Chick Corea - The Mad Hatter

Styles: Piano Jazz   
Year: 1978
File: MP3@320K/s
Time: 50:02
Size: 115,4 MB
Art: Front

( 4:25)  1. The Woods
( 1:08)  2. Tweedle Dee
( 1:39)  3. The Trial
( 6:30)  4. Humpty Dumpty
( 1:19)  5. Prelude To Falling Alice
( 8:17)  6. Falling Alice
( 2:50)  7. Tweedle Dum
(13:07)  8. Dear Alice
(10:43)  9. The Mad Hatter Rhapsody

This post-Return to Forever Chick Corea LP is a bit of a mixed bag. Corea is heard on his many keyboards during an atmospheric "The Woods," interacts with a string section on "Tweedle Dee," features a larger band plus singer Gayle Moran on a few other songs and even welcomes fellow keyboardist Herbie Hancock for the "Mad Hatter Rhapsody." The most interesting selection, a quartet rendition of "Humpty Dumpty" with tenorman Joe Farrell set the stage for his next project, Friends. Overall, this is an interesting and generally enjoyable release.~ Scott Yanow https://www.allmusic.com/album/the-mad-hatter-mw0000105344

Personnel: Chick Corea - piano, synthesizer, marimba, percussion, vocals, arrangement;  Joe Farrell - tenor saxophone, flute, piccolo;  Herbie Hancock - electric piano on Falling Alice and The Mad Hatter Rhapsody;  Jamie Faunt - bass;  Eddie Gómez - bass;  Steve Gadd - drums;  Harvey Mason - drum;  Gayle Moran - vocals

The Mad Hatter

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Smith Dobson, Steve Gadd, Eddie Gomez - Smithzonian

Styles: Contemporary Jazz
Year: 1986
File: MP3@320K/s
Time: 42:47
Size: 99,1 MB
Art: Front

(4:35) 1. Smithzonian
(5:00) 2. Lullaby For V
(4:32) 3. Getting Sentimental Over You
(4:20) 4. Tones For Joan's Bones
(4:00) 5. Warning
(6:49) 6. Where Or When
(3:31) 7. Ottawa On
(4:58) 8. Isotope
(4:58) 9. It's A Quiet Thing

Steve Gadd: is one of the most sought-after studio/live drummers in the world. His feel, technique, and musicality on such tunes as Paul Simon's "Fifty Ways", Steely Dan's "Aja", and Chick Corea's "Nite Sprite" were so awe-inspiring and his concepts so innovative that they instantly assured his special position in the history of the percussive arts. Gadd attended the Manhattan School of Music as well as Eastman School of Music. After the army, he rapidly rose to prominence with a wide variety of artists, including Al DiMeola, Stanley Clarke, Rickie Lee Jones, Frank Sinatra, Paul McCartney, Dr. John, Michel Petrucciani and Stuff. Today, Gadd is as busy as ever, working with James Taylor, Eric Clapton, Blicher Hemmer Gadd, Mika Stoltzman, and his own, Grammy Award Winning Steve Gadd Band!

Eddie Gomez: was born in 1944 in Santurce, Puerto Rico. He moved to New York City with his family when he was a child. He attended the New York City High School of Performing and Art, and later graduated from the Juilliard school in 1963. By age 18 he had also played with such luminaries as Paul Bley, Buck Clayton, and Marian McPartland. Soon after this period, he would begin an 11 year stint with Bill Evans and the Bill Evans Trio. He would tour and record extensively with the group during his time, with 2 albums winning grammy awards. Eddie Gomez left the Bill Evans Trio in 1977, and has since played with Dizzy Gillespie, Freddie Hubbard, George Benson, McCoy Tyner, Hank Jones, Nancy Wilson, and Chick Corea. Two of the albums that Eddie Recorded with Chick have been awarded Grammys.
Http://www.highresaudio.com/en/artist/view/5c3433e8-5e76-40ad-bbd7-9dfe05884a2d/steve-gadd-eddie-gomez-ronnie-cuber

Smith Dobson: Jazz musician Smith Dobson was a renowned pianist in the South Bay area of California. Dobson initially received his appreciation of music at a young age via his mother, who sang and taught him harmony (his father was also musical, playing piano and accordion). After attending San Francisco State University and the University of the Pacific, Dobson honed his piano skills working the Nevada casino circuit. In 1967, Dobson joined the Airmen of Note (a United States Air Force band) which was the official White House Jazz Band, as he recorded with the likes of Cannonball and Nat Adderley, Joe Pass, Arthur Prysock, Clark Terry, Joe Williams, and Nancy Wilson. Dobson then returned back home, where he either played for or recorded with such artists as Woody Shaw, Bud Shank, Frank Rosolino, Freddie Hubbard, Pharaoh Sanders, Joe Henderson, Art Pepper, Richie Cole, Eddie Jefferson, Mark Murphy, and Bobby Hutcherson. In 1981, Dobson founded what would go on to become San Jose, CA's, most successful and longest-running annual jazz concerts, the Jazz Series at Garden City, during which he shared the stage with Stan Getz, Toots Thielmans, and Herb Ellis, among many others. Dobson also performed on his own, as part of a trio (which appeared at the Monterey Jazz Festival from 1984 through 1993), and alongside his wife, jazz vocalist Gail Dobson. In addition to appearing on numerous albums by other artists, Dobson also released his own albums 1986's Smithzonian, 1988's Live at Garden City, and Sasha Bossa and in 1995, he was the featured pianist on arranger Ray Brown's album, Impressions of Point Lobos. Dobson also found time to teach music to others at the University of California (Santa Cruz) and San Jose State University (where he helped form the first San Jose Summer Jazz Camp), and also served on such music boards as the San Jose Jazz Society, the Stanford Jazz Alliance, and the Kuumbwa Jazz Center. On April 20, 2001, Smith Dobson was tragically killed in a car crash while driving home from a performance
https://www.allmusic.com/artist/smith-dobson-mn0000023084/biography

