Stanley Clarke - Children of Forever

Styles: Jazz Fusion
Year: 1973
Time: 47:57
File: MP3 @ VBR ~160K/s
Size: 54,0 MB
Art: Front

(10:42) 1. Children of Forever
( 5:53) 2. Unexpected Days
( 8:00) 3. Bass Folk Song
( 6:53) 4. Butterfly Dreams
(16:28) 5. Sea Journey

First solo album of RTF's bassist, the Chick Corea-produced Children Of Forever is very much a product of its time, with its cosmic gatefold artwork and its peace & love title, and it was recorded between the first two phases of Return To Forever (the exiting Moreira/Farrell and incoming Bill Connors and the album was released on the Polydor label), so it's quite obvious the mother project's paw is all over this jam-packed album (around 25 minutes aside). I believe this is around the time where Chick Corea told Stanley to move onto the electric bass guitar, or else he would be changing RTF's bassist, so Clarke obliged ? and luckily so for him and us),, since he became a master at it. But in the present album, he plays the contrabass on all tracks except the extravaganza piece closing the first side. The album also features a good flute, but obviously not the former RTF Joe Farrell's, but Arthur Webb's.

Amazingly enough this album starts with a very Kobaian near-11 mins title track piece, as Vander's bunch could easily claim it as theirs; from the electric piano led jazz-rock (courtesy of RTF's Corea) to the Vander-like drumming (courtesy of RTG's White) to very Orffian-like chants (almost incantations) and only Clarke's very strolling bass can effectively instil a doubt that you're not on Seventh Record label product. The following Unexpected Days is a bit less Zeuhl-ish, but the general mood can still evoke it, since the lingering impressions from the preceding piece are still alive. Andy Bey and Bridgewater's vocals are definitely more jazzy (Dee Dee sometimes close to crooning). Don't be fooled by the name of the following almost-instrumental track, which has nothing to do with folk, but everything to do with a bass guitar extravaganza, an awesome showpiece, where Clarke scats a bit like lionel Hampton did on his albums.

The flipside only features two tracks, opening with the album's jazziest 7-mins Butterfly Dreams, and it is the album's low point, not helped by the cheesy Bey vocals. The 17- mins+ Sea Journey starts very much in the mood of its predecessor, but evolves soon into an outstanding excursion in the depths of the oceans, floating on a superb lengthy bowed bass stroll, before leaving guitarist Martino some breathing space. Only the vocals are a bit cumbersome, but don't really hinder the moods either. Let's just say that I'd have no problems with having this CPF album as totally instrumental, because it could stand it easily without modifications.

Strangely enough, this debut solo album is often overlooked by fans (and sometimes books and websites), as my utterances are the first on this page, whereas the other albums are much more reviewed. This is a bit sad, because COF is a great album, despite the fact that Stanley doesn't use the electric bass, which would make him a celebrity. Maybe this is why JR/F fans tend to ignore (their losses) this excellent album.https://www.progarchives.com/Review.asp?id=310321

Personnel: Stanley Clarke / bass fiddle, electric bass, arrangements; Dee Dee Bridgewater / vocals; Andy Bey / vocals; Pat Martino / electric & 12-string guitars; Chick Corea / electric & acoustic pianos, clavinet, arrangements producer; Arthur Webb / fluteLenny White / drums, tambourine

Children of Forever

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Stanley Clarke - Time Exposure (Expanded Edition)

Size: 136,6 MB
Time: 59:02
File: MP3 @ 320K/s
Released: 1984/2014
Styles: Jazz: Contemporary Jazz
Art: Front

01. Play The Bass 10 (0:45)
02. Are You Ready (For The Future) (3:15)
03. Speedball (3:09)
04. Heaven Sent You (5:56)
05. Time Exposure (4:45)
06. Future Shock (4:31)
07. Future (4:03)
08. Spacerunner (3:14)
09. I Know Just How You Feel (5:55)
10. Heaven Sent You (12'' Mix) (5:59)
11. Heaven Sent You (7'' Mix) (3:28)
12. Are You Ready (For The Future) (12'' Mix) (4:28)
13. Speedball (12'' Mix) (3:13)
14. Future (12'' Mix) (6:14)

While still deeply into the R&B/funk thing, Clarke's Time Exposure is a cut or two above its immediate neighbors in quality, thanks mostly to some superior tunesmithing on Clarke's part. The title track is the prize of the set and one of the best funk numbers of Clarke's career, an ingratiating fusion of a riff and a tune that won't quit the memory, set to a vigorous groove and hammered out by rock guitarist Jeff Beck. Even the obviously radio-minded ballad "Heaven Sent You" (a number 21 R&B hit) is a better-than-average bit of R&B writing -- and here and elsewhere, Clarke wisely leaves the lead vocals mostly to others. The sheer speed and power of Clarke's electric and piccolo bass work is astonishing throughout the album, and the CD as a whole has a techno sound and edge reflecting a period of time just before analog synthesizers were swept away by digital instruments. Ernie Watts and perennial co-conspirator George Duke make cameo appearances on one track apiece. ~Review by Richard S. Ginell

Time Exposure

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Stanley Clarke - Modern Man

Styles: Piano, Guitar Jazz, Post Bop
Year: 1978
File: MP3@320K/s
Time: 38:46
Size: 90,5 MB
Art: Front

(4:21)  1. Opening (Statement)
(4:30)  2. He Lives On (Story About the Last Journey of a Warrior)
(4:32)  3. More Hot Fun
(3:20)  4. Slow Dance
(0:21)  5. Interlude: A Serious Occasion
(3:20)  6. Got to Find My Own Place
(4:09)  7. Dayride
(1:25)  8. Interlude: It's What She Didn't Say
(3:32)  9. Modern Man
(1:25) 10. Interlude: A Relaxed Occasion
(5:09) 11. Rock 'N' Roll Jelly
(2:36) 12. Closing (Statement)

