Jacintha - The Girl from Bossa Nova

Styles: Vocal, Brazilian Jazz, Bossa Nova
Year: 2004
File: MP3@320K/s
Time: 45:17
Size: 104,0 MB
Art: Front

(4:34) 1. O Ganso
(3:15) 2. So Danço Samba
(4:48) 3. Dindi
(3:44) 4. Once I Loved
(4:32)  5. Desafinado
(5:07) 6. So Nice
(5:08) 7. Wave
(5:06) 8. How Insensitive
(4:51) 9. Corcovado
(4:07) 10. Waters Of March

Jacintha picks up the tempo on her first bossa nova session. Featuring a program of some of the most well known classics of the genre, including several Jobim favorites like So Nice, Desafinado, Dindi and Corcovado, as well as less familiar tunes like O Ganso and So Danco Samba, this CD is a striking change of pace for Jacintha. With superb work from tenor Harry Allen and guitarist John Pisano (ex-Diana Krall), the album's supreme finishing is the magical playing of legendary Brazilian master percussionist Paulinho Da Costa, who blesses the entire album with an authentic bossa nova vibe.By Editorial Reviews https://www.amazon.com/Girl-Bossa-Nova-Jacintha/dp/B00027JYWQ


Personnel: Acoustic Guitar – John Pisano; Bass – Darek Oleszkiewicz; Drums – Tim Pleasant; Percussion – Paulinho Da Costa; Piano – Bill Cunliffe; Tenor Saxophone – Harry Allen ; Vocals – Jacintha .

The Girl from Bossa Nova

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Dave Grusin & Lee Ritenour - Harlequin

Styles: Piano And Guitar Jazz
Year: 1985
Time: 46:56
File: MP3 @ 320K/s
Size: 107,5 MB
Art: Front

(4:43) 1. Harlequin
(4:59) 2. Early A.M. Attitude
(4:59) 3. San Ysidro
(5:18) 4. Before It's Too Late
(6:09) 5. Silent Message
(5:18) 6. Cats Of Rio
(5:37) 7. Beyond The Storm
(4:03) 8. Grid-Lock
(5:49) 9. The Bird

Harlequin is an album by American pianist Dave Grusin and American guitarist Lee Ritenour released in 1985, recorded for the GRP label. The album reached No. 2 on Billboard’s Contemporary Jazz chart.

Harlequin earned a 1986 Grammy award for Best Arrangement On An Instrumental for “Early A.M. Attitude”. The album also earned Grammy nominations for Best Engineered Recording, Best Instrumental Arrangement Accompanying Vocals, and Best Pop Instrumental Performance
(Wikipedia, https://goo.gl/Ck4b1R).
http://projazz.net/dave-grusin-lee-ritenour-harlequin-full-album/

Personnel: Dave Grusin – keyboards, conductor; Lee Ritenour – guitar; Ivan Lins – vocals; Jimmy Johnson – bass; Abraham Laboriel – bass; Carlos Vega – drums; Harvey Mason – drums
Paulinho Da Costa – percussion; Alex Acuña – percussion

Harlequin

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Toots Thielemans - Brasil Project Vol. 2

Styles: Harmonica Jazz
Year: 1993
File: MP3@320K/s
Time: 51:37
Size: 143,6 MB
Art: Front

(5:30)  1. Ce
(3:36)  2. Choro Bandido
(3:19)  3. Retrato em Branco e Preto
(3:34)  4. Obsession
(3:08)  5. Travessia
(4:25)  6. Flora
(5:17)  7. Unconditional Love
(2:59)  8. Papel Maché
(3:36)  9. O Futebol
(3:48) 10. Linda
(3:22) 11. Samba de Uma Nota Só
(5:21) 12. Oceano
(3:36) 13. Samba de Orfeu

Guitarist, harmonica player, and whistler Toots Thielemans' followup to the critically acclaimed Brasil Project doesn't stray far from its predecessor's path. There are 13 nice Afro-Latin selections with Thielemans backing such top Brazilian vocalists as Milton Nascimento, Gilberto Gil, Ivan Lins, Caetano Veloso, and Dori Caymmi, among others, and guitarists Oscar Castro-Nieves and Lee Ritenour assisting Thielemans with delicate shadings and accompaniment.By Ron Wynn
http://www.allmusic.com/album/the-brasil-project-vol-2-mw0000098552

Personnel includes: Toots Thielemans (harmonica); Edu Lobo, Milton Nascimento (vocals); John Clark (French horn, hornette); Eliane Elias (piano);  Mike Lang, Dave Grusin (keyboards); Ivan Lins (keyboards, vocals); Joao Bosco, Djavan, Dori Caymmi (guitar, vocals); Lee Ritenour, Oscar Castro-Neves, Luis Bonfa (guitar); Eugene Friesen (cello); Brian Bromberg, Marc Johnson, Jamil Joanes (bass); Steve Schaeffer, Teo Lima (drums); Cassio Duarte, Bira Hawal, Paulinho Da Costa (percussion).

Brasil Project Vol. 2

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Toots Thielemans - The Brasil Project

Styles: Guitar And Harmonica Jazz
Year: 1992
File: MP3@320K/s
Time: 55:51
Size: 128,9 MB
Art: Front

(3:57)  1. Começar de Novo
(4:23)  2. Obi
(3:00)  3. Felicia And Bianca
(4:10)  4. O Cantador
(2:57)  5. Joanna Francesa
(4:26)  6. Coisa Feita
(3:18)  7. Preciso Aprender a Ser Só
(5:41)  8. Fruta Boa
(4:29)  9. Coração Vagabundo
(3:29) 10. Manhã de Carnaval
(3:39) 11. Casa Fortes
(2:35) 12. Moments
(9:41) 13. Blusette

