22.3.26

FOURPLAY — Let's Touch The Sky (2010) FLAC (tracks+.cue), lossless

It would be incorrect to say that not much has changed Fourplay's sound since they began recording together in 1991. That said, while these musicians -- who were all successful artists individually -- have continued to evolve, as a group they've stayed remarkably focused on what they do best: play elegant, seamless, contemporary jazz with a light sexy groove. Keyboardist Bob James, drummer/percussionist Harvey Mason, and bassist Nathan East have remained constants but guitarists have come and gone: Chuck Loeb replaces Larry Carlton (who originally replaced founding member Lee Ritenour) for Let's Touch the Sky, Fourplay's 11th recording. James' title track composition kicks things off with a breezy Brazilian groove before strings paint an airy, almost cinematic backdrop. Loeb's "3rd Degree" ups the funk quotient with some hard-grooving guitar, ever-present rolling breaks by Mason, and some knotty synth work. His "Above and Beyond" provides the kind of guitar-led group interactive euphoria usually associated with Pat Metheny. Mason's "Pineapple Getaway" has irresistible synth and Rhodes work by James, but it's Loeb's stellar guitar work that makes this Caribbean-flavored groover one of the set's finest moments. "Gentle Giant," written by James in memory of Hank Jones, features a stellar upright bass solo from East. There are three vocal tracks on the set as well. East takes one on his "I'll Still Be Lovin' You," and Anita Baker lays down a fine one on her reading of "You're My Thrill." The most remarkable one is the deeply soulful, warmly expressive take of Cecil and Linda Womack's "Love TKO" by Ruben Studdard, with some excellent atmospherics provided by James and Mason. Fourplay's formulaic approach is firmly intact on Let's Touch the Sky and the band is firing on all cylinder, making this a fine entry in 2010's contemporary jazz oeuvre. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    Let's Touch The Sky 5:23
Written-By – Bob James
2.    3rd Degree 5:07
Written-By – Chuck Loeb
3.    More Than A Dream 5:03
Written-By – Harvey Mason
4.    Pineapple Getaway 5:53
Written-By – Harvey Mason
5.    I'll Still Be Lovin' You 5:18
Featuring – Nathan East
Written-By – N. East

6.    Gentle Giant (For Hank) 6:00
Written-By – Bob James
7.    A Night In Rio 5:57
Written-By – N. East, T. Keane
8.    Love TKO 4:31
Featuring – Ruben Studdard
Written-By – C. Womack, E. Noble, L. Womack
9.    Above And Beyond 6:31
Written-By – Chuck Loeb
10.    Golden Faders 7:08
Written-By – Bob James
11.    You're My Thrill 4:47
Featuring – Anita Baker
Written-By – J. Gorney, S. Clare

Credits :
Bass, Vocals – Nathan East
Drums, Percussion – Harvey Mason
Guitar – Chuck Loeb
Keyboards – Bob James
 

JEFF LORBER FUSION — Impact (2018) Two Version | FLAC (image+.tracks+.cue), lossless

Tracklist :
1.    Sport Coat Makes Good    4:39
2.    Pasadena City    4:26
3.    Citizenship    4:44
4.    Highline    4:33
5.    Opt In     4:45
6.    Quest    5:22
7.    Sunny Sounds    4:24
8.    Companion    4:51
9.    Arda    4:02
10.    Valinor    4:25
Credits
Andy Snitzer - Sax (Alto), Sax (Soprano), Sax (Tenor)
Gary Novak - Drums
Jeff Lorber - Composer, Engineer, Fender Rhodes, Guitar, Guitar (Bass), Hammond B3, Mini Moog, Mixing, Piano, Producer, Synthesizer Bass
Jimmy Haslip - Composer, Guitar (Bass)
Lil' John Roberts - Drums
Adam Hawley, Michael Thompson, Paul Jackson, Jr. - Guitar
Notas.
Some versions have a sticker on front. Print on sticker:
"Brilliant, compelling, innovative, and unique." -- All About Jazz
The best yet from the winner of 2018 Grammy for Best Contemporary Instrumental Album!
Featuring 3 time Grammy winner Jimmy Haslip, Andy Snitzer, with Paul Jackson, Jr. and others!!
Contains the hits "Sport Coat Makes Good," "Arda." 5462

BRIAN ENO — Here Come the Warm Jets (1974-2004) RM | Original Masters Series | FLAC (tracks+.cue), lossless

