Carlos Santana & Wayne Shorter - Live at the Montreux Jazz Festival Disc, Disc 2

Album: Live at the Montreux Jazz Festival Disc 1
Styles: Guitar And Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 56:11
Size: 129,4 MB
Art: Front

(1:55) 1. Spiritual
(9:06) 2. Peraza
(8:20) 3. Shhh...
(9:21) 4. Incident at Neshabur
(8:29) 5. Elegant People
(4:20) 6. Percussion Solo
(4:42) 7. Goodness and Mercy
(9:55) 8. Sanctuary

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Album: Live at the Montreux Jazz Festival Disc 2
Time: 68:09
Size: 157,0 MB

(8:43) 1. For Those Who Chant
(5:23) 2. Blues for Salvador
(6:26) 3. Fireball 2000
(5:10) 4. Drum Solo
(8:28) 5. Ballroom in the Sky
(7:20) 6. Once it's Gotcha
(8:23) 7. Mandela
(8:44) 8. Deeper, Dig Deeper
(6:13) 9. Europa
(3:15) 10. Interviews With Carlos Santana, Wayne Shorter & Claude Nobs

It began almost as a lark when Carlos Santana encountered his longtime friend and hero Wayne Shorter on the concert trail in Atlanta, GA, in 1987. Carlos said, "Let's start a rumor that we're putting a band together."Wayne's eyes got bigger and brighter as he smiled and then responded: "Yeah, Carlos, let's start a rumor."

A few months later the Carlos Santana/Wayne Shorter Band performed its debut concert at The Fillmore in San Francisco, the beginning of a 26-concert tour throughout the U.S. and Europe. The performance of this magnificent band was recorded at Montreux, Switzerland, on July 14, 1988, and includes interviews with Carlos Santana, Wayne Shorter and festival creator Claude Nobs. By Editorial Reviews
https://www.amazon.com/Live-1988-Montreux-Jazz-Festival/dp/B000MRA6R8

Musicians: Carlos Santana - guitar / Wayne Shorter - saxophone / Chester Thompson - keyboards / Patrice Rushen - keyboards / Alphonso Johnson - bass / Armando Peraza - congas / Jose Chepito Areas - timbales / Leon "Ndugu" Chancler - drums

Live at the Montreux Jazz Festival

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Gerry Gibbs Thrasher Dream Trios - Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

Album: Songs From My Father: The Music Of Terry Gibbs Disc 1
Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 48:11
Size: 110,5 MB
Art: Front

(5:05) 1. Kick Those Feet
(5:07) 2. Smoke em Up
(4:04) 3. Bopstacle Course
(4:19) 4. Nutty Notes
(4:13) 5. Take It from Me
(7:54) 6. Sweet Young Song of Love
(5:03) 7. The Fat Man
(6:54) 8. Lonely Days
(5:27) 9. Hey Chick

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Album: Songs From My Father: The Music Of Terry Gibbs Disc 2
Time: 48:34
Size: 111,5 MB

(5:06) 1. Townhouse 3
(5:43) 2. T & S
(3:25) 3. 4 AM
(3:28) 4. Waltz For My Children
(4:35) 5. Hippie Twist
(5:53) 6. Lonely Dreams
(4:56) 7. For Keeps
(5:05) 8. Pretty Blue Eyes
(4:21) 9. Gibberish
(5:57) 10. Tango For Terry

Songs from My Father. What a marvelous idea! and not simply for the sentiment. Drummer Gerry Gibbs' father happens to be Hall of Fame vibraphonist (and sometime song writer) Terry Gibbs, who is still on the scene at ninety-seven (and, in fact, making a guest appearance on the first disc of this superlative two-CD set). Eighteen of the elder Gibbs' songs, written between 1949 and 1985 (and one more, "Tango for Terry," by the late Chick Corea) are performed by four of his son's well-chosen (and well-named) Thrasher Dream Trios, whose members include pianists Kenny Barron, Patrice Rushen, Geoff Keezer, Corea (the last recorded appearance before his passing in February 2021), organist Larry Goldings and bassists Ron Carter, Buster Williams and Christian McBride most, if not all, of whom will one day earn the same Hall of Fame status accorded Terry Gibbs.

