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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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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Bill O'Connell - Signature

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 48:30
Size: 111,3 MB
Art: Front

(4:58)  1. Main Street
(4:42)  2. Hit Or Miss
(4:02)  3. Dina
(5:38)  4. Tell Me Again
(4:08)  5. Alfalfa Sez
(5:36)  6. Angels At Play
(3:44)  7. Jazz Eyes
(4:44)  8. St. Croix
(5:01)  9. Cyclone
(5:54) 10. Sammy's Song

Pianist Bill O'Connell is not exactly a household name but his CD is quite memorable. The quality of the originals (seven by O'Connell, three from bassist Charles Fambrough and one from soprano saxophonist Howard Alston) is strong, the melodies are often catchy, Grover Washington, Jr., has two good outings on soprano and O'Connell's work on piano and electric keyboards does a very effective job of combining together aspects of both so-called contemporary jazz and hard bop. This is accessible jazz that is also creative.~ Scott Yanow https://www.allmusic.com/album/signature-featuring-bill-oconnell-mw0000095608

Personnel:  Bill O'Connell (Keyboards, Piano);  Howard Alston Sax (Soprano);  Pablo Batista (Bongos, Conga, Percussion);  Charles Fambrough (Bass, Bass Acoustic);  Rick Sebastian (Drums);  Grover Washington Jr. Sax (Soprano).

Signature

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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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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

Soul Box mc
Soul Box zippy

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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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Grover Washington, Jr. - Inner City Blues

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

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

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

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

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

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

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

Inner City Blues

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Grover Washington Jr. - Strawberry Moon

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:22
Size: 107,3 MB
Art: Front

(4:30)  1. Strawberry Moon
(4:40)  2. The Look Of Love
(4:46)  3. Shivaree Ride
(5:10)  4. Caught A Touch Of Your Love
(2:46)  5. Maddie's Blues
(5:39)  6. I Will Be Here For You
(5:53)  7. Monte Carlo Nights
(4:27)  8. Keep In Touch
(6:29)  9. Summer Nights

Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs). Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights." ~ Scott Yanow https://www.allmusic.com/album/strawberry-moon-mw0000649776

Personnel: Grover Washington, Jr. (soprano, alto & tenor saxophones, Fender Rhodes, synthesizer); B.B. King (vocals, guitar); Jean Carne, Spencer Harrison (vocals); Marcus Miller (various instruments); James Lloyd (piano, Fender Rhodes, synthesizer); Joey DeFrancesco (piano, Fender Rhodes); James "Sid" Simmons (synthesizer); Richard Lee Steacker, Michael J. Powell (guitar); Gerald Veasley (5-string bass); Tyrone Brown (electric upright bass); Jim Salamone (drums, percussion, programming); Darryl Washington (drums, timbales); Leonard "Dr." Gibbs (conga, percussion); Ellen Cohen (wind chimes, bell tree); Jason Miles (programming); Elizabeth Hogue (background vocals).

Strawberry Moon

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Alphonso Johnson - Yesterdays Dreams

Styles: Jazz Funk
Year: 1976
File: MP3@320K/s
Time: 35:55
Size: 82,7 MB
Art: Front

(4:45)  1. Love's The Way I Feel 'Bout Cha
(3:24)  2. As Little As You
(5:12)  3. Scapegoat
(5:17)  4. Show Us The Way
(5:01)  5. Balls To The Wall
(2:16)  6. Tales Of Barcelona
(5:57)  7. Flight To Hampstead Heath
(4:00)  8. One To One

Alphonso Johnson is regarded as one of the foremost Jazz bassists in the business. His stint with Weather Report really put him on the map. In the 70's, he recorded three outstanding albums for Columbia Records. Yesterday's Dreams was issued in 1976 and features Grover Washington Jr., Lee Ritenour, Ernie Watts, Patrice Rushen, Philip Bailey, Diane Reeves & Sheila E. Wounded Bird. 2006. ~ Editorial Reviews https://www.amazon.com/Yesterdays-Dreams-Alphonso-Johnson/dp/B000GPIFJW

