Herbie Mann - Waterbed

Styles: Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 37:42
Size: 86,7 MB
Art: Front

(3:50)  1. Waterbed
(5:35)  2. Comin' Home Baby
(4:57)  3. Paradise Music
(4:51)  4. Bang! Bang!
(4:37)  5. Deus Xango
(5:10)  6. Violet Don't Be Blue
(3:50)  7. I Got a Woman
(4:49)  8. Body Oil - Single Version

If you need an example of how jazz critics and soul/funk audiences didn't see eye to eye in the 1970s, you need look no further than Herbie Mann. Many jazz critics hated commercial Mann LPs like Discotheque and Waterbed with a passion, and saw them as examples of a gifted virtuoso dumbing his music down in order to sell more records. But young soul and funk lovers the ones who made 1975's "Hijack" a hit on black radio  were digging Mann and didn't understand why jazz snobs had it in for him. Although it contains a funky version of Ben Tucker's "Coming Home, Baby," Waterbed is a vocal-oriented soul/funk project first and foremost. In fact, it's one of the strongest commercial albums he recorded, thanks to memorable cuts that range from the infectious title song and the haunting "Body Oil" to remakes of Ray Charles' "I Got a Woman" and Joe Cuba's "Bang! Bang!." A dynamo of a singer, Cissy Houston (Whitney Houston's mother) has an excellent spot on the dusky "Violent Don't Be Blue" it's too bad she would eventually give up secular music altogether. Unfortunately, Waterbed has long been out of print, but it's worth trying to find if you're a fan of 1970s soul/funk. ~ Alex Henderson https://www.allmusic.com/album/waterbed-mw0000881633

Personnel: Herbie Mann - flute;  David Newman - tenor saxophone; Pat Rebillot - keyboards;  Jerry Friedman, Bob Mann, Hugh McCracken, Jeff Mironov - guitar;   Will Lee, Tony Levin - bass; Steve Gadd , Allan Schwartzberg , Darryl Washington - drums; Ray Barretto, Armen Halburian, Ralph MacDonald, Ray Mantilla - percussion; Anahid Ajemian, Matthew Raimondi - violin; Jean Dane - viola;  Michael Rudiakov - cello; The Hijackers: Cissy Houston, Sylvia Shemwell, Eunice Peterson - vocal

Waterbed

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Oscar Pettiford - The Manhattan Jazz Septette

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 71:13
Size: 167,7 MB
Art: Front

(2:46)  1. King Porter Stomp
(2:59)  2. Never Never Land
(2:51)  3. Like Listen
(2:54)  4. Since When
(2:25)  5. Love of My Live
(2:34)  6. Rapid Transit
(3:23)  7. Flute Cocktail
(3:41)  8. At Bat for K.C.
(3:15)  9. Do You Know What It Means to Miss new orleans ?
(3:10) 10. My Shining Hour
(3:17) 11. Thou Svelt
(2:13) 12. There'll Never Be Another You
(2:47) 13. Bull Market
(3:12) 14. Portrait of Jennie
(2:32) 15. Judy's Jaunt
(2:51) 16. Nina Never Knew
(3:15) 17. Walking Down
(3:13) 18. Gal in Calico
(2:59) 19. I Like to Recognise the Tune
(3:10) 20. Any Place I Hang My Hat
(2:51) 21. Love Is for the Very Young
(2:54) 22. Holiday
(3:14) 23. Ya' Gotta Have Rhythm
(2:37) 24. What Am I Here For

An impressive album presented here for the first time on CD, which combines great soloists with sophisticated arrangements by Manny Albam. As a bonus, we present another complete album, Guitar and the Wind, including many of the same musicians as our primary recording (Urbie Green, Eddie Costa, Osie Johnson and Barry Galbraith, who was the leader), and bearing a similar musical concept. This album was recorded exactly two years after the Manhattan Jazz Septette session and also includes brilliant saxophonist Bobby Jaspar and bassist Milt Hinton instead of Pettiford. 24 tracks total. Lonehill Jazz. 2006. ~ Editorial Reviews https://www.amazon.com/Manhattan-Jazz-Septette-Oscar-Pettiford/dp/B000HIVPK4

Personnel: Oscar Pettiford (b), Urbie Green (tb), Hal McKusick (as), Herbie Mann (fl, ts), Eddie Costa (p, vib), Barry Galbraith (g), Osie Johnson (d), Manny Albam (arr).

