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)

JOÂO GILBERTO - Amoroso + Brasil (1993) FLAC (image+.cue), lossless

Two of the influential João Gilberto's LPs (Amoroso and Brasil) are combined on this single CD. The former session is pretty definitive with Gilberto interpreting four of Antonio Carlos Jobim's compositions (including "Wave" and "Triste") and four other songs (highlighted by "Besame Mucho," "Estate," and an odd 31-bar rendition of "'S Wonderful"). The strings (arranged by Claus Ogerman) are unnecessary but Gilberto proves to be in prime form. The later album also has its moments of interest (including a Brazilian version of "All of Me") and finds Gilberto backed by Johnny Mandel arrangements and assisted by singers Caetano Veloso, Gilberto Gil, and Maria Bethania. Overall there is not much variety throughout this gently swinging program but these are a pair of Gilberto's better post-1970 recordings. by Scott Yanow
Tracklist:
        Amoroso    (1977)
1    'S Wonderful 4:10
Written-By – George & Ira Gershwin
2    Estate 6:27
Written-By – Bruno Brighetti, Bruno Martino
3    Tin Tin Por Tin Tin 3:40
Written-By – Geraldo Jacques, Haroldo Barbosa
4    Besame Mucho 8:46
Written-By – Consuelo Velazquez, Sunny Skylar
5    Wave 4:41
Written-By – Antonio Carlos Jobim
6    Caminhos Cruzados 6:14
Written-By – Antonio Carlos Jobim
7    Triste 4:19
Written-By – Antonio Carlos Jobim
8    Zingaro 6:22
Lyrics By – Chico Buarque
Music By – Antonio Carlos Jobim
    Brasil    (1981)
9    Aquarela Do Brasil 6:34
Written-By – Ary Barroso
10    Disse Alguém (All Of Me) 5:18
Written-By – Gerald Marks, Haroldo Barbosa, Seymour Simons
11    Bahia Com H 5:13
Written-By – Denis Brean
12    No Tabuleiro Da Baiana 4:50
Written-By – Ary Barroso
13    Milagre 4:57
Written-By – Dorival Caymmi
14    Cordeiro De Nanã 1:20
Written-By – Mateus E Dadinho
Créditos
Arranged By, Conductor – Claus Ogerman (faixas: 1 to 8), Johnny Mandel (faixas: 9 to 14)
Bass – Jim Hughart
Cello – Anne Goodman (faixas: 9 to 14), Rober Lebon (faixas: 9 to 14)
Concertmaster – Israel Baker (faixas: 1 to 8)
Contractor – Stan Fishelson (faixas: 9 to 14)
Contractor [Orchestra] – Frank De Caro (faixas: 1 to 8)
Drums – Grady Tate (faixas: 1 to 8), Joe Correro
Flute – Bud Shank (faixas: 9 to 14), Eddie Cainf (faixas: 9 to 14), Glen Garrett (faixas: 9 to 14), Harry Klu (faixas: 9 to 14)
Harp – Stella Castellucci (faixas: 9 to 14)
Keyboards – Clare Fischer (faixas: 9 to 14), Ralph Grierson (faixas: 1 to 8)
Percussion – Paulinho Da Costa (faixas: 9 to 14)
Performer – Caetano Veloso (faixas: 9 to 14), Maria Bethania (faixas: 9 to 14)
Synthesizer – Michael Boddicker (faixas: 9 to 14), Milcho Leviev (faixas: 9 to 14)
Viola – David Schwartz (faixas: 9 to 14), Helaine Wittenberg (faixas: 9 to 14), Marilyn Baker (faixas: 9 to 14)
Violin – Bonnie Douglas (faixas: 9 to 14), Harry Bluestone (faixas: 9 to 14), Isabelle Daskoff (faixas: 9 to 14), Israel Baker (faixas: 9 to 14), Jerry Reisler (faixas: 9 to 14), John Wittenberg (faixas: 9 to 14), Joe Goodman (faixas: 9 to 14), Nathan Ross (faixas: 9 to 14), Paul Shure (faixas: 9 to 14), Bob Dubow (faixas: 9 to 14), Bob Lipsett (faixas: 9 to 14)
Violin, Concertmaster – Gerald Vinci (faixas: 9 to 14)
Vocals, Guitar – João Gilberto
Notas
Tracks 1-8 previously released as Amoroso
Tracks 9-14 previously released as Brasil 

