Showing posts with label Helio Alves. Show all posts
Showing posts with label Helio Alves. Show all posts

Friday, June 28, 2024

Hendrik Meurkens - Manhattan Samba

Styles: Brazilian Jazz, Harmonica Jazz
Year: 2020
File: MP3@320K/s
Time: 41:36
Size: 96,4 MB
Art: Front

(5:44) 1. Clear of Clouds
(6:24) 2. Manhattan Samba
(5:19) 3. One for Manfredo
(6:47) 4. Dona Palmeira
(5:04) 5. The Fropple
(4:43) 6. Bonita
(2:21) 7. Frenzelosa (Choro No. 2)
(5:11) 8. Aquelas Coisas Todas

Composer, virtuoso on both the vibraphone and harmonica, German-born New York-based Hendrik Meurkens presents yet another colorful and tantalizing taste of Brazilian music on the exquisite Manhattan Samba. A proponent of the samba and bossa nova styles of music after a full immersion while living in Rio de Janeiro in the early 1980s, Meurkens continues documenting his passion for the music, this time offering new compositions, includes previously recorded tunes and features the music of Brazilian/jazz masters Ivan Lins, Toninho Horta and Antonio Carlos Jobim.

Recognized as perhaps the most important harmonica voice since Toots Thielmans, for this album, Meurkens performs only on the harmonica and surrounds himself with a core quartet featuring Brazilian pianist Helio Alves, Brazilian bassist Gustavo Amarante and Brazilian percussionist/drummer Portinho. Argentinian bassist Fernando Huergo also participates on three tracks.

Recorded in Augsburg, Germany in 2020, the eight-piece collection of Brazilian jazz begins with the samba-tinged "Clear of Clouds," followed by the fast-tempo title track highlighting the leader on many solo moments throughout. Offering a lighter side of the music on the tribute for the late pianist Manfredo Fest, "One for Manfredo" showcases the talents of pianist Alves along with powerful drumming from Portinho.

The Lins classic "Dona Palmeira" is the first of a couple of very soft and beautiful tunes performed on this album. Speaking of classics, the Jobim staple "Bonita" is the closest to a tender ballad you will encounter here, striking and warm in every way, performed as duet between Meurkens and Alves. The brief choro-styled "Frenzelosa (Choro No. 2)" is a spicy, fast-played, shoulder-moving, Carnival-styled number sure to energize anyone.

Closing out the session is another wonderful genre staple from the great Brazilian guitarist Toninho Horta, "Aquelas Coisas Todas," as the harmonica master and distinguished band mates put a cap on one of the finest musical experiences of Brazilian/jazz on the 2021 jazz landscape.By Edward Blanco
https://www.allaboutjazz.com/manhattan-samba-hendrik-meurkens-self-produced

Personnel: Hendrik Meurkens: harmonica; Helio Alves: piano; Fernando Huergo: bass; Portinho: drums; Gustavo Amarante: bass

Manhattan Samba

Tuesday, May 21, 2024

Duduka Da Fonseca & Helio Alves - Samba Jazz & Tom Jobim

Styles: Brazilian Jazz
Year: 2019
Time: 65:20
File: MP3 @ 320K/s
Size: 149,8 MB
Art: Front

(6:00) 1. Gemini Man
(6:28) 2. Alana
(7:01) 3. Untitled
(3:58) 4. Pato Preto
(6:49) 5. Dindi
(2:49) 6. A Correnteza
(6:04) 7. Pedra Bonita
(5:59) 8. Helium
(3:56) 9. Voce Vai Ver
(4:55) 10. Poly Pony
(4:50) 11. A Vontade Mesmo
(6:26) 12. I Love You Porgy

Since 2007, drummer Duduka Da Fonseca, pianist Helio Alves and vocalist Maucha Adnet have been presenting the titular program at Dizzy's Club Coca Cola at New York's Jazz at Lincoln Center, and at other venues throughout the world. A concept set steeped in personalized history of varied sorts Da Fonseca's, absorbing this hybridized style at the foot of the masters in Brazil; Adnet's and Da Fonseca's, working with the late Antonio Carlos Jobim; Alves' and Da Fonseca's, playing together in bands in New York City for more than a quarter century it's a show that never fails to impress and inspire.

