Tuesday, February 7, 2017

Cassandra Wilson - Closer To You: The Pop Side

Bitrate: MP3@320K/s
Time: 57:41
Size: 132.1 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:54] 1. Love Is Blindness
[4:06] 2. Time After Time
[4:35] 3. Fragile
[5:47] 4. Closer To You
[5:13] 5. Last Train To Clarksville
[6:03] 6. The Weight
[5:38] 7. Tupelo Honey Angel
[4:59] 8. Harvest Moon
[5:26] 9. I Can't Stand The Rain
[5:06] 10. Lay Lady Lay
[5:49] 11. Wichita Lineman

Cassandra Wilson: guitar, vocals; Chris Whitley: guitar; Lonnie Plaxico: bass, acoustic bass; Jim Keltner: drums; Reginald Veal: upright bass; Calvin "Fuzz" Jones: upright bass; Cyro Baptista: percussion; T Bone Burnett: guitar, vocals; Charles Burnham: violin; Lance Carter: drums; Keith Ciancia: piano, keyboards; Jeff Haynes: percussion; Brandon Ross: acoustic guitar, guitar, steel guitar; Marvin Sewell: acoustic guitar; Kevin Breit: banjo, bouzouki, guitar, mandolin, electric guitar, guitar (resonator); Cecilia Smith: marimbas; Perry Wilson: drums; Mark Peterson: bass, acoustic bass; Doug Wamble: acoustic guitar; Fabrizio Sotti: guitar; Xavyon Jamison:drums; Kevin Johnson: percussion.

One of the eminent jazz singers of this time, Cassandra Wilson's deep timbre is as unmistakable as it is alluring. Her acumen as a musician, her voice an exquisite instrument and the way she interprets and arranges songs—uniquely filled with soul and emotion—would set her in the upper echelon of singers regardless of genre. From roots in Mississippi, where she began playing music at the age of five to her involvement in the advanced music theories of M-Base with saxophonist Steve Coleman and a growing body of diverse work, she continues to press onward. Following her second Grammy-winning release, Loverly (Blue Note, 2008), a celebrated program of jazz standards, Wilson presents Closer To You: The Pop Side, a compilation of pop songs culled from previous Blue Note recordings. She makes the trans-American Songbook shine even brighter with contemporary favorites that include works from U2, Sting, Cyndi Lauper, Van Morrison, Glenn Campell, and even The Monkees. The collection epitomizes Wilson's idiosyncratic style: elegant, sexy, mysterious, and well-informed of the intricacies of music, song, and lyrics. Her imprint is heard on a western scatting version of the Monkee's "Last Train to Clarksville," and some delta blues on "The Weight"—that ever rocking 1968 hit by The Band.

Once called the "reluctant diva," this set shows Wilson's altruistic nature, which has placed her among superb artists, such as Terri Lyne Carrington, Marvin Sewell, Cyro Baptista, and producer T-Bone Burnett, who are integral collaborators and not just background fillers for the vocalist. Together they take these popular songs into unusual locations that are earthy, visceral and filled with artistic liberties. Highlights abound. A lovely version of Cyndi Lauper's 1980's smash "Time After Time," some Brazilian flair on Sting's ever thoughtful "Fragile" and a gorgeous redo of Van Morrison's "Tupelo Honey," where Wilson's soulful intonations are sublime. Neil Young's "Harvest Moon" is mesmeric with its canopy of acoustic guitar and the sounds of birds/insects likened to a warm summer's night, as the vocalist soothingly croons. The set closes with Glenn Campbell's popular "Wichita Lineman," proving that whether the song is jazz, rock, or country, no one can deliver it quite like Cassandra Wilson. ~Mark F. Turner

Closer To You: The Pop Side

Bucky Pizzarelli, John Pizzarelli - Contrasts

Bitrate: MP3@320K/s
Time: 62:48
Size: 143.8 MB
Styles: Standards, Guitar jazz
Year: 1999
Art: Front

[3:53] 1. Three Little Words
[2:57] 2. Coquette
[6:54] 3. Jersey Bounce
[2:27] 4. The Bad And The Beautiful
[2:38] 5. The Minute Samba
[6:01] 6. Contrasts
[2:38] 7. Test Pilot
[4:30] 8. I Hadn't Anyone Till You/The Very Thought Of You
[5:37] 9. The Devil And The Deep Blue Sea
[6:38] 10. Two Funky People
[2:45] 11. Stage Fright
[4:50] 12. Phantasmagoria
[1:50] 13. My Romance
[4:38] 14. Emily
[2:14] 15. Guess I'll Go Back Home This Summer
[2:09] 16. For Whom The Bell Tolls