The Manhattan Jazz Septette

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Herbie Mann - A Man And A Woman

Styles: Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 27:36
Size: 64,7 MB
Art: Front

(2:25)  1. A Man and a Woman
(2:34)  2. Day Tripper
(2:43)  3. Come Back to Me
(2:32)  4. Little Boat
(2:10)  5. It's Time That You Settled Down
(2:13)  6. A Good Thing (Is Hard to Come By)
(2:15)  7. 1-2-3
(2:33)  8. Only Yesterday
(2:24)  9. Sunny
(2:38) 10. How Insensitive
(3:04) 11. The Sidewinder

A Mann & A Woman is an album by American jazz flautist Herbie Mann and vocalist Tamiko Jones released on the Atlantic label in 1967. https://en.wikipedia.org/wiki/A_Mann_%26_A_Woman

Personnel:  Herbie Mann - flute; Tamiko Jones - vocals - with various ensembles including: Roy Ayers, Gary Burton - vibraphone; Joe Zawinul - piano; Victor Gaskin, Reggie Workman - bass; Everett Barksdale - electric bass; Bruno Carr, Roy McCurdy - drums; Carlos "Patato" Valdes - congas, percussion; Tamiko Jones - vocals; Melba Liston, Jimmy Wisner, Joe Zawinul - arranger

A Man And A Woman

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Herbie Mann - Eastern European Roots

Styles: Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 64:12
Size: 148,7 MB
Art: Front

( 1:24)  1. Ayla
( 7:02)  2. Gypsy Jazz
( 6:08)  3. Gelem Gelem
( 8:09)  4. Balalaika Love Song
( 4:05)  5. A Dance At The Rise Of The Moon
(10:31)  6. Jelek
( 5:12)  7. Bucavina
( 5:59)  8. Passing Through
( 1:40)  9. Foreign Village
( 7:40) 10. Magyar Dreams
( 6:19) 11. Sera

The legendary flutist has traversed a lot of unique musical terrain in his lifetime, from Brazilian and Latin to Japanese, jazz, and soul. Yet until now he never explored the deeper roots of his heritage, which his liner notes explain are Eastern European and Jewish. He says that some previous attempts to convey the essence of those beginnings have resulted in dark and heavy "suffering" pieces, but here he finds the joys amidst the pain. He mixes six originals with many traditional songs. "Gypsy Jazz" explores a little mysticism with its steady marching drumbeat, some Middle Eastern percussion elements, and an explosive improvisational conversation between his lively flute and Gil Goldstein's accordion. "Balalaika Love Song" is equally mystical, with the distant mandolin of Geoff Mann echoing a darker flute and acoustic guitar meditation. Geoff Mann composed the lively jig-like "A Dance at the Rise of the Moon," which celebrates life rather than focusing on some of the darker elements of life for the Jews of that region. Essentially, it's a collection of mood swings reflecting various elements that can apply to all cultures. For years, his legacy has been doing that for every culture but his own, and now the journey comes beautifully full circle. ~ Jonathan Widran https://www.allmusic.com/album/eastern-european-roots-mw0000660508
 

Personnel:   Herbie Mann - alto flute, c flute, flute;   Bruce Dunlap - guitar;   Alexander Fedoriouk - cimbalom;   Gil Goldstein - accordion;  Geoff Mann - drums, percussion, mandolin;  Paul Socolow - bass

Eastern European Roots

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Dave Valentin & Herbie Mann - Two Amigos

Styles: Flute Jazz 
Year: 1990
File: MP3@320K/s
Time: 49:45
Size: 116,8 MB
Art: Front

(5:57)  1. Bronx Bad Boys
(5:47)  2. Moonlight Walk
(5:53)  3. Jesse's Samba
(4:51)  4. First Date
(2:59)  5. RamboThe Cat
(5:24)  6. Two Amigos
(7:06)  7. Old Hill (Morro Velho)
(4:03)  8. Savana
(7:41)  9. Obsession

