The Crusaders - The Vocal Album

Bitrate: MP3@320K/s
Time: 58:57
Size: 135.0 MB
Styles: Jazz vocals, Crossover jazz
Year: 1987/2012
Art: Front

[7:31] 1. Street Life
[5:24] 2. This Old World's Too Funky For Me
[5:42] 3. Better Not Look Down
[3:55] 4. Inherit The Wind
[4:10] 5. Hold On (I Feel Our Love Is Changing)
[4:31] 6. Help (I Need Somebody)
[6:24] 7. Soul Shadows
[4:47] 8. The Way It Goes
[5:01] 9. I'm So Glad I'm Standing Here Today
[4:12] 10. (No Matter How High I Get) I'll Still Be Looking Up To You
[7:16] 11. Burnin' Up The Carnival

Track 1 taken from 'Street Life' album by The Crusaders; Tracks 2 & 9 taken from 'Standing Tall' album by The Crusaders; Track 3 taken from 'Royal Jam' album by The Crusaders; Track 4 taken from 'Inherit The Wind' album by Wilton Felder; Track 5 taken from 'Midnight Believer' album by B.B. King; Track 6 taken from 'Private Dancer' by Tina Turner; Track 7 taken from 'Rhapsody & Blues' by The Crusaders; Track 8 taken from 'The Good And The Bad Times' by The Crusaders; Track 10 taken from 'Secrets' by Wilton Felder; Track 11 taken from 'Voices In The Rain' by Joe Sample.

Funny, we can't remember this many singers turning up on the Crusaders' albums, but look a little closer at the liner. For this 1987 compilation -- designed, perhaps, to fill the gap between albums by a group that no longer was a full-time act -- MCA reached for records by B.B. King, Tina Turner, Joe Sample and Wilton Felder that various Crusaders played on, as well as the band's output from Street Life through The Good and Bad Times. B.B. takes the prize for his fabulous, humorously funky, live-in-London turn on "Better Not Look Down" -- he plays guitar so sparingly, and every note is right in the pocket -- but Joe Cocker comes close, riding on a classic bumpy Crusaders groove on "This Old World's Too Funky for Me." Of course, Randy Crawford's career-making "Street Life" leads off the set, and Tina Turner (in a lugubrious dissection of the Beatles' "Help"), Bobby Womack, Alltrinna Grayson, Bill Withers, Flora Purim and Josie James also contribute with various degrees of effectiveness. Despite a few weak moments, the album works amazingly well, partly as an alternative highlights collection and partly as a sober reminder to the remaining Crusaders and their fans as to how essential drummer Stix Hooper was to their sound. ~Ruchard S.Ginell

The Vocal Album

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Harold Land - The Peace-Maker

Styles: Saxophone And Flute Jazz
Year: 2006
File: MP3@320K/s
Time: 35:32
Size: 81,5 MB
Art: Front

(5:11)  1. The Peace-Maker
(3:37)  2. Stylin'
(4:51)  3. 40 Love
(3:40)  4. Angel Dance
(4:12)  5. Timetable
(3:26)  6. Imagine
(5:33)  7. The Aquarian
(4:58)  8. One for Nini

The first pairing of tenor saxophonist Harold Land and vibist Bobby Hutcherson crackles with the energy and joy of collaboration. Each spurs the other to new zeniths of creativity and craft, yielding one of the finest if little-known jazz LPs of its era. The Peace-Maker is a particularly apt title. The record's serene, supple contours glow with a lyricism that eschews the angularity of bop. Land's graceful sax melds perfectly with Hutcherson's warm, shimmering vibes to create a deeply soulful, even divine sound. His original compositions are no less thoughtful, galvanized by a yearning for harmony that embraces all senses of the term. ~ Jason Ankeny https://www.allmusic.com/album/the-peace-maker-mw0001881640

Personnel: Harold Land - tenor saxophone, flute; Bobby Hutcherson - vibraphone;  Joe Sample - piano;  Buster Williams - bass;  Donald Bailey - drums  

The Peace-Maker

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Joe Sample & Lalah Hathaway - The Song Lives On