Father and son duos are relatively rare in jazz but there's no generation gap apparent between Bucky and John Pizzarelli. The two have made a number of strong LPs and CDs together (and individually as well), although it is tough to lavish sufficient praise on this duo-guitar date, played primarily on seven-string electric guitars. Each man adapts equally well, whether in the lead, providing rhythmic support for the other, or matching his partner's lyricism while playing the head of a song. An invigorating "Three Little Words" introduces the two masterful guitarists with a flourish, followed by a lightly swinging take of "Jersey Bounce," the bluesy "Two Funky People," and the strutting acoustic duet "Test Pilot." Bucky is featured on two unaccompanied miniatures, "My Romance" and the rarely heard "For Whom the Bell Tolls." Very highly recommended. ~Ken Dryden

Contrasts

Various - Cuban Music: 20 Essential Songs

Bitrate: MP3@320K/s
Time: 61:43
Size: 141.3 MB
Styles: Cuban jazz/pop
Year: 2012
Art: Front

[3:08] 1. Erenesto Lecuona - La Paloma
[2:42] 2. Xabier Cugat - Siboney
[3:12] 3. Antonio Machín - Toda Una Vida
[2:45] 4. Trova Salsera - Corazón De Melón
[2:47] 5. Bebo Valdés - Bilongo, La Negra Tomasa
[2:36] 6. Celia Cruz - Burundanga
[3:25] 7. Los Romanticos - Tres Palabras
[4:26] 8. Conjunto Casino De La Habana - Me Lo Dijo Adela
[2:28] 9. Ernesto Lecuona - Ay Mama Inés
[2:53] 10. Antonio Machín - Dos Gardenias
[3:55] 11. Román San Martín - Tu Me Acostumbrastes
[2:42] 12. Bobby Capo - Piel Canela
[3:27] 13. Hermanos Rigual - Cuando Calienta El Sol
[3:13] 14. Tito Rodriguez - Inolvidable
[3:16] 15. Elena Burke - Capullito De Alelí
[2:41] 16. Celia Cruz - Nostalgia Habanera
[2:42] 17. Bola De Nieve - Ya No Me Quieres
[3:23] 18. Orquesta Casino - Quiéreme Mucho
[3:21] 19. Benny Moré - Batanga #2
[2:32] 20. Ernesto Lecuona - Rumba Colorá

Elements of Latin music can be heard in some of the earliest jazz, a tendency Jelly Roll Morton referred to as the “Spanish Tinge.” Music Director and bassist Carlos Henriquez and the Jazz at Lincoln Center Orchestra explore the phenomenon of Latin jazz, through the paradigm of Afro-Cuban forefather Machito and "Mambo King" Tito Puente along with special guests vocalists Cita Rodriguez and Marco Bermudez, trumpeter Pete Nater, and percussionists George Delgado, Jose Madera, and Johnny Rodriguez Jr., many of whom performed with Machito and Puente. Machito was one of the first to introduce Afro-Cuban jazz as one of the earliest hybridizations of the two genres and, in doing so, created a lane for a plethora of Latin styles like mambo, son, guaracha, and guajira to further diversify the music.

Cuban Music: 20 Essential Songs

Shannon Butcher - Words We Both Could Say

Bitrate: MP3@320K/s
Time: 41:47
Size: 95.6 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:31] 1. Mad World
[4:02] 2. Wichita Lineman
[3:01] 3. Here, There & Everywhere
[3:54] 4. It Might As Well Be Spring
[5:42] 5. Call Me
[2:31] 6. Just A Girl
[6:07] 7. Don't Talk (Put Your Head On My Shoulder)
[4:00] 8. Slow Hot Wind
[5:36] 9. Strange & Beautiful
[3:18] 10. Walking After Midnight

Bass - Ross MacIntyre; Drums - Mark McLean; Guitar - Rob Pilch; Percussion - Daniel Stone; Piano, Electric Piano [Rhodes] - Michael Shand; Saxophone - Kelly Jefferson; Trumpet - William Sperandei.

