George Benson - Dreams Do Come True: When George Benson Meets Robert Farnon

Styles: Vocal And Guitar
Size: 102,4 MB
Time: 44:02
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. At Last (4:12)
2. A Song For You (3:36)
3. Pretend (3:59)
4. A Long Time Ago (4:32)
5. Love Is Blue (4:16)
6. My Romance (4:07)
7. Autumn Leaves (4:19)
8. Can't We Be Friends (3:01)
9. My Prayer (4:35)
10. Yesterday (4:18)
11. One Goodbye (3:01)

When the best intentions are to put a record release on hold for whatever the cause, occasionally those masters are overlooked and/or lost for an indefinite period of time. Multi Grammy winning and Hollywood Walk of Fame recipient, guitarist/vocalist George Benson, spent over a decade with Warner Bros. Records including his crossover (Pop, R&B and Jazz) classic in 1976, Breezin’, and Dreams Do Come True: When George Benson Meets Robert Farnon, a 1989 project saluting the song standards in various genres through the years. However, the masters on Dreams Do Come True slipped thru the cracks for 35 years before the original recording was finally found.

Now the time is getting closer for an extraordinary collaboration bridging Benson’s jazzy scat and guitar and a richly soulful vocal delivery with Farnon’s orchestral arrangements. The Canadian born Farnon, who passed at age 87 in 2005, arranged for many vocal legends including Tony Bennett and Lena Horne. This updated version of Dreams Do Come True (Rhino/Warner Music) is retouched up with love by Benson’s friend co-producer Randy Waldman. Meanwhile, fans can experience a sneak peak of Benson and Farnon from these long, lost sessions, teaming up on the R&B disco flavored, big band edged “Love is Blue,” the first French single release that hit #1 on the U.S. charts in 1968.
https://news.theurbanmusicscene.com/2024/07/dreams-do-come-true-when-george-benson-meets-robert-farnon/

Dreams Do Come True: When George Benson Meets Robert Farnon

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Jack McDuff - Hallelujah Time!

Styles: Soul Jazz
Year: 1967
Time: 30:24
File: MP3 @ 320K/s
Size: 61,4 MB
Art: Front

(5:44) 1. Almost Like Being In Love
(5:14) 2. East of the Sun
(3:18) 3. Au Privave
(8:03) 4. Undecided
(3:49) 5. Hallelujah Time
(4:14) 6. The Live People

A killer 60s album from Brother Jack McDuff cut at a time when he was one of the most hard-hitting players on the Hammond! The set has a great lineup Red Holloway plays tenor on all cuts, except for "The Live People", which features him and Harold Ousley playing back to back and Joe Dukes is on drums throughout, and the guitar parts are handled by Pat Martino and George Benson all players who really take off under the leadership of McDuff! Cuts include "Au Private", "East of the Sun", "The Live People", and "Hallelujah Time"
© 1996-2024, Dusty Groove, Inc.https://www.dustygroove.com/item/7978/Jack-McDuff:Hallelujah-Time

Personnel: Jack McDuff - organ; Red Holloway (tracks 1-5), Harold Ousley (track 6) - tenor saxophone; George Benson (tracks 2-5), Pat Martino (tracks 1 & 6) - guitar; Joe Dukes - drums

Hallelujah Time!

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Jack McDuff - Legends of Acid Jazz

Styles: Jazz,Funk,Soul
Year: 1964
File: MP3@320K/s
Time: 69:40
Size: 159,7 MB
Art: Front

( 4:53) 1. Scufflin'
( 3:16) 2. Au Privave
( 3:49) 3. Hallelujah Time
( 6:59) 4. Misconstrued
( 8:18) 5. Lew's Piece
( 6:57) 6. Opus de Funk
(10:26) 7. Our Miss Brooks
( 5:13) 8. East Of The Sun
( 8:33) 9. I Got A Woman
( 4:02) 10. Hey Lawdy Mama
( 3:44) 11. From The Bottom Up
( 3:26) 12. Lexington Avenue Line