ANTONIO CARLOS JOBIM - The Wonderful World Of Antonio Carlos Jobim (1965-2002) RM / FLAC (image+.cue), lossless

Unlike his debut, Jobim's second LP for the American market was strictly a pop album, with the composer himself singing, while the arranging/conducting chores were placed in the capable hands of Nelson Riddle. What promises to be an excellent collaboration, however, doesn't quite turn out, and the results are much more bland than could be expected from such distinct talents. To begin with, Riddle's charts are surprisingly safe, quite a disappointment from the man whose work with Frank Sinatra raised the bar for the art of arranging. Jobim's contributions are less than expected also, limited for the most part to his quavering vocals (Warner Bros. seems to have been positioning him as a pop star) and a set of compositions inferior to his first album (only "Agua de Beber" is repeated here). Jobim's is the voice of a composer, though, and what he lacks in tonal quality and strength he does make up for with delivery and subtlety of interpretation, especially on contemplative material like "Dindi" and "A Felicidade." It's not all Brazilian ennui; the instrumental "Surfboard" has a playful edge, with a rush of strings bringing on the collapse of each wave, and "She's a Carioca" (with English lyrics by Ray Gilbert) is a cheerful sequel to "The Girl From Ipanema."  by John Bush  
Tracklist:
1    She's a Carioca 2:38
Ray Gilbert / Antônio Carlos Jobim / Vinícius de Moraes
2    Agua de Beber 2:29
Antônio Carlos Jobim
3    Surfboard 2:24
Antônio Carlos Jobim
4    Useless Landscape 2:18
Ray Gilbert / Antônio Carlos Jobim / Aloysio Oliveira
5    So' Tinha de Ser Com Você 2:29
Antônio Carlos Jobim / Aloysio Oliveira
6    A Felicidade 2:07
Antônio Carlos Jobim / Vinícius de Moraes
7    Bonita 2:09
Ray Gilbert / Antônio Carlos Jobim        
8    Favela 2:37
Antônio Carlos Jobim / Vinícius de Moraes
9    Valsa de Pôrto das Caixas
Antônio Carlos Jobim
10    Samba Do Aviâo 2:13
Antônio Carlos Jobim
11    Por Toda a Minha Vida 1:51
Antônio Carlos Jobim / Vinícius de Moraes
12    Dindi 2:35
Ray Gilbert / Antônio Carlos Jobim / Aloysio Oliveira
Credits:
Arranged By, Conductor – Nelson Riddle
Dom Um Romão – Drums
Antônio Carlos Jobim – Composer, Main Personnel, Performer