This popular set matches the brilliant harmonica player Toots Thielemans with such top Brazilian performers as Ivan Lins, Djavan, Oscar Castro-Neves, Dori Caymmi, Ricardo Silveira, João Bosco, Gilberto Gil, Milton Nascimento, Caetano Veloso, Luiz Bonfá, Edu Lobo and Eliane Elias, in addition to bassist Brian Bromberg, keyboardist Michael Lang, trumpeter Mark Isham and Dave Grusin. Thielemans is often in a supportive role behind the many soothing Brazilian singers and performers. The atmospheric date surprisingly does not have any Antonio Carlos Jobim songs, instead emphasizing lesser-known tunes (other than Toots' greatest hit "Bluesette"). Easily recommended to fans of Brazilian pop and jazz, this CD was soon followed by a second (and equally rewarding) set featuring many of the same performers. ~ Scott Yanow http://www.allmusic.com/album/the-brasil-project-mw0000081385

Personnel: Toots Thielemans (harmonica, guitar, whistle); Milton Nascimento, Chico Buarque (vocals); Djavan, Joao Bosco, Dori Cayammi, Gilberto Gil, Caetano Veloso, Edu Lobo, Luis Bonfa (guitar, vocals); Lee Ritenour, Oscar Castro-Neves, Ricardo Silveira (guitar); Mark Isham (trumpet); Dave Grusin, Eliane Elias (piano); Gilson Peranzzetta, Mike Lang (keyboards); Ivan Lins (keyboards, vocals); Brian Bromberg, Jamil Joanes, Nico Assumpcao, Marc Johnson (bass); Teo Lima (drums); Cassio Duarte, Bira Hawai, Jose Roberto, Paulinho Da Costa (percussion).

The Brasil Project

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Oscar Castro-Neves - Brazilian Scandals

Styles: Latin
Year: 1987
File: MP3@320K/s
Time: 45:14
Size: 127,8 MB
Art: Front

(4:32)  1. Brazilian Scandals
(4:42)  2. Pensando
(4:04)  3. Romancing Lorry
(3:51)  4. Sugarloaf Skyride
(2:49)  5. Cafe Copacabana
(4:44)  6. Return to Rio
(3:46)  7. Your Eyes
(3:05)  8. Carioca Rap
(4:31)  9. Ocean Drive
(4:32) 10. Tropical Dream
(4:35) 11. Ipanema Afternoon

Oscar Castro-Neves is a fine Brazilian guitarist who is equally talented in organizing projects. Unfortunately this particular set is quite commercial, rather weak in spots, and thoroughly forgettable. The main liability is the material, the arrangements, and the use of five vocalists. Despite a few decent solos (including from Ernie Watts on alto), this set of Brazilian-flavored pop is a misfire. ~ Scott Yanow  http://www.allmusic.com/album/brazilian-scandals-mw0000652235

Personnel : Oscar Castro-Neves (synthesizer, acoustic guitar, percussion, background vocals); Gary Herbig (soprano & tenor saxophones); Ernie Watts (alto saxophone); Glen Garret (tenor saxophone, flute, piccolo); Malta (alto saxophone); Jerry Hey, Chuck Findley (trumpet, flugelhorn); Bill Reichenbach (trombone, bass trombone, valve trombone); Phillip Ayling (flute, piccolo, oboe); Gilson Peranzzetta (piano); Mitch Holder (electric guitar); Luizao Maia (electric bass); Teo Lima (drums); Paulinho Da Costa (percussion); Sonia Ferreira, Cyva Leite, Pedro Paulo Castro-Neves, Myriam Peracchi (background vocals).

Brazilian Scandals

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Chris Botti - When I Fall In Love

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 58:49
Size: 135,7 MB
Art: Front

(4:22)  1. When I Fall In Love
(5:09)  2. What'll I Do
(6:04)  3. No Ordinary Love
(3:21)  4. My Romance
(3:41)  5. Let's Fall In Love
(4:57)  6. Cinema Paradiso
(4:36)  7. Someone To Watch Over Me
(5:31)  8. La Belle Dame Sans Regrets
(3:11)  9. Nearness Of You
(4:03) 10. How Love Should Be
(4:09) 11. Make Someone Happy
(4:53) 12. One For My Baby
(4:44) 13. Time To Say Goodbye (Con te Partiro)

While his ballad album emphasizes the clear tone and gentle spirit that this lyrical trumpeter releases quite naturally, it also serves to exhibit the nuances with which Chris Botti can convince. His subtle improvisations ooze heartfelt emotion from start to finish. Comparisons with Miles Davis and Chet Baker prove valid. While Columbia prefers to market his good looks and youthful, boyish charm, they know they've got a winning formula here, in this evocative trumpet soloist. Backed by a large studio orchestra and close friends and acquaintances, Botti interprets thirteen sensual ballads with passion and understanding. And who can resist "Con te Partiro"? As he closes out the album with this dramatic aria, the clear tones of his open trumpet ring through the halls in glory. It's a triumphant closing for a session that pays homage to centuries of lyrical beauty. Botti has harnessed that spine-tingling feeling into his solemn work. As Sting sings "La Belle Dame Sans Regrets" in French, the session turns light and bouncy. He and Botti pour the gentle bossa gracefully and gently. Paula Cole interprets "How Love Should Be" slowly with a dramatic spirit. She builds the piece gradually and infuses a sincere plea. Botti replies with a muted trumpet whisper that tugs at your heartstrings. His "One for My Baby" seals the message for good. Open and boldly confident, the trumpeter makes no secret of his feelings. Late at night, in the wee hours, he's in love with a ballad. Highly recommended for all lovers this one hits home.
 

