Flora Purim - Open Your Eyes You Can Fly

Styles: Latin Jazz, Vocal
Year: 1976
File: MP3@320K/s
Time: 37:21
Size: 85,7 MB
Art: Front + Back

(4:29)  1. Open Your Eyes You Can Fly
(5:09)  2. Time's Lie
(4:44)  3. Sometime Ago
(4:08)  4. San Francisco River
(6:11)  5. Andei (I Walked)
(4:19)  6. Ina's Song (Trip to Bahia) / Transition
(2:29)  7. Conversation
(5:49)  8. Medley: White Wing (aka Asa Branca)

As an original member of Chick Corea's group Return to Forever, Purim subsequently drew praise as a solo act. Recording for the jazz label Milestone since 1973, Purim's sensual and strong voice was singular enough to withstand the pitfalls that hampered the work of many Latin jazz fusion artists. Open Your Eyes You Can Fly represents a commercial breakthrough, and has the artist again supplemented by adventurous players and top-notch songwriting. The best of the three Chick Corea tracks is the title song. With it's emotive and stinging guitar solo from David Amaro, it features Purim at her most accessible and charming. 

The remake of "Sometime Ago" has one of Corea's more accessible melodies, as Purim turns in one of her more sweet and fulfilling vocals. The melodic and soothing "San Francisco River" has the artist writing solely with frequent Corea collaborator Neville Potter on the evocative track. Despite the great work here, Open Your Eyes You Can Fly, lacks consistency. But with the great talents assembled and great voice, it's easy to overlook that fact. Hermeto Pascoal's "Andei (I Walked)" has a great synthesizer solo from George Duke and a flute solo from Pascoal. "Ina's Song (Trip to Bahia)" features Purim singing in Portuguese, starting off slow but then enlivened by her passion filled vocalizations. Produced by jazz producer Orrin Keepnews, this features the artist more lucid and joyful than some of her other work. For the reason it is recommended. ~ Jason Elias  http://www.allmusic.com/album/open-your-eyes-you-can-fly-mw0000263439

Personnel: Flora Purim (vocals); Hermeto Pascoal (flute, electric piano, harpsichord, percussion, background vocals); George Duke (electric piano, Arp & Moog synthesizers, background vocals); David Amaro (acoustic, electric & 12-string guitars); Egberto Gismonti (acoustic guitar); Alphonso Johnson (acoustic & electric basses); Ron Carter (acoustic bass).

Open Your Eyes You Can Fly

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Frank Zappa And The Mothers of Invention - One Size Fits All

Styles: Jazz Fusion
Year: 1975
File: MP3@320K/s
Time: 43:27
Size: 117,5 MB
Art: Front

(8:42) 1. Inca Roads
(2:38) 2. Can't Afford No Shoes
(2:40) 3. Sofa No.1
(7:41) 4. Po-Jama People
(5:27) 5. Florentine Pogen
(1:16) 6. Evelyn, A Modified Dog
(6:07) 7. Andy
(6:05) 8. San Ber'dino
(2:51) 9. Sofa No.2

Released soon after the live Roxy & Elsewhere, One Size Fits All contained more of the material premiered during the 1973-1974 tour, but this time largely re-recorded in the studio. The band remains the same: George Duke, Napoleon Murphy Brock, Chester Thompson, Tom Fowler, and Ruth Underwood. Johnny "Guitar" Watson overdubbed some vocals and Captain Beefheart (credited as Bloodshot Rollin' Red) played some harmonica ("when present," state the liner notes).

The previous album focused on complex music suites. This one is more song-oriented, alternating goofy rock songs with more challenging numbers in an attempt to find a juste milieu between Over-Nite Sensation and Roxy & Elsewhere. "Inca Roads," "Florentine Pogen," "Andy," and "Sofa" all became classic tracks and live favorites. These are as close to progressive rock (a demented, clownish kind) Zappa ever got. The obscurity of their subjects, especially the flying saucer topic of "Inca Roads," seem to spoof prog rock clichés. The high-flying compositions are offset by "Can't Afford No Shoes," "Po-Jama People," and "San Ber'dino," more down-to-earth songs.

Together with Zoot Allures, One Size Fits All can be considered as one of the easiest points of entry into Zappa's discography. The album artwork features a big maroon sofa, a conceptual continuity clue arching back to a then-undocumented live suite (from which "Sofa" was salvaged) and a sky map with dozens of bogus stars and constellations labeled with inside jokes in place of names. An essential third-period Zappa album. By François Couturehttps://www.allmusic.com/album/one-size-fits-all-mw0000202351

Musicians: Frank Zappa – guitar, lead (4, 6, 9) and backing vocals; George Duke – keyboards, lead (1, 8, 9) and backing vocals, synthesizer; Napoleon Murphy Brock – flute, lead (5, 8) and backing vocals, tenor saxophone; Ruth Underwood – marimba, vibraphone, percussion; Chester Thompson – drums, sound effects, voices; Tom Fowler – bass guitar (all but 2); James "Bird Legs" Youman – bass guitar (2); Johnny "Guitar" Watson – vocals (7, 8); Captain Beefheart (credited as 'Bloodshot Rollin' Red') – harmonica (7)

One Size Fits All

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George Duke - Night After Night

Styles: Vocal, Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 60:24
Size: 139,4 MB
Art: Front