Personnel:  Vocals, Bass, Guitar [Acoustic] - Alphonso Johnson;  Vocals - Diane Reeves , Jon Lucien , Phillip Bailey Bells [Orchestra], Marimba, Vibraphone - Ruth Underwood;  Congas, Percussion - Sheila Escovedo;  Drums - Chester Thompson , Mike Clark;  Guitar [Acoustic, Electric] - Lee Ritenour;  Guitar [Electric] - Ray Gomez;  Keyboards - Patrice Rushen;  Organ - David Foster , Mark Jordan;  Saxophone [Baritone], Flute - Ernie Fields;  Saxophone [Tenor] - Ernie Watts , Grover Washington, Jr.;  Synthesizer - Ian Underwood;  Trombone - Garnett Brown , George Bohannon;  Trumpet - Chuck Findley;  Trumpet, Flugelhorn - Gary Grant

Yesterdays Dreams

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Boogaloo Joe Jones - No Way!

Bitrate: MP3@320K/s
Time: 36:04
Size: 82.6 MB
Styles: Soul-Jazz, Funk
Year: 1970/1998
Art: Front

[7:16] 1. No Way
[4:49] 2. If You Were Mine
[5:59] 3. Georgia On My Mind
[7:09] 4. Sunshine Alley
[4:01] 5. I'll Be There
[6:48] 6. Holdin' Back

Grover Washington, Jr. (tenor sax) and Bernard Purdie (drums) are the key accompanists on a set of pretty funky early-'70s soul-jazz. The covers of fairly straight pop numbers ("Georgia on My Mind," the Jackson 5's "I'll Be There") are kind of undistinguished. Better are the originals "No Way" and "Holdin' Back" (by Jones) and "Sunshine Alley" (by organist Butch Cornell), which have a more convincing groove. "No Way" is the toughest, with funk guitar lines betraying some influence from James Brown; "Holdin' Back" sounds a bit like a jazzy instrumental treatment of the kind of songs Marvin Gaye used to record in his early Motown days. This has been combined with his subsequent album, 1971's What It Is, on the single-disc CD reissue Legends of Acid Jazz: Boogaloo Joe Jones, Vol. 2. ~Richie Unterberger

No Way!

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Charles Earland - Living Black

Bitrate: MP3@320K/s
Time: 55:56
Size: 128.0 MB
Styles: Jazz/Funk/Soul
Year: 1970/2009
Art: Front

[ 9:43] 1. Key Club Cookout
[ 8:25] 2. Westbound #9
[14:31] 3. Killer Joe
[ 4:36] 4. Milestones
[ 8:26] 5. More Today Than Yesterday
[10:13] 6. Message From A Black Man

Recorded in 1970 at the Key Club, Living Black! is notable for many reasons, not the least of which is that it showcased Earland in an inspired live setting. From choosing his sidemen to the material to reading the audience to pure instrumental execution, there isn't a weak moment on this date, nor a sedentary one. Earland makes the band roll on all burners from the git and never lets up. Consisting of four extended tunes, there's the burning rhythm and stomp of "Key Club Cookout," which blazes with wisdom and funky fire. Earland's own soloing is revelatory, but it is the way he drags absolutely unexpected performances from his sidemen that makes him so special as a bandleader. Grover Washington never played like this again-- at least on a record--deep in the soul groove on his tenor, he turned it inside out, looking for new embouchures in which to get the sounds out of the horn. He dug deep inside his trick bag and left no one wanting. Likewise, guitarist Maynard Parker, who came from the Chicago blues school, gets to exercise that side of his West Side soul personality -- check out his break on "Westbound No. 9." "Killer Joe," the longest track on the record is swaggering blues strut. It features a slow, strolling horn line from Washington and trumpeter Gary Chandler that opens out onto a gorgeous pastoral frame before popping out with the blues feel once again. Parker's guitar playing fills all the places Earland chooses not to, so the band's density is total. There is a moving short version of "Milestones" that closes the set, but it wasn't even necessary. Everybody who was there had their minds blown long before. ~Thom Jurek