What a perfectly titled release, as Valentin and Mann's camaraderie on their five duets here is all at once playful and poignant, with healthy doses of improvisation thrown in for good measure. Bill O'Connell's standout solo piano sparkles throughout the sweet grooves of "Jesse's Samba" and the rousing eight minute closer "Obsession," but it is Valentin's perky way with the airy textures of his instrument which powers this flavorful collection. "Old Hill" begins as an improv laden duet with O'Connell and shows that Valentin is equally comfortable on moodier lines. Also enjoyable is the brassy "Savanna," on which Mann and Valentin trade of sweet eight bar solos. Two Amigos should appeal to lovers of Latin music and jazz flute, as well as anyone in the mood for a refreshing departure from the same old pop-jazz. ~ Jonathan Widran https://www.allmusic.com/album/two-amigos-mw0000689855

Personnel:  Herbie Mann, Dave Valentin (Flute); Robert Ameen (Drums); Oskar Cartaya (Bass Electric); Tony Cintron (Drums); Mark Falchook (Keyboards); Sammy Figueroa (Percussion); Lincoln Goines (Bass); Bill O'Connell (Piano); Marc Quiñones (Percussion); Rubén Rodríguez (Bass).

Two Amigos

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Herbie Mann & Buddy Collette - Flute Fraternity

Styles: Flute Jazz
Year: 1957
File: MP3@320K/s
Time: 32:19
Size: 75,2 MB
Art: Front

(4:08)  1. Herbie's Buddy
(4:14)  2. Perdido
(4:20)  3. Baubles, Bangles and Beads
(3:35)  4. Give A Little Whistle
(2:40)  5. Here's Pete
(6:44)  6. Theme From 'Theme From'
(3:58)  7. Nancy With The Laughing Face
(2:38)  8. Morning After

In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After." The most interesting aspect to this lightly swinging music is the constant switching around of the lead voices on their various horns.~ Scott Yanow https://www.allmusic.com/album/flute-fraternity-mw0000037566

Personnel:  Herbie Mann - flute, alto flute, clarinet, tenor saxophone;  Buddy Collette - flute, alto flute, clarinet, alto saxophone, tenor saxophone;  Jimmy Rowles - piano, celesta;  Buddy Clark - bass;  Mel Lewis - drums

Flute Fraternity

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Herbie Mann - Surprises

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 38:57
Size: 89,6 MB
Art: Front

(4:41)  1. Draw Your Breaks
(6:07)  2. Cajun Moon
(4:46)  3. Creepin
(4:31)  4. Easter Rising
(3:50)  5. Asa Branca
(2:29)  6. The Sound of Windwood
(4:11)  7. Cricket Dance
(5:15)  8. The Butterfly in A Stone Garde
(3:05)  9. Anata

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/qa/album/surprises/78974994

Surprises

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Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

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Billy Taylor - Billy Taylor with Four Flutes

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 42:12
Size: 97,1 MB
Art: Front

(3:56)  1. The Song Is Ended
(6:49)  2. Back Home
(2:34)  3. St. Thomas
(4:46)  4. Oh Lady, Be Good
(2:58)  5. No Parking
(4:23)  6. Koolbongo
(7:00)  7. Blue Shutters
(4:47)  8. One for the Woofer
(4:55)  9. How About You?

In the 1950s, pianist Billy Taylor was best known for his work with his trios. For this Riverside set (reissued on CD in the OJC series) Taylor tried something different, writing arrangements for four flutists (including Frank Wess, Herbie Mann, and Jerome Richardson), his rhythm section, and the congas of Chino Pozo. 

The flutists get their opportunities to solo, and the music (which includes "The Song Is Ended," "St. Thomas," "Oh Lady Be Good," "How About You," and four of Taylor's originals) is essentially bop, but the unusual instrumentation gives the set its own personality. Enjoyable music that certainly stands out from the crowd. ~ Scott Yanow https://www.allmusic.com/album/billy-taylor-with-four-flutes-mw0000113827

Personnel: Billy Taylor (piano); Jerry Sanfino, Frank Wess, Herbie Mann, Jerome Richardson, Phil Bodner, Seldon Powell, Billy Slapin (flute); Dave Bailey , Albert "Tootie" Heath (drums); Chano Pozo ( Luciano "Chano" Pozo Gonzales) (congas).

