Paul Horn - Brazilian Images

Styles: Brazilian Jazz,  World Fusion
Year: 1989
File: MP3@320K/s
Time: 54:02
Size: 124,6 MB
Art: Front

(5:48)  1. Streets of São Paulo
(5:48)  2. Parque do Flamengo (Flamingo Park)
(6:40)  3. Vida Noturna (Night Life)
(4:07)  4. Ana
(5:22)  5. Som do Rio (The Sound Of Rio)
(6:06)  6. Brazilian Images
(5:37)  7. Amazônia
(5:02)  8. Funky Town
(6:17)  9. Mulher Solitária (Lonely Woman)
(3:10) 10. Sambinha (Little Samba)

A magnificent collaboration with guitarist Andre Geraissati and percussionists Airto Moreira and Joao Parabyba creates this lush and intimate musical experience from the ultimate world musicain, Paul Horn. Paul Horn is the ultimate world musician, a sound traveler without peer.

By 1989, when Paul Horn recorded Brazilian Images, people were beginning to realize that he was no longer ahead of his time. In the 1960’s Horn began a quixotic musical journey that opened a whole world of places and people to him. He spent the 1970s and 80s playing in some of the worlds great sacred spaces, and collaborating with musicians from many traditions. As far back as the 60s he unwittingly anticipated the ‘World Music’ and ‘New Age’ trends; during the next two decades, he helped to define them. By the time he made this album at the dawn of yet another decade, the times had pretty well caught up to him.

“I love Brazil,’ says Horn, “even as a child. When I first had the opportunity to go there in 1970, I knew why. The atmosphere is charged with music, dance, sunshine and beautiful women. Paradise. It is also a country of paradoxes. From some of the worst slums of the world, the Favelas, comes the happiest music in the world, the samba. On a tour of Brazil in 1990 with guitarist Andre Geraissati, “I found the gentler side of Brazil through his writing and the unique voices he uses. We recorded this album in Sao Paulo at the completion of our tour.” His Brazilian music is among his most beautiful; and Brazilian Images, a collaboration with guitarist Andre Geraissati and percussionists Airto Moreira and Joao Parabyba, is music of unusual lushness and intimacy. http://www.cdbaby.com/cd/paulhorn6

Personnel: Paul Horn (flute, alto flute, bansuri, soprano saxophone); André Geraissati (guitar); Joao Parahyba, Airto Moreira (percussion).

Brazilian Images

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Belinda Underwood - Underwood Uncurling

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 54:57
Size: 126,8 MB
Art: Front

(4:44)  1. Born To Be Blue
(5:00)  2. Uncurling
(6:34)  3. Trees
(3:00)  4. Later Baby
(4:04)  5. How Deep Is The Ocean
(4:17)  6. World Peace Blues
(4:07)  7. Say My Name
(4:04)  8. You're Everything
(5:19)  9. You Don't Know What Love Is
(4:38) 10. Unspoken Thought
(5:36) 11. Invitation
(3:28) 12. There Will Never Be Another You

Portland, Oregon-based vocalist/bassist Belinda Underwood opens her debut with Mel Torme's "Born To Be Blue," employing a vocal style that seems a curious mixture of coy guilelessness and sultry sensuality. Not bad for someone who started as an instrumentalist bass, violin, baritone ukulele, piano, harp and then started singing late in the game because she couldn't make her bass play the sounds she was thinking, forcing her resort to her voice. Underwood Uncurling features six of Underwood's own compositions, the highlight perhaps the title tune, which has a very Joni Mitchell vibe. She also tackles a couple of familiar standards Irving Berlin's "How Deep Is The Ocean," featuring some marvelous phrasing in front of a vibrant arrangement; and "You Don't Know What Love Is," a loving nod to Billie Holiday infused with Underwood's own style.  Underwood is a talented lady. The mix of standards and originals here, played with understated but tasteful accompaniment, makes for an engaging listen in the singer/songwriter category leaning toward jazz on the standards and looking in the pop/songstress direction (Joni Mitchell style) on her originals. "Invitation" (B.F. Kaper/P.F. Webster), featuring a backdrop of gently bubbling percussion, makes me think she'd sound wonderful with that touch of hush that creeps into her voice at times on a bossa nova set. ~ Dan McClenaghan https://www.allaboutjazz.com/underwood-uncurling-belinda-underwood-cosmik-muse-rekords-review-by-dan-mcclenaghan.php

Personnel: Belinda Underwood--voice, bass, baritone ukulele;John Gross--tenor saxophone; Clay Giberson--piano; Phil Baker--bass; Martin Zarzar--drums and percussion; Dan Balmer--guitar; David Friesen--Hamage bass; Airto Moreira--drums and percussion; Chad Wagner--piano; Jason Levis--drums

Underwood Uncurling

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Rick Margitza - Hope

Styles: Saxophone Jazz
Year: 1991
File: MP3@256K/s
Time: 66:34
Size: 123,1 MB
Art: Front

(6:59)  1. The Journey
(6:00)  2. Song Of Hope
(8:50)  3. Steppin Stone
(5:08)  4. The Princess
(6:50)  5. Walls
(1:27)  6. Mothers Day
(4:46)  7. Recess
(5:28)  8. Heritage
(8:43)  9. The Old Country
(4:04) 10. We The People
(8:15) 11. Cornfed

Play any three-minute segment from this CD by tenor-saxophonist Rick Margitza and one would swear that this was a Wayne Shorter record from the mid-1970's. Only the superior recording quality and technology would betray the fact that these performances are of more recent vintage. Even though the original songs do not sound familiar, there is nothing on this moody date that stamps it as Rick Margitza's. The young saxophonist tries his best, often overdubbing his tenor and soprano, varying moods in his compositions and sometimes utilizing the voices of Phil Perry and Ed Calle as part of the ensemble, but in general the music is overly dry and Margitza's tones are a near duplicate of Shorter's, especially on tenor. Despite some good playing (especially from guitarist Steve Masakowski and pianist Joey Calderazzo), this was a premature effort from the young saxophonist who was not quite ready to be leading his own record session. ~ Scott Yanow https://www.allmusic.com/album/hope-mw0000314464

