Shirley Scott - Something

Styles: Piano Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 28:20
Size: 66,1 MB
Art: Front

(3:52)  1. Games People Play
(3:46)  2. Because
(2:57)  3. Can I Change My Mind
(3:04)  4. Someday We'll Be Together
(3:28)  5. Something
(2:42)  6. I Want You Back
(4:18)  7. Messie Bessie
(4:10)  8. Brand New Me

Shirley Scott began playing piano and trumpet in her native Philadelphia. By the mid 1950s, she was playing piano in the city's thriving club scene - often with the very young John Coltrane. A club owner needed her to fill in on organ one night and the young Shirley took to it immediately, crafting a swinging, signature sound unlike anyone else almost from the get go. On a swing through town, Basie tenor man Eddie “Lockjaw” Davis (1922-86) heard Scott and asked her to join his band. They recorded prolifically together as co-leaders and released a hugely popular series of “Cookbook” records for Prestige during the late 1950s. Shirley launched her solo career in 1958, recording 23 albums for Prestige (1958-64), 10 for Impulse (1963-68), three for Atlantic (1968-70), three for Cadet (1971-73), one in 1974 for Strata East, two for Muse (1989-91) and three for Candid (1991-92). She was married to the late, great tenor sax player Stanley Turrentine (1961-71) and the two made some of their finest music - together - for the Blue Note, Prestige, Impulse and Atlantic labels. Her playing consistently possessed one of the most graceful and lyrical touches applied to the bulky B-3. But it was her deeply-felt understanding of the blues and gospel that made her playing most remarkable. Shirley Scott resided in Philadelphia up until her death in early 2002. She occasionally performed locally (on piano, mostly) and was musical director of Bill Cosby's short-lived 1992 show You Bet Your Life. She successfully won a multi-million dollar lawsuit against a diet-drug company in 2000 and had not performed in public for about five years before her untimely death in early 2002. https://musicians.allaboutjazz.com/shirleyscott

Personnel: Organ, Piano, Synthesizer [Ondioline] – Shirley Scott; Congas [Conga Drums] – Ralph MacDonald; Drums – Jimmy Johnson; Electric Bass – Charles Rainey; Electric Guitar – Billy Butler, Eric Gale

Something

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Lalo Schifrin - Towering Toccata

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 95,8 MB
Art: Front

(5:05)  1. Towering Toccata (Based on the Toccata & Fugue in D Minor)
(4:20)  2. Frances' Theme (From the Film "The Day of the Animals")
(6:16)  3. Macumba
(2:51)  4. Eagles in Love (From the Film "The Eagle Has Landed")
(4:13)  5. Theme from "King Kong" (From the Paramount Film "King Kong")
(2:43)  6. Most Wanted Theme
(6:09)  7. Midnight Woman
(4:48)  8. Roller Coaster (From the Universal Film "Rollercoaster")
(4:41)  9. Eagles in Love (From the Film "The Eagle Has Landed") - Alt. Take

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. ~ Donald A.Guarisco https://www.allmusic.com/album/towering-toccata-mw0000742076

Personnel: Lalo Schifrin - piano, keyboards, arranger, conductor; Burt Collins, John Frosk, John Gatchell - trumpet; Urbie Green - trombone; Joe Farrell, Jeremy Steig - flute; Gerry Niewood - alto saxophone; David Tofani, Lou Marini - tenor saxophone, flute; Ronnie Cuber - baritone saxophone; Clark Spangler - keyboards; Eric Gale, John Tropea - guitar; Will Lee - bass; Steve Gadd - drums, dahka-de-bello; Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Marvin Morgenstern, David Nadien, Max Pollikoff, Matthew Raimondi - violin; Lamar Alsop, Manny Vardi - viola; Charles McCracken, Alan Shulman - cello

Towering Toccata

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Urbie Green - The Fox

Styles: Trombone Jazz
Year: 1977
File: MP3@320K/s
Time: 38:44
Size: 89,4 MB
Art: Front

(7:15)  1. Another Star
(2:58)  2. Goodbye
(4:56)  3. Mertensia
(3:59)  4. You Don't Know What Love Is
(6:35)  5. Manteca
(7:26)  6. Foxglove Suite
(5:32)  7. Please Send Me Someone to Love

Smooth and silky jazz funk from trombonist Urbie Green a record that's much more in a mainstream R&B fusion mode than his earlier work yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material – and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/51056/Urbie-Green:Fox