(4:53)  1. Miss Wiggle
(5:16)  2. Children of the Night
(4:39)  3. Love Ballad
(3:45)  4. Guilty
(4:11)  5. Same Ole Love
(5:02)  6. Say Hello
(5:30)  7. Only One in My Life
(1:11)  8. Brazillian Coffee
(5:09)  9. This Lovin'
(4:28) 10. Mystery Eyes
(3:52) 11. 560 SL
(6:50) 12. Fuzzion
(5:33) 13. Rise Up

Having been a top notch producer for such hot R&B acts as Stephanie Mills, Deniece Williams, and Jeffrey Osborne throughout the '80s, it comes as no surprise that Duke would deliver such a powerhouse of dance funk instrumentals towards the end of that decade. Being so pop oriented, however, what comes as a pleasant surprise is just how much room is left for Duke to display his sense of improvisation on the many keyboards he uses here. On both midtempo numbers like "Rise Up" and "You Are The Only One In My Life," and upbeat funkfests such as the anthem-like "Children of the Night," Duke textures his outstanding hooks with a little imagination. 

Particularly exciting is his ample use of trumpet and sax, as well as many guest vocals by such luminaries as Osborne, Phil Perry, and James Ingram. Duke's finest moments are his gorgeous covers of LTD's mid-'70s hit "Love Ballad," and Anita Baker's "Same Ole Love," which features some of the finest acoustic piano work of his career. ~ Jonathan Widran https://www.allmusic.com/album/night-after-night-mw0000652633

Personnel: George Duke - producer, lead vocals, vocals, backing vocals, synthesizer, Synclavier, mini moog, Clavinet, bass, soloist, composer; Paul Jackson, Jr. - guitar;  "Ready" Freddie Washington - bass; John Robinson - drums;  Larry Williams - tenor saxophone;  Bill Reichenbach - trombone; Gary Grant - trumpet;  Jerry Hey - trumpet; Alexandra Brown - vocals; Carl Carwell - vocals; Howard Hewett - vocals; James Ingram - vocals;  Jeffrey Osborne - vocals;  Joey Diggs - vocals

Night After Night

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Jean-Luc Ponty - King Kong

Styles: Violin Jazz
Year: 1993
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

( 4:55)  1. King Kong
( 4:03)  2. Idiot Bastard Son
( 5:36)  3. Twenty Small Cigars
( 7:17)  4. How Would You Like To Have A Head Like That
(19:25)  5. Music For Electric Violin And Low Budget Orchestra
( 2:42)  6. America Drinks And Goes Home

Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity not just the feel of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin. ~ Steve Huey https://www.allmusic.com/album/king-kong-jean-luc-ponty-plays-the-music-of-frank-zappa-mw0000099048

Personnel:  Jean-Luc Ponty – electric violin, baritone violectra; Frank Zappa – guitar; George Duke – piano, electric piano; Ernie Watts – alto and tenor sax;  Ian Underwood – tenor sax;  Buell Neidlinger – bass; Wilton Felder – Fender bass; Gene Estes – vibraphone, percussion;  John Guerin – drums;  Art Tripp – drums; Donald Christlieb – bassoon; Gene Cipriano – oboe, English horn; Vincent DeRosa – French horn, descant; Arthur Maebe – French horn, tuben; Jonathan Meyer – flute; Harold Bemko – cello; Milton Thomas – viola.

King Kong

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Pete Escovedo - E Music

Styles: Latin Jazz
Year: 2000
File: MP3@320K/s
Time: 49:41
Size: 114,5 MB
Art: Front

(4:29)  1. Mis Amigos
(5:07)  2. Si Te Contara
(5:46)  3. La Samba
(4:05)  4. Praise And Worship
(5:41)  5. Te Vas
(5:08)  6. Ah Bailar Cha Cha Cha
(5:45)  7. Setembro
(4:36)  8. E Street Mambo
(5:32)  9. Miles Away
(3:28) 10. Escolandia

A “tipico” album of smooth jazz and Salsa, Pete Escovedo’s 5th Concord release is reminiscent of Tito Puente’s popular appeal. Mambo, guajira, cha cha cha, bolero and samba provide the listener a romantic evening with gentle, flowing motion. Escovedo’s heartfelt vocals, sensitive guest instrumentalists and his family’s rhythmic, percussive accompaniments drive the session. Son Peter Michael, daughters Sheila & Zina, and wife Juanita help balance the latest family project. Since the early 1950s, family has influenced Escovedo’s professional music choices. His brothers played guitar, sang, and shared a professional interest in Latin percussion. Pete and his brother, Thomas “Coke” Escovedo, performed with Carlos Santana for quite some time before forming their own 14-piece jazz-influenced band, Azteca. Singing with a light, expressive tenor voice and entertaining with timbales & congas, Escovedo evokes romantic scenes through song. Soloists Justo Almario, Ray Vega, Ramon Flores, Art Velasco, Francisco Torres, George Duke and Joe Rotundi lend creative energy and passion. The fiery, Afro-Cuban “Escolandia” lends a traditional touch. And just in time for Mardi Gras, Almario’s soprano sax feature on “La Samba” seems to ooze the sun’s warmth amid a chorus of lovely wordless vocals. It’s a love fest for Valentine’s Day, appropriately caressed by such familiar phrases as “Bueno, mi famlia” and “Yo te quiero mucho.” ~ Jim Santella https://www.allaboutjazz.com/e-music-pete-escovedo-concord-music-group-review-by-jim-santella.php

