George Benson - Giblet Gravy

Styles: Guitar Jazz
Year: 1968
File: MP3@320K/s
Time: 56:31
Size: 133,2 MB
Art: Front

(3:02) 1. Along Comes Mary
(2:56) 2. Sunny
(5:32) 3. What's New?
(4:50) 4. Giblet Gravy
(3:26) 5. Walk On By
(4:42) 6. Thunder Walk
(3:08) 7. Sack Of Woe
(2:46) 8. Groovin'
(8:40) 9. Low Down and Dirty
(6:14) 10. Billie's Bounce
(5:41) 11. What's New? - alternative take 1
(5:28) 12. What's New? - alternative take 2

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format; skills he first garnered attention for as a member of Brother Jack McDuff's band in the early '60s. Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway. In a sense, he is the guitar-playing equivalent of Nat King Cole, a fantastic instrumentalist whose smooth way with a pop vocal helped solidify his prowess in the marketplace. It is this combination of singing and guitar playing that has garnered him numerous accolades and chart success, including most notably his 1976 breakthrough Breezin', which topped the pop, R&B, and jazz charts and took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year. Benson has remained a chart and awards season favorite, releasing more Top Ten jazz albums, including 1980's Grammy-winning Give Me the Night, 1993's Love Remembers, and 2006's Grammy-winning Givin' It Up with Al Jarreau. Along with his original studio albums, Benson has paid tribute to his idols, releasing 2013's Inspiration: A Tribute to Nat King Cole and 2019's Fats Domino- and Chuck Berry-inspired Walking to New Orleans.

Born in 1943 in Pittsburgh, Benson actually started out professionally as a singer, performing in nightclubs at the age of eight, recording four sides for RCA's X label in 1954, and forming a rock band at 17 while using a guitar that his stepfather made for him. Exposure to records by Christian, Montgomery, and Charlie Parker got him interested in jazz, and by 1962, the teenage Benson was playing in Brother Jack McDuff's band. After forming his own group in 1965, Benson became another of talent scout John Hammond's major discoveries, recording two highly regarded albums of soul-jazz and hard bop for Columbia and turning up on several records by others, including Miles Davis' Miles in the Sky. He switched to Verve in 1967, and, shortly after the death of Montgomery in June 1968, producer Creed Taylor began recording him with larger ensembles on A&M (between 1968 and 1969) and big groups and all-star combos on CTI (from 1971 to 1976).

While the A&M and CTI albums certainly earned their keep and made Benson a guitar star in the jazz world, he gained yet more commercial acclaim after signing with Warner Bros. in 1976. His first album for Warner Bros., Breezin', became a Top Ten hit on the strength of its sole vocal track, "This Masquerade," and this led to a string of hit albums in an R&B-flavored pop mode, culminating with the Quincy Jones-produced Give Me the Night. However, jazz remained at the core of his sound, as showcased on 1989's standards album Tenderly, as well as 1990's Big Boss Band with the Basie band, the latter of which featured his guitar more prominently. In 1993, he scored another number one contemporary jazz album with Love Remembers, and followed with several more chart-topping albums, including 1996's That's Right and 1998's Standing Together. The Latin-infused Absolute Benson arrived in 2000 debuting at number one on the Billboard Jazz chart, and was followed by 2004's number five-charting Irreplaceable. He then paired with vocalist Al Jarreau for 2006's Givin' It Up, which topped the contemporary jazz chart and took home Grammy Awards for Best Pop Instrumental Performance and Best Traditional R&B Vocal Performance. In 2009, Benson signed to Concord and released Songs and Stories for the label; he followed it with his first primarily instrumental album in 35 years, Guitar Man, in 2011. Two years later, Benson released Inspiration: A Tribute to Nat King Cole, featuring arrangements by Nelson Riddle and Randy Waldman. In 2019, he returned with a second tribute album, Walking to New Orleans: Remembering Chuck Berry and Fats Domino. A concert album, Weekend in London, arrived in 2020.~ Richard S.Ginell https://www.allmusic.com/artist/george-benson-mn0000201760/biography

Personnel: Guitar – Carl Lynch (tracks: 1), Eric Gale (tracks: 2, 4, 5, 7), George Benson; Baritone Saxophone – Pepper Adams (tracks: 1, 2, 4, 5, 7, 8); Bass – Bob Cranshaw (tracks: 2, 4, 5), Ron Carter (tracks: 1, 3, 6 to 12); Bass Trombone – Alan Ralph (tracks: 1, 2, 4, 5, 7, 8; Congas, Tambourine – Johnny Pacheco; Drums – Billy Cobham; Piano – Herbie Hancock (tracks: 3, 6, 9 to 12); Trumpet – Ernie Royal (tracks: 1, 2, 4, 5, 7, 8), Snooky Young* (tracks: 1, 2, 4, 5, 7, 8); Trumpet, Flugelhorn – Jimmy Owens (tracks: 1, 2, 4, 5, 7, 8)

Giblet Gravy

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Billy Cobham - A Funky Thide Of Sings

Styles: Jazz, Hard Bop 
Year: 1975
File: MP3@320K/s
Time: 45:05
Size: 104,3 MB
Art: Front

( 4:06)  1. Panhandler
( 2:24)  2. Sorcery
( 3:38)  3. A Funky Thide of Sings
( 4:29)  4. Thinking of You
( 5:10)  5. Some Skunk Funk
( 3:41)  6. Light at the End of the Tunnel
( 9:18)  7. A Funky Kind of Thing
(12:17)  8. Moody Modes