Personnel:  Urbie Green - trombone; Joe Farrell - flute, soprano saxophone; Jeremy Steig - flute; Fred Gripper - electric piano; Barry Miles - piano, keyboards; Mike Abene - piano; Eric Gale - guitar; Anthony Jackson - electric bass; George Mraz - bass; Jimmy Madison, Andy Newmark - drums; Mike Mainieri - vibraphone; Toots Thielemans - harmonica, whistle; Sue Evans, Nicky Marrero - percussion; David Matthews - arranger, footsteps

The Fox

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Hubert Laws - Romeo & Juliet

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 37:50
Size: 87,6 MB
Art: Front

(6:12)  1. Undecided
(8:19)  2. Tryin' to Get the Feeling Again
(4:13)  3. Forlane
(7:43)  4. Romeo & Juliet
(5:36)  5. What Are We Gonna Do?
(5:45)  6. Guatemala Connection

Forget the Shakespearean reference in the title which might make you think the whole album's got a Renaissance bent because the album's a nice bit of funky flute jazz from Hubert Laws, done with the same groovy vibe as some of his earlier albums for the CTI label! The set was produced by Bob James, and has lots of strong James touches from the sweet work on Fender Rhodes and clavinet that works nicely with the flute on most tracks, to the full group rhythms that make the best tracks into nice smooth groovers! A few tunes get more introspective, in Hubert's Afro-Classic mode and titles include "Guatemala Connection", "What Are We Gonna Do", "Undecided", "Forlane", and "Tryin To Get The Feelin Again". 
© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856880/Hubert-Laws:Romeo-Juliet

Personnel:  Hubert Laws - Flute; Bob James - Fender Rhodes, Clavinet, Keyboards; Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan - Guitar; Gary King - Bass; Andy Newmark, Steve Gadd - Drums; Ralph MacDonald - Percussion; Mark Gray - Clavinet, Keyboards; Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow - Trumpet, Flugelhorn; Allen Ralph, David Taylor, Wayne Andre - Trombone; George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin - Woodwinds; David Nadien - Concertmaster; Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab - Strings; Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman - Vocals

Romeo & Juliet

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David 'Fathead' Newman - Captain Buckles

Styles: Saxophone, Flute Jazz
Year: 2000
File: MP3@320K/s
Time: 33:51
Size: 78,1 MB
Art: Front

(4:38)  1. Captain Buckles
(4:19)  2. Joel's Domain
(3:43)  3. Something
(4:25)  4. Blue Caper
(6:20)  5. The Clincher
(5:07)  6. I Didn't Know What Time It Was
(5:16)  7. Negus

An improvement over David Newman's preceding projects, this soulful but relatively straight-ahead effort teams him with trumpeter Blue Mitchell, guitarist Eric Gale, bassist Steve Novosel and drummer Bernard Purdie in a pianoless quintet. 

Switching between tenor, alto and flute, Newman performs four originals, a song by Mitchell, George Harrison's "Something," and the standard "I Didn't Know What Time It Was." Captain Buckles was reissued on CD in 2000 on Label M. ~ Scott Yanow https://www.allmusic.com/album/captain-buckles-mw0000105503

Personnel:  David "Fathead" Newman - tenor saxophone, alto saxophone, flute; Blue Mitchell - trumpet; Eric Gale - electric guitar, acoustic guitar; Steve Novosel - bass; Bernard Purdie - drums

Captain Buckles

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Yusef Lateef - The Gentle Giant

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 37:33
Size: 88,6 MB
Art: Front

(6:39)  1. Nubian Lady
(2:23)  2. Lowland Lullabye
(9:01)  3. Hey Jude
(4:33)  4. Jungle Plum
(3:41)  5. The Poor Fishermen
(3:50)  6. African Song
(2:13)  7. Queen of the Night
(5:10)  8. Below Yellow Bell

