Herbie Hancock - Head Hunters

Styles: Jazz
Year: 1973
Time: 41:47
File: MP3 @ 320K/s
Size: 95,6 MB
Art: Front

(15:44) 1. Chameleon
( 6:31) 2. Watermelon Man
(10:20) 3. Sly
( 9:10) 4. Vein Melter

Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters.

Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).

Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop. By Stephen Thomas Erlewine
https://www.allmusic.com/album/head-hunters-mw0000649551#review

Personnel: Herbie Hancock – Fender Rhodes electric piano, Hohner D6 Clavinet, ARP Odyssey & ARP Pro Soloist synthesizers; Bennie Maupin – tenor saxophone, soprano saxophone, saxello, bass clarinet, alto flute; Paul Jackson – bass guitar, marímbula; Harvey Mason – drums, arrangement on "Watermelon Man"; ill Summers – agogô, balafon, cabasa, congas, gankogui, log drum, shekere, surdo, tambourine, beer bottle on "Watermelon Man"

Head Hunters

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Chick Corea - The Mad Hatter

Styles: Piano Jazz   
Year: 1978
File: MP3@320K/s
Time: 50:02
Size: 115,4 MB
Art: Front

( 4:25)  1. The Woods
( 1:08)  2. Tweedle Dee
( 1:39)  3. The Trial
( 6:30)  4. Humpty Dumpty
( 1:19)  5. Prelude To Falling Alice
( 8:17)  6. Falling Alice
( 2:50)  7. Tweedle Dum
(13:07)  8. Dear Alice
(10:43)  9. The Mad Hatter Rhapsody

This post-Return to Forever Chick Corea LP is a bit of a mixed bag. Corea is heard on his many keyboards during an atmospheric "The Woods," interacts with a string section on "Tweedle Dee," features a larger band plus singer Gayle Moran on a few other songs and even welcomes fellow keyboardist Herbie Hancock for the "Mad Hatter Rhapsody." The most interesting selection, a quartet rendition of "Humpty Dumpty" with tenorman Joe Farrell set the stage for his next project, Friends. Overall, this is an interesting and generally enjoyable release.~ Scott Yanow https://www.allmusic.com/album/the-mad-hatter-mw0000105344

Personnel: Chick Corea - piano, synthesizer, marimba, percussion, vocals, arrangement;  Joe Farrell - tenor saxophone, flute, piccolo;  Herbie Hancock - electric piano on Falling Alice and The Mad Hatter Rhapsody;  Jamie Faunt - bass;  Eddie Gómez - bass;  Steve Gadd - drums;  Harvey Mason - drum;  Gayle Moran - vocals

The Mad Hatter

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Chris Standring - Wonderful World

Styles: Guitar Jazz, Jazz Funk
Year: 2021
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(4:54) 1. How Insensitive
(5:50) 2. Night & Day
(4:49) 3. Autumn in New York
(4:44) 4. Estate
(4:47) 5. What a Wonderful World
(3:54) 6. Green Dolphin Street
(4:16) 7. Alfie
(4:40) 8. Falling in Love with Love
(4:56) 9. Sunrise
(3:40) 10. Maxine
(4:30) 11. My Foolish Heart

Wonderful World, the fourteenth album as leader by British guitarist Chris Standring, was no doubt recorded with the best of intentions. And make no mistake, the music is warm and lovely, furnishing an opulent showcase for Standring's mellow guitar. Aside from that, however, there's not a whole lot to say. Standring's "orchestra" consists of a nineteen-member string section, while Geoff Gascoyne's syrupy arrangements call to mind popular string-laden sessions from the 1950s and '60s, "easy listening" albums for "late-night lovers" designed by Percy Faith, Jackie Gleason, Bobby Hackett and others, except this time there's a guitar leading the way instead of a trumpet, oboe or English horn. It's a step removed from Mantovani or the 101 Strings orchestra.