Modern Man is the fifth album by jazz fusion bassist Stanley Clarke. "Dayride" from the Return to Forever album No Mystery (1975) was re-recorded for this album. Also included was "More Hot Fun", a sequel to "Hot Fun" from the previous album School Days. https://en.wikipedia.org/wiki/Modern_Man_(album)

Personnel:  Stanley Clarke – double bass, bass guitar, piccolo bass, piano, guitar, vocals; Mike Garson – keyboards; Jeff Beck – guitar on "Rock 'n Roll Jelly"; Raymond Gomez – guitar; Jeff Porcaro – drums; Gerry Brown – drums, percussion

Modern Man

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Stanley Clarke - The Message

Styles:  Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 44:48
Size: 103,0 MB
Art: Front

(1:58)  1. And Ya Know We're Missing You
(6:59)  2. After the Cosmic Rain/Dance of the Planetary Prince
(3:32)  3. The Rugged Truth
(5:04)  4. Combat Continuum
(2:47)  5. The Message
(5:31)  6. Lost in a World
(3:46)  7. Alternative Facts
(2:25)  8. Bach Cello Suite 1 (Prelude)
(4:04)  9. The Legend of the Abbas and the Sacred Talisman
(3:44) 10. Enzo's Theme
(4:52) 11. To Be Alive

Once upon a time, he was the enfant terrible of jazz bassists, whizz-kid of Chick Corea's Return to Forever. On his latest album, The Message, at the ripe old age of 66, Stanley Clarke is very much the elder statesman, standing back on the cover pic, arms crossed, letting the youngsters grab the limelight and not giving a damn.  Open up the sleeve and there's Clarke again, besuited, sitting in a leather armchair, holding his electric bass, cool and calm, surrounded by the dudes of his band, in ripped jeans, creative hairstyles and looking as though they have attitude problems.  The opening track is a requiem for recently departed musical luminaries Al Jarreau, Tom Petty (yes, Tom Petty), Chuck Berry (yes, Chuck Berry), Larry Coryell and Darryl Brown. Clarke seemingly wants you to know he does not approve of categorization when it comes to music, man.  The main ambience of the album is spacey, courtesy, Clarke says, of L. Ron Hubbard, sci-fi writer and founder of Scientology . But there are many digressions. "Lost in a World" and "After The Cosmic Rain/Dance of the Planetary Prince," leavened with girly back-up vocals, are pure pop. More importantly, "The Message" features the leader on acoustic guitar. It's a lovely number and a relief from the spacey hokum.  But "Combat Continuum" sees Clarke switching to Orson Welles-mode as -courtesy of voice actor Steve Blum -he broadcasts news of an alien invasion. Things are looking grim for Planet Earth until Blum reveals that it was all a linguistic misunderstanding; the aliens only wanted to help us heal the planet from the ecological damage we've inflicted on it.  Meanwhile, full marks, Commander Clarke, for a masterly Bach prelude, expertly bowed. But surely we could have been spared "To Be Alive" the seemingly inevitable rap number. The message (perhaps from an older, wiser civilisation in a galaxy far, far away) is that even a great musician comes unstuck trying to be all things to all men... and women. ~ Chris Mosey https://www.allaboutjazz.com/stanley-clarke-band-the-message-stanley-clarke-mack-avenue-records-review-by-chris-mosey.php

Personnel: Stanley Clarke: guitar, bass; Beka Gochiashvili: piano; Cameron Graves, Pat Leonard, Dominique Taplin: synthesizers; Mike Mitchell: drums; Salar Nadar: tabla; Doug Webb: saxophone, flute; Chuck Findley, Ron Stout: trumpet, French horn; Dwayne Benjamin: trombone; Michael Thompson: guitar; Steve Blum, Skyeler Kole, Trevor Wesley, Sofia Sara Clarke, Chris Clarke, Doug E Fresh: vocals.

The Message

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Eric Marienthal - Walk Tall: Tribute to Cannonball Adderley

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 55:19
Size: 127,5 MB
Art: Front

(5:24)  1. Mercy, Mercy, Mercy
(4:23)  2. Work Song
(4:39)  3. Walk Tall
(3:31)  4. Skylark
(4:34)  5. Imagine That
(5:30)  6. The Way You Look Tonight
(4:37)  7. Here In My Heart
(4:23)  8. Sunstone
(3:30)  9. If You Need Me To
(5:28) 10. Country Preacher
(5:01) 11. Unit 7
(4:13) 12. Groove Runner

Contemporary sax whiz and Chick Corea Elektric Band veteran Eric Marienthal has been appearing with impressive frequency on other people's sessions, while occasionally releasing his own CDs. Until now, his more memorable performances have been those he's rendered in service to others. He makes good progress in remedying that situation with his latest,Walk Tall, a tribute to Cannonball Adderley. This program has one foot firmly planted on traditional soil (mostly during the tunes from Adderley's repertoire and a few standards) and the other foot on contemporary turf. Despite the fact that varying amounts of keyboard, bass, and drum programming are added even to the Adderley tunes, it's a pleasing mixture of old and new. The disk opens with a live recording of Cannonball introducing Joe Zawinul's "Mercy Mercy Mercy," with the instrumental track then fading out and the new recording fading in, in a not-too-awkward manner. Marienthal expressively caresses the lead lines while the programming churns in the background. "Work Song" and "Walk Tall" follow, then there's a beautiful ballad rendition of "Skylark." Other highlights include a medium-tempo spirited romp celebrating "The Way You Look Tonight" and the foot-tapping, bass-walking easy swing of "Unit 7." All in all, this is a pretty tasty deal. It's similar in aspirations to theTwist of JobimCD which inaugurated the i.e. music label, that is, placing an artist's work from a previous era in a more modern setting. Some of the contempo luminaries who contribute arrangements, performances, and production to the affair include Harvey Mason, Lee Ritenour, Rob Mullins, Russell Ferrante, Jeff Lorber, and John Beasley. ~ Dave Hughes https://www.allaboutjazz.com/walk-tall-eric-marienthal-ie-music-review-by-dave-hughes.php