Size: 130.5 MB
Time: 56:48
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz
Art: Front

(5:10) 1. The Song Lives On
(5:40) 2. Fever
(5:12) 3. Come Along With Me
(4:45) 4. Living in Blue
(5:48) 5. Street Life
(5:44) 6. When You Life Was Low
(5:42) 7. One Day I'll Fly Away
(4:31) 8. When The World Turns Blue
(5:14) 9. For All We Know
(4:00)10. Bitter Street
(4:57)11. A Long Way From Home

Joe Sample's latest release, The Song Lives On , is appropriately titled. One of the CD's finest attributes is the excellent song selection. The Peggy Lee classic "Fever" is tastefully covered here, and Sample's own "Street Life" is reprised again, but the remainder of the program is new, at least to my ears. Most of the tunes establish an emotional connection with the listener; they're beautiful, pensive, soulful, and often introspective. Titles such as "Living in Blue," "When Your Life Was Low," "When the World Turns Blue," and "Bitter Sweet" convey this theme. Vocalist Lalah Hathaway delivers heartfelt, expressive interpretations on over half of the program. She is a talent I'm looking forward to hearing more of in the future. Joe Sample, as usual, shines on piano with thoughtful, expressive, and sometimes understated solos. The entire CD abounds with good taste and class. ~ Dave Hughes
http://www.allaboutjazz.com/php/article.php?id=5238#.UwTnhIVQE9c

Personnel: Joe Sample, piano and Fender Rhodes; Lalah Hathaway, vocals; Kirk Whalum, sax; David Delhomme, synthesizers; Michael Thompson, electric guitar; Jay Anderson, bass; Walfredo Reyes Jr., drums; Lenny Castro, percussion.

The Song Lives On

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Joe Sample - Invitation

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 49:57
Size: 115,0 MB
Art: Front

(3:53)  1. Black Is The Color
(4:57)  2. A House Is Not A Home
(5:07)  3. Come Rain Or Come Shine
(4:22)  4. Invitation
(6:49)  5. Summertime
(5:20)  6. Nica's Dream
(5:01)  7. Stormy Weather
(3:45)  8. Django
(6:12)  9. My One And Only Love
(4:26) 10. Mood Indigo

A luscious outing from piano great Joe Sample, this disc includes beautiful interpretations of ten standards and near standards. Featuring plush orchestral arrangements by Dale Oehler wrapped over and around Sample's piano trio, Invitation is simply one of the loveliest recordings of Sample's career. With a rhythm section made up of bassist Cecil McBee and drummer Victor Lewis, augmented by Lenny Castro on percussion, the music is of a piece from start to finish. Producer Tommy Lipuma has found a wonderful setting for Sample to show his gorgeous, acoustic piano stylings, and the orchestra feels like part of the trio instead of an add-on. When Sample uses synths, they are indistinguishable from the orchestra. Overall, a smooth, romantic, highly recommended recording. ~ Jim Newsom  http://www.allmusic.com/album/invitation-mw0000618430

Personnel: Joe Sample (piano, synthesizers); Cecil McBee (acoustic bass); Victor Lewis (drums); Lenny Castro (percussion). Additional personnel: New York Philharmonic, Metropolitan Opera Orchestra (strings); Joe Mardin, Larry Williams (synthesizer programming).

RIP 
(February 1, 1939 – September 12, 2014)

Invitation

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Joe Sample, Ray Brown, Shelly Manne - The Three

Styles: Piano Jazz

Year: 1978

File: MP3@320K/s

Time: 32:02

Size: 73,5 MB

Art: Front

(5:05)  1. Yearnin'

(5:17)  2. On Green Dolphin Street

(5:43)  3. Satin Doll

(6:02)  4. Manhã  De Carnaval

(4:38)  5. 'Round About Midnight

(5:14)  6. Funky Blues

Quite possibly one of the most successful Japanese piano trio recordings of the 70s a super-session performed by a group that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way and a genuine surprise to hear how strong his work is in such a format. Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene. Titles include "On Green Dolphin Street", "Round Midnight", "Funky Blues", "Manha Do Carnaval", "Yearnin", and "Satin Doll".~https://www.dustygroove.com/item/731110

Personnel:  Joe Sample (piano);  Shelly Manne (drums);  Ray Brown (Bass).