Personnel: Rick Margitza - tenor saxophone, keyboards, composer; Jeff Kievit - trumpet; Danny Cahn - trumpet; Steve Masakowski - guitar, banjo; Joey Calderazzo - piano; Marc Johnson - bass; Peter Erskine - drums; Airto Moreira - percussion; Phil Perry - vocals; Ed Calle - vocals, EWI; Charles Pillow - oboe; Richard Margitza - violin; Olivia Koppell - viola; Jesse Levy - cello

Hope

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Duke Pearson - I Don't Care Who Knows It

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:00
Size: 138,7 MB
Art: Front

(3:11)  1. I Don't Care Who Knows It
(7:40)  2. Bloos
(6:38)  3. A Beautiful Friendship
(5:53)  4. Horn In
(6:38)  5. Canto Ossanha
(6:33)  6. Xibaba - Remastered
(6:58)  7. I Don't Know
(5:22)  8. O Amor En Paz (Once I Loved)
(1:59)  9. Upa Neguinho
(5:47) 10. Captain Bicardi
(3:17) 11. Theme From Rosemary's Baby

The sessions that comprise I Don't Care Who Knows It date from 1969 and 1970 (with one stray track from a 1968 session with Bobby Hutcherson), when Duke Pearson was experimenting with Latin jazz, soul-jazz, and funk; they are also the second-to-last dates the pianist ever recorded for Blue Note. Working with a fairly large group that included bassist Ron Carter, drummer Mickey Roker, saxophonists Jerry Dodgion, Frank Foster, Lew Tabackin, trumpeter Burt Collins, trombonist Kenny Rupp, and occasionally vocalist Andy Bey, Pearson plays the electric piano throughout the majority of the album. As expected, the music swings with an understated funk, with the band alternating between standard hard-bop and mellow, soulful grooves. On the whole, I Don't Care Who Knows It is fairly uneven the sessions don't set well together, but work well as individual sets. Nevertheless, there is enough good material here to make it worthwhile for soul-jazz, Latin-jazz and, especially, Pearson aficionados. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/i-dont-care-who-knows-it-mw0000181100

Personnel:  Duke Pearson - piano, electric piano, arranger; Burt Collins - trumpet (tracks 1-6 & 8); Kenny Rupp - trombone (tracks 1-5); Jerry Dodgion - flute, alto flute, alto saxophone (tracks 1-8, 10 & 11); Al Gibbons - flute (tracks 6 & 8); Lew Tabackin - tenor saxophone, flute (tracks 1-5, 7 & 10); Frank Foster - tenor saxophone, alto clarinet (tracks 1-5); Bobby Hutcherson - vibes (tracks 6-8, 10 & 11); Sam Brown (track 11), Ralph Towner (tracks 7 & 10) - acoustic guitar; Dorio Ferreira - guitar, percussion (track 9); Al Gafa (tracks 6-8 & 10), Wally Richardson (tracks 7 & 10) - guitar; Bob Cranshaw - bass (tracks 6-8, 10 & 11); Ron Carter - bass (tracks 1-5); Bebeto Jose Souza - bass (track 9); Mickey Roker - drums (tracks 1-8, 10 & 11), percussion (track 9); Airto Moreira - percussion, vocals (track 5-8, & 10), drums (track 9); Stella Mars - vocals (track 8); Andy Bey - vocals (track 1); Flora Purim - vocals (track 9)

I Don't Care Who Knows It

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Buddy Terry - Pure Dynamite

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 45:41
Size: 104,7 MB
Art: Front

(10:11)  1. Quiet Afternoon
(10:49)  2. Paranoia
(17:32)  3. Baba Hengates
( 7:07)  4. Miscegenation

Edlin "Buddy" Terry (born January 30, 1941) is an American jazz musician and alto/tenor sax player. He was born in Newark, New Jersey. In the 1960s and 1970s Terry made albums for Prestige Records and Mainstream Records. He played with the group Swingadelic from 2000 to 2010. https://en.wikipedia.org/wiki/Buddy_Terry

Personnel:  Buddy Terry - tenor saxophone, soprano saxophone, flute;  Woody Shaw - trumpet;  Eddie Henderson - trumpet, flugelhorn;  Kenny Barron - piano;  Joanne Brackeen - piano, electric piano;  Stanley Clarke, Mchezaji - bass;  Billy Hart, Lenny White - drums;  Airto Moreira - percussion;  Mtumé - African percussion

Pure Dynamite

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Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

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Keith Jarrett - Expectations

Styles: Piano Jazz 
Year: 1972
File: MP3@320K/s
Time: 77:50
Size: 179,6 MB
Art: Front

( 0:51)  1. Vision
( 8:14)  2. Common Mama
( 6:55)  3. The Magician In You
( 5:25)  4. Roussillon
( 4:29)  5. Expectations
( 9:33)  6. Take Me Back
( 5:06)  7. The Circular Letter (For J.K.)
(17:21)  8. Nomads
( 4:28)  9. Sundance
( 9:51) 10. Bring Back The Time When (If)
( 5:33) 11. There Is A Road (God's River)

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose  from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade. "Common Mama," a spicy Latin workout with brass punctuations, "Take Me Back," driving soul jazz with streaks of electric jazz-rock, and the lengthy, nearly free "Nomads" are the most invigorating tracks.~ Richard S. Ginell https://www.allmusic.com/album/expectations-mw0000691522

Personnel:   Keith Jarrett: piano, organ, soprano saxophone, tambourine, percussion, arrangements;  Dewey Redman: tenor saxophone, percussion;  Sam Brown: guitar;  Charlie Haden: bass;  Paul Motian: drums;  Airto Moreira: percussion.