Yusef Lateef's music from the early '70s commands large doses of both appeal and skepticism. At a time when funk and fusion were merging with the intensely volatile and distrustful mood of the U.S., Lateef's brand of Detroit soul garnered new fans, and turned away those who preferred his earlier hard bop jazz or world music innovations. Thus The Gentle Giant is an appropriate title, as Lateef's levitational flute looms large over the rhythm & blues beats central to the equation. Kenny Barron's Fender Rhodes electric piano is also a sign of the times, an entry point introducing him to the contemporary jazz scene, and on that point alone is historically relevant. The post-Bitches Brew, pre-Weather Report/Headhunters time period is to be considered, and how this music put Lateef in many respects to the forefront of the movement. While inconsistent and at times uneven, there's more to praise than damn in the grooves and unique musicianship he offers with this small ensemble of focused and singular-minded players. At once funky and cool, Barron's "Nubian Lady" sets the tone out of the gate, the tune totally trumping Herbie Mann's Memphis Underground/Push Push style. The similar-sounding "Jungle Plum" is more danceable, simpler, and less attractive. While "Aftican Song" is also in this vein, it is less about the continent in the title as it is reflective of the era, and a slower number. Perhaps that actual title and the sleigh bell-driven "Below Yellow Bell" could have been reversed, for it is more Afrocentric, with Lateef's wordless vocal counterpoint closer to sounds of the savanna over a baroque rhythm & blues. "Hey Jude," under-produced to the point of inaudibility at the outset (the caveat given is "do not adjust the playback level on your audio equipment, readjust your mind"), busts out on the incessantly repeated "na na" chorus with the Sweet Inspirations doing the honors. The other tracks lay low, as Lateef and Al "Tootie" Heath's flutes and Kermit Moore's cello go into late-night mode for "Lowland Lullabye," "The Poor Fisherman" explores the leader's interest in Asian sounds with call and response, and "Queen of the Night" is a two-minute shortie with Eric Gale's modulated guitar mixing up meters of 4/4 and 3/4 in a slightly macabre way. This recording was produced in the middle of Lateef's commercial crossroads phase that started with the Atlantic label issue Yusef Lateef's Detroit in 1969 and ended in 1977 with the CTI release Autophysiopsychic. Though these tracks are potent reminders of how jazz was willfully being manipulated by the record companies Creed Taylor in particular this album is clear evidence of how great a musician Yusef Lateef was, but not in the context of his best music. ~ Michael G.Nastos https://www.allmusic.com/album/the-gentle-giant-mw0000193408

Personnel:  Yusef Lateef - tenor saxophone, flute, bamboo flute, pneumatic bamboo flute, oboe, bells, tambourine;  Eric Gale - guitar (tracks 3 & 7);  Neal Boyar - vibraphone, chimes (track 3);  Chuck Rainey - electric bass (tracks 3 & 7);  Albert Heath - drums, flute (tracks 1, 2, 4-6 & 8);  Jimmy Johnson - drums (tracks 3 & 7);  The Sweet Inspirations - backing vocals (track 3);  Kermit Moore - cello (track 2);  Kenny Barron, Ray Bryant - piano, electric piano (tracks 1, 4, 6 & 8);  Bob Cunningham, Sam Jones - bass (tracks 1, 4, 6 & 8);  Bill Salter - electric bass (tracks 1, 4, 6 & 8);  Ladji Camara - African percussion (track 1, 4, 6 & 8)

The Gentle Giant

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Yusef Lateef - In A Temple Garden

Styles: Saxophone And Flute Jazz
Year: 1979
File: MP3@320K/s
Time: 38:06
Size: 91,5 MB
Art: Front

(5:18)  1. In A Temple Garden
(4:06)  2. Bismillah
(6:52)  3. Confirmation
(3:04)  4. Nayaz
(6:28)  5. Jeremiah
(3:55)  6. Honky Tonk
(3:57)  7. How I Loved You
(4:22)  8. Morocco

Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s. Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge, and Dizzy Gillespie's big band (1949-1950). He was a fixture on the Detroit jazz scene of the '50s where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a strong reputation for his versatility and for his willingness to utilize "miscellaneous instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd, and was well-featured with the Cannonball Adderley Sextet (1962-1964). As a leader, his string of Impulse! recordings (1963-1966) was among the finest of his career, although Lateef's varied Atlantic sessions (1967-1976) also had some strong moments. 

He spent some time in the '80s teaching in Nigeria. His Atlantic records of the late '80s were closer to mood music (or new age) than jazz, but in the '90s (for his own YAL label) Lateef recorded a wide variety of music (all originals) including some strong improvised music with the likes of Ricky Ford, Archie Shepp, and Von Freeman. Lateef remained active as a composer, improviser, and educator (teaching at the University of Massachusetts, Amherst) into the 21st century, performing and recording as a leader and collaborator on such noteworthy recordings as Towards the Unknown with composer/percussionist Adam Rudolph (released in 2010, the same year Lateef was recognized as a Jazz Master by the National Endowment for the Arts). Yusef Lateef died at his home in Shutesbury, Massachusetts in December 2013; he was 93 years old. 

~ Scott Yanow https://itunes.apple.com/us/album/in-a-temple-garden/1182630776

Personnel:   Yusef Lateef - tenor saxophone, flute;   Randy Brecker - trumpet;  Jim Pugh - trombone, bass trombone;  Jerry Dodgion - alto saxophone;  Michael Brecker - tenor saxophone;   Tom Schuman - piano, electric piano, synthesizer;   Jeremy Wall - keyboards, percussion;  Suzanne Ciani - synthesizer, programming;   Eric Gale - guitar;   Steve Gadd - drums;   Jimmy Madison - drums.