As the elder Gibbs came of age in the bop era—gigging with a Who's Who of jazz luminaries including Woody Herman, Buddy Rich, Benny Goodman, Chubby Jackson, Mel Torme and Louie Bellson, and later leading his Los Angeles-based Dream Band most of his engaging themes can trace their roots to bop, and the trios take to them like ducks to water. The line-ups are traditional piano-bass-drums save for Dream Trio 3, on which Goldings' Hammond B3 organ complements Gibbs and pianist Rushen. Their appearances are close to evenly divided, with Trios 1 and 2 performing on four tracks each, Trios 3 and 4 on five apiece, and everyone (plus Terry Gibbs, whose extended vibes solo is as sharp and resourceful as ever) having an absolute blast on "Hey Chick," which closes the first disc. The title is no doubt coincidental, as the tune was written in 1961 when Corea was a mere twenty years old.

"Hey Chick" follows "Lonely Days," the nearest pretense to a ballad on the first disc. The same holds true for the most part on the second disc, as swinging is what Terry Gibbs was (and is) about. Trio 3 comes out blazing on the disc's sunny, samba-like opener, "Townhouse," wherein Goldings adds color with some bird-like special effects, as does Trio 2 on the lively "T&S," as Barron crafts a stunning solo while Gibbs and Williams lend rhythmic backbone. Gibbs, Keezer and McBride keep the fire burning on "4 AM," as they do on "For Keeps" and "Gibberish." "Waltz for My Children" (Trio 1), the disc's lone serenade, showcases Corea in typically masterful form. The first seven tracks on the first disc from "Kick Those Feet" (1964) to "The Fat Man" (1958) are exemplary, as are the others on the second disc, from the dynamic "Hippie Twist" to the well-grooved "For Keeps," and especially the melodious "Pretty Blue Eyes." While none has entered the rarefied pantheon of jazz standards, several could and even should be gauged by that barometer. At the very least, they should be played more often; they are that good. And so, it goes without saying, are the trios Gerry Gibbs has assembled to give them life. Songs from My Father is more than a marvelous idea; it is a musical treat from end to end, and a well-deserved show of appreciation from son to father for the guidance and wisdom that have assuredly helped shape his impressive career. By Jack Bowers https://www.allaboutjazz.com/songs-from-my-father-gerry-gibbs-thrasher-dream-trios-whaling-city-sound

Personnel: Gerry Gibbs: drums; Chick Corea: piano; Kenny Barron: piano; Patrice Rushen: keyboards; Geoffrey Keezer: keyboards; Larry Goldings: organ, Hammond B3; Ron Carter: bass; Buster Williams: bass; Christian McBride: bass; Terry Gibbs: vibraphone.

Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

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Lee Ritenour - The Captain's Journey

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 38:37
Size: 89,3 MB
Art: Front

(8:02)  1. The Captain's Journey
(5:53)  2. Morning Glory
(5:05)  3. Sugarloaf Express
(4:53)  4. Matchmakers
(5:27)  5. What Do You Want
(5:24)  6. That's Enough For Me
(3:49)  7. Etude

Guitarist Lee Ritenour had just switched from Epic to Elektra when he cut Captain's Journey in 1978. It was a followup to the successful crossover work Captain Fingers and used a similar strategy: tight, hook-laden arrangements, polished production, and minimal solo space. What individual things it has are dominated by Ritenour, a supremely talented guitarist who doesn't display that much of it with these arrangements. ~ Ron Wynn https://www.allmusic.com/album/the-captains-journey-mw0000120708

Personnel: Lee Ritenour – guitar, guitar synthesizer, rhythm arrangement; Dave Grusin – synthesizer , Minimoog, Rhodes piano , electric grand piano, piano; Ernie Watts – tenor and soprano saxophone; Ray Beckstein – flute, Eddie Daniels – flute Dave Valentin – flute David Foster – Rhodes piano, piano; Don Grusin – piano; Patrice Rushen – Rhodes piano , electric grand piano; Ian Underwood – synthesizer; Jay Graydon – guitar; Mitch Holder – guitar; Anthony Jackson – bass guitar Abraham Laboriel – bass guitar; Steve Gadd – drums; Alex Acuña – drums, percussion; Paulinho da Costa – percussion; Sue Evans – percussion; Steve Forman – percussion; Larry Rosen – percussion; Steve Thornton – percussion Patti Austin – vocals; Bill Champlin – vocals, vocal arrangement; Venette Gloud – backing vocal; Carmen Twillie – backing vocals; David Nadien – strings; Ed Walsh – programming