Personnel: Smith Dobson - Piano; Eddie Gomez - Bass; Steve Gadd - Drums

Smithzonian

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Steve Gadd - Center Stage

Styles: Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 62:28
Size: 143,9 MB
Art: Front

(7:17) 1. Signed Sealed Delivered
(8:04) 2. Watching The River Flow
(5:15) 3. I Can't Turn You Loose
(6:14) 4. Che Ore So
(5:42) 5. Them Changes
(6:06) 6. Way Back Home
(3:50) 7. Lucky 13
(8:41) 8. Honky Tonk / I Can't Stop Loving You
(5:05) 9. My Little Brother
(6:10) 10. Things Ain't What They Used To Be

Mixed emotions must underline this review. Center Stage, featuring bassist Eddie Gomez, drummer Steve Gadd and baritone saxophonist Ronnie Cuber with Germany's superb WDR Big Band conducted by Michael Abene, was recorded in Cologne in January and February 2022. Sadly, Ronnie Cuber passed away in October, shortly after the album was released.

If this was Cuber's last hurrah, it thunders loudly above the rooftops, as his solos (on each of the album's nine numbers) and melodic passages are models of astuteness and control, lending the session inflexible vigor and depth. In other words, a wonderful way to take one's final recorded bow. As for Gomez and Gadd, the funky groove which prevails most of the way is their meat and potatoes, assuring that the rhythm (with help from guitarist Bruno Müller, pianist Simon Oslender and organist Bobby Sparks II) is in the very best of hands.

The session opens on a soulful note with Stevie Wonder's "Signed, Sealed, Delivered" and stays there for earthy readings of genial yet unassuming themes by Bob Dylan, Otis Redding, Buddy Miles, Wilton Felder, Bill Doggett and a pair by Gadd ("Lucky 13" and "My Little Brother"). Pino Daniele's "Che Ore So" is an outlier, nestling in an even-tempered Latin groove behind warm solos from Gomez, Cuber and trombonist Ludwig Nuss. Nuss is one of four soloists from the WDR ranks; the others are alto saxophonist Karolina Strassmayer who trades volleys with Cuber on Dylan's "Watching the River Flow," tenor Paul Heller (Miles' "Them Changes") and trombonist Andy Hunter (Doggett's "Honky Tonk/I Can't Stop Loving You").

Besides "Che Ore So," Gomez solos on "Watching the River" and "Lucky 13," Gadd on "Signed, Sealed," Felder's "Way Back Home" and "My Little Brother," Muller on "Watching the River," Redding's "I Can't Turn You Loose" and "Them Changes," Oslender on "Signed, Sealed," "Them Changes" and "Honky Tonk." There are two organ solos by Sparks, on "I Can't Turn You Loose" and "Honky Tonk." As for the WDR, it is in the pocket all the way, blowing as if soul and funk were its natural habitat and generally keeping the enterprise swinging. For big-band enthusiasts, a rather obvious positive choice. By Jack Bowers https://www.allaboutjazz.com/center-stage-steve-gadd-eddie-gomez-ronnie-cuber-wdr-big-band-leopard

Personnel: Michael Abene: piano; Steve Gadd: drums; Eddie Gomez: bass; Ronnie Cuber: saxophone, baritone; WDR Big Band: band/orchestra; Bobby Sparks II: organ, Hammond B3; Bruno Müller: guitar; Simon Oslender: keyboards.

Center Stage

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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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The Gaddabouts - Look Out Now!

Bitrate: MP3@320K/s
Time: 67:35
Size: 154.7 MB
Styles: Alternative rock, Indie Folk
Year: 2012
Art: Front

[1:00] 1. Meat On Your Bones
[3:40] 2. Look Out Now!
[2:54] 3. Wicked William
[4:31] 4. House On Fire
[3:48] 5. I'm A Van
[5:50] 6. River Rises
[3:34] 7. The Horse's Mouth
[4:00] 8. Blessed Days
[5:47] 9. Devil's Story
[4:01] 10. Down
[4:22] 11. Free
[4:29] 12. The Mountain
[4:36] 13. Don't Take All Day
[2:59] 14. How I Love You
[3:13] 15. Can You Feel It
[4:06] 16. Younger Woman
[4:36] 17. Corruption

Andy Fairweather Low: guitar, bass harmonica, vocals; Pino Palladino: bass, tres, guitar, vocals; Edie Brickell: guitar, vocals; Ronnie Cuber: baritone saxophone, tenor saxophone, flute, bass clarinet, vocals; Larry Goldings: piano, keyboards, organ, accordion; Pedro Martinez: bata, bongos congas, timbales, guiro, vocals; Axle Tosca: piano, vocals; Andrea Zahn: violin; Mike Mainieri: marimba, orchestra bells, vibraphone; Ingrid Ingrate: vocals (17); Greta Kline: vocals (17); Lulu: vocals (17).

Steve Gadd is the subject of much adoration and nerd-like obsession in drum circles. Several years ago, the drummer embarked on a clinic tour—dubbed Mission From Gadd—where he got up, spoke, and played a bit for his eager fans. At one of these appearances, at a Long Island high school, Gadd became the drum equivalent of William Shatner at a Star Trek convention. Audience members threw out absurdly specific questions about random fills from songs that Gadd had recorded decades before; this is the type of reaction that he can engender from his stick-wielding fans. That Steve Gadd is renowned for his killer drumming with sophisticated pop icons Steely Dan, pianist Chick Corea and countless others, but then there's the other Steve Gadd; the one who goes into the studios and lays down seemingly simple backbeats that groove harder than all the bells-and-whistle beats that so many others record. That's the Steve Gadd behind the Gaddabouts.