Personnel: Chris Botti- trumpet, vocals; Shane Fontayne, Dean Parks- guitar; Federico Gonzalez Pena, Greg Phillinganes- piano; Billy Childs- piano, electric piano; Jon Ossman, Brian Bromberg- bass; Billy Kilson, Vinnie Colaiuta - drums; Paulinho Da Costa- percussion; Dominic Miller- guitar on "La Belle Dame Sans Regrets;" Mitch Dalton- guitar on "Someone to Watch Over Me;" Alec Dankworth- bass on "Someone to Watch Over Me;" Ralph Salmins- drums on "Someone to Watch Over Me;" Jeff Lorber- keyboards on "No Ordinary Love;" Bob Sheppard- tenor saxophone on "No Ordinary Love;" Gil Goldstein- accordion on "La Belle Dame Sans Regrets"Paula Cole- vocal on "What'll I Do?" and "How Love Should Be"Jill Zadeh- vocal on "No Ordinary Love; Sting- vocal on "La Belle Dame Sans Regrets;" The London Session Orchestra: Isobel Griffiths- conductor; Ken Silleto, Rolf Wilson, Roger Garland, Thomas Bowes, Jonathan Evans-Jones, Patrick Kiernan, Boguslaw Kostecki, Julian Leaper, Rita Manning, Steve Morris, Maciej Rakowski, Jackie Shave, Cathy Thompson, Debbie Widdup, Paul Willey, Dave Woodcock- violin; Edward Vanderspar, Peter Lale, George Robertson, Ivo Van Der Werff, Vicci Wardman, Bruce White- viola; Anthony Pleeth, Dave Daniels, Caroline Dearnley, Paul Kegg, Anthony Lewis, Frank Schaeffer- cello; Chris Laurence, Mary Scully, Alec Dankworth, Patrick Lannigan- double bass; Fiona Hibbert- harp; Phil Todd, Stan Sulzmann, Karen Jones, Helen Keen- flute, alto flute; Andy Panayi- bass flute; Jane Marshall- English horn; David Theodore- oboe; Nick Rodwell, Anthony Pike- clarinet; Jamie Talbot- bass clarinet, tenor saxophone; Derek Watkins, John Barclay, Guy Barker- trumpet, flugelhorn; Mike Thompson, David Pyatt, Richard Bissill- French horn; Peter Beachill, Richard Edwards, Mark Nightingale- trombone; Dave Stewart- trombone, bass trombone; Nigel Hitchcock- alto saxophone; Mitch Dalton- guitar; Ralph Salmins- drums.

When I Fall In Love

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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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Dizzy Gillespie - Bahiana

Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 83:42
Size: 193,0 MB
Art: Front

( 8:07) 1. Carnival
( 9:46) 2. Samba
(12:29) 3. Barcelona
(10:37) 4. In the Land of the Living Dead
( 7:42) 5. Behind the Moonbeam
( 8:31) 6. The Truth
( 7:18) 7. Pelé
(19:07) 8. Olinga

One of the rare jazz two-record sets that's actually a worthwhile expenditure of vinyl and time, 1975's Bahiana is one of Dizzy Gillespie's finest albums of the decade. In the '40s, Gillespie had been one of the first U.S. bandleaders to take an active interest in Latin jazz, but his interest in the music had been intermittent in the intervening decades; Bahiana (named for the Brazilian state of Bahia) was his first all-Brazilian album in over a decade. It's a goodie, though. By the mid'70s, interest in the original wave of bossa nova had largely died out, replaced on the one side by the tropicalia movement and on the other by the fusiony disco-pop of Airto Moreira and Deodato. Bahiana's richly expansive tunes not one under seven and a half minutes, and even the three ten-plus minute entries deserving every second are built on pure carnival rhythms, like the percolating, self-explanatory "Samba." Guitarist Alexander Gafa contributes half of the eight tunes, but the highlights are Gillespie's own festive "Carnival" and the hypnotic "Olinga," which sounds like Antonio Carlos Jobim sitting in on rehearsals for Kind of Blue. Those wanting to explore Dizzy Gillespie's Latin side should start here.~ Stewart Masonhttps://www.allmusic.com/album/bahiana-mw0000076203

Personnel: Dizzy Gillespie - trumpet; Roger Glenn - flute, bass flute, vibraphone; Al Gafa, Michael Howell - guitar; Earl May - bass; Mickey Roker - drums; Paulinho Da Costa - percussion

Bahiana

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Diane Schuur - Midnight

Styles: Vocal And Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 48:30
Size: 111,2 MB
Art: Front

(2:58)  1. Meet Me, Midnight
(4:49)  2. When October Goes
(3:49)  3. Stay Away From Bill
(4:18)  4. I'll Be There
(4:12)  5. Consider The Point From Both Ends
(3:31)  6. What Is Love?
(4:06)  7. He Loved Me
(2:39)  8. Southwind
(3:31)  9. Our Love Will Always Be There
(3:32) 10. No Heartache Tonight
(3:58) 11. Good-bye My Love
(4:02) 12. Life Is Good
(2:59) 13. Anytime

Diane Schuur has been singing for an adoring public since the age of nine. Those who have praised and supported her talent include Count Basie, Dizzy Gillespie, B.B. King, Stan Getz and Leonard Feather. She has been nominated five times for Grammy Awards and has received two, for Timeless in 1986 and Diane Schuur with the Count Basie Orchestra in 1987.  Midnight is a video-enhanced CD, Schuur’s third release for Concord Records and her first under the tutelage of Barry Manilow and his co-producer, co-writer and arranger, Eddie Arkin. Over the course of a year, Manilow, Arkin and their lyricists Marty Panzer, Bruce Sussman and Adrienne Anderson composed thirteen songs for Schuur; two of the selections feature lyrics by Johnny Mercer.