Personnel:  Eric Marienthal - alto or soprano saxophone;  Lee Ritenour, Alan Hinds, Michael Thompson, Jeff Lorber - guitar Lee Ritenour, Rob Mullins, Harvey Mason Jr., Jeff Lorber - drum, bass, and keyboard programming;  John Beasley, Russell Ferrante, Ronnie Foster - piano, keyboards Melvin Davis, Reggie Hamilton, Chuck Domanico, Stanley Clarke, Vail Johnson - bass;  Harvey Mason - drums;  Chris Botti, Chuck Findley - trumpet;  Ralph Morrison III - violin;  Luis Conte - percussion;  Kevyn Lettau, Philip Ingram, Heather Mason, Michael Mishaw, Stevie Russell - vocals

Walk Tall: Tribute to Cannonball Adderley

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McCoy Tyner - With Stanley Clarke and Al Foster

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:55
Size: 152,1 MB
Art: Front

(9:10)  1. Trane-Like
(5:28)  2. Once Upon A Time
(4:16)  3. Never Let Me Go
(5:15)  4. I Want To Tell You Bout That
(6:43)  5. Will You Still Be Mine
(6:28)  6. Goin' Way Blues
(7:35)  7. In The Tradition
(4:49)  8. The Night Has A Thousand Eyes
(5:37)  9. Carriba
(3:31) 10. Memories
(5:56) 11. I Want To Tell You Bout That

The piano trio performs standards at one end of the small dining room while you and your companion sip champagne at a nearby table. It’s a cool jazz session from an acoustic trio. Certainly relaxed and enjoyable, this evening wears a graceful posture but refuses to serve you subtle fire or strong emotion. It’s a far cry from John Coltrane’s classic quartet of the early ‘60s. This cool acoustic trio carries over the percussive keyboard style of McCoy Tyner, but delivers without hammerin’ the message home and without including excessively improvised spates from any of the three veterans. Tyner prefers to stay with the melody for the most part and lets loose on occasion. Bassist Stanley Clarke opts for the acoustic stand-up instrument on this session, accompanying lyrically and issuing rapid-fire runs during solo spots. Drummer Al Foster offers a plain and simple (tasteful) accompaniment, and shows a variety of textures when trading fours. Standards "Never Let Me Go" and "The Night Has a Thousand Eyes" appear as pleasant as you’ve heard them a thousand times. Keeping good taste at the forefront, Tyner improvises only slightly as the chords change in familiar fashion, never losing sight of the melody. Clarke and Foster take their turns at the solo mic’ without ever breaking a sweat. Elsewhere, "Going ‘way Blues" sashays to a relaxed toe-tapping groove and two versions of "I Want to Tell You ‘bout That" compare Clarke’s acoustic bass principles to his electric bass virtuosity. While the timbre remains different, both takes use the common denominator found in the blues and jazz. The trio ensures that spontaneity, syncopation, and familiar rhythms make the blues tunes more exciting than middle-of-the-road standards. Since McCoy Tyner has chosen to present us with both aspects, we are welcome to sit back in our comfortable night club seats, enjoy a little more champagne, and appreciate both sides.~ Jim Santella https://www.allaboutjazz.com/mccoy-tyner-with-stanley-clarke-and-al-foster-mccoy-tyner-telarc-records-review-by-jim-santella.php?width=1920

Personnel:  McCoy Tyner- piano;  Stanley Clarke- bass;  Al Foster- drums.

With Stanley Clarke and Al Foster

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Joe Farrell - Moon Germs

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 37:33
Size: 87,8 MB
Art: Front

(11:47)  1. Great Gorge
( 7:26)  2. Moon Germs
( 8:31)  3. Time's Lie
( 9:47)  4. Bass Folk Song

Moon Germs is one of the few true jazz albums put out by CTI, a label whose artists gravitated towards the commercial possibilities of soul jazz, primarily to put food on the table. It’s a jaw dropper, one of the truly classic albums from the era. 

Farrell, known primarily for his work with Elvin Jones in the sixties and Chick Corea in the early seventies, has wisely recruited three up and comers from the new fusion scene for a session that proves every bit as intriguing as the truly bizarre cover.~David Rickert  https://www.allaboutjazz.com/moon-germs-joe-farrell-cti-records-review-by-david-rickert.php

Personnel: Joe Farrell-soprano sax, flute; Herbie Hancock-keyboards; Stanley Clarke-bass; Jack DeJohnette-drums.

Moon Germs

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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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David Benoit - Every Step Of The Way

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 49:02
Size: 112,8 MB
Art: Front

(4:03)  1. Every Step Of The Way
(3:33)  2. Shibuya Station
(5:02)  3. The Key To You
(4:33)  4. Remembering What You Said
(2:45)  5. Once Running Free
(4:40)  6. ReBach
(5:16)  7. Sao Paulo
(5:34)  8. No Worries
(4:52)  9. I Just Can't Stop Loving You
(4:25) 10. Painted Desert
(4:14) 11. Saturdays