Living Black

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Grover Washington, Jr. - Ultimate Collection

Bitrate: MP3@320K/s
Time: 72:26
Size: 165.8 MB
Styles: R&B, Crossover jazz
Year: 1999
Art: Front

[9:02] 1. Mister Magic
[7:18] 2. Just The Two Of Us
[8:15] 3. It Feels So Good
[2:30] 4. Inner City Blues (Make Me Wanna Holler)
[6:08] 5. Black Frost
[7:36] 6. Summer Song
[4:51] 7. Reed Seed (Trio Tune)
[6:25] 8. Bright Moments
[5:56] 9. The Best Is Yet To Come
[8:31] 10. Ain't No Sunshine
[5:50] 11. Moonstreams

Hip-O Select's Ultimate Collection of Grover Washington, Jr. tunes is pretty much that. It's true that it does leave out his great, side-long reading of Marvin Gaye's "Trouble Man" and his version of "Mercy Mercy Me." That said, this is an amazing set that includes in its first three selections "Mister Magic," "Just the Two of Us," (a vocal tune with Bill Withers), and "Feel So Good," arguably the late saxophonist's greatest creative period before settling into commercial success and softer groove territory with Columbia. The Kudu/CTI years with Creed Taylor established Washington as one of the great soul-jazz and jazz-funk players. His abilities as an improviser on both tenor and soprano were virtually limitless, and his technique was, to understate the case, more than enviable. Add to this that Washington chose to be a melodic improviser from the get-go: check the Bob James-penned tune "Black Frost," which carries within it the heart of funky soul and uses melody around the tune's theme to such effect, the ensemble is challenged to try to deepen its theme or fade into the background. The enormous Bob James arrangement on the medley of "Ain't No Sunshine"/"Theme from Man and Boy (Better Days)" with a the swelling strings around him makes Washington use restraint rather than compete and uses his many subtle soul harmonies to compensate, bringing a very deep and nuanced reading to both songs. One can only hope that Washington's CTI/Kudu releases get a deluxe treatment one day and come back into print, particularly Soul Box and All the King's Horses, though Feels So Good and Mister Magic already are. As a collection, this one is very tough to beat. ~Thom Jurek

Ultimate Collection

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Mal Waldron - My Dear Family

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 53:45
Size: 123,8 MB
Art: Front

(4:48)  1. Foot Prints
(8:18)  2. Left Alone
(4:02)  3. Sassy
(9:03)  4. Sakura Sakura
(7:43)  5. Here's That Rainy Day
(6:30)  6. Jeann Pierre
(7:59)  7. Red Shoes
(5:19)  8. My Dear Family

This date is notable for the pairing of pianist Mal Waldron and smooth jazz reedman Grover Washington, Jr.. Washington was always over-qualified to play his particular brand of instrumental pop, and it is a joy to hear him stretch out a bit on this straight-ahead session. His supple tone mixes well with trumpeter Eddie Henderson and both musicians take full harmonic advantage of performing with the moody and expansive Waldron. The only disappointment here is the overall somber quality of the selections. Despite an inspired version of "Footprints" and an unexpected choice in the funky "Jean Pierre" off Miles Davis' 1981 We Want Miles -- the album lags. "Left Alone" features Washington's trademark soprano sax sound and is a pretty ballad, but is followed up with the mid-tempo "Sassy" negating the prior tune's impact. Waldron could have earned more kudos with his inclusion of the Japanese traditional song "Sakura Sakura"  an interesting foray into world jazz -- if he had only bookended it with some bright up-tempo numbers. Still, this is a superbly performed album by stellar, world-class musicans and should please most hardcore jazz fans. ~ Matt Collar http://www.allmusic.com/album/my-dear-family-mw0000186671

Personnel: Mal Waldron (piano); Grover Washington, Jr. (soprano saxophone); Eddie Henderson (trumpet, flugelhorn); Pheeroan akLaff (drums).