Besides the strings, Standring is supported on various tracks by bassists Gascoyne, Chuck Berghofer or Darek Oles and drummers Peter Erskine, Harvey Mason or David Karasony, but their primary task is to keep time while the orchestra plays and Standring solos. Berghofer does have one brief solo, on Cole Porter's "Night and Day." Elsewhere, it's basically all Standring all the time, save for a brief guest appearance by flugelhornist Randy Brecker on Standring's slow-breaking "Sunrise." Of the album's eleven tunes, only one "On Green Dolphin Street" pushes forward more rapidly than a ballad.

The others from Jobim's "How Insensitive" to the standards "Autumn in New York," "Falling in Love with Love" and "My Foolish Heart" to "Estate," Burt Bacharach/Hal David's theme from "Alfie" and Donald Fagen's "Maxine" assume the same hushed and reposeful stance, calmly awaiting the entrance of Standring's genteel and melodious manifestos. The atmosphere is so even-tempered that the drummers could have left their sticks at home, as brushes alone even "On Green Dolphin Street" are more than adequate. There is one vocal, by Kathrin Shorr on the title song. As noted, the music is charming, and Standring is a splendid guitarist, but Wonderful World is best suited for those who are happiest living on a diet comprised solely of tender ballads and love songs. By Jack Bowers
https://www.allaboutjazz.com/wonderful-world-chris-standring-ultimate-vibe

Personnel: Chris Standring: guitar; Geoff Gascoyne: bass; Randy Brecker: trumpet; Peter Erskine: drums; Harvey Mason: drums; David Karasony: drums; Chuck Berghofer: bass, acoustic; Darek Oles: bass; Kathrin Shorr: voice / vocals

Wonderful World

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Herb Alpert - Midnight Sun

Styles: Trumpet Jazz

Year: 1992

File: MP3@320K/s

Time: 51:28

Size: 119,1 MB

Art: Front

(6:06)  1. Midnight Sun

(3:54)  2. All The Things You Are

(5:18)  3. Someone To Watch Over Me

(5:53)  4. In The Wee Small Hours

(4:22)  5. Friends

(6:52)  6. A Taste Of Honey

(5:47)  7. Mona Lisa

(5:09)  8. I've Grown Accustomed To Her Face

(3:51)  9. Silent Tears And Roses

(4:13) 10. Smile

Having recently sold A&M to PolyGram for a cool $500 million, and with his short but hugely affecting association with the late Stan Getz on his mind, Herb Alpert finally took the plunge and recorded what he called a jazz album, his last for the label he co-founded. But this would not be a conventional blowing session; rather it is an intimate, inward, wee-small-hours kind of album where, muted and not, Alpert's horn sighs, laments and sings over a conventional rhythm section and underneath a blanket of lush strings. Without a doubt, Miles Davis in his introspective '50s mode is Herb's primary inspiration always has been  and he uses space between the notes in similar ways, but always with his own tone and distinct phrasing. Two old favorites from the TJB days, "A Taste of Honey" and "I've Grown Accustomed to Her Face," are revisited; "Taste" is completely transformed into a dark elegy that breaks into the light before turning back to the shadows. One track, "Friends," was left over from 1990, where Herb was joined by a luminous-sounding Getz; they really play like intimate friends together. This is not a terribly spontaneous album Alpert is too much the master of structure to leave very much to chance but it creates a mood of melancholy serenity that is difficult to resist.
By Richard S.Ginell http://www.allmusic.com/album/midnight-sun-mw0000612559

Personnel: Herb Alpert (vocals, trumpet); Larry Carlton, John Pisano, Barry Zweig (guitar); Stan Getz (tenor saxophone); Frank Collett, Eddie del Barrio (piano); Monty Budwig (bass); Harvey Mason, Jeff Hamilton (drums).

Midnight Sun

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Fourplay - Heartfelt

Styles: Jazz, Crossover Jazz  
Year: 2002
File: MP3@320K/s
Time: 66:09
Size: 153,2 MB
Art: Front

(5:45)  1. Galaxia
(6:44)  2. That's the Time
(5:43)  3. Break it Out
(4:11)  4. Rollin'
(3:56)  5. Let's Make Love
(6:59)  6. Heartfelt
(5:55)  7. Tally Ho!
(5:18)  8. Café L'Amour
(5:28)  9. Ju-Ju
(5:58) 10. Goin' Back Home
(5:29) 11. Karma
(4:36) 12. Making Up

Breaking from their routine, Fourplay created most of the material on Heartfelt in the studio, through a process of free jamming followed by assembly of the best parts through Pro Tools editing. The differences in the results are subtle and, on balance, not necessarily positive. 