Personnel: Pete Escovedo- timbales, lead vocals, bongos, congas, cowbell, percussion; Sheila E.- vocals, drums, percussion, congas, guiro, bell; Peter Michael Escovedo- drums, vocals, congas, percussion; Juanita Escovedo- guiro, percussion; Zina Escovedo- vocals, percussion; Joe Rotundi, George Duke- piano; Renato Neto- keyboards; Oskar Cartaya- electric bass; Mike Shapiro- drums; Ray Obiedo- guitar; Justo Almario- flute, soprano saxophone, tenor saxophone; Ramon Flores, Daniel Fernero, Harry Kim- trumpet; Ray Vega- trumpet, flugelhorn; Arturo Velasco, Francisco Torres- trombone; Mirley

E Music

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George Duke - Jazz Moods: Round Midnight

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 48:35
Size: 112,7 MB
Art: Front

(3:47)  1. Sweet Baby
(2:58)  2. Stay Awhile
(4:26)  3. Love Reborn
(4:26)  4. Just for You
(6:00)  5. Corine
(4:15)  6. You (Are the Light)
(4:50)  7. Summer Breezin'
(4:34)  8. Touch And Go
(4:43)  9. I Need You Now
(4:09) 10. Thinking of You
(4:21) 11. Lady

Keyboardist/composer George Duke has been through a myriad of stylistic changes over his long career, from straight-ahead jazz to fusion to funk and R&B, not to mention being a key member of Frank Zappa's band for a while. The George Duke presented on this compilation is the slicker, more accessible one who enjoyed pop success as an R&B tunesmith and lite-jazz merchant. 

The smooth soul sound of the hit "Sweet Baby," recorded during Duke's partnership with Stanley Clarke, wouldn't sound out of place on a Maze album, while synth-flavored cuts "Corine" and "Love Reborn" are closer to Bob James/Dave Grusin territory. Duke took yet another detour in 1979 with his BRAZILIAN LOVE AFFAIR album, from which two cuts are included here, but the emphasis is on vocal-oriented mainstream R&B ballads delivered with a soft touch and a veteran craftsman's skill. https://www.allmusic.com/album/jazz-moods-round-midnight-mw0000745724

Jazz Moods: Round Midnight

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Hubert Laws - My Time Will Come

Styles: Flute Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,7 MB
Art: Front

(10:11)  1. Malaguena
( 5:16)  2. My Time Will Come
( 5:03)  3. It's So Crazy
( 6:54)  4. Shades of Light
(10:57)  5. Valse
( 8:45)  6. Make It Last
( 7:52)  7. Moonlight Sonata

This is a streaky affair, Hubert Laws's first recording as a leader in quite a few years. The great flutist has a reunion with Don Sebesky on a version of "Malaguena" that becomes an imitation of Chick Corea's "Spain," a few of the selections are forgettable funk and "Moonlight Sonata" is ruined by an unbearable rhythm. However there are some fine performances that feature excellent soloing by Laws and pianist John Beasley. Still, only Hubert Laws's most loyal fans will want this release. ~ Scott Yanow https://www.allmusic.com/album/my-time-will-come-mw0000095582

Personnel:  Piccolo Flute – Hubert Laws; Bass – Gary Willis, John Patitucci , Mike Richmond; Congas – Terry Santiel; Drums – Clayton Cameron, Dan Gotlieb, Leon "Ndugu" Chancelor, Ralph Penland; Flute – Hubert Laws ; Keyboards – George Duke, Joe Sample, John Beasley; Percussion – Sue Evans, Terry Santiel; Piano – Mark Gray;  Soprano Saxophone – Ronnie Laws;  Vocals – Joan LaBarbara

My Time Will Come

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Brian Bromberg - Thicker Than Water

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 66:55
Size: 154,7 MB
Art: Front

(5:35)  1. Is That the Best You Can Do?
(5:59)  2. Minneapolis, 1987
(6:32)  3. Thicker Than Water
(1:26)  4. Coupe De Ville (Intro)
(6:06)  5. Coupe De Ville
(3:27)  6. Changes
(7:46)  7. Trials and Tribulations
(2:12)  8. It's Called Life (Intro)
(5:59)  9. It's Called Life (For Mom)
(7:06) 10. Uh-Huh
(5:58) 11. Your Eyes
(6:34) 12. Land of the Rising Sun
(2:10) 13. A Familia

Brian Bromberg specializes in smooth jazz. That's music with rough edges removed. He plays it on basses, upright and electric, and on piccolo basses which are tuned to sound like guitars. It's all fiendishly clever but Bromberg remains modest. He uses a whole side of the album's cover to thank everyone, including God, "for trusting me with the gifts that you have given me." He's had his ups and downs. In 1979, when he was just 19, Bromberg toured with Stan Getz, then went on to release a series of solo albums used all over the world to demonstrate high quality stereo equipment, and was nominated for a Grammy. Then two years ago an accident resulted in him breaking his back in two places with severe trauma. He made an amazing recovery, celebrated here with what he describes as "high energy, funky, in-your-face, original music ensconced in memorable melodies, infectious grooves, and deep pocket." George Duke, Randy Brecker, Brandon Fields, and Gary Meek helped in its creation. There's actually a reflective, almost melancholy feel to many of the tracks, with Bromberg paying homage to the blue-eyed soul sounds of his youth. Most are based on funky, repetitive bass riffs, kicking off with "Is That The Best You Can Do?" and "Minneapolis 1987." The title track is looser, more jazzy.  "Coupe De Ville" builds slowly before settling on a bass riff, followed by a tenor solo from Najee, which keeps the proceedings very much on the smooth side of soul. "Trials and Tribulations" sees Bromberg in thoughtful mood but with some very fast piccolo bass work (sounding like guitar). "Uh-Huh" shows off his orchestrating skills with a cast that includes George Duke playing one of his last gigs. "Your Eyes" is a lovely, relaxed ballad and is followed by "Land Of The Rising Sun," Bromberg's take on Japan. This comes as a welcome surprise after all the bass riffing, featuring Mark Hollingsworth on bamboo flutes and June Kuramoto, from the band Hiroshima, on koto. To close, Bromberg reverts to upright bass for "A Familia," keeping it short and sweet, which is how upright bass solos should be. ~ Chris Mosey https://www.allaboutjazz.com/thicker-than-water-brian-bromberg-mack-avenue-records-review-by-chris-mosey.php