The Captain's Journey

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Gerald Albright, Will Downing - Pleasures Of The Night

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 51:56
Size: 120,1 MB
Art: Front

(5:38)  1. Pleasures Of The Night
(7:19)  2. The Nearness Of You
(3:41)  3. Stop, Look, Listen To Your Heart
(3:01)  4. Michelle
(4:45)  5. Like A Lover
(5:17)  6. The Look Of Love
(5:23)  7. Here's That Rainy Day
(5:41)  8. Back To The Roots
(7:01)  9. We'll Be Together Again
(4:03) 10. Girl Blue

Although saxophonist Gerald Albright gets co-billing on this CD and two of the ten selections are instrumentals, this is very much a Will Downing vocal set. The emphasis is on romantic ballads; in addition to some newer material, it includes some older songs like "The Nearness of You," the Beatles' "Michelle," "The Look of Love," and "We'll Be Together Again." Downing has long had a strong, warm, and deep voice, and this type of outing is perfect for him. 

The performances, although touched a little by jazz, are really a soulful blend of middle-of-the-road pop music. The co-leaders are joined by a variety of top rhythm section players, including pianists John Beasley, Bobby Lyle, Patrice Rushen, and Ronnie Foster. This CD serves as an excellent showcase for Will Downing's voice. ~ Scott Yanow https://www.allmusic.com/album/pleasures-of-the-night-mw0000600709

Personnel:  Saxophone – Gerald Albright; Vocals – Will Downing; Acoustic Bass – Kenny Wild, Tony Dumas; Bass – Abraham Laboriel, Jimmy Haslip; Drums – Harvey Mason, John Robinson, Land Richards, Marvin Smith; Guitar – Paul Jackson Jr.; Keyboards – Dave Delhomme, Ronnie Foster; Percussion – Luis Conte; Piano – Bobby Lyle, John Beasly, Patrice Rushen

Pleasures Of The Night

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Joe Williams - Feel the Spirit

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

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

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

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

Feel the Spirit

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Patrice Rushen - Watch Out!

Styles: Vocal, R&B
Year: 1986
File: MP3@320K/s
Time: 75:18
Size: 173,0 MB
Art: Front

(5:28)  1. Watch Out!
(4:57)  2. Breakin' All The Rules
(4:56)  3. Long Time Coming
(4:53)  4. All My Love
(5:07)  5. Somewhere
(5:07)  6. Anything Can Happen
(5:05)  7. Burnin'
(4:12)  8. Till She's Out Of Your Mind
(5:56)  9. Come Back To Me
(5:06) 10. Tender Lovin'
(5:58) 11. Anything Can Happen
(6:29) 12. Come Back To Me (Extended Remix)
(5:34) 13. Come Back To Me (Acapella Mix)
(6:23) 14. Watch Out! (Extended Remix)

Patrice Rushen's Watch Out was the singer/songwriter/producer's sole Arista album. The playful, upbeat title track single was a Top Ten R&B hit. The production duo of Jerry Knight and Aaron Zigman (the Jets, Natalie Cole's Everlasting) contributes the crystalline ballad "Somewhere," which was a popular radio-aired LP track, and the peppy, charting follow-up single "Anything Can Happen." Other tracks to watch out for are the cute, mid-tempo "All My Love"; the tasty slow jam "Till She's out of Your Mind"; the tumbling, funky third single "Come Back to Me"; and the rollicking "Tender Lovin'."~ Ed Hogan https://www.allmusic.com/album/watch-out%21-mw0000195595

Watch Out!