Though all four players are true virtuosos, the band's mellow feel encourages each to avoid excess, or its positive alter ego, adventurism, in their solos, while the improvisational core of the project tends to weaken the compositional foundations. The strongest cuts are those written by one member or two in combination; on these, from the Pat Metheny-inflected title track to Nathan East's velvety vocal showcase "Let's Make Love," the quartet's taste and fundamentally conservative aesthetic shine most brightly. ~ Robert L. Doerschuk https://www.allmusic.com/album/heartfelt-mw0000224952

Personnel:  Bob James – keyboards; Larry Carlton – guitar; Nathan East – bass guitar; Harvey Mason – drums

Heartfelt

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Fourplay - Yes, Please!

Styles: Jazz, Crossover Jazz 
Year: 2000
File: MP3@320K/s
Time: 63:15
Size: 145,0 MB
Art: Front

(6:26)  1. Free Range
(5:49)  2. Double Trouble
(4:33)  3. Once Upon a Love
(6:27)  4. Robo Bop
(6:59)  5. Blues Force
(5:33)  6. Save Some Love for Me
(8:11)  7. Fortress
(4:05)  8. Go with Your Heart
(5:15)  9. Poco a Poco
(4:20) 10. A Little Fourplay [feat. Sherree]
(5:33) 11. Lucky

There's no doubt that Fourplay is, collectively, one of the most talent-laden ensembles in contemporary jazz today. But their output to date, while always accessible to the masses, has alternated between interesting, worthwhile comtempo fare (their eponymous debut CD and their third release, Elixir ) and more watered-down, commercially-oriented "smooth jazz" ( Between the Sheets and 4 ). On their latest CD Yes, Please! , we get some of each. The disc gets off to a promising start with "Free Range," "Double Trouble," and "Robo Bop" the breezy melodies are supported with some interesting harmonies and creative background fills (Bob James trademarks) and some good group interplay. Larry Carlton's pensive, singing guitar caresses the lines of the ballad "Once Upon a Love." Carlton displays his bluesier side on "Blues Force," though James' solo seems stilted and awkward. The disc's radio offerings, however, reach new lows in sterile banality. Female background vocalists seductively coo "Save Some Love for Me (Tonight)" repeatedly over a plodding drum loop. The saccharine seduction resumes on "A Little Foreplay." Throughout this disc, mellow is the word. The tempos range from slow to medium, and the dynamics rarely reach above mezzoforte. While the musicianship is impeccable and there are interesting touches here and there, it's a very relaxed, placid outing. (Warner Bros. 47694) ~ Dave Hughes https://www.allaboutjazz.com/yes-please-fourplay-warner-bros-review-by-dave-hughes.php

Personnel: Bob James, keyboards; Larry Carlton, guitar; Nathan East, bass; Harvey Mason, drums; Sherree, vocal on "A Little Foreplay"

Yes, Please!

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Earl Klugh, Bob James - Two Of A Kind

Styles: Guitar Jazz, Post Bop
Year: 1982
File: MP3@320K/s
Time: 37:52
Size: 87,2 MB
Art: Front

(8:52)  1. The Falcon
(5:28)  2. Whiplash
(5:39)  3. Sandstorm
(6:51)  4. Where I Wander
(3:07)  5. Ingenue
(7:52)  6. Wes

Keyboardist Bob James and acoustic guitarist Earl Klugh struck gold with this session, recently reissued on CD. The formula hasn't changed much in succeeding years. Both Klugh and James are capable musicians; they demonstrated on this collection of light, innocuous melodies and occasionally interesting backbeats a high degree of professionalism. 

