Randy Brecker - Toe to Toe

Styles: Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 43:42
Size: 101,3 MB
Art: Front

(5:40)  1. Mr. Skinny
(5:13)  2. Trading Secrets
(4:55)  3. It Creeps Up on You
(6:07)  4. The Glider
(4:55)  5. Toe To Toe
(5:52)  6. It's Up to You
(4:42)  7. What Is The Answer
(6:14)  8. Lost 4 Words

Jazz trumpeter and composer Randy Brecker has helped shape the sound of jazz, R&B and rock for more than four decades. His trumpet and flugelhorn performances have graced hundreds of albums by a wide range of artists from James Taylor, Bruce Springsteen and Parliament/Funkadelic to Frank Sinatra, Steely Dan, Jaco Pastorius and Frank Zappa. Born in 1945 in Philadelphia to a musical family, Randy’s musical talent was nurtured from an early age. He attended Indiana University from 1963-66 studying with Bill Adam, David Baker and Jerry Coker and later moved to New York where he landed gigs with such prominent bands as Clark Terry’s Big Bad Band, the Duke Pearson Big Band and the Thad Jones Mel Lewis Jazz Orchestra. In 1967, Randy ventured into jazz-rock with the band Blood, Sweat and Tears, but left to join the Horace Silver Quintet. He recorded his first solo album, ‘Score’, in 1968, featuring a young, then unknown 19 year-old tenor saxophonist named Michael Brecker. After Horace Silver, Randy joined Art Blakey’s Jazz Messengers before teaming up with brother Michael, Barry Rogers, Billy Cobham, and John Abercrombie to form the seminal fusion group ‘Dreams’. The group recorded two adventurous and wildly acclaimed albums: ‘Dreams’ and ‘Imagine My Surprise’now collector’s items for Columbia Records before they disbanded in 1971. In the early 1970s, Randy performed live with many prominent artists including Larry Coryell’s Eleventh House, Stevie Wonder and Billy Cobham. He also recorded several classic albums with his brother under the leadership of the great pianist/composer Hal Galper. By 1975, Randy and Michael were ready to front their own group, the Brecker Brothers Band.  A band of immeasurable impact and influence, they released six albums on Arista and garnered seven Grammy nominations between 1975 and 1981. 

Their eponymous first record, which Randy wrote, arranged and produced, featured his now classic composition “Some Skunk Funk.”In 1992, exactly ten years after they parted ways to pursue solo careers, Randy and Michael reunited for a world tour and the triple-Grammy nominated GRP recording, ‘The Return of the Brecker Brothers’. The follow-up, 1994’s ‘Out of the Loop,’ was a double-Grammy winner.In 1997, ‘Into the Sun’ (Concord), a recording featuring Randy’s impressions of Brazil, garnered Randy his first Grammy as a solo artist.In 2001, Randy released ‘Hangin’ in the City’ (ESC), a solo project which introduced his alter-ego Randroid, a skirt chasing, cab driving ne’er do well, with lyrics and vocals by Randroid himself. This CD was especially well received in Europe, where Randy toured extensively with his own line-up.Randy’s next CD for ESC Records, ’34th n’ Lex,’ won him his third Grammy for ‘Best Contemporary Jazz Album’ in 2003. In May of that year he toured Europe with his Quintet in support of the CD, and in the summer went back to Europe yet again with the Randy Brecker/ Bill Evans Soulbop Band. The summer of 2003 culminated in the special headline appearance in Japan at the Mt. Fuji Jazz Festival of the reunited Brecker Brothers.2004 saw Randy touring Europe extensively as co-leader (with Bill Evans) of the band Soulbop. The WDR Big Band also celebrated Randy and his music that year in a performance at the Leverkusen Jazz Fest. The date was of special significance to Randy as it was the last time he played with his brother, who took ill shortly thereafter with a rare form of leukemia known as MDS. In 2005, with Mike unable to travel to Russia for Brecker Brothers gigs booked there, Randy’s wife Ada sat in for the first time.  Randy’s active schedule continued apace with the Randy Brecker Band performing throughout Eastern Europe and across the globe. In 2007, Randy was awarded his fourth Grammy for “Randy Brecker Live with the WDR Big Band” (Telarc/BHM), the live recording (also available in DVD format) of his performance with Michael at the Leverkusen Jazz Fest in 2004. 

Tragically, Michael passed away that same year on Jan 13th. 2007 also saw the release of a 2 CD set of live recordings of the band ‘Soulbop’ (BHM) featuring Dave Kikoski, Victor Bailey, Steve Smith or Rodney Holmes and the late great Hiram Bullock. Randy returned to his long-time love of Brazilian music in 2008 for the album ‘Randy