In A Temple Garden

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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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Charles Earland & Odyssey - Revelation

Styles: Piano, Clarinet Jazz
Year: 1977
File: MP3@320K/s
Time: 38:36
Size: 88,7 MB
Art: Front

(5:30)  1. Betty Boop
(6:49)  2. Ode To Chicken George
(6:45)  3. Revelation
(4:10)  4. Shining Bright
(4:42)  5. Singing A Song For You
(7:44)  6. Elizabeth
(2:53)  7. I Wish

Charles Earland came into his own at the tail-end of the great 1960s wave of soul-jazz organists, gaining a large following and much airplay with a series of albums for the Prestige label. While heavily indebted to Jimmy Smith and Jimmy McGriff, Earland came armed with his own swinging, technically agile, light-textured sound on the keyboard and one of the best walking-bass pedal techniques in the business. Though not an innovative player in his field, Earland burned with the best of them when he was on. Earland actually started his musical experiences surreptitiously on his father's alto sax as a kid, and when he was in high school, he played baritone in a band that also featured fellow Philadelphians Pat Martino on guitar, Lew Tabackin on tenor, and yes, Frankie Avalon on trumpet. After playing in the Temple University band, he toured as a tenor player with McGriff for three years, became infatuated with McGriff's organ playing, and started learning the Hammond B-3 at intermission breaks. When McGriff let him go, Earland switched to the organ permanently, forming a trio with Martino and drummer Bobby Durham. He made his first recordings for Choice in 1966, then joined Lou Donaldson for two years (1968-1969) and two albums before being signed as a solo artist to Prestige. Earland's first album for Prestige, Black Talk!, became a best-selling classic of the soul-jazz genre; a surprisingly effective cover of the Spiral Starecase's pop/rock hit "More Today Than Yesterday" from that LP received saturation airplay on jazz radio in 1969. He recorded eight more albums for Prestige, one of which featured a young unknown Philadelphian named Grover Washington, Jr., then switched to Muse before landing contracts with Mercury and Columbia. 

By this time, the organ trio genre had gone into eclipse, and in the spirit of the times, Earland acquired some synthesizers and converted to pop/disco in collaboration with his wife, singer/songwriter Sheryl Kendrick. Kendrick's death from sickle-cell anemia in 1985 left Earland desolate, and he stopped playing for awhile, but a gig at the Chickrick House on Chicago's South Side in the late '80s brought him out of his grief and back to the Hammond B-3. Two excellent albums in the old soul-jazz groove for Milestone followed, and the '90s found him returning to the Muse label. Earland died of heart failure on December 11, 1999, the morning after playing a gig in Kansas City; he was 58.~ Richard S.Ginell https://www.allmusic.com/artist/charles-earland-mn0000204850/biography

Personnel:  Organ, Electric Piano, Synthesizer [Arp String Synthesizer], Clavinet, Piano – Charles Earland  Tenor Saxophone, Bass Clarinet – Arthur Grant;   Trumpet – Randy Brecker;  Bass – Paul Jackson;   Drums – Harvey Mason;  Guitar – Eric Gale;    

Revelation

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Eric Gale - In The Shade Of A Tree

Styles: Guitar Jazz
Year: 1982
File: MP3@320K/s
Time: 32:32
Size: 74,8 MB
Art: Front

(4:38)  1. The Doctor Knows
(4:47)  2. Lonely In A Crowd
(5:31)  3. In The Shade Of A Tree
(4:24)  4. Tropicamour
(4:46)  5. Aware And Innocent
(4:50)  6. Gulf Stream
(3:33)  7. Étoile