Billy Taylor with Four Flutes

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Romero Lubambo - Rio De Janeiro Underground

Styles: Guitar Jazz, World
Year: 2003
File: MP3@320K/s
Time: 68:33
Size: 157,6 MB
Art: Front

(5:52)  1. She Walks This Earth
(6:43)  2. Easy Going
(5:53)  3. Rio De Janeiro Underground
(5:52)  4. For Donato
(5:35)  5. Aparecida
(4:38)  6. Cornfield
(6:47)  7. Dipper Mouth
(6:35)  8. Estrela Guia
(4:37)  9. Sweeping The Chimney
(5:00) 10. Leblon
(5:43) 11. Avenida Central
(5:13) 12. Nira

RIO DE JANEIRO UNDERGROUND is a combination of several influences that I was exposed to, having been brought up in that incredible city. From bossa nova, to funk, to second line, to Brazilian country music, to jazz, and to street samba. All these types of music touched me greatly; not necessarily played on the radio, but in backyards, jam sessions and on the streets of Rio. For this project, I chose musicians that are masters of many different types of music to bring back to me the feelings I had making music in Rio. It was a joy for me to work with them. To have Herbie Mann and Ivan Lins as special guests is a dream come true. 

~ Editorial Reviews https://www.amazon.com/Rio-Janeiro-Underground-Romero-Lubambo/dp/B0000AOV3L

Personnel : Romero Lubambo (acoustic guitar, guitar); Ivan Lins (vocals); Herbie Mann (alto flute, flute); Cesar Camargo Mariano, Dario Eskenazi (piano, Fender Rhodes electric piano); Sergio Brandao, Paul Socolow (bass); Ricky Sebastian, Mark Walker (drums); Cyro Baptista (percussion).

Rio De Janeiro Underground

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Herbie Mann - Live At The Whiskey A Go Go (1969) / Mississippi Gambler (1972)

Styles: Flute Jazz
Year: 2001
File: MP3@320K/s
Time: 68:34
Size: 158,3 MB
Art: Front

(15:07)  1. Ooh Baby
(14:06)  2. Philly Dog
( 5:28)  3. Swing Low Sweet Chariot
( 6:51)  4. Mississippi Gambler
( 8:52)  5. Dippermouth
( 5:26)  6. Respect Yourself
( 5:49)  7. I've Been Loving You Too Long
( 6:50)  8. (I Can't Get No) Satisfaction

Flutist Herbie Mann had a particularly strong group in the late '60s, a sextet also including vibraphonist Roy Ayers, Steve Marcus on tenor, guitarist Sonny Sharrock, bassist Miroslav Vitous and drummer Bruno Carr. Although this LP is long out-of-print and its total length is under a half-hour, the group's sidelong jams on "Ooh Baby" and "Philly Dog" are danceable, funky and spontaneous, making this one of Herbie Mann's better sets of the era. ~ Scott Yanow https://www.allmusic.com/album/live-at-the-whisky-a-go-go-mw0000882547               

In 2001, Collectables released Live at the Whisky A Go Go/Mississippi Gambler, which combined a pair of original Atlantic LPs  Live at the Whisky A Go Go (1968) and Mississippi Gambler (1972) by Herbie Mann on one compact disc. ~ John Bush https://www.allmusic.com/album/live-at-the-whisky-a-go-go-mississippi-gambler-mw0000591148

Live At The Whiskey A Go Go (1969) / Mississippi Gambler (1972)

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Buddy De Franco - Generalissimo/Live Date !

Styles: Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 75:22
Size: 173,8 MB
Art: Front

( 5:45)  1. Sunday
( 9:21)  2. Between the Devil & the Deep Blue Sea
( 4:57)  3. Tea for Two
( 4:30)  4. Blue Lou
( 9:04)  5. Funky's Uncle
(11:24)  6. Ballad Medley - 'Round Midnght
( 4:06)  7. Oh, Lady Be Good !
( 6:11)  8. Satin Doll
( 3:05)  9. My Funny Valentine
( 4:49) 10. Blues for Space Travellers
( 5:27) 11. Crazy Rhythm
( 6:37) 12. Ballad Medley - I'm Glad there is You