Expectations

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David Garfield - Jazz Outside The Box

Size: 207,4 MB
Time: 89:03
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Vocals
Art: Front

01. Fragile (Feat. Michael McDonald, Bruce Hamada & Diego Figueiredo) (5:37)
02. Harvest Time (Acoustic) (Feat. Eric Marienthal & Airto Moreira) (5:49)
03. In A Sentimental Mood (Feat. Poncho Sanchez & Larry Klimas) (5:49)
04. Roxanne (Feat. Robbie Wyckoff & Joe Porcaro) (4:22)
05. Song For My Father (Full-Length) (Feat. John Densmore, Denny Dias & Randy Brecker) (7:14)
06. Rainbow Seeker (Acoustic) (Feat. Chuck Loeb & Steve Jordan) (5:44)
07. Stolen Moments (Feat. Tom Scott & Joe Porcaro) (4:55)
08. Voodoo Gumbo - Citizen Coryell (Feat. Larry Coryell & Airto Moreira) (2:24)
09. East Lou Brew (Feat. Bennie Maupin, Wallace Roney & Larry Coryell) (5:46)
10. Sophisticated Lady (Feat. Poncho Sanchez, Leslie Smith & Pete Christlieb) (6:16)
11. Red Baron (Feat. Randy Brecker & Brian Auger) (4:08)
12. Country Preacher (Feat. Eric Marienthal & Mike Finnigan) (4:56)
13. Prophecy (Feat. Michael Landau & Vinnie Colaiuta) (4:32)
14. My Favorite Things (Feat. Robert Greenidge & Terry Trotter) (5:33)
15. Song For My Father (Radio Version) (Feat. John Densmore, Denny Dias & Randy Brecker) (4:41)
16. Red Baron (Alternate Version) (Feat. Oz Noy & James Harrah) (4:07)
17. Harvest Time (Extended Version) (Feat. Eric Marienthal & Airto Moreira) (6:52)

David Garfield, the guiding light for the jazz-fusion band Karizma, unveils Jazz: Outside the Box. on 2018. He’s not one to stand still as he’s an in-demand player, and has been musical director for George Benson, as well as a solo star in his own right.

Jazz: Outside the Box is a labor of love for the Los Angeles-based keyboardist. He has recorded more than four discs worth of music for the on-going Outside the Box project. Jazz: Outside the Box follows three singles released in 2017: A cover of Stevie Wonder’s “Go Home” featuring Kirk Whalum and Paul Jackson Jr.; “Jamming,” a Bob Marley cover with Mike Campbell; and the original tune “I Lied” he co-wrote with Smokey Robinson for vocalist J. Paris.

The Sting classic “Fragile” kicks things off in fine form. David Garfield’s piano centered arrangement is elegant. Touches of percussion by Kevin Ricard and acoustic bass by Carlos del Puerto move things along, while vocalist Michael McDonald provides an understated charm which is perfectly fitting. John Clayton arranged and conducted the string section on this, and it majestically intertwines with the song.

“In a Sentimental Mood” adds a Latin jazz flavor as percussionist and bandleader Poncho Sanchez adds congas, shakers and his unmistakable flare to bring the proceedings to a simmer. Garfield’s acoustic piano supports the tenor saxophone and trumpet, while the vibraphone toys with the melody. Garfield’s production and arranging allow each player to shine, while they support the song.

Joe Porcaro and Robbie Wyckoff get the same opportunity. Their interpretation of “Roxanne” defies expectations. The trumpet kicks of this song’s melodic core, before the band swings into the familiar tension of the song. Touches of Hammond B-3 support David Garfield’s piano. The band is in full swing mode before the backing vocals enter to support the musical bliss. Wyckoff’s lead vocal is perfect as it never attempts to replicate the original, and Porcaro’s drums (instead of his usual percussion additions) are always a welcome addition to any song. Carmen Grillo fills out the vocals to make this even more of a treat.

Bass, piano and guitar dance with each other in “Rainbow Seeker,” a Joe Sample composition. The late Chuck Loeb provides delicate leads as his electric guitar works magic with the melody. Steve Jordon reminds everyone why he’s so many artists’ first-call drummer. Garfield’s piano, Loeb’s guitar and Jordon’s drums conspire to lift the song to the stars.

Joe Porcaro returns on “Stolen Moments” but, this time, Tom Scott’s tenor is Porcaro’s and Garfield’s playmate. The song’s slow methodical groove is supported by a big band horn chart that flaunts jazz tradition while bringing in something new. Again, Garfield shows off his arranging chops as tenor sax, alto, baritone weave seamlessly with trombone and trumpet. Scott’s tenor solo smokes, as he moves the tempo forward.

The horns have a Steely Dan-meets-Chicago flare, with Chuck Findley and Nick Lane adding trumpet and trombone, respectively. Original Steely Dan guitarist Denny Dias makes a surprise and welcome appearance, going on a series of fluid runs. By the time David Garfield weaves in his acoustic solo, you can’t help but realize the song – and, indeed, all of Garfield’s Jazz: Outside the Box – is something special.

“Sophisticated Lady” features Sanchez again on congas, and an understated lead male vocal. Garfield ties in a full horn section but leaves solo space for the great Pete Christlieb. Christlieb does not disappoint as his bars of pure jazz delight hover above Sanchez’s conga and Garfield’s piano like angels above the clouds.

Karizma members Michael Landau and Vinnie Colaiuta make an appearance on “Prophecy.” The song has a fusion feel with an early drum solo by Colaiuta, nice chunky guitar fills by Landau and a mid-song solo. David Garfield sticks with his acoustic piano as the song builds, yet “Prophecy” seems almost out of place surrounded by the more contemporary jazz selections.