After a string of successful solo efforts, Billy Cobham began to slip into mediocrity beginning with this recording, originally released in 1975. While elements of funk were always a part of his band's sound, it was now the primary focus. "Panhandler" stands out as the session's most memorable composition, while Milcho Leviev contributes nicely on "Moody Modes." Cobham fans will want to seek this out for the extended drum solo "A Funky Kind of Thing," which stands as one of the most original drum solos he ever recorded. Of particular interest here is the presence of John Scofield, who had replaced John Abercrombie. Not up to the standards of its predecessors, but a worthy purchase. ~ Robert Taylor https://www.allmusic.com/album/a-funky-thide-of-sings-mw0000239676

Personnel: Producer, Percussion, Synthesizer – Billy Cobham; Bass – Alex Blake; Guitar – John Scofield; Keyboards – Milcho Leviev; Saxophone – Michael Brecker;  Trombone – Glenn Ferris;  Trumpet – Randy Brecker 

A Funky Thide Of Sings

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Billy Cobham - Drum'n'voice - All that groove

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 54:04
Size: 125,1 MB
Art: Front

(4:32)  1. Africa's Sounds
(4:46)  2. Shadow
(7:44)  3. Red Baron
(4:41)  4. Okky Dokky
(5:02)  5. Jah Spirit
(4:58)  6. I Want You Back
(5:32)  7. Sensations
(6:26)  8. Leaving Now
(5:11)  9. Hands Up!
(5:07) 10. Now That You've Gone

Generally acclaimed as fusion's greatest drummer, Billy Cobham's explosive technique powered some of the genre's most important early recordings including groundbreaking efforts by Miles Davis and the Mahavishnu Orchestra before he became an accomplished bandleader in his own right. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression. He was capable of subtler, funkier grooves on the one hand, and awe-inspiring solo improvisations on the other; in fact, his technical virtuosity was such that his flash could sometimes overwhelm his music. After debuting as a leader with the classic Spectrum in 1973, Cobham spent most of fusion's glory days recording for Atlantic; briefer stints on CBS, Elektra, and GRP followed, and by the mid-'80s, Cobham was de-emphasizing his own bands in favor of session and sideman work. Even so, he continued to record for various small labels with some regularity. William C. Cobham was born May 16, 1944, in Panama, where as a very young child he became fascinated with the percussion instruments his cousins played. When Cobham was three, his family moved to New York City, and at age eight he made his performance debut with his father. He honed his percussion skills in a drum-and-bugle corps outfit called the St. Catherine's Queensmen, and attended New York's prestigious High School of Music and Art, graduating in 1962. From 1965 to 1968, he served as a percussionist in the U.S. Army Band, and after his release, he was hired as the new drummer in hard bop pianist Horace Silver's band. 

Cobham toured the U.S. and Europe with Silver in 1968, and also moonlighted with Stanley Turrentine, Shirley Scott, and George Benson. After eight months with Silver, Cobham departed to join the early jazz-rock combo Dreams in 1969, which also featured the Brecker brothers and guitarist John Abercrombie. From there, he landed a job in Miles Davis' new fusion ensemble, and played a small part in the seminal Bitches Brew sessions; he also appeared more prominently on several other Davis albums of the time, including more aggressive classics like Live-Evil and A Tribute to Jack Johnson. Cobham and guitarist John McLaughlin split off from Davis' group to pursue a harder rocking brand of fusion in the Mahavishnu Orchestra, which debuted in 1971 with the seminal The Inner Mounting Flame. With Mahavishnu, Cobham's fiery intensity was given its fullest airing yet, and his extraordinary technique influenced not only countless fusioneers in his wake, but also quite a few prog rock drummers who were aiming for similarly challenging musical territory. The 1972 follow-up Birds of Fire cemented his reputation, and by this time he had also become something of an unofficial in-house drummer for Creed Taylor's CTI label, known for a smoother, more polished style of fusion; here Cobham backed musicians like George Benson, Stanley Turrentine, Freddie Hubbard, Hubert Laws, and Grover Washington, Jr. Unfortunately, the volatile group chemistry that made Mahavishnu's recordings so exciting also carried over into real life and the original lineup disbanded in 1973. Deciding to make a go of it on his own, Cobham formed his own band, Spectrum (which initially featured ex-Mahavishnu cohort Jan Hammer on keyboards), and signed with Atlantic. 

His debut as a leader, also called Spectrum, was released in 1973, showcasing an exciting blend of jazz, funk, and rock that benefited from the presence of guitarists John Scofield and Tommy Bolin (the latter better known for his rock recordings); it also found Cobham experimenting a bit with electronic percussion. Spectrum is still generally acknowledged as the high point of Cobham's solo career, and holds up quite well today. Cobham followed Spectrum with a series of LPs on Atlantic that, like fusion itself, grew increasingly smoother and more commercial as the '70s wore on. For his second album, 1974's Crosswinds, ex-Dreams mate John Abercrombie joined the band, as did keyboardist George Duke, who would become a frequent Cobham collaborator over the years; that same year's performance at Montreux produced the live Shabazz.  After Total Eclipse, Cobham moved more explicitly into commercial jazz-funk with 1975's A Funky Thide of Sings, which featured an expanded horn section. He pared the group back down for the improved Life and Times in 1976, and also played Montreux again, in tandem with Duke. In 1977, Cobham switched to the CBS label, which set him firmly on the path of commercial accessibility. In addition to his records as a leader, he'd remained highly active as a session drummer, and began to focus on that side of his career even more in the late '70s. By 1980, he was done with CBS and began pursuing side opportunities, playing live with the Grateful Dead and Jack Bruce, as well as the Saturday Night Live band. He drummed for the Grateful Dead side project Bobby & the Midnites in 1982, and recorded three albums for Elektra in the early '80s with his new quartet the Glass Menagerie. 