The attempt to create and maintain a smoky, after-hours ambience is generally successful, with good variety, order and pacing; Dan Higgins’ alto sax solos are especially poignant and communicative. The chemistry between Manilow and Schuur seems felicitous; the CD is produced and polished to a slick sheen, with big-name jazz and soul soloists, well-harmonized arrangements, and an orchestra of glistening strings conducted by Jorge Calandrelli. Schuur’s vocal instrument is in its usual fine form, with good rhythmic and harmonic sensibilities, three-plus octave range, and impeccable intonation (although her emotional intensity sometimes causes her to over-sing and her vibrato to become tremulous). The guest appearances by Allyson, McKnight and Manilow each fit their respective selections and arrangements to a tee. Those who like their music lush, polished, dramatic and emotional are apt to find this CD to their liking. Those who like an edge to their jazz, a spirit of adventure and unpredictability, would probably do well to look elsewhere. ~ J.Robert Bragonier  http://www.allaboutjazz.com/midnight-diane-schuur-concord-music-group-review-by-j-robert-bragonier.php

Personnel: Diane Schuur (vocals, piano); Phillip Ingram, Yvonne Williams (vocals, background vocals); Karrin Allyson, Barry Manilow, Brian McKnight (vocals); Eddie Arkin, Oscar Castro-Neves, Anthony Wilson (guitar); Gayle Levant (harp); Dan Higgins (flute, alto saxophone); Tommy Morgan (harmonica); Bill Liston (clarinet, saxophone, tenor saxophone); Warren Luening (trumpet, flugelhorn); Andy Martin (trombone); Alan Broadbent, Randy Kerber (piano); Alan Estes (vibraphone, percussion); Harvey Mason, Sr. , Peter Erskine (drums); Paulinho Da Costa (percussion).

Midnight

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Earl Klugh - The Journey

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 51:35
Size: 119,2 MB
Art: Front

(5:14)  1. All Through the Night
(4:28)  2. Last Song
(3:58)  3. 4 Minute Samba
(5:05)  4. Sneakin' out of Here
(6:10)  5. The Journey
(4:19)  6. Good as It Gets
(5:53)  7. Fingerdance
(6:19)  8. Evil Eye
(3:59)  9. Walk in the Sun
(6:07) 10. Autumn Song

As is usual with Earl Klugh's recordings, Journey features the guitarist's pretty tone on melodic and lightly funky material. His backup band sounds very anonymous and none of his sidemen display an original personality. However Klugh's musicians do their job well, providing a safe background for the guitarist as he interprets ten of his original melodies. Earl Klugh collectors will most likely enjoy this effort due to his sound and the peaceful vibes, but those who prefer more adventurous music will not be converted. 

~ Scott Yanow https://www.allmusic.com/album/the-journey-mw0000024744

Personnel: Earl Klugh - guitar, keyboards; Paul M. Jackson, Jr. - electric guitar; Al Turner - bass; Greg Phillinganes, David Spradley, Luis Resto, Albert Duncan - keyboards; Ray Manzerolle - synth wind; Ron Otis, Harvey Mason - drums; Paulinho da Costa - percussion; Lenny Price - saxophone; Johnny Mandel - orchestral arrangements, conductor

The Journey

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John Patitucci - Sketchbook

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 59:23
Size: 137,4 MB
Art: Front

(6:00)  1. Spaceships
(4:52)  2. Joab
(5:23)  3. If You Don't Mind
(6:07)  4. Scophile
(5:28)  5. Greatest Gift
(5:04)  6. From A Rainy Night
(2:50)  7. Junk Man
(6:18)  8. Two Worlds
(3:18)  9. Backwoods
(4:11) 10. They Heard It Twice
(5:17) 11. 'Trane
(4:30) 12. Through The Clouds

Bass player John Patitucci is the musical equivalent of a Porsche: an incredibly fast, technically awesome machine capable of handling a variety of terrain with aplomb. Yet, as his opening set Wednesday night at Elario’s proved, a high-tech machine makes it easy to race through beautiful terrain without pausing to enjoy the scenery. Often, Patitucci didn’t leave sufficient space between his prodigious bursts on his six-string instrument to let the capacity crowd of 120 fully appreciate them. The 30-year-old Wunderkind , who made his initial mark with keyboardist Chick Corea’s Elektric Band, is appearing nightly through Sunday, with a crack band that includes former Weather Report drummer Alex Acuna, Steve Tavaglione on tenor sax and EWI (electronic wind instrument), and John Beasley on keyboards and synthesizer. The band proved to be the ideal setting for Patitucci and his unusual bass, which covers a range from deep, rumbling lows to highs that cross into guitar territory. With Beasley occasionally handling bass parts on synthesizer, Patitucci was free to roam his instrument’s broad neck, producing melodic inventions with amazing speed and fluidity. The group opened with “On the Corner” from Patitucci’s album by the same name, a fast-paced tune that resembles some of the 1980s music made by trumpeter Miles Davis. Patitucci has the snapping, popping funk sound down pat, and he alternated between anchoring the bottom and producing incredibly fast guitar-like lines. On the EWI, Tavaglione ranged from the wail of a soprano sax to a bluesy harmonica sound.The lazy-tempoed “Searching Finding” found Patitucci and Tavaglione doubling up on sections of catchy signature melody, with band members trading solos in between.“Peace and Quiet Time” provided some slower, romantic moments, with Tavaglione and Patitucci again doubling on the melody, this time with a moody, minor sound reminiscent of the Yellowjackets or Weather Report. Patitucci’s playing was especially delicate here. He used a combination of finger picking and wavering vibrato to produce a full sound well-suited to this ballad, as Acuna drove the tune with lightening flourishes on cymbals. The remainder of the set came mostly from Patitucci’s third album, “Sketchbook,” released this year. Tavaglione’s EWI shone on “Scophile,” opening the tune with deep-fathomed blasts that sounded like the sound track from a documentary on whales, proceeding to screaming, guitar-like licks on this tribute to guitarist John Scofield. As if his mastery of six-string bass isn’t enough, Patitucci hoisted an acoustic bass for the set’s last two tunes, going solo for the rhythmically driving “Backwoods,” joining the band again to close the set with “ ‘Trane.” On the larger, more cumbersome instrument, he didn’t lose a step. Unquestionably, Patitucci is the rising young lion of electric bass guitar, and you won’t find him in a tighter band than this one. But now that he has achieved phenomenal technical prowess, a little restraint would heighten the impact of his playing. With chops like his, there is no need for excessive engine revving. He needs to remember that it’s nice to mix high-speed joy rides with scenic Sunday drives. Patitucci continues at Elario’s through Sunday. Shows tonight and Saturday are at 9, 10:30 and midnight. Tickets are $7.50. On Sunday, shows are at 8:30 and 10:30, and tickets are $5.~  DIRK SUTRO https://www.latimes.com/archives/la-xpm-1990-12-07-me-6048-story.html