My Dear Family

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Eddie Henderson Quintet - Manhattan in Blue

Styles: Trumpet Jazz

Year: 1994

File: MP3@320K/s

Time: 63:15

Size: 145,2 MB

Art: Front

(6:57)  1. Surrey with the Fringe on Top

(7:05)  2. I Remember Clifford

(5:58)  3. Jinrikisya

(9:27)  4. Oliloqui Valley

(5:54)  5. When You Wish Upon a Star

(9:14)  6. Phantoms

(5:13)  7. On Green Dolphin Street

(7:32)  8. If One Could Only See

(5:52)  9. Little B's Poem

Eddie Henderson was one of the few trumpeters who was strongly influenced by Miles Davis' work of his early fusion period. He grew up in San Francisco, studied trumpet at the San Francisco Conservatory of Music, but was trained to be a doctor when he permanently chose music. Henderson worked with John Handy, Tyrone Washington, and Joe Henderson, in addition to his own group. He gained some recognition for his work with the Herbie Hancock Sextet (1970-1973), although his own records (which utilized electronics) tended to be commercial. After Hancock broke up his group, Henderson worked with Art Blakey and Mike Nock, recorded with Charles Earland, and later, in the 1970s, led a rock-oriented group. In the '90s, he returned to playing acoustic hard bop (touring with Billy Harper in 1991) while also working as a psychiatrist. ~ Scott Yanow http://www.allmusic.com/artist/eddie-henderson-mn0000169948/biography

Personnel:  Eddie Henderson - trumpet, flugelhorn;  Kevin Hays – piano;  Joe Locke – vibraphone;  Ed Howard – bass;  Lewis Nash – drums;  Grover Washington Jr. - soprano saxophone

Manhattan in Blue

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Grover Washington Jr. - The Best Is Yet To Come

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 40:22
Size: 92,6 MB
Art: Front

(5:21)  1. Can You Dig It
(6:01)  2. The Best Is Yet To Come
(4:30)  3. More Than Meets The Eye
(4:19)  4. Things Are Getting Better
(5:20)  5. Mixty Motions
(6:10)  6. Brazilian Memories
(4:40)  7. I'll Be With You
(3:58)  8. Cassie's Theme

Grover Washington, Jr. was a gifted jazz saxophonist who found his niche in a style of music that evolved in the 1980s called smooth jazz. He was one of the founders (along with David Sanborn) of this slick, funky, poppy style of jazz, Washington's albums continue to sell in impressive numbers even after his untimely death in 1999.  The Best Is Yet To Come is what one has come to expect from the saxophonist. This music is polished, streamlined, passionate, and soulful. Washington is in prime form on this 1982 outing, and his solos float effortlessly over the funky rhythm section. Wonderful vocal performances are also delivered courtesy Patti LaBelle on the title track and Bobby McFerrin on "Things Are Getting Better," and McFerrin even scat sings on the latter. The Best Is Yet To Come is one of the best of its kind. http://www.cduniverse.com/productinfo.asp?pid=1095365&style=music&fulldesc=T
 

Personnel : Grover Washington, Jr. (saxophone);  Patti LaBelle, Carla Benson, Evette Benton, Lucille Jones (vocals);  Jon Faddis, Frank Wess, Alex Foster (horns); Mona Goldman-Yoskin (flute); Billy Childs (piano, synthesizer); James Lloyd (piano); Richard Tee, Teddi Schlossman (Fender Rhodes piano); Paul Griffin, Dexter Wansel (synthesizer); Eric Gale, Richard Steacker, Lee Ritenour (guitar); Marcus Miller, Cedric Napoleon (bass); Yogi Horton, Darryl Washington (drums); Ralph MacDonald, Leonard Gibbs (percussion).