Shannon Butcher is quickly becoming a favourite on the Canadian jazz scene for her dynamic voice and fresh spirit. "Jazz isn’t about one label or style; it’s not about one person or time," says Butcher. "It’s about the freedom to bring together all of your experiences; sing in the moment and connect with your audience." Shannon's debut CD, Words We Both Could Say, is a fusion of styles and an open door invitation to transcend expectations. Through her unique jazz transformations of “standards” from artists including the Beatles, Patsy Cline and No Doubt, the Toronto artist has connected with jazz aficionados and new listeners alike. Since its release, Words We Both Could Say has reached the 2 spot on the Canadian Campus Jazz chart and broke through the Top Ten of iTunes Top Jazz Albums. Thanks to her Internet presence Shannon has become a hit on jazz stations in Australia, the United Kingdom and the United States.

Words We Both Could Say

Kenny Dorham - Jazz Contrasts

Bitrate: MP3@320K/s
Time: 40:44
Size: 93.3 MB
Styles: Trumpet jazz
Year: 1957/2007
Art: Front

[ 9:09] 1. Falling In Love With Love
[12:03] 2. I'll Remember April
[ 4:26] 3. Larue
[ 5:22] 4. My Old Flame
[ 2:41] 5. But Beautiful
[ 7:01] 6. La Villa

Kenny Dorham: trumpet; Sonny Rollins: tenor saxophone; Hank Jones: piano; Oscar Pettiford: bass; Max Roach: drums; Betty Glamman: harp.

In the last half of the 1950s Max Roach practically redefined the meaning and uses of the fast tempo, generating such a head of steam that, in the beginning, bass players settled for the first and third beat of each measure and horn players soared in half-time over the drummer's intimidating, torrential time streams. Not Kenny Dorham. On the opening, medium-up-tempo of "Falling in Love," he even double-times his solo. On Dorham's own "La Villa," Roach supplies the break-speed tempo and the trumpeter lets the notes fly without allowing so much as a single one to get away from his thought process or execution. He's with Roach on every subdivision of the already kamikaze pulse, the performance possibly Dorham's most technically accomplished solo on record; moreover, it brings Sonny Rollins, who starts slowly on the session, up to speed.

Admittedly, the Dorham/Rollins pairing is more satisfying overall on Roach's Jazz in 3/4 Time (EmArcy, 1957). The inclusion of "I Remember April" on the present date practically invites listeners new to Dorham to compare him immediately with Clifford Brown who, on his last recording and only date with Rollins, had submitted a memorable performance of the same song [At Basin Street (EmArcy, 1956)]. But such comparisons can be as deceptive as they are edifying. "Brownie" was a passionate Romantic, his brilliant, brassy tone full of daring, emotion and near- theatrical splendor. "K. D."'s temperament was more Schubert than Verdi, more scaled to chamber music than grand opera. His is an equally compelling voice, but one that requires an adjustment on the listener's part to be able to absorb all of its subtle intricacies. In some respects, the tenor player on most of the Brown-Roach recordings, Harold Land, would have been the ideal complement to Dorham's smallish sound and letter-perfect execution.

The "contrasts" of the title are apparently in reference to the three ballads, which employ a flowery harp. Among them, "My Old Flame features thoughtful, lyrical turns by Dorham both before and after Rollins' solo. To present-day listeners, Oscar Pettiford's bass will sound under-recorded, but both he and pianist Hank Jones maintain unflappable composure and provide unfailing support in the face of the leader's and drummer's flame-setting pace. ~Samuel Chell

Jazz Contrasts

Rick Braun - Kisses In The Rain

Styles: Trumpet And Flugelhorn Jazz
Year: 2001
File: MP3@320K/s
Time: 43:28
Size: 100,1 MB
Art: Front

(3:51)  1. Car Wash 2000
(4:33)  2. Kisses In The Rain
(3:44)  3. Use Me
(4:40)  4. Grover's Groove
(4:29)  5. Your World
(4:45)  6. Middle Of The Night
(4:30)  7. One For The Girls
(4:26)  8. Song For You
(4:37)  9. Simplicity
(3:49) 10. Emma's Song

Rick Braun is in high demand these days, both as a trumpeter and a producer he certainly has his thumb on the pulse of today's adult contemporary music. His solo debut on Warner Brother, hot on the heels of last year's successful collaboration with Boney James on Shake It Up, should further extend his mastery of the idiom. The first four tunes are the most jazz-oriented and satisfying; they come complete with catchy melodies, infectious live rhythms, and thoughtful arrangements clean but not overly glossy. Braun alternates between open and muted trumpet, and turns in solos that are a bit more adventurous than you might expect from a commercially-oriented album. About half-way through, the program turns more to the programmed background tracks and moves more into the "romantic evening" groove. To my ears, the sweet-soul vocals ("Your World" and "Song for You") seem a bit formulaic and lower the bar on creativity a couple notches. 

