Patrick Williams - Home Suite Home

Bitrate: MP3@320K/s
Time: 50:37
Size: 115.9 MB
Styles: Big band swing
Year: 2015
Art: Front

[ 3:20] 1. 52nd & Broadway
[ 6:06] 2. Home Suite Home I. Elizabeth (The Beautiful Scientist)
[ 7:49] 3. Home Suite Home Ii. Greer (The Dreamer)
[ 7:47] 4. Home Suite Home Iii. Patrick B. (The Real Deal)
[ 4:33] 5. A Hefti Dose Of Basie (To The Memory Of Neal Hefti)
[ 3:47] 6. I've Been Around
[10:20] 7. Blue Mist (For Catherine)
[ 6:51] 8. That's Rich (For Buddy)

Patrick Williams: conductor; Dave Grusin: piano; Chuck Berghofer: bass; Peter Erskine: drums; Dean Parks: guitar; Dan Higgins: alto saxophone; Jeff Driskill: alto saxophone; Bob Sheppard: tenor saxophone; Tom Scott: tenor saxophone; Gene Cipriano: baritone saxophone; Wayne Bergeron: trumpet; Dan Fornero: trumpet; Bob Summers: trumpet; Michael Stever: trumpet; Arturo Sandoval: trumpet; Charlie Loper: trombone; Andy Martin: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Dan Grecco: percussion; Patti Austin: vocals (1); Frank Sinatra Jr.: vocals (6); Tierney Sutton: vocals (6).

Composer, arranger and band leader Patrick Williams leads some of the finest jazz musicians in L.A. on another exciting portrait of big band swing on Home Suite Home, an album that's far more personal than all of his previous works. Documenting a personal homage to his family and his first musical love, Williams pays tribute to his children and wife stating "I tried to capture the essence of the personality of my wife and three children in musical terms...""is truly a labor of love." In addition to the all-star list of players on his band, Williams augments the group with vocalist's Patti Austin, Tierney Sutton and Frank Sinatra, Jr. gracing the stage with the likes of pianist Dave Grusin, trumpeter Arturo Sandoval, drummer Peter Erskine and long-time associate, saxophonist Tom Scott as special guests adding the final ingredients to his most ambitious and masterful musical project to date.

A prolific composer, the band leader offers eight original tunes leading off with "52nd & Broadway" featuring vocalist Austin fronting a full-on swinging orchestra. The tribute to his children is the center-piece of the disc and incorporated in the three-part suite beginning with his first homage, this time for daughter Elizabeth on "Home Suite Home I. Elizabeth (The Beautiful Scientist)" featuring sparkling solos from tenor men Scott and Bob Sheppard. "Home Suite Home II. Greer (The Dreamer)" is a far more subdued and humble piece of music highlighted by the sweet solos from Dan Higgins. The last homage, "Home Suite Home III. Patrick B. (The Real Deal) features a robust ensemble and showcases the chops of drummer Erskine, saxophonist Scott and trumpeter Michael Stever.

Williams pens the most ambitious track for his wife of 54 years dedicating "Blue Mist (For Catherine)" where trumpeter of note Sandoval leads the band on a delicate lush and introspective soft ballad conveying a warm message of love. One of the non-tribute pieces of the set that stands out here is, the swinging orchestral piece "I've Been Around" featuring a smart duet between vocalists Frank Sinatra Jr. and Tierney Sutton.

Aside from dedications to his family, Williams also includes a tip of the hat to trumpeter/composer and arranger Neal Hefti on "A Hefti Dose of Basie (To The Memory of Neal Hefti)" as the band dose a marvelous impersonation of the Basie orchestra featuring the stylish horn of trumpeter Stever taking the honors on lead. The last non-family tribute is a big band swinging chart entitled "That's Rich (For Buddy)" with various members of the band on solo excursions including drummer Erskine doing his best impersonation of the late great drummer Buddy Rich. When all is done, Patrick Williams' Home Suite Home, is far more than a tribute to family, friends and the music he loves, it's a tasteful creatively-designed flavor of big band swing performed with gusto that hits home. ~Edward Blanco

Home Suite Home

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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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Various Artists - Ella 100 - Live at the Apollo!