Jason Scheff, the long-time former bassist of Chicago, shows off his considerable jazz chops to “Song For My Father.” His bass is melodic, as its dances with Doors drummer John Densmore’s laid back rim work. Scheff also takes a turn at the mic, lending his unmistakable tenor to the mix. Denny Dias is also along for the ride. Dias, who appears on Garfield’s Porcaro-related Tribute to Jeff album is as tasteful as ever, adding even a touch of “Rikki Don’t Lose That Number” to the melody – even if he didn’t play on that Steely Dan song. The song’s samba beat adds another dimension to Jazz: Outside the Box, which at 17 songs covers a lot of ground.

Jazz: Outside the Box is a fascinating and often exhilarating look at David Garfield’s vision of straight-ahead jazz. Yet it’s only a tease as Garfield plans three more Outside the Box releases covering contemporary jazz, voice and fusion. If Jazz: Outside the Box is any indication, we are in for a treat. ~by Preston Frazier

Jazz Outside The Box

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Grover Washington Jr - Soul Box

Bitrate: MP3@320K/s
Time: 68:17
Size: 156.3 MB
Styles: Fusion, Funk, Soul Jazz
Year: 1973/2008
Art: Front

[ 3:42] 1. Aubrey
[13:17] 2. Masterpiece
[15:57] 3. Trouble Man
[ 6:04] 4. You Are The Sunshine Of My Life
[11:12] 5. Don't Explain
[ 9:54] 6. Easy Living Ain't Nobody's Business If I Do
[ 8:08] 7. Taurian Matador

Alto Saxophone, Tenor Saxophone, Soprano Saxophone – Grover Washington, Jr.; Arco Bass – Richard Davis, Ron Carter; Bass – Ron Carter; Bass Trombone – Alan Raph, Paul Faulise, Tony Studd; Bassoon – Donald McCourt; Cello – Charles McCracken, George Ricci, Seymour Barab; Drums – Idris Muhammad; Flute, Clarinet, Clarinet [Contra Bass], Bass Saxophone – Wally Kane; Flute, Piccolo Flute – Hubert Laws; Flute, Piccolo Flute, Clarinet, Bass Clarinet, Oboe, English Horn – Romeo Penque; Flute, Piccolo Flute, Oboe – George Marge; Flute, Piccolo Flute, Recorder – Harvey Estrin; French Horn – Brooks Tillotson, Jim Buffington, Peter Gordon; Guitar – Eric Gale; Organ – Richard Tee; Percussion – Airto, Dave Friedman, Phil Kraus, Ralph MacDonald; Piano, Electric Piano – Bob James; Trombone – Santo Russo, Wayne Andre; Trumpet – Bernie Glow, John Frosk, Jon Faddis, Randall Brecker; Viola – Alfred Brown, Emanuel Vardi, Theodore Israel; Violin – Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman; Vocals – Barbara Massey, Bernard Thacker, Eileen Gilbert, Maeretha Stewart, Randolph Peyton, Bill Eaton.

The early work of alto saxophonist and composer Grover Washington, Jr. is a rare and beautiful thing to behold. His entire Kudu period, marked by the albums Inner City Blues, All the King's Horses, Soul Box, Mister Magic, and Feels So Good, is brilliant, solid urban groove jazz played with grace, mean chops, and slippery funkiness. Soul Box, a double LP recorded in 1973, has Creed Taylor's production enhanced by a symphony orchestra and full-blown jazz band arranged and conducted by Bob James. Some of the session men include Ron Carter, Billy Cobham, Eric Gale, Idris Muhammad, Airto, and Richard Tee. Soul Box only contains seven cuts. Among them are truly innovative reads of Billy Cobham's "Taurian Matador," Stevie Wonder's "You Are the Sunshine of My Life," a side-long jam on Marvin Gaye's "Trouble Man" (the album's centerpiece and masterpiece), and the deep funk of Norman Whitfield's "Masterpiece." "Trouble Man," however, is the cut on which all the contradictions of the session come to bear and are resolved due in large part to Washington's deeply lyrical improvising and James' ability to layer an orchestra into a groove. There are cadenzas written in after choruses that bring the orchestra in to accent the sketchy funk in the tune and bring out its deep blue hues. When Washington gets to the front of it all, he lets go like he's crying from the heart. On other tracks, the orchestra adds the right drama or sweetness -- as it does on Wonder's cut -- but Washington makes them grittier, with soloing that sidles up to the melody before reinventing it. For its length, Soul Box is a modern classic for its instrumental and arrangement invention and for its deeply emotional bounty. ~Thom Jurek

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Airto Moreira - Homeless

Bitrate: MP3@320K/s
Time: 50:23
Size: 115.3 MB
Styles: Latin, Brazilian rhythms
Year: 2016
Art: Front

[4:45] 1. Vira Poeira (Burning To Dust)
[4:44] 2. Come As You Are
[4:37] 3. 700 Years
[3:02] 4. After These Messages
[5:02] 5. Street Vendors (D'jmbo)
[4:14] 6. Wake Up Now
[6:17] 7. Homeless (Around The Fire)
[6:58] 8. Samba 4 Sale
[5:57] 9. Ginga Sem Fronteira
[4:41] 10. The Last One