One of the more popular performers in the idiom somewhat inaccurately called "contemporary jazz," David Benoit has mostly performed light melodic background music, what critic Alex Henderson has dubbed "new age with a beat." Benoit has done a few fine jazz projects (including a tribute to Bill Evans and a collaboration with Emily Remler) but most of his output for GRP has clearly been aimed at the charts. He studied composition and piano at El Camino College and, in 1975, played on the soundtrack of the film Nashville. After recording with Alphonse Mouzon and accompanying singer Gloria Lynne, he was signed to the AVI label when he was 24, recording sets that paved the way for his later output. In 1986, Benoit signed as a solo artist with GRP, a relationship that would last until 2003. Albums like 1989's Waiting for Spring and 1999's Professional Dreamer showcase his smooth, lyrical style, while projects like his 2000 tribute to Vince Guaraldi's Peanuts scores, Here's to You, Charlie Brown!: 50 Great Years!, demonstrate where his own tastes lie. A decade after their first joint venture, Benoit and Russ Freeman collaborated on Benoit/Freeman Project 2, released by the Concord-associated label Peak in 2004. For 2005's Orchestral Works he was joined by the Czech National Symphony Orchestra and members of the Asia America Symphony Orchestra. He released two studio albums including Full Circle in 2006 and Standards, which appeared later that same year. In 2008, Benoit paid tribute to some of his musical idols with the album Heroes. The album saw him covering songs by Elton John, the Beatles, Dave Brubeck, and others. Two years later, Benoit delivered the Clark Germain-produced electronica-inflected album Earthglow, and in 2012, he returned with Conversation, which featured the classical trio-meets-jazz-trio title track taken from his "Music for Two Trios" suite. In 2014, Benoit contributed to former Ambrosia guitarist David Pack's Napa Crossroads set with Alan Parsons, Ray Manzarek, Larry Carlton, Mindi Abair, and others. Benoit shifted focus on his next outing. Deciding to record an all-originals vocal album, he collaborated with lyricists Lorraine Feather, Mark Winkler, and Spencer Day. Released in the June of 2015, 2 in Love featured Grammy-nominated jazz vocalist Jane Monheit. She was also featured heavily on Believe, a Christmas recording that appeared just four months later. ~ Scott Yanow https://itunes.apple.com/us/album/every-step-of-the-way/id19683771

Personnel:  David Benoit - piano, synthesizer;  Russ Freeman – guitar;  Randy Waldman – keyboards;  Grant Geissman – guitar;  Nathan East – bass;  Bob Feldman – bass;  Neil Stubenhaus – bass;  Michael Landau – guitar;  David Pack – vocals;  John Robinson – drums;  Harvey Mason – drums;  Stanley Clarke – bass;  Mike Fisher – percussion;  Sam Riney – saxophone;  Tony Morales - drums

Every Step Of The Way

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George Howard - A Nice Place To Be

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 43:26
Size: 100,7 MB
Art: Front

(6:09)  1. No No
(5:17)  2. Jade's World
(5:06)  3. Sweetest Taboo
(5:20)  4. Nice Place To Be
(6:03)  5. Let's Live In Harmony
(5:05)  6. Pretty Face
(4:37)  7. Spenser For Hire
(5:46)  8. Stanley's Groove

George Howard's polished fusion of funk, jazz, and urban soul helped the soprano saxophonist become one of the most popular contemporary jazz performers of the '80s and '90s. Since he concentrated on groove and overall sound instead of improvisation, Howard never received much attention from jazz critics, but he retained a large audience well into his second decade of performing. Howard began his musical career in the late '70s. He received his first break when Grover Washington, Jr., one of his musical idols, invited him on a tour in 1979. The tour helped establish Howard's name, and in 1982 he released his debut album, Asphalt Garden, on Palo Alto. The record was a moderate hit, as was its follow-up, 1984's Steppin' Out. It wasn't until the 1985 release of  Dancing in the Sun that Howard earned a large audience. The album reached number one on the contemporary jazz charts. Following the release of Dancing in the Sun, he moved to MCA, where he issued A Nice Place to Be, Reflections, Personal, and Love Will Follow. All four records were considerable successes on the charts.  In 1991, Howard signed to GRP, releasing his label debut, Love and Understanding, that year. It was followed by Do I Ever Cross Your Mind in 1992 and When Summer Comes in 1993. A Home Far Away was released in 1994, and Attitude Adjustment was issued in 1996. 

All of his GRP recordings were quite successful, confirming his place among the most popular contemporary jazz performers of the '90s. His first five years with GRP, plus a selection of his MCA recordings, were summarized on 1997's The Very Best of George Howard.  Howard returned to recording with Midnight Mood, which was released in January 1998. Sadly, it was the last record he would release in his lifetime. He died unexpectedly on March 29, 1998. A few months later, his last recording  a version of Sly Stone's There's a Riot Goin' On, which was conceived as part of Blue Note's cover series was released. ~ Stephen Thomas Erlewine http://www.allmusic.com/artist/george-howard-mn0000648331/biography

George Howard (Soprano sax, lead vocals, bass synth, drum machine, acoustic piano); Paul Jackson Jr. (Guitar); Victor Bailey (Bass); Paulinho Da Costa (Percussion); Natan East (Bass); Stanley Clarke (Bass, tenor bass, bass synth, Emu vocals); George Duke (Synclavier Rhodes, TX-8); Rayford Griffin (Drums); Robert Brookins (Keyboards, Emu harp); Wayne Linsay (Bass synth, keyboards, Emu strings); Kevin Chokan (Guitar); Josie James, Lynn Davis, George Merrill, Carl Carwell (Background vocals); Dr. Gibbs (Percussion, bongos, shakere).