Styles: Jazz, Vocal
Year: 2020
File: MP3@320K/s
Time: 74:43
Size: 172,6 MB
Art: Front

 1. David Alan Grier/Ayo - Vintage 1934 “Apollo Amateur Night” Radio Broadcast / Judy (3:58)
 2. David Alan Grier - Ella 100 Co-Host David Alan Grier Opening (1:50)
 3. Patti Austin/Count Basie Orchestra - A-Tisket, A-Tasket (3:13)
 4. Patti Austin/Count Basie Orchestra - When I Get Low I Get High (3:33)
 5. David Alan Grier/Count Basie Orchestra - Do Nothin’ Till You Hear From Me (4:16)
 6. Lizz Wright/The Ella 100 All-Star Quartet - Love You Madly (4:37)
 7. Lizz Wright/The Ella 100 All-Star Quartet - The Nearness Of You (6:40)
 8. Ayo/Afro Blue - Oh, Lady Be Good (4:26)
 9. Patti Austin/Afro Blue/Count Basie Orchestra - How High The Moon (4:54)
10. Count Basie Orchestra - Back To The Apollo! (Apple) (5:45)
11. Patti Austin/David Alan Grier/Count Basie Orchestra - I Loves You, Porgy / There’s a Boat Dat’s Leavin’ Soon for New York - Medley (6:31)
12. Cassandra Wilson/Count Basie Orchestra - Cry Me A River (5:35)
13. Ledisi/Count Basie Orchestra - Honeysuckle Rose (3:38)
14. Monica Mancini/Brian Nova - Once In A While (5:51)
15. Patti Austin/David Alan Grier/Count Basie Orchestra - You’ll Have To Swing It (Mr. Paganini) / Paganini Bows Reprise (6:12)
16. Ella Fitzgerald - People (3:36)

To be taken back in time within the scope of a period piece movie has long been a staple. Some journeys feel much more real than others, but the concept is commonplace. Venturing into the past with only the audio of a CD or record is, as they might have said back in 1934, "a whole different kettle of fish." A live audience first laid eyes and ears on this 100th birthday celebration honoring the sensational Ella Fitzgerald (born on April 25th, 1917), live at the Apollo in 2017. It took a host of talent to do justice to one seventeen-year old singer in this project recreating the night of November 21, 1934, when the teenage Fitzgerald made her debut at the Apollo Theater in Harlem. With only voice and musical instruments to channel us back to 1934, emcee David Alan Grier accurately took us there. The feel of an old-time radio show was present. Fittingly, seventeen-year old Ayodele Owalabe started the show with "Judy," the same tune another seventeen-year old had sung performing on that same stage in 1934, launching her prolific career.

It just wouldn't have been right to not have The Count Basie Orchestra perform with the many singers who proceeded to hit the stage one after another. The orchestra was in full swing and later tore the house down with an all instrumental take on "Back to the Apollo." Prior to that, Patti Austin stole the show early, finding her inner child Ella and playfully scatting through the classic "A Tisket-A Tasket." Impressively changing gears on a dime, Austin then took "When I Get Low I Get High" on a sultry road which had the crowd buzzing. Keeping your mind in 1934 may be a challenge sometimes due to some rough editing which keeps pulling you back to reality. However, the show itself didn't skip a beat with Andra Day's feisty take on "Ain't Misbehavin.'" David Alan Grier proved to be well more than an emcee with a riveting version of "Do Nothin' Till You Hear from Me." Moving right along, the incomparable Lizz Wright took her "wrightful" place center stage, along with the Ella 100 All Star Quartet featuring guitarist Brian Nova, bassist Nathan East, pianist Shelly Berg and, far from last and least, drummer Gregg Field. The quartet leader, Field, most notably played with Fitzgerald "back in the day." While the quartet changed the mood from the big sound of the orchestra and played superbly, it was Wright who smoldered into "Love You Madly" and, like butter, slid into a heartfelt "The Nearness of You." Wright seemed to take the audience's breath away.