Although Airto Moreira was never a jazz purist, most of his work has been jazz-oriented. From his years with Chick Corea's first Return to Forever lineup to his classic CTI dates of the 1970s to his work on wife Flora Purim's albums, the Brazilian drummer/vocalist has been known for combining jazz with Brazilian music, rock, and funk. No one could ever accuse Purim's husband of being someone who is only interested in showing the world how fast he can play John Coltrane's "Giant Steps," but it is safe to say that most of Moreira's work has been jazz-oriented even though it isn't straight-ahead bop. Homeless, however, is a Moreira project that has very little to do with jazz. This diverse, highly rhythmic CD draws on everything from pop, funk, hip-hop, and Afro-Brazilian tribal chanting to club and rave music, but jazz considerations aren't a priority. Although Homeless isn't the least bit predictable, there is something that ties all the material together: rhythm. Whether Moreira is embracing melodic Brazilian pop on the introspective "Wake Up Now" (which features his daughter, singer Diana Moreira Booker), getting into Afro-Brazilian tribal sounds on "The Last One" and "Come As You Are" (which are all rhythm and no melody), or getting into a moody yet funky rave/trance groove on "Vira Poeira (Burning to Dust)," the common denominator is Moreira's distinctively Brazilian sense of rhythm. The lead vocals are shared by Moreira and Booker; while Moreira sings in Portuguese, his daughter handles the English lyrics. Not surprisingly, Booker sounds somewhat like Purim, although she does have an appealing delivery of her own. This likable, if a bit uneven, CD isn't among Moreira's essential releases, but it's an intriguing addition to his catalog -- and he deserves credit for trying something a bit different. ~Alex Henderson

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Jim Hall - Where Would I Be?

Bitrate: MP3@320K/s
Time: 39:25
Size: 90.2 MB
Styles: Guitar jazz
Year: 1971/1991
Art: Front

[4:18] 1. Simple Samba
[5:11] 2. Where Would I Be
[4:55] 3. Careful
[3:26] 4. Baubles, Bangles And Beads
[8:09] 5. Minotaur
[3:50] 6. I Should Care
[3:55] 7. Vera Cruz
[5:37] 8. Goodbye, My Love

Bass – Malcolm Cecil; Drums – Airto Moreira; Guitar – Jim Hall; Piano – Benny Aronov. Recorded at Mediasound Studios, NY City July 1971.

Although the rhythm section was more "modern" than he usually used (keyboardist Benny Aronov, bassist Malcolm Cecil, and Airto Moreira on drums and percussion), guitarist Jim Hall (who always had a harmonically advanced style anyway) has little difficulty adapting to the fresh setting. Highlights of the well-rounded CD reissue include Hall's "Simple Samba," "Baubles, Bangles and Beads," an unaccompanied "I Should Care," and Milton Nascimento's "Vera Cruz." ~Scott Yanow

Where Would I Be?

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Milton Nascimento - Courage

Styles: Vocal, Brazilian Bossa Nova 
Year: 1969
File: MP3@320K/s
Time: 34:27
Size: 81,1 MB
Art: Front

(3:52)  1. Bridges (Travessia)
(3:13)  2. Vera Cruz
(2:45)  3. Tres Pontas
(4:12)  4. Outubro (October)
(3:27)  5. Courage
(3:23)  6. Rio Vermelho
(3:26)  7. Gira Girou (Round 'N' Round)
(4:28)  8. Moro Velho
(2:31)  9. Catavento
(3:07) 10. Canção Do Sol (Saltworkers Song)

Milton Nascimento's first album for North American ears, recorded at Van Gelder Studios in New Jersey under the watchful eye and discerning ear of Creed Taylor, is a masterpiece, a gorgeously executed tour through his early songs. Backed beautifully by Eumir Deodato's lush orchestrations and a clutch of sidemen from the Taylor stable (including Herbie Hancock, Airto Moreira, and Hubert Laws), Nascimento unveils one first-class tune after another, many of which would ignite a rush of cover versions. Among the songs North Americans heard for the first time were "Vera Cruz," "Tres Pontas," "Morro Velho," the scatted "Catavento," and the intensely moving "Bridges" ("Travessia")" the latter which launched Nascimento's name on the world music scene. Singing in English, Portuguese, and often with no words at all, Nascimento's odd yet masculine and expressive baritone stands out like a moaning foghorn from the smooth A&M/Taylor sonic formula, a haunting combination. This was Nascimento before tropicalismo, when he latched onto the tail end of the bossa nova movement and quickly became one of its most inspired performers and songwriters. To some admirers, Courage remains his best record, period. ~ Richard S.Ginell https://www.allmusic.com/album/courage-mw0000199723   

Personnel:  Milton Nascimento - vocals;  Wayne Andre, Paul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch - trombone;  Burt Collins, Marvin Stamm - flugelhorn;  Ray Alonge, Joe DeAngelis, Paul Ingraham - French horn;  George Marge - clarinet;  Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo - flute;  Herbie Hancock - piano;  Eumir Deodato - organ, arranger, conductor;  Jose Marino - bass;  João Palma - drums;  Airto Moreira - percussion;  David Nadien, Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zatde, Joseph Zwilich - violin;  Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi - viola;  Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman - cello;  Anamaria Valle - vocal

Courage

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Airto Moreira - Alue

Size: 160,8 MB
Time: 69:37
File: MP3 @ 320K/s
Released: 2017
Styles: Latin Jazz
Label: Selo Sesc
Art: Front

01. Alue ( 6:45)
02. Misturada ( 6:46)
03. Rosa Negra ( 8:00)
04. I'm Fine, How Are You (10:05)
05. Lua Flora ( 9:52)
06. Nao Sei Pra Onde, Mas Vai (14:14)
07. Sea Horse ( 9:33)
08. Guarany ( 4:18)