During the mid-'80s, he cut three commercially oriented LPs for GRP, and spent the next few years stepping up his international touring and absorbing a healthy dose of world music. He played Peter Gabriel's 1992 WOMAD Festival, and the following year recorded The Traveler, inspired by a sojourn in Brazil. In 1996, he formed a more acoustic-oriented quartet called Nordic with three Norwegian musicians; the following year, he also started a German-based fusion outfit called Paradox. In 1998, Cobham began playing with a group called Jazz Is Dead, which devoted itself to jazz reinterpretations of Grateful Dead material; their album Blue Light Rain proved fairly popular among Deadheads. As Cobham maintained his touring, session, and bandleading activities, Rhino released the excellent two-CD retrospective Rudiments: The Billy Cobham Anthology in 2001. ~ Steve Huey https://www.allmusic.com/artist/billy-cobham-mn0000767741/biography


Personnel: Drums – Billy Cobham; Backing Vocals – Dora Nicolosi (tracks: 2, 10), Giuseppe Neri (tracks: 10), Gregg Brown (2) (tracks: 2), Troy Parrish (tracks: 10); Bass – Rossana Nicolosi (tracks: 2 to 4, 6, 7, 9, 10); Cello – Luca De Muro (tracks: 7, 9); Double Bass – Eddie Gomez (tracks: 8), Riccardo Fioravanti (tracks: 1, 5); Electric Piano – Pino Nicolosi (tracks: 1, 3, 4, 6, 7, 9, 10); Flugelhorn – Fabrizio Bosso (tracks: 4); Guitar – Lino Nicolosi (tracks: 2 to 6, 9, 10); Guitar [Wha Wha Guitar] – Frank Malanga; Keyboards – Pino Nicolosi (tracks: 1 to 5, 7 to 10); Organ [Hammond B3] – Pino Nicolosi (tracks: 2, 4, 9, 10); Organ [Hammond L100] – Pino Nicolosi (tracks: 3, 6); Percussion – Marco Fadda; Piano – Pino Nicolosi (tracks: 4, 8); Soprano Saxophone – Emanuele Cisi (tracks: 4, 8); Tenor Saxophone – Emanuele Cisi (tracks: 1, 2, 9); Trombone – Leonardo Govin (tracks: 4, 7, 9); Trumpet – Amik Guerra (tracks: 4, 7), Fabrizio Bosso (tracks: 2, 5, 7, 9); Viola – Lorenzo Ravazzani (tracks: 7, 9); Violin – Giorgio Molteni (tracks: 7, 9); Vocals – Dora Nicolosi (tracks: 8, 10), Gregg Brown (2) (tracks: 2, 5); Vocals, Backing Vocals – Ricky Bailey (tracks: 6); Voice – Troy Parrish (tracks: 3, 7).

Drum'n'voice - All that groove

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Hubert Laws - Morning Star (CTI Records 40th Anniversary Edition)

Styles: Flute Jazz
Year: 1973
File: MP3@320K/s
Time: 35:39
Size: 81,9 MB
Art: Front

(7:55)  1. Morning Star
(4:51)  2. Let Her Go
(4:34)  3. Where Is The Love
(4:59)  4. No More
(7:18)  5. Amazing Grace
(6:01)  6. What Do You Think Of This World Now?

Morning Star - Hubert Laws: Recorded in late 1972 between Hubert Laws’ well-known CTI classic The Rite of Spring and the 1973 CTI performance recording Carnegie Hall, Morning Star may be one of the least known of flautist Hubert Laws’ recordings and among his very best. It’s hard to imagine a more perfect setting for the flautist, surrounded as he is by Bob James (electric piano), Ron Carter (bass), Billy Cobham (drums) and Don Sebesky’s sumptuously employed arrangements for horns and strings. Laws alternates between several flutes (flute, alto flute, bass flute, piccolo and an uncredited electric flute) and shares solo duties with Bob James, who is simply magnificent here. Sebesky’s suberbly lovely work here ranks among some of the very best he ever did for CTI. Laws covers a typical program of third-stream jazz (Rodgers Grant’s title track), spirituals (“Amazing Grace”), pop covers (Roberta Flack & Donny Hathaway’s hit “Where Is The Love,” co-written by this album’s percussionist, Ralph MacDonald) and interesting originals (“Let Her Go,” “No More” and “What Do You Think of This World Now?”). Surprisingly, Morning Star has never been issued on CD before, making this particular release substantially significant due to its very first appearance of availability in nearly four decades. Plus, it makes for excellent listening as well.