While these 12 selections were originally released on six different albums between 1965 and 1969, all of them were cut during July 1964: nine at a New York studio session, and three (embellished by Benny Golson big-band arrangements) live at Stockholm. Thus it makes for a thematically coherent compilation, every track featuring a young George Benson on guitar and Joe Dukes on drums; Red Holloway plays tenor sax on all but two songs. It's top-drawer soul-jazz, recommended to those who might find some of McDuff's other releases too homogenous, as his B-3 travels through diverse moods here: the uptempo blues of "Scufflin'," the slow-burning funk of "Our Miss Brooks," R&B/soul in the cover of "I Got a Woman." The closing "Lexington Avenue Line" is the oddest track, though quite a good one, sounding like a movie soundtrack theme with its dramatic strings.~ Richie Unterberger https://www.allmusic.com/album/the-legends-of-acid-jazz-mw0000025212

Personnel: Organ – Jack McDuff; Drums – Joe Dukes; Guitar – George Benson; Tenor Saxophone – Red Holloway

Legends of Acid Jazz

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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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George Benson - Walking To New Orleans

Styles: Guitar and Vocal
Year: 2019
File: MP3@320K/s
Time: 37:31
Size: 87,3 MB
Art: Front

(3:54)  1. Nadine (Is It You)
(3:49)  2. Ain't That A Shame
(3:39)  3. Rockin' Chair
(3:35)  4. You Can't Catch Me
(4:54)  5. Havana Moon
(3:45)  6. I Hear You Knocking
(3:19)  7. Memphis, Tennessee
(4:08)  8. Walking To New Orleans
(3:03)  9. Blue Monday
(3:22) 10. How You've Changed

Following up 2013's urbane Inspiration: A Tribute to Nat King Cole, George Benson returns with another tribute production, 2019's ebullient Walking to New Orleans: Remembering Chuck Berry and Fats Domino. Interestingly, while Benson is best known for his funky instrumental jazz of the '70s and '80s, and smooth R&B crooning of the '80s and '90s, both of these latter-career tributes find him tackling material from even older traditions. Where Inspiration was a lushly swinging standards album, Walking to New Orleans is all blues grit and old-school R&B swagger. Though primarily influenced by jazz artists like Wes Montgomery and Charlie Christian, Benson certainly owes at least a modicum of his soulful style to early rock legends Berry and Domino, both of whom helped shape the sound of modern rock and pop music. As Benson grew up in Pittsburgh, the album's title evokes a conceptual travelogue as he moves from the Midwest through Berry's home state of Missouri, all the way down South to Domino's hometown of New Orleans. To help achieve this rootsy trek, Benson worked with producer Kevin Shirley (John Hiatt, Aerosmith, Joe Bonamassa) at Nashville's Ocean Way Studios, where he also conscripted the assistance of pros like drummer/music director Greg Morrow, guitarist Rob McNelley, pianist Kevin McKendree, and bassist Alison Prestwood. The results are loose and straightforward as Benson (primarily showcased here as a singer) takes on Berry favorites like "Walking," "Nadine (Is It You?)," and "Memphis, Tennessee," as well as Domino hits like "Ain't That a Shame," "I Heart You Knocking," and "Blue Monday." While there are tasty Benson guitar licks peppered throughout, fans of his instrumental work may wish there was more of an emphasis on his improvisation. Nonetheless, these are earthy and robust productions that never stray too far afield of their rock & roll source. ~ Matt Collar https://www.allmusic.com/album/walking-to-new-orleans-remembering-chuck-berry-and-fats-domino-mw0003250486

Walking To New Orleans

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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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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Miles Davis - Miles In The Sky

Styles: Trumpet And Cornet Jazz
Year: 1968
File: MP3@320K/s
Time: 51:12
Size: 117,7 MB
Art: Front

(17:03)  1. Stuff
(12:45)  2. Paraphernalia
( 7:30)  3. Black Comedy
(13:52)  4. Country Son

With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano one of the very first sounds on the record, as a matter of fact and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy "Country Son," this is less visionary than its predecessor and feels like a transitional album and, like many transitional albums, it's intriguing and frustrating in equal measures. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/miles-in-the-sky-mw0000652711

Personnel:  Miles Davis – trumpet, cornet on "Stuff" and "Country Son";  Wayne Shorter – tenor saxophone;  Herbie Hancock – piano, electric piano on "Stuff";  Ron Carter – bass, electric bass on "Stuff";  Tony Williams – drums;  George Benson – electric guitar on "Paraphernalia"

Miles In The Sky

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George Benson - The New Boss Guitar Of George Benson