Airto Moreira started to laugh and hung up. There was not the slightest possibility that Miles Davis at the beginning of his phase known as the "electric period" had him call the "Brazilian guy" in order to invite him to a recording. "Mr Moreira, I am the Miles Davis businessman and he asks you to come to the studio next Monday to record together. "Airto's response was short:" Who's talking? OK, have a nice day. "
But the phone rang again and the story of the boy born in Santa Catarina, raised in Curitiba and discovered in the early 1960s alongside César Camargo Mariano and Humberto Cláiber, breaking everything in the Trio Sambalanço, won his New Testament. The one who picked the phone this time was Lee Morgan, the trumpeter who walked by his residence. "No need to answer, it must be a joke," Airto warned. Morgan exchanged a few words in English and returned. "They want you in Bitches Brew." One of Miles's legendary works would have Airto on the percussion.
It was a trajectory that was imposed on the Brazilian's own decisions. From gig to gig, he passed Herbie Hancock, Wayne Shorter, Jaco Pastorius, Dizzy Gillespie, Cannonball Adderley, Lee Morgan, Dave Holland, Keith Jarrett, Jack DeJohnette, Ron Carter, John McLaughlin, Quincy Jones, George Duke, Mickey Hart, Paul Simon, Carlos Santana, Michael Brecker, Zakir Hussain, Stanley Clarke, Chick Corea and Joe Zawinul. Down Beat magazine named him the best percussionist in the world for eight years in a row and Brazil was small. There was no invitation to stimulate him more than the world offered him.
Fifty years after his departure abroad in 1967, Airto Moreira will release his first Brazilian album with shows from December 7 to 10 at Sesc 24 de Maio. Rio's Blue Note welcomes you on December 15th. It is his first work playing only with musicians from his country and recorded in Brazil. Aluê, with some revisions of important records and the unpublished Rosa Negra, I Do not Know Where, But Vai and Guarany, have musicians José Neto (guitar), daughter Diana Purim (vocals), Sizão Machado (bass), Fabio Leandro piano), Vitor Alcântara (saxophones) and Carlos Ezequiel (drums and production).
The album features album themes scattered throughout various periods of his career. From the album The Sun Is Out, 1989, I'm Fine, How Are You and Moon Flora. The Aluê track was extracted from Natural Feelings, 1970. A few years ahead and Mixed remembers the phase of the album Three-Way Mirror, of 1987. (translate from portuguese)

Alue

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Grover Washington, Jr. - Inner City Blues

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 35:19
Size: 82,7 MB
Art: Front

(7:12)  1. Inner City Blues (Make Me Wanna Holler)
(4:40)  2. Georgia On My Mind
(5:09)  3. Mercy Mercy Me (The Ecology)
(8:34)  4. Ain't No Sunshine-Better Days (Theme From Man And Boy)
(4:36)  5. Until It's Time Fot You To Go
(5:05)  6. I Loves You Porgy

The story behind Grover Washington, Jr.'s first session date as a leader revolves around a sheer coincidence of being in the right place at the right time. The truth is, the date for Creed Taylor's Kudu imprint was supposed to feature Hank Crawford in the soloist's chair. Crawford couldn't make the date and longtime sideman Washington got the nod. His being closely affiliated with organists Charles Earland and Johnny Hammond didn't hurt, and his alto and tenor saxophones' tone was instantly noticeable for both its song-like quality and Washington's unique ability to dig deep into R&B territory for his expression of feeling. Released in 1971, produced by Taylor, and arranged and orchestrated by Bob James, the list of players in this band is equally impressive: James played Fender Rhodes, there's Richard Tee on organ, bassist Ron Carter, drummer Idris Muhammad, then-new guitarist Eric Gale, percussionist Airto Moreira, Thad Jones and Eugene Young on trumpets, trombonist Wayne Andre, and baritone saxophonist Don Ashworth. James also added a violin section and a small vocal chorus on certain tracks.

Inner City Blues kicks off with its title track, a burning version of the Marvin Gaye tune with Washington lending a heft and depth to it that reveals the sophistication of Gaye's original. From Airto's hand drums and Muhammad's hi-hat whispers to the chunky wah-wah guitar vamp and a funky bassline by Carter, it becomes clear that Washington's methods of deep soul articulation on his horn extend into the heart of this mix. James decorated his charts with subtle organ flourishes and his piano, but this is early jazz-funk at best. While Miles Davis was abstracting jazz on the margins, Washington and his cohorts were keeping the music in the street, in the barroom, on the radio, and in the nightclubs and bowling alleys.

The tune was a hit at a time when fusion was becoming widespread; free jazz from both sides of the Atlantic was considering itself the new standard bearer for the music, and the many legends of the '60s Blue Note and Prestige eras were beginning to feel the music get away from them. With this entry, Washington's screaming, edgy solo stayed in the killer grooves with breaks laid down by Muhammad and Moreira, Gale and Carter. Washington was just getting started and it was evident here that this cat was deep. He walked the standards side of the fence on this date as well, bringing them into the jazz-funk era: his readings of "Georgia on My Mind" and "I Loves You Porgy" are sensitive, deeply lyrical, and sophisticated, but come from the soul side of the fence. Carter's warm, bubbly bassline and the brief guitar break introduce the strings in the former tune while at the same time Washington plays the melody on his alto. Muhammad lays down some beautiful and pronounced rhythmic statements without getting in the way, and before long the groove develops, taking the tune right into the club with Gale's solo and some hot comping by James that fades as the strings and Grover return deeper in the cut to take it out. The other cuts are modern standards and pop songs creatively voiced by this soloist and band. They include a stellar, lightly funky version of Gaye's "Mercy, Mercy Me (The Ecology)," and a knock-out take on Bill Withers' "Ain't No Sunshine," rivaled only by the original and Rahsaan Roland Kirk's flute version on Blacknuss. 