ANTONIO CARLOS JOBIM - Urubu (1976-1995) FLAC (image+.cue), lossless

Urubu is the album that MCA's Jobim probably aspired to be, a total break away from the bossa nova past that is both ambitious and strikingly original. The shock of dissonant strings, percussive and wind sounds from the Brazilian interior greet us on the first track "Bôto," the first of four songs in which a defiant Jobim throws structural complexities at us and sings in Portuguese only. The second four tracks are an even more radical departure; all are classical orchestral pieces, melancholy and even anguished in tone, owing little or nothing to anyone, streaked with imaginative, even avant-garde orchestral touches from Claus Ogerman. Clearly we are not on the Ipanema beach anymore, and although this may be rough going for jazz-minded Jobim fans, the pay-off is a glimpse into the depths of Jobim's soul. by Richard S. Ginell
"Jereba é urubu importante como, aliás, todo urubu. Mas entre eles, urubus, observam-se prioridades."
Tracklist:
1    O Bôto 6:09
Composed By – Antonio Carlos Jobim, Jararaca
Vocals – Miucha
2    Ligia 4:13
Composed By – Antonio Carlos Jobim
3    Correnteza (The Stream) 2:42
Composed By – Antonio Carlos Jobim, Luiz Bonfa
4    Ângela 2:50
Composed By – Antonio Carlos Jobim
5    Saudade Do Brasil 7:26
Composed By – Antonio Carlos Jobim
6    Valse 3:14
Composed By – Antonio Carlos Jobim
7    Arquitetura De Morar (Architecture To Live) 8:09
Composed By – Antonio Carlos Jobim
8    O Homem (Man) 2:31
Composed By – Antonio Carlos Jobim
Credits:
Arranged By, Conductor – Claus Ogerman
Bass – Ron Carter
Drums – João Palma
Electric Piano, Vocals, Text By – Antonio Carlos Jobim
Painting – Paulo Jobim
Percussion – Ray Armando
Vocals – Miucha (faixas: 1)

ANTONIO CARLOS JOBIM - Terra Brasilis (1980) APE (image+.cue), lossless

 In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s – a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner. by Richard S. Ginel
Tracklist:
1. Dreamer (Vivo Sonhando) 3:05
Antônio Carlos Jobim / Gene Lees
2. Canta Mais (Sing Once More) 4:34
Antônio Carlos Jobim / Vinícius de Moraes
3. Olha Maria (Amparo) 4:07
Antônio Carlos Jobim
4. One Note Samba 2:20
Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça
5. Dindi 4:18
Ray Gilbert / Antônio Carlos Jobim
6. Quiet Nights Of Quiet Stars (Corcovado) 3:29
Antônio Carlos Jobim / Gene Lees
7. Marina 2:57
Antônio Carlos Jobim
8. Off-Key (Desafinado) 3:28
Antônio Carlos Jobim / Gene Lees / Newton Mendonça
9. Voce Vai Ver (You'll See) 2:58
Antônio Carlos Jobim
10. Estrada Do Sol (Road To The Sun) 2:07
Dolores Durán / Antônio Carlos Jobim
11. The Girl From Ipanema 4:50
Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes
12. Double Rainbow 4:06
Antônio Carlos Jobim / Gene Lees
13. Triste 3:07
Antônio Carlos Jobim
14. Wave 3:40
Antônio Carlos Jobim
15. Someone To Light Up My Life (Se Todos Fossem Iguais A Voce) 3:07
Antônio Carlos Jobim / Gene Lees / Vinícius de Moraes
16. Falando De Amor (Speaking Of Love) 3:43
Antônio Carlos Jobim
17. Two Kites 4:39
Antônio Carlos Jobim
18. Modinha (Serenade) 3:39
Antônio Carlos Jobim / Vinícius de Moraes
19. Song Of The Sabia (Sabia) 4:07
Norman Gimbel / Antônio Carlos Jobim
20. This Happy Madness (Estrada Branca) 2:49
Antônio Carlos Jobim / Gene Lees / Vinícius de Moraes
Time: 1:11:19
Credits
Arranged By Orchestra, Conductor – Claus Ogerman
Bass – Bob Cranshaw
Drums – Pascoal De Souza Meirelles
Guitar – Oscar Castro-Neves
Percussion – Rubens Bassini
Producer – Aloysio De Oliveira
Composed, Vocals, Keyboards – Antonio Carlos Jobim

ANTONIO CARLOS JOBIM - A Certain Mr. Jobim (1967-2002) RM / FLAC (tracks+.cue), lossless