Personnel: Bass – John Patitucci;  Acoustic Guitar – Ricardo Silveira;  Drums – Vinnie Colaiuta; Percussion – Paulinho Da Costa; Piano – David Witham; Vocals – Dori Caymmi 

Sketchbook

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Earl Klugh - Midnight In San Juan

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 41:31
Size: 95,7 MB
Art: Front

(5:52)  1. Midnight in San Juan
(4:00)  2. Every Moment with You
(6:06)  3. Kissin' on the Beach
(4:33)  4. She Never Said Why
(4:41)  5. Mobimientos Del Alma (Rhythms of the Soul)
(3:44)  6. Jamaican Winds
(5:27)  7. Theme for a Rainy Day
(7:06)  8. Take You There

The majority of Earl Klugh's albums have been throwaways not because he's choosing pop-flavored jazz and jazzy instrumental pop over straight-ahead jazz, but because of their total lack of substance and musical integrity. One of his more listenable commercial efforts, Midnight in San Juan finds the guitarist placing an unusually heavy emphasis on Latin and Caribbean elements. The CD is decent more often than not, and listeners are reminded of the fact that commercial pop-jazz can be tasteful or not so tasteful. 

Some of the more worthwhile tunes include the Brazilian-flavored "Kissin' on the Beach," and the salsa-influenced "Mobimientos del Alma," the haunting "She Never Said Why" and the Joe Sample-ish title tune. Harmonica player Toots Thielemans has a melodic cameo on the pensive "Theme for a Rainy Day," and pianist Eliane Elias is in good form on the vibrant "Take You There." Meanwhile, Klugh tosses good taste to the wind on "Every Moment with You," a glaring example of the type of insipid, toothless schlock he so often stoops to playing. This is far from an essential purchase, but overall, it was certainly superior to most of his other commercial albums. ~ Alex Henderson https://www.allmusic.com/album/midnight-in-san-juan-mw0000674962

Personnel: Earl Klugh – guitar, keyboards; Toots Thielemans – harmonica; Ron Carter – bass; Chuck Loeb – guitar; Paul McGill – guitar; Jose Oribe – guitar; Oscar Hernández – bass; Lucio Hopper – bass; Abraham Laboriel, Sr. – bass; Eliane Elias – piano; Ruben Rodriquez – piano; Sammy Figueroa – percussion; Paulinho Da Costa – percussion; Ralph Irizarry – percussion; Barnaby Finch – keyboards; Ronnie Foster – keyboards; Mark Nilan – keyboards; Richard Tee – electric piano; Robby Ameen – drums; Harvey Mason Sr. – drums; Buddy Williams – drums

Midnight In San Juan

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Jeff Lorber - Worth Waiting For

Styles: Jazz Fusion, Jazz Funk 
Year: 1993
File: MP3@320K/s
Time: 57:31
Size: 132,6 MB
Art: Front

(5:19)  1. Rain Song
(4:46)  2. The Underground
(4:26)  3. Yellowstone
(5:02)  4. Punta Del Este
(5:20)  5. Lost With You
(5:28)  6. Worth Waiting For
(5:58)  7. High Wire
(6:04)  8. Wavelength
(5:24)  9. Columbus Ave
(5:16) 10. Do What It Takes
(4:22) 11. Jazzery

After a seven year layoff, feisty veteran funkmaster Lorber steps out from the producer's chair with a fun filled all star project. The keyboardist, best known for his fusion years, has been far from idle during that time, producing for pop jazz sax gods Kenny G and Eric Marienthal, and mixing for U2 and Paula Abdul. His latest lives up to its title...though not resoundingly so. As he did with Marienthal's brilliant Oasis, Lorber divides his keyboard time between punchy, soulful rhythms and mellifluous textures that pour on the romance. Easygoing exercises like "Yellowstone" and the Latin tinged "Punta Del Soul" inspire a cool charm, but it's danceable cookers like "High Wire" and "Jazzery" that keep the disc spiraling. The only track that seems out of step is "Do What It Takes," whose production takes on a dated, 70s Crusaders sheen. Spirited performances surround Lorber's tasty keywork, most notably those of Art Porter, Gary Meek, Dave Koz and Bruce Hornsby. ~ Jonathan Widran https://www.allmusic.com/album/worth-waiting-for-mw0000097821

Personnel:  Alto Saxophone – Art Porter (tracks: 1), Dave Koz (tracks: 7), Gary Meek (tracks: 11); Drum Programming, Hihat – Curt Bisquera (tracks: 10); Drums – John Robinson  (tracks: 1, 3, 6, 7, 9, 11); Electric Bass – Alec Milstein (tracks: 1-4, 6-11); Flute – Gary Meek (tracks: 3); Guitar – Buzz Feiten (tracks: 8), Oliver Leiber (tracks: 7), Paul Jackson Jr. (tracks: 1-4, 6-10); Guitar [Nylon] – Lee Ritenour (tracks: 10);  Percussion – Paulinho Da Costa (tracks: 1-6, 8-10); Piano [Additional] – Bruce Hornsby (tracks: 3); Producer, Written-By – Jeff Lorber (tracks: All); Soprano Saxophone – Art Porter (tracks: 9), Dave Koz (tracks: 6), Gary Meek (tracks: 2, 3, 8); Vocals – Alec Milstein (tracks: 4), Eric Jordan (tracks: 5), Janis Siegel (tracks: 4)

Worth Waiting For

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John Handy - Hard Work & Carnival

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 78:36
Size: 181,0 MB
Art: Front