The Three 

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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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Hubert Laws - My Time Will Come

Styles: Flute Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,7 MB
Art: Front

(10:11)  1. Malaguena
( 5:16)  2. My Time Will Come
( 5:03)  3. It's So Crazy
( 6:54)  4. Shades of Light
(10:57)  5. Valse
( 8:45)  6. Make It Last
( 7:52)  7. Moonlight Sonata

This is a streaky affair, Hubert Laws's first recording as a leader in quite a few years. The great flutist has a reunion with Don Sebesky on a version of "Malaguena" that becomes an imitation of Chick Corea's "Spain," a few of the selections are forgettable funk and "Moonlight Sonata" is ruined by an unbearable rhythm. However there are some fine performances that feature excellent soloing by Laws and pianist John Beasley. Still, only Hubert Laws's most loyal fans will want this release. ~ Scott Yanow https://www.allmusic.com/album/my-time-will-come-mw0000095582

Personnel:  Piccolo Flute – Hubert Laws; Bass – Gary Willis, John Patitucci , Mike Richmond; Congas – Terry Santiel; Drums – Clayton Cameron, Dan Gotlieb, Leon "Ndugu" Chancelor, Ralph Penland; Flute – Hubert Laws ; Keyboards – George Duke, Joe Sample, John Beasley; Percussion – Sue Evans, Terry Santiel; Piano – Mark Gray;  Soprano Saxophone – Ronnie Laws;  Vocals – Joan LaBarbara

My Time Will Come

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Richard "Groove" Holmes - Welcome Home

Styles: Jazz, Post Bop
Year: 1969
File: MP3@320K/s
Time: 34:16
Size: 80,7 MB
Art: Front

(7:20)  1. Groovin' Time
(5:09)  2. Oklahoma Toad
(4:56)  3. Upward Bound
(5:26)  4. The Madison Time
(2:44)  5. The Odd Couple
(2:48)  6. I'm In The Mood For Love
(3:24)  7. 98.6 - Lazy Day
(2:24)  8. Sunday Mornin'

Groovy set of soul jazz organ tracks that has Groove playing with a large-ish group that includes George Freeman, Tom Scott, Anthony Ortega, Wilton Felder, and Paul Humphrey. The set's not totally hard and funky, but it's got a nice soulful swinging groove, with a tight LA 60s sound to it. Includes a nice version of "Madison Time", plus "Groovin Time", "Oklahoma Toad", "Upward Bound", and "The Odd Couple". (Cover has unglued seams and a torn corner in the front panel.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/17477/Richard-Groove-Holmes:Welcome-Home

Personnel:  Richard "Groove" Holmes - organ;  Chuck Findley - trumpet;  Anthony Ortega, Tom Scott - alto saxophone;  Teddy Edwards - tenor saxophone;  Wilton Felder - baritone saxophone, electric bass;  Joe Sample - piano;  George Freeman, Michael Anthony - guitar;  Paul Humphrey - drums

Welcome Home

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Jazz Crusaders - Freedom Sound

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 33:00
Size: 76,9 MB
Art: Front

(5:40)  1. The Geek
(5:56)  2. M.J.S. Funk
(4:46)  3. That's It
(8:26)  4. Freedom Sound
(3:49)  5. Theme From Exodus
(4:22)  6. Coon

The first album by the Jazz Crusaders (which started an extensive series for Pacific Jazz) introduced the colorful quintet. With trombonist Wayne Henderson and tenor saxophonist Wilton Felder giving the ensembles a unique sound, the group (also featuring regular members pianist Joe Sample and drummer Stix Hooper along with guests Jimmy Bond on bass and guitarist Roy Gaines) managed to strike a balance between creative hard bop and accessible soul-jazz. In addition to their version of "Theme From Exodus" (hoping to jump on the bandwagon created by Eddie Harris' hit rendition), the Jazz Crusaders perform originals by Felder, Henderson, and Sample ("Freedom Sound"). ~ Scott Yanow https://www.allmusic.com/album/freedom-sound-mw0000677988