This album has had a somewhat confusing release history, appearing as it did amid a flurry of activity by Jobim (including his work with Frank Sinatra) and bouncing between several labels since its first release in 1967. Made up of instrumentals as well as songs (all of the latter in English), it was a superb showcase for the melodic aspect of Jobim's art, though the material, like so much of Jobim's work during his explosive first decade of international recognition, represented something of a work in progress, a fact borne out by the subsequent reworking of the stunning closing number, "Zingaro," as "Retrato Em Branco E Preto." Claus Ogerman's musical direction offers a mix of influences, ranging from Dom um Romão's drumming to the presence of the first violinist of the New York Philharmonic, all combining to sympathetic effect. The post-2000 CD remasterings also offer superb sound and excellent annotation. by Bruce Eder
Tracklist  
1    Bonita 2:58
Written-By – Antônio Carlos Jobim, Ray Gilbert
2    Se Todos Fossem Iguais A Vocé 2:19
Written-By – Antônio Carlos Jobim, Vinicius De Mello Moraes
3    Off-Key (Desafinado) 3:08
Written-By – Antônio Carlos Jobim, Gene Lees, Newton Mendonca
4    Photography 2:12
Written-By – Antônio Carlos Jobim, Ray Gilbert
5    Surfboard 2:48
Organ – Dick Hyman
Written-By – Antônio Carlos Jobim
6    Once Again (Outra Vez) 2:09
Written-By – Antônio Carlos Jobim
7    I Was Just One More For You (Esperanca Perdida) 2:27
Written-By – Antônio Carlos Jobim, Billy Blanco, Ray Gilbert
8    Estrada Do Sol 3:31
Written-By – Antônio Carlos Jobim, Dolores Duran
9    Don’t Ever Go Away (Por Causa De Vocé) 2:49
Written-By – Antônio Carlos Jobim, Dolores Duran, Ray Gilbert
10    Zingaro 2:17
Written-By – Antônio Carlos Jobim
Credits
Arranged By, Conductor – Claus Ogerman
Drums – Dom Um Romão
Vocals, Guitar – Antonio Carlos Jobim

JOSHUA REDMAN - Wish (1993) FLAC (tracks+.cue), lossless

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations. by Alex Henderson 

Tracklist: :

1. Turnaround 6:24

(Ornette Coleman)

2. Soul Dance 6:34

(Joshua Redman)

3. Make Sure You’re Sure 5:24

(Stevie Wonder)

4. The Deserving Many 5:39

(Joshua Redman)

5. We Had a Sister 5:46

(Pat Metheny)

6. Moose the Mooche 3:32

(Charlie Parker)

7. Tears in Heaven 3:21

(Eric Clapton)

8. Whittlin’ 5:21

(Pat Metheny)

9. Wish (live) 7:26

(Joshua Redman)

10. Blues for Pat (live) 12:08

(Charlie Haden)

Credits :

Joshua Redman – Sax 

Pat Metheny – Guitar 

Charlie Haden – Bass

Bill Higgins – Drums.

BRAD MEHLDAU — Introducing + The Art of Trio, Vol. 1, 2, 3, 4 & 5 (1995-2001) 6 Albums | 7CD | FLAC (tracks+.cue), lossless

Introducing Brad Mehldau (1995)

Pianist Brad Mehldau's debut as a leader features his straight-ahead style in trios with either Larry Grenadier or Christian McBride on bass and Jorge Rossy or Brian Blade on drums. The well-rounded set is highlighted by tasteful and swinging versions of five standards (including John Coltrane's "Countdown," "It Might As Well Be Spring," and "From This Moment On") and four of the pianist's originals. This CD (which is sometimes available at a budget price) serves as a fine start to what should be a productive career. Scott Yanow

Tracklist :