(6:59)  1. Hard Work
(5:40)  2. Blues For Louis Jordan
(7:11)  3. Young Enough To Dream
(3:47)  4. Love For Brother Jack
(4:38)  5. Didn't I Tell You
(4:44)  6. Afro Wiggle
(3:23)  7. You Don't Know
(3:29)  8. Carnival
(6:09)  9. Alvina
(5:59) 10. Watch Your Money Go
(5:16) 11. I Will Leave You
(8:16) 12. Love's Rejoycing
(4:08) 13. Make Her Mine
(2:46) 14. All The Things You Are
(6:06) 15. Christina's Little Song

Originally released separately on Impulse, this two-fer combines saxophonist John Handy's 1976 release Hard Work and Carnival, which came out the following year. These dates find Handy branching out from modern jazz and combining lite jazz with smooth R&B. "Hard Work" became a radio hit and the remaining tracks all original Handy compositions will appeal to fans of smooth jazz. Carnival is a bit more festive. The title cut has traces of the traditional melody associated with Sonny Rollins "Don't Stop the Carnival," but like the previous set, Carnival is mainly smooth jazz with synthesizers. The only cover version recorded for these dates is “All the Things You Are,” a duet with Reginald Burke on acoustic piano and Handy on alto. This two-fer offers very pleasant background music, but those expecting to hear Handy in a post-bop setting should skip this one. The music has been remastered and, while there are no bonus tracks or new liner notes, Impulse had the good taste to restore the original packaging: front and back cover art and liner notes. ~ Al Campbell https://www.allmusic.com/album/hard-work-carnival-mw0002250364

Personnel:  Alto Saxophone, Tenor Saxophone, Vocals, Backing Vocals, Percussion – John Handy;  Bass – James Jamerson, Sr. (tracks: 12), Ruddy Coleman (tracks: 8 to 11), Vince Jefferson (tracks: 13, 15);  Congas – Paulinho Da Costa (tracks: 13, 15), Tom Nichols (4) (tracks: 9 to 11);  Drums – Harold Jones (tracks: 13, 15), James Gadson (tracks: 1 to 7, 8, 10, 12), John Handy IV (tracks: 9, 11);  Electric Bass – Chuck Rainey (tracks: 1 to 7);  Guitar – Larry Carlton (tracks: 12), Lee Ritenour (tracks: 8), Mike Hoffmann (tracks: 1 to 7, 9 to 11);  Keyboards – George Spencer (tracks: 10), Hotep Cecil Barnard (tracks: 1 to 7); Keyboards, Synthesizer [ARP] – Lee Ritenour (tracks: 13, 15);  Percussion, Backing Vocals – Esmond Edwards;  Percussion, Congas – Eddie "Bongo" Brown (tracks: 1 to 7);  Piano, Keyboards, Synthesizer [ARP] – Reginald "Sonny" Burke;  Tabla – Zakir Hussain (tracks: 1 to 7)

Hard Work & Carnival

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Ernie Watts - Chariots of Fire

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 35:56
Size: 82,7 MB
Art: Front

(5:55)  1. Chariots of Fire (Theme) (Dance Version)
(4:25)  2. Hold On
(3:49)  3. Lady
(4:36)  4. Gigolo
(5:14)  5. Valdez in the Country
(3:46)  6. Abraham's Theme
(3:40)  7. Five Circles
(4:27)  8. Chariots of Fire (Theme) (Slow Version)

Inexplicably, Ernie Watts thought it a good idea to record an album dedicated to the movie Chariots of Fire, while having very little to do with the overall plot of the film. The opening number is indeed the theme to Chariots of Fire, but sped up to be danceable. The result is what disco connoisseur Morgan Geist might deem to be an "unclassic"really bad but in a very laughable way (it also could double as the fine theme to an afternoon syndicated talk show). James Ingram also makes an appearance on the smooth rocker "Hold On," and there's a ridiculous cover of the Lionel Richie/Kenny Rogers hit "Lady" and one of Donny Hathaway's "Valdez in the Country," which would be appropriate music bedding for your local cable weather forecast. The album is finally put out of its misery with a "slower" and more reggae-based interpretation of "Chariots of Fire" that is just as amusing as the album's opener, if not more so. Proceed with caution. ~ Rob Theaskton https://www.allmusic.com/album/chariots-of-fire-mw0000206731

Personnel: Ernie Watts - Tenor Saxophone; Michael Omartian - Acoustic Piano; Richard Tee - Electric Piano; Carlos Rios - Guitar; Neil Stubbenhaus - Bass; John Robinson - Drums;  Paulinho Da Costa - Percussion;  Ian Underwood - Synthesizer

Chariots of Fire

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Curtis Mayfield - Love Is The Place

Styles: Vocal And Guitar Jazz
Year: 1981
File: MP3@320K/s
Time: 36:17
Size: 84,4 MB
Art: Front

(4:16)  1. She Don't Let Nobody (But Me)
(4:09)  2. Toot An'toot An'toot
(5:32)  3. Babydoll
(5:04)  4. Love Is The Place
(4:28)  5. Just Ease My Mind
(4:50)  6. You Mean Everything To Me
(3:38)  7. You Get All My Love
(4:16)  8. Come Free Your People

A CD reissue of an old Mayfield platter that didn't garner as much interest as some of his other solo releases, and for good reason: Mayfield was experimenting with his sound. After the first three songs nothing else really works until the last cut: "Come Free Your People," one of Mayfield's best albeit little-known message songs. The most engaging of the eight tunes are the reggae-influenced "She Don't Love Nobody Else," "Toot an' Toot an' Toot," and the lilting "Baby Doll."~ Andrew Hamilton https://www.allmusic.com/album/love-is-the-place-mw0000608697

Personnel:  Curtis Mayfield - vocals, guitar;  Fred Tackett, Michael Sembello - guitar;  Dennis Belfield - bass;  David Loeb - keyboards;  Paulinho Da Costa - percussion;  Carlos Vega - drums;  Efrain Toro - marimba, vibraphone;  Sam Small - Theremin;  Julia Tillman Waters, Luther Waters, Maxine Willard Waters, Oren Waters, Dino Fekaris - backing vocals;  Gene Page - string and horn arrangements

Love Is The Place

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Eric Marienthal - One Touch

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 48:54
Size: 112,3 MB
Art: Front

(4:33)  1. No Doubt About It
(4:03)  2. That's The Way
(4:48)  3. One For James
(5:26)  4. Walk Throught The Fire
(4:36)  5. Ouch !
(5:08)  6. Westland
(6:00)  7. The Village
(4:40)  8. Tanto Amor
(3:57)  9. Backtalk
(5:39) 10. Where Are You ?