The Best Is Yet To Come

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Various - The Aretha Franklin Songbook

Bitrate: MP3@320K/s
Time: 56:05
Size: 128.4 MB
Styles: Jazz/Soul/R&B
Year: 2013
Art: Front

[4:43] 1. Dr. Lonnie Smith - Think
[4:40] 2. George Benson - Don't Let Me Lose This Dream
[5:39] 3. Stanley Turrentine - Dr. Feelgood
[4:35] 4. Cassandra Wilson - Angel
[4:59] 5. B.B. King - Spirit In The Dark
[4:19] 6. Will Downing - Daydreaming
[7:45] 7. Jimmy Smith - After Hours
[3:46] 8. Grover Washington, Jr. - All The King's Horses
[2:27] 9. Dianne Schuur - Climbing Higher Mountains
[7:13] 10. Quincy Jones - Daydreaming/First Time Ever I Saw Your Face
[5:55] 11. Stanley Turrentine - Dr. Feelgood (Alt. Take)

She is both a 20th and 21st century musical and cultural icon known the world over simply by her first name: Aretha. The reigning and undisputed “Queen Of Soul” has created an amazing legacy that spans an incredible six decades, from her first recording as a teenage gospel star, to her current releases. Her many countless classics include “(You Make Me Feel Like) A Natural Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.”

The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) Grammy Award winner – the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 – a Grammy Lifetime Achievement and Grammy Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.”

The Aretha Franklin Songbook

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Grover Washington, Jr. - Reed Seed

Styles: Flute and Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 39:45
Size: 92,7 MB
Art: Front

(4:27)  1. Do Dat
(6:15)  2. Step 'N' Thru
(4:54)  3. Reed Seed (Trio Tune)
(4:48)  4. Maracas Beach
(6:54)  5. Santa Cruzin
(4:46)  6. Just the Way You Are
(7:37)  7. Loran's Dance

Reed Seed was Grover Washington, Jr.'s final album for Kudu/Motown. It was also one of two recordings his issued in 1978 the other is the stone-killer live set Live at the Bijou. While the saxophonist had been experimenting with funk since 1971's Inner City Blues, by 1975's breakthrough recordings Mister Magic and Feels So Good, he'd perfected his groove. His appeal to fans of more radio-friendly material was ready: he had stellar grooves, very polished production, and accessible arrangements not too mention his stellar emotive attack on any saxophone he chose to play. Many straight-ahead jazz fans dug Washington's sound as well because of his technical facility on his instruments. Reed Seed, like its immediate studio predecessor Secret Place is a transition album from jazz-funk to what would become contemporary or, if you will, smooth jazz. That said, it is no less compelling than Mister Magic or Feels So Good. It follows those recordings in formula, beginning with the solidly funky "Do Dat," written by sidemen John Blake (keyboards and violin) and Leonard "Doc" Gibbs (percussion, vocals). Kicking it with a popping, repetitive bassline, Washington's tenor enters on the melody amid handclaps and the sounds of a backing chorus (provided by Rita & Lita Boggs). Containing a killer bass solo and bridge, it's a perfect length at 4:27 to be a single, and it was. This is followed by the uptown groover "Step "n" Thru," introduced by Blake's violin and synths, as well as nice guitar work from Richard Lee Steacker (the track's author). 

But the real prize is a smoking soprano solo from Washington as the tempo begins to move. The title track is a feature for Blake's violin to shine along with killer bass and percussion work, with Grover's soprano being intentionally restrained to providing its own sense of lyrical groove. There's a very fine cover of Billy Joel's "Just the Way You Are," and "Santa Cruzin'" sets the template for the direction he would follow in the future. It's a midtempo stepper with lithe funk and lots of acoustic piano and a very simple, direct melody that focuses on atmosphere as much as lyricism. The album's final number, "Loran's Dance," is a nocturnal one with Washington overdubbing his saxophone lines (alto and tenor); it develops on a Spanish-tinged theme, and the Rhodes work by Blake is exceptional. When Washington begins to solo, the atmosphere and textures are abundant yet full of space and dimension. It's sexy as hell.  Reed Seed was a fitting way for Washington to leave the Kudu/Motown stable; it's a high-quality, wonderfully memorable set of mid- and uptempo funky jazz from a master. In addition, while the charts may not support this assertion, it is, along with his other records for these imprints and CTI before them, arguably the best and most consistent string of albums he ever recorded, as well as the platform that launched him into superstardom first with Elektra and then with Columbia. ~ Thom Jurek  http://www.allmusic.com/album/reed-seed-mw0000691813