After releasing Blue Horizon, Eric Gale released In The Shade Of A Tree in Japan later in 1982. Stylistically, the album was similar to Blue Horizon, and was well received in Japan. In The Shade Of A Tree also sold well in Japan, where Eric was a popular artist. It was ironic that Eric Gale’s music was more popular halfway around the world than in his home country. Maybe his next album for Elektra/Musician would see Eric Gale’s fortunes improve in America?  Having released In The Shade Of A Tree, Eric Gale was constantly busy with various projects. He was a member of the NY-LA Dream Band, and had toured Japan with them. Then on his return, he had only a few days before he headed out to Montreux to record a live album. On his return, Eric Gale’s thoughts turned to his next album for Elektra/Musician.  For what became Island Breeze, Eric chose four cover versions. This included Bob James’ Boardwalk and Dark Romance. The other covers were Joe Sample’s My Momma Told Me So and Jeff Medina’s Island Breeze. Eric Gale’s new musical director Jimmy Kachulis penned We’ll Make It, Sooner Or Later and I Know That’s Right. These songs were recorded by a new lineup of Eric Gale’s band.  Since the recording of Blue Horizon, the lineup of Eric’s band had changed quite dramatically. The rhythm section now featured drummers Webb Thomas and Joey DeFrancesco bassist Neddy Smith and rhythm guitarists Mark Mazur and Jimmy Kachulis. They were joined by keyboardists  Ted Lo and Andy Schwartz. This new lineup headed to Rosebud Recording Studio, New York, where Eric Gale took charge of production and played lead guitar. Once Island Breeze was complete, the album was released in 1983.  Before the release of Island Breeze, critics had their say on the followup to Blue Horizon. The reviews were positive, with critics enjoying an album of music that ranged from beautiful ballads to smooth fusion to reggae, funk, jazz and soul. For many, the  uber funky, dancefloor friendly I Know That’s Right which closed Island Breeze was the highlight of the album.  When  Island Breeze was released, it reached just thirty-five on the US Jazz charts. This was a huge blow for Eric Gale,  especially considering the quality of music on Island Breeze, which brought Eric Gale’s career at Elektra/Musician to an end.

Personnel: Eric Gale - lead guitar, arranger;  Winston Grennan - drums;  Mark Mazur - rhythm guitar;  Nasser Nasser - percussion;  Peter Schott - keyboards, arrange;   Neddy Smith - bass;   Freddie Waits - drums; Grover Washington, Jr. - saxophone, guest

In The Shade Of A Tree

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Hank Crawford - Mr. Blues Plays Lady Soul

Bitrate: MP3@320K/s
Time: 36:46
Size: 84.2 MB
Styles: Jazz/Funk/Soul
Year: 2005
Art: Front

[2:37] 1. Groovin'
[3:34] 2. I Can't See Myself Leaving You
[3:26] 3. Never Let Me Go
[3:38] 4. Baby, I Love You
[3:11] 5. Lady Soul
[3:32] 6. Soul Serenade
[3:54] 7. Ain't No Way
[2:13] 8. Since You've Been Gone (Sweet Sweet Baby)
[3:12] 9. Take A Look
[7:24] 10. Going Down Slow

Alto Saxophone – Frank Wess, Hank Crawford; Baritone Saxophone – Pepper Adams; Bass – Charles Rainey, Jerry Jemmott; , Ron Carter; Drums – Bernard Purdie; Guitar – Eric Gale; Organ, Piano – Paul Griffin; Tenor Saxophone – Seldon Powell; Tenor Saxophone, Flute – David Newman; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Bernie Glow, Ernie Royal, Snookie Young, Joe Newman.

With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career. ~ Thom Jurek

Mr. Blues Plays Lady Soul mc
Mr. Blues Plays Lady Soul zippy

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Ralph Macdonald - The Path

Styles: Jazz Funk
Year: 1978
File: MP3@320K/s
Time: 35:24
Size: 81,5 MB
Art: Front

(5:44)  1. The Path (Part One)
(5:06)  2. The Path (Part Two)
(6:19)  3. The Path (Part Three)
(5:20)  4. Smoke Rings And Wine
(4:43)  5. I Cross My Heart
(4:35)  6. It Feels So Good
(3:34)  7. If Im Still Around Tomorrow

With an all-star cast that rivals if not surpasses his Sound of a Drum solo debut, Ralph MacDonald's sophomore effort, The Path, remains his most ambitious and successful solo record. The 18-minute title cut is a mind-boggling journey charting the progression of African-American music from its roots in tribal drumming through evolutions from blues to jazz to funk aided by drummers Idris Muhammad, Steve Gadd, and Rick Marotta as well as soloists including Michael Brecker, David Sanborn, and Bob James, MacDonald creates a virtual primer in percussion, navigating the twists and turns of his musical narrative with stunning precision. 

The record's second half can't help but suffer by comparison, although even the slightest material retains MacDonald's flair for deeply funky rhythms.~ Jason Ankeny https://www.allmusic.com/album/the-path-mw0000857331

Personnel:   Congas, Percussion – Ralph MacDonald;  Bass – Chuck Rainey, Will Lee, William Salter;  Clavinet – Arthur Jenkins, Jr.;  Drums – Charles Collins, Rick Marotta, Steve Gadd;  Guitar – Eric Gale, Hugh McCracken;  Guitar – Eric Gale, Hugh McCracken;    Strings – Al Brown, Gene Orloff, Guy Lumia, Harold Kohon, Jesse Levy, Joe Malin, Julien Barber, Kermit Moore, Matthew Raimondi, Mitsue Takayama, Paul Gershman, Sanford Allen, Selwart Clarke