Personnel: Brian Bromberg: upright, electric and piccolo bass; Everette Harp, Najee, Doug Webb, Brandon Fields, Gary Meek, Mark Visher, Vince Trombetta, Marion Meadows: saxophone; Lee Thornburg, Randy Brecker, Willy Murillo, Tony Guererro: trumpet; Nick Lane, Jason Thor: trombone; Tom Zink, Brian Simpson, George Duke: keyboards; Gannin Arnold, Paul Jackson Jr.: guitar; June Kuramoto: koto; Franklin Richardson III: drums; Lenny Castro, Alex Acuna: percussion; Mark Hollingsworth: bamboo flutes; Zack Bromberg: loops.

Thicker Than Water

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Dave McMurray - My Brother and Me: The Best of Dave McMurray

Styles: Flute and Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 76:44
Size: 176,3 MB
Art: Front

(4:23)  1. Walk in the night
(4:24)  2. Feel the need
(3:58)  3. My brother and me(remix)
(4:48)  4. Just an illusion
(5:38)  5. Gar Z
(5:53)  6. I want you
(3:57)  7. How come u dont call me any more
(5:10)  8. Nautilus
(4:11)  9. Let it go
(5:26) 10. Searching
(6:42) 11. Chow main street
(6:39) 12. Big dreams
(5:33) 13. The jazz life(remix)
(4:49) 14. Good day
(5:07) 15. Killing Me Softly With His Song

This compilation by Dave McMurray is drawn from the saxophonist's three albums for HipBop Records -- Peace of Mind (1999), Soul Searching (2001), and Nu Life Stories (2003). Nothing has been licensed from his first album, The Dave McMurray Show (1995), released on Warner Bros. Records. Two tracks, "My Brother and Me" and "The Jazz Life," have been remixed, and there are three previously unreleased tracks, "Feel the Need," "Just an Illusion," and a version of the Marvin Gaye hit "I Want You." McMurray, who earns a credit for programming in addition to playing tenor, soprano, and alto sax on different tracks, is very much involved in the creation of the contemporary jazz sound of the music, with its electronic percussion backing tracks and frequent prominent vocals from several different singers. But he rarely gets lost in the shuffle, unlike some of his contemporary jazz peers, and his playing displays considerable bite and invention, not just providing slight variations on the melodies, but often going off in interesting directions. Some key guest stars, notably Bob James and George Duke, also make strong contributions. Still, this is music that will best be appreciated by contemporary jazz fans, while more traditional listeners will be put off by its cross-genre tendencies. ~ William Ruhlmann https://www.allmusic.com/album/my-brother-and-me-the-best-of-dave-mcmurray-mw0000345414      

Personnel:  Dave McMurray (flute, saxophone, keyboards, lyricon, percussion, programming, sampler); Don Was (vocals, double bass, percussion); Poe, Sweet Pea Atkinson (vocals); Quentin Baxter (guitar); George Duke (Fender Rhodes piano); Darrell Smith (bass instrument); Ron Otis (drums); Marlon Curry (percussion).

My Brother and Me: The Best of Dave McMurray

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Pete Escovedo - Flying South

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 54:45
Size: 128,5 MB
Art: Front

(1:37)  1. Flying South (intro)
(6:33)  2. Flying South
(5:42)  3. All This Love
(3:35)  4. Cabo Frio
(5:34)  5. Tiemblas
(3:38)  6. Flying Easy
(7:24)  7. Still Life
(4:56)  8. Esta Noche
(4:52)  9. Como Rien
(5:08) 10. Leyte
(1:17) 11. Canto Para Chango
(4:25) 12. El Alma De Carnival

An active force in Latin jazz since the '60s, Pete Escovedo is well-known in the San Francisco Bay area; not only as a seasoned percussionist and bandleader, but as the musical and spiritual head of the Familia Escovedo. His brother is fellow musician Coke Escovedo, and his children and relatives include percussionist/vocalist Sheila E., producer/bandleader/percussionist Peter Michael Escovedo, and Texas-based singer/songwriter Alejandro Escovedo. Flying South, a 1996 release, continues Escovedo's exploration of the musical region where Latin jazz, salsa, and pop meet. Featuring contributions from George Duke, Andy Narrell, and Najee, highlights include the title track, "Tiemblas," and a Cal Tjader composition, "Leyte." For fans of Koinania, Alex Acuna & the Unknowns, and pop/jazz/Latin crossover, this disc is a worthwhile buy. ~ Gregg Juke https://www.allmusic.com/album/flying-south-mw0000180346