Moving comfortably across a playlist containing originals, Jobim compositions of both the ripe and rarely-heard varieties, and an outlier or two, this crew extols the virtues of the stylistic crossroads where it so artfully operates. Claudio Roditi's "Gemini Man" serves as a spicy stepping-off point, with Da Fonseca, Alves and bassist Hans Glawischnig firing on all cylinders while guitarist Romero Lubambo and the song's composer occupy the spotlight. Then, as if to indicate the wide scope of this band upfront, Da Fonseca's shape-shifting "Alana" and Alves' cool-headed "Untitled" follow.

The swaying baião bounce of Jobim's "Pato Preto" serves as the scene of Adnet's first appearance and, save for the intimate "I Loves You, Porgy" closer, all of her subsequent contributions are also filtered through that master's work. That list of songs, which includes a beautifully breezy "Dindi," spellbinding-turned-soothing "A Correnteza," mellow and melodious "Você Vai Ver," and perky, Rhodes-enhanced "Polo Pony," provides many of the highlights on the program.

There's much to appreciate about the way these different personalities blend and balance each other out across the album, but there's just as much to admire in the the expression(s) of the individual(s). That's evident whether we're talking about Alves' drive, Da Fonseca's singular groove play or Adnet's alluring vocals. And let's not forget Lubambo's grace, Glawischnig's grounding, multi-reedist Billy Drewes' versatility and some shots of pep from the guest trumpeters the aforementioned Roditi and Wynton Marsalis. There's still no substitute for seeing this band live as this writer can attest, having had the pleasure on more than one occasion but this is pretty damn close.By Dan Bilawsky https://www.allaboutjazz.com/samba-jazz-and-tom-jobim-duduka-da-fonseca-sunnyside-records-review-by-dan-bilawsky

Personnel: Duduka Da Donseca: drums; Helio Alves: piano, Rhodes; Billy Drewes: saxophones (2, 3, 6), flute (, 9, 10, 12)l Romero Lubambo: guitars (1, 2, 5, 9-11); Hans Glawischnig: bass; Maucha Adnet: vocals (4-6, 9, 10, 12)

Samba Jazz & Tom Jobim

Tuesday, July 11, 2017

John Pizzarelli - Sinatra & Jobim @ 50

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 51:24
Size: 118,4 MB
Art: Front

(3:08)  1. Baubles, Bangles And Beads
(4:07)  2. Aqua de Beber (feat. Daniel Jobim)
(3:59) 3. Meditation / Quiet Nights Of Quiet Stars (Medley) (feat. Daniel Jobim)
(3:53)  4. Dindi (feat. Daniel Jobim)
(5:32)  5. I Concentrate On You / Wave (Medley) (feat. Daniel Jobim)
(5:04)  6. Antonio's Song (feat. Daniel Jobim)
(4:33)  7. Two Kites (feat. Daniel Jobim)
(4:19)  8. She's So Sensitive
(4:52)  9. Bonita (feat. Daniel Jobim)
(5:50) 10. If You Never Come To Me / Change Partners (Medley) (feat. Daniel Jobim)
(6:02) 11. Canto Casual

It may have been 50 years ago today (or thereabouts) that Sgt Pepper was released and Coltrane passed away, but for John Pizzarelli one anniversary trumps them both. That is, the half-century since Frank Sinatra and Antonio Carlos Jobim first shared a studio. Given that Pizzarelli is a singer-guitarist, able to play Jobim to his own Sinatra, this momentous meeting is a fitting one for him to celebrate. It’s sentimental rather than slavish. Jobim’s grandson Daniel adds some duet vocals, singing solo on the skittish Two Kites, one of four songs Sinatra didn’t do. It’s here because Jobim’s 1980 recording featured Pizzarelli’s guitarist father, Bucky. She’s So Sensitive, another newbie, is a romantic reversal of Jobim’s grim break-up song How Insensitive, and was written by…https://www.thetimes.co.uk/edition/times2/jazz-review-john-pizzarelli-sinatra-jobim-50-c28txm350

Personnel:  John Pizzarelli (Vocal, Guitar),  Daniel Jobim (piano), Duduka da Fonseca (drums/percussion), Helio Alves (piano), Daniel Jobim (Vocals)