Personnel:  Wayne Henderson - trombone;  Wilton Felder - tenor saxophone;  Joe Sample - piano;  Roy Gaines - guitar (tracks 1 & 4);  Jimmy Bond - bass;  Stix Hooper - drums

Freedom Sound

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Donald Byrd - Black Byrd

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 43:20
Size: 108,0 MB
Art: Front

(8:29)  1. Flight Time
(7:24)  2. Black Byrd
(6:02)  3. Love's So Far Away
(5:04)  4. Mr. Thomas
(5:59)  5. Sky High
(5:41)  6. Slop Jar Blues
(4:39)  7. Where Are We Going?

Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. 

They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement. ~ Steve Huey https://www.allmusic.com/album/black-byrd-mw0000082900

Personnel: Donald Byrd (vocals, trumpet, electric trumpet, flugelhorn); Fonce Mizell (vocals, trumpet); Freddie Perren (vocals, electric piano, synthesizer); Larry Mizell (vocals); David T. Walker, Dean Parks, Barney Perry (guitar); Allan Curtis Barnes (flute, oboe, saxophone); Roger Glenn (flute, saxophone); Joe Sample (piano, electric piano); Kevin Toney (piano); Chuck Rainey, Wilton Felder (electric bass); Harvey Mason, Sr. , Keith Killgo (drums); Perk Jacobs, Stephanie Spruill, Bobbye Hall, Bobbye Porter (percussion).               

Black Byrd

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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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Bob James - Dancing On The Water

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 66:43
Size: 152,8 MB
Art: Front

(7:04)  1. Alone Together
(6:06)  2. The Green Hour
(4:03)  3. Bogie's Boogie
(8:11)  4. Altair and Vega
(6:38)  5. Hum Drum
(7:41)  6. Last Night When We Were Young
(4:57)  7. Dancing on the Water
(4:37)  8. Modesty
(5:31)  9. Tapawingo
(5:53) 10. Autumn Nocturne
(5:57) 11. Duo Oto Subito

Dancing on the Water features a collection of solo piano performances by Bob James plus duets by James with a diverse array of artists, including bassist Dave Holland, guitarist Chuck Loeb, and pianists Keiku Matsui and Joe Sample. James wrote nine songs on the CD everything except "Alone Together" and "Last Night When We Were Young." Four songs ("The Green Hour," "Bogie's Boogie," "Hum Drum," and "Modesty") receive the benefit of James performing solo on acoustic piano. His duet with Keiko Matsui, "Altair and Vega," is an eight-minute masterpiece featuring exceptional interplay between the pianists. The sweet melodies along with fine, balanced technique and tremolo earn this duet high marks. Piano and bass duets by James and Dave Holland are featured on "Last Night When We Were Young" and "Autumn Nocture"; both songs strike an artful balance with rhythmic improvisations that reflect the duo's award-winning jazz styles in a complementary setting. Chuck Loeb expands his awareness of jazz guitar on the title track, "Dancing on the Water." His joyful interpretations and subtle surprises make the music of the acclaimed jazz pianist sound fresh and new. Two tracks with Joe Sample, "Alone Together" and "Tapawingo," exhibit the emotive and superbly inventive bebop-based compositions at the hands of two masters. Their crisp, flowing lines and intricate melodic voicings reflect the influence of such jazz icons as Thelonious Monk and McCoy Tyner. This is an excellent CD and Bob James continues his exceptional musical dialogues with more pronounced affection for traditional jazz styles than on previous releases. ~ Paula Edelstein http://www.allmusic.com/album/dancing-on-the-water-mw0000625099

Personnel: Bob James, Keiko Matsui, Joe Sample (piano); Chuck Loeb (guitar); Dave Holland (bass).