Altoist Eric Marienthal (who is also heard on tenor, soprano and baritone) plays well throughout One Touch but he is the only reason to acquire this disc. The backup, which includes keyboardist-producer Jeff Lorber, a few vocalists and guest appearances from pianist David Benoit and bassist John Patitucci, is mostly pretty anonymous. The originals are forgettable and usually fade out when the music gets too heated. With all of the selections clocking in between three-and-a-half and almost five minutes, potential radio airplay was obviously the main purpose behind the music, which is consistently commercial, accessible, mildly soulful and very predictable. At best, One Touch succeeds as background music but a close listen will frustrate listeners who know that Eric Marienthal is capable of much more. ~ Scott Yanow https://www.allmusic.com/album/one-touch-mw0000618989

Personnel:  Eric Marienthal - alto saxophone (1, 3, 4, 5, 6, 7, 9); soprano saxophone (2, 8, 10); tenor saxophone (3); baritone saxophone (3);  Dave Koz - soprano saxophone (2);  Paul Jackson, Jr. - guitar (1, 2, 4, 6, 9);  James Harrah - guitar (3, 7);  Oliver Leiber - guitar (5);  Peter Sprague - guitar (8);  Alec Milstein - bass (1, 2, 4, 5, 6, 9);  John Pattitucci - bass (1, 5: solos);  Jimmy Haslip - bass (3, 7, 8, 10);  Jeff Lorber - synthesizers, sequencing, drum programming (1, 2, 4, 5, 6, 9);  Russell Ferrante - piano, keyboards (3, 7, 8); sequence programming (3, 7);  David Benoit - piano, keyboard sequencing (10);  John Robinson - drums (3, 7, 10);  Paulinho Da Costa - percussion (1, 2, 4, 5, 6, 9);  Alex Acuña - percussion (7, 8, 10); drums (8);  Wayne Bergeron - trumpet (3);  Andy Martin - trombone (3);  Carl Anderson - vocals (4);  Ivan Lins - vocals (8);  Kiki Ebsen - background vocals (2);  Randy Hall - background vocals (2);  Benet - background vocals (4)

One Touch

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Alex Acuña & The Unknowns - S/T

Bitrate: MP3@320K/s
Time: 44:10
Size: 101.1 MB
Styles: Fusion
Year: 1991
Art: Front

[3:51] 1. Te Amo
[3:51] 2. Joe's Red Eye
[4:42] 3. Marionettes
[5:30] 4. Hoppin' It
[4:09] 5. Nice
[4:15] 6. Cocho San
[2:52] 7. Van Nuys Jam
[5:04] 8. Thinking Of You (Pensando En Ti)
[6:00] 9. Psalms
[3:52] 10. Ten O' Clock Groove

Backing Vocals – Dante Young, Tiki; Bass – Abe Laboriel, John Peña; Drums, Percussion, Vocals – Alex Acuña; Flute – Danilo Lozano; Flute, Synthesizer [Wind] – Pedro Eustache; Guitar – Carlos Santana; Guitar [Guitars] – Ramon Stagnaro; Keyboards – Cocho Arbe; Keyboards, Vocals – Otmaro Ruiz; Percussion – Luis Conte, Michito Sanchez, Paulinho Da Costa, Rudy Regalado; Saxophone [Sax] – Brandon Fields; Vocals – Diana Acuña; Vocals, Piano – Lou Pardini.

Born in Pativilca, Peru, Acuña played in local bands from the age of ten, and moved to Lima as a teenager. At the age of eighteen he joined the band of Perez Prado, and in 1966 he moved to San Juan Puerto Rico. In 1974 Acuña moved to Las Vegas, working with artists such as Elvis Presley and Diana Ross, and the following year he joined the jazz-fusion group Weather Report, appearing on the albums Black Market and Heavy Weather. Acuña left Weather Report in 1978, and became a session musician in California, recording and playing live with (amongst many others) Paul McCartney, Joni Mitchell, Ella Fitzgerald, Elvis Presley, Chick Corea, Whitney Houston, Plácido Domingo, former Weather Report bandmates Wayne Shorter and Joe Zawinul, Herbie Hancock, Carlos Santana, Antonio Carlos Jobim, Beck, Roberta Flack, U2, Al Jarreau Marcos Witt. He can be found on recordings by musicians as culturally Lee Ritenour, Johnny Clegg, Roy Orbison, YellowJackets, Lalo Schiffrin, Milton Nascimento, Don Grusin, Dave Grusin, The Brecker Brothers, Arturo sandoval, Paquito d' Rivera, Gonzalo Rubalcaba, Brad Melhdau, Paco de Lucia, John Patitucci, Sadao Watanabe, Lyle Mays, Diana Ross, Sergio Mendez, Robbie Robertson, Jackson Browne Beth Midler, Christina Aguilrera, Seal, Chris Botti.