A fun spin on "Oh, Lady Be Good" by Afro Blue had elements of The The Modernaires. The Count Basie Orchestra and Austin returned to the stage to join Afro Blue in a kicked-up look at "How High is the Moon." After a brief repartee which clarified that Grier was as unfunny in 1934 as he is in the present, he again stunned in a magnificent duet with Austin of "I Loves You Porgy." Cassandra Wilson's delightful bend on "Cry Me A River" followed. Next up, Ledisi took a run on "Honeysuckle Rose." With due respect, the show lost a little steam at this point. Neither Ledisi's voice nor scatting sensibilities were on a par with her predecessors. Not that she isn't a fine singer, perhaps just not the best choice to be singing Ella Fitzgerald tunes. Monica Mancini yes Henry Mancini's daughter then sang "Once in A While" joined by Brian Nova's fine Joe Pass interpretation on guitar. Grier and Austin returned for a finale that was Broadwayesque, as opposed to the big band power push one might expect in honoring a jazz singer. Not to mention the fact that The Count Basie Orchestra was in the house. There are certainly way more hits than misses and a couple of the hits were home runs or triples. An enjoyable listening experience was enhanced when the record closed with a live recording of "People" sung in all its glory by the legend herself. With just one song you clearly hear and understand why Ella Fitzgerald is heralded as the "The First Lady of Song."~ Jim Worsley https://www.allaboutjazz.com/ella-100-live-at-the-apollo-various-artists-concord-jazz

Personnel:  The Count Basie Orchestra: band/orchestra; David Alan Grier: voice / vocals; Patti Austin: voice / vocals; Monica Mancini: voice / vocals; Cassandra Wilson: voice / vocals; Ledisi: voice / vocals; Ella Fitzgerald: voice / vocals; Afro Blue : voice / vocals; Lizz Wright: voice / vocals; Andra Day: voice / vocals; Brian Nova: guitar; Gregg Field: drums; Nathan East: bass; Shelly Berg: piano.

Ella 100: Live at the Apollo!

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Dave Valentin - Land of the Third Eye

Styles: Jazz Funk
Year: 1980
File: MP3@320K/s
Time: 44:21
Size: 102,5 MB
Art: Front

(4:38)  1. Sidra's Dream
(5:44)  2. Astro-March
(5:04)  3. Open Your Eyes
(4:26)  4. Fantasy
(6:56)  5. Land of the Third Eye
(6:27)  6. The Tellers
(6:56)  7. Pana Fuerte (Strong Friendship)
(4:05)  8. Sidra's Dream - Single Version

A fantastic funky album from flute man Dave Valentin done right after his time on the New York Latin underground, including some work with Ricardo Marrerro and in that lean, sharp sound of the early years of the GRP label! The vibe here is more CTI than the smoother later sound of the imprint and the arrangements have plenty of space for Dave's flute to soar out in Bobbi Humphrey-like solos amidst larger charts from Dave Grusin, Dennis Ball, and Valentin himself. Grusin also plays a fair bit of keyboards on the record, Marcus Miller plays bass, and one track features sweet guest vocals from Luther Vandross and Patti Austin. Titles include "Open Your Eyes", "Fantasy", "Astro March", "Land Of The Third Eye", and "Sidra's Dream". CD features a bonus 7" mix of "Sidra's Dream".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/863731/Dave-Valentin:Land-Of-The-Third-Eye-with-bonus-track

Personnel:  Arranged By – Dave Grusin, Dave Valentin, Dennis Bell, Michael Viñas; Bass – Lincoln Goines, Marcus Miller; Chorus – Jeff Norell, Luther Vandross, Patti Austin; Congas – Rafael de Jesus, Roger Squitero; Drums – Buddy Williams, Tito Marrero; Guitar – Jeff Mironov, Michael Viñas; Piano – Dave Grusin, Jorge Dalto, Oscar Hernandez

Land of the Third Eye

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David Sanborn - Voyeur

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 29:47
Size: 69,3 MB
Art: Front

(4:37)  1. Let's Just Say Goodbye
(5:11)  2. It's You
(5:41)  3. Wake Me When It's Over
(3:41)  4. One in a Million
(3:14)  5. Run for Cover
(5:47)  6. All I Need Is You
(1:34)  7. Just for You

This 1980 recording is an excellent example of David Sanborn's music. The highly influential altoist is joined by familiar studio veterans (including guitarist Hiram Bullock and drummer Steve Gadd) with bassist/composer Marcus Miller being a key figure in creating the funky rhythms and colorful backgrounds. Miller, who shared the writing chores with Sanborn, not only contributed his powerful bass, but backed the altoist during a duet version of "Just for You" on piano. Easily recommended to fans of R&B-ish jazz. ~ Scott Yanow https://www.allmusic.com/album/voyeur-mw0000188718

Personnel:  David Sanborn – alto saxophone, saxello;  Marcus Miller – bass, Moog bass, guitar, Fender Rhodes, Prophet Synthesizer, piano, bells;  Hiram Bullock – electric guitar, percussion;  Steve Gadd – drums;  Lenny Castro, Ralph MacDonald – percussion;  Buzzy Feiten – electric and acoustic guitar;  Buddy Williams – drums;  Tom Scott – flute, tenor saxophone;  Michael Colina – OBX & Prophet synthesizers;  Ray Bardani - gong;  Valerie Simpson, Patti Austin, Kacey Cisyk, Lani Groves - backing vocals;  Lani Groves, Diva Gray, Gordon Grody, Hamish Stuart - backing vocals.