Personnel:  Flute, Alto Flute, Piccolo Flute – Hubert Laws; Bass – Ron Carter; Bassoon – Jack Knitzer; Cello – Charles McCracken, George Koutzen, Lucien Schmit; Drums – Billy Cobham; Electric Piano – Bob James;Flute, Alto Flute, Clarinet – Phil Bodner; Flute, Alto Flute, Piccolo Flute, English Horn – Romeo Penque; French Horn – Jim Buffington; Guitar – John Tropea; Harp – Gloria Agostini; Percussion – David Friedman, Ralph MacDonald; Trombone – Garnett Brown; Trumpet, Flugelhorn – Alan Rubin, Marvin Stamm; Vibraphone – David Friedman; Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Cykman, Harry Lookofsky, Irving Spice, Max Ellen, Paul Gershman; Vocals – Eloise Laws, Lani Groves, Tasha Thomas

Morning Star (CTI Records 40th Anniversary Edition)

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Hubert Laws - Crying Song

Styles: Flute Jazz
Year: 1969
File: MP3@320K/s
Time: 33:19
Size: 77,2 MB
Art: Front

(2:30)  1. La Jean
(3:23)  2. Love Is Blue / Sing a Rainbow
(4:53)  3. Crying Song
(3:21)  4. Listen to the Band
(3:07)  5. I've Got to Get a Message to You
(2:31)  6. Feelin' Alright?
(3:51)  7. Cymbaline
(6:08)  8. How Long Will It Be?
(3:31)  9. Let It Be

A landmark record the first album that flutist Hubert Laws cut for CTI, and the beginning of a very important partnership with the label! The record is a sublime exploration of sound and space very different than Laws' 60s Latin sides for Atlantic, and handled in a baroque mode that has his flute drifting over a mixture of organ, piano, and rhythms augmented with strings easy and jazzy in the same moment, with a hip sophistication that points the way towards a new flute sound in the 70s! Titles include "Crying Song", "Listen To The Band", "Cymbaline", "Feelin Alright", "I've Gotta Get A Message To You", "La Jean", "Love Is Blue/Sing A Rainbow", and "How Long Will It Be".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/60210/Hubert-Laws:Crying-Song

Personnel:  Hubert Laws – flute; Bobby Wood – piano; Bobby Emmons – organ; Bob James – electric piano, organ; George Benson, Reggie Young – guitar; Mike Leech – electric bass; Ron Carter – bass; Gene Chrisman, Billy Cobham, Grady Tate – drums; Ernie Royal, Marvin Stamm – trumpet, flugelhorn Garnett Brown, Tony Studd – trombone;  Art Clarke, Seldon Powell – saxophone;  Ed Shaughnessy – tabla, sand; Lewis Eley, Paul Gershman, George Ockner, Gene Orloff, Raoul Pollikoff, Matthew Raimondi, Sylvan Shulman, Avram Weiss – violin; Charles McCracken, George Ricci – cello; Bob James, Glen Spreen, Mike Leech – arranger

Crying Song

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Stanley Turrentine, Milt Jackson - Cherry

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 37:50
Size: 87,3 MB
Art: Front

(6:38)  1. Speedball
(5:10)  2. I Remember You
(7:46)  3. The Revs
(6:04)  4. Sister Sanctified
(5:10)  5. Cherry
(7:00)  6. Introspective

One of the best CTI albums from the early 70s and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums and titles include a monster version of Weldon Irvine's "Sister Sanctified" a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/1522/Stanley-Turrentine:Cherry

Personnel:  Stanley Turrentine - Tenor Sax; Milt Jackson - Vibes; Bob James - Electric Piano, Piano; Cornell Dupree - Guitar; Ron Carter - Bass; Billy Cobham - Drums

Cherry

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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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Les McCann - Comment

Styles: Vocal And Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 32:40
Size: 75,4 MB
Art: Front

(3:30)  1. How Many Broken Wings
(5:09)  2. Can't We Be Strnagers Again
(5:01)  3. Unless It's You
(4:11)  4. What I Call Soul
(5:27)  5. Comment
(2:52)  6. Baby, Baby
(6:28)  7. Yours Is My Heart Alone

The godfather of contemporary jazz-soul chills, changing the pace from his electrifying collaborations with Eddie Harris  Swiss Movement and Second Movement  that preceded and followed this mellow set of mostly love songs, which includes four selections from the pens of Helen and Kay Lewis (aka the Lewis Sisters). Two cuts, "Baby, Baby" and "Can't We Be Strangers Again," were originally done by Motown's Miracles and Edwin Starr & Blinky respectively. "How Many Broken Wings" and "What I Call Soul" are the sisters' other contributions, and McCann executes them to perfection. 

The keyboardist plays with an underlying intensity on Bill Evans' "Unless It's You," while the title track is good hard bop. Atlantic Records hasn't reissued this LP, so you have to rummage the Goodwills, online sites, and flea markets for a copy.~ Andrew Hamilton https://www.allmusic.com/album/comment-mw000001186

Personnel:  Les McCann - piano, electric piano, vocals;  Jimmy Owens, Joe Wilder, Richard Williams - trumpet (tracks 2, 4 & 6);  Dick Griffin, Benny Powell - trombone (tracks 2, 4 & 6);  Seldon Powell - soprano saxophone, alto flute (track 3);  Richard Landry - baritone saxophone (tracks 2, 4 & 6);  Roberta Flack - vocals, piano (tracks 1 & 2);  Junior Mance, (track 6), Richard Tee (track 4) - piano;  Roland Hanna - harpsichord (track 3);  Margaret Ross - harp (track 3);  Billy Butler - guitar (track 5);  Ron Carter - bass (tracks 1-3, 6 & 7), electric bass (tracks 4 & 5);  Billy Cobham (tracks 1-4, 6 & 7), Donald Dean (track 5) - drums;  William Fischer - arrangement, director (tracks 1-3, 6 & 7);  Selwart Clarke - concertmaster (tracks 1, 3 & 7)

Comment

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Donald Harrison, Ron Carter, Billy Cobham - New York Cool

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:24
Size: 146,5 MB
Art: Front