Dancing On The Water

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Randy Crawford, Joe Sample - Live

Bitrate: MP3@320K/s
Time: 49:42
Size: 113.8 MB
Styles: Soul jazz
Year: 2012
Art: Front

[5:13] 1. Every Day I Have The Blues
[3:56] 2. Feeling Good
[3:17] 3. Tell Me More And More And Then Some
[5:30] 4. Rainy Night In Georgia
[3:45] 5. This Bitter Earth
[2:25] 6. Me, Myself And I
[3:20] 7. No Regrets
[4:57] 8. One Day I'll Fly Away
[5:02] 9. Almaz
[6:07] 10. Street Life
[6:04] 11. Last Night At Danceland

Bass – Nicklas Sample; Drums – Steve Gadd; Piano – Joe Sample; Vocals – Randy Crawford. This album was recorded at various concert halls throughout Europe, during October - December of 2008.

Randy Crawford's and Joe Sample's musical paths have been intertwined for 36 years; they began with his keyboard work on her debut album Everything Must Change in 1976. She returned the favor a couple of years later with her vocal on the Crusaders' 1978 smash "Street Life." The pair have worked together intermittently since then, but only formally recorded as a dual entity on 2007's Feeling Good, a collection of (mostly) jazz tunes and standards. They followed it with No Regrets in 2008, a collection of blues, soul, and pop tunes. Both albums were highly regarded critically. Sample's piano was aided by drummer Steve Gadd and bassist Christian McBride. Live was recorded on various European stages between October and December of 2008, immediately prior to and just after the release of No Regrets. Gadd is present here, but it is Sample's son Nicklas in the upright bass chair. The impeccably recorded program is drawn from both albums and then some. Beginning with an in-the-pocket read of "Everyday I Have the Blues," and continuing with standards from the jazz, blues, and soul books, the set is well-sequenced and feels very much like a seamless live date. There's an excellent, jazzed-up reading of "Street Life" surprisingly enough, and a shimmering take on Tony Joe White's "Rainy Night in Georgia" (that features Sample quoting from the Crusaders' "Hard Times" in his vamps and fills. There's also moving a version of Clyde Otis' "This Bitter Earth" (first recorded by Dinah Washington in 1960). The tunes that reflect the depth of Crawford's and Sample's musical relationship best, however, are in her "Almaz," and Sample's "One Day I'll Fly Away." On the former, Crawford's vocal is haunting, spare, intimate; it is underscored by Sample's elegant playing with its restrained harmonics and Spanish tinge. The latter tune was more risky. Given that the song was a hit for Crawford and is her best-known tune, the bubbling bassline and lush strings are parts of its signature. Stripping all that back for this piano-trio setting meant letting the tune's simple melody be the sole anchor for its smoldering emotion. Crawford deliberately understates it. Sample responds by filling the spaces with poetic economy and a new version emerges that is every bit as resonant. While Live is a further inscription in the collaborative book authored by Crawford and Sample, it is more, too: a classy, soulful example of inspired musicmaking. ~Thom Jurek

Live

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CreoleJoe Band - S/T

Bitrate: MP3@320K/s
Time: 48:10
Size: 110.3 MB
Styles: Creole, Cajun rhythms
Year: 2013
Art: Front

[4:29] 1. Down in New Orleans
[4:20] 2. Louisiana Woman-Texas Man
[3:59] 3. Louisiana Lovin'
[4:25] 4. Zydeco Train
[4:13] 5. Jambalaya Jumble
[4:41] 6. Boomti, Boomti, Boom Boom
[4:47] 7. You Look Better Goin' Than Comin'
[3:45] 8. Creolejoe
[4:15] 9. Zydeco Zoo
[4:56] 10. Down Home, Lown Down Zydeco Blues
[4:17] 11. If Anybody Ask You

Joe Sample - Accordion; Ray Parker Jr. - Guitar & Vocals; C.J. Chenier - Vocals; Nicklas Sample - Bass & Vocals; Erica Falls - Vocals; June Yamaguchi - Guitar; Skip Nallia - Keyboards; Raymond Weber - Drums; Alex McDonald - Scrub-board & Vocals.

In 1999 Joe Sample moved back to his hometown of Houston, Texas and rediscovered the “la la music” that was so much a part of his youth. Cajun accordion, Mississippi and Texas Delta Blues, and some good old Texas two step, all conspiring to create what Joe refers to as, Creole Folk Music.