On the former tune, it's the popping rhythm groove dressed in some smoking hand percussion and fat chunky Rhodes chords that set up Washington's solo, which just burns and wails with all the pleading and pain in Gaye's voice. The latter cut begins subtly, nocturnally in the blues, with Gale, James, Carter, and Muhammad. Washington enters playing the melody on the alto, and the strings sound draped around him just as the horn section comes in to play counterpoint a beat behind. This is some deep soul. A vocal chorus begins almost subliminally with the "I know, I know, I know, I know" intonation and introduces the popping solos by Gale with the rhythm section in the bridge underscored by the horns. The strings well up with all the drama and emotion emanating from Withers' words, and then just drop behind to allow the saxophonist back in to work it all out with some very sophisticated grooves. The other "modern" standard here is also one that's endured after all these years, the sensitive reading Washington and company put in on Buffy Sainte-Marie's beautiful "Until It's Time for You to Go." Its melancholy sweetness after the eight-and-a-half-minute Withers' jam is breathy, clear, and quiet; James and Washington set it in a light bossa groove. Its shimmering strings and the saxophonists' restraint on the tenor is so elegant and graceful that the tune carries emotion, gentleness, and the bittersweet commitment of its lyric all the way through to its end. This is an amazing debut in so many ways, and it was followed by a run of albums for the label through the end of the '70s when Washington left for Elektra. Inner City Blues remains standing today as a landmark and a turning point in jazz. ..More.. ~ Thom Jurek https://www.allmusic.com/album/inner-city-blues-mw0000192866

Personnel:  Grover Washington Jr. – tenor saxophone, alto saxophone;  Eugene Young, Thad Jones – trumpet, flugelhorn;  Wayne Andre – trombone;  Don Ashworth – bass;  Bob James – electric piano, arranger, conductor;  Richard Tee – organ;  Eric Gale – guitar;  Ron Carter – bass, electric bass;  Idris Muhammad – drums;  Airto Moreira – percussion;  Hilda Harris, Marilyn Jackson, Maretha Stewart, Tasha Thomas – vocals

Inner City Blues

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Gato Barbieri - Under Fire

Bitrate: MP3@320K/s
Time: 35:47
Size: 81.9 MB
Styles: Latin jazz
Year: 1971/2016
Art: Front

[9:08] 1. El Parana
[4:51] 2. Yo Le Canto A La Luna
[3:51] 3. Antonico
[9:35] 4. Maria Domingas
[8:20] 5. El Sertao

Under Fire is Gato Barbieri in his early-'70s prime, when the Argentinean tenorman's transition from the avant-garde to exploring his South American continental routes still hadn't passed beyond the pale into flaccid fusion. He's joined by a pretty stellar band: his regular pianist Lonnie Liston Smith (before he fuzaked out), Airto Moreira and James Mtume on drums and percussion, the veteran Roy Haynes guesting on "El Parana," a young John Abercrombie on guitar and Stanley Clarke in his young lion-of-acoustic-bass phase.

Barbieri floats in the background of "El Parana" before kicking into the song proper at an accelerated tempo. More than improvising per se, his trademark was the emotionally charged sonic stamp he put on the melody (check the intro to the ballad "Yo Le Canto a la Luna," where Barbieri sounds like he's aiming to blow down walls) that made clichés like "Latin passion and fire" sound like, well, the real deal. It also provides a good counterpoint to the exuberant playing of the group -- Smith's solo shows the impact of his years with Pharoah Sanders, but it's Clarke and the rhythm section that really drive the piece while Abercrombie tosses in fills here and there.

"Antonico" features double-tracked Barbieri and the strongest improvisation (so far) at the end, while Brazilian songwriter Jorge Ben's "Maria Domingas" fades in with a full head of steam thanks to Abercrombie and Clarke dueling over Moreira and Mtume. Barbieri's echoed yelps give way to a deeply lyrical sax melody -- he does a lot of similar dynamic shifts here -- before Abercrombie's guitar comps re-start the up-tempo with Clarke effortlessly loping on as the octave-leaping anchor for Barbieri's searing statement of the theme. "El Sertao" opens with Barbieri squeaks over Smith's echoed Fender Rhodes trills, a Clarke foundation riff, and Abercrombie's comps before Barbieri enters full-force. The music stays light and buoyant before another downtempo shift builds to a climatic coda with Clarke shining.

Even the longer pieces are over before you know it so, although Under Fire doesn't quite match the charged intensity of Fenix or El Pampero, it leaves you wishing for two things. First, that there were outtakes to include here because you never come close to getting tired of the music -- double the music would mean double the fun. And what a shame that Carlos Santana, who was just entering his Devadip phase, never recorded with Barbieri at this point in their careers because that combination had the potential to create some pretty incredible music. ~Don Snowden

Under Fire

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Flora Purim - That's What She Said

Bitrate: MP3@320K/s

Time: 35:24

Size: 81.0 MB

Styles: Fusion, Latin jazz

Year: 1978/2001

Art: Front

[4:31] 1. Look Into His Eyes

[4:31] 2. Juicy

[5:07] 3. Hidden Within

[3:29] 4. You On My Mind

[5:02] 5. What Can I Say

[4:44] 6. Love's The Way I Feel 'bout Cha

[3:52] 7. That's What She Said

[4:04] 8. You Are My Heart

Accompanied By/With – Airto, Alphonso Johnson, Byron Miller, Ernie Watts, George Bohanon, George Duke, Jay Graydon, Leon Ndugu Chancler, Oscar Brashear. Recorded (mostly in 1976) at Paramount Recording Studios, Holywood.

Toward the close of her Milestone years, Flora Purim teamed up with producer/keyboardist George Duke -- and the imprint of Duke, then entering his funkified "Dukey Stick" period, is heavy enough to dominate the record. Very often, Duke uses his then rhythm section of bassist Byron Miller (alternating with Alphonso Johnson) and drummer Ndugu Chandler to give the grooves a definite '70s funk feel -- and percussionist Airto adapts his talents seamlessly to this way of life. Duke's electronic keyboard arsenal is all over the record, occasionally going gonzo on the Moog synthesizer, draping a then-still-fashionable ARP string synthesizer over the landscape, comping on the Rhodes electric piano or Yamaha electric grand. Joe Henderson turns up with a funk-bop tenor solo on the Brazilian/funk groove on "What Can I Say?" (what could he say?), part of a first-call L.A. studio horn section that includes trumpet Oscar Brashear, trombonist George Bohanon, and Ernie Watts on flute. And where does all of this instrumental activity leave Purim? Floating on top of the mix as usual, whether in a wordless vocalise, agile scatting with Duke's lead synth on the title track, or heavily accented English, sometimes in multiple overdubs. Nevertheless, the Brazilian feeling is not quite cancelled out by Duke's busy production hand -- and this Western Hemispheric amalgam would soon pave the way for groups like Azymuth. ~Richard S. Ginnell