A Nice Place To Be

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Gato Barbieri - Under Fire

Bitrate: MP3@320K/s
Time: 35:47
Size: 81.9 MB
Styles: Latin jazz
Year: 1971/2016
Art: Front

[9:08] 1. El Parana
[4:51] 2. Yo Le Canto A La Luna
[3:51] 3. Antonico
[9:35] 4. Maria Domingas
[8:20] 5. El Sertao

Under Fire is Gato Barbieri in his early-'70s prime, when the Argentinean tenorman's transition from the avant-garde to exploring his South American continental routes still hadn't passed beyond the pale into flaccid fusion. He's joined by a pretty stellar band: his regular pianist Lonnie Liston Smith (before he fuzaked out), Airto Moreira and James Mtume on drums and percussion, the veteran Roy Haynes guesting on "El Parana," a young John Abercrombie on guitar and Stanley Clarke in his young lion-of-acoustic-bass phase.

Barbieri floats in the background of "El Parana" before kicking into the song proper at an accelerated tempo. More than improvising per se, his trademark was the emotionally charged sonic stamp he put on the melody (check the intro to the ballad "Yo Le Canto a la Luna," where Barbieri sounds like he's aiming to blow down walls) that made clichés like "Latin passion and fire" sound like, well, the real deal. It also provides a good counterpoint to the exuberant playing of the group -- Smith's solo shows the impact of his years with Pharoah Sanders, but it's Clarke and the rhythm section that really drive the piece while Abercrombie tosses in fills here and there.

"Antonico" features double-tracked Barbieri and the strongest improvisation (so far) at the end, while Brazilian songwriter Jorge Ben's "Maria Domingas" fades in with a full head of steam thanks to Abercrombie and Clarke dueling over Moreira and Mtume. Barbieri's echoed yelps give way to a deeply lyrical sax melody -- he does a lot of similar dynamic shifts here -- before Abercrombie's guitar comps re-start the up-tempo with Clarke effortlessly loping on as the octave-leaping anchor for Barbieri's searing statement of the theme. "El Sertao" opens with Barbieri squeaks over Smith's echoed Fender Rhodes trills, a Clarke foundation riff, and Abercrombie's comps before Barbieri enters full-force. The music stays light and buoyant before another downtempo shift builds to a climatic coda with Clarke shining.

Even the longer pieces are over before you know it so, although Under Fire doesn't quite match the charged intensity of Fenix or El Pampero, it leaves you wishing for two things. First, that there were outtakes to include here because you never come close to getting tired of the music -- double the music would mean double the fun. And what a shame that Carlos Santana, who was just entering his Devadip phase, never recorded with Barbieri at this point in their careers because that combination had the potential to create some pretty incredible music. ~Don Snowden

Under Fire

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Tony Williams - The Joy Of Flying

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 49:56
Size: 115,6 MB
Art: Front

(4:16)  1. Going Far
(8:07)  2. Hip Skip
(6:20)  3. Hittin' On 6
(6:19)  4. Open Fire
(6:52)  5. Tony
(3:31)  6. Eris
(6:08)  7. Coming Back Home
(8:19)  8. Morgan's Motion

It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration. ~ Scott Yanow http://www.allmusic.com/album/the-joy-of-flying-mw0000030914

Personnel:  Tony Williams: drums;  George Benson: guitar;  Ronnie Montrose: guitar;  Cecil Taylor: piano;  Jan Hammer: synthesizer, keyboards;  Herbie Hancock: synthesizer, keyboards;  Brian Auger: synthesizer, keyboards;  Michael Brecker: tenor saxophone;  Mario Cipolina: bass;  Stanley Clarke: bass;  Paul Jackson: bass

The Joy Of Flying

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Dianne Reeves - Bridges

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 61:05
Size: 141,7 MB
Art: Front

(5:20)  1. In Your Eyes
(5:51)  2. I Remember
(5:19)  3. Suzanne
(5:30)  4. Goodbye
(5:34)  5. Bridges
(6:22)  6. River
(2:23)  7. Olokun
(4:39)  8. Testify
(6:51)  9. Mista
(5:25) 10. 1863
(7:45) 11. Make Someone Happy

Dianne Reeves is such a talented and warm singer that many jazz fans wish that she would stick to performing jazz. Reeves, here, mostly performs music that is folk and pop oriented, sincere renditions that actually have very little improvisation. Only the closing, "Make Someone Happy" (which has a trumpet solo from Marcus Printup) is jazz oriented. Otherwise, Reeves sings pieces that apparently mean a lot to her (including a couple songs that might be autobiographical) with a band that has appearances by keyboardists Billy Childs, George Duke and Eddie Del Barrio, altoist Kenny Garrett, bassist Stanley Clarke, drummer Terri Lynn Carrington and others.~Scott Yanow http://www.allmusic.com/album/bridges-mw0000239132

Personnel:  Bass – Reginald Veal (tracks: 1 to 6, 9, 10, 11), Stanley Clarke (tracks: 8);  Bongos – Manolo Badrena (tracks: 2);  Drums – Brian Blade (tracks: 2, 3, 4, 5, 6), Terri Lyne Carrington (tracks: 1, 9, 10, 11);  Electric Piano – George Duke (tracks: 9);  Guitar – Romero Lubambo (tracks: 1, 3, 4, 5, 6, 9) Harmonica – Jimmy Zavala (tracks: 9);  Percussion – Manolo Badrena (tracks: 3, 5, 6), Munyungo Jackson (tracks: 1, 8, 9, 10);  Piano – Billy Childs (tracks: 1, 3, 7), Eduardo Del Barrio (tracks: 10), George Duke (tracks: 8, 11), Mulgrew Miller (tracks: 2, 4, 5, 6);  Producer – George Duke ;  Saxophone – Kenny Garrett (tracks: 3, 6);  Trumpet – Marcus Printup (tracks: 11);  Vibraphone, Marimba [Bass] – Joe Locke (tracks: 6);  Vocals – Dianne Reeves

Bridges

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Airto Moreira - The Best Of Airto

Styles: Latin Jazz

Year: 1994

File: MP3@320K/s

Time: 63:43

Size: 146,3 MB

Art: Front

(6:07)  1. Creek (Arroio)