Sinatra & Jobim @ 50

Saturday, January 28, 2017

Joyce Moreno - Cool

Bitrate: MP3@320K/s
Time: 47:10
Size: 108.0 MB
Styles: Jazz vocals
Year: 2016
Art: Front

[4:56] 1. Love For Sale
[3:19] 2. Fever
[3:22] 3. Cool
[3:58] 4. The Banana Boat Song
[2:48] 5. Let's Do It
[3:35] 6. Round Midnight
[3:38] 7. Invitation
[5:25] 8. The Shadow Of Your Smile
[3:38] 9. Mingus, Miles & Coltrane
[2:58] 10. You Do Something To Me
[2:52] 11. Nature Boy
[3:48] 12. My Favourite Things
[2:46] 13. Moon River

Joyce Moreno: vocals & guitar; Tutty Moreno: drums & percussion; Helio Alves: piano; Rodolfo Stroeter: bass.

Since the late '60s, Brazilian guitarist and singer Joyce Moreno has been one of the most iconic members of the MPB movement, pushing the envelope way past the traditional bossa novas of Jobim. In the early '80s, albums such as Feminina and brought Joyce an international following that she continues to enjoy to this day. Her sizeable catalog features a diverse collection of original material, not to mention key collaborations with such heavyweights as Jon Hendricks, Joao Donato, Kenny Werner, Sivuca, and many others. For the most part, Joyce sings in her native Portuguese, but is known to deliver a song or two in English on occasion. Having spent a time in the United States, she recorded two albums in the early '90s for Verve that featured a smattering of tunes sung in English. In 1995, she released the album Delirios De Orfeu, which featured the jazz standards "Speak Low" and "There's a Small Hotel." These few precursors would only hint at the approach she has taken to her newest offering, a set of all jazz standards sung exclusively in English.

Sparsely accompanied by pianist Helio Alves, bassist Rodolfo Stroeter, and drummer Tutty Moreno, Joyce tackles a dozen Tin Pan Alley and vintage jazz classics all in her inimitable style. Three Cole Porter trinkets make the cut, namely "Love for Sale," "Let's Do It," and "You Do Something to Me." On the jazzier side, there's Monk's "'Round Midnight," "Invitation," and "My Favorite Things." Much in keeping with its title, there's a relaxed and seductive vibe to the entire set that is undeniably beguiling. Joyce is at the forefront of these arrangements with her understated guitar and vocals, although Alves get a chance to step out a few times. A particularly jaunty version of "Cool" from West Side Story demonstrates the pianist's tasteful accompaniment and includes a crystalline solo moment as well. Particularly musical and tender, Tutty's finger taps on his drum kit add character to the usually corny "Fever." Another threadbare pop tune, "Day-O (The Banana Boat Song)," rises above the mundane with some great harmonics by bassist Stroeter.

Wordless vocals are utilized on "'Round Midnight," "My Favorite Things" and the Joyce original "Mingus, Miles, & Coltrane" to great effect. Multi-tracking and additional voices establish a rich and profound vibe on "Nature Boy" as Joyce improvises over Alves' piano riff. A seductive and reflective "Moon River" closes out the set with singer and her guitar acapella. Although definitely a departure from her usual modus operandi, Cool can easily hold its own among Joyce's singularly expressive and impressive body of work. ~C. Andrew Hovan

Cool

Saturday, August 20, 2016

Joe Henderson - Big Band

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[5:23] 1. Without A Song
[5:21] 2. Isotope
[9:00] 3. Inner Urge
[6:52] 4. Black Narcissus
[8:22] 5. A Shade Of Jade
[7:19] 6. Step Lightly
[5:49] 7. Serenity
[4:26] 8. Chelsea Bridge
[7:22] 9. Recorda Me

Alto Saxophone – Bob Porcelli, Pete Yellin, Steve Wilson; Alto Saxophone, Soprano Saxophone – Dick Oatts; Baritone Saxophone – Gary Smulyan, Joe Temperley; Bass – Christian McBride, Nilson Matta; Bass Trombone – Dave Taylor, Douglas Purviance; Drums – Al Foster, Joe Chambers, Lewis Nash, Paulo Braga; Piano – Chick Corea, Helio Alves, Ronnie Mathews; Tenor Saxophone – Charlie Pillow, Craig Handy, Rich Perry, Tim Ries; Trombone – Conrad Herwig, Jimmy Knepper, Keith O'Quinn, Kiane Zawadi, Larry Farrell, Robin Eubanks; Trumpet – Byron Stripling, Earl Gardner, Idrees Sulieman, Jimmy Owens, Marcus Belgrave, Michael Philip Mossman, Ray Vega, Tony Kadleck, Virgil Jones; Trumpet [Lead] – Jon Faddis, Lew Soloff; Trumpet [Soloist] – Freddie Hubbard, Nicholas Payton.