The Path

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Ralph MacDonald - Sound of a Drum

Styles: Jazz-Funk, Latin Jazz 
Year: 1976
File: MP3@320K/s
Time: 35:59
Size: 82,5 MB
Art: Front

(7:04)  1. Sounds Of A Drum
(5:58)  2. Where Is The Love
(4:51)  3. Only Time You Say You Love Me (Is When We're Making Love)
(5:53)  4. Jam on the Groove
(4:18)  5. Mister Magic
(7:53)  6. Calypso Breakdown

New York session great and longtime Harry Belafonte percussionist Ralph MacDonald made his solo debut with Sound of a Drum, successfully fusing the strong Latin flavor of his previous work with the funk and disco sounds dominating clubs in bicentennial America. The title is no misnomer -- each song is a showcase for MacDonald's blistering percussion talents, but he never loses the humility and instincts of a sideman, allowing an expert cast including Grover Washington, Jr., Bob James, and Toots Thielemans their own turns in the spotlight as well. The eight-minute "Calypso Breakdown" is by far the best-known cut here, thanks to its inclusion on the mega-selling Saturday Night Fever soundtrack -- it remains a monster groove that's dated much better than many disco-era instrumentals, thanks in large part to William Eaton's clever, jazz-inspired arrangement and Eric Gale's ferocious guitar solo.~ Jason Ankeny https://www.allmusic.com/album/sound-of-a-drum-mw0000713033

Personnel:  Congas, Percussion – Ralph MacDonald;  Drums – Rick Marotta;  Guitar – Eric Gale;  Piano – Richard Tee;  Soprano Saxophone, Tenor Saxophone – Grover Washington, Jr.;   Soloist, Synthesizer – Bob James;   

Sound of a Drum

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King Curtis - Night Train

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 63:54
Size: 147,0 MB
Art: Front

(2:45)  1. Fever
(4:53)  2. Honky Tonk
(2:36)  3. So Rare
(2:33)  4. Tippin' In
(2:23)  5. You Came a Long Way from St. Louis
(3:00)  6. Tuxedo Junction
(2:48)  7. The Hucklebuck
(3:00)  8. Lean Baby
(3:57)  9. Harlem Nocturne
(3:00) 10. Night Train
(2:54) 11. Soft
(4:11) 12. Free for All
(3:53) 13. Easy Like
(2:17) 14. Hot Saxes
(2:18) 15. I'll Wait for You
(2:22) 16. The Party Time Twist
(2:36) 17. Low Down
(2:09) 18. Keep Movin'
(2:13) 19. (Let's Do) The Hully Gully Twist
(2:59) 20. Slow Motion
(2:31) 21. Firefly
(2:25) 22. Something Frantic

King Curtis, R&B's great tenor sax player, rides grooves like a cowboy does unruly steeds. Curtis blows ferociously but is always in control, unlike Junior Walker, whose sax seems to be cussing you out at times (which is Walker's charm). Accompanied by several noted jazz artists Jack McDuff (organ), Eric Gale (guitar), Willie Rodriguez (bongos, conga), and Ray Lucas (drums) Curtis serenades and balms on "Harlem Nocturne," bops-u-silly on "Honky Tonk," and boogies on "The Hucklebuck" and "(Let's Do) The Hully Gully Twist." But those are only a small part of the 22 tracks, all of which emphasize Curtis' patented groove and powerful exhortations. 

Engineer Rudy Van Gelder keeps the sound squeaky clean and the levels balanced. Excellent party or card game music. ~ Andrew Hamilton https://www.allmusic.com/album/night-train-mw0000644718  

Personnel: King Curtis (alto & tenor saxophones); Billy Butler, Eric Gale (guitar); Jack McDuff (organ); Bob Bushnell (bass); Ray Lucas (drums); Willie Rodriguez (bongoes, congas).

Night Train

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Quincy Jones - Sounds & Stuff Like That

Styles: Swing, Big Band
Year: 1990
File: MP3@320K/s
Time: 35:45
Size: 82,9 MB
Art: Front

(6:16)  1. Stuff Like That
(3:31)  2. I'm Gonna Miss You In The Morning
(5:13)  3. Love, I Never Had It So Good
(6:45)  4. Tell Me A Bedtime Story
(4:08)  5. Love Me By Name
(5:25)  6. Superwoman (Where Were You When I Needed You)
(4:24)  7. Takin' It To The Streets

With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" which is several cuts above the norm for that genre  along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. ~ Richard S.Ginell https://www.allmusic.com/album/soundsand-stuff-like-that%21%21-mw0000649592