Personnel:  Grover Washington, Jr. (flute, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone);  Richard Lee Steacker (vocals, electric guitar);  John E. Blake, Jr. (vocals, electric violin, piano, Fender Rhodes piano, Clavinet);  Leonard "Doc" Gibbs (vocals, percussion);  Jeanine Otis, Rita Boggs, Lita Boggs (vocals);  James Sid Simmons (piano, electric piano, Fender Rhodes piano, Clavinet);  Tyrone Brown (acoustic bass, electric bass);  Milard "Pete" Vinann (drums).

Reed Seed

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Grover Washington Jr. - A House Full Of Love: Music From The Bill Cosby Show

Styles: Crossover Jazz, Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 37:33
Size: 87,0 MB
Art: Front

(2:40)  1. Resthatherian
(4:56)  2. Camille
(3:35)  3. Love In Its Proper Place
(3:51)  4. Poppin'
(3:11)  5. Kitchen Jazz
(3:58)  6. Clair (Phylicia)
(3:10)  7. The Huxtable Kids
(4:47)  8. Outstretched Hands (Gloria)
(3:11)  9. Look At This
(4:08) 10. A House Full Of Love

This album was presented by longtime Bill Cosby collaborator, producer Stu Gardner and includes the theme song and background music from on his hugely successful 80s NBC-TV sitcom. Of note are Cosby's recitations on the steppers favorite, "Look at This," (the instrumental version was used in a dance scene between Cosby and co-star Phylicia Rashad) and the earnest "Love In Its Proper Place,." ~ Ed Hogan http://www.allmusic.com/album/a-house-full-of-love-music-from-the-cosby-show-mw0000650019

Personnel:  Gloria Agostini (Harp); Patti Austin Vocals (Background); Tom Barney Bass (Acoustic), Bass (Electric); Michael Bolton Vocals (Background); Michael Brecker Sax (Tenor); Randy Brecker Trumpet; Cameron Brown Bass, Bass (Acoustic); Jocelyn Brown Vocals (Background); Bill Cosby Vocals;Jon Faddis Trumpet; Lori Fulton Vocals, Vocals (Background); Steve Gadd Drums; Stu Gardner Arranger, Composer, Guest Artist, Mixing, Organ, Piano, Producer, Vocals (Background); Paul Griffin Composer, Piano, Synthesizer; Lani Groves Vocals (Background); James Ingram Vocals (Background); Gary King Bass (Electric), Composer; Ullanda McCullough Vocals (Background); Sid McGinnis Slide Guitar; Marcus Miller Bass; Jeff Mironov Composer, Guitar; Allen Reuben Trumpet; Scott Schreer Composer, Drums, Percussion; Richard Tee Fender Rhodes, Keyboards, Piano; Grover Washington, Jr. Sax (Alto), Sax (Tenor); Wah-Wah Watson Guitar

A House Full Of Love: Music From The Bill Cosby Show

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Grover Washington Jr. - All My Tomorrows

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 74:27
Size: 172,3 MB
Art: Front

(8:57)  1. É Preciso Perdoar
(6:19)  2. When I Fall In Love
(6:58)  3. I'm Glad There Is You
(4:56)  4. Happenstance
(6:18)  5. All My Tomorrows
(8:11)  6. Nature Boy
(4:03)  7. Please Send Me Someone To Love
(7:32)  8. Overjoyed
(5:01)  9. Flamingo
(7:15) 10. For Heaven's Sake
(8:55) 11. Estate ('Ess-Tah-Tay') (In Summer)