Klugh is a first-rate guitarist whose solos are concise and nicely delivered, but frequently sound thin. James' piano and electric keyboard playing is a puzzling combination of flawlessness and lifelessness. ~ Ron Wynn https://www.allmusic.com/album/two-of-a-kind-mw0000622797

Personnel: Earl Klugh – acoustic guitar;  Bob James – keyboards; Gary King – bass; Harvey Mason – drums

Two Of A Kind

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Herbie Hancock - Sunlight

Styles:  Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 39:20
Size: 90,8 MB
Art:

(8:55)  1. I Thought It Was You
(8:24)  2. Come Running to Me
(7:10)  3. Sunlight
(6:18)  4. No Means Yes
(8:32)  5. Good Question

After Man-Child, alas, Herbie Hancock's American jazz-funk records in the 1970s grew gradually more commercial, less stimulating, and crucially, less truly funky with each release, even as his equipment rack grew larger. Just take a look at the staggering collection of keyboards on the back cover of the Sunlight LP all sought-after collectors' items now yet Hancock makes so little use of their possibilities here. For much of the album, he seems most interested in establishing a new career as an electronic vocalist. "I Thought It Was You," "Come Running to Me," and the title track introduce the ghostly, gauzy sound of Herbie's singing voice as heard through a vocoder; there's even an electronic Herbie scat choir. Stevie Wonder, he's not. There are still occasional splashes of Hancock harmonic color on the keyboards, but he also relies upon superfluous, self-arranged brass riffs and string backgrounds. The backup bands shift from track to track, from combinations of Headhunters alumni that offer soft-focused facsimiles of the old funk drive to a surprisingly strait-jacketed pairing of Tony Williams and Jaco Pastorius on the eccentric "Good Question." ~ Richard S.Ginell https://www.allmusic.com/album/sunlight-mw0000473390

Personnel:  Herbie Hancock – keyboards, synthesizers, lead and background vocals (through vocoder) (1–3), string, brass and woodwind arrangements; Patrick Gleeson – additional synthesizers (5); Bennie Maupin – soprano saxophone solo (3); Wah Wah Watson, Ray Parker, Jr. – guitar (1, 3); Byron Miller (1), Paul Jackson (2–4), Jaco Pastorius (5) – electric bass; Leon "Ndugu" Chancler (1), James Levi (2, 3), Harvey Mason, Sr. (4), Tony Williams (5) – drums; Raul Rekow (exc. 3), Bill Summers (exc. 1) – percussion; Baba Duru – tabla (2); Bobby Shew, Maurice Spears, Robert O'Bryant, Garnett Brown – brass (exc. 4); Ernest J. Watts, Fred Jackson, Jr., Jack Nimitz, David Willard Riddles – woodwind (2, 5); Terry Adams, Roy Malan, Nathan Rubin, Linda Wood, Emily VanValkenburgh – strings (2)

Sunlight

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Bobby Hutcherson - Montara

Styles: Vibraphone Jazz 
Year: 1975
File: MP3@320K/s
Time: 35:39
Size: 82,1 MB
Art: Front

(5:35)  1. Camel Rise
(4:24)  2. Montara
(4:17)  3. (Se Acabo) La Malanga
(5:37)  4. Love Song
(3:54)  5. Little Angel
(6:42)  6. Yuyo
(5:08)  7. Oye Como Va

With the possible exception of Grover Washington's Feels So Good, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., Montara is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice. That said, Montara is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico Montara is a portrait of Hutcherson's complex gift of subtlety and virtuosity. Whether it's the funky Weather Report dance of "Camel Rise," with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of "La Malanga," done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on "Love Song," or the steaming, burning gasoline orgy of Hutcherson's read of Santana's "Oye Como Va," with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day. Hutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation. ~ Thom Jurek https://www.allmusic.com/album/montara-mw0000036961

Personnel: Bobby Hutcherson - vibes, marimba; Oscar Brashear, Blue Mitchell - trumpet; Plas Johnson - flute; Ernie Watts, Fred Jackson, Jr. - tenor saxophone, flute; Eddie Cano - piano; Larry Nash - electric piano; Dennis Budimir - guitar; Chuck Domanico, Dave Troncoso - bass; Harvey Mason - drums

Montara

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Ron Carter - When Skies Are Grey...