Personnel: Pete Escovedo (vocals, drums, congas, bongos, guiro, timbales, percussion, bells); John Santos (vocals, shekere, percussion); Lalah Hathaway, Nikita Germaine, Pastiche (vocals); Ray Obiedo (guitar, piano); David Yamasaki (guitar); Melecio Magdaluyo (flute, saxophone, tenor saxophone); Najee (flute, soprano saxophone); Norbert Satchel, Norbert Stachel (flute); Gerald Albright (alto saxophone, tenor saxophone); Robbie Kwock, Robbie Kowck, Louis Fasman (trumpet, flugelhorn); Wayne Wallace (trombone, keyboards); Dave Gregoric, Jeff Cressman, Marty Wehner (trombone); George Duke, Murray Low (piano, keyboards); David Matthews , Rebeca Mauleón (piano); Sheila E., Sheila Escovedo (drums, congas, shekere, percussion); Francisco Aguabella (drums, percussion); Paul van Wageningen (drums); Juan Escovedo (congas, bongos, percussion); Juanita Escovedo (guiro, percussion); Andy Narell (steel drum, steel pan); Brittney Escovedo, Mom Escovedo, Pops Escovedo (percussion).

Flying South

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Sonny Rollins - Nucleus

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 41:19
Size: 94,8 MB
Art: Front

(6:08)  1. Lucille
(5:58)  2. Gwaligo
(4:08)  3. Are You Ready
(4:46)  4. Azalea
(5:17)  5. Newkleus
(7:20)  6. Cosmet
(7:40)  7. My Reverie

It has long been a disappointment to many longtime followers that Rollins's recordings of the 1970s and '80s were generally not at the same level as his earlier sessions. Nucleus is a case in point. This funky date (which also includes trombonist Raul DeSouza, Bennie Maupin on reeds and keyboardist George Duke) has its moments (including an updated version of "My Reverie") but falls far short of hinting at any new innovations. ~ Scott Yanow https://www.allmusic.com/album/nucleus-mw0000312582   

Personnel: Sonny Rollins (tenor saxophone); Bennie Maupin (tenor saxophone); Raul De Souza (trombone); George Duke (piano, synthesizer); David Amaro, Black Bird (guitar); Bob Cranshaw, Chuck Rainey (bass); Roy McCurdy, Eddie Moore (drums); Mtume (percussion).

Nucleus

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Christian McBride - Conversations with Christian

Styles: Post-Bop, Straight-Ahead Jazz 

Year: 2011

File: MP3@320K/s

Time: 76:27

Size: 175,2 MB

Art: Front

(4:21)  1. Afrika (feat. Angelique Kidjo)

(4:40)  2. Fat Bach and Greens (feat. Regina Carter)

(4:19)  3. Consider Me Gone (feat. Sting)

(6:18)  4. Guajeo Y Tumbao (feat. Eddie Palmieri)

(5:21)  5. Baubles, Bangles and Beads (feat. Roy Hargrove)

(7:07)  6. Spiritual (feat. Dr. Billy Taylor)

(5:09)  7. It's Your Thing (feat. Dee Dee Bridgewater)

(5:32)  8. Alone Together (feat. Hank Jones)

(5:35)  9. McDukey Blues (feat. George Duke)

(9:06) 10. Tango Improvisation #1 (feat. Chick Corea)

(6:39) 11. Sister Rosa (feat. Russell Malone)

(5:36) 12. Shake 'n Blake (feat. Ron Blake)

(6:39) 13. Chitilins and Gelitefish (feat. Gina Gershon)

Plenty of ink has been spilled by those espousing their opinions on the art of the trio, but the duo format doesn't get its due nearly as often either in print or on record. The trio format allows for various permutations in musical interaction, but pairing two artists together is all about direct, head-to-head conversation, and bassist Christian McBride knows a thing or two about this. While McBride has made a name for himself as a go-to bassist for all occasions and styles of music, his podcasts, Sirius-XM Radio Show (The Lowdown: Conversations With Christian McBride) and work as the co-director of The National Jazz Museum in Harlem have also shown the bassist to be an engaging presence in one-on-one games of the aural variety.  While McBride considered the idea of a duo record in the late '90s, he had other things on his mind at the time. Now, more than a decade later, he brings this concept to fruition with some help from thirteen A-list partners. Violinist Regina Carter joins the bassist for a baroque-meets-the-blues exploration of Johann Sebastian Bach's Double Violin Concerto ("Fat Bach And Greens"), vocal-pop icon Sting makes an appearance with guitar-in-hand on "Consider Me Gone," McBride and vocalist Dee Dee Bridgewater engage in saucy repartee on the funky and engaging "It's Your Thing," while shtick comes into the picture on a bluesy Jew's harp and vocals-meet-bass number with actress Gina Gershon ("Chitlins And Gefiltefish").