Eno's solo debut, Here Come the Warm Jets, is a spirited, experimental collection of unabashed pop songs on which Eno mostly reprises his Roxy Music role as "sound manipulator," taking the lead vocals but leaving much of the instrumental work to various studio cohorts (including ex-Roxy mates Phil Manzanera and Andy Mackay, plus Robert Fripp and others). Eno's compositions are quirky, whimsical, and catchy, his lyrics bizarre and often free-associative, with a decidedly dark bent in their humor ("Baby's on Fire," "Dead Finks Don't Talk"). Yet the album wouldn't sound nearly as manic as it does without Eno's wildly unpredictable sound processing; he coaxes otherworldly noises and textures from the treated guitars and keyboards, layering them in complex arrangements or bouncing them off one another in a weird cacophony. Avant-garde yet very accessible, Here Come the Warm Jets still sounds exciting, forward-looking, and densely detailed, revealing more intricacies with every play. Steve Huey
Tracklist :
1.     Needles in the Camel's Eye 3:11
Brian Eno / Phil Manzanera
Bass Guitar – Bill MacCormick
Guitar – Chris 'Ace' Spedding, Phil Manzanera
Percussion – Simon King
2.     The Paw Paw Negro Blowtorch 3:04
Brian Eno
Bass [Extra Bass] – Chris Thomas
Bass Guitar – Busta Cherry Jones
Guitar – Chris 'Ace' Spedding, Phil Manzanera
Percussion – Marty Simon
3.     Baby's on Fire 5:19
Brian Eno
Bass Guitar – John Wetton, Paul Rudolph
Guitar – Paul Rudolph, Robert Fripp
Percussion – Marty Simon, Simon King
4.     Cindy Tells Me 3:25
Brian Eno / Phil Manzanera
Bass Guitar – Busta Cherry Jones
Guitar – Phil Manzanera
Keyboards – Nick Judd
Percussion – Marty Simon
5.     Driving Me Backwards 5:12
Brian Eno
Bass Guitar – John Wetton, Paul Rudolph
Guitar – Robert Fripp
Percussion – Simon King
6.     On Some Faraway Beach 4:36
Brian Eno
Backing Vocals – Sweetfeed
Bass Guitar – Busta Cherry Jones
Keyboards – Andy Mackay
Percussion – Simon King
7.     Blank Frank
Brian Eno / Robert Fripp
Backing Vocals – Sweetfeed
Bass Guitar – Bill MacCormick
Guitar – Robert Fripp
Keyboards – Nick Kool And The Koolaids
Percussion – Simon King
8.     Dead Finks Don't Talk 4:19
Brian Eno
Arranged By – Eno, Jones, Judd, Thompson
Bass Guitar – Busta Cherry Jones
Keyboards – Nick Judd
Percussion – Paul Thompson 
9.     Some of Them Are Old 5:11
Brian Eno
Keyboards, Saxophone [Septet] – Andy Mackay
Slide Guitar – Lloyd Watson
10.     Here Come the Warm Jets 4:04
Brian Eno
Bass Guitar – Paul Rudolph
Guitar – Paul Rudolph
Percussion – Simon King 

21.3.26

DZYAN – Mandala (2010) FLAC (tracks+.cue), lossless

Better late than never, I suppose, but this live-in-the-studio novelty was too long overdue, released almost forty years after it was recorded. Dzyan never achieved anything more than cult stardom, at best. But to fans this belated addition to their slim discography will provide a fascinating slice of audio anthropology: the missing link between the band's jazzy 1972 debut and the blossoming Krautrock of their "Time Machine" and "Electric Silence" albums (the latter title currently the Number Ten rated Krautrock album on this site).

The prevailing style was still the Canterbury Fusion of that first LP, with Gerd Ehrmann's frenetic saxophone the primary instrument on most tracks, and percussionist Jochen Leuschner providing the bluesy lead vocals. But the ace up their collective sleeve was new guitarist Eddy Marron, recently enlisted but already making an impact, even in a relative supporting role.

Under his galvanizing influence the music was beginning to show a harder edge, in tracks like "Steel's Electric": an obvious signpost toward the MAHAVISHNU intensity of the "Time Machine" sessions. Listening to Marron's absolutely torrid solo at the end of "Dragonsong" (a holdover song from the first album) it's easy to imagine the jaws of his bandmates falling to the studio floor in flabbergasted awe, as the guitarist shredded his fretboard into ragged tatters.

In this track and elsewhere you can hear the later, psychedelicized Dzyan trying to break free of its Jazz Rock shell, especially when Marron begins strumming his beloved Turkish saz, in the song of the same name. The more exploratory instrumental jams show their age best, and the band itself no doubt felt the same. After this rehearsal 'concert' the way ahead must have seemed clear: ditch the singer and the sax, and continue as a trio (but with a more sympathetic drummer).