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 48:28
Size: 112,0 MB
Art: Front

(7:08)  1. Loose Change
(7:05)  2. Besame Mucho
(7:08)  3. Caminando
(5:30)  4. Que Pasa
(7:22)  5. Corcovado
(6:00)  6. Cubano Chant
(8:12)  7. Mi Tiempo

The album cover for Ron Carter's When Skies Are Grey shows the jazz bassist contemplatively looking up toward an overcast New York City sky. Perhaps the title is in reference to how Carter felt during the recording sessions because his wife had died the week before. He attended funeral services over that weekend and came to the studio the following Monday morning. But when you listen to the music that came from those sessions, you'll hear the consummate bassist implementing his amazing skills on seven Latin-tinged tunes. Perhaps the exquisite melodies lifted Carter's spirits. Joining Carter on When Skies Are Grey are Stephen Scott on piano, Harvey Mason on drums and Steve Kroon on percussion. Carter and arranger Bob Freedman have dipped into the Latin genre, using the straight 4/4 beat and auxiliary percussion, while seamlessly placing the syncopated elements of jazz into the songs. The way Carter solos on Consuelo Velazquez's "Besame Mucho," it's as if he's mimicking a trumpet or saxophone. You wouldn't expect a bassist to play fast sixteenth notes, but what else would you expect from the man who helped keep the pulse for Miles Davis' 1960s quintet. With the opening track, Carter's "Loose Change," the quartet jumps from a straight Latin 4/4 to a swing rhythm, then back to the Latin pattern before switching gears yet again to cut-time swing. Carter, Mason and Kroon never lose the beat, while Scott effortlessly tickles the ivories. On Ray Bryant's "Cubano Chant," the group starts off in a medium-fast Latin feel, occasionally breaking into 7/4. Suddenly, the mood switches to swing, with Carter playing a walking bass line. They then return to the Latin beat, with Mason and Kroon having a drumming duel. Carter's "Mi Tiempo" also features smooth transitions in unexpected places, this time going from Latin to swing to cut-time swing and back to Latin. Scott is absent from the song, so Carter takes over the melody post, leaving Mason and Kroon to solo around the bass. In all, When Skies Are Grey is an impressive, unique mixture of two electrifying genres from one of jazz's most prolific bassists. 

~ Michael Fortuna https://www.allaboutjazz.com/when-skies-are-grey-ron-carter-blue-note-records-review-by-michael-fortuna.php

Personnel: Ron Carter: bass; Stephen Scott: piano; Harvey Mason: drums; Steve Kroon: percussion.

When Skies Are Grey...

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Stanley Turrentine - Everybody Come On Out

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 37:56
Size: 88,5 MB
Art: Front

(4:17)  1. Everybody Come On Out
(3:56)  2. Stairway To Heaven
(6:14)  3. There Is A Place (Rita's Theme)
(4:17)  4. Many Rivers To Cross
(5:51)  5. Hope That We Can Be Together Soon
(3:39)  6. All By Myself
(5:35)  7. Airport Love Theme
(4:03)  8. I'm Not In Love

A very large group session recorded in March 1976 for Fantasy, Everybody Come on Out features Turrentine with Joe Sample, Lee Ritenour, Craig McMullen, Paul Jackson, Harvey Mason, Bill Summers, and Dawilli Gonga. ~ Rovi Staff https://www.allmusic.com/album/everybody-come-on-out-mw0000087309

Personnel: Stanley Turrentine - tenor saxophone, producer; Joe Sample - electric piano, piano; Lee Ritenour - guitar;  Craig McMullen - guitar;  Paul Jackson - bass;  Harvey Mason - drums

Everybody Come On Out

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Donald Byrd - Street Lady

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 42:38
Size: 98,5 MB
Art: Front

(7:47)  1. Lansana's Priestess
(6:25)  2. Miss Kane
(6:12)  3. Sister Love
(5:40)  4. Street Lady
(9:42)  5. Witch Hunt
(6:51)  6. Woman Of The World

