Jeremy Steig - Fusion

Styles: Flute Jazz
Year: 1970
File: MP3@320K/s
Time: 78:03
Size: 179,5 MB
Art: Front

(4:39) 1. Home
(4:52) 2. Cakes
(4:12) 3. Swamp Carol
(4:50) 4. Energy
(4:14) 5. Down Stretch
(6:47) 6. Give Me Some
(8:02) 7. Come With Me
(2:22) 8. Dance Of The Mind
(5:23) 9. Up Tempo Thing
(5:55) 10. Elephant Hump
(3:03) 11. Rock #6
(6:33) 12. Slow Blues In G
(5:50) 13. Rock #9
(4:14) 14. Rock #10
(7:02) 15. Something Else

Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees.

His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation.~Jason Ankenyhttps://www.allmusic.com/album/fusion-mw0001883206

Personnel: Jeremy Steig - Flute, Flute (Alto), Piccolo; Eddie Gomez - Bass (Electric); Jan Hammer - Gong, Piano (Electric); Don Alias - Percussion, Conga, Drums; Sonny; Gene Perla - Bass, Bass (Electric)

Fusion

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Jeremy Steig - Temple of Birth

Styles: Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 44:17
Size: 101,6 MB
Art: Front

(8:25) 1. King Tut Strut
(2:33) 2. Gale
(7:52) 3. Ouanga
(3:49) 4. Mountain Dew Dues
(3:52) 5. Goose Bumps
(3:14) 6. Belly Up
(2:11) 7. Temple Of Birth
(9:30) 8. Shifte Telle Mama
(2:47) 9. Rupunzel

In his entire career as an improvisational flutist Steig has challenged the boundaries of conventional categories in music. In his first album Flute Fever (Columbia Records 1963) Steig established himself as one of the most important voices in contemporary music, setting new standards in the performance and appreciation of the flute as improvisational instrument.

Steig's openness to all kinds of music is the key that attracts audience to his music. In his newest CD, Steig teams up as a duo with the prominent guitarist and composer, Vic Juris. Their collaboration covers everything from jazz, blues, rock, free music and even some classical pieces that have been reworked to include improvisation. Improvised, Steig and Juris' first CD together, is a dynamic sonic adventure. They have been invited to the 2004 Yokohama Jazz Promenade, one of the biggest jazz festivals held in Japan.

Steig has also been active as Free Folk, a trio with Perry Robinson (clarinet) and Ed Schuller (bass). The music they play contains elements of folk, classical and jazz. Steig studied flute with Paige Brook, who played in the New York Philharmonic. He went on to study at the High School of Music and Art in New York. Paige encouraged Steig to play “jazz” while providing him with classical tools. Emerging as a leader of the first jazz-rock band, “Jeremy and the Satyrs,” followed by the release of What's New (Verve 1969) with the legendary Bill Evans, proved Steig's versatility as a young musician.

Steig has played and recorded with a wide variety of musicians, such as Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter and Tommy Bolin. The Beastie Boys have shaped their hit Sure Shot around Steig's flute. https://www.allaboutjazz.com/musicians/jeremy-steig

Personnel: Jeremy Steig – flute, Armstrong bass flute; Johnny Winter - acoustic guitar, electric guitar; Richie Beirach - acoustic piano, electric piano; Anthony Jackson - bass guitar; Alphonse Mouzon – drums; Ray Mantilla - congas, percussion

Temple of Birth

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Lalo Schifrin - Towering Toccata

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 95,8 MB
Art: Front

(5:05)  1. Towering Toccata (Based on the Toccata & Fugue in D Minor)
(4:20)  2. Frances' Theme (From the Film "The Day of the Animals")
(6:16)  3. Macumba
(2:51)  4. Eagles in Love (From the Film "The Eagle Has Landed")
(4:13)  5. Theme from "King Kong" (From the Paramount Film "King Kong")
(2:43)  6. Most Wanted Theme
(6:09)  7. Midnight Woman
(4:48)  8. Roller Coaster (From the Universal Film "Rollercoaster")
(4:41)  9. Eagles in Love (From the Film "The Eagle Has Landed") - Alt. Take

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. ~ Donald A.Guarisco https://www.allmusic.com/album/towering-toccata-mw0000742076