"Middle of the Night" is sort of "Chuck Mangione meets the click track." There are tasty touches here and there, such as a nice tenor solo and interesting background brass parts on "Simplicity," and Braun's expressive balladry on the closer, "Emma." Overall, this is an enjoyable and well-executed program of contemporary work by one of the genre's leading proponents. ~ Dave Hughes https://www.allaboutjazz.com/kisses-in-the-rain-rick-braun-warner-bros-review-by-dave-hughes.php

Personnel: Rick Braun (trumpet, flugelhorn, piano, keyboards, programming); Sue Ann Carwell (vocals, background vocals); Mindy Stein, Shai (vocals); Peter White (guitar, acoustic guitar); Tony Maiden (guitar, electric guitar, wah-wah guitar); Fred Clark , Norman Brown , Ross Bolton (guitar); Larry Williams (strings, tenor saxophone, keyboards); Doug Norwine (flute, saxophone); Euge Groove, Steve Grove (tenor saxophone); Marty Grebb (baritone saxophone); Jerry Hey (flugelhorn); Nick Lane, William Frank "Bill" Reichenbach Jr. (trombone); Al Forman, Mitchel Forman (piano); Ricky Peterson (Wurlitzer organ, keyboards); David Woods (keyboards, drum programming); Johnny Britt, Roberto Vally (keyboards); Harvey Mason, Sr. , Lil John Roberts (drums, percussion); Luis Conte, Paulinho Da Costa (percussion); Paul Brown (programming); Yvonne Williams (background vocals).

Kisses In The Rain

Nnenna Freelon - Maiden Voyage

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 66:31
Size: 152,5 MB
Art: Front

(5:24)  1. Come Into My Life
(4:55)  2. Four Women
(8:28)  3. Maiden Voyage
(5:32)  4. Buy And Sell
(4:46)  5. Future News Blues
(6:00)  6. Until It's Time For You To Go
(8:06)  7. Women Be Wise
(5:43)  8. Sepia Wing
(4:07)  9. Pick Yourself Up
(4:34) 10. I Won't Dance
(4:31) 11. Inside A Silent Tear
(4:21) 12. Sing Me Down

No matter how impressive the voice, no matter how well oiled the pipes and Lord knows Nnenna Freelon is abundantly blessed in both respects he or she simply cannot rise far above the material. Although Freelon makes a gallant effort on Maiden Voyage, the ship barely gets out of drydock, overladen with forgettable lyrics and lashed to its moorings by mundane melodies. Too harsh? Perhaps. But if I were going to open a set with eight sleep inducing originals, as Freelon has done, I wouldn’t remind the listener of their relative lack of substance by following them with “Pick Yourself Up” and “I Won’t Dance,” enduring classics from the golden age of Tin Pan Alley (with memorable words by the clever tunesmith Dorothy Field). In fact, the session doesn’t take wing until Freelon introduces those treasures and closes with Blossom Dearie’s pensive ballad, “Inside a Silent Tear” (lyrics by Linda Albert), and her own “Sing Me Down“ (actually her lyrics set to a folk song whose name, I believe, is “Turn Around”). The melodies and lyrics that precede them really are lightweight; while Herbie Hancock’s “Maiden Voyage” and Marian McPartland’s “Threnody” (here renamed “Sepia Wing” to mirror Freelon’s lyrics) are splendid as instrumentals, appending lyrics does nothing to enhance their appeal. Among the others, only Freelon’s “Future News Blues” held this listener’s ear for more than a moment. While I am hardly conversant with the works of Nina Simone, Laura Nyro and Buffy Sainte Marie, surely their reputations weren’t built on the sort of uninspired material that is presented here. On a brighter note, if one would like to sing along, lyrics to each song (not always unerring) are provided in the accompanying booklet. As for Freelon, she sings beautifully which, for the most part, is rather like adding a delectable frosting to cow chips. ~ Jack Bowers https://www.allaboutjazz.com/maiden-voyage-nnenna-freelon-concord-music-group-review-by-jack-bowers.php
 
Personnel:  Nnenna Freelon, vocals; Michael Abene, piano, arranger; Joe Beck, guitar; Avishai Cohen, bass; Sammy Figueroa, percussion; Danny Gottlieb, drums; Herbie Hancock, piano