(10:51)  1. Body and Soul
(10:28)  2. Harrisburg Address
( 8:39)  3. Easy Living
( 9:31)  4. I'll Remember April
(10:34)  5. Star Eyes
( 8:32)  6. Third Plane
( 4:46)  7. Blues For Happy People

Altoist Donald Harrison gained his initial fame in the late '70s when he was a member of Art Blakey's Jazz Messengers, following that up by co-leading a notable quintet with trumpeter Terence Blanchard. Although he never quite became a poll winner or a major influential force, Harrison has always been a solid improviser. New York Cool moves his career up a notch and is one of his finest recordings to date. Reuniting in 2005 with bassist Ron Carter and drummer Billy Cobham (the trio had recorded Heroes for the Nagel Heyer label in 2002), Harrison and his sidemen constantly challenge each other, with each of the musicians feeling free to set the direction of the performances. The repertoire is comprised of "Body and Soul," "Harrisburg Address" (based on "I Got Rhythm"), "Easy Living," "I'll Remember April," "Star Eyes," Ron Carter's "Third Plane" (which deserves to become a standard), and the medium-tempo "Blues for Happy People." The musicians feed off each other's ideas and their interplay is full of subtle surprises and unpredictable moments. New York Cool demonstrates that there is plenty of life still to be found in bebop standards when they are played in creative fashion. Highly recommended.~ Scott Yanow https://www.allmusic.com/album/new-york-cool-live-at-the-blue-note-mw0000349623

Personnel:  Donald Harrison - alto saxophone;  Ron Carter - bass;  Billy Cobham - drums.

New York Cool

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Donald Harrison - The Burners

Bitrate: MP3@320K/s
Time: 113:09
Size: 259.0 MB
Styles: New Orleans jazz, Saxophone jazz
Year: 2009
Art: Front

[5:18] 1. Playa Haters
[4:17] 2. Oleo
[5:43] 3. Keep The Faith
[5:54] 4. One Of A Kind
[7:59] 5. Double Trouble
[4:41] 6. Free Style
[6:04] 7. Get Your Swerve
[6:43] 8. So What
[8:01] 9. Well You Needn't
[7:03] 10. Free To Be
[8:46] 11. The Survivor
[9:05] 12. The Hook Up
[7:39] 13. Nouveau Swing
[6:58] 14. Mr. PC
[6:00] 15. Drum Line
[8:46] 16. I'm The Big Chief Of Congo Square
[4:02] 17. Two Of A Kind

Donald Harrison - alto sax; Christian Scott - trumpet; Mulgrew Miller - piano; Eric Reed - piano; Ron Carter - bass; Billy Cobham - drums.

Donald Harrison is being called one of the most important musicians of the new millennium by CBS Sunday Morning. The boundary leaping New Orleans alto saxophonist’s distinctive broad toned sound is immediately recognizable as his own, regardless of the environment in which it is being heard, be it bebop, hardbop, swing, New Orleans R & B or funk. Harrison has managed to forge his variegated influences and extensive experience into a uniquely personal style. Through talent and perseverance, Harrison has developed into one of the most significant artist to emerge in the last twenty years! The question with Harrison is not what he can do, but is there anything he can’t do? So far he has mastered and influenced everything he has touched.

The son of late great Big Chief Donald Harrison, Sr. began working with Roy Haynes at age 19 and Jack McDuff at age 20. He joined Art Blakey's Jazz Messengers at age 21. A few years later, he co-led a band with Terence Blanchard that had an enormous impact on the development of the "neo-conservative" movement.

The Burners mc
The Burners zippy

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Horace Silver - You Gotta Take A Little Love

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 39:11
Size: 92,3 MB
Art: Front

(5:24)  1. You Gotta Take A Little Love
(4:37)  2. The Risin' Sun
(6:42)  3. It's Time
(4:14)  4. Lovely's Daughter
(4:30)  5. Down And Out
(7:26)  6. The Belly Dancer
(6:14)  7. Brain Wave

One of the final Horace Silver Quintet Blue Note albums, this somewhat forgotten LP, dedicated to "the Brotherhood of Men," is an instrumental set that introduced six new compositions by the pianist/leader (none of which caught on as standards) along with Bennie Maupin's "Lovely's Daughter." Maupin (on tenor and flute), trumpeter Randy Brecker, bassist John Williams, and drummer Billy Cobham comprise Silver's excellent late-'60s hard bop group. [In 2007 Blue Note reissued You Gotta Take a Little Love in a remastered Rudy Van Gelder edition.] ~ Scott Yanow https://www.allmusic.com/album/you-gotta-take-a-little-love-mw0000559874

Personnel:  Horace Silver - piano;  Randy Brecker - trumpet, flugelhorn;  Bennie Maupin - tenor saxophone, flute;  John Williams - bass;  Billy Cobham - drums

You Gotta Take A Little Love

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Milt Jackson - Sunflower

Styles: Vibraphone Jazz
Year: 1972
File: MP3@320K/s
Time: 34:28
Size: 79,0 MB
Art: Front

(10:10)  1. For Someone I Love (What's Your Story)
( 7:00)  2. What Are You Doing the Rest of Your Life?
( 8:23)  3. People Make the World Go Round
( 8:52)  4. Sunflower