Personnel: Lalo Schifrin - piano, keyboards, arranger, conductor; Burt Collins, John Frosk, John Gatchell - trumpet; Urbie Green - trombone; Joe Farrell, Jeremy Steig - flute; Gerry Niewood - alto saxophone; David Tofani, Lou Marini - tenor saxophone, flute; Ronnie Cuber - baritone saxophone; Clark Spangler - keyboards; Eric Gale, John Tropea - guitar; Will Lee - bass; Steve Gadd - drums, dahka-de-bello; Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Marvin Morgenstern, David Nadien, Max Pollikoff, Matthew Raimondi - violin; Lamar Alsop, Manny Vardi - viola; Charles McCracken, Alan Shulman - cello

Towering Toccata

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Urbie Green - The Fox

Styles: Trombone Jazz
Year: 1977
File: MP3@320K/s
Time: 38:44
Size: 89,4 MB
Art: Front

(7:15)  1. Another Star
(2:58)  2. Goodbye
(4:56)  3. Mertensia
(3:59)  4. You Don't Know What Love Is
(6:35)  5. Manteca
(7:26)  6. Foxglove Suite
(5:32)  7. Please Send Me Someone to Love

Smooth and silky jazz funk from trombonist Urbie Green a record that's much more in a mainstream R&B fusion mode than his earlier work yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material – and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/51056/Urbie-Green:Fox

Personnel:  Urbie Green - trombone; Joe Farrell - flute, soprano saxophone; Jeremy Steig - flute; Fred Gripper - electric piano; Barry Miles - piano, keyboards; Mike Abene - piano; Eric Gale - guitar; Anthony Jackson - electric bass; George Mraz - bass; Jimmy Madison, Andy Newmark - drums; Mike Mainieri - vibraphone; Toots Thielemans - harmonica, whistle; Sue Evans, Nicky Marrero - percussion; David Matthews - arranger, footsteps

The Fox

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Jeremy Steig - Howlin' For Judy

Styles: Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 47:31
Size: 109,6 MB
Art: Front

( 4:37)  1. Howlin' For Judy
( 5:19)  2. Mint Tea
( 4:20)  3. Alias
( 5:53)  4. Waves
( 8:15)  5. In The Beginning
(11:06)  6. Nardis
( 7:58)  7. Permutations

"Howlin' for Judy" is flutist Jeremy Steig's best-known track, thanks to the Beastie Boys' use of a sample from it in "Sure Shot." As the title track for this collection, it marks new chapter in Blue Note's Rare Groove series. This seven-track set is compiled from two different albums: 1969's Legwork, which appeared on Solid State, and 1970's Wayfaring Stranger on Blue Note itself both of which were originally produced by the great Sonny Lester. Blue Note's Michael Cuscuna produced this collection by paring down the original albums to just the tracks that featured the trio of Steig, bassist Eddie Gomez, and drummer Don Alias. Why? In order to maximize its groove quotient; Legwork had its share of duo cuts and Wayfaring Stranger had some that featured a quartet with guitar. That said, the previous outings were quite adventurous in places: they contained various blues, ostinato workouts, and more ponderous numbers, too. Cuscuna pruned away until only the deeply funky, beat-driven trio tracks remained. That said, there is plenty of adventure not just in the music, but in its production: Steig was a fan of stereo separation and overdubbing techniques that were focused to maximize the rhythmic aspects of certain tracks. His own playing style is a great cross between Hubert Laws' more soulful technique and the dynamically rich and physically percussive aspects of Rahsaan Roland Kirk both rhythmically attuned players. While many are familiar with the title cut with its two-channel overdubbed bass and flute, far fewer punters know Steig's wildly groove-drenched sound world from the era. What a treat! You are the person this compilation is directed at.