1 It Might As Well Be Spring 7:46

Written-By – Hammerstein/Rodgers

2 Countdown 4:12

Written-By – Coltrane

3 My Romance 6:23

Written-By – Rodgers/Hart

4 Angst 6:11

Written-By – Brad Mehldau

5 Young Werther 7:11

Written-By – Brad Mehldau

6 Prelude To A Kiss 10:00

Written-By – Ellington

7 London Blues 7:00

Written-By – Brad Mehldau

8 From This Moment On 6:33

Written-By – Porter

9 Say Goodbye 9:25

Written-By – Brad Mehldau

Credits:

Bass – Christian McBride (tracks: 6 to 9), Larry Grenadier (tracks: 1 to 5)

Drums – Brian Blade (tracks: 6 to 9), Jorge Rossy (tracks: 1 to 5)

Piano – Brad Mehldau

Brad Mehldau - The Art of the Trio, Vol.1 (1997)

At this point in time, pianist Brad Mehldau's style falls between Keith Jarrett and Bill Evans, being heavily influenced by the voicings of the latter and the free yet lyrical improvising of the former. With fine backup work by bassist Larry Grenadier and drummer Jorge Rossy, Mehldau explores five standards (including the Beatles' "Blackbird" and "Nobody Else but Me") and four originals, coming up with melodic yet adventurous ideas. Mehldau displays much potential for the future. Scott Yanow

Tracklist :

1 Blame It On My Youth 6:17

Written-By – Heyman, Levant

2 I Didn’t Know What Time It Was 6:30

Written-By – Rodgers/Hart

3 Ron’s Place 6:29

 Brad Mehldau

4 Blackbird 5:00

Written-By – Lennon/McCartney

5 Lament For Linus 4:38

 Brad Mehldau

6 Mignon’s Song 6:34

 Brad Mehldau

7 I Fall In Love Too Easily 7:16

Written-By – Styne/Cahn

8 Lucid 5:43 

 Brad Mehldau

9 Nobody Else But Me 7:36

Written-By – Hammerstein/Kern

Credits:

Bass – Larry Grenadier

Drums – Jorge Rossy

Piano – Brad Mehldau

Written-By – Brad Mehldau (tracks: 3, 5, 6, 8)

Brad Mehldau - The Art of the Trio, Vol.2

 (Live at the Village Vanguard) 1998

It takes a certain nerve for a young jazz artist to subtitle an album Live at the Village Vanguard. The title evokes some mighty powerful spirits from the jazz pantheon. John Coltrane, Sonny Rollins. Bill Evans. Joe Henderson. But pianist Brad Mehldau is more than up to this daunting challenge. On this set of standards by the likes of Cole Porter, Thelonious Monk and Henry Mancini, Mehldau exhibits a musical erudition and a technical prowess that belies his youth. Though the obvious comparisons are with Evans and Keith Jarrett, Mehldau has a highly individual style that draws heavily on his classical training. Along with bassist Larry Grenadier and drummer Jorge Rossy, he has made a stunning album of exploratory jazz that holds its own with the great "Live at the Village Vanguard" recordings of the past. Joel Roberts

Tracklist :

1 It’s Alright With Me 12:39

Written-By – Cole Porter

2 Young And Foolish 13:07

Written-By – Albert Hague, Arnold Horwitt

3 Monk’s Dream 11:09

Written-By – Thelonious Monk

4 The Way You Look Tonight 12:33

Written-By – Dorothy Fields, Jerome Kern

5 Moon River 10:52

Written-By – Henry Mancini, Johnny Mercer

6 Countdown 12:40

Written-By – John Coltrane

Credits:

Bass – Larry Grenadier

Drums – Jorge Rossy

Piano – Brad Mehldau

Brad Mehldau - The Art of the Trio, Vol.3 (Songs) 1998 

The lyrical pianist Brad Mehldau applies his melancholy, Bill Evans/Keith Jarrett-derived approach to a set of five originals plus standards including "Young at Heart," "For All We Know," and "Bewitched, Bothered and Bewildered," as well as covers of Nick Drake's "River Man" and Radiohead's "Exit Music (For a Film)." The always swinging and tasteful pianist is accompanied by a rhythm section of drummer Jorge Rossy and bassist Larry Grenadier, and overall this is a fine program easily recommended to straight-ahead collectors. Steve Huey