In 2007, the Lone Hill Jazz label reissued two Verve albums by clarinetist Buddy DeFranco: Generalissimo and Live Date!, which despite the title was a studio recording. In a producer's note, Morton James verbally winces at the pun on the name of the notoriously genocidal Spanish dictator Generalissimo Francisco Franco, and speculates that this grossly insensitive gimmick, thought up by some clueless A&R director or advertising agent, might actually have delayed the album's appearance on CD until 2007. Boniface Ferdinand Leonardo de Franco was born in Camden, NJ, in 1923. The son of a piano tuner, he excelled on several instruments before settling into his role as one of the premier clarinetists in early modern jazz. Recorded on Wednesday, April 2, 1958, Generalissimo turns out to be a solid little blowing session involving trumpeter Harry "Sweets" Edison and Milwaukee-born tenor saxophonist Bob Hardaway, with an awesome rhythm section in Jimmy Rowles, Curtis Counce, Barney Kessel, and Alvin Stoller. On Friday, April 4, 1958, DeFranco brought Kessel and Hardaway back to the studio, this time with drummer Stan Levey, bassist Scott LaFaro, pianist/accordionist Pete Jolly, vibraphonist Victor Feldman, and multi-instrumentalist Herbie Mann, who played flute, tenor sax, and (on "These Foolish Things") bass clarinet. This double reissue is composed mainly of jazz standards with a couple of originals and two sumptuous ballad medleys. Unfortunately, the combined running time for both albums exceeded the 80-minute mark by about 120 seconds. For this reason, "Tin Reed Blues" from the Live Date! album was omitted, but may be enjoyed on the equally excellent double CD I Hear Benny Goodman and Artie Shaw [Lone Hill Jazz 10281]. ~ arwulf arwulf https://www.allmusic.com/album/generalissmo-live-date%21-mw0001907306

Personnel:  Buddy DeFranco (cl), Harry Edison (tp), Bob Hardaway (ts), Herbie Mann (fl), Jimmy Rowles, Pete Jolly (p), Victor Feldman (vib), Barney Kessel (g), Curtis Counce, Scott LaFaro (b), Alvin Stoller, Stan Levey (d)    

Generalissimo/Live Date !

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Herbie Mann - Do the Bossa Nova with Herbie Mann

Styles: Flute Jazz
Year: 1962
File: MP3@320K/s
Time: 33:13
Size: 76,3 MB
Art: Front

(4:21)  1. Deve ser amor (It Must Be Love)
(5:31)  2. Menina feia (Ugly Girl)
(2:38)  3. Amor em paz (Love in Peace)
(4:23)  4. Voce e eu (You and I)
(3:22)  5. One Note Samba (Samba de uma nota so)
(4:08)  6. Blues Walk
(4:26)  7. Consolacao (Consolation)
(4:21)  8. Bossa velha (Old Bossa)

Recorded in Rio w/ Baden Powell, Dom Um Romao, Durval Ferreira, Paulo Moura, Sergio Mendes, Antonio Carlos Jobim, Luis Carlos Vinhas and even a 17=piece Escola de Samba! Very much ahead of the curve, Mann headed out to Brazil to record this stunning Brazil meets Jazz collaborations - in our humble opinion one of the toughest and most successfull of all Bossa meets Jazz records. https://soundsoftheuniverse.com/sjr/product/herbie-mann-do-the-bossa-nova-1962

Personnel:  Flute, Alto Flute – Herbie Mann;  Alto Saxophone – Paulo Moura;  Bass – Gabriel, Octavio Bailly Jr; ;  Drums – Dom Um, Juquinha, Papao;  Guitar – Baden Powell , Durval Ferreira;  Piano – Luiz Carlos Vinhas, Sergio Mendes; Piano, Arranged By, Conductor – Antonio Carlos Jobim;  Trumpet – Pedro Paulo;  Vocals – Antonio Carlos Jobim

Do the Bossa Nova with Herbie Mann

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Herbie Mann - Latin Fever

Styles: Flute Jazz
Year: 1964
File: MP3@320K/s
Time: 34:18
Size: 78,9 MB
Art: Front

(2:17)  1. Harlem Nocturne
(2:15)  2. Fever
(1:53)  3. Not Now - Later On
(2:15)  4. The Golden Striker
(3:06)  5. Insensatez
(2:30)  6. You Came A Long Way From St. Louis
(5:15)  7. Batida Differente
(4:01)  8. Nana
(5:05)  9. Groovy Samba
(5:38) 10. Influenza De Jazz

Latin Fever is an album by American jazz flautist Herbie Mann recorded for the Atlantic label and released in 1964. The album features tracks from the 1962 sessions that produced Do the Bossa Nova with Herbie Mann with more recent recordings. https://en.wikipedia.org/wiki/Latin_Fever