Styles: Guitar Jazz
Year: 1964
File: MP3@320K/s
Time: 40:20
Size: 92,6 MB
Art: Front

(4:49)  1. Shadow Dancers
(4:42)  2. The Sweet Alice Blues
(6:52)  3. I Don't Know
(3:05)  4. Just Another Sunday
(4:30)  5. Will You Still Be Mine
(6:41)  6. Easy Living
(4:02)  7. Rock-A-Bye
(5:37)  8. My Three Sons

George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the guitarist had yet to become a huge name in jazz, although many of those who knew him for his work with Jack McDuff's group (which he joined in 1962) agreed that he showed great potential. Benson still had some growing to do in 1964, but even so, this is an impressive debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson originals (including the sly "Shadow Dancers," the exuberant "Rock-A-Bye," and the earthy blues "I Don't Know") as well as interpretations of "Easy Living" and "Will You Still Be Mine." Benson, of course, had an insightful teacher in McDuff, who plays both organ and piano on this hard bop/soul-jazz date. Tenor saxophonist Red Holloway, another member of McDuff's early-'60s group, is also on board, as are bassist Ronnie Boykins and drummer Montego Joe. In 1964, Benson's best work was yet to come; nonetheless, this album is historically important as well as rewarding. ~ Alex Henderson https://www.allmusic.com/album/the-new-boss-guitar-of-george-benson-mw0000690477 

Personnel: George Benson (guitar); Red Holloway (tenor saxophone); Jack McDuff (piano, organ); Ronnie Boykins (bass); Montego Joe, Joe Dukes (drums).

The New Boss Guitar Of George Benson

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Stanley Turrentine - Sugar

Bitrate: MP3@320K/s
Time: 59:04
Size: 135.2 MB
Styles: Soul-Jazz, Post Bop, Modal
Year: 1971/2001
Art: Front

[10:03] 1. Sugar
[10:45] 2. Sunshine Alley
[14:10] 3. Impressions
[ 9:36] 4. Gibraltar
[14:28] 5. Sugar (Live)

Bass – Ron Carter; Congas – Richard "Pablo" Landrum; Drums – Billy Kaye; Electric Piano – Lonnie L. Smith, Jr.; Guitar – George Benson; Organ – Butch Cornell; Tenor Saxophone – Stanley Turrentine; Trumpet – Freddie Hubbard. Recorded at Van Gelder Studios November, 1970.

If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is Sugar by Stanley Turrentine. Recorded in 1970, only three tracks appear on the original album (on the reissue there's a bonus live version of the title track, which nearly outshines the original and is 50 percent longer). Turrentine, a veteran of the soul-jazz scene since the '50s, was accompanied by a who's who of groove players, including guitarist George Benson, Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet, bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye, among others. (The live version adds Airto, flutist Hubert Laws, drummer Billy Cobham, and organist Johnny Hammond.) The title track is a deep soul blues workout with a swinging backbeat and the rhythm section fluidly streaming through fours and eights as Benson, Hubbard, and Turrentine begin slowly and crank up the heat, making the pace and stride of the cut simmer then pop -- especially in Hubbard's solo. This is truly midnight blue, and the party's at the point of getting really serious or about to break up. By the time Benson picks up his break, full of slick, shiny, warm arpeggios, the seams are bursting and couples are edging into corners. Butch Cornell's "Sunshine Alley" is a solid, funky groover, paced by organ and double fours by Kaye. Turrentine and Hubbard stride into the melody and keep the vamp in the pocket, riding out past the blues line into a tag that just revs the thing up even further. But the big surprise is in the final track, one of the most solidly swinging, from-the-gut emotional rides of John Coltrane's "Impressions" ever taken. Turrentine is deep inside his horn, ringing out in legato with everything he has -- and it is considerable. Ron Carter's bass playing flows through the modal interludes, creating a basis for some beautifully intervallic invention by Benson and Smith by building a series of harmonic bridges through the mode to solos. It's hard to believe this is Turrentine, yet is could be no one else. If jazz fans are interested in Turrentine beyond the Blue Note period -- and they should be -- this is a heck of a place to listen for satisfaction. ~Thom Jurek

Sugar 

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George Benson - Tenderly

Styles: Vocal  And Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 38:49
Size: 89,4 MB
Art: Front