This group is fronted by vocalist Edie Brickell, who's far removed from her pop star days, and made up of veteran session men who have crossed paths with Gadd at various times in the past. The music is roots-based fare with an ultra-casual feel; it's the kind of stuff that sounds simple in these expert hands, but isn't so easy to create. Swampy grooves, jazz-inflected sounds, soulful corners, country roads and folksy pop are all explored in winning fashion. Some of the music was born of jamming ("Meat On Your Bones"), while other tunes speak of a fully formed songwriting process ("Blessed Days"), but all of it has a million dollar rhythmic feel to it. Singer/songwriter Paul Simon's influence looms large on "Wicked William," the band marries a jazz vibe with a reggae-derived section on "House On Fire," and a slow martial snare drum groove underscores the riveting "Down," which features some charming violin work from Andrea Zahn.

While the core group is a quartet, with bassist Pino Palladino and guitarist Andy Fairweather Low rounding out the lineup, plenty of high-profile guests gathered from Gadd's Rolodex help to flesh out the sound of the group. Multi-reedist Ronnie Cuber brings his saxophone work to bear on "House On Fire" and "Can You Feel It," expert colorist/keyboardist Larry Goldings puts all sorts of finishing touches on the music, and Gadd's Steps Ahead/L'Image band mate, mallet master Mike Mainieri, makes a few important contributions along the way. This album features a bunch of strong jazz personalities, but it isn't a jazz album. This is music made at a modern Americana crossroad, where a savvy singer-songwriter and never-miss studio icons meet. ~Dan Bilawski

Look Out Now!

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Chuck Mangione - Main Squeeze

Styles: Crossover Jazz, Easy listening
Year: 1976
File: MP3@320K/s
Time: 34:32
Size: 80,0 MB
Art: Front

(8:04)  1. (The Day After) Our First Night Together
(8:01)  2. If You Know Me Any Longer Than Tomorrow
(4:46)  3. Love The Feelin'
(4:33)  4. I Get Crazy (When Your Eyes Touch Mine)
(3:36)  5. Doin' Everything With You
(5:28)  6. Main Squeeze

More and more a creature of the studio, Mangione employs a coterie of '70s New York session players on an album that wears its make-out-music intentions right on its velvet sleeve. All of the titles reflect some aspect of a love affair; the playing is intricate but highly controlled and not terribly exciting. Oddly enough, Chuck effectively attaches a wah-wah pedal to his flugelhorn on a few tracks shades of Miles Davis' "jungle band" period and he gets off his best non-electronically modulated solo on "If You Know Me Any Longer Than Tomorrow." There are orchestrations, but the arrangements are just decorations, not an integral part of the material. But then, after all of the warm, fuzzy stuff has run its course for five tracks, the last cut "Main Squeeze" acts as an ecstatic release, a fine, funky jam session where all seem to be thoroughly enjoying themselves. ~ Richard S.Ginell https://www.allmusic.com/album/main-squeeze-mw0000651826

Personnel: Chuck Mangione - Flugelhorn, Fender Rhodes; Tony Levin - Bass; Rubens Bassini - Percussion; Steve Gadd - Drums, Percussion; Ralph MacDonald - Percussion; Don Grolnick - Acoustic Piano, Fender Rhodes; Richard Tee - Organ; John Tropea - Electric & Acoustic Guitars; Bob Mann - Electric & Acoustic Guitars; Gene Orloff - Concertmaster; Bob Carlisle, Fred Griffen, Jimmy Buffington, John Clarke - French Horns; Bill Watrous, David Taylor, Tom Malone, Wayne Andre - Trombones; Alan Rubin, Jeff Tkazyik, Jon Faddis, Lew Soloff - Trumpets

Main Squeeze

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Dan Siegel - Faraway Place

Styles: Piano,Accordion Jazz
File: MP3@320K/s
Time: 42:47
Size: 99,9 MB
Art: Front

(4:17) 1. Old School
(4:27) 2. Sentimental Story
(4:08) 3. Tried and True
(3:41) 4. Something You Said
(3:57) 5. Curves Ahead
(4:07) 6. Faraway Place
(4:20) 7. Some Time Ago
(3:16) 8. Bluebird
(2:19) 9. Your Smile
(3:54) 10. Looking Up
(4:14) 11. Once Again

Like many titles released in 2021, Dan Siegel's Faraway Place is a product of the COVID-19 pandemic. It was conceived and recorded mostly in isolation by a stellar cadre of musicians: drummers Vinnie Colaiuta, Steve Gadd, and Omari Williams, saxophonist Eric Marienthal, trumpeter/trombonist Lee Thornburg, guitarist Allen Hinds, acoustic bassist Brian Bromberg, electric bassists Abraham Laboriel and Dwayne "Smitty" Smith, and percussionist Lenny Castro. Brazilian vocalist Rogerio Jardim also appears on two tracks. Siegel composed the music in isolation and attended two socially distanced sessions in a Los Angeles studio with Gadd and Colaiuta. He sent the finished rhythm tracks with piano demos to his cast and had them add their parts, then added finished piano, accordion, organ, and other keyboards to frame these 11 short to mid-length jazz tunes, offered in a variety of styles. "Old School" commences with a funky soul-jazz vamp à la the Cadet era Ramsey Lewis Trio, appended by Castro's bubbling congas around the piano and grooving horns with a chart as fine as Lee Morgan's "Sidewinder." Siegel layers a B-3 organ under his meaty piano fills and accents before Hinds adds funky wah-wah guitar atop Bromberg's bassline as the jam begins to cook. "Sentimental Story" is a midtempo ballad framed by Castro's fluid percussion and Gadd's intricate brushwork. Hinds' chord voicings and Bromberg's resonant bassline allow Siegel to explore a melody that nods to the influence of Vince Guaraldi.