Alex Acuna & The Unknowns are one of the greatest fusion groups that nobody has heard of! Alex Acuna (drummer for the famous Weather Report) and world class session drummer is well known but his work with the "Unknowns" remains unknown to the vast majority of the jazz fusion listening public! ~David Arivett

Alex Acuña & The Unknowns mc
Alex Acuña & The Unknowns zippy

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Nancy Wilson - Forbidden Lover

Styles: Vocal Jazz
Year: 1987
File: MP3@320K/s
Time: 40:39
Size: 94,0 MB
Art: Front

(4:17)  1. Forbidden Lover
(3:18)  2. I Was Telling Him About You
(4:24)  3. If You Only Knew
(4:47)  4. Deeper
(3:40)  5. Puttin' My Trust
(4:23)  6. You Know
(4:21)  7. Too Good To Be True
(3:53)  8. I Never Held Your Heart
(3:32)  9. What Will It Take This Time
(4:00) 10. A Song For You

Billed as the 50th album by this 50-year-old singer, Nancy Wilson's Forbidden Lover is an attempt to contemporize her sound, with arrangements that recall Luther Vandross and the Earth, Wind & Fire horn section. The title track, a duet with Carl Anderson, seems intended to heat up the R&B charts and, if it did, there would be other tracks to follow. It's reasonable that Columbia Records, which signed Wilson up after her long tenure at Capitol, should try to get a return on its investment. But Wilson the jazz-R&B song stylist gets lost on most of these recordings. "I Was Telling Him About You" is a ballad that lets her get across her personality, and the string-filled closer, Leon Russell's "A Song About You," really gives her room to shine and probably will turn out to be the only keeper on this collection. Pop music performers almost always want to sound contemporary, but this is one singer who would be better off acting her age. ~ William Ruhlmann https://www.allmusic.com/album/forbidden-lover-mw0000192687

Personnel:  Alto Saxophone – Ernie Watts;  Electric Piano [Steinway Piano, Rhodes Piano], Synthesizer [Oberheim OB-8, DX-Z, Mini Moog] – Masahiko Satoh;  Backing Vocals – Desiree McAlpin, Jim Gilstrap, Marlena Jeter, Valeria Mayo;  Bass – Abraham Laboriel, Jimmy Johnson ;  Bass Trombone – Bill Reichenbach;  Cello – Armen Ksajikian, David Shamban, Raymond Kelley;  Concertmaster – Gerald Vinci;  Congas, Percussion – Paulinho Da Costa;  Drums – Ed Greene ;  French Horn – James A. Decker, Richard E. Perissi;  Guitar – Paul Jackson Jr.;  Harp – Ann M. Stockton;  Tenor Saxophone – Gerald Albright , Marc Russo;  Trombone – Bill Reichenbach, Charles Loper, Lew McCreary;  Trumpet, Flugelhorn – Gary Grant, Jerry Hey;  Viola – Harry Shirinian, Myer Bello, Roland Kato;  Violin – Assa Drori, Betty Moor, Robert Sanov, Irma Neumann, Mari Tsumura Botnick, Patricia Ann Johnson, Robert Sushel, Ronald Folsom, Sheldon Sanov

Forbidden Lover

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Melody Gardot - The Absence

Styles: Vocal And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 57:31
Size: 133,0 MB
Art: Front

( 4:13)  1. Mira
( 3:00)  2. Amalia
( 3:46)  3. So Long
( 4:24)  4. So We Meet Again My Heartache
( 5:25)  5. Lisboa
( 3:47)  6. Impossible Love
( 3:32)  7. If I Tell You I Love You
( 3:38)  8. Goodbye
( 4:52)  9. Se Voce Me Ama
( 2:35) 10. My Heart Won't Have It Any Other Way
(18:13) 11. Iemanja

If Melody Gardot's 2009 sophomore effort, My One and Only Thrill, sustained the sultry, atmospheric vibe of her critically acclaimed 2006 debut, her 2012 follow-up, The Absence, is a bit of a creative departure for the vocalist. Apparently inspired by her world travels, and specifically by a trip that brought her to the desert around the city of Marrakech, the album moves her away from smoky, small-group jazz and into a bright, if still bedroom-eyed, rhythmically exotic sound. Produced by guitarist/composer Heitor Pereira, the album is a lush, somewhat orchestral album that finds Gardot delving into various Brazilian, Spanish, and African-influenced sounds including bits of samba, tango, bossa nova, and calypso that evince her global journey. However, rather than simply making a standards album, Gardot continues her all-original approach, offering up new literate and passionately delivered compositions that bring to mind the work of such similarly inclined artists as Antonio Carlos Jobim, Paul Simon, Caetano Veloso, Gilberto Gil, and others. Although there are a few name musicians who help add spice to Gardot's musical caravan here, including percussionist Paulinho Da Costa, drummer Peter Erskine, and bassist John Leftwich, primarily it is still Gardot's burnished and yearning vocal style that takes the helm on these tracks. ~ Matt Collar http://www.allmusic.com/album/the-absence-mw0002353010

Personnel: Melody Gardot (vocals, piano); Heitor Pereira (vocals, guitar, piano, percussion); Jo Ann Turovsky (harp); Alyssa Park, Serena McKinney, Katia Popov, Helen Nightengale, Phillip Levy , Tamara Hatwan , Lisa M Absence album for sale. Sutton , Bruce Dukov, Julie Gigante, Sarah Thornblade, Roger Wilkie, Tereza Stanislav (violin); Marlow Fisher, Matthew Funes , Brian Dembrow, Keith Greene, Roland Kato, Dave Walther , Darrin McCann, Andrew Duckles (viola); Paula Hochhalter, Christina Soule, Dennis Karmazyn, Erika Duke-Kirkpatrick, Armen Ksajikan, Martin Tillman, Stephen Erdody , Andrew Shulman, Cecilia Tsan (cello); Dan Higgins (flute, alto flute, clarinet, bass clarinet); Coco Trivisonno (bandoneon); Larry Goldings (melodica, piano); Ron Kerber (clarinet); Jessica Pearlman (oboe); Harry Kim, Ramon Flores (trumpet); Andrew Lippman (trombone); Jim Keltner, Peter Erskine (drums); Paco Arroyo, Yolanda Arroyo, Paulinho Da Costa (percussion); Alfie Silas-Durio, Ali Witherspoon, Louis Price, Phil Roy, Tata Vega, Bill Cantos, Bill Maxwell (background vocals).

The Absence

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