With a series of mainstream dates to his credit dating back to the early 1950s not to mention charter membership in the now-legendary Modern Jazz Quartet (MJQ) and one-offs with everyone from bop saxophonist Charlie Parker to "new thing" saxophonist John Coltrane vibraphonist Milt Jackson was the clear link between his instrument's swing era beginnings with Lionel Hampton and more progressive things to come with then-relative youngsters Gary Burton and Bobby Hutcherson. Still and despite the label's centrist-leaning proclivities on one hand, balancing out its more groove-centric tendencies on the other Jackson's signing with CTI Records was something of a surprise, as was his first project, Cherry (1972), an uneven collaboration with label-hit Stanley Turrentine. His first release for the label as a full-out leader, 1972's Sunflower fares much better, even with the presence of Don Sebesky, an arranger who brought out some of the worst of CTI's easy listening tendencies, but, equally, delivered some tremendously inventive and tasteful orchestral work. Here, with a harpist and 11-piece string ensemble, Sebesky gives Jackson's opening ballad, "For Someone in Love," a burnished sheen, but it can't take away from the vibraphonist's ethereal touch, flugelhornist Freddie Hubbard's more propulsive approach, or pianist Hancock's abstract impressionism; all making for a stunning intro to an album that posits Jackson in even broader contexts than his discography to date. The Legrand/Berman ballad, "What Are You Doing the Rest of Your Life?," the Grammy-nominated song from Richard Brooks' 1969 film, The Happy Ending, swings with the kind of graceful elegance that Jackson had honed in the MJQ, but Hancock's more exploratory accompaniment drives the tune into unexpected places, even as Ron Carter's low, resonant bass notes support the tune with perfect simplicity. What was, back in the day, side one of Sunflower was, then, a bit of a shift for Jackson into more accessible territory, but nothing earth-shattering. Tectonic plates didn't move for those who put on side two of the disc, either, but opening with The Stylistics' oft-covered hit, "People Make the World Go Round,"was something new, as the vibraphonist entered light funk territory. Carter, locked-in with drummer Billy Cobham, proves that, at a time when electric bassists like Stanley Clarke and Alphonso Johnson were on the cusp of becoming fusion stars with {Return to Forever}} and Weather Report, the acoustic bass was still the absolute funkiest low-end instrument of all. Hubbard's closing title track is also a foray into light Latin music, with a soft string cushion broadening the soundscape when the tune moves into double-time during Hubbard's plangent solo. The closing bonus track (not new, it's been on CD issues since 1997), Jackson's "SKJ," feels like something of an anomaly, both in its hard-swinging pulse and production rawer, and less refined than the rest of the set. It speaks to the truth that musicians may move around stylistically during their long careers, but they don't forget where they came from. A beautiful record that expands an already broad view of Jackson, this CTI Masterworks reissue brings one of the vibraphonist's best albums back into print. ~ John Kelman https://www.allaboutjazz.com/sunflower-milt-jackson-cti-masterworks-review-by-john-kelman.php

Personnel: Milt Jackson: vibraphone; Freddie Hubbard: flugelhorn; George Marge: clarinet,bass clarinet,alto flute, English horn; Phil Bodner: flute, alto flute, piccolo, English horn; Romeo Penque: alto flute, oboe, English horn; Herbie Hancock: piano, electric piano (5); Jay Berliner: guitar; Ron Carter: bass; Billy Cobham: drums; Ralph MacDonald: percussion; Max Ellen: violin; Paul Gershman: violin; Emanuel Green: violin; Charles Libove: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Charles McCracken: cello;, George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Don Sebesky: arranger, conductor.

Sunflower

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Ron Carter - New York Slick

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 35:42
Size: 85,3 MB
Art: Front

(4:02)  1. NY slick
(4:19)  2. A slight smile
(8:48)  3. Tierra Espanola
(8:54)  4. Aromatic
(9:37)  5. Alternate route

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but he didn't used it for many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, Michigan to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his Master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. He joined Art Farmer's group for a short time in 1963 before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. 

The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. He's contributed many arrangements and compositions to both his groups and other bands, and made duo recordings with either Cedar Walton or Jim Hall. He's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, and eventually landed at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. At the dawn of the new millennium, Carter remained an active, in-demand artist, releasing a steady stream of albums and keeping a busy live schedule. When Skies Are Grey surfaced in early 2001, followed in 2002 by Stardust, Carter's tribute to the late bassist Oscar Pettiford. That same year, he joined saxophonist Houston Person for the duo's third album of standards, Dialogues. In 2006, another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. Several more small group solo albums followed including 2007's Japan-only It's the Time and 2008's Jazz and Bossa. In 2011, Carter delivered his first effort with big-band music, Ron Carter's Great Big Band featuring arrangements by conductor Robert M. Freedman and a bevy of name players including pianist Mulgrew Miller and drummer Lewis Nash. He then joined drummer Gerry Gibbs for two albums with 2013's Thrasher Dream Trio and 2014's We're Back. Also in 2014, Carter was backed by the WDR Big Band on My Personal Songbook. In 2016, the bassist once again paired with saxophonist Person for the duo album Chemistry. ~ Ron Wynn https://itunes.apple.com/us/album/new-york-slick/id208092426

Personnel: Ron Carter (bass); Art Farmer (flugelhorn); J.J. Johnson (trombone); Hubert Laws (flute); Kenny Barron, Jay Berliner (piano); Billy Cobham (drums); Ralph McDonald (percussion)

New York Slick

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Stanley Turrentine - Ballads