"Tried and True" commences with a slippery, funky piano groove but quickly evolves as the horn section, bassline, and lead guitar lines build a groove recalling Gaucho-period Steely Dan. "Something You Said" is the first of four tunes to feature Siegel's accordion playing. Here it whispers under the shimmering piano that crisscrosses folk and pop lyricism as Hinds and the rhythm section dance around them. Siegel's solo expands the tune into post-bop territory. "Curves Ahead" with Williams on drums and Smith on electric bass, weds the vintage soul-jazz to Latin and contemporary jazz with a smoking electric piano solo and wafting organ. The brief "Your Smile" weds a classical chamber piece with Baroque overtones to samba. Only two-minutes long, it features Jardim's airy, wordless vocals atop piano, upright bass, bassoon, English horn, and viola. Hinds' pulsing wah-wah guitar and Laboriel's simmering electric bassline underscore the prog rock-cum-contemporary jazz groove that colors "Looking Up." Colaiuta's rolling breaks and accents frame Siegel's crystalline chords and canny right-hand fills before he delivers a downright funky solo. Closer "Once Again," offers stylish contemporary post-bop with just the hint of a Latin tinge as Siegel walks the line between swing and soul and Bromberg digs deep into wood to extract the groove with the elegant syncopation of Colaiuta. Faraway Place stands with Siegel's best work for its complex yet utterly accessible approach to rhythmic interplay and kaleidoscopic harmonic invention, all rendered in relatively brief but beautifully arranged compositions.~ Thom Jurek https://www.allmusic.com/album/faraway-place-mw0003544032

Personnel: Piano, Keyboards, Accordion: DAN SIEGEL; Guitar: ALLEN HINDS; Acoustic Bass: BRIAN BROMBERG; Electric Bass: ABRAHAM LABORIEL (3, 7, 10), DWAYNE “SMITTY” SMITH (5); Drums: VINNIE COLAIUTA, STEVE GADD (2, 9), OMARI WILLIAMS (5); Percussion: LENNY CASTRO; Trumpet, Trombone: LEE THORNBURG; Saxophone: ERIC MARIENTHAL; Vocal: ROGERIO JARDIM (8, 9); Violin: CHARLIE BISHARAT; Cello: JACOB BRAUN English Horn: CHRIS BIETH Bassoon: DAMIAN MONTANO Hymn Choir: TOM McCAULEY, ALLEN HINDS, DAN SIEGEL (7)

Faraway Place

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Bob Mintzer - Bop Boy

Styles: Saxophone And Clarinet Jazz 
Year: 2017
File: MP3@320K/s
Time: 64:08
Size: 148,6 MB
Art: Front

(7:48)  1. Blue Bossa
(5:34)  2. Bop Boy
(5:41)  3. Embraceable You
(5:04)  4. Francisca
(7:18)  5. Invitation
(6:14)  6. Re-Re
(4:48)  7. Runferyerlife
(8:13)  8. Speak Low
(5:21)  9. St. James Infirmary
(8:03) 10. Why Did I Choose You

Recorded over two days in 2002, Bop Boy was previously only available in Japan on the Cheetah label. Thanks to Explore and their excellent catalog of diverse jazz and classical recordings, it is now available in the United States as well. Unlike Bob Mintzer's '80s offerings on Cheetah (Source and Papa Lips), the band used on this session is a quartet made up of star talent: bassist Eddie Gómez, the elegant pianist Steve Kuhn, and drummer Steve Gadd. On first glance it might appear that Gadd is out of place among these more subtle members of the rhythm section. Being a consummate professional as a studio musician, Gadd is an excellent jazz drummer adding grace, subtlety and tension to a very sophisticated rhythm section. Mintzer a generation younger than Gómez, and Kuhn leads this band through killer arrangements of a fine batch of standards and a trio of top-flight originals. Beginning with Kenny Dorham's and Wynton Kelly's "Blue Bossa," the swing quotient is high here. Kuhn is at his most muscular on this hard bop gem, pushing his minors and thirds right into the rim shots by Gadd. Mintzer's solo is full of deep blues feeling and economy. Mintzer wrote the title track; it is what it claims to be: bebop pure and simple. Beginning with a galloping pace set by Gómez, Gadd's ride cymbal provides fuel and Kuhn plays selectively angular chords, moving right into Mintzer's stating the head and solo. 

Kuhn's playing around the beat as the tune goes on reveals excellent counterpoint to what's being laid down by the tenor player. The tenderness with which an edgy player like Mintzer approaches "Embraceable You" is remarkable, and here Kuhn's utterly moving pianism is at its best. This is followed by a lovely soft samba called "Francisca" written by Toninho Horta. "Invitation" brings the harder edge of bluesy, post-bop into the area, and the interplay between Gómez and Gadd is nearly symbiotic. Two Mintzer originals follow, and the stroll of "Re-Re" is contrasted in a mirror with the knotty twist and turn sprint of "Runferyerlife." The reading of "St. James Infirmary" brings the tune back to the kind of mournful blues ballad it began is. Mintzer's tone on the bass clarinet is startling. He goes underneath the melody for his phrasing and fills as Kuhn offers a constant, slowly evolving wash of minor chord voicings underneath him. The ballad "Why Did I Choose You" is a perfect way to send things off as it puts on shining display the intuitive interaction between Kuhn a sublime melodist through his wide array of textured chord shapes and his sense of space and economy with the right hand in his solo. Gómez is wonderful here, flowing into the body of the tune, allowing for Gadd to lay out and enter at will. Mintzer's solo is an emotive one, but never undercuts or overwhelms the tune. Bop Boy is one of the most satisfying dates in his long career as a leader, a composer, and as an arranger. ~ Thom Jurek https://www.allmusic.com/album/bop-boy-mw0000544277