(8:25)  2. Flora's Song

(5:31)  3. Romance of Death

(4:06)  4. San Francisco River

(6:20)  5. Tombo In 7/4

(7:15)  6. Lydian Riff

(4:28)  7. Stanley's Tune

(5:28)  8. Hot Sand

(6:58)  9. Branches (O Galho da Roseira)

(8:59) 10. Parana

Without a doubt, Airto put a new face on Brazilian music in the wake of the bossa nova movement, bringing back the frantic complexity of the samba translated into his own frenzied yet controlled electronic/multi-percussion idiom. Here we truly have some of the best of his early work in the U.S. as a leader for the CTI label, where Airto proves that he couldn't be suppressed even by the guiding hand of Creed Taylor. The set kicks off with a pair of great, sizzling tracks from the Free album, with Airto feverishly driving bands manned by Chick Corea on electric piano, Keith Jarrett on acoustic piano, and other American all-stars. From there, we move to the Fingers album, which features Airto's own band yet maintains virtually the same level of excitement with a deeper Brazilian streak. The rare Virgin Land, released on the CTI subsidiary Salvation, sports a different cast of characters (notably Stanley Clarke and George Duke) but again is dominated by the ebullient percussionist's propulsive drumming and scatting. Finally, we hear the two Airto tracks from the old jerry-built Deodato/Airto In Concert LP in vastly superior sound, with Airto and Flora Purim whipping up the crowd at New York's Felt Forum with a primal display of wild native vocals and pushing rhythm. Of this music, only the two tracks from Free are otherwise available on CD, so Brazilian jazz addicts ought to be running to the stores for this one. ~ Richard S.Ginell  http://www.allmusic.com/album/the-best-of-airto-mw0000110927

Personnel: Airto Moreira (vocals, drums, percussion); Hugo Fattoruso (vocals, harmonica, keyboards); Ringo Thielman (vocals, bass); Jorge Fattoruso (vocals, drums); Flora Purim (vocals, percussion); Joe Farrell (soprano saxophone, alto & bass flutes); Hubert Laws (flute); George Marge (oboe); Eddie Daniels (clarinet); Jane Taylor (bassoon); Nelson Ayres, Chick Corea (piano, electric piano); George Duke (piano, ARP synthesizer, keyboards); Keith Jarrett (piano); Milco Leviev (keyboards); David Amaro, Jay Berliner, Gabriel Delorme (guitar); Stanley Clarke, Alex Blake, Ron Carter (bass).

The Best Of Airto

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Stan Getz - Sweet Rain

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 37:39
Size: 86,3 MB
Art: Front

(8:33)  1. Litha
(4:45)  2. O Grande Amor
(7:12)  3. Sweet Rain
(8:08)  4. Con Alma
(8:58)  5. Windows

One of Stan Getz's all-time greatest albums, Sweet Rain was his first major artistic coup after he closed the book on his bossa nova period, featuring an adventurous young group that pushed him to new heights in his solo statements. Pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate were all schooled in '60s concepts of rhythm-section freedom, and their continually stimulating interplay helps open things up for Getz to embark on some long, soulful explorations (four of the five tracks are over seven minutes). The neat trick of Sweet Rain is that the advanced rhythm section work remains balanced with Getz's customary loveliness and lyricism. Indeed, Getz plays with a searching, aching passion throughout the date, which undoubtedly helped Mike Gibbs' title track become a standard after Getz's tender treatment here. Technical perfectionists will hear a few squeaks on the LP's second half (Getz's drug problems were reputedly affecting his articulation somewhat), but Getz was such a master of mood, tone, and pacing that his ideas and emotions are communicated far too clearly to nit-pick. 

Corea's spare, understated work leaves plenty of room for Getz's lines and the busily shifting rhythms of the bass and drums, heard to best effect in Corea's challenging opener "Litha." Aside from that and the title track, the repertoire features another Corea original ("Windows"), the typically lovely Jobim tune "O Grande Amor," and Dizzy Gillespie's Latin-flavored "Con Alma." The quartet's level of musicianship remains high on every selection, and the marvelously consistent atmosphere the album evokes places it among Getz's very best. A surefire classic. ~ Steve Huey http://www.allmusic.com/album/sweet-rain-mw0000188080

Personnel: Stan Getz (tenor saxophone); Albert Daily (piano); Chick Corea (electric piano); Stanley Clarke, George Mraz (bass); Tony Williams, Billy Hart (drums).

Sweet Rain

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John Mclaughlin - Electric Guitarist

Styles: Guitar Jazz, Fusion
Year: 1978
File: MP3@320K/s
Time: 39:18
Size: 90,2 MB
Art: Front

(5:49)  1. New York In My Mind
(7:09)  2. Friendship
(6:55)  3. Every Tear From Every Eye
(7:45) 4. Do You Hear The Voices That You Lefeat. Behind?
(4:27)  5. Are You The One? Are You The One?
(3:46)  6. Phenomenon Compulsion
(3:24)  7. My Foolish Heart

If you listen to McLaughlin's version of "My Foolish Heart" from 1978's Johnny McLaughlin - Electric Guitarist, it's hard to logically explain how the same guitarist had also produced the sounds found on so many of his earlier records. It's hard to reconcile this tune with his approach on his debut Extrapolation, Miles' Tribute to Jack Johnson, Larry Coryell's Spaces, and various recordings by the Mahavishnu Orchestra and Shakti. None of those earlier performances would have prepared you for McLaughlin's beautiful treatment of Victor Young and Nat Washington's jazz standard. His warm and serene arrangement sounds like the antithesis of what McLaughlin was known for. Electric Guitarist was meant to be a comeback record for McLaughlin. Columbia Records was none too pleased that McLaughlin had produced three straight records with his Indian acoustic world music group Shakti. These records would eventually reach legendary status, but at the time they sold embarrassingly poorly. There was hope at Columbia that Electric Guitarist would bring John McLaughlin back to the top of the record sales heap. In the end, although it sold well, it did not sell as many records as Columbia had hoped.