Voyeur

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Clint Holmes - Rendezvous

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:35
Size: 118,5 MB
Art: Front

(5:21)  1. Stop This Train
(6:56)  2. At The Rendezvous
(4:49)  3. I Loves You Porgy/There's A Boat That's Leavin' Soon For New York
(4:31)  4. Every Time We Say Goodbye
(5:28)  5. All Of Me
(3:38)  6. Say Something
(4:27)  7. Maria
(3:33)  8. The Perfect Trance
(4:06)  9. Marie
(5:18) 10. My Way
(3:21) 11. What You Leave Behind

Clint Holmes’ original charge was simply to make a great album. But the underlying objective, sometimes mentioned just slyly, was to make it great enough to be nominated for a Grammy.With “Rendezvous,” Holmes not only met, but exceeded those goals.The latest release from the popular Vegas showman and interpreter of songs has been nominated for a pair of Grammy Awards, as the field was announced Tuesday morning. Two songs from “Rendezvous” are on the list of nominees for Best Arrangement, Instruments and Vocals: “Every Time We Say Goodbye,” his duet with jazz great Jane Monheit; and “I Loves You Porgy/There’s A Boat That’s Leavin’ Soon For New York” from “Porgy and Bess,” which Holmes recorded with another acclaimed jazz vocalist, Dee Dee Bridgewater. The arranger on “Every Time We Say Goodbye,” Jorge Calandrelli, is a six-time Grammy winner known for his work on “The Color Purple.” Holmes, producer Gregg Field, master pianist and composer Shelly Berg, and pianist/sax man/composer Gordon Goodwin teamed for the arrangement on “Porgy and Bess.” Field himself has won three Grammys in his five nominations, and as a topnotch drummer also toured with the Count Basie Orchestra in the early 1980s and the Basie Orchestra backed Holmes on “Rendezvous.” 

“This is an incredible feeling and a real achievement for everyone who made the album happen,” Holmes said Tuesday morning. “As you know, this was a long process, and receiving a Grammy nomination is something we really did want, even if we felt we didn’t want to jinx our chances by talking about it.” “Rendezvous” was recorded and mixed over a 2 ½-year period at Capitol Records. The album was largely a jazz project, especially with the contributions from Monheit, Bridgewater and sax master Dave Koz (who wrote the music to Holmes’ “What You Leave Behind”). But there is a significant pop feel to “Rendezvous,” too, which actually prevented the album from being considered in nomination in the jazz field (if an album is deemed 51 percent pop by Grammy officials, it is entered into the open pop categories). Thus, Holmes is in what he calls “tall cotton” with his fellow nominees. Also entered in his category are the cast of “La La Land” and Justin Hurwitz with “Another Day of Sun,” Seth MacFarlane and arranger Joel McNeely for “I Like Myself,” and Randy Newman with “Putin.” Newman is a two-time Academy Award winner and has been nominated for 20 Oscars. He’s also won six Grammys and three Emmys. “It would be a long shot, but this whole album has been a long shot,” said Holmes, who hopes to attend the Jan. 28 ceremony in New York. “But we are nominated. I’ll now always be a Grammy nominee, and it feels good.”https://www.reviewjournal.com/entertainment/entertainment-columns/kats/clint-holmes-rendezvous-receives-a-pair-of-grammy-noms/

Dee Dee Bridgewater, Jane Monheit, Ledisi, Joey DeFrancesco, Dave Koz and Patti Austin help bring the veteran crooner’s story to life on Clint Holmes’ album, “Rendezvous.”