Personnel: Tenor Saxophone, Bass Clarinet – Bob Mintzer; Bass – Eddie Gomez; Drums – Steve Gadd; Piano – Steve Kuhn

Bop Boy

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David Sanborn - Timeagain

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 51:47
Size: 119,3 MB
Art: Front

(7:12)  1. Comin' Home Baby
(5:47)  2. Cristo Redentor
(4:51)  3. Harlem Nocturne
(5:01)  4. Man From Mars
(3:17)  5. Isn't She Lovely
(5:35)  6. Sugar
(5:36)  7. Tequila
(3:36)  8. Little Flower
(6:29)  9. Spider B.
(4:20) 10. Delia

Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz's best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of "Comin' Home," Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride. They get even better on "Cristo Redentor," offering listeners another side of this infamous gospel jazz piece made famous by Donald Byrd. With soulful, innovative lines and a nighttime groove, Sanborn plays a reflective, sincere set that is destined to revive this song to the level not heard since the '70s, when it was the theme song for several late-night radio programs. Ditto for "Harlem Nocturne," which has become one of the most recognized television theme songs in the past decade. Sanborn, however, lifts it to another level with his dynamic 21st century outlook and brilliant improvisations. The all-masterful Time Again has something for everyone. It's romantic, it's funky, it's laid-back, and it's definitely one that should be in your music collection. In a sense, David Sanborn has pulled off one of the best recordings of his career. ~ Paula Edelstein https://www.allmusic.com/album/time-again-mw0000392466

Personnel: David Sanborn - saxophone, piano; Olivia Koppell - viola; Jesse Levy - cello; Caryl Paisner - cello; Gil Goldstein - piano, arrangements; Ricky Peterson - keyboards, synthesizer programming; Mike Mainieri - vibraphone; Christian McBride - bass; Steve Gadd - drums; Luis Quintero - percussion; Lani Groves - vocals; David Lasley - vocals; Arnold McCuller - vocals; Valerie Pinkston - vocals

Timeagain

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Herbie Mann - Waterbed

Styles: Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 37:42
Size: 86,7 MB
Art: Front

(3:50)  1. Waterbed
(5:35)  2. Comin' Home Baby
(4:57)  3. Paradise Music
(4:51)  4. Bang! Bang!
(4:37)  5. Deus Xango
(5:10)  6. Violet Don't Be Blue
(3:50)  7. I Got a Woman
(4:49)  8. Body Oil - Single Version

If you need an example of how jazz critics and soul/funk audiences didn't see eye to eye in the 1970s, you need look no further than Herbie Mann. Many jazz critics hated commercial Mann LPs like Discotheque and Waterbed with a passion, and saw them as examples of a gifted virtuoso dumbing his music down in order to sell more records. But young soul and funk lovers the ones who made 1975's "Hijack" a hit on black radio  were digging Mann and didn't understand why jazz snobs had it in for him. Although it contains a funky version of Ben Tucker's "Coming Home, Baby," Waterbed is a vocal-oriented soul/funk project first and foremost. In fact, it's one of the strongest commercial albums he recorded, thanks to memorable cuts that range from the infectious title song and the haunting "Body Oil" to remakes of Ray Charles' "I Got a Woman" and Joe Cuba's "Bang! Bang!." A dynamo of a singer, Cissy Houston (Whitney Houston's mother) has an excellent spot on the dusky "Violent Don't Be Blue" it's too bad she would eventually give up secular music altogether. Unfortunately, Waterbed has long been out of print, but it's worth trying to find if you're a fan of 1970s soul/funk. ~ Alex Henderson https://www.allmusic.com/album/waterbed-mw0000881633

Personnel: Herbie Mann - flute;  David Newman - tenor saxophone; Pat Rebillot - keyboards;  Jerry Friedman, Bob Mann, Hugh McCracken, Jeff Mironov - guitar;   Will Lee, Tony Levin - bass; Steve Gadd , Allan Schwartzberg , Darryl Washington - drums; Ray Barretto, Armen Halburian, Ralph MacDonald, Ray Mantilla - percussion; Anahid Ajemian, Matthew Raimondi - violin; Jean Dane - viola;  Michael Rudiakov - cello; The Hijackers: Cissy Houston, Sylvia Shemwell, Eunice Peterson - vocal

Waterbed

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Herb Alpert - Beyond

Styles: Vocal, Trumpet Jazz
Year: 1980
File: MP3@320K/s
Time: 40:24
Size: 93,7 MB
Art: Front

(5:14)  1. Kamali
(3:00)  2. The Continental
(4:49)  3. Reach For The Stars
(3:27)  4. Interlude (For Erica)
(3:38)  5. Red Hot
(6:01)  6. Beyond
(4:25)  7. That's The Way Of The World
(4:03)  8. Keep It Goin'
(5:43)  9. The Factory