Take "Mint Tea," with Gomez offering a deep wood-toned upright ushering in Alias' skittering breaks and rolling snares. For his part, Steig blows, whispers, moans, and groans through the flute, using an astonishing array of techniques. (Anyone who has ever thought of the flute as an airy, effete instrument has obviously never heard him play!) Alias gets busy with the kit, offering Gomez a solid beat to get behind. There are layers of hand percussion, shakers, and cymbals overdubbed onto that rhythm, so Alias can feel free to let the breakbeats fall. Gomez is hypnotic in his steadiness, and Steig enters by blowing another rhythm track and a staggered melody track overdubbed on top. Only four minutes and 20 seconds in length, this monster is all too brief but ripe for beatheads to plunder. There is a beautiful and provocative version of Miles Davis' "Nardis" here, too. It begins sparsely as an Eastern-tinged flute solo on the melody; when the rhythm section enters at about the two-minute mark, it becomes an exploratory folk melody before Alias and Gomez ramp it up into a finger-popping bop number. This might throw some the first time through, but it is one of the hippest numbers on the disc. "Waves," a more languid groover, is a bit more elemental; but when it comes to rhythm and grooves that's a stone positive quality the pizzicato work by Gomez on this baby is stellar. Ultimately, Howlin' for Judy signals a new kind of compilation where a certain period in an artist's oeuvre is mined for maximum aesthetic effect. Cuscuna took this material from a very brief period in Steig's development as an artist, but he came up with a monster that withstands not only repeated listening, but the hard critical assessment of hipsters, club connoisseurs, and jazz fans. ~ Thom Jurek https://www.allmusic.com/album/howlin-for-judy-mw0000791388

Personnel:  Flute [Flutes] – Jeremy Steig; Bass – Eddie Gomez; Drums, Percussion – Don Alias

Howlin' For Judy

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Eddie Gomez - Power Play

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(5:39)  1. Power Play
(3:53)  2. Loco Motive
(5:15)  3. Spanish Flower
(5:04)  4. Mel
(5:46)  5. Amethyst
(5:02)  6. Mr. Go
(3:50)  7. Very Early
(3:58)  8. W. 110th St.
(4:59)  9. Forever

Eddie Gomez (born October 4, 1944) is a jazz bassist. He was born in Santurce, Puerto Rico; he emigrated with his family at a young age to the United States and grew up in New York. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music and Art. He went on to study with Fred Zimmerman. He played in the Marshall Brown-led Newport Festival Youth Band from 1959 to 1961, and was later educated at Juilliard.His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan, Benny Goodman, Buck Clayton, Marian McPartland, Paul Bley, Wayne Shorter, Jeremy Steig, Herbie Hancock, Tony Williams, Chick Corea and Carli Muñoz. Time Magazine lauded: “Eddie Gómez has the world on his strings”. Eddie Gómez would spend a total of eleven years with Bill Evans Trio which included performances throughout the United States, Europe, and the Orient, as well as dozens of recordings. Two of the Trio's recordings won Grammy awards. In addition, he was a member of the Manhattan Jazz Quintet.His career mainly consists of working as an accompanist, a position suited for his quick reflexes and flexibility.In addition to working as a studio musician for many famous jazz musicians, he has recorded as a leader for Columbia Records, Projazz and Stretch. Most of his recent recordings as a leader, are co-led by jazz pianist Mark Kramer. https://musicians.allaboutjazz.com/eddiegomez

Personnel:  Bass – Eddie Gomez; Drums – Steve Gadd,, Al Foster; Keyboards – LeeAnn Ledgerwood; Tenor Saxophone – Michael Brecker; Flute; Michael Cochrane - Soprano Saxophone – Dick Oatts; Flute – Jeremy Steig

Power Play

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Jeremy Steig & Eddie Gomez - Outlaws

Styles: Flute Jazz, Hard Bop
Year: 1976
File: MP3@320K/s
Time: 39:32
Size: 91,0 MB
Art: Front

( 7:11)  1. Outlaws
( 9:09)  2. Autumn Comes/Autumn Leaves
( 4:48)  3. Arioso
( 7:07)  4. Night Mare
(11:14)  5. Nardis

A flute-bass duo is not an everyday occurrence on CD, let alone making up an entire release. Yet the combination of Jeremy Steig and Eddie Gomez in this 1975 concert works extremely well because of the virtuoso talent of both musicians, along with their obviously compatibility. They previously had worked together on the Bill Evans' album What's New and Gomez had recently departed Evans at the time of this recording. Unfortunately, there are no liner notes to explain how this meeting came about or the background of the selections, while the 24-bit remastering and new packaging featuring amusing sketches of the two men by Steig make this edition more valuable than the earlier CD reissue. Three of the originals sound improvised rather than composed, except for "Autumn Comes, Autumn Leaves," which is obviously derived from the standard, opening with Gomez's solo variations of the well-known song, along with an intense, introspective rendition of "Nardis," though the bassist's brief use of an electronic delay sounds rather dated. Each man has a solo number; Steig's elegant, somewhat free-form "Nightmare" recalls Eric Dolphy's adventurous spirit, while Gomez's dramatic "Arioso" features his playing exclusively with a bow. Although this may very well have been a one-time event, it is much more than a novelty. Considering how little Steig has been recorded as a leader since the late '70s, this session should be of special interest to his fans.~ Ken Dryden https://www.allmusic.com/album/outlaws-mw0000094183

Personnel: Jeremy Steig (flute); Eddie Gomez (bass instrument, double bass).