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Patrice Rushen - Anything But Ordinary

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 54:00
Size: 124,7 MB
Art: Front

(6:28)  1. I Do
(4:47)  2. Tell Me
(5:34)  3. Whatcha Gonna Do
(4:19)  4. I Only Think Of You
(5:24)  5. My Heart, Your Heart
(5:59)  6. Anything But Ordinary
(4:57)  7. Top Of The Line
(5:44)  8. State Of Mind
(5:11)  9. Caravan
(5:34) 10. Be With You

In the late 1970s and early to mid-'80s, Patrice Rushen was red hot. Anyone who was seriously into R&B at the time remembers hits like "Haven't You Heard," "Forget-Me-Nots" and "Never Gonna Give You Up." But by the end of the 1980s, the jazz pianist turned R&B singer was in trouble commercially. Switching from Elektra to Arista with 1987's Watch Out! proved to be a mistake, and it wasn't until 1994's Anything But Ordinary on the small Sin-Drome label that Rushen recorded again under her own name. Though this CD isn't in a class with Pizzazz or Posh, sleek R&B/pop tunes like "I Do," "My Heart, Your Heart" and "Tell Me" showed that the L.A. native could still hold her own as a singer, composer and producer. Rushen experiments with hip-hop influences on a few selections, but on the whole, the disc is quite similar to her Elektra output. While Anything didn't return Rushen to the top of the R&B charts, her more devoted fans were glad to see her back in the studio.~ Alex Henderson https://www.allmusic.com/album/anything-but-ordinary-mw0000122797

Anything But Ordinary

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Jean-Luc Ponty - Aurora

Styles: Violin Jazz
Year: 1976
File: MP3@320K/s
Time: 38:40
Size: 89,8 MB
Art: Front

(5:04)  1. Is Once Enough?
(5:54)  2. Renaissance
(2:50)  3. Aurora Part I
(6:20)  4. Aurora Part II
(4:23)  5. Passenger Of The Dark
(5:32)  6. Lost Forest
(6:04)  7. Between You And Me
(2:29)  8. Waking Dream

Aurora is full of state-of-the-art (for 1975) high-powered fusion that differs surprisingly little from the music that Jean-Luc Ponty has played throughout the '80s and '90s. The violinist's quintet (which includes guitarist Darryl Stuermer, keyboardist Patrice Rushen, bassist Tom Fowler, and drummer Norman Fearrington) displays impeccable musicianship and lots of energy. The group was often so tight that the violin, keyboards, guitar, and (to a lesser extent) the electric bass had similar tones, sometimes making it difficult to tell who was soloing at a particular moment. Listeners open to the sound of electronics and funky grooves should be very impressed by the spirited music which combines the adventure of jazz with the sound of rock.~ Scott Yanow https://www.allmusic.com/album/aurora-mw0000309174

Personnel:  Jean-Luc Ponty – violin, autoharp, keyboards, violectra;  Daryl Stuermer – electric and acoustic guitars;  Patrice Rushen – synthesizer, piano, keyboards;  Tom Fowler – electric bass;  Norman Fearrington – drums, percussion

Aurora

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Eddie Henderson - Heritage

Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 38:44
Size: 90,3 MB
Art: Front

(4:52)  1. Inside You
(3:44)  2. Acuphuncture
(5:19)  3. Time and Space
(4:12)  4. Nostalgia
(6:08)  5. Kudu
(7:33)  6. Dr. Mganga
(6:55)  7. Dark Shadows

For 1973's dynamite Realization and Inside Out, trumpeter Eddie Henderson reassembled most of the legendary Herbie Hancock sextet he'd been part of. In 1975 after leaving Capricorn for Blue Note, he kept elements of that group together for Sunburst, his label debut, with some major changes: George Duke played keyboards in place of Hancock; bassist Paul Jackson was replaced by Alphonso Johnson, and drummer Mike Clarke with Billy Hart. It resulted in a funkier experimental outing that tightened up the tunes a bit, but left plenty of blowing room for himself, reedman Bennie Maupin, and trombonist Julian Priester. The set sold well commercially, but many jazz critics derided it because of its perceived "commercial" overtones. Released in 1976, Heritage was greeted with even more ambivalence, but has since come to be regarded with Sunburst as one of the great recordings of Henderson's career by an entirely new generation who hold funky rhythms and electronics in high esteem. Henderson brought back Priester, and Jackson and Clarke returned to the rhythm section (Hart played on the album's final cut, "Dark Shadow"). Filling out the band were a young Patrice Rushenon keyboards, saxophonist, flutist, and clarinetist Hadley Caliman in place of Maupin, and percussionist James Mtume from the Miles Davis group. Henderson emulates the spacier edges of Davis' electric period in his own playing. Long lines of few notes are accompanied by hypnotic basslines and multi-layered polyrhythmic percussion on "Time and Space." On "Acuphuncture," Rushen's wah-wah keyboards, Jackson's driven bassline, and Clarke's rimshots and breakbeats introduce a lilting pair of lines from Caliman's flute and Henderson's trumpet, but within a minute, the tune cracks open into a driving, hard funk jam with Henderson laying down some short, choppy post-bop lines on his horn. Things become even darker and funkier on "Kudu," where Jackson's bassline is at the top of the mix. 