Tracklist :

1 Song-Song 6:29

 Brad Mehldau

2 Unrequited 6:07

 Brad Mehldau

3 Bewitched, Bothered And Bewildered 5:57

Written-By – Rodgers/Hart

4 Exit Music (For A Film) 4:23

Written-By – Radiohead

5 At A Loss 6:19

 Brad Mehldau

6 Convalescent 5:58

 Brad Mehldau

7 For All We Know 7:59

Written-By – Coots, Lewis

8 River Man 4:47

Written-By – Drake

9 Young At Heart 6:20

Written-By – Leigh, Richards

10 Sehnsucht 4:56

 Brad Mehldau

Credits:

Bass – Larry Grenadier

Drums – Jorge Rossy

Piano – Brad Mehldau

Written-By – Brad Mehldau (tracks: 1, 2, 5, 6, 10)

Brad Mehldau - The Art of the Trio, Vol.4

 (Back At The Vanguard) 1999

Appearing just three months after Brad Mehldau's elegant solo piano album Elegiac Cycle, Art of the Trio, Vol. 4: Back to the Vanguard provides a remarkable contrast to the refined, cerebral, hypnotic affair that was released before it. Not that the performances on Back to the Vanguard aren't hypnotic, since they're utterly captivating. The difference is that this live recording captures exactly how vital and impassioned Mehldau's playing is. Working with bassist Larry Grenadier and drummer Jorge Rossy, he turns these songs -- including three originals, one Miles Davis number, two standards, and Radiohead's "Exit Music" -- inside out, finding the heart of the song, and exploring a bewildering array of variations of the themes and chords. This music surges forward, unhinged and forceful, complex but completely accessible. Mehldau spends much of his liner notes on the defensive, explaining how many jazz critics have misread his music. He has a point -- he has often been ghettoized as a jazz intellectual, but as this exceptional album proves, there is considerable emotion and feeling and plain excitement behind his music, even during the mesmerizing quiet sections. Stephen Thomas Erlewine  

Tracklist :

1 All The Things You Are 13:30

Written-By – Jerome Kern, Oscar Hammerstein II

2 Sehnsucht 10:48

Written-By – Brad Mehldau

3 Nice Pass 17:35

Written-By – Brad Mehldau

4 Solar 9:51

Written-By – Miles Davis

5 London Blues 7:37

Written-By – Brad Mehldau

6 I'll Be Seeing You 7:18

Written-By – Irving Kahal, Sammy Fain

7 Exit Music (For A Film) 8:14

Written-By – Radiohead

Credits:

Bass – Larry Grenadier

Drums – Jorge Rossy

Piano – Brad Mehldau

The Brad Mehldau Trio - The Art of the Trio, Vol.5

 (Progression) 2001 (2CD)

Virtuoso pianist Brad Mehldau continues his Art of the Trio series with a two-CD set titled Art of the Trio, Vol. 5: Progression. Recorded live at the Village Vanguard in New York City, this volume is his most satisfying triad outing yet. The trio opens disc one with a swinging up-tempo rendition of "The More I See You" and, for over ten minutes, Mehldau improvises his swinging instincts with his well-organized rhythmic partners, drummer Jorge Rossy and acoustic bassist Larry Grenadier. His original "Dream's Monk" features an extended variation on his profoundly introspective bebop. This composition is the centerpiece of disc one, which otherwise features covers of such standards as "Alone Together," "It Might as Well Be Spring," and "The Folks Who Live on the Hill." Disc two is evenly programmed with three originals by Brad Mehldau and three by Great American Songbook composers George & Ira Gershwin, Jerome Kern, Sammy Fain, and Paul Francis Webster. On the nearly 15-minute rendition of the Gershwin/Kern composition "Long Ago and Far Away," Mehldau's rhythm section plays fervent bop lines over his brilliant piano arpeggios after a virtuosic introduction. Grenadier's bass solo remains one of the most memorable on this recording, with Mehldau delicately comping it with light piano chord voicings. Rossy deftly adjusts and readjusts his brushwork to provide just the right textures and musical accompaniment. Whereas The Art of the Trio, Vol. 2, Vol. 3, and Vol. 4 provided Mehldau's listeners with rich documentation of his piano mastery that often includes altered root motion and meter on standard tunes, blazing swing tempos, and poetic piano lines that can hover intensely in a ballad, his intrinsic musical signature is more substantial on Progression due to several stunning piano solos, ethereal vamps, and successive thematic transformations. Paula Edelstein  