Rendezvous

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Patti Austin - Jukebox Dreams

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 51:46
Size: 122,4 MB
Art: Front

(4:38)  1. Maybe
(4:19)  2. Got To Give It Up
(4:20)  3. Don't Go Away
(4:33)  4. Why You Wanna Be Like That
(4:39)  5. I Musta Been Dreamin'
(5:13)  6. I'll Never Get Over You
(5:24)  7. I Offer You Love
(4:58)  8. If We're Not In Love
(5:38)  9. I Will Be There
(3:56) 10. Doe-Si-Doe-In
(4:04) 11. Kiss

Grammy winner Patti Austin crosses all musical genres, has made 17 solo albums, and has performed her award-nominated hit songs on the GRAMMYS® and the Oscars. As a performer, songwriter and vocalist she has had a star-studded career that began at the age of four, making her one of the most beloved artists over the world and a mainstay on the Billboard Jazz Albums charts. Her most recent release, Avant-Gershwin, won Austin the Grammy for Best Jazz Vocal Performance. As with 2002’s GRAMMY®-nominated homage to Ella Fitzgerald For Ella, Patti worked her magic again with the WDR Big Band on Avant-Gershwin. A new high water mark for Patti, Avant-Gershwin finds her re-imagining George Gershwin’s complex and fascinating body of work. “You can judge a brilliant piece of music by how you can bend and stretch it,“ said Austin. “I always believed George Gershwin to be avant-garde so I wanted to challenge myself and rework everything melodically and lyrically.” She created unique and personal interpretations with arranger Michael Abene (Lionel Hampton, Buddy Rich, B.B. King), aiming for an operatic but contemporary feeling. Quincy Jones has already said of the album ” ‘Avant-Gershwin’ is a Triumph. Listen Up!” The ambitious “Overture/Gershwin Medley” leads off the album with a rousing fanfare, bridging together several Gershwin classics and immediately riveting the listener. For “Porgy & Bess,” Austin leaves behind some of the misogynistic messages and portrays a strong female role. She creates “Swanee” in the image of a jazz song, with a hard shuffle. Austin also replaces the conspicuously racist word “mammy” with the word “momma.” The singer follows Ella Fitzgerald’s lead on “Lady Be Good,” making it a rollicking, up-tempo ride. The resulting album is a work that goes beyond the “American Songbook,” into Austin’s bold and profound vision. As if all of the above wasn’t enough, Patti has teamed up to with the WDR Big Band yet again to record an amazing and innovative tribute to Duke Ellington, now set for release in 2013! Her pop R & B offering entitled “Sound Advice” which has received critical acclaim and continues to amaze audiences in performances. Patti continues to demonstrate her dedication to social issues and the importance of mentoring those in need of inspiring life lessons. (all of us!). When asked to co create an organization dedicated to mentoring, she said “Of course” and the “Over My Shoulder” mentoring foundation was born. All of this new exciting creative energy follows Patti’s physical transformation. She doesn’t hide the fact that she had gastric bypass surgery after years of being overweight and suffering from diabetes and other health issues. Realizing how her choices impacted her health, she made a commitment to educate others. “That surgery saved my life,” said Austin. Patti has also devoted considerable time to performing for AIDS-related organizations. More... http://pattiaustin.com/biography-and-history/

Jukebox Dreams

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James Morrison & Patti Austin - Ella And Louis

Styles: Vocal And Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 86:06
Size: 198,7 MB
Art: Front

(4:31)  1. Hello, Dolly!
(6:11)  2. (Up A) Lazy River
(3:28)  3. Too Close For Comfort
(5:21)  4. Let’s Do It
(4:46)  5. (If You Can’t Sing It) You’ll Have To Swing It (Mr Paganini)

(5:30)  6. Our Love Is Here To Stay
(2:56)  7. A Tisket, A Tasket
(2:26)  8. Satin Doll
(3:54)  9. Lullaby Of Birdland
(4:29) 10. Basin Street Blues
(5:08) 11. Miss Otis Regrets
(2:58) 12. Hard-Hearted Hannah (The Vamp of Savannah)
(4:30) 13. Honeysuckle Rose
(3:25) 14. I’ve Got The World On A String
(6:41) 15. Struttin’ With Some BBQ
(4:50) 16. But Not For Me
(3:48) 17. Mack The Knife
(4:58) 18. How High The Moon
(6:07) 19. Get Happy

James Morrison is a man indebted to jazz’s past and committed to preserving its future. Next month the 54-year-old trumpet virtuoso will team up with American singer Patti Austin in a tribute to jazz giants Ella Fitzgerald and Louis Armstrong.The concert will put Morrison and Austin together with the WASO Big Band Horns. Morrison said it was hearing Armstrong play Basin Street Blues as a seven-year-old that set him on his way. “Hearing him was what made me want to be a jazz musician,” Morrison said. “The feel of that music I said ‘That’s that I want to do’.” The concert with Austin marks 100 years since the birth of acclaimed singer Ella Fitzgerald. “We’re doing this tribute to Ella and Louis, two of the greats, but Patti is one of the greats herself,” Morrison said.

