock, Ron Carter, Jack DeJohnette, and Robertinho Silva sails magnificently through two early Nascimento classics: "Vera Cruz" and "Novena" (his first song ever). On the rock side, Nascimento pays homage to the Beatles -- who are as powerful an influence on his album conceptions and sound as anyone -- with a drawn-out, orchestrally backed "Hello Goodbye," and Peter Gabriel lends his voice to the lovely "Qualquer Coisa a Haver Com o Paraiso." Another worthwhile experiment is the convincing transformation of James Taylor's "Only a Dream in Rio," with Taylor's distinctive voice on hand with both English and Portuguese lyrics. But the state of Nascimento's songwriting imagination remains in a moderate slump, made glaringly evident by the inclusion of so much superior early music. Having made his mark as a great songwriter, Nascimento had evolved into a gifted, meticulous record maker, and alas, we have a far, far greater quantity of the latter than the former these days. Richard S. Ginell
Tracklist :
1. Seis Horas da Tarde (Nascimento) 4:12
Saxophone [Tenor] – Wayne Shorter
2. Estrelada (Borges, Nascimento) 5:01
Vocals – Jon Anderson
3. De Um Modo Geral... (Lopes, Nascimento) 5:37
Saxophone [Tenor] – Wayne Shorter
4. Angelus (Nascimento) 2:35
Percussion – Naná Vasconcelos
5. Coisas de Minas (Lopes, Nascimento) 5:27
6. Hello Goodbye (Lennon, McCartney) 4:30
7. Sofro Calado (Faria, Nascimento) 1:11
Arranged By – Robertinho Silva
8. Clube da Esquina, No. 2 (Borges, Borges, Nascimento) 5:51
9. Meu Veneno (Gullar, Nascimento) 3:45
Percussion – Naná Vasconcelos
10. Only a Dream in Rio (Taylor) 6:30
Percussion – Naná Vasconcelos
Vocals, Guitar – James Taylor
11. Qualquer Coisa a Haver Com O Paraiso (Nascimento, Venturini) 6:59
Vocals – Peter Gabriel
12. Vera Cruz (Borges, Nascimento) 6:34
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
13. Novena (Borges, Nascimento) 5:03
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
14. Amor Amigo (Brant, Nascimento) 4:19
Guitar – Pat Metheny
Piano – Herbie Hancock
15. Sofro Calado (Faria, Nascimento) 2:25
Piano – Milton Nascimento

JOE SAMPLE — Spellbound (1989) FLAC (tracks+.cue), lossless

With the supremely funky rhythm section of Marcus Miller (bass), Lenny Castro (percussion) and Omar Hakim (drums) propelling his piano most of the way -- the other ringers on a few tracks aren't bad either -- you would think that Joe Sample couldn't miss on this solo outing, Spellbound. Indeed, his distinctive piano cannot be mistaken for anyone else's, free of the usual mainstream influences and always a pleasure to groove to. And yet there is something too comfortable, too settled, too automatic about the musicmaking here, as if the grooves are being smothered by a warm, snuggly electric blanket. Another problem is the material; not much leaps into your memory banks. Nor is it meant to, perhaps, since the gently sustained electronic textures suggest that this is, above all, high-class background music. Al Jarreau, Michael Franks and Take 6 -- all Warner Bros. signees, natch -- put in characteristic cameo vocal appearances on one track apiece, and a background choir sings "Luna en New York" in Spanish. Richard S. Ginell
Tracklist & Credits :

JOE SAMPLE — Ashes to Ashes (1990) WV (image+.cue), lossless

Joe Sample's recordings throughout much of his career have been consistent and quite interchangeable. Backed by a semi-metronomic if usually grooving rhythm section, Sample's acoustic piano on this Warner Bros. CD is almost always in the lead, playing easy listening jazz-pop; nothing memorable or unique occurs. The lightweight melodies are quite easy to take (serving as excellent background music), but it is a pity that Joe Sample has often seemed satisfied to stay at this unimaginative level, emulating Ramsey Lewis. Scott Yanow   Tracklist & Credits :

JOE SAMPLE — Invitation (1993) FLAC (tracks+.cue), lossless

A luscious outing from piano great Joe Sample, this disc includes beautiful interpretations of ten standards and near standards. Featuring plush orchestral arrangements by Dale Oehler wrapped over and around Sample's piano trio, Invitation is simply one of the loveliest recordings of Sample's career. With a rhythm section made up of bassist Cecil McBee and drummer Victor Lewis, augmented by Lenny Castro on percussion, the music is of a piece from start to finish. Producer Tommy Lipuma has found a wonderful setting for Sample to show his gorgeous, acoustic piano stylings, and the orchestra feels like part of the trio instead of an add-on. When Sample uses synths, they are indistinguishable from the orchestra. Overall, a smooth, romantic, highly recommended recording. Jim Newsom     Tracklist & Credits : 