(4:41)  1. You Don't Know What Love Is
(5:16)  2. Stella By Startlight
(6:04)  3. Stardust
(4:55)  4. At The Mambo Inn
(5:07)  5. Here, There And Everywhere
(5:36)  6. This Is All I Ask
(3:07)  7. Tenderly
(4:01)  8. I Could Write A Book

Apparently Benson got the message. Giving up the fruitless search for decent contemporary material, he switched gears and recorded an album of old standards with top-grade jazz musicians (including pianist McCoy Tyner and bassist Ron Carter) and Marty Paich's classy string and brass charts. With good songs to sing, Benson gives some moving performances, particularly on "This Is All I Ask," and there is a lovely reminder of his affinity for the Beatles, "Here There and Everywhere." Moreover, his jazz instincts were fully at his command; you'll hear some remarkable Latin-slanted guitar work on "At the Mambo Inn," some brilliant bebop on "Stella By Starlight" and "I Could Write a Book," and a stunning solo performance of "Tenderly" itself. One could read a bit of calculation into all of this; a Benson riposte to all those critics who thought he'd never play bebop again, an attempt by his record company to pander to an aging fan base. But don't. Enjoy the music, some of the best Benson has made in the 1900s. ~ Richard S.Ginell  https://www.allmusic.com/album/tenderly-mw00006535

Personnel: Vocals – George Benson (tracks: 1, 3 to 6, 8);  Double Bass – Ron Carter (tracks: 1 to 6, 8);  Drums – Al Foster (tracks: 8), Herlin Riley (tracks: 2 to 5), Louis Hays (tracks: 1, 6);  Guitar – George Benson (tracks: 1 to 5, 7, 8);  Percussion – Lenny Castro (tracks: 4, 5);  Piano [Acoustic] – McCoy Tyner (tracks: 1 to 6, 8)

Tenderly

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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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George Benson - Guitar Man

Bitrate: MP3@320K/s
Time: 42:39
Size: 97.7 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[1:58] 1. Tenderly
[5:08] 2. I Want To Hold Your Hand
[4:06] 3. My Cherie Amour
[3:40] 4. Naima
[4:28] 5. Tequila
[2:43] 6. Don't Know Why
[4:27] 7. The Lady In My Life
[3:22] 8. My One And Only Love
[2:42] 9. Paper Moon
[3:23] 10. Danny Boy
[2:58] 11. Since I Fell For You
[3:39] 12. Fingerlero

2011 release from the Grammy-winning Jazz legend. The album includes a mix of Jazz and Pop standards - some in a combo setting and some solo, but all of them tied together seamlessly by Benson's soulful and exploratory signature sound. Lending a hand on this recording is a solid team made up of veterans and newcomers alike - pianist Joe Sample, keyboardist and musical director David Garfield, bassist Ben Williams and drummer Harvey Mason.

Guitar Man

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George Benson - Songs And Stories

Bitrate: MP3@320K/s
Time: 62:11
Size: 142.4 MB
Styles: Guitar & Vocal jazz
Year: 2009
Art: Front

[3:48] 1. Don’t Let Me Be Lonely Tonight
[4:18] 2. Family Reunion
[4:17] 3. Show Me The Love
[5:54] 4. A Telephone Call Away
[6:20] 5. Someday We’ll All Be Free
[5:29] 6. Nuthin’ But A Party
[4:30] 7. Come In From The Cold
[5:28] 8. Exotica
[4:50] 9. Rainy Night In Georgia
[4:41] 10. One Like You
[7:14] 11. Living In High Definition
[5:16] 12. Sailing

George Benson is truly a legend; a guitarist of unparalleled chops and a vocalist with great emotional range and sophistication, and this 2009 release finds him at his very best! Songs and Stories is a collection of tunes penned by some of the most prolific and enduring songwriters of the last half-century. The combined talents of these writers and musicians make for a series of unforgettable tales, and Benson himself is the narrator who weaves it all together. Many of the songs were written specifically for this new recording, while others were hand-picked by Benson for their ability to convey simple but universal truths about the human experience. Features new material from songwriting legends Bill Withers, Lamont Dozier and Smokey Robinson and includes performances by special guests David Paich, Gerald Albright, Lalah Hathaway, Lee Ritenour, Norman Brown, Patti Austiin, Steve Lukather, Tom Scott and many others.