Naturally, the wild success of "Rise" would lead anyone to the temptation of repeating oneself, and at first, this follow-up LP does plenty of that, grafting the same slow, hand-clapping beat onto several numbers. But Alpert won't sit still for long, and he comes through with some startling things that wake up the record midway through. The funky, percolating party beat of "Red Hot" starts the engine, which is pushed to an electrifying degree by the sequencer-driven, Echoplexed, hard-charging title track, where we hear Alpert's distinctive horn through a metallic electronic buffer. The most amazing track is the finale, "The Factory," a terrifying, relentlessly grinding depiction of a soulless foundry that must have shocked sedate former TJB fans who bought this album on a lark, expecting happy music from the past. Bold stuff indeed, and it did make some impact on the charts, though not nearly to the degree of Rise. ~ Richard S.Ginell https://www.allmusic.com/album/beyond-mw0000854674

Personnel: Trumpet – Bob Findley , Herb Alpert; Vocals – Herb Alpert, Randy Badazz;  Flugelhorn – Herb Alpert ; Synthesizer – Herb Alpert ;  Bass – Abraham Laboriel, Robert Russell; Drums – Kevin Calhoun, Manolo Badrena, Steve Gadd, Steve Schaeffer; Guitar – Chris Pinnick , Dana Barry , Johnny Guitar Watson , Peter Frampton, Tim May, Tommy Tedesco; Keyboards – Andy Armer , Michael Boddicker, Mike Lang; Marimba – Julius Wechter; Percussion – Herb Alpert, Randy Badazz; Tenor Saxophone – Ernie Watts; Trombone – Bill Reichenbach 

Beyond

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Lalo Schifrin - Towering Toccata

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 95,8 MB
Art: Front

(5:05)  1. Towering Toccata (Based on the Toccata & Fugue in D Minor)
(4:20)  2. Frances' Theme (From the Film "The Day of the Animals")
(6:16)  3. Macumba
(2:51)  4. Eagles in Love (From the Film "The Eagle Has Landed")
(4:13)  5. Theme from "King Kong" (From the Paramount Film "King Kong")
(2:43)  6. Most Wanted Theme
(6:09)  7. Midnight Woman
(4:48)  8. Roller Coaster (From the Universal Film "Rollercoaster")
(4:41)  9. Eagles in Love (From the Film "The Eagle Has Landed") - Alt. Take

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. ~ Donald A.Guarisco https://www.allmusic.com/album/towering-toccata-mw0000742076

Personnel: Lalo Schifrin - piano, keyboards, arranger, conductor; Burt Collins, John Frosk, John Gatchell - trumpet; Urbie Green - trombone; Joe Farrell, Jeremy Steig - flute; Gerry Niewood - alto saxophone; David Tofani, Lou Marini - tenor saxophone, flute; Ronnie Cuber - baritone saxophone; Clark Spangler - keyboards; Eric Gale, John Tropea - guitar; Will Lee - bass; Steve Gadd - drums, dahka-de-bello; Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Marvin Morgenstern, David Nadien, Max Pollikoff, Matthew Raimondi - violin; Lamar Alsop, Manny Vardi - viola; Charles McCracken, Alan Shulman - cello

Towering Toccata

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Hubert Laws - Romeo & Juliet

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 37:50
Size: 87,6 MB
Art: Front

(6:12)  1. Undecided
(8:19)  2. Tryin' to Get the Feeling Again
(4:13)  3. Forlane
(7:43)  4. Romeo & Juliet
(5:36)  5. What Are We Gonna Do?
(5:45)  6. Guatemala Connection

Forget the Shakespearean reference in the title which might make you think the whole album's got a Renaissance bent because the album's a nice bit of funky flute jazz from Hubert Laws, done with the same groovy vibe as some of his earlier albums for the CTI label! The set was produced by Bob James, and has lots of strong James touches from the sweet work on Fender Rhodes and clavinet that works nicely with the flute on most tracks, to the full group rhythms that make the best tracks into nice smooth groovers! A few tunes get more introspective, in Hubert's Afro-Classic mode and titles include "Guatemala Connection", "What Are We Gonna Do", "Undecided", "Forlane", and "Tryin To Get The Feelin Again". 
© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856880/Hubert-Laws:Romeo-Juliet

Personnel:  Hubert Laws - Flute; Bob James - Fender Rhodes, Clavinet, Keyboards; Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan - Guitar; Gary King - Bass; Andy Newmark, Steve Gadd - Drums; Ralph MacDonald - Percussion; Mark Gray - Clavinet, Keyboards; Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow - Trumpet, Flugelhorn; Allen Ralph, David Taylor, Wayne Andre - Trombone; George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin - Woodwinds; David Nadien - Concertmaster; Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab - Strings; Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman - Vocals

Romeo & Juliet

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Eddie Gomez - Power Play

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(5:39)  1. Power Play
(3:53)  2. Loco Motive
(5:15)  3. Spanish Flower
(5:04)  4. Mel
(5:46)  5. Amethyst
(5:02)  6. Mr. Go
(3:50)  7. Very Early
(3:58)  8. W. 110th St.
(4:59)  9. Forever

Eddie Gomez (born October 4, 1944) is a jazz bassist. He was born in Santurce, Puerto Rico; he emigrated with his family at a young age to the United States and grew up in New York. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music and Art. He went on to study with Fred Zimmerman. He played in the Marshall Brown-led Newport Festival Youth Band from 1959 to 1961, and was later educated at Juilliard.His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan, Benny Goodman, Buck Clayton, Marian McPartland, Paul Bley, Wayne Shorter, Jeremy Steig, Herbie Hancock, Tony Williams, Chick Corea and Carli Muñoz. Time Magazine lauded: “Eddie Gómez has the world on his strings”. Eddie Gómez would spend a total of eleven years with Bill Evans Trio which included performances throughout the United States, Europe, and the Orient, as well as dozens of recordings. Two of the Trio's recordings won Grammy awards. In addition, he was a member of the Manhattan Jazz Quintet.His career mainly consists of working as an accompanist, a position suited for his quick reflexes and flexibility.In addition to working as a studio musician for many famous jazz musicians, he has recorded as a leader for Columbia Records, Projazz and Stretch. Most of his recent recordings as a leader, are co-led by jazz pianist Mark Kramer. https://musicians.allaboutjazz.com/eddiegomez