Personnel: Nickolas Ashford (vocals, percussion); Yolanda McCullough (vocals, background vocals); Gwen Guthrie, Luther Vandross, Patti Austin, Tom Bahler, Valerie Simpson, Vivian Cherry, Chaka Khan, Charles May (vocals); David T Sounds; Walker, Eric Gale , Melvin Watson, Wah-Wah Watson (guitar); Gayle Levant (harp); Tom Scott (lyre, flute, soprano saxophone, alto saxophone, tenor saxophone, lyricon); Jerome Reisler, John Wittenberg, Wilbert Nuttycombe, Carl LaMagna, Marvin Limonick, Betty LaMagna, Connie Kupka, Israel Baker, Arnold Belnick, Nathan Ross, Sheldon Sanov, Harry Bluestone, Harry Lookofsky (violin); Meyer Bello, David Schwartz , Leonard Selic, Samuel Boghossian (viola); Gloria Strassner, Dennis Karmazyn (cello); George Young (flute, saxophone, alto saxophone, tenor saxophone); Hubert Laws, Jerome Richardson, Bill Perkins, Bud Shank, Buddy Collette (flute, saxophone, tenor saxophone); Harold Vick (saxophone, trumpet, flugelhorn); Howard Johnson (saxophone, tuba); David Tofani, Harold Fick (saxophone); Michael Brecker (tenor saxophone); Jon Faddis, Virgil Jones (trumpet, flugelhorn); Chuck Findley, Bill Lamb, Oscar Brashear, Snooky Young (trumpet); Arthur Maebe, David Duke , Sidney Muldrow, Aubrey Bouck, Henry Sigismonti (French horn); Donald Waldrop, Jimmy Cleveland, Robert Payne, Bill Watrous, Charles Loper, Chauncey Welsch (trombone); Alan Raph (bass trombone); Roger Bobo, Tommy Johnson (tuba); Herbie Hancock (piano, electric piano, keyboards); Richard Tee (piano, organ, keyboards); Clark Spangler (synthesizer, programming); Michael Boddicker (synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums); Ralph MacDonald (percussion); Zachary Sanders, Bill Eaton, Frank Floyd (background vocals)

Sounds & Stuff Like That

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Tom Scott - Blow It Out

Styles: Saxophone And Trumpet Jazz
Year: 1977
File: MP3@320K/s
Time: 41:20
Size: 95,3 MB
Art: Front

(3:36)  1. Gotcha
(4:27)  2. Smoothin'on Down
(4:39)  3. Dream Lady
(4:50)  4. I Wanna Be
(7:41)  5. Shadows
(5:04)  6. You've Got the Feel'n
(5:28)  7. Down to Your Soul
(5:32)  8. It's So Beautiful to Be

Blow It Out was among Tom Scott's best selling albums of the 1970s, but it was also among his weakest of the decade. The spontaneity and grit that defined his work with the L.A. Express is sorely missing on the album, a session plagued by excessive producing and arranging, bland material and appalling lack of improvisation. Scott's sax is consistently smothered by cliched, Bob James-ish arrangements. Fans of '70s cop shows may want to hear "Gotcha (Theme from 'Starsky & Hutch')," but on the whole, Scott's pop and R&B melodies are as schlocky as they are forgettable. Making a rare and unsuccessful attempt to sing on the R&B/pop number "Down to Your Soul" which sounds like fifth-rate Steely Dan Scott unveils a voice that's thin at best. Unquestionably, an L.A. Express date like Tom Cat would be a much better investment. ~ Alex Henderson https://www.allmusic.com/album/blow-it-out-mw0000204516   

Personnel:  Tom Scott - Saxes, Trumpet, Horns, Lyricon, Woodwinds, Vocals, Main Performer, Producer; Hank Cicalo - Recorder, Mixing, Engineer;  Chuck Rainey - Bass;  Gary King - Bass;  Eric Gale - Guitar;  John Tropea - Guitar;  Dennis Budimir - Guitar;  Ray Parker - Guitar;  Steve Gadd - Drums;  Rick Marotta - Drums, Drum Overdubs;  Chris Parker - Drums;  Dick "Slyde" Hyde - Bass Trumpet;  Chuck Findley - Trumpet;  Richard Tee - Piano, Clavinet, Organ, Fender Rhodes;  Kenny Ascher - Clavinet;  Hugh McCracken - Guitar;  Ralph MacDonald - Percussion, Cow Bell, Congas, Tambourine

Blow It Out

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Tom Scott - Apple Juice

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 43:37
Size: 100,8 MB
Art: Front

(5:14)  1. Apple Juice
(4:16)  2. Gonna Do It Right
(6:34)  3. We Belong Together
(4:25)  4. So White And So Funky
(7:16)  5. Gettin' Up
(6:12)  6. In My Dreams
(9:38)  7. Instant Relief