Electric Guitarist features many of McLaughlin's contemporaries, including Chick Corea, Stanley Clarke, Jack DeJohnette, Billy Cobham, Narada Michael Walden, Carlos Santana, Jerry Goodman, and David Sanborn. There is not one weak cut on the entire album. Electric Guitarist also marks the first recorded use of McLaughlin's scalloped fretboard electric guitar, an idea from his Shakti experience that gave him a brand new sound. McLaughlin was able to bend notes and even chords beyond limits. This technique opened up a whole new vocabulary for his compositions. Key cuts to play really loud include a duet with Billy Cobham, "Phenomenon-Compulsion," and "Are You the One? Are You the One?," featuring Tony Williams and Jack Bruce. This tune harkens back to the great Tony Williams Lifetime that featured McLaughlin, Bruce and the late Larry Young on organ. Even though, for obvious reasons, Young couldn't make this gig, he would have loved this tune. "Do You Hear The Voices You Left Behind," based upon the changes of Coltrane's "Giant Steps," is an unrelenting jazz force that McLaughlin, Chick Corea, Stanley Clarke and Jack DeJohnette play for all they are worth. Many all-star recordings do not live up to their promise. 

This album is not one of them. Johnny McLaughlin- Electric Guitarist was the last important recording of the initial jazz-fusion movement. ~Walter Kolosky  http://www.allaboutjazz.com/electric-guitarist-john-mclaughlin-columbia-records-review-by-walter-kolosky.php

Personnel: John McLaughlin (guitar); David Sanborn (alto saxophone); Jerry Goodman (violin); Stu Goldberd (electric piano, organ; Mini-Moog Synthesizer); Chick Corea (piano, Mini-Moog synthesizer); Patrice Rushen (piano);Tom Coster (organ); Stanley Clarke (acoustic bass); Alphonso Johnson (Taurus bass pedals, bass); Fernando Saunders, Neil Jason, Jack Bruce (bass); Carlos Santana (guitar); Narada Michael Walden Jack DeJohnette, Tony Williams, Billy Cobham (drums); Armando Peraza (congas); Alyrio Lima (percussion).

Electric Guitarist

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The Stanley Clarke Band - Up

Styles: Jazz Fusion
Year: 2014
File: MP3@320K/s
Time: 45:02
Size: 103,2 MB
Art: Front

(3:17)  1. Pop Virgil
(2:04)  2. Bass Folk Song #14: Dance of the Giant Hummingbird/ Bass Folk Song #15: Eleuthera Island
(5:30)  3. School Days
(4:08)  4. La Canción de Sofia
(3:32)  5. Last Train to Sanity
(3:16)  6. Up
(6:36)  7. Brazilian Love Affair (Dedicated to George Duke)
(0:57)  8. Bass Folk Song #13: Mingus
(6:25)  9. I Have Something to Tell You Tonight
(3:38) 10. Trust (Dedicated to Nana)
(1:51) 11. Bass Folk Song #7: Tradition
(3:42) 12. Gotham City

Bass virtuoso Stanley Clarke’s new recording, The Stanley Clarke Band: UP, is scheduled for release September 30 on the Mack Avenue Records label. He considers UP to be the most energetic, fun, rhythmic and upbeat album that he has ever done and with more than forty albums under his belt, that’s saying quite a lot. Clarke’s signature bass virtuosity and amazing technical acumen is present throughout, but the enjoyment he had in making this album is also apparent. Unlike his predominant acoustic bass work on the last few albums, UP is almost equal electric and acoustic bass. Entirely produced by Clarke, he is extremely proud of the quality of digital sound achieved as well as how the album as a whole is thoughtfully paced. “My aim here was to make a record with my friends. Every single recording session was nothing but fun. The environment I established allowed me to be much less bothered by outside elements,” says Clarke. “Surrounding myself with people I enjoy being with made the sessions effortless. Everyone came prepared and ready to play. All were great musicians and we played together naturally. They came to the studio to give everything they had. I can truly say it was a process that I am grateful to have experienced.”

UP’s connection with his last Grammy-winning Stanley Clarke Band album is the inclusion former bandmates Ruslan Sirota (acoustic piano/keyboards) and Ronald Bruner Jr. (drums), who toured with him for seven years and were Clarke’s co-Grammy Award winners for the 2011 Best Contemporary Jazz Album. Clarke’s current touring Stanley Clarke Band members, Beka Gochiashvili (acoustic piano) and Mike Mitchell (drums), are also represented on the album. Both are quite young, in their teens, and talented way beyond their years. Among the other friends Clarke lets shine on UP are: Joe Walsh, Jimmy Herring and Paul Jackson, Jr., on guitar; Greg Phillinganes on keyboards; Phil Davis on synthesizer, keyboards; Chick Corea on acoustic piano; Kamami Washington, Doug Webb and Dan Higgins on saxophone; Jessica Vautor, Natasha Agrama and Patrice Quinn on vocals; Gary Grant (trumpet) and Andy Martin (trombone) on horns; Lenny Castro on percussion; Nick Mancini on marimba; and the Harlem String Quartet with Ilmar Gavilán (violin), Melissa White (violin), Jaime Amador (viola) and Matthew Zalkind (cello) on strings. As a bassist, Clarke has a special affinity for drummers and UP is an album drummers will appreciate. In his opinion the most important musical relationship in a band for a bassist is with the drummer. In UP he brings Stewart Copeland, Gerry Brown, John Robinson, Ronald Bruner, Jr. and Mike Mitchell, some of his favorite drummers. “I can play very easily with these drummers. We understand each other rhythmically and emotionally. That makes it very fruitful when you’re making music. 