While McBride is more than comfortable and compelling in every setting on this album, the piano and bass partnerships on display seem to rise above the rest of the performances. Eddie Palmieri brings high energy Latin jazz into the mix on "Guajeo Y Tumbao," the dearly departed Dr. Billy Taylor brings a sense of calm and peace to the album with his own "Spiritual," which opens and closes with some gorgeous arco work from McBride, and George Duke delivers the most chops-heavy piano work on the record, with "McDukey Blues." While the late Hank Jones' isn't nearly as aggressive as Palmieri or Duke, his connection with McBride may be more powerful and palpable, and this pair deserves to be dubbed The Great Jazz Duo for this performance. Preconceived notions concerning structure seem to surround most of these numbers, but McBride's duet with pianist Chick Corea is of the organically-developed variety. Suspense-filled sounds and Spaniard-Argentine influences abound as "Tango Improvisation #1" takes shape, but a blues foundation sneaks into the music as the piece develops, and the final act surrounds choppy, paranoid single-note statements from Corea's piano. Conversations With Christian McBride may, ultimately, be critically eclipsed by the bassist's fine big band record, The Good Feeling (Mack Avenue, 2011), that arrived a mere two months before this collection, but that would be a shame. These albums are actually companion pieces that highlight McBride's mastery of all things musical. ~ Dan Bilawsky https://www.allaboutjazz.com/conversations-with-christian-christian-mcbride-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Christian McBride: bass; Angelique Kidjo: vocals (1); Regina Carter: violin (2); Sting: vocals (3), guitar (3); Eddie Palmieri: piano (4); Roy Hargrove: trumpet (5); Dr. Billy Taylor: piano (6); Dee Dee Bridgewater: vocals (7); Hank Jones: piano (8); George Duke: piano (9); Chick Corea: piano (10); Russell Malone: guitar (11); Ron Blake: tenor saxophone (12); Gina Gershon: vocals (13).

Conversations with Christian                

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George Howard - A Nice Place To Be

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 43:26
Size: 100,7 MB
Art: Front

(6:09)  1. No No
(5:17)  2. Jade's World
(5:06)  3. Sweetest Taboo
(5:20)  4. Nice Place To Be
(6:03)  5. Let's Live In Harmony
(5:05)  6. Pretty Face
(4:37)  7. Spenser For Hire
(5:46)  8. Stanley's Groove

George Howard's polished fusion of funk, jazz, and urban soul helped the soprano saxophonist become one of the most popular contemporary jazz performers of the '80s and '90s. Since he concentrated on groove and overall sound instead of improvisation, Howard never received much attention from jazz critics, but he retained a large audience well into his second decade of performing. Howard began his musical career in the late '70s. He received his first break when Grover Washington, Jr., one of his musical idols, invited him on a tour in 1979. The tour helped establish Howard's name, and in 1982 he released his debut album, Asphalt Garden, on Palo Alto. The record was a moderate hit, as was its follow-up, 1984's Steppin' Out. It wasn't until the 1985 release of  Dancing in the Sun that Howard earned a large audience. The album reached number one on the contemporary jazz charts. Following the release of Dancing in the Sun, he moved to MCA, where he issued A Nice Place to Be, Reflections, Personal, and Love Will Follow. All four records were considerable successes on the charts.  In 1991, Howard signed to GRP, releasing his label debut, Love and Understanding, that year. It was followed by Do I Ever Cross Your Mind in 1992 and When Summer Comes in 1993. A Home Far Away was released in 1994, and Attitude Adjustment was issued in 1996. 

All of his GRP recordings were quite successful, confirming his place among the most popular contemporary jazz performers of the '90s. His first five years with GRP, plus a selection of his MCA recordings, were summarized on 1997's The Very Best of George Howard.  Howard returned to recording with Midnight Mood, which was released in January 1998. Sadly, it was the last record he would release in his lifetime. He died unexpectedly on March 29, 1998. A few months later, his last recording  a version of Sly Stone's There's a Riot Goin' On, which was conceived as part of Blue Note's cover series was released. ~ Stephen Thomas Erlewine http://www.allmusic.com/artist/george-howard-mn0000648331/biography

George Howard (Soprano sax, lead vocals, bass synth, drum machine, acoustic piano); Paul Jackson Jr. (Guitar); Victor Bailey (Bass); Paulinho Da Costa (Percussion); Natan East (Bass); Stanley Clarke (Bass, tenor bass, bass synth, Emu vocals); George Duke (Synclavier Rhodes, TX-8); Rayford Griffin (Drums); Robert Brookins (Keyboards, Emu harp); Wayne Linsay (Bass synth, keyboards, Emu strings); Kevin Chokan (Guitar); Josie James, Lynn Davis, George Merrill, Carl Carwell (Background vocals); Dr. Gibbs (Percussion, bongos, shakere).

A Nice Place To Be

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George Howard - Love And Understanding

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 49:09
Size: 115,9 MB
Art: Front

(5:25)  1. Hopscotch
(5:24)  2. Only Here For A Minute
(6:35)  3. Baby Come To Me
(0:51)  4. Interlude
(5:21)  5. Love And Understanding
(5:13)  6. Everything I Miss At Home
(5:19)  7. Love Struck
(4:37)  8. Talk To The Drum
(5:10)  9. Red, Black, And Blue
(5:10) 10. Broad Street

After eight albums, the late soprano saxophonist George Howard found a comfortable and solid if slightly predictable niche in the intensifying realm of instrumental R&B. On Love & Understanding, his first original GRP outing (after a re-release of 1985's Dancing in the Sun), he sticks to the basic funk and romance formulas which made him one of the most consistent suppliers of sweet and nasty improvisational soul over the previous half decade. As always, his smooth yet bouncy lines and frequent circular breathing patterns stand out over the even most tried and true material, but he earns some kudos with "Talk to the Drum," an adventurous sax/percussion duet with masters Lenny Castro and Munyungo Jackson. ~ Jonathan Widran http://www.allmusic.com/album/love-understanding-mw0000320314

Personnel: George Howard (soprano saxophone, alto saxophone, synthesizer, drums, drum programming); Kevin Chokan (guitar); George Duke (flute, synthesizer, Synclavier, programming); Bobby Brooks (saxophone); Victor Bailey (keyboards, synthesizer, programming, drum programming); Tim Gant (keyboards, synthesizer); Doug Grigsby (keyboards, programming, drum programming); Jerry Brown (drums); Alex Acuña (congas, percussion); Lenny Castro (bongos, timbales, percussion); Munyungo Jackson (bongos, percussion); Brad Buxer (programming); Alexandra Brown, Carl Carwell, Debra Parson, Keith John (background vocals).