Styles: Saxophone Jazz

Year: 1993

File: MP3@320K/s

Time: 64:12

Size: 147,6 MB

Art: Front

(9:58)  1. Willow Weep For Me

(8:48)  2. Since I Fell For You

(6:10)  3. Then I'll Be Tired Of You

(7:44)  4. Someone To Watch Over Me

(7:44)  5. They All Say I'm The Biggest Fool

(6:07)  6. More Than You Know

(3:59)  7. God Bless The Child

(5:31)  8. Watch What Happens

(8:06)  9. A Child Is Born

Although he's a monster tenor soloist on funky, exuberant, bluesy soul-jazz, Stanley Turrentine is even more awesome on ballads. His rich, steamy sound, full tone, and ability to pace and develop moods is ideal for show tunes and sentimental love songs. This nine-track set begins with Turrentine nicely caressing the melody and turning in a standout treatment on "Willow Weep For Me," continuing through tearjerkers ("Since I Fell For You") and blues anthems ("God Bless The Child"), and closing with Thad Jones' beautiful "A Child Is Born." Turrentine is matched with numerous premier players, and pianist McCoy Tyner, guitarist Jimmy Smith, and even Turrentine's brother Tommy (trumpet) gently support and complement the main soloist. One of the best Blue Note special discs, featuring moving, frequently hypnotic playing from a true tenor great. ~ Ron Wynn http://www.allmusic.com/album/ballads-mw0000107424

Personnel: Stanley Turrentine (tenor saxophone); Tommy Turrentine (trumpet); Gene Harris, Horace Parlan, McCoy Tyner, Tommy Flanagan (piano); Shirley Scott, Jimmy Smith (organ); Grant Green, George Benson (guitar); Andrew Simpkins, George Tucker, Bob Cranshaw, Paul Chambers, Major Holley, Gene Taylor, Ron Carter (bass); Bill Dowdy, Al Harewood, Mickey Roker, Art Taylor, Clarence Johnston, Billy Cobham, Jimmy Madison (drums).

Ballads

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Gene Ammons - Got My Own

Styles: Saxophone Jazz

Year: 1973

File: MP3@320K/s

Time: 37:06

Size: 85,9 MB

Art: Front

(5:23)  1. Lady Sings The Blues

(4:02)  2. God Bless The Child

(3:34)  3. Strange Fruit

(4:56)  4. Fine And Mellow

(5:59)  5. Play Me

(5:29)  6. Ben

(7:40)  7. Tin Shack Out Back

A more laidback set than usual from Ammons' early 70s stretch on Prestige but a record that nicely gets back to that big-toned tenor sound he used often on ballads from earlier years! The combo mixes both electric piano and organ the former from Hank Jones, the latter from Ernie Hayes and drums are mostly by Idris Muhammad, but in a style that's a bit more roundly open and soul-based than some of his funkier jams. But there's still a nice groove to many numbers a gentler one, with a sly undercurrent of soul  even on a few that feature fuller strings arranged by Ed Bogas. Titles include "God Bless The Child", "Strange Fruit", "Fine & Mellow", "Lady Sings The Blues", "Play Me", "Tin Shack Out Back", and "Ben". (Cover & labels have initials in marker. Cover has a cut corner.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/29632

Personnel:  Saxophone – Gene Ammons;  Bass – Ron Carter;  Drums – Billy Cobham , Idris Muhammad , Mickey Roker; Electric Piano – Hank Jones , Sonny Philips;  Guitar – Joe Beck , Maynard Parker.

Got My Own

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Donald Harrison, Ron Carter, Billy Cobham - Heroes

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 65:06
Size: 152,1 MB
Art: Front

(6:14)  1. Heroes
(4:12)  2. Blues for the new millennium
(8:12)  3. My Funny Valentine
(5:53)  4. One Of A Kind
(8:01)  5. Double Trouble
(5:59)  6. Receipt Please
(6:33)  7. Candlelight
(3:57)  8. Solar
(4:43)  9. Free Style
(3:11) 10. Iko Iko
(8:06) 11. Straight No Chaser

Ron Carter, one of altoist Donald Harrison's heroes and the primary bassist on this recording, makes the point that Harrison comes from New Orleans, but doesn't insist that he does. Harrison approaches his tradition with a pure heart, and from his apprenticeship with Art Blakey and the Jazz Messengers in the mid '80s through his own leadership in the '90s, he has evolved an historical idiom into an absolutely contemporary, individual style. The title track kicks things off in the searching, striving style of a Wayne Shorter composition, with Harrison's other hero, Billy Cobham, clicking away on his cymbals, and Harrison's tone a bit edgier than elsewhere, accentuating the song's feeling of pursuit. Nothing else in the trio format, or in duet with Carter, reaches this level of urgency. The order of the day is swing and hard bop, with touches of Charlie Parker in the "I Got Rhythm" chords of "Double Trouble" and the Monk-like "Blues for the New Millennium," where Harrison's horn sounds more like a soprano aimed at the snake in the basket. Carter's bass is the dominant supporting voice on Heroes, offering a beautifully tasteful extended solo on a duet version of "My Funny Valentine," where you find yourself singing the words along with Harrison's perfectly rendered lead, and on "Solar," where Carter establishes a rapid tempo and Harrison keeps joyous pace. On "Candlelight," the album's most impressive cut, Harrison caresses the keys gently and romantically, subtly shifting tempo as if he were approaching his date seated on the couch, first suavely relaxed, then impatient, then with his composure regained. 