Personnel:  Herbie Mann - flute;  Durval Ferreira (tracks 7 & 10), Baden Powell (track 8), Bill Suyker (tracks 1-3 & 6) - guitar;  Clark Terry (tracks 1-3 & 6), Pedro Paulo (tracks 7 & 10), Ernie Royal (tracks 1-3 & 6) - trumpet;  Paulo Moura - alto saxophone (tracks 7 & 10);  Antônio Carlos Jobim - piano, vocals, arranger (tracks 5 & 9);  Sérgio Mendes - piano (tracks 7 & 10);  Paul Griffin - piano, organ (tracks 1-3 & 6);  Gabriel (track 8), Otavio Bailly Jr. (tracks 7 & 10) - bass;  Juquinha (track 8), Dom Um Romão (tracks 7 & 10), Bobby Thomas (tracks 1-3 & 6) - drums;  George Devens - vibraphone, percussion (tracks 1-3 & 6)

Latin Fever

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Herbie Mann - Caminho De Casa

Styles: Flute Jazz
Year: 1990
File: MP3@320K/s
Time: 53:45
Size: 123,4 MB
Art: Front

(6:34)  1. Caminho De Casa (Pathway Home)
(3:35)  2. Gabriela's Song
(7:48)  3. Aparecida
(4:55)  4. Your Body (Seu Corpo)
(4:23)  5. Pão E Poesia (Bread And Poetry)
(5:41)  6. Yesterday's Kisses
(8:48)  7. Anima (Soul)
(5:59)  8. Choro Das Aguas (Cry Of The Waters)
(5:59)  9. Doa A Quem Doer (No Matter Who It Hurts)

Flutist Herbie Mann and his group of the time (Jasil Brazz) perform contemporary Brazilian music on this CD, including three numbers by Ivan Lins. Some of the treatments are strictly easy listening or close to bossa nova, while others would fit into the "contemporary jazz" category. On a whole, this is a pleasing set, both as background music and for close listenings one of Mann's better ones from the past 20 years. ~ Scott Yanow https://www.allmusic.com/album/caminho-de-casa-mw0000317671

Personnel: Herbie Mann (flute, alto flute); Eduardo Simon, Mark Soskin (piano); Romero Lumbambo (guitar); Paul Socolow (bass); Ricky Sebastian (drums); Cafe (percussion)

Caminho De Casa

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Narada Michael Walden - I Cry, I Smile

Styles: Vocal, Soul
Year: 1977
File: MP3@320K/s
Time: 41:30
Size: 104,6 MB
Art: Front

(3:40)  1. I Need Your Love
(4:22)  2. Better Man
(3:42)  3. Soul Bird
(3:57)  4. I Remember
(4:58)  5. Oneness-Cry
(4:47)  6. Mango Bop
(1:18)  7. Rainbow-Sky
(5:46)  8. I Cry, I Smile
(4:36)  9. Heaven's Just a Step Ahead
(4:21) 10. So Long

Drummer/songwriter/producer/vocalist Narada Michael Walden's career spans over three decades and is threaded with gold, platinum, and multi-platinum awards. He's produced and/or (co) written number one hits by Whitney Houston, Mariah Carey ("Vision of Love"), Aretha Franklin ("Freeway of Love"), and Lisa Fischer ("How Can I Ease the Pain"). His proficient drumming skills have made him a first-call session musician playing on countless recording sessions.Walden has played on all kind of sessions from rock, jazz, pop, R&B, to fusion, sharing the recording and concert stage with the likes of John McLaughlin, the Mahavishnu Orchestra (a 21-year-old Narada replaced drumming legend Billy Cobham), and Jeff Beck (his Wired album) to name a small few. His own career as a recording artist is showcased on Rhino's Ecstasy's Dance: The Best of Narada Michael Walden. Walden's eclecticism is threaded throughout his recordings in varying degrees. In the '80s, he became a Grammy-winning mega-producer: Producer of the Year in 1987, Album of the Year for the 1993 movie soundtrack The Bodyguard (Narada Michael Walden, producer), and the Song of the Year award in 1985 for writing Aretha Franklin's "Freeway of Love." The song helped the Queen of Soul land her first platinum album. Walden was named one of the Top Ten Producers With the Most Number One Hits by Billboard magazine. Narada produced the Temptations' "Stay," the group's first number one record in 25 years from their platinum-plus Grammy-nominated Phoenix Rising. He also produced tracks for their follow-up album, Ear-Resistable issued by Motown/Universal on May 16, 2000.