Songs And Stories

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Dexter Gordon - Gotham City

Bitrate: MP3@320K/s
Time: 57:05
Size: 130.7 MB
Styles: Bop, Saxophone jazz
Year: 1981/2012
Art: Front

[9:34] 1. Hi Fly
[7:13] 2. A Nightingale Sang In Berkeley Square
[8:19] 3. The Blues Walk (Loose Walk)
[9:19] 4. Gotham City
[5:54] 5. A Conversation With Dexter Gordon
[7:04] 6. Have Yourself A Merry Little Christmas
[9:40] 7. Have Yourself A Merry Little Christmas (Long Version)

Tenor saxophonist Dexter Gordon was still in pretty good form at the time of this later recording. The veteran great is joined by an all-star rhythm section (pianist Cedar Walton, bassist Percy Heath and drummer Art Blakey) along with guest appearances from trumpeter Woody Shaw and guitarist George Benson. Although this boppish set is rather brief, just four songs (3 additional tracks were added on the CD reissue), the quality of the solos is quite high. ~Scott Yanow

Gotham City

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Lee Ritenour's 6 String Theory - S/T

Bitrate: MP3@320K/s
Time: 67:48
Size: 155.2 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[5:54] 1. Lay It Down (Feat. John Scofield)
[4:08] 2. Am I Wrong (Feat. Keb Mo, Taj Mahal)
[4:51] 3. L.P. (For Les Paul) (Feat. Pat Martino, Joey Defrancesco)
[5:14] 4. Give Me One Reason (Feat Robert Cray, Joe Bonamassa)
[4:58] 5. 68 (Feat. Slash, Neal Schon, Steve Lukather)
[5:56] 6. In Your Dreams (Feat. Neal Schon, Steve Lukather)
[1:45] 7. My One And Only Love (Feat. George Benson)
[4:58] 8. Moon River (Feat. George Benson)
[6:34] 9. Why I Sing The Blues (Feat. BB King, Jonny Lang, Keb Mo, Vince Gill)
[1:54] 10. Daddy Longlicks (Feat. Joe Robinson)
[4:48] 11. Shape Of My Heart (Feat. Andy Mckee, Steve Lukather)
[3:40] 12. Drifting (Feat. Andy Mckee)
[4:56] 13. Freeway Jam (Feat. Mike Stern, Tomoyasu Hotei)
[4:33] 14. Lee Fives (Feat. Guthrie, Govan, Tal Wilkenfield)
[3:31] 15. Caprices, Op. 20, No. 2 And 7 (Feat. Shon Bublil)

On his release 6 String Theory, Ritenour is among twenty legendary world class guitarists who guest on the recording, produced with John Burk of Concord Records. Joining him in this tribute to the guitar, the all-star line-up includes: George Benson, BB King, Slash, Steve Lukather, John Scofield, Robert Cray and Vince Gill among many other superstars. Blending rock, blues, jazz, acoustic, country and classical, they come together for a seamless project that promises to take the listener on a musical journey and exploration of the guitar.

Lee Ritenour's 6 String Theory  

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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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Jack McDuff - The Prestige Years (Remastered)

Bitrate: MP3@320K/s
Time: 78:40
Size: 180.1 MB
Styles: Soul jazz
Year: 2004
Art: Front

[8:13] 1. The Honeydripper
[2:59] 2. Brother Jack
[4:49] 3. Sanctified Waltz
[8:55] 4. Yeah, Baby
[5:00] 5. Mellow Gravy
[6:01] 6. He's A Real Gone Guy
[6:22] 7. Candy
[7:00] 8. Tough 'Duff
[2:23] 9. Grease Monkey
[6:46] 10. Jive Samba
[2:59] 11. Organ Grinder's Swing
[7:18] 12. Screamin'
[2:56] 13. Hot Barbeque
[6:54] 14. Opus De Funk

Alto Saxophone – Leo Wright; Bass – Wendell Marshall; Drums – Bill Elliot, Joe Dukes; Guitar – Bill Jennings, Eddie Diehl, George Benson, Grant Green, Kenny Burrell; Organ – Brother Jack McDuff; Tenor Saxophone – Gene Ammons, Harold Vick, Jimmy Forrest, Red Holloway; Vibraphone – Lem Winchester.