On this 1996 recording, improbably the first to ever feature him leading a big band, the inimitable Joe Henderson assembled nine compositions (seven of which were self-penned) and a topnotch band for a very interesting record. Volumes have been written about Henderson as a soloist but, on Big Band, even the longest-term Henderson fan gets to hear his prodigious skills as a big band arranger for the first time. Influenced by Bill Holman and Bill Russo as much as by classical composers Igor Stravinsky and Bela Bartok, his charts are cool and sophisticated. Of course, Henderson's cause is helped by the absolutely unquestioned majesty of the core material, as well as a fine batch of co-soloists, including Chick Corea, Christian McBride, and Freddie Hubbard. The Slide Hampton-arranged "Isotope" is one of the finest moments on the record, with an almost amusingly dramatic introduction that evokes a film noir score before it accelerates into the famous theme. Corea's solo is absolutely masterful, a headlong rush into nothingness that somehow manages to land on its feet. When laid side by side, his solos often outstrip the leader's in their inventiveness and capability to draw the listener into the song. This is not, however, to downplay the contributions of the leader as a soloist; Henderson's tenor is as lovely as ever. Fantastic solos notwithstanding, it is the wonderful arrangements of these deservedly classic songs that make this album so valuable. Listen to the Robin Eubanks-led trombone section in "A Shade of Jade" for a quick taste of what it sounds like when everything about a big band comes together just so. There is not a lot to dislike about Joe Henderson's first recorded foray into big-band arranging. Recommended. ~Daniel Gioffre

Big Band

Sunday, July 31, 2016

Nilson Matta Brazilian Trio - Forests

Bitrate: MP3@320K/s
Time: 62:20
Size: 142.7 MB
Styles: Latin jazz, Piano jazz
Year: 2008
Art: Front

[6:19] 1. Amor
[7:04] 2. Forests
[6:39] 3. Samba Alegre
[6:22] 4. Montreux
[7:06] 5. Pro Zeca
[5:48] 6. Tarde
[6:24] 7. Ubatuba
[5:54] 8. Paraty
[3:37] 9. Flying Over Rio
[7:03] 10. Vera Cruz

Helio Alves: piano; Nilson Matta: bass; Duduka Da Fonseca: drums, percussion.

This exciting recording is a perfect example of the thorough absorption of the Bossa Nova being integrated with the mainstream jazz piano trio. All three members of Brazilian Trio are, in fact, Brazilians but have lived in New York City for decades,settling in the 1970s, '80s and '90s.

Pianist Helio Alves is the youngest of the three, having worked with Oscar Castro-Neves, Rosa Passos and Paquito D'Rivera. His decidedly modal approach to piano jazz is undoubtedly a credit to the influence of Bill Evans. Like Alves, bassist Nilson Matta hailed from Sao Paulo and has been a prolific musician seemingly appearing on scores of dates over the years. Drummer Duduka Da Fonseca relocated from Rio in 1970 and has been a vital part of the New York jazz scene ever since; at one time he was a part of the Don Pullen Afro-Brazilian Connection. His wife is Brazilian vocalist Maucha Adnet, who has established herself as a primary interpreter of Antonio Carlos Jobim. Da Fonseca and Matta form two-thirds of Trio Da Paz along with guitarist Romero Lubambo.