Drums are a very emotional instrument and the driving force behind a band,” Clarke states. In addition to the musicians, Clarke enlisted veteran chief engineers, Dennis MacKay (multi-Grammy winner known for working with Return to Forever, David Bowie and Jeff Beck among many) and Gerry “The Gov” Brown (over 47 Platinum and Gold Records and 15 Grammy bids), both whom he has worked with in the past. This only added to the success and comfortable mood of the sessions. Other engineers on various tracks are Yan Perchuk, Jon Hakakian, Alex Venguer, Dave Luke and Danny Johnson. “I put myself in really in good hands. I surrounded myself with great friends, great engineers and recorded the album at great studios. Almost all of the tracks were recorded at The Village in Los Angeles. I love working in this acclaimed studio. It has an atmosphere of the Seventies I like,” Clarke enthusiastically commented. The architecture of the album is very deliberate. Tracks 1 through 4 are very upbeat. 

The first cut is “Pop Virgil.” “Everyone in my family will say that this song reminds them of my grandfather. It has a warm funky and bluesy feel to it, much like him. This actually came out of a drum/bass interlude in my stage performances of ‘School Days.’ I’ve always wanted to turn it into a song of its own. I couldn’t go wrong with the great Michael Jackson session rhythm section of John Robinson, Paul Jackson, Jr. and Greg Phillinganes. Also Jerry Hey did a great horn arrangement,” Clarke says. Clarke considers “Last Train to Sanity” one of the best pieces he has ever written and it is the only track on the album that deals with the music as a film composition. “It’s a theme to a movie that hasn’t been written yet,” says Clarke. “The song is about an individual who has an epiphany and finds his way back to sanity. I’m so glad that the Harlem String Quartet, who I’ve toured with a bit over the last year, was willing to be part of this recording.” The title song “UP” is the essence of the album’s sensibilities. “Drummer Stewart Copeland was on my mind with this song. His vibe is one of the most upbeat and positive that I know and that consciousness carries throughout the song. Old friends Joe Walsh and Paul Jackson, Jr., join the fun on this upbeat and lighthearted cut,” comments Clarke. Brazilian Love Affair is one of Clarke’s favorite George Duke compositions. In homage to Duke, Clarke made a conscious decision to include his very good friend’s music in every show and project he does this year. With the foundation of a tremendous arrangement, robust rhythms and a vigorous samba influence predominate the song that expresses Duke’s love of Brazil and its gorgeous beaches, beautiful people, good food and openness of heart. Clarke sings Duke’s parts and is joined by Jessica Vautor on lead vocals. The track also showcases an outstanding piano solo by 17-year-old Beka Gochiashvili. UP’s mood slows down and smoothes out a bit with acoustic “Bass Folk Song #13: Mingus,” a homage to Charles Mingus done on solo acoustic bass. 

As in previous recordings, Clarke unveils four more bass compositions in UP that he has dubbed Bass Folk Songs. Clarke says, “They’re very specific compositions and each one is different. I started writing them when I was much younger and have about twenty now. They are specifically written for a solo bass.” Former bandmates Ruslan Sirota and Ronald Bruner, Jr., join Clarke on I Have Something To Tell You Tonight. The addition of the luscious sounds of Kamasi Washington on sax creates a dreamy improvisational jam. An interesting aspect of this cut is that it was done in one take with no overdubbing. After playing with these musicians for over seven years, the collaboration was intuitive. Trust is a straight ahead jazz piece. The song is dedicated to Clarke’s daughter NaNa (Natasha) and arose from a family discussion one evening. Though lyrics would seem appropriate to convey the conversation, here Clarke captures the feel and emotion of the exchange through an instrumental. “Bass Folk Song #7: Tradition evolved from thoughts on musicians that Clarke played with early in his career including Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Stan Getz and others. Ironically it’s an Alembic electric tenor bass solo. Ramping up the album’s ambiance again, Clarke and the musicians have fun with Gotham City. A fan of superheroes in films and comics since childhood, this is Clarke’s homage to the genre. “I just let my Alembic bass go and have a great time with Ruslan, Mike Mitchell, Phil Davis on keys and Doug Webb on tenor sax,” laughs Clarke. “Bass Folk Song #14: Dance of the Giant Hummingbirds/Eleuthera Island” are two Bass Folk songs put together for solo acoustic bass. They convey the frantic movements of the giant hummingbirds found in Chile with the succulent Caribbean overtones of the serene Eleuthera Island in the Bahamas.

“I knew the idea of re-recording “School Days” was potentially dangerous, but just because a song is good and deemed to be a classic doesn’t mean you can’t record it again,” Clarke states. The legendary Jimmy Herring does the dynamic guitar lead on this version. Joining them is drummer Gerry Brown, who was the original “School Days” drummer in 1975.

“I revisited “School Days” recently on tour. I had been told that over the years it had become a bass anthem and a classic must-learn for nearly every up-and-coming bassist. But, I had no idea of the incredible reception it would get from today’s audiences. They were hungry for it,” adds Clarke. “I can’t wait to take it back on tour later in the year.”

The final song on the album is La Canción de Sofia (A Song for Sofia). Written for Clarke’s wife Sofia, who is from Chile, this track is a live performance of an acoustic duet with Chick Corea. It was recorded live at Kitara Hall in Sapporo, Japan, last year. ~ Diane Hadley Public Relations  http://news.allaboutjazz.com/bass-legend-stanley-clarkes-new-album-up-reaches-new-heights-the-stanley-clarke-band-up-release-date-september-30-2014--mack-avenue-records.php#.VGYy0MmHmtg

Up

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