“She’s a Grammy Award-winning artist.” Once a wunderkind of Australian jazz, Morrison is now bridging generations. His two sons, bassist Harry (19) and guitarist William (21), are part of his touring band. “Playing with younger musicians is a great tradition in jazz,” he said. https://www.communitynews.com.au/eastern-reporter/lifestyle/james-morrison-celebrates-ella-and-louis-with-patti-austin-and-waso/

Ella And Louis

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David Newman - Mr. Fathead

Bitrate: MP3@320K/s
Time: 39:46
Size: 91.0 MB
Styles: Jazz/Funk/Soul
Year: 1976/2010
Art: Front

[3:54] 1. Dance With Me
[5:50] 2. Groovin' To The Music
[4:34] 3. You Got Style
[5:29] 4. Ebo Man
[4:04] 5. Shiki
[4:30] 6. Promise Me Your Love
[6:12] 7. I Love Music
[5:09] 8. Mashooganah

At its best, soul-jazz has successfully blended the accessibility of R&B with the freedom and spontaneity of jazz. Many of David "Fathead" Newman's more commercial recordings of the 1960s and 1970s fit that description, like Hank Crawford, Grover Washington, Jr., Stanley Turrentine, and David Sanborn, Newman showed a lot of R&B fans that improvisatory horn solos weren't something to be afraid of. Improvisation, however, isn't something that you will hear a lot of on 1976's disappointing Mr. Fathead, which was produced by Joel and Jonathan Dorn. For the most part, this erratic and unfocused LP isn't soul-jazz, most of the material is either disco-funk or lightweight instrumental pop. A few of the tunes are OK; "Groovin' to the Music" is a catchy disco-funk item along the lines of the Brass Construction and the Crown Heights Affair, and the gritty, infectious "Mashooganah" is somewhere between soul-jazz and fusion. But for the most part, Mr. Fathead wastes Newman's considerable talents. This record is strictly for completists. ~Alex Henderson

First time on CD for this 1976 album from the Jazz saxophonist. Originally issued on Warner Brothers records, it features jazz luminaries Ron Carter, Jimmy Johnson, Pat Rebillot, Anthony Jackson, Ralph MacDonald and Patti Austin.

Mr. Fathead mc
Mr. Fathead zippy

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Quincy Jones - Sounds & Stuff Like That

Styles: Swing, Big Band
Year: 1990
File: MP3@320K/s
Time: 35:45
Size: 82,9 MB
Art: Front

(6:16)  1. Stuff Like That
(3:31)  2. I'm Gonna Miss You In The Morning
(5:13)  3. Love, I Never Had It So Good
(6:45)  4. Tell Me A Bedtime Story
(4:08)  5. Love Me By Name
(5:25)  6. Superwoman (Where Were You When I Needed You)
(4:24)  7. Takin' It To The Streets

With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" which is several cuts above the norm for that genre  along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. ~ Richard S.Ginell https://www.allmusic.com/album/soundsand-stuff-like-that%21%21-mw0000649592

Personnel: Nickolas Ashford (vocals, percussion); Yolanda McCullough (vocals, background vocals); Gwen Guthrie, Luther Vandross, Patti Austin, Tom Bahler, Valerie Simpson, Vivian Cherry, Chaka Khan, Charles May (vocals); David T Sounds; Walker, Eric Gale , Melvin Watson, Wah-Wah Watson (guitar); Gayle Levant (harp); Tom Scott (lyre, flute, soprano saxophone, alto saxophone, tenor saxophone, lyricon); Jerome Reisler, John Wittenberg, Wilbert Nuttycombe, Carl LaMagna, Marvin Limonick, Betty LaMagna, Connie Kupka, Israel Baker, Arnold Belnick, Nathan Ross, Sheldon Sanov, Harry Bluestone, Harry Lookofsky (violin); Meyer Bello, David Schwartz , Leonard Selic, Samuel Boghossian (viola); Gloria Strassner, Dennis Karmazyn (cello); George Young (flute, saxophone, alto saxophone, tenor saxophone); Hubert Laws, Jerome Richardson, Bill Perkins, Bud Shank, Buddy Collette (flute, saxophone, tenor saxophone); Harold Vick (saxophone, trumpet, flugelhorn); Howard Johnson (saxophone, tuba); David Tofani, Harold Fick (saxophone); Michael Brecker (tenor saxophone); Jon Faddis, Virgil Jones (trumpet, flugelhorn); Chuck Findley, Bill Lamb, Oscar Brashear, Snooky Young (trumpet); Arthur Maebe, David Duke , Sidney Muldrow, Aubrey Bouck, Henry Sigismonti (French horn); Donald Waldrop, Jimmy Cleveland, Robert Payne, Bill Watrous, Charles Loper, Chauncey Welsch (trombone); Alan Raph (bass trombone); Roger Bobo, Tommy Johnson (tuba); Herbie Hancock (piano, electric piano, keyboards); Richard Tee (piano, organ, keyboards); Clark Spangler (synthesizer, programming); Michael Boddicker (synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums); Ralph MacDonald (percussion); Zachary Sanders, Bill Eaton, Frank Floyd (background vocals)