The music on Forests, while reflecting the pulse and passion of Brazil, is not really Bossa Nova or Samba. Rather, it represents a synthesis of those forms with the style of the American jazz trio. The tunes are redolent of the forests of Brazil, presented in a manner that moves the music into a new category. Opening with Ivan Lins' lovely "Amor," featuring Alves' lyrical piano, the session moves into Matta's title tune, dedicated to the forests of the Earth and in particular the Amazon Rain Forest, with Da Fonseca offering some tasty brushwork. Milton Nascimento contributes "Tarde," a beautiful melody that is limned again by Alves' Bill Evans-style work. Hermeto Pascoal's "Montreux" is a hard-to-find and rarely recorded title that made its debut at the 1979 Montreux Jazz Festival. The album concludes with Nascimento's popular "Vera Cruz," a full blown jazz samba. One significant observation about Brazilian Trio is that, despite its members' individual recording experiences, this is a fully interactive trio, bringing the distinctive touch of Brazil to a faraway studio. ~Michael P. Gladstone

Forests

Saturday, July 30, 2016

Hélio Alves - Musica

Bitrate: MP3@320K/s
Time: 58:09
Size: 133.1 MB
Styles: Latin jazz
Year: 2010
Art: Front

[4:21] 1. Gafeira
[7:17] 2. Kathy
[6:29] 3. Sombra
[5:54] 4. Black Nile
[6:47] 5. Flor Das Estradas
[7:39] 6. Musica Das Nuvens E Do Chao
[6:50] 7. Adeus Alf
[5:36] 8. Tribute To Charlie
[7:10] 9. Chan's Song

Given his world-class chops, Helio Alves should be famous, but he doesn’t quite fit into any known category. He is originally from São Paulo, Brazil, and sounds like it. But he also sounds like a pianist with years of classical training, and like a street-smart jazz musician. Alves emigrated to the United States in 1986, graduated from Berklee, and has worked with as many North Americans (Joe Henderson, Phil Woods, Slide Hampton) as Brazilians (Airto Moreira, Duduka Da Fonseca). He performs rhythmically intricate, sensual music with the precision and harmonic sophistication of a classical musician and the edgy energy of a jazz player. It’s a heady blend.

“Kathy,” by Moacir Santos, is representative. It alternately prances and floats in graceful 5/4, with a sweet melodic piquancy that is affirmational yet wistful. Alves’ improvisations retain a given song’s complexity even as they elaborate that initial content into spontaneous logical new structures. Everything he plays, regardless of tempo, sounds elegant and refined. “Música Das Nuvens E Do Chão” by Hermeto Pascoal and “Sombra” by Alves also contain his signature combination of exact fingering and ecstatic momentum. They start slowly and softly and relentlessly intensify, partly because of the sheer athletic prowess of bassist Reuben Rogers and drummer Antonio Sanchez, but mostly because Alves’ internal motor runs hot.

His transcultural encounters with jazz standards are unique and seductive. The hard 4/4 clarion core of Wayne Shorter’s “Black Nile” is set to dancing in Bahia rhythms. “Chan’s Song,” by Stevie Wonder and Herbie Hancock, from the film Round Midnight, has a new fervent pulse and ornate decorations from guest guitarist Romero Lubambo. Helio Alves is his own category. ~Thomas Conrad

Musica

Friday, November 14, 2014

Maucha Adnet & Helio Alves - Milagre

Styles: Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 57:07
Size: 130,8 MB
Art: Front

(4:31)  1. O Cantador
(3:22)  2. Eu Vim Da Bahia
(3:41)  3. Waters of March
(7:22)  4. Gabriela
(3:58)  5. Retrato Em Branco E Preto
(4:17)  6. Coração Vagabundo
(4:04)  7. Caminhos Cruzados
(4:38)  8. Vale Do Ribeira
(3:33)  9. Desafinada
(3:57) 10. Amor Infinito/ Bons Amigos
(2:54) 11. Milagre
(3:33) 12. Tico-Tico No Fuba
(3:18) 13. Canto Triste
(3:53) 14. April Child

Vocalist Maucha Adnet and pianist Helio Alves have been collaborating in various settings for two decades, but Milagre marks their first full-length recording as a twosome. Adnet, who's best known for her decade-long tenure with the great Antonio Carlos Jobim, and Alves, a first call pianist who's worked with everyone from saxophonist Joe Henderson to cellist Yo-Yo Ma, are both part of a group of close-knit veterans that breath Brazilian air into the jazz atmosphere of Manhattan. This Brazilian jazz mafia, which also includes guitarist Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonseca, has served as a binding entity of sorts between Alves and Adnet, which helps to explain the deep bond they've formed over the years. 