Maiden Voyage

Peter Zak - Blues On the Corner

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 56:08
Size: 129,3 MB
Art: Front

(7:57)  1. Blues On the Corner
(4:53)  2. Three Flowers
(8:20)  3. The Man from Tanganyika
(4:36)  4. Sunset
(4:38)  5. May Street
(6:37)  6. Ballad for Aisha
(5:28)  7. The Camel
(5:23)  8. All My Yesterdays
(8:11)  9. Peresina

McCoy Tyner has justifiably been heralded as one of the most important jazz pianists of the past 50 years, both for his seminal work with the classic John Coltrane Quartet in the 1960s and for the four decades of consistently exhilarating work as a leader that followed. But while his heavily percussive style, unique chord voicings and the sheer emotional force of his playing have influenced countless followers, he has seldom been appreciated for his contributions as a composer. That's beginning to change a bit, however, with the SF Jazz Collective's 2009 Tyner tribute and New York pianist Peter Zak 's Blues on the Corner: The Music of McCoy Tyner.  Zak is a top-flight modern mainstream player who appears regularly with respected artists like Ryan Kisor, Walt Weiskopf and Jim Snidero. He is wise enough not to try to mimic the raw power of Tyner's style; he has a more lyrical and restrained, but still hard swinging, approach. But Zak and his impressive working trio (Paul Gill on bass and Quincy Davis on drums) capture the spirit of Tyner's music on eight tunes drawn from throughout his long career. The diversity and energy of the selections, ranging from old-school bebop to searing, avant-leaning explorations to unabashedly beautiful ballads give testament to Tyner's breadth as a composer.

Highlights include the bouncy blues of the title track, Zak's whirlwind post-bop playing on the explosive "May Street," the bowing prowess of Gill on "Three Flowers" and the sense of playfulness the entire trio brings to the lively "Man from Tanganyika." The lovely, expressive ballad, "All My Yesterdays," given a thoughtful treatment here, should serve as an antidote to those who still view Tyner simply as Coltrane's fiery foil. The lone Zak original, "The Camel," is an edgy, forward-looking number that fits in well with the overall Tyner theme. Peter Zak and his trio have made a fine album that shines new light on a too-often neglected aspect of McCoy Tyner's legacy. ~ Joel Roberts https://www.allaboutjazz.com/blues-on-the-corner-the-music-of-mccoy-tyner-peter-zak-steeplechase-records-review-by-joel-roberts.php
 
Personnel: Peter Zak: piano; Paul Gill: bass; Quincy Davis: drums.

Blues On the Corner

Mark Soskin Quartet - Live At Smalls

Styles: Piano Jazz 
Year: 2015
File: MP3@320K/s
Time: 62:22
Size: 144,3 MB
Art: Front

(8:16)  1. Think Of One
(7:04)  2. Sometime Ago
(5:56)  3. Lonely Town
(9:35)  4. Crazy She Calls Me
(9:31)  5. Miyako
(8:24)  6. Cal Massey
(6:42)  7. Blackberry Winter
(6:50)  8. In A Silent Way

Mark Soskin was born July 12, 1953 in Brooklyn, N.Y. Soskin has recorded and performed with such diverse musicians as Sonny Rollins, Joe Henderson, Randy Brecker, Billy Cobham, Buster Williams, Eddie Henderson, Stanley Turrentine, Cornell Dupree, Herbie Mann, John Abercrombie, Claudio Roditi, Sheila Jordan, Gato Barbieri, Joe Locke, David"Fathead"Newman, Mark Murphy, Slide Hampton, Pete and Sheila Escovedo, Bobby Watson, Miroslav Vitous, The NY Voices and others. Soskin attended Colorado State University where he pursued classical studies, but at this time his interests in jazz music were growing. In 1973 he enrolled in The Berklee College of Music, studying composition as well as arranging. In Boston he began to work professionally until moving to San Francisco, eventually going on to work with some of the west coast's finest players.  Shortly after arriving in San Francisco, Soskin was introduced to the Latin music legend, Pete Escovedo. Along with Pete's daughter, percussionist Sheila. E, they toured and recorded as Azteca, a group in which Soskin's keyboard, writing, and arranging talents were showcased. Eventually, the group, which now included Tom Harrell on trumpet, went on to record two discs for Fantasy Records, produced by drum ace Billy Cobham. Soskin was enlisted in Cobham's band, a stint that lasted for two years and which produced two recordings for Columbia. Between tours for Cobham, Soskin did a tour and live recording for the CBS All Stars with Tom Scott, Alphonso Johnson, Steve Khan, and Billy Cobham. At this time Soskin was very active as a session player at Fantasy studios in Berkeley, California and veteran jazz music producer Orrin Keepnews took notice. Soskin signed his first recording contract with Prestige (a subsidiary of Fantasy) produced by Keepnews, entitled "Rhythm Vision." This featured the likes of Benny Maupin and Harvey Mason with the album eventually making it into Billboard's top ten Jazz Chart. Keepnews introduced Soskin to Sonny Rollins, which started a long, fruitful collaboration (14 years). Besides the extensive touring throughout the world, Soskin can be heard on a number of critically acclaimed recordings with the tenor sax master, including a video,"Saxophone Collosus”. 