Love And Understanding

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Dianne Reeves - Music For Lovers

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 53:54
Size: 123,5 MB
Art: Front

(6:33)  1. My Funny Valentine
(7:29)  2. Come In
(5:02)  3. That Day
(5:21)  4. Suzanne
(6:18)  5. You tought my heart to sing
(5:37)  6. Never said (chan's song)
(6:24)  7. Speak low
(5:47)  8. The twelfth of never
(5:19)  9. In your eyes

The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of the artists who have recorded for its associated labels. Dianne Reeves performs in a variety of settings here, singing standards from the vocal jazz world as well as R&B and art rock. Beginning with an excellent 1982 reading of "My Funny Valentine" with Billy Childs, the volume picks up two Reeves performances from the late '80s (including one with Herbie Hancock), several from the late '90s (including a version of Leonard Cohen's "Suzanne"), and three from 2000 (including Reeves' own "Come In" with George Duke). ~ John Bush http://www.allmusic.com/album/music-for-lovers-mw0000555782

Personnel: Dianne Reeves (vocals); Nick Kirgo, Paul Jackson, Jr. (guitar); Bob Sheppard (reeds); Kenny Garrett (soprano saxophone); Oscar Brashear (trumpet, flugelhorn); Otmaro Ruíz, Billy Childs, Billy Childs Trio (piano, synthesizer); Jorge Del Barrio (Synclavier); Billy Carroll (electric bass); Gregory Hutchinson, Marvin "Smitty" Smith, Leon "Ndugu" Chancler, Rocky Bryant, Terri Lyne Carrington, Brian Blade, Joe Heredia (drums); Manolo Badrena, Munyungo Jackson, Paulinho Da Costa (percussion); Romero Lubambo (guitar, acoustic guitar); Kevin Eubanks (acoustic guitar); George Duke (piano, keyboards); Mulgrew Miller (piano); Herbie Hancock (keyboards).

Music For Lovers

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George Duke - Liberated Fantasies

Size: 100,5 MB
Time: 39:49
File: MP3 @ 320K/s
Released: 1976/2008
Styles: Jazz
Art: Front

01. Don't Be Shy (2:58)
02. Seeing You (4:28)
03. Back To Where We Never Left (6:26)
04. What The.. (0:32)
05. Tryin' & Cryin' (5:45)
06. I C'n Hear That (5:16)
07. After The Love (2:32)
08. Tzina (2:28)
09. Liberated Fantasies (9:19)

When George Duke recorded Liberated Fantasies in 1976, he had yet to make R&B his primary focus, but he was gradually moving in that direction. Liberated Fantasies is primarily an album of instrumental jazz fusion, although three of the tunes offer R&B or rock vocals. Singer Napoleon Brock provides an enjoyable rock vocal on "Tryin' and Cryin'," and Duke's lead singing on the funky "Don't Be Shy" and the mellow soul number "Seeing You" give listeners a taste of what was to come on albums like 1977's Reach for It, 1978's Don't Let Go and 1979's Follow the Rainbow. Meanwhile, his skills as a fusion keyboardist are illustrated by instrumentals that include the playful "I C'n Hear That," the groovin' "Back to Where We Never Left" and the Brazilian-minded title song. Generally decent and occasionally excellent, Liberated Fantasies falls short of essential but is worth hearing if enjoy hearing Duke tackle a variety of material. ~by Alex Henderson

Liberated Fantasies

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Flora Purim - That's What She Said

Bitrate: MP3@320K/s

Time: 35:24

Size: 81.0 MB

Styles: Fusion, Latin jazz

Year: 1978/2001

Art: Front

[4:31] 1. Look Into His Eyes

[4:31] 2. Juicy

[5:07] 3. Hidden Within

[3:29] 4. You On My Mind

[5:02] 5. What Can I Say

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

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

[4:04] 8. You Are My Heart

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

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

That's What She Said

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Marilyn Scott - Avenues of Love

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 51:34
Size: 124,2 MB
Art: Front

(4:47)  1. Starting to Fall
(5:02)  2. I Like to Dance
(4:27)  3. Avenida Del Sol
(5:38)  4. The Look of Love
(5:54)  5. Heaven's Design
(4:30)  6. Love is  a Powerful Thing
(5:34)  7. Hold You Up
(6:16)  8. Hey Love
(5:45)  9. Get Home
(3:37) 10. The Last Day

A top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads. ~ Jonathan Widran http://www.allmusic.com/album/avenues-of-love-mw0000034777

Personnel : Marilyn Scott (vocals); Ray Fuller, Michael Landau, Paul Jackson, Jr., Mike Miller (guitar); Steve Allen, Brandon Fields (saxophone); Ralph Rickert (trumpet); Bob Mintzer, Walt Fowler (horns); George Duke (piano, synthesizer, keyboards, bass); Michael Ruff (keyboards, background vocals); Russell Ferrante (keyboards); Jimmy Haslip, Fred D. Washington (bass); Joseph Heredia, Will Kennedy (drums); Rafael Padilla, Paulinho Da Costa (percussion); Take 6, Lori Perry, Sharon Perry, Carolyn Perry, Darlene Perry, Jim Gilstrap, Lynn Davis, Alvin Chea, David Thomas, Maxayne Lewis (background vocals).