Eddie Henderson's lovely flugelhorn colors the opening track, "E Preciso Perdoar (One Must Forgive)," setting the mood for a very mellow set. Washington, accompanied by six pieces, plays the standards straighter than Johnny Mathis sings them; everything is ratcheted down '40s-ish/'50s-ish cozy nightclub style. Freddy Cole resembles his brother, Nat King Cole, on "Overjoyed," while "Happenstance" showcases Henderson's absolute trumpeting skills. But if you expected to exercise your fingers with a few impromptu snaps, these tracks won't take you there. 

Washington's Winelight album, one of his best, was laid-back also but Washington's M.O. was stamped all over it; here you need credits and liner notes for verification, and only the opening tune emits any sparks. An attempt to silence the die-hard jazz critics who considered him a lightweight, but a disappointment for his Mister Magic fans. ~ Andrew Hamilton http://www.allmusic.com/album/all-my-tomorrows-mw0000119244

Personnel: Grover Washington, Jr.(soprano, alto & tenor saxophones); Jeanie Bryson, Freddy Cole (vocals); Bobby Watson (alto saxophone); Bobby LaVell (tenor saxophone); Jimmy Cozier (baritone saxophone); Eddie Henderson, Earl Gardner (trumpet, flugelhorn); Robin Eubanks (trombone); Freddy Cole, Hank Jones (piano); Romero Lubambo (guitar); George Mraz (bass); Billy Hart, Lewis Nash (drums); Steve Berrios (percussion).

All My Tomorrows

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Eric Gale - Touch Of Silk

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 38:43
Size: 89,3 MB
Art: Front

(4:46)  1. You Got My Life In Your Hands
(5:06)  2. Touch Of Silk
(4:19)  3. War Paint
(4:33)  4. Once In A Smile
(6:32)  5. With You I'm Born Again
(8:42)  6. Au Privave
(4:42)  7. Live To Love

In 1980, guitarist and composer Eric Gale came off the commercial success of 1979's Part of You (produced by Ralph MacDonald) and didn't do the obvious thing. Rather than make another record that swung for the smooth jazz fences, he made a darker, deeper, funkier, and bluesier album with legendary New Orleans producer Allen Toussaint. The sessions included the cream of the Crescent City's jazz-funk crop as well as mates Charlie Earland, Grover Washington, Jr., and Idris Muhammad, three of soul-jazz's greatest lights with special guest Arthur Blythe on the Charlie Parker nugget "Au Privave" as a curve ball. Toussaint wrote four of the album's seven tracks, and they range from the murky blue soul-jazz of "You Got My Life in Your Hands" to the sweet, boudoir-perfect urban-styled title track. Gale is a consummate soloist, full of lilting and biting grooves, with stunning phrasing that maximizes the rhythmic effect of his high strings (such as on "War Paint"), and he never plays an extra note. The beautiful ballad "With You I'm Born Again" has Washington playing some of his most haunting soprano, and the wildly funked-up "Au Privave," a holdover from the bop generation that keeps its original flavor despite the three-instrument front line of Earland's B-3, Blythe's alto, and Gale's chunky bottom strings (which are accented in his comping through the changes), is nothing short of astonishing. This is one of the great versions of the tune, especially in this modern context, and offers solid proof of Gale's bebop roots. This is an even better side available in the U.S., but only as an expensive Japanese import.~Thom Jurek http://www.allmusic.com/album/touch-of-silk-mw0000740343

Personnel:  Bass - David Barard;  Drums - Idris Muhammad, James Black;  Guitar - Eric Gale;  Keyboards - Allen R. Toussaint, Robert Dabon;  Organ - Charles Earland;  Percussion - Kenneth Williams;  Producer - Allen R. Toussaint;  Saxophone - Arthur Blythe,Gary Brown, Grover Washington, Jr., Harold Vick

Touch Of Silk

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