Since 1981 Soskin has resided in New York City, remaining active as sideman and as a leader. He has ten of his own recordings to date and three as co-leader, one which features Harvie Swartz and Joe LaBarbera with Sheila Jordan called "Spirits", one under the name "Contempo Trio" with Danny Gottlieb and Chip Jackson featuring Ravi Coltrane and another Contempo Trio recording named"The Secret of Life" featuring Carolyn Leonhart. His recording, "17" on TCB, highlights Soskin in a quintet setting featuring mainly original compositions.  He continues to maintain a busy tour schedule as well as giving master classes and workshops. Television performance credits include the HBO hit series, "Sex And The City." Examples of arranging projects have been writing for Slide Hampton's "World Of Trombones" and his writing and playing on Steve Smith's DVD,"Drumset Technique/History of the U.S. Beat". Soskin has been featured in solo piano concerts throughout the world such as the Ottawa Jazz Festival. He has performed the premier of contemporary classical music composer John Adams' opera, "Ceiling/Sky" at Lincoln Center. Soskin is currently on the faculty of The Manhattan School Of Music and has been written up in numerous music publications, including Ira Gitler and Leonard Feather's Biographical Encyclopedia of Jazz and The Jazz Book by Joachim E. Berendt. Mark Soskin is featured in the film documenting latin jazz artists entitled "Calle 54”.  He signed with the Kind of Blue label and produced three recordings for the company, all critically acclaimed. The first is entitled,“One Hopeful Day ”, which features Chris Potter, Bill Stewart and Jay Anderson.  The second released in October 2009 is “Man Behind the Curtain” with Ravi Coltrane, Bill Stewart and Jay Anderson. The third,released in 2012, is “Mark Soskin Solo Piano- The Music of Nino Rota”. His newest recording is “ Live at Small’s, Mark Soskin Quartett(2015)”, featuring Rich Perry, Jay Anderson and Anthony Pinciotti.  Mark Soskin teaches privately and is available for master classes and workshops.http://www.marksoskin.com/bio.html

Personnel:  Mark Soskin-piano;  Jay Anderson-bass;  Rich Perry-tenor sax;  Anthony Pinciotti-drums

Live At Smalls

Gene Ammons - My Way

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 28:18
Size: 65,4 MB
Art: Front

(3:33)  1. Chicago Breakdown
(4:18)  2. What's Going On
(3:45)  3. A House Is Not A Home
(6:21)  4. Sack Full of Dreams
(4:18)  5. Back in Mérida
(6:01)  6. My Way

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks thanks to hip arrangements from Bill (William S?) Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Merida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great but these tracks more than make the album worth having! © 1996-2017, Dusty Groove, Inc.https://www.dustygroove.com/item/40417?s=Gene+Ammons&incl_oos=1&incl_cs=1&kwfilter=Gene+Ammons&sort_order=artist
 
Personnel:  Gene Ammons - tenor saxophone;  Robert Prado, Ernie Royal - trumpet (tracks 1, 2 & 4-6);  Garnett Brown - trombone (tracks 1, 2 & 4-6);  Richard Landry - tenor saxophone (tracks 1, 2 & 4-6);  Babe Clark - baritone saxophone (tracks 1, 2 & 4-6);  Roland Hanna - electric piano (tracks 1-3); Billy Butler (tracks 4-6), Ted Dunbar (tracks 1 & 2) – guitar;  Ron Carter - bass (tracks 4-6);  Chuck Rainey - electric bass (tracks 1 & 2);  Idris Muhammad - drums (tracks 1, 2 & 4-6);  Omar Clay - percussion (tracks 1, 2, 4 & 5);  Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - vocals (tracks 2 & 4)

My Way