Outlaws

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Jeremy Steig - Something Else

Styles: Flute Jazz
Year: 1989
File: MP3@320K/s
Time: 69:09
Size: 160,5 MB
Art: Front

(4:40)  1. Home
(4:52)  2. Cakes
(4:12)  3. Swamp Carol
(4:15)  4. Down Strech
(6:52)  5. Give Me Some
(8:02)  6. Come With Me
(2:22)  7. Dance Of The Mind
(5:23)  8. Up Tempo Thing
(5:55)  9. Elefant Hump
(3:03) 10. Rock # 6
(6:32) 11. Slow Blues
(5:52) 12. Rock # 9
(7:04) 13. Something Else

One of the early pioneers of fusion, flutist Jeremy Steig often gets a bit overlooked in jazz history books because he did not record much for major labels. This particular CD reissue, which was originally titled "Fusion," is an excellent showcase for this artist, who is heard on the regular flute, an alto flute, a bass flute, and a piccolo. He is joined by keyboardist Jan Hammer, electric bassist Gene Perla (replaced by Eddie Gomez on two numbers), and drummer/percussionist Don Alias. They perform 12 diverse Steig originals (some of which were co-written with Hammer) and one tune by the keyboardist, music that straddle the boundaries between early fusion, post-bop, blues, and swinging jazz. Steig is heard throughout in prime form on this somewhat scarce budget release of material originally cut for the Groove Merchant label. ~ Scott Yanow https://www.allmusic.com/album/something-else-mw0000194566

Personnel: Jeremey Steig (flute, alto & bass flutes, alto piccolo); Jan Hammer (electric piano, Chinese gong); Eddie Gomez, Gene Perla (bass); Don Alias (drums, congas, clap drums, percussion)        

Something Else

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Bill Evans, Jeremy Steig - What's New

Styles: Piano And Flute Jazz
Year: 1969
File: MP3@320K/s
Time: 44:57
Size: 104,1 MB
Art: Front

(5:44)  1. Straight No Chaser
(6:23)  2. Lover Man
(4:53)  3. What's New
(6:17)  4. Autumn Leaves
(7:23)  5. Time Out For Chris
(5:01)  6. Spartacus Love Theme
(9:13)  7. So What

This LP has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez, and this particular trio would retain the same personnel for six productive years. Actually, this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock, although in both of their collaborations with Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves," and "So What." ~ Scott Yanow https://www.allmusic.com/album/whats-new-mw0000188122

Personnel:  Bill Evans – piano;  Eddie Gómez – bass;  Marty Morell – drums;  Jeremy Steig – flute

What's New

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Jeremy Steig Quartet - Flute Fever

Styles: Flute Jazz
Year: 1963
File: MP3@320K/s
Time: 52:55
Size: 123,6 MB
Art:

( 5:19)  1. Oleo
( 9:04)  2. Lover Man (Oh, Where Can You Be?)
( 3:53)  3. What Is Things Called Love?
(10:37)  4. So What
( 4:17)  5. Well, You Needn't
( 5:15)  6. Willow Weep For Me
(11:09)  7. Blue Seven
( 3:17)  8. What Is Things Called Love (Take 1) (bonus track)