Born April 23, 1952, in Kalamazoo, MI, Walden was given the name Narada by guru Sri Chinmoy. After college graduation, he trekked to Miami, FL, playing in various rock bands. Signing with Atlantic Records, his debut album, Garden of Love Light, included the mid-tempo "Delightful," which charted at 81 R&B in spring 1977. His next LP, I Cry I Smile, boasted the sweet "So Long" and the radio-aired LP tracks the languid "I Need Your Love," the delicious "I Remember," and the charming "Better Man." Even though these top-notch tracks received airplay in Chicago and other markets, other than "Better Man," none were released as singles. Instead, the label picked "Soulbird" and "Manago Bop," which worked well as album tracks, but not singles. The Awakening proved to be his breakthrough album, going to number 15 R&B in spring 1979 on the strength of the brassy "I Don't Want Nobody Else (To Dance With You)." Awakening radio-aired LP tracks were the airy "Listen to Me" and the jubilant album opener "Love Me Only" (also arranged by Patrick Adams). Awakening also featured top session bassist Keni Burke, formerly of the Five Stairsteps and best known for his own "Risin' to the Top."

His second highest charting single, "I Shoulda Loved Ya," hit number four R&B in late 1979. It was on his The Dance of Life (number nine R&B, late 1979), which included the gentle ballad "Why Did You Turn Me On." "You're #1" and "Summer Lady" were both on his Confidence LP from summer 1982. Walden's cover of the Four Tops' "Reach Out I'll Be There," "Reach Out," a huge dance hit, was listed on Looking at You, Looking at Me, which charted in spring 1983. Switching to Warner Bros., his duet with Patti Austin, the Motown-ish pop confection, "Gimme Gimme Gimme," issued as Narada Michael Walden with Patti Austin, went to number 39 R&B in early 1985 and was listed on his The Nature of Things album. His single "Divine Emotions" on the Warner Bros. imprint Reprise Records appeared in the Michael J. Fox movie Bright Lights, Big City. The Divine Emotion LP included the charting mellow single "Wild Thing" and the smooth, chugging, radio-aired LP track "That's the Way That I Feel About Cha." His 1995 Toshiba/EMI album was titled Sending Love to Everyone. In late 1985, Walden opened Tarpan Studios, a state-of-the-art recording studio located near San Francisco. Walden's work appears on releases by Stacy Lattisaw ("Let Be Your Angel") ,Al Green (Your Heart's in Good Hands), Shanice Wilson ("I Love Your Smile," "I Hate to Be Lonely"), Ray Charles, Diana Ross, George Michael, Wild Orchid, Tevin Campbell, Angela Bofill, Diana Ross, MyTown, Steve Winwood, Phaze II, Regina Belle-Passion ("Baby Come to Me"), Andy Vargas, Debelah Morgan, Jai, Jermaine Stewart ("We Don't Have to Take Our Clothes Off"), Natalie Cole ("Good to Be Back), Clarence Clemons, Puff Johnson, Eddie Murphy ("Put Your Mouth on Me"), and Carl Carlton ("The Bad CC"), among many many others. Other Narada Michael Walden-related releases are Stacy Lattisaw and Johnny Gill (Perfect Combination), Lisa Fischer (So Intense), and the movie soundtracks to Beverly Hills Cop II, Perfect, Waiting to Exhale, License to Kill, The Bodyguard, Jason's Lyric, 9 1/2 Weeks, Crooklyn, Free Willy, and The Associate. ~ Ed Hogan https://itunes.apple.com/us/album/i-cry-i-smile/id305111925

Personnel:  Narada Michael Walden: Vocals, Drums, Percussion, Keyboards;  Christine Faith, Elisa Delieson, Cheryl Alexander: Backing vocals;  Hiram Bullock, Raymond Gomes: Guitars;  Cliff Carter: Keyboards;  Neil Jason: Bass;  Herbie Mann, Norma Jean Bell: Flute, Reeds;  Sammy Figueroa, Rafael Cruz: Percussion;  Michael Gibbs: String Arrangements & Conducting

I Cry, I Smile

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Carmen McRae - Carmen McRae

Styles: Vocal Jazz
Year: 1954
File: MP3@320K/s
Time: 36:18
Size: 85,4 MB
Art: Front