Sounds & Stuff Like That

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Patti Austin - The Ultimate Collection

Bitrate: MP3@320K/s
Time: 52:55
Size: 121.1 MB
Styles: R&B, Jazz vocals
Year: 1995
Art: Front

[4:15] 1. Hold Me
[4:47] 2. Ability To Swing
[4:56] 3. Givin' In To Love
[3:27] 4. We Fell In Love Anyway
[5:11] 5. The Heat Of Heat
[5:05] 6. Through The Test Of Time
[4:05] 7. You Brought Me Love
[4:31] 8. The Girl Who Used To Be Me
[5:01] 9. Love Is Gonna Getcha
[3:32] 10. Soldier Boy
[4:07] 11. I'll Keep Your Dreams Alive
[3:52] 12. Reach

Patti Austin's honed vocal instrument (she's been singing since she was five) has nailed its share of hits, but not nearly enough for one of urban/soul/pop's better divas. Her clear, compelling soprano never gets tiring, even though she always keeps it in check. You don't get vocal aerobics from Austin á la Chaka Khan or Whitney Houston; you get a smoldering fire that's in a class of its own. Duets with Johnny Mathis, George Benson, and Cleve Francis (the rare African-American country singer) spice this concise 12-song best-of, which is orchestrated by a who who's list of producers, includingThom Bell and Rod Temperton. Revered among the urban jazz set, Patti Austin deserves a bigger piece of the pop pie as well. ~Andrew Hamilton

The Ultimate Collection

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Patti Austin - The Ultimate Collection

Bitrate: MP3@320K/s
Time: 52:55
Size: 121.1 MB
Styles: R&B, Jazz vocals
Year: 1995
Art: Front

[4:15] 1. Hold Me
[4:47] 2. Ability To Swing
[4:56] 3. Givin' In To Love
[3:27] 4. We Fell In Love Anyway
[5:11] 5. The Heat Of Heat
[5:05] 6. Through The Test Of Time
[4:05] 7. You Brought Me Love
[4:31] 8. The Girl Who Used To Be Me
[5:01] 9. Love Is Gonna Getcha
[3:32] 10. Soldier Boy
[4:07] 11. I'll Keep Your Dreams Alive
[3:52] 12. Reach

Patti Austin's honed vocal instrument (she's been singing since she was five) has nailed its share of hits, but not nearly enough for one of urban/soul/pop's better divas. Her clear, compelling soprano never gets tiring, even though she always keeps it in check. You don't get vocal aerobics from Austin á la Chaka Khan or Whitney Houston; you get a smoldering fire that's in a class of its own. Duets with Johnny Mathis, George Benson, and Cleve Francis (the rare African-American country singer) spice this concise 12-song best-of, which is orchestrated by a who who's list of producers, includingThom Bell and Rod Temperton. Revered among the urban jazz set, Patti Austin deserves a bigger piece of the pop pie as well. ~Andrew Hamilton

The Ultimate Collection

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Eric Gale - Gingseng Woman

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 36:36
Size: 85,5 MB
Art: Front

(7:43)  1. Gingseng Woman
(3:52)  2. Red Ground
(6:21)  3. Sara Smile
(6:19)  4. De Rabbit
(6:12)  5. She Is My Lady
(6:07)  6. East End, West End