Heroes closes with three "bonus tracks" featuring a different trio with Vicente Archer on bass and John Lamkin on drums. With these two, the beats are heavier and the bass lines funkier. Lamkin hits hard on "Free Style," he and Archer handle the second-line rhythms of "Iko Iko" deftly, and Harrison's alto is as warm and sweet as peppermint liqueur. I realize Carter and Cobham are the stars of the show, but these two tracks along with the funky dip of a final "Well You Needn't" leave me looking forward to Harrison's next genre-stretching offering with his usual bandmates. ~ Jeff Stockton https://www.allaboutjazz.com/heroes-donald-harrison-nagel-heyer-records-review-by-jeff-stockton.php

Personnel: Vicente Archer: Bass; Billy Cobham: Drums; Donald Harrison: Alto Sax; John Lamkin: Drums; Ron Carter: Bass.

Heroes

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Richard Davis - Fancy Free

Styles: Jazz, Hard Bop, Post-Bop
Year: 1977
File: MP3@320K/s
Time: 37:46
Size: 136,2 MB
Art: Front

(5:19)  1. The Wine of May
(9:40)  2. Silver's Serenade
(4:52)  3. Emily
(4:21)  4. Nardis
(5:40)  5. I Still love you, Baby
(7:52)  6. Fancy Free

It seems odd that this Galaxy LP was recorded at the same time as Way Out West for the rival Muse label. Bassist Richard Davis teams up with trumpeter Eddie Henderson, tenor saxophonist Joe Henderson, keyboardist Stanley Cowell and drummer Billy Cobham for five selections that are highlighted by "Silver's Serenade," "Nardis" and a rare cover version of Donald Byrd's "Fancy Free"; singer Dolly Hirota is featured on "I Still Love You, Baby." Overall this is the stronger of the sets recorded during the two-day period in 1977, an advanced and mostly straightahead effort. ~ Scott Yanow http://www.allmusic.com/album/fancy-free-mw0000921000

Personnel:  Richard Davis – bass;  Eddie Henderson - trumpet, flugelhorn (tracks 1, 2 & 4-6);  Joe Henderson - tenor saxophone;  Stanley Cowell - piano, electric piano;  Billy Cobham – drums;  Dolly Hirota - vocals (track 5);  Bill Lee - arranger, conductor

Fancy Free

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Donald Harrison - This is Jazz

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:21
Size: 129,3 MB
Art: Front

( 9:29)  1. Cut & Paste
( 9:52)  2. MSRP
( 5:32)  3. You Are My Sunshine
(11:32)  4. Seven Steps to Heaven
( 8:45)  5. I Can't Get Started
(11:09)  6. Treme Swagger

Saxophonist Donald Harrison's name is writ large on the cover of This Is Jazz, but the album is a collaborative trio in every sense. After all, playing with legendary bassist Ron Carter and drummer extraordinaire Billy Cobham could never be equated with simply hiring sidemen. Recorded live at New York's Blue Note, the six tracks on this album take post- bop expansion to exemplary heights and keep it there for the duration. Harrison has a tight but wandering presence on alto. He drifts off into almost spacey places as he improvises, with peculiar trills and off-key runs, but in doing so he stays fairly close to the beats and, ultimately, the melodies as well. He does a masterful job of engaging in serious explorations without dissolving the framework of the songs.

Carter, with five decades of professional experience and an unparalleled list of cohorts, can play anywhere he wants, for as long as he wants, and he takes full advantage of his seniority. This Is Jazz shows him not only as a great rhythm bassist, but also as an exceptional soloist. He's always rock-solid behind Harrison, but really shines in his solo improvisations, bouncing around against the drums, or, in the case of "You Are My Sunshine," simply playing the whole song by himself. Part of the thrill can be credited to recording engineer Steve Remote of Aurasonic, Ltd. who captures the woodiness, vibrations and scale of the acoustic bass, instead of just low-note tones. The drums are the most understated element of the trio, but the skins are also where the album reveals its deepest subtlety. Cobham is an elegant drummer, with stick work that is supportive and unerringly tasteful, but also quietly complex. Seemingly content in the rhythm role, Cobham doesn't take a solo until the fourth track, Victor Feldman/Miles Davis' "Seven Steps To Heaven," and even then his statement is a tightly considered against the composition. Cobham's drumming reveals class and an attention to detail that should be studied and emulated. This record features three masters showing all the world how this music is really played. Combining a first-rate set list, equal measures of exceptional soloing and ensemble playing, and an energy that should be bottled, This is Jazz truly lives up to its name. ~ Greg Simmons https://www.allaboutjazz.com/this-is-jazz-donald-harrison-half-note-records-review-by-greg-simmons.php
 

Personnel: Donald Harrison: alto saxophone; Ron Carter: bass; Billy Cobham: drums.

This is Jazz

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Larry Coryell - Spaces

Styles: Guitar Jazz
Year: 1974
File: MP3@320K/s
Time: 37:04
Size: 85,2 MB
Art: Front

(9:23)  1. Spaces (Infinite)
(4:12)  2. Rene's Theme
(4:32)  3. Gloria's Step
(9:02)  4. Wrong Is Right
(9:32)  5. Crisis
(0:21)  6. New Year's Day In Los Angeles-1968

This album features the pioneer fusion guitarist Larry Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time. "Rene's Theme" is a guitar duet with McLaughlin, while "Gloria's Steps" (a Scott LaFaro composition) has Coryell, Vitous and Cobham jamming as a trio. Chick Corea sits in on electric keyboard for "Chris," and the 20-second closer ("New Year's Day in Los Angeles 1968") finds Coryell playing alone. Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for.~Scott Yanow http://www.allmusic.com/album/spaces-mw0000197196

Personnel:  Larry Coryell – guitar;  John McLaughlin – guitar;  Chick Corea – electric piano;  Billy Cobham – drums;  Miroslav Vitous – bass

Spaces

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