(2:26)  1. You'd Be So Easy To Love
(3:17)  2. If I'm Lucky
(2:40)  3. Old Devil Moon
(2:40)  4. Tip Toe Gently
(2:09)  5. You Made Me Care
(3:05)  6. Last Time For Love
(3:53)  7. Misery
(2:33)  8. Too Much In Love To Care
(3:19)  9. Too Much In Love To Care (alt. take)
(2:37) 10. Old Devil Moon (alt. stereo)
(2:09) 11. You Made Me Care (alt. stereo)
(2:20) 12. Too Much In Love To Care (alt. stereo)
(3:03) 13. Last Time For Love (alt. stereo)

This is Carmen McRae's first recording as a leader. She's heard on four songs apiece with the Mat Mathews Quintet (a group including Herbie Mann on flute and tenor, and guitarist Mundell Lowe) and clarinetist Tony Scott's Quartet. On the emotional "Misery," Scott switches to piano and is the only accompanist to the singer. 

Five alternate takes augment this set, which emphasizes ballads. Overall the music is pleasing but not too memorable and one wishes there were more variety. ~ Scott Yanow http://www.allmusic.com/album/carmen-mcrae-bethlehem-mw0000178616

Personnel:  Carmen McRae - vocals
Tracks 1-4:  Herbie Mann - flute, tenor saxophone;  Mat Mathews – accordion;  Mundell Lowe – guitar;  Wendell Marshall - double bass;  Kenny Clarke - drums
Tracks 5-8:  Tony Scott - clarinet, piano (on "Misery");  Dick Katz – piano;  Skip Fawcett - double bass;  Osie Johnson - drums

Carmen McRae

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Herbie Mann & Joao Gilberto - Recorded In Rio De Janeiro

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Latin jazz, Bossa Nova
Year: 1965/2005
Art: Front

[2:35] 1. Amor Em Paz (Love In Peace)
[1:56] 2. Desafinado
[1:17] 3. Bolinha De Papel
[3:03] 4. Insensatez
[2:22] 5. Maria Ninguém
[2:29] 6. O Barquinho
[2:19] 7. Samba De Minha Terra
[2:01] 8. Rosa Morena
[4:27] 9. Consolation
[3:20] 10. One Note Samba
[1:11] 11. Bim Bom
[4:18] 12. Deve Ser Amor

Nice, more light than emphatic Afro-Latin and jazz mixture by flutist Herbie Mann and composer/vocalist Joao Gilberto from 1977. The two make an effective team, with Gilberto's sometimes sentimental, sometimes impressionistic works effectively supported by Mann's lithe flute solos. ~Ron Wynn

Recorded In Rio De Janeiro

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Herbie Mann & Orchestra - Love & The Weather

Bitrate: MP3@320K/s
Time: 40:29
Size: 92.7 MB
Styles: Contemporary jazz
Year: 1956/2014
Art: Front

[3:47] 1. Love And The Weather
[2:54] 2. But Beautiful
[3:28] 3. Spring Can Really Hang You Up The Most
[3:19] 4. I'm Glad There Is You
[3:10] 5. A Sinner Kissed An Angel
[3:32] 6. High On A Windy Hill
[3:42] 7. Ill Wind
[3:16] 8. For Heaven's Sake
[4:17] 9. Autumn Nocturne
[2:40] 10. Moon Love
[3:21] 11. The Morning Side Of The Mountain
[2:57] 12. Like Someone In Love

Herbie Mann - flute; Joe Puma - guitar; Milt Hinton, Whitey Mitchell - bass; Don Lamond, Herb Wasserman - drums.

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~bio by Scott Yanow

Love & The Weather

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Herbie Mann & Bobby Jaspar - Flute Soufflé

Styles: Flute And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 36:21
Size: 83,4 MB
Art: Front

(14:43)  1. Tel Aviv
( 5:58)  2. Somewhere Else
( 7:26)  3. Let's March
( 8:13)  4. Chasing The Bird

At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird." ~ Scott Yanow http://www.allmusic.com/album/flute-souffle-mw0000617313

Personnel:  Herbie Mann, Bobby Jaspar - flute, tenor saxophone;  Tommy Flanagan – piano;  Joe Puma – guitar;  Wendell Marshall – bass;  Bobby Donaldson - drums

Flute Soufflé

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