Flute Fever, the 1963 Columbia Records debut by flutist Jeremy Steig, has somehow, until now, avoided release on CD. Thanks to reissue producer Jonathan Horwich, Steig's beautifully remastered and packaged freshman recording is now available. And it's not only Steig's premier as a recording artist, it's also a recording first for pianist for pianist Denny Zeitlin, on a quartet that's rounded out by veterans Ben Riley on drums, and Ben Tucker on bass. It's a blowing session no group rehearsal, just some brief pre-recording discussions about how to approach some familiar tunes. But man, what a blowing session. The wild men of jazz are usually saxophonists. Flute players are more apt to roll with a laid-back and gentile approach to the music; but Jeremy Steig as green as could be in terms of recording resume comes out blowing like the devil on saxophonist Sonny Rollins' "Oleo." After a brief period of restraint on the tune's opening, Steig ratchets the energy level up to the clouds. Zeitlin, in the accompaniment mode, stays right with him, stabbing sharp statements into what amounts to a fire and brimstone flute rant. If Steig sounds as if he's trying to fly off the face of the Earth, Zeitlin on a masterful solo sounds like an architect designing an ornate edifice meant to last forever down here on the ground. And its worth mentioning: these guys were young. Steig, born in 1942, was 21. Zeitlin was twenty-five. Blowing sessions feature the familiar, and Flute Fever is no exception. "Lover Man" tests the young musicians' mettle on the ballad form. It's an eleven minute exploration of the tune, declared at its close, on mic, a masterpiece by then producer John Hammond. He was right. Steig's tone, as he blew the sad, sweet syllables had a beautiful, rich purity. Zeitlin laid things down with a seasoned patience, soloing with an assured and impeccable grace. The quartet delves into "Well You Needn't," from the pen of Thelonious Monk, the standard "Willow Weep for Me," Miles Davis' "So What," the much-covered "What Is This Thing Calmcled Love?" (with an alternate take included here) and another Sonny Rollins' gem, "Blues Seven." Flute Fever, Introducing the Exciting New Sound of The Jeremy Steig Quartet, Featuring Denny Zeitlin, an exceptional album, is now an exceptional CD, one of the finest jazz flute recordings to be found. ~ Dan McClenaghan https://www.allaboutjazz.com/flute-fever-jeremy-steig-ipo-recordings-review-by-dan-mcclenaghan.php

Personnel: Jeremy Steig: flute; Denny Zeitlin: piano; Ben Riley: drums; Ben Tucker: bass.

Flute Fever

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Jeremy Steig - Firefly

Styles: Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 35:33
Size: 81,6 MB
Art: Front

(11:55)  1. Firefly
( 5:48)  2. Living Inside Your Love
( 2:59)  3. Everything Is Coming to the Light
( 7:26)  4. Hop Scotch
( 2:04)  5. Sweet Hour of Prayer
( 5:17)  6. Grasshopper

Produced by Creed Taylor himself, Jeremy Steig's jazz-funk throwdown, Firefly, is one of the great forgotten masterpieces of the genre. Steig is a monster flutist who may lack some of Herbie Mann's subtlety, but more than makes up for it with his chops. Taylor surrounded Steig with a band that was testosterone-fueled yet knew how to get the sexy grooves. Firefly was designed for the purpose of being a hit in the dance clubs, and it should have been, because it kicks ass on that level as well as on the jazz-funk beam. Arranged and conducted by pianist Dave Matthews, the band included guitarists Eric Gale, Hiram Bullock, and John Scofield, Richard Tee on keys, drummers Steve Gadd and Allen Schwarzberg, conguera Ray Mantilla, percussionist Sue Evans, and vocalist Googie Coppola. As for the commercial edge, tracks like Dave Grusin and Earl Klugh's sublime groover "Livin Inside Your Love," features beautiful double-tracked flute solos going into the red on the funky soul edge; then there's the title track opener where Steig plays inside and out in shimmering interplay with Gary King's popping bassline. But it's on "Grasshopper," a Steig original, that this disc really soars. Overdriven chunky guitars, cutting across one another, electric Rhodes, and acoustic piano in counterpoint on two different melodies, bass bubbling like Sly Dunbar's, and orchestral horns giving Steig a punch lead line he can really mess with in his fills and solo. This is burning. ~ Thom Jurek https://www.allmusic.com/album/firefly-mw0000460410

Personnel:  Jeremy Steig – flute;  Burt Collins, Jon Faddis, Joe Shepley, Lew Soloff – trumpet;  Sam Burtis, Jerry Chamberlain, Tom Malone – trombone;  Dave Taylor - bass trombone;  Richard Tee – keyboards;  Richie Beirach – piano;  Cliff Carter – synthesizer;  Hiram Bullock, Eric Gale, John Scofield - electric guitar;  Gary King – bass;  Steve Gadd, Allan Schwartzberg – drums;  Ray Mantilla – congas;  Googie Coppolla – vocals;  Sue Evans – percussion;  David Matthews - electric piano, arranger

Firefly

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