That's What She Said

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David Friesen - Amber Skies

Styles: Jazz, Post-Bop 
Year: 1983
File: MP3@320K/s
Time: 53:44
Size: 123,3 MB
Art: Front

( 8:14)  1. Amber Skies
(10:20)  2. Blue and Green
( 5:58)  3. Underlying
( 4:43)  4. Jenelle Number Four
( 8:55)  5. In the Place of Calling
( 6:16)  6. Sitka in the Woods
( 9:14)  7. Voices

One of bassist David Friesen's better jazz sessions as a leader, this set (which has been reissued by other labels on CD) has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating. ~ Scott Yanow http://www.allmusic.com/album/amber-skies-mw0000119934

Personnel: David Friesen (acoustic bass); Paul Horn (flute); Chick Corea (piano); Paul Motian (drums); Airto Moreira (percussion)

Amber Skies

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Flora Purim - Stories To Tell

Bitrate: MP3@320K/s
Time: 39:59
Size: 91.6 MB
Styles: Fusion, Latin jazz
Year: 1974
Art: Front

[3:40] 1. Stories To Tell
[5:52] 2. Search For Peace
[3:53] 3. Casa Forte
[2:44] 4. Insensatez
[3:14] 5. Mountain Train
[4:03] 6. To Say Goodbye
[5:38] 7. Silver Sword
[4:10] 8. Vera Cruz (Empty Faces)
[6:41] 9. O Cantador I Just Want To Be Here

Though her recordings for Chick Corea's Return to Forever provide a better introduction to her vocal talents, Stories to Tell is an excellent outing by Flora Purim and friends. Assisted by a cast of jazz/fusion all-stars led by husband Airto Moreira, Purim shows off the wide range of her abilities: from wordless vocal soaring to songs with lyrics in English and Portuguese, from uptempo percussion-driven workouts to beautiful ballads. In addition to Airto, the assembled cast includes bassists Miroslav Vitous and Ron Carter, keyboard wunderkind George Duke, guitarists Earl Klugh and Oscar Castro-Neves, and trombonist Raul de Souza. Also, Carlos Santana turns in one of his patented sizzling guitar solos on "Silver Sword." With material from Antonio Carlos Jobim, Vitous, Milton Nascimento, McCoy Tyner, and Purim herself, this is an album worth savoring. ~Jim Newsom

Stories To Tell

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Hubert Laws - The Rite Of Spring

Styles: Flute Jazz
Year: 1971
File: MP3@320K/s
Time: 30:50
Size: 70,8 MB
Art: Front

(7:43)  1. Pavane
(9:03)  2. Rite Of Spring
(3:34)  3. Syrinx
(6:01)  4. Brandenburg Concerto No 3, First Movement
(4:27)  5. Brandenburg Concerto No 3, Second Movement

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment. ~ Thom Jurek http://www.allmusic.com/album/the-rite-of-spring-mw0000649611

Personnel : Hubert Laws (flute); Walter Kane, Jane Taylor, Wally Kane (bassoon); Ron Carter (cello, bass); David Friedman (vibraphone, percussion); Bob James (piano, electric piano, harpsichord); Gene Bertoncini, Stuart Scharf (guitar); Jack DeJohnette (drums); Airto Moreira (percussion).

The Rite Of Spring

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Duke Pearson - How Insensitive

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 34:29
Size: 79,2 MB
Art: Front

(4:40)  1. Stella By Starlight
(2:44)  2. Clara
(3:25)  3. Give Me Your Love
(3:54)  4. Cristo Redentor
(2:55)  5. Little Song
(2:15)  6. How Insensitive
(3:31)  7. Sandalia Dela
(4:37)  8. My Love Waits
(3:30)  9. Tears
(2:51) 10. Lamento

Like most Blue Note artists, Duke Pearson moved toward commercial-oriented soul-jazz in the late '60s. At least, How Insensitive was supposed to be commercial. Pearson simplified his original compositions, chose standards like "Stella By Starlight," and covered contemporary pop songs like Jobim's "Lamento." He also assembled a large band with rock instrumentation like electric guitars, bass, electric pianos, and drum kits. Most importantly, he hired the New York Group Singers' Big Band a group of singers that are arranged like a horn section (males are the trombones, females are alto saxes, etc.) to sing on each song. The vocalists may be technically gifted in particular, Andy Bey has a rich voice but their presence on these arrangements is quite bizarre, especially since they take center stage. 

Each song on How Insensitive boasts extravagant, layered arrangements that flirt with schmaltz, but the voicings and attack are so unusual, the result is a weird variation on easy listening. There is little opportunity for Pearson to showcase his tasteful playing through improvisation, yet the arrangements are so off-kilter, the music never quite works as background music. In other words, it's a very interesting failure and one of the strangest by-products of Blue Note's late-'60s commercialization. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/how-insensitive-mw0000463221

Personnel:  Duke Pearson - piano, electric piano, arranger;  Al Gafa - guitar (tracks 1-6 & 8);  Dorio Ferreira - guitar, percussion (tracks 7, 9 & 10);  Bob Cranshaw - bass (tracks 1-6 & 8);  Bebeto Jose Souza - bass (tracks 7, 9 & 10);  Mickey Roker – drums;  Airto Moreira – percussion;  Andy Bey - lead vocals (track 2), vocals (1, 3-6 & 8);  Flora Purim - lead vocals (tracks 7, 9 & 10);  The New York Group Singers' Big Band - vocals (tracks 1-6 & 8);  Jack Manno - conductor

How Insensitive

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