JOE SAMPLE AND THE SOUL COMMITTEE — Did You Feel That? (1994-2014) RN | Serie Fusion Best Collection 1000 | FLAC (tracks+.cue), lossless

There is some serious shaking going on in the studio here, and it appears the veteran Sample has found a great situation to let out his more aggressive edges. What must it be like to be a legend and try to somehow uncover a path you haven't driven on before? How can a cat like Sample top himself? It's always rewarding when a veteran artist twists expectations with a brand new sound, even if reaching into his past for the germ of the idea. Sample darts at the listener with a whole new, nonstop brass funk approach, allowing his all-star Soul Committee to lay down the grooves beneath his still plucky ivory spirit. Though Did You Feel That? cooks from start to finish, employing inventive rhythmic touches, simmering cool, and a flashy retro production style, it's sometimes too easy to compare the wild horn tandem of Oscar Brashear and Joel Peskin with old Sample cohorts Wilton Felder and Wayne Henderson. Sort of a Crusaders for the modern age. What shines through, however, is Sample's successful execution as a leader of a true ensemble, rather than just a slew of sessionaires. He takes some tasty solos, but makes sure that members of the Committee are allowed their own voices as they chime in with the Chairman of the Board. And just for the record, the other Committee members include drummer Steve Gadd, bassist Freddie Washington, guitarists Michael Landau and Arthur Adams, plus percussionist Lenny Castro. An added treat is the funky historical artwork, an Aaron Douglas painting called "Aspects of Negro Life" from "Slavery Through Reconstruction." It shows the joy of the culture, perfectly mirroring the excitement found on the album. Jonathan Widran    Tracklist & Credits :

JOE SAMPLE — Old Places Old Faces (1996) FLAC (tracks+.cue), lossless

 Pianist Joe Sample's Warner Bros. session mostly features relaxed acoustic music. Sample emphasizes his original melodies during his improvisations and is backed quite ably by bassist Jay Anderson, drummer Ralph Penland and an occasional percussionist. Most notable is that tenor saxophonist Charles Lloyd guests on three tracks, playing in his usual mellow version of John Coltrane. But in general this is a relaxing trio set, not overly memorable but relatively quite pleasing. Scott Yanow   Tracklist & Credits :

JOE SAMPLE — Sample This (1997) FLAC (tracks+.cue), lossless

In case anyone has forgotten how ingratiating and prolific Joe Sample the songwriter has been, the master of elegant funk re-records 14 songs here. And it is a cooler, more reflective light in which Sample and producer George Duke see his old tunes in the '90s: with relaxed, uncomplicated, to-the-point acoustic piano leads; a mildly percolating beat; and a veneer-thin garnish of electronics. It is both safe and risky to revisit the past -- safe because one is surrounded by comfortable material and risky because artists seldom recapture all of the old spark. Alas, more often than not, the latter applies to Sample's attempt to go home again, though the good tunes remain good tunes. Some of the songs go back to the Crusaders; "Free as the Wind" especially lacks the energy of the original, but "Put It Where You Want It," thanks in part to Sample's use of a funky old Wurlitzer electric piano, has a nice groove. Finally, just for fun, Sample slips in a jaunty solo benediction courtesy of Jelly Roll Morton, "Shreveport Stomp." Richard S. Ginell
Tracklist & Credits :

RAHSAAN ROLAND KIRK - Simmer, Reduce, Garnish & Serve / The Warner Bros. Recordings (1995) APE (tracks+.cue), lossless

This single CD has selections from Rahsaan Roland Kirk's final three albums. His work on his last record Boogie-Woogie String Along for Real was quite heroic and miraculous because he had suffered a major stroke that greatly limited his abilities; in fact Kirk had the use of only one of his hands so his playing was sadly restricted. There is a remarkable amount of variety plus a liberal dose of Kirk's humor on this retrospective, ranging from a "Bagpipe Medley" and "Sweet Georgia Brown" (complete with a whistler and Freddie Moore's washboard) to a warm "I'll Be Seeing You" and a tribute to Johnny Griffin, the main influence on Rahssan's tenor sound. For those listeners who do not already have the three LPs, this is a strong best-of sampler of the saxophonist's final period although his earlier recordings are recommended first. This CD concludes with an emotional and rather touching collage that pays tribute to Kirk's genius and mourns his premature death. Scott Yanow
Tracklist :
1     Lunatic Danza 5'24
Traditional
2     Theme for the Eulipions 9'44
Rahsaan Roland Kirk / Betty Neals
3     Sweet Georgia Brown 4'45
Ben Bernie / Kenneth Casey / Maceo Pinkard
4     I'll Be Seeing You 6'08
Sammy Fain / Irving Kahal
5     Los Angeles Negro Chorus 0'27
6     Serenade to a Cuckoo 3'37
Rahsaan Roland Kirk
7     Bagpipe Medley 2'15
Rahsaan Roland Kirk
8     J. Griff's Blues 7'32
Traditional
9     Mary McLeod Bethune 0'24
10     I Loves You, Porgy 1'49
George Gershwin / Ira Gershwin / DuBose Heyward
11     Hey Babebips 5'09
Rahsaan Roland Kirk
12     In a Mellow Tone 6'16
Duke Ellington / Milt Gabler
13     Dorthaan's Walk 7'12
Rahsaan Roland Kirk
14     Watergate Blues 6'35
Percy Heath
15     Summertime 1'40
George Gershwin / Ira Gershwin / DuBose Heyward
16     Thunder and Lightning Goodbye 4'10
All Credits