Avenues of Love

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Brian Simpson - South Beach

Styles: Piano Jazz 
Year: 2010
File: MP3@320K/s
Time: 44:34
Size: 105,7 MB
Art: Front

(3:25)  1. South Beach
(4:14)  2. Can't Tell You Why
(3:36)  3. Lay It On Me

(4:52)  4. Never Without You
(4:17)  5. Paradise Island
(4:50)  6. Old Friends 

(4:41)  7. All I Want Is You
(4:42)  8. Our Love
(4:54)  9. Summer's End
(4:58) 10. Moonlit Ocean

Sometimes you have to accept something for what it is. Keyboardist Brian Simpson's debut for Shanachie , South Beach, sounds like a thesis submitted to the College of Smooth Jazz. It hits all the tropes of the genre: plenty of tinkling keyboard melodies, funky bass n' drums riffs, sweet saxophone seasonings, and vanilla background vocals. That may seem like a criticism, but it's not; it is a recognition of what may have been on Simpson's checklist, and how successfully he scratches each off as the album proceeds. Simpson plays pleasant, if innocuous, keyboards throughout South Beach, which is a perfect title for this warm and breezy album. Simpson's years as a session player, and as musical director for smooth jazz staple Dave Koz, provides him with both a familiarity with the genre and a lot of friends on his speed dial. Though Koz is missing, sax stylings are present throughout, provided by tenor saxophonist Euge Groove on "Lay It On Me," and Steve Alaniz on "All I Want Is You" and "Our Love." Simpson really shines on "Old Friends," a pretty, piano-driven tune enlivened by George Duke's synthesizer solos. 

Duke, one of the icons of smooth jazz, makes a perfect mentor, and evidence of how closely Simpson has been paying attention abounds here. This is essentially comfort food for the ears. It's simple, tasty and goes down easy, even if it never thrills the palate. Simpson isn't trying to chart a new course for smooth jazz as much as he's riding its wave; understanding that going makes South Beach as an enjoyable, if not especially memorable, way to spend 44 minutes. Simpson's goal here is to deliver the grooves, and on that score he succeeds completely. South Beach sounds pretty good, caressing the ears, even if it doesn't leave a lasting impression on the mind. ~ Jeff Winbush https://www.allaboutjazz.com/south-beach-brian-simpson-shanachie-records-review-by-jeff-winbush.php
 

Personnel: Brian Simpson: piano & keyboards; Tony Moore: drums, drum programming; Michael White: drums (2, 3, 6-9); Oscar Sexton: drums (5); Alex Al: bass (1, 3-5, 7, 8); Smitty Smith: bass (2); Larry Kimpel: bass: (5); Ian Martin: acoustic bass (6, 9, 10); Agape Jerry: guitar (1, 3, 7); Darrell Crooks: guitar (2, 4-6, 10); Peter White: acoustic guitar (4); Yarone Levy: acoustic guitar (4, 8); Brian Kilgore: percussion (1, 4-6, 8-10); Lenny Castro: percussion (2, 3, 7); Ron King: flugelhorn (2), trumpet (9, 10); Euge Grove: tenor sax (3); Steve Alaniz: tenor sax (4, 7, 8); George Duke: synthesizer (6); Brenda Kay Pierce: vocals (5).

South Beach

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Sadao Watanabe - Front Seat

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 45:52
Size: 105,4 MB
Art: Front

(5:56)  1. Sailing
(5:01)  2. One More Time
(4:46)  3. Only In My Mind
(4:13)  4. Miles Apart
(5:08)  5. Any Other Fool
(5:21)  6. On The Way
(4:24)  7. Anga La Jua [Place in the Sun]
(3:24)  8. Wild Flowers
(2:58)  9. Front Seat
(4:37) 10. Takin' Time

Sadao Watanabe has long had a split musical personality. He alternates excellent bebop dates with pop albums. Watanabe learned clarinet and alto in high school, and in the 1950s he moved to Tokyo, joining Toshiko Akiyoshi's bop-oriented group in 1953. When the pianist moved to the U.S. in 1956, Watanabe took over the band. He attended Berklee during 1962-1965 and had the opportunity to work with Gary McFarland, Chico Hamilton, and Gabor Szabo. However, throughout his career Watanabe has remained mostly based in Japan, where he is a major influence on younger players. He has recorded steadily through the years, most notably with Chick Corea in New York (1970) and with the Galaxy All-Stars (1978). Watanabe's bop records are inspired by Charlie Parker, and his pop dates by Brazilian-flavored music. ~ Scott Yanow http://www.allmusic.com/artist/sadao-watanabe-mn0000282544/biography

Personnel:  Alto Saxophone – Sadao Watanabe;  Backing Vocals – George Duke;  Backing Vocals – George Duke;  Guitar – Paul Jackson Jr.

Front Seat

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