Now, with Milagre, they can finally parlay their shared experiences into a passionate, bare-all project for two. Together, Adnet and Alves explore Grade A material written by Brazil's finest composers, who also happen to be friends, former employers, and favorites of both musicians. Jobim, Dori Caymmi, Caetano Veloso, Hermeto Pascoal, Moacir Santos, Gilberto Gil, Toninho Horta and several other notables are given their due during this intimate fourteen-song recital. Gentle journeys and energetic fare are both doled out with equal skill as they explore the ins and outs of their homeland's compositional élite. Adnet's voice is an emotionally powerful instrument capable of firmness or fragility, depending on the situation. When the tempo slows down and the lights are low, she reveals an attractive vocal wave more a quiver than out-and-out vibrato that heightens the intensity in her delivery; this level of directness and honesty transcends mere language when it appears. 

Alves can be called an equal partner here or an accompanist-cum-soloist but, regardless of his classification, he proves to be the perfect pianistic companion for Adnet. He mirrors and amplifies her mood, shades around her lines, creates in-the-wee-small-hours settings or implies the Brazilian rhythmic undercurrents that are usually delivered by the bottom end of a band. When he's given space and free rein to set the scene, he doesn't let the opportunity go to waste ("Vale Do Ribeira"). Adnet and Alves have such an easy way with one another throughout this date so, given their close musical proximity over the years; it's surprising that it took this long for them to get together sans company. Milagre is a long overdue treat. ~ Dan Bilawsky  http://www.allaboutjazz.com/milagre-maucha-adnet-zoho-music-review-by-dan-bilawsky.php#.VF_DZsmHmtg
 
Personnel: Maucha Adnet: vocals, percussion (8, 12, 14); Helio Alves: piano.

Thursday, November 7, 2013

Airto Moreira & Flora Purim - Live In Berkeley

Bitrate: 320K/s
Time: 72:30
Size: 166.0 MB
Styles: Fusion, Brazilian jazz
Year: 2012
Art: Front

[11:23] 1. Free (Feat. Helio Alves, Gary Brown)
[20:47] 2. La Fiesta (Feat. Helio Alves, Gary Brown)
[ 6:12] 3. Esquinas (Feat. Widor Santiago, Helio Alves, Gary Brown)
[14:16] 4. Light As A Feather (Feat. Widor Santiago, Helio Alves, Gary Brown)
[ 5:19] 5. Maria, Tres Filhos (Feat. Widor Santiago, Helio Alves, Gary Brown)
[ 7:29] 6. Anos Blue (Feat. Widor Santiago, Helio Alves, Gary Brown)
[ 7:00] 7. Airto's Pandeiro Solo - Improvisation 1

Live in Berkeley, recorded in 1990 in Berkeley, California is a robust and stimulating performance given by Airto Moreira on drums and percussion; Flora Purim on vocals; bassist, Gary Brown; pianist, keyboardist, Helio Alves and tenor and soprano saxophonist, Widor Santiago… [The performance was captured by] San Francisco radio personality, Bud Spangler – himself, a well known jazz musician, but was tucked away, not to be heard again for over twenty years. The recent rediscovery of this exquisite, majestic evening is now available for us to enjoy in these seven carefully selected tracks by Airto and Flora… Today, their music is still alive, fresh and filled with love.

For those who know Flora, an introduction is unnecessary. Her music has interwoven the life fabric of anyone with a passing interest in Latin and American jazz music for over 25 years. Her once-in-a-generation six-octave voice has earned her two Grammy nominations for Best Female Jazz Performance and Downbeat magazines Best Female Singer accolade on four occasions. Her musical partners have included Gil Evans, Stan Getz,

Chick Corea, Dizzy Gillespie and Airto Moreira, with whom she has collaborated on over 30 albums since moving with him from her native Rio to New York in 1967. Her musical genius was inbred thanks to a Russian émigré father who played violin and a mother who was a talented pianist in her own right. Before leaving Brazil to escape the repressive military regime of the time, she had mastered piano and guitar and liberated an exhilarating vocal talent. In New York, she and Airto became central to the period of musical expression and creativity, which produced the first commercially successful Electric Jazz groups of the 70s.

Live In Berkeley