BILL EVANS - You Must Believe in Spring (1981) FLAC (tracks+.cue), lossless

This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry. by Scott Yanow
Tracklist :
1     B Minor Waltz (For Ellaine) 3:12
Bill Evans
2     You Must Believe in Spring 5:37
Alan Bergman / Marilyn Bergman / Jacques Demy / Michel Legrand
3     Gary's Theme 4:15
Gary McFarland
4     We Will Meet Again (For Harry) 3:59
Bill Evans
5     The Peacocks 6:00
Jimmy Rowles
6     Sometime Ago 4:52
Sergio Mihanovich
7     Theme from M*A*S*H (Suicide Is Painless) 5:53
Michael Altman / Johnny Mandel
Credits :
Bass – Eddie Gomez
Drums – Eliot Zigmund
Painting [" Yearning "] – Charles Burchfield
Piano – Bill Evans

FLORA PURIM - Carry On (1979-2002) RM / FLAC (tracks+.cue), lossless

In 1979, jazz was no longer George Duke's primary focus; his albums were emphasizing soul/funk, and many of the R&B fans who knew him for late '70s hits, like "Dukey Stick," "I Want You for Myself," and "Reach for It," knew little or nothing about his work with Cannonball Adderley, Billy Cobham, or Jean-Luc Ponty. But Duke was still producing some jazz albums here and there, although they weren't necessarily straight ahead. Even though Flora Purim's Carry On, which Duke produced, is primarily a Brazilian jazz album, it isn't for jazz purists -- rather, Purim provides an eclectic blend of jazz, samba, R&B/funk, rock, and pop. Purim has many inspired moments on this LP and is joined by members of Duke's late '70s band -- bassist Byron Miller, drummers Ricky Lawson and Leon "Ndugu" Chancler, percussionist Sheila Escovedo (who became Sheila E after joining forces with Prince in 1984), keyboardist Bobby Lyle, trumpeter Jerry Hey, and saxman Joe Farrell. In addition to excelling on Duke's funky title song, Gilberto Gil's "Sarara," and Toninho Horta's "Beijo Partido," Purim really lets loose on Milton Nascimento's "From the Lonely Afternoon." Those who associate "From the Lonely Afternoon" with Wayne Shorter's superb Native Dancer album will find Purim's interpretation to be faster and more intense. by Alex Henderson
Tracklist :
1     Sarara 4:06
Gilberto Gil
2     From the Lonely Afternoon 3:25
Milton Nascimento
3     Niura is Coming Back 2:54
Yana Purim
4     Once I Ran Away 3:38
Yana Purim
5     Carry On 5:15
George Duke
6     Love Lock 3:32
Reggie Lucas / James Mtume
7     Corine 4:52
George Duke / Airto Moreira / Flora Purim
8     Islands in the Sun [Interlude] 1:29
David Bateau / Michael Sembello
9     Beijo Partido (Broken Kiss) 4:40
Toninho Horta
10     Freeway Jam 4:36
Max Middleton
Credits :
David Amaro, David Myles, Michael Sembello - Guitar
Leon "Ndugu" Chancler, Ricky Lawson, Fred Fleck - Drums
Lynn Davis, Josie James - Vocals (Background)
George Duke - Composer, Piano
Joe Farrell - Sax (Soprano)
Hugo Fattoruso, Bobby Lyle, Greg Phillinganes - Keyboards, Synthesizer
Gary Gazaway - Flugelhorn
Jerry Hey - Trumpet
Al Jarreau - Guest Artist, Vocals
Keith Jones, Byron Miller - Bass
Airto Moreira - Composer, Tambourine, Trombone
Flora Purim -  Vocals
William Frank "Bill" Reichenbach Jr., Raul de Souza - Trombone
Larry Williams - Flute, Piccolo, Sax (Alto)