Although a bit streaky, this is one of Tom Scott's better recordings of the 1980s. A live set with guitarists Eric Gale (whose bluesy playing is a strong asset) and Hugh McCracken, keyboardist Richard Tee, electric bassist Marcus Miller, drummer Steve Gadd and percussionist Ralph MacDonald, Scott sounds fine when playing tenor, although his decision to use the anonymous-sounding lyricon on some numbers is a mistake. Also on the minus side are Dr. John's cameo appearance singing "So White and So Funky," the repertoire in general (which includes four forgettable Scott originals), and some of the less imaginative rhythms. ~ Scott Yanow https://www.allmusic.com/album/apple-juice-mw0000465613

Personnel: Tom Scott - saxes,lyricon;  Eric Gale - electric and acoustic guitars;  Hugh McCracken - electric guitar;  Richard Tee - keyboards;  Marcus Miller - bass;  Ralph McDonald - percussion;  Steve Gadd - drums;  Dr.John - vocals(4)

Apple Juice

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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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Eric Gale - Multiplication

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 37:31
Size: 86,3 MB
Art: Front

(7:24)  1. Oh! Mary Don't You Weep
(5:55)  2. Thumper
(5:26)  3. Multiplication
(8:30)  4. Morning Glory
(4:53)  5. Gypsy Jello
(5:22)  6. Sometimes I Feel Like a Motherless Child

A guitarist who was used for many R&B-oriented dates and occasionally played jazz, Eric Gale had an appealing sound and was best while performing lazy melodic blues. He was most significant to the jazz world in the early '70s, when he recorded often as a sideman for CTI, later on with the group Stuff, and on isolated tracks on his own sessions. Gale's fine 1987 EmArcy set In a Jazz Tradition shows what he could really do. ~ Scott Yanow https://itunes.apple.com/lb/album/multiplication/id921843571

Personnel:  Eric Gale (Guitar); Willie Weeks (Bass); Charles McCracken , Richard Locker (Cello); Bob James  (Clavinet, Synthesizer, Producer); Steve Gadd (Drums); Ralph MacDonald (Percussion); Richard Tee (Piano, Organ); Jerry Dodgion (Saxophone Alto); George Marge (Saxophone Baritone); Eddie Daniels (Saxophone Tenor); Paul Faulise , Wayne Andre (Trombone); David Taylor (Trombone Bass); Jon Faddis , Lew Soloff , Marvin Stamm , Randy Brecker (Trumpet); Barry Finclair, Emanuel Vardi (Viola); David Nadien, Harold Kohon, Harry Cykman, Harry Lookofsky, Lamar Alsop, Matthew Raimondi, Max Ellen, Max Pollikoff (Violin).

Multiplication

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Eric Gale - The Essential Eric Gale (2-Disc Set)

A guitarist who was used for many R&B-oriented dates and occasionally played jazz, Eric Gale had an appealing sound and was best while performing lazy melodic blues. He was most significant to the jazz world in the early '70s, when he recorded often as a sideman for CTI, later on with the group Stuff, and on isolated tracks on his own sessions. Gale's fine 1987 EmArcy set In a Jazz Tradition shows what he could really do. ~ Scott Yanow

Album: The Essential Eric Gale (Disc 1)
Bitrate: MP3@320K/s
Time: 70:23
Size: 161.1 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[7:46] 1. Forecast
[7:19] 2. Dindi
[4:15] 3. Tonsue Corte
[3:34] 4. Killing Me Softly With His Song
[6:10] 5. Sara Smile
[7:40] 6. Ginseng Woman
[3:51] 7. Red Ground
[6:07] 8. East End, West End
[6:10] 9. She Is My Lady
[6:16] 10. De Rabbit
[5:49] 11. Thumper
[5:21] 12. Multiplication

The Essential Eric Gale (Disc 1) mc
The Essential Eric Gale (Disc 1) zippy

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Album: The Essential Eric Gale (Disc 2)
Bitrate: MP3@320K/s
Time: 57:50
Size: 132.4 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[8:26] 1. Morning Glory
[4:49] 2. Gypsy Jello
[7:21] 3. Oh! Mary Don't You Weep
[6:17] 4. Part Of You
[7:00] 5. Lookin' Good
[5:21] 6. Let-Me-Slip-It-To-You
[4:44] 7. You Got My Life In Your Hands
[5:07] 8. Touch Of Silk
[8:43] 9. Au Private

The Essential Eric Gale (Disc 2) mc
The Essential Eric Gale (Disc 2) zippy

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