CreoleJoe Band

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Willie Nelson - American Classic

Bitrate: MP3@320K/s
Time: 45:16
Size: 103.6 MB
Styles: Pop/Country
Year: 2009
Art: Front

[4:42] 1. The Nearness Of You
[2:49] 2. Fly Me To The Moon
[3:56] 3. Come Rain Or Come Shine
[4:21] 4. If I Had You (Feat. Diana Krall)
[2:55] 5. Ain't Misbehavin'
[4:31] 6. I Miss You So
[3:23] 7. Because Of You
[3:58] 8. Baby It's Cold Outside (Feat. Norah Jones)
[4:33] 9. Angel Eyes
[2:55] 10. On The Street Where You Live
[3:40] 11. Since I Fell For You
[3:28] 12. Always On My Mind

Vocals – Diana Krall, Norah Jones, Willie Nelson; Bass – Christian McBride, Robert Hurst; Drums – Jeff Hamilton, Lewis Nash; Guitar – Anthony Wilson, Willie Nelson; Harmonica – Mickey Raphael; Piano – Diana Krall, Joe Sample, Norah Jones.

When Willie Nelson took the unexpected step of releasing Stardust in 1978, many predicted that the album of popular standards would severely derail the outlaw country singer's career. Confounding the critics, the disc became Nelson's best-selling effort, and spawned a whole subgenre of modern singers covering the classics. Nelson revisited the format with 1994's orchestral Healing Hands of Time and to varying degrees on several other records, but it wasn't until 2009's American Classic that the red-headed stranger delivered an album billed as the true follow-up to Stardust. Released on the venerable Blue Note label, the disc features guest appearances by superstar jazz singers Norah Jones and Diana Krall, but the focus is always placed squarely on Nelson's famously idiosyncratic vocals. American Classic does not feature Nelson's veteran band, but rather a core group of first-call studio jazz cats including Christian McBride on bass, Joe Sample on piano, and Lewis Nash on drums. The resultant sound is smooth, classy, and subtle -- a sonic horse of a different color from the exquisitely ramshackle earthiness that made Stardust so appealing and unusual. On tunes such as the jaunty, gently swinging "On the Street Where You Live" and "Since I Fell for You," which features longtime Nelson cohort Mickey Raphael on bluesy harmonica, Nelson sounds comfortable and in command, gliding effortlessly and soulfully over a great set of tunes played by top-notch pros. ~Pemberton Roach

American Classic

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Ernestine Anderson - Now and Then

Styles: Vocal Jazz
Year: 1993
File: MP3@224K/s
Time: 54:17
Size: 87,4 MB
Art: Front

(4:37)  1. Jazz Street
(5:20)  2. A Night In Tunisia
(5:48)  3. One Child
(5:09)  4. This Could Be Dangerous
(2:21)  5. This Can't Be Love
(5:12)  6. Wrong Number
(4:28)  7. Ain't No Easy Way
(4:51)  8. My Funny Valentine
(4:59)  9. Monte Carlo Nights
(6:41) 10. When It All Comes Down
(4:45) 11. I'll Be Seeing You

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on traditional jazz radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires (and thus didn't disturb the dispositions of those who use the radio as background) but always gave listeners an honest musical account. Anderson's career actually got rolling in the embryonic R&B field at first; as a teenager, she sang with Russell Jacquet's band in 1943, and she moved on to the Johnny Otis band from 1947 to 1949, making her first recording with Shifty Henry's orchestra in 1947 for the Black & White label. In the '50s, however, she converted over to the jazz side, working with Lionel Hampton in 1952-1953 and recording with a band featuring Jacquet, Milt Jackson, and Quincy Jones in 1953, and with Gigi Gryce in 1955. Upon hearing the latter record, Rolf Ericson booked Anderson on a three-month Scandinavian tour; while in Sweden, she made a recording called Hot Cargo that, ironically, established her reputation in America. Once back in the U.S., she signed with Mercury and made a number of albums for that label until the early '60s.  She moved to England in 1965 and remained largely invisible on the American radar until 1975, when Ray Brown heard her sing at the Turnwater Festival in Canada. Brown became her manager, and got her to appear at the 1976 Concord Jazz Festival, which led to a Concord contract that immediately bore fruit with the albums Live from Concord to London and Hello Like Before. 