The history of jazz is full of great musicians who died tragically young; Clifford Brown, Bix Beiderbecke, Eric Dolphy, Fats Navarro, Charlie Christian, Booker Little, and the seminal Charlie Parker were among the many legendary improvisers who died in their twenties or thirties. But when Jack McDuff passed away on January 23, 2001, at the age of 74, his fans could take some comfort in knowing that he had lived a long and productive life. The soul-jazz/hard bop organist left behind a huge catalog, which is why best-of releases like The Prestige Years and The Best of the Concord Years are sorely needed. While the latter is devoted to McDuff's Concord Jazz recordings of the '90s and early 2000s, this 79-minute CD focuses on his Prestige output of 1960-1965. Although McDuff only spent a fraction of his career at Prestige and was still keeping busy 35 years after leaving the label, Prestige was the company that put him on the map as a recording artist -- and most soul-jazz enthusiasts would agree that he recorded some of his most essential work there. The Prestige Years bears that out; "Rock Candy," "Yeah, Baby," and McDuff's 1960 version of Joe Liggins' "The Honeydripper" are required listening for anyone with even a casual interest in gritty, down-home organ combos. The list of musicians who join McDuff on these recordings reads like a who's who of '60s soul-jazz; Gene Ammons, George Benson, Red Holloway, Jimmy Forrest, and Grant Green are among the major names appearing in the credits. The Prestige Years is far from the last word on McDuff's long recording career -- for that matter, it's far from the last word on his Prestige output. But if one is seeking an introductory overview of McDuff's five years at that label, The Prestige Years wouldn't be a bad investment at all. ~Alex Henderson

The Prestige Years (Remastered)

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Various - A Night Out With Verve (4-Disc Box Set)

A Night Out With Verve highlights five decades of remarkable jazz taken from the Verve catalog, spread out over four discs titled "Wining," "Dining," "Dancing," and "Romancing." This budget-priced box set includes 65 performances from jazz luminaries including Oscar Peterson, Sonny Rollins, Michel Legrand, Sarah Vaughan, Stan Getz, Louis Armstrong, Count Basie, Billie Holiday, Miles Davis, Duke Ellington, and Shirley Horn. Whether it's a night out on the town or a simple romantic evening, A Night Out With Verve has a great deal to offer die-hard jazz fans and casual listeners alike. ~Al Campbell

Album: A Night Out With Verve (Disc 1)

Bitrate: MP3@320K/s

Time: 67:04

Size: 153.6 MB

Styles: Vocal jazz, Bop, Standards, Jazz/Blues/Soul

Year: 2000

[2:22] 1. Oscar Peterson Trio - Come Dance With Me

[3:22] 2. Dizzy Gillespie - There Is No Greater Love

[2:39] 3. Kenny Burrell - As Long As I Live

[3:37] 4. Coleman Hawkins - I Wished On The Moon

[3:25] 5. Junior Mance - A Smooth One

[3:00] 6. Johnny Hodges - On The Sunny Side Of The Street

[2:55] 7. Anita O'day - Whisper Not

[3:48] 8. Joe Pass - Li'l Darlin'

[4:25] 9. Monty Alexander - Love You Madly

[5:34] 10. George Benson - What's New

[6:17] 11. Tal Farlow - Broadway

[6:19] 12. Sonny Rollins - You Are Too Beautiful

[4:36] 13. Wynton Kelly - Portrait Of Jenny

[5:49] 14. Gerry Mulligan - Fall Out

[3:05] 15. Michel Legrand - La Vie En Rose

[5:45] 16. Roy Eldridge - I Still Love Him So

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Album: A Night Out With Verve (Disc 2)

Bitrate: MP3@320K/s

Time: 67:49

Size: 155.2 MB

Styles: Vocal jazz, Bop, Standards, Jazz/Blues/Soul

Year: 2000

[2:38] 1. Kenny Burrell - If I Had You

[5:21] 2. Joe Henderson - Once I Loved (Amor Em Paz)