The title track is an odd droning entr'acte from bassist Reinhard Karwatky (recording date unknown), and the incomplete "Celestial City" is the only selection actually performed on stage. It was included here as a bonus track, but really the entire album is a welcome bonus, 38-years late but worth the wait. progarchives.con
Tracklist :
1.    Resurrection 9:49
Written-By – Karwatky
2.    Dragonsong 11:33
Written-By – Leuschner, Karwatky
3.    Mandala - Transmigration 2:08
Producer [Produced By], Recorded By, Mixed By – Reinhard Karwatky
Written-By – Karwatky

4.    Steel's Electric 6:30
Written-By – Marron
5.    Daddy Groove 8:43
Written-By – Leuschner, Karwatky
6.    Saz 8:08
Written-By – Marron, Leuschner, Karwatky
7.    Celestial City 4:23
Producer [Produced By] – Reinhard Karwatky
Written-By – Karwatky

Credits :
Cover [Cover Painting], Painting [Cover Painting] – Helmut Wenske
Drums, Percussion, Timpani – Lothar Scharf
Electric Bass, Contrabass, Percussion, Arranged By [Arrangements By], Technician [Sonus FX Designed By] – Reinhard Karwatky
Electric Guitar, Baglama [Saz] – Eddy Marron
Tenor Saxophone – Gerd "Bock" Ehrmann
Vocals, Congas, Percussion – Jochen Leuschner

PROCOL HARUM – Novum (2017) FLAC (tracks+.cue), lossless

Fifty years after "Whiter Shade of Pale" introduced the concept of progressive rock, Procol Harum roll on, even with singer and pianist Gary Brooker as the only remaining original member. Novum is their first new studio album in 14 years. Their last, 2003's The Well's on Fire, marked the end of the decades-long writing partnership between Brooker and lyricist Keith Reid. Organist Matthew Fisher and drummer Mark Brzezicki left shortly thereafter. Brooker still had guitarist Geoff Whitehorn and bassist Matt Pegg. They recruited organist Josh Phillips and drummer Greg Dunn. This version has been together for a decade.
Novum is a worthy 50th anniversary offering (though it's not, as Brooker claims, Procol's finest). This is the sound of a working band, not a tired reunion project. Brooker enlisted lyricist Pete Brown -- known for his work with Cream and Graham Bond -- and in an unusual move, brought the entire band into the songwriting process. What's on offer here is the most rocking sound Procol Harum have delivered since Broken Barricades. There is only one overtly "classical" moment here, and it’s a send up -- there's a direct quote from Pachelbel's Canon as a brief intro to the wonderful "Sunday Morning.” Some truly perverse lyric moments are expertly crafted into well-composed songs (would we expect anything less?). Opener “I Told on You” is a forceful prog rocker about professional jealousy, bitterness, and retribution. Its bridge and chorus are classic Brooker (think Home and Grand Hotel). “Last Chance Motel” is a strange and ironic take on the murder ballad that recalls the musical structure of early Elton John and Bernie Taupin tunes. It’s among the many vehicles here for Brooker’s voice, which remains as resonant and expressive as ever -- there’s the hint of graininess in it, but his power remains undiminished by time. There are also some atypical, straight-on political swipes at hyper-capitalism, too, as on the bluesy “Soldier” and the meld of mean rock and Baroque pop in “Businessman.” “Don’t Get Caught” commences as a ballad with Brooker’s trademark nearly sepulchral singing, but becomes an anthem offering sage advice for guilt-free living atop blazing guitars and swelling strings. One might hear traces of Queen's extended sense of vocal harmony in the rowdy chorus of the loopy "Neighbor," but Brian May himself would admit that Queen snagged it from Procol Harum in the first place. "Can't Say That" is an angry number and it rocks hard: Brooker's signature piano style runs up hard against Whitehorn's electric blues guitar vamps (think the Doors' "Roadhouse Blues") with a killer Pegg bassline. "The Only One" offers Brooker at his most confessional and melancholy, as he builds himself up and lets himself glide down the poignant lyric. Novum is far better than anyone had any right to expect: It's energetic, hungry, and swaggering. That said, it retains the trademark class and musical sophistication that makes Procol Harum iconic. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    I Told On You    5:32
2.    Last Chance Motel    4:48
3.    Image Of The Beast    4:56
4.    Soldier    5:28
5.    Don't Get Caught    5:12
6.    Neighbour    2:46
7.    Sunday Morning    5:28
8.    Businessman    4:44
9.    Can't Say That    7:13
10.    The Only One    6:10
11.    Somewhen    3:47
Credits :
Bass – Matt Pegg
Drums – Geoff Dunn
Electric Organ [Hammond], Other [Montage] – Josh Phillips
Guitar – Geoff Whitehorn
Illustration, Artwork – Julia Brown 
Lyrics By – Pete Brown (tracks: 1 to 3, 5 to 10)
Vocals, Piano – Gary Brooker

OZRIC TENTACLES — Jurassic Shift (1993-2018) RM | Two Version | FLAC (image+.tracks+.cue), lossless

The Ozrics are a truly curious bunch in that they have this unerring tendency and uncanny ability to make great scads of progressive and spa...