These and other comeback albums made her a top-flight jazz attraction in the U.S. again  this time for the long haul and in the '80s, she was recording with the Hank Jones Trio, George Shearing, Benny Carter, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, and her own quartet. By 1992, she had attracted major-label attention once again, signing with Quincy Jones' Qwest outfit. For Koch, Anderson issued Isn't It Romantic in 1998. The live album I Love Being Here with You appeared in 2002, while 2003’s Love Makes the Changes found her signed to Highnote. The label released her album A Song for You in 2009. Anderson remained with the label for 2011's Nightlife, a live album that featured the singer in a number of small-group settings, with a guest appearance by labelmate Houston Person. Anderson passed away from natural causes on March 10, 2016 at the age of 87. ~ Richard S.Ginell  http://www.allmusic.com/artist/ernestine-anderson-mn0000200777/biography

Personnel: Ernestine Anderson (vocals); Arnold McCuller (vocals); Phil Upchurch, Ron Eschete, Paul Viapiano (guitar); Jimmy Z. (harmonica); Ernie Watts (saxophone); Lanny Morgan (alto saxophone); Oscar Brashear (trumpet); Geoff Stradling (keyboards, programming); Joe Sample, Larry Fuller (keyboards); Jim Keltner, Leon "Ndugu" Chancler (drums); Paulinho Da Costa (percussion); Terry Brooks, Petsye Powell, Petsye Powell-Huyghue, Cile Borman, Willard Pugh, Garrett Morris, Freda Morris, Pattie Brooks, Terry Wood (background vocals).

Now and Then

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The Jazz Crusaders - Lighthouse '68

Styles: Jazz, Big Band
Year: 1968
File: MP3@320K/s
Time: 73:43
Size: 169,4 MB
Art: Front

(6:55)  1. Oogo-Boo-Ga-Loo
(7:43)  2. Eleanor Rigby
(8:57)  3. Native Dancer
(7:26)  4. Never Had It So Good
(9:02)  5. The Emperor
(6:25)  6. Impressions
(6:22)  7. Cathy The Cooker
(4:03)  8. Shadows
(8:01)  9. Tough Talk
(8:45) 10. Third Principle

Lighthouse '68 is the third date the Jazz Crusaders cut at the popular California venue. Previous outings recorded here, though very fine, carried the sonic weight of a band very aware of their audience and that they were making live records. Here, they get it completely right. Feel is what dictates the material and its execution on this set, without unnecessary attention paid to crowd or recording apparatus. This is one the most intimate jazz shows captured on tape during the 1960s. It gives record buyers the sound of a band in full possession of their considerable capabilities, celebrating them in a relaxed environment, playing their own brand of grooved-out '60s jazz. What is most apparent is how seamlessly the Jazz Crusaders Wilton Felder, Stix Hooper, Joe Sample, Buster Williams, and Wayne Henderson  wove together hard bopping blues, soul-jazz, Horace Silver's funky rhythmic ideas, and gospel. One listen to the set's opener, "Oogo-Boo-Ga-Loo," with its funky strut and call-and-response chorus, brings the Sunday morning church music to the Saturday discotheque for a workout. As it cascades into "Eleanor Rigby," Sample's solo goes deeply into the blues for his inspiration and comes out with a funky panoply of cadences that are double timed and stretched out into a loping soul groove by the rhythm section before the horns bring the melody back with finger-popping assent. Sample's street-smart "Never Had It So Good" offers an elongated front line with a summer stroll through a Latin theme before erupting into deep soul. But the kicker is in Buster Williams' compositions. 