Good fusion, light jazz, and instrumental pop/R&B session from a talented guitarist who's made his living by carefully editing his solos and plugging into funk dates. Gale doesn't cut loose, but shows enough to hold interest, while the arrangements and production are geared for Urban and Adult Contemporary outlets and audiences. ~ Ron Wynn http://www.allmusic.com/album/ginseng-woman-mw0000865784

Personnel:  Eric Gale – guitar;  Bob James - Fender Rhodes, ARP, Yamaha YC 30 organ;  Richard Tee - acoustic piano;  Anthony Jackson – bass;  Steve Gadd – drums;  Ralph MacDonald – percussion;  Bass - Anthony Jackson, Gary King;  Cello - Alan Shulman , Charles McCraken;  Clarinet Bob James; Drums - Andrew Smith,  Steve Gadd;  Electric Piano [Fender Rhodes] - Bob James;  Organ - Richard Tee; Percussion - Ralph MacDonald;  Piano - Richard Tee ;  Saxophone - Eddie Daniels , George Young, Mike Brecker;  Saxophone [Solo] - George Young, Grover Washington, Jr. Steel Drums [Electric; ] Synthesizer - Bob James Tin Whistle - Grover Washington, Jr.;  Trombone - Dave Taylor , Wayne Andre;  Trumpet - Alan Rubin , Jon Faddis , Lou Soloff , Randy Brecker;  Viola - Emanuel Vardi , Lamarr Alsop;  Violin - David Nadien , Diane Halprin, Harold Kohon , Harry Cykman , Harry Glickman , Marvin Morgenstern , Max Ellen , Max Pollikoff , Paul Gershman Vocals - Lani Groves , Patti Austin , Ray Simpson , Vivian Cherry , Bill Eaton , Zack Sanders

Gingseng Woman

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Patti Austin - 2 albums: Havana Candy / For Ella

Album: Havana Candy
Bitrate: MP3@320K/s
Time: 37:32
Size: 85.9 MB
Styles: R&B, Vocal jazz
Year: 1977/2016
Art: Front

[5:45] 1. That's Enough For Me
[4:11] 2. Little Baby
[4:53] 3. I Just Want To Know
[4:32] 4. Havana Candy
[4:39] 5. Golden Oldies
[4:27] 6. I Need Somebody
[3:59] 7. We're In Love
[5:01] 8. Lost In The Stars

CTI was having its troubles financially at the time. They recycled arrangements for all their artists and limited their budgets. Austin sang this undistinguished material with as much conviction as she could muster, but the general pallid air lingering over the production also affected her vocals. ~Ron Wynn

Havana Candy

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Album: For Ella
Bitrate: MP3@320K/s
Time: 46:02
Size: 105.4 MB
Styles: R&B, Vocal jazz
Year: 2002
Art: Front

[3:57] 1. Too Close For Comfort
[4:13] 2. Honey Suckle Rose
[4:21] 3. (You'll Have To Swing It) Mr. Paganini
[5:28] 4. Our Love Is Here To Stay
[2:49] 5. A Tisket A Tasket
[4:00] 6. Miss Otis Regrets
[3:29] 7. Hard Hearted Hannah
[3:53] 8. But Not For Me
[2:53] 9. Satin Doll
[3:29] 10. The Man I Love
[2:53] 11. Hearing Ella Sing
[4:32] 12. How High The Moon

Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988 she even recorded an album of standards that she tellingly titled The Real Me. For Ella easily could be the sequel to that collection. Austin traveled to Köln, Germany, to record a program of songs associated with Fitzgerald with the WDR Big Band conducted by Patrick Williams. Many of the songs, of course, are just ones Fitzgerald happened to sing but that have broader associations as well, such as George & Ira Gershwin's "Our Love Is Here to Stay" and "The Man I Love," though others, such as "A Tisket a Tasket," inevitably evoke Fitzgerald. Austin does not, for the most part, attempt to sing in Fitzgerald's style, giving listeners her own interpretations that, in Williams' neo-swing arrangements, nevertheless hark back to the 1950s. That's fine for the most part, though the version of "Miss Otis Regrets," which treats it as a gospel performance in the manner of Mahalia Jackson, without the slightest touch of humor, is a misstep. On two occasions, Austin does copy Fitzgerald, re-creating the scat sections of "You'll Have to Swing It (Mr. Paganini)" and "How High the Moon." That obviates the problem of having to compete with Fitzgerald on her greatest improvisational triumphs, but it's a technical achievement of an odd sort. Austin is better off putting her own stamp on the songs; that she does very well. ~William Ruhlmann

For Ella

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