Not so much a fusion album as an attempt at mainstream soul and R&B, Street Lady plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer Larry Mizell conceived Street Lady as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from Curtis Mayfield, Isaac Hayes, and Sly Stone, Donald Byrd and Mizell have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of Street Lady is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/street-lady-mw0000089538

Personnel:  Donald Byrd - trumpet; Roger Glenn - flute; Jerry Peters - piano, electric piano; Fonce Mizell - clavinet, trumpet, vocals; Fred Perren - synthesizer, vocals; David T. Walker - guitar; Chuck Rainey - electric bass; Harvey Mason - drums; King Errisson - congas and bongos; Stephanie Spruill - percussion; Larry Mizell - vocals, arranger, conductor

Street Lady

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Fourplay - Fourplay

Styles: Jazz, Crossover Jazz
Year: 1991
File: MP3@320K/s
Time: 61:36
Size: 142,3 MB
Art: Front

(5:32)  1. Bali Run
(5:56)  2. 101 Eastbound
(5:26)  3. Foreplay
(6:16)  4. Moonjogger
(5:33)  5. Max-O-Man
(5:03)  6. After The Dance
(5:43)  7. Quadrille
(4:44)  8. Midnight Stroll
(5:01)  9. October Morning
(6:11) 10. Wish You Were Here
(6:05) 11. Rain Forest

This CD was the debut for Fourplay, a popular quartet comprised of keyboardist Bob James, guitarist Lee Ritenour, bassist Nathan East, and drummer Harvey Mason. The music sounds more or less like a Bob James small-group date with Ritenour as a major soloist. The style is between jazz, R&B, and pop with an emphasis on lightweight originals, soulful and moderately funky rhythms, and predictable radio-friendly music. Nothing unexpected occurs, but fans of James and Ritenour should enjoy both this CD and Fourplay in general. ~ Scott Yanow https://www.allmusic.com/album/fourplay-mw0000391946

Personnel:  Bass – Nathan East; Drums – Harvey Mason; Guitar – Lee Ritenour; Keyboards – Bob James

Fourplay

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Joe Williams - Feel the Spirit

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 54:21
Size: 125,0 MB
Art: Front

(5:43)  1. In the Beginning/My Lord
(5:11)  2. Feel the Spirit
(4:49)  3. Go Down Moses/Wade in the Water
(3:47)  4. Great Camp Meeting
(5:12)  5. Were You There?
(4:18)  6. Walk with Me
(4:16)  7. I Couldn't Hear Nobody Pray
(3:56)  8. In My Heart
(3:11)  9. Little David
(5:13) 10. His Eye Is on the Sparrow
(4:25) 11. Pass It On
(3:32) 12. The Lord's Prayer
(0:41) 13. Doxology

Joe Williams had been wanting to record an album of spirituals since 1957 and this is it. The veteran singer gives a blues feeling and swing to the traditional pieces which range from the rollicking title cut to "Go Down Moses," "I Couldn't Hear Nobody Pray" and "The Lord's Prayer." He is assisted by Marlena Shaw (a particularly effective partner on three of the numbers) and a five-piece chorus on four other songs. The backing usually features Patrice Rushen getting organ sounds out of her synthesizer. Despite the one-message content, the music has more variety than one might expect and Joe Williams acquits himself very well on this sincere and heartfelt effort. ~ Scott Yanow https://www.allmusic.com/album/feel-the-spirit-mw0000174115

Personnel: Joe Williams - vocals;  Marlena Shaw - vocals; Patrice Rushen - synthesizer; Jerry Peters - piano; Phil Upchurch - guitar; Abraham Laboriel - bass; Harvey Mason - drums

Feel the Spirit

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Will Boulware - A Night in Tunisia

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 51:59
Size: 119,3 MB
Art: Front

(3:32)  1. A Night in Tunisia
(6:08)  2. The Breeze and I
(6:45)  3. Yesterdays
(3:42)  4. Cleopatra's Dream
(4:07)  5. If I were a Bell
(5:22)  6. Easy
(6:35)  7. What'd I say
(5:59)  8. Pensive
(5:56)  9. The Fruit
(3:49) 10. Build UP