As a jazz composer, Williams was closely aligned with hard bop as it evolved. His expansive rhythms, smooth melodic lines, and tight harmonic palette offered soloists a chance to stretch his grooves further, bringing modality as first articulated by Miles Davis' mid-'60s quintet and a warm yet expressed sophistication to his tunes (check "Native Dancer" with its Latin tinge and the shimmering melodic pulse of "The Emperor," which gives way to the set's closer, a graceful, profoundly subtle, and gorgeous reading of John Coltrane's "Impressions"). In sum, this record delivers what most records only promise: it literally sings with great musicianship displayed with verve and acumen, along with a warm human feeling that amounts to joy. ~ Thom Jurek http://www.allmusic.com/album/lighthouse-68-mw0000697614

The Jazz Crusaders: Wilton Felder (tenor saxophone); Wayne Henderson (trombone); Joe Sample (piano); Buster Williams (bass); Stix Hooper (drums).

Lighthouse '68

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Jazz Crusaders - Lookin' Ahead

Styles: Jazz, Big Band

Year: 1962

File: MP3@320K/s

Time: 35:39

Size: 83,1 MB

Art: Front

(4:04)  1. Song Of India

(5:00)  2. Big Hunk Of Funk

(2:54)  3. Tonight

(3:58)  4. 507 Neyland

(3:35)  5. Till All Ends

(4:26)  6. Tortoise And The Hare

(3:24)  7. In A Dream

(4:40)  8. Sinnin' Sam

(3:37)  9. The Young Rabbits

The Jazz Crusaders' second recording is most notable for the introduction of Wayne Henderson's "The Young Rabbits," the best-known of the seven group originals which are performed on this LP along with "Song of India" and Leonard Bernstein's "Tonight." The tenor-trombone frontline created by Wilton Felder and Henderson, along with the funky yet swinging playing of pianist Joe Sample, drummer Stix Hooper and bassist Jimmy Bond on this hard-to-find set made the group instantly recognizable and surprisingly popular from the start.~ Scott Yanow http://www.allmusic.com/album/lookin-ahead-mw0000891016

Personnel: Jimmy Bond (Bass); Sticks Hooper (Drums); Joe Sample (Piano); Wilton Felder (Tenor Saxophone); Wayne Henderson (Trombone).

Lookin'Ahead

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The Jazz Crusaders - The Thing

Styles: Jazz, Big Band

Year: 1965

File: MP3@320K/s

Time: 35:23

Size: 81,6 MB

Art: Front

(4:41)  1. The Thing

(5:12)  2. Sunset In The Mountains

(3:35)  3. While The City Sleeps

(4:51)  4. White Cobra

(4:43)  5. New Time Shuffle

(6:38)  6. Para Mi Espoza

(5:41)  7. Soul Kosher

The Crusaders are an American music group popular in the early 1970s known for their amalgamated jazz, pop, and soul sound. Since 1961, more than forty albums have been credited to the group (some live and compilations), 19 of which were recorded under the name "The Jazz Crusaders" (1961–1970). https://www.amazon.com/JAZZ-CRUSADERS-THING/dp/B00C76FSIE

Personnel:  Wayne Henderson – trombone;  Wilton Felder - tenor saxophone;  Joe Sample – piano;  Monk Montgomery - electric bass (tracks 2, 3, 6 & 7);  Victor Gaskin - bass (tracks 1, 4 & 5);  Stix Hooper - drums

The Thing

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Blue Mitchell - Blue's Blues (Feat. John Mayall)

Bitrate: MP3@320K/s
Time: 55:25
Size: 126.9 MB
Styles: Bop, Trumpet jazz
Year: 1974/1991
Art: Front

[ 8:22] 1. Casa Blues
[ 7:31] 2. Just Mad Up
[ 7:03] 3. Blue's Blue
[ 9:55] 4. Granite And Concrete
[10:07] 5. I Didn't Ask To Be
[12:24] 6. Valerie

At the time that this Mainstream LP was recorded, Blue Mitchell was the featured trumpeter with John Mayall's blues group. Mayall returned the favor for Blue's set, playing harmonica with an electric octet headed by Mitchell. Among the sidemen are Herman Riley (on tenor and flute), keyboardist Joe Sample and guitarist Freddy Robinson. The material (all obscure originals) is primarily blues-oriented, and the music overall is listenable and funky, but not particularly memorable. Just an average date from these fine musicians. ~Scott Yanow

Blue's Blues (Feat. John Mayall)

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