Personnel:  Bass – Eddie Gomez; Drums – Steve Gadd,, Al Foster; Keyboards – LeeAnn Ledgerwood; Tenor Saxophone – Michael Brecker; Flute; Michael Cochrane - Soprano Saxophone – Dick Oatts; Flute – Jeremy Steig

Power Play

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Bob James - Foxie

Styles: keyboards Jazz
Year: 1983
File: MP3@320K/s
Time: 33:18
Size: 77,1 MB
Art: Front

(6:46)  1. Ludwig
(2:50)  2. Calaban
(5:48)  3. Fireball
(6:09)  4. Zebra Man
(4:59)  5. Miranda
(6:44)  6. Marco Polo

Because so many of Bob James' albums have been devoid of integrity and epitomized musical prostitution at its most shameless, quite a few people in the jazz world (both fusionists and hard boppers) dismiss everything he's done since 1974. But it's best to judge the keyboardist on an album-by-album basis and not lump all of his releases together. Not a gem but certainly superior to Touchdown or Sign of the Times, Foxie has its moments. Some of the pop-jazz material is decent, including the delicate "Miranda," the reggae-influenced "Calaban," and the relaxed "Fireball." The playful "Zebra Man" employs David Sanborn on soprano sax; regrettably, he simply meanders and doesn't get a chance to stretch. None of the songs are brilliant, but with the exception of "Marco Polo," none of them are schlocky either. ~ Alex Henderson https://www.allmusic.com/album/foxie-mw0000645797

Personnel: Bob James - keyboards, synthesizer; David Sanborn - saxophone; Steve Khan - guitar; Marcus Miller, Will Lee - bass guitar; Peter Erskine, Steve Gadd - drums; Ralph MacDonald - percussion

Foxie

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Michel Petrucciani, Steve Gadd, Anthony Jackson - Trio in Tokyo

Styles: Piano Jazz, Post Bop 
Year: 1997
File: MP3@320K/s
Time: 62:01
Size: 143,3 MB
Art: Front

( 4:39)  1. Training
( 5:19)  2. September Second
( 9:18)  3. Home
( 7:30)  4. Little Peace in C for U
( 9:07)  5. Love Letter
( 7:48)  6. Cantabile
(10:49)  7. Colors
( 7:29)  8. So What

Recorded in 1997, this CD features the late Michel Petrucciani on piano, drummer extraordinaire Steve Gadd and bassist Anthony Jackson in a performance from the Blue Note in Tokyo. One listen to Trio In Tokyo and it is apparent that this is Petrucciani's group. The diminutive pianist leads while Gadd and Jackson provide a killer rhythm section. Petrucciani, who passed away in January 1999 was a truly gifted player who could bring listeners to tears with his inventive strokes (an example would be the tune "Home"). He was also a player who could swing and be extremely inventive. 

This is evidenced by the wonderful "A Little Piece In C for U." Trio In Tokyo also lets the listener hear studio stalwarts Gadd and Jackson in a live setting. Often thought of as "studio technicians," these two veteran jazzmen really shine on this recording. Don't miss this one. It's a rare gem that can never be replicated! ~ Mike  Perciaccante https://www.allaboutjazz.com/trio-in-tokyo-michel-petrucciani-dreyfus-records-review-by-mike-perciaccante.php

Personnel: Michel Petrucciani - Piano; Steve Gadd - Drums; Anthony Jackson - Bass

Trio in Tokyo

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David Sanborn - Voyeur

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

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

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

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

Voyeur

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Diane Schuur - Diane Schuur Collection

Styles: Vocal Jazz
Year: 1989
File: MP3@320K/s
Time: 50:12
Size: 115,1 MB
Art: Front

(5:35)  1. Love Dance
(2:57)  2. Easy To Love
(3:54)  3. By Design
(4:46)  4. The Very Thought Of You
(3:16)  5. Caught A Touch Of Your Love
(4:23)  6. How Long Has This Been Going On?
(4:53)  7. Louisana Sunday Afternoon
(4:56)  8. Come Rain Or Come Shine
(3:17)  9. Sure Thing
(3:54) 10. Teach Me Tonight
(3:53) 11. Funny (But I Still Love You)
(4:21) 12. I'll Close My Eyes

Released in 1989, Collection sums up Diane Schuur's first five GRP albums, a period when she achieved a level of acclaim that tailed off somewhat in the '90s. What has been gathered together here is often very impressive, her rich, full voice keening over carefully wrought, beautifully recorded lush backdrops (with real or electronic strings), swinging over some fine big bands, or coming to terms with '80s jazz funksters. Strangely, there is only one selection from her live-in-the-studio collaboration Diane Schuur & the Count Basie Orchestra, which is the best overall album from this period (it features guitarist Freddie Green's last recorded performance) while the other albums (Deedles, Schuur Thing, Timeless, Talkin' 'Bout You) get multiple representation. It's quite possible that Schuur has never topped the leadoff track, Ivan Lins' beguiling "Love Dance" with her sponsor Stan Getz weaving a magic spell, this is a great example of the right material meeting the right singer and the right backing. Dave Grusin, Johnny Mandel, Billy May, Pat Williams, and Jeremy Lubbock are the arrangers whose tracks were chosen and everything has the brilliant sonic sheen that turned on the audiophile crowd early in the CD era. ~ Richard S.Ginell https://www.allmusic.com/album/collection-mw0000200577

Personnel: Diane Schuur (vocals); Jose Feliciano (vocals); Howard Roberts , Steve Khan (electric guitar); Tom Scott (alto saxophone); Stan Getz (tenor saxophone); Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer, percussion); Mitchel Forman (piano, synthesizer); Richard Tee (Fender Rhodes piano); Larry Williams (synthesizer); Dan Dean (electric bass); Carlos Vega (drums, percussion); Moyes Lucas, Steve Gadd (drums).