Will Boulware was born in Bardstown, Kentucky. His father played the guitar and sang cowboy songs and his mother still sings very well. The Boulware family moved to Charlotte, North Carolina then Atlanta, Georgia where Will started playing the piano at age five. At age 10, Will bought a set of drums and formed his first group “Wee Willy & The Winks” in which he played drums doing surf music until 13 when he traded in the drums for his first electric keyboard and started to listen to Jimmy Smith and his father’s Erroll Garner and Dave Brubeck records. When he was fourteen, he was already in an R&B group performing. He also played the organ in a trio he formed and started performing his own compositions. By 1972, his songs were recorded by B.B. King. In 1973, he went to New York where he mainly worked doing recording sessions in commercial field. In the 80’s, Will lived in California doing some solo piano gigs and working with guitarists such as Scott Henderson, Phil Upchurch and Ron Eschete. By 1990, Will moved back to NYC where he started working with the late Phyllis Hyman and still doing some session work before starting in 1993, a 10-year organ stint with saxophonist Maceo Parker and touring with The Blues Brothers (1998), John Scofield (1999) and Carla Bley (2000). He also performed on Rodney Jones recordings and others. http://willboulware.com/bio/

Personnel:    Will Boulware, piano;  Harvey Mason, drums;  Lonnie Plaxico, acoustic bass;  Richard Bona, electric bass

A Night in Tunisia

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Charles Earland & Odyssey - Revelation

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

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

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

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

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

Revelation

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Quincy Jones - Mellow Madness

Bitrate: MP3@320K/s
Time: 44:11
Size: 101.2 MB
Styles: Jazz/Funk/Soul
Year: 1975
Art: Front

[3:52] 1. Is It Love That We're Missin'
[2:55] 2. Paranoid
[3:27] 3. Mellow Madness
[6:12] 4. Beautiful Black Girl
[4:16] 5. Listen (What It Is)
[3:28] 6. Just A Little Taste Of Me
[5:25] 7. My Cherie Amour
[3:02] 8. Tryin' To Find Out About You
[4:29] 9. Cry Baby
[7:00] 10. Bluesette

Backing Vocals – Carolyn Willis, Jesse Kirkland, Jim Gilstrap, Joe Greene, Leon Ware, Myrna Matthews, Paulette McWilliams, Quincy Jones, Tom Bahler; Bass – Louis Johnson; Congas, Percussion – Ralph MacDonald; Drums – Harvey Mason; Featuring [Introducing] – Brothers Johnson, Paulette McWilliams; Guitar – George Johnson, Wah Wah Watson, Toots Thielemans; Keyboards – Dave Grusin, Don Grusin, Jerry Peters, Quincy Jones; Saxophone – Ernie Krivda, Jerome Richardson, Sahib Shihab; Trombone – Frank Rosolino, George Bohanon; Trumpet – Bill Lamb, Chuck Findley, Quincy Jones, Tom Bahler. Recorded at The Record Plant, Los Angeles, Westlake Audio, Los Angeles.

Released not long after Quincy Jones was operated upon for life-threatening brain aneurysms, the music community was glad to have this album around (you can almost sense Q's own relief as he holds his forehead on the cover). Basically, though, it continues the polished, percolating soul direction that Q initiated with Body Heat, alienating purists but entertaining R&B audiences that rushed to buy it. The album is given its commercial edge by two new Jones discoveries, George Johnson (guitar, vocals) and Louis Johnson (bass), who would leap to fame the following year on their own as the Brothers Johnson. One attraction for jazz listeners is Toots Thielemans' "Bluesette," in which the Belgian virtuoso does a nice guitar/whistle cameo and Frank Rosolino blows some fine trombone, but the track is not helped by the overdubbed soul voices. ~Richard S. Ginnell

Mellow Madness mc
Mellow Madness zippy

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George Benson - Guitar Man

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

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

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

Guitar Man

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Bobbi Humphrey - Blacks And Blues