It's furious as it pops against Mtume's roiling congas in direct assaultive counterpoint to Clarke's kit work. Rushen creates fat, choppy chords and vamps for Henderson, Priester, and Caliman to solo over. It's tighter than Miles' electric material, but less spacy. Priester's trombone feels like a futuristic version of one on the front line in the J.B.'s. "Mganga" has a less pronounced set of lyric imagery, and offers the best explanation for some punters' trouble with the set: the abstraction (and absence) of a true front line sense of lyric in favor of angular, articulate countermelodies played by individual horns that move toward the rhythms almost in opposition, rather than play above them. The beautiful Star Trek futurism of the brass over Rushen's crazy solo also rocks. Caliman's bass clarinet tone is all but indistinguishable from Maupin's on "Dark Shadow" except for its economy. (He plays a continuous seven-note vamp through the entire tune.) The loopy, mournful wah-wah trumpet overdubs are a contrapuntal melody to that, but the drums begin to shake loose during Priester's future blues solo. The cut explodes at about the four-minute mark via Henderson's solo before deconstructing all but the vamps toward its close. Heritage is a wonderful set, and should be revisited by anyone who either missed or was put off by it initially. For the new generation of jazz and funk heads, this one is right up your alley these are some dark, freaky, and delicious grooves that bear further investigation. Heritagewas re-released on CD in 2008 as part of the Blue Note Rare Groove Series.~ Thom Jurek https://www.allmusic.com/album/heritage-mw0000791530

Personnel: Eddie Henderson (trumpet, flugelhorn, horns); Julian Priester (alto, tenor, tamboura, trombone, alto trombone, tenor trombone, bass trombone); Hadley Caliman (flute, clarinet, bass clarinet, soprano saxophone); Patrice Rushen (clarinet, electric piano, Clavinet, clavichord, synthesizer); James Mtume (piano, congas, percussion); Paul Jackson (electric bass); Mike Clarke , Woody Theus, Mike Clark , Billy Hart (drums).

Heritage

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Stanley Clarke, Patrice Rushen, Ndugu Chanclar - Standards

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Fusion, Contemporary jazz
Year: 2007
Art: Front

[7:30] 1. Lover Man
[6:52] 2. Mack The Knife
[5:41] 3. Salt Peanuts
[5:51] 4. I Mean You
[6:28] 5. Now's The Time
[5:59] 6. Take Five
[4:51] 7. Jeru
[3:49] 8. Manteca
[6:07] 9. Oleo
[5:41] 10. Perdido

Patrice Rushen - piano; Stanley Clarke - upright bass; Ndugu Chancler - drums.

Bassist Stanley Clarke, one who has always made easy transitions between musical styles, focuses exclusively on standards for this 2001 session, accompanied by pianist Patrice Rushen and drummer Ndugu Chancler, recorded directly to two-track without overdubs or editing. Clarke is generous in sharing the spotlight, giving plenty of space to his fellow musicians. One of the obvious highlights is the brisk bossa nova setting of "Lover Man," which removes any of the plaintive message of its unheard lyrics. A rather avant-garde introduction disguises the introduction to a turbulent rendition of "Oleo." The explosive rendition of "Salt Peanuts" detours into a post-bop setting far from its roots, while the overly tense introduction to "Now's the Time" comes off as a bit pretentious. "Take Five" opens with a dark Latin vamp before its familiar theme emerges, showcasing Chancler but never sufficiently gaining momentum. A bonus DVD includes interview excerpts with the musicians during the session, along with some of the performances. This is a good CD that might have been even better with a day or two of rehearsal together. ~Ken Dryden

Standards

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