Tracklist 1 :

1 The More I See You 10:05

Written-By – Harry Warren, Mack Gordon

2 Dream's Monk 11:21

Written-By – Thelonious Monk

3 The Folks Who Live On The Hill 9:50

Written-By – Oscar Hammerstein II / Jerome Kern

4 Alone Together 15:01

Written-By – Howard Dietz / Arthur Schwartz

5 It Might As Well Be Spring 2:48

Written-By – Oscar Hammerstein II / Richard Rodgers

6 Cry Me A River 8:50

Written-By – Arthur Hamilton

7 River Man 11:29

Written-By – Nicholas Drake

Tracklist 2 :

1 Quit 7:13

Written-By – Brad Mehldau

2 Secret Love 10:06

Written-By – Paul Francis Webster, Sammy Fain

3 Sublation 14:58

Written-By – Brad Mehldau

4 Resignation 8:39

Written-By – Brad Mehldau

5 Long Ago And Far Away 14:50

Written-By – Ira Gershwin, Jerome Kern

6 How Long Has This Been Going On? 10:44

Written-By – George Gershwin / Ira Gershwin

Credits:

Bass – Larry Grenadier

Drums – Jorge Rossy

Piano – Brad Mehldau

JACO PASTORIUS - Word of Mouth (1981) APE (image+.cue), lossless

Bassist Jaco Pastorius' Word of Mouth orchestra was an unfulfilled dream, a worthy concept that did not last long enough to live up to its potential. Its debut album was released without a listing of the personnel, so here it is: Wayne Shorter, Michael Brecker, and Tom Scott on reeds, trumpeter Chuck Findley, the easily recognizable Toots Thielemans on harmonica, Howard Johnson on tuba, drummers Jack DeJohnette and Peter Erskine, and percussionist Don Alias. The music ranges from the Beatles' "Blackbird" and some Bach to Jaco originals that cover straight-ahead jazz, Coltrane-ish vamps, and fusion. Next to the bassist/leader, Thielemans emerges as the main voice. by Scott Yanow

Tracklist:

1. Crisis  – 5:21

2. Three Views of a Secret – 6:05

3. Liberty City – 11:57

4. Chromatic Fantasy (Johann Sebastian Bach) – 3:01

5, Blackbird (Lennon–McCartney) – 2:48

6. Word of Mouth – 3:53

7. John and Mary – 10:52

Credits:

Herbie Hancock: Keyboards, Synthesizers, Piano

Wayne Shorter, Michael Brecker, Tom Scott: Saxophone

Toots Thielemans: Harmonica

Chuck Findley: Trumpet

John Clark: French horn

Howard Johnson: Tuba

Don Alias, Robert Thomas Jr.: : Percussion

Peter Erskine, Jack DeJohnette: Drums

Jaco Pastorius: Electric bass, acoustic bass,

organ, piano, synthesizers, autoharp, percussion,

vocals, drums on "Word Of Mouth"

Paul Horn-Muller: Steel pans

Othello Molineaux: Steel pan

John F. Pastorius IV: vocal on John and Mary

Michael Gibbs: Hanging out