Bitrate: MP3@320K/s
Time: 39:32
Size: 90.5 MB
Styles: Jazz-funk
Year: 1974/1999
Art: Front

[6:33] 1. Chicago, Damn
[7:49] 2. Harlem River Drive
[6:32] 3. Just A Love Child
[4:35] 4. Blacks And Blues
[5:13] 5. Jasper Country Man
[8:48] 6. Baby's Gone

Backing Vocals, Arranged By [Vocal Arrangements] – Fred Perron, Larry Mizell & Fonce Mizell; Clavinet, Trumpet – Fonce Mizell; Congas – King Errison; Drums – Harvey Mason; Electric Bass [Fender] – Chuck Rainey, Ron Brown; Flute, Vocals [Solo] – Bobbi Humphrey; Guitar – David T. Walker, John Rowin; Percussion – Stephanie Spruill; Piano, Electric Piano [Fender Rhodes] – Jerry Peters; Synthesizer [Arp] – Fred Perren. Recorded June 7 & 8, 1973 at Sound Factory, Hollywood, California.

Bobbi Humphrey scored her biggest hit with her third album Blacks and Blues, an utterly delightful jazz-funk classic that helped make her a sensation at Montreux. If it sounds a lot like Donald Byrd's post-Black Byrd output, it's no accident; brothers Larry and Fonce Mizell have their fingerprints all over the album, and as on their work with Byrd, Larry handles all the composing and most of the arranging and production duties. It certainly helps that the Mizells were hitting on all cylinders at this point in their careers, but Humphrey is the true star of the show; she actually grabs a good deal more solo space than Byrd did on his Mizell collaborations, and she claims a good deal of responsibility for the album's light, airy charm. Her playing is indebted to Herbie Mann and, especially, Hubert Laws, but she has a more exclusive affinity for R&B and pop than even those two fusion-minded players, which is why she excels in this setting. Mizell is at the peak of his arranging powers, constructing dense grooves with lots of vintage synths, wah-wah guitars, and rhythmic interplay. Whether the funk runs hot or cool, Humphrey floats over the top with a near-inexhaustible supply of melodic ideas. She also makes her vocal debut on the album's two ballads, "Just a Love Child" and "Baby's Gone"; her voice is girlish but stronger than the genre standard, even the backing vocals by the Mizells and keyboardist Fred Perren. Overall, the album's cumulative effect is like a soft summer breeze, perfect for beaches, barbecues, and cruising with the top down. ~Steve Huey

Blacks And Blues

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Earl Klugh - Ballads

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 47:31
Size: 196,6 MB
Art: Front

(3:41)  1. This Time
(4:58)  2. Waltz For Debby
(2:40)  3. If You're Still In Love With Me
(3:45)  4. The April Fools
(5:13)  5. Rayna
(2:59)  6. Natural Thing
(2:49)  7. Waiting For Cathy
(4:34)  8. Julie
(3:50)  9. Nature Boy
(3:36) 10. Dream Come True
(5:09) 11. The Shadow Of Your Smile
(4:12) 12. Christina

While this collection of ballads from past Klugh releases has many pleasant moments, it's so pastoral and calming that each song fades into another one without making much impression. As background music, they're effective. Klugh's solos are well constructed, marvelously articulated, and his lines and phrasing sublime. The material covers an impressive range of genres, from jazz to pop, originals and standards. Those who enjoy untaxing material should find this another delightful Klugh collection; others seeking visceral fare should look elsewhere. ~ Ron Wynn http://www.allmusic.com/album/ballads-mw0000105266

Personnel:  Earl Klugh (guitar), Greg Phillinganes (electric piano, keyboards); Dave Grusin (keyboards); Lee Ritenour (electric & 12 string guitars); Paul Jackson (electric guitar); Charles Meeks, Anthony Jackson, David Saltman (bass); James Bradley Jr., Victor Lewis, Harvey Mason, Raymond Pounds (drums), Ralph MacDonald, Paulinho Da Costa, Dr. Gibbs (percussion).

Ballads

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