[3:53] 3. Sarah Vaughan - Isn't It A Pity

[4:46] 4. Bill Evans - My Foolish Heart

[5:36] 5. Art Blakey - I Remember Clifford

[4:42] 6. Jim Hall - It's Nice To Be With You

[4:25] 7. The New Stan Getz Quartet - It Might As Well Be Spring

[3:40] 8. Benny Carter - Isn't It Romantic

[3:50] 9. Ella Fitzgerald - When A Woman Loves A Man

[6:25] 10. George Shearing - This Can't Be Love

[5:51] 11. Chet Baker - You Go To My Head

[5:03] 12. Tal Farlow - Autumn In New York

[4:40] 13. Stan Getz - But Beautiful

[2:21] 14. Astrud Gilberto - Agua De Beber

[4:29] 15. Sonny Rollins - Manhattan

A Night Out With Verve Disc1,Disc2                 

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Album: A Night Out With Verve (Disc 3)

Bitrate: MP3@320K/s

Time: 63:49

Size: 146.1 MB

Styles: Vocal jazz, Bop, Standards, Jazz/Blues/Soul

Year: 2000

[2:44] 1. Fred Astaire - (Ad Lib) Fast Dances

[3:57] 2. Ella Fitzgerald - Party Blues

[7:14] 3. James Clay - Sister Sadie

[2:14] 4. Jimmy Smith - Organ Grinder's Swing

[4:34] 5. Duke Ellington - Perdido

[2:23] 6. Harry James & His Orchestra - Back Beat Boogie

[4:06] 7. Marlena Shaw - At Last

[5:40] 8. Louis Armstrong - Little Girl Blue

[3:36] 9. Stan Getz - Só Danço Samba

[7:20] 10. Cassandra Wilson - Shall We Dance

[3:59] 11. Buddy Defranco - Rose Room

[4:12] 12. Benny Goodman - King Porter Stomp

[4:27] 13. Nicholas Payton - Taking A Chance On Love

[5:14] 14. Count Basie - Corner Pocket

[2:01] 15. Fred Astaire - (Ad Lib) Medium Dance

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Album: A Night Out With Verve (Disc 4)

Bitrate: MP3@320K/s

Time: 69:08

Size: 158.3 MB

Styles: Vocal jazz, Bop, Standards, Jazz/Blues/Soul

Year: 2000

Art: Front

[4:01] 1. Sarah Vaughan - I've Got A Crush On You

[4:04] 2. Billie Holiday - It Had To Be You

[5:32] 3. John Coltrane - You're A Weaver Of Dreams

[3:05] 4. Al Hibbler - This Love Of Mine

[3:06] 5. Don Byas - Misty

[3:01] 6. Dinah Washington - Invitation

[5:35] 7. Abbey Lincoln - The Nearness Of You

[3:51] 8. Stéphane Grappelli - Time After Time

[4:04] 9. Billy Eckstine - Imagination

[4:34] 10. Lester Young - That's All

[2:53] 11. Mel Tormé - I Should Care

[2:55] 12. Miles Davis - 'Round Midnight

[3:34] 13. Roland Kirk Quartet - Someone To Watch Over Me

[3:06] 14. Johnny Hartman - It's Easy To Remember

[2:15] 15. Ella Fitzgerald - Reaching For The Moon

[3:00] 16. Shirley Horn - You Don't Know Me

[4:41] 17. The Ben Webster Quintet - Where Are You

[2:13] 18. Louis Armstrong - There's No You

[3:30] 19. Clifford Brown - Memories Of You

A Night Out With Verve Disc3, Disc4                 

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Tony Williams - The Joy Of Flying

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 49:56
Size: 115,6 MB
Art: Front

(4:16)  1. Going Far
(8:07)  2. Hip Skip
(6:20)  3. Hittin' On 6
(6:19)  4. Open Fire
(6:52)  5. Tony
(3:31)  6. Eris
(6:08)  7. Coming Back Home
(8:19)  8. Morgan's Motion

It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration. ~ Scott Yanow http://www.allmusic.com/album/the-joy-of-flying-mw0000030914

Personnel:  Tony Williams: drums;  George Benson: guitar;  Ronnie Montrose: guitar;  Cecil Taylor: piano;  Jan Hammer: synthesizer, keyboards;  Herbie Hancock: synthesizer, keyboards;  Brian Auger: synthesizer, keyboards;  Michael Brecker: tenor saxophone;  Mario Cipolina: bass;  Stanley Clarke: bass;  Paul Jackson: bass

The Joy Of Flying

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