Diane Schuur Collection

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Yusef Lateef - In A Temple Garden

Styles: Saxophone And Flute Jazz
Year: 1979
File: MP3@320K/s
Time: 38:06
Size: 91,5 MB
Art: Front

(5:18)  1. In A Temple Garden
(4:06)  2. Bismillah
(6:52)  3. Confirmation
(3:04)  4. Nayaz
(6:28)  5. Jeremiah
(3:55)  6. Honky Tonk
(3:57)  7. How I Loved You
(4:22)  8. Morocco

Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s. Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge, and Dizzy Gillespie's big band (1949-1950). He was a fixture on the Detroit jazz scene of the '50s where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a strong reputation for his versatility and for his willingness to utilize "miscellaneous instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd, and was well-featured with the Cannonball Adderley Sextet (1962-1964). As a leader, his string of Impulse! recordings (1963-1966) was among the finest of his career, although Lateef's varied Atlantic sessions (1967-1976) also had some strong moments. 

He spent some time in the '80s teaching in Nigeria. His Atlantic records of the late '80s were closer to mood music (or new age) than jazz, but in the '90s (for his own YAL label) Lateef recorded a wide variety of music (all originals) including some strong improvised music with the likes of Ricky Ford, Archie Shepp, and Von Freeman. Lateef remained active as a composer, improviser, and educator (teaching at the University of Massachusetts, Amherst) into the 21st century, performing and recording as a leader and collaborator on such noteworthy recordings as Towards the Unknown with composer/percussionist Adam Rudolph (released in 2010, the same year Lateef was recognized as a Jazz Master by the National Endowment for the Arts). Yusef Lateef died at his home in Shutesbury, Massachusetts in December 2013; he was 93 years old. 

~ Scott Yanow https://itunes.apple.com/us/album/in-a-temple-garden/1182630776

Personnel:   Yusef Lateef - tenor saxophone, flute;   Randy Brecker - trumpet;  Jim Pugh - trombone, bass trombone;  Jerry Dodgion - alto saxophone;  Michael Brecker - tenor saxophone;   Tom Schuman - piano, electric piano, synthesizer;   Jeremy Wall - keyboards, percussion;  Suzanne Ciani - synthesizer, programming;   Eric Gale - guitar;   Steve Gadd - drums;   Jimmy Madison - drums.

In A Temple Garden

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Herb Alpert - Blow Your Own Horn

Styles: Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 42:14
Size: 100,5 MB
Art: Front

(4:46)  1. Red Hot
(4:06)  2. True Confessions
(3:47)  3. Blow Your Own Horn
(4:15)  4. Gently
(4:09)  5. The Midnight Tango
(5:16)  6. Garden Party
(4:19)  7. Paradise Cove
(4:12)  8. Latin Lady
(3:56)  9. Oriental Eyes
(3:23) 10. Sundown

This album is typical of Herb Alpert's '80s style, with his familiar horn sound grafted to contemporary dance and R&B rhythm tracks. He even got the old Motown team of Holland-Dozier-Holland to write and co-produce a couple of tunes. Although there is nothing here to rival Alpert's 1979 comeback "Rise," he had multi-format success with the album, which charted pop, R&B, and jazz and threw off two chart singles, "Garden Party" and "Red Hot." ~ William Ruhlmann https://www.allmusic.com/album/blow-your-own-horn-mw0000189061

Personnel:  Trumpet – Herb Alpert; Vocals – Herb Alpert (tracks: 1, 3, 6), Lamont Dozier (tracks: 3), Randy Badazz (tracks: 1, 5);  Trombone – Randy Aldcroft (tracks: 6);  Tenor Saxophone – Ernie Watts (tracks: 1, 6);  Acoustic Guitar – Tommy Tedesco (tracks: 1);  Bass – Abraham Laboriel (tracks: 1), Freddie Washington (tracks: 10), Nathan East (tracks: 2, 4, 6);  Bass [Moog] – Bill Cuomo (tracks: 6, 8 to 10);  Clavinet – Andy Armer (tracks: 5);  Drums – Carlos Vega (tracks: 6 to 8, 10), John Robinson (2) (tracks: 5), Steve Gadd (tracks: 1);  Drums [Linn] – Herb Alpert (tracks: 4);  Drums [Simmons] – John Gilston (tracks: 7), Mike Baird (tracks: 2);  Electric Guitar – Chris Pinnick (tracks: 1);  Guitar – Lee Ritenour (tracks: 7), Paul Jackson,Jr. (tracks: 2 to 4, 6), Steve Lukather (tracks: 9), Tim May (tracks: 5, 10);  Keyboards – Bill Cuomo (tracks: 4, 7 to 9), John Barnes (tracks: 2, 3), Neil Larsen (tracks: 6);  Piano – Andy Armer (tracks: 1), Michel Colombier (tracks: 10);  Piano [Acoustic] – Bill Cuomo (tracks: 8, 9), John Barnes (tracks: 2), Sergio Andrade (2) (tracks: 4);  Piano [Wurlitzer] – Mike Lang (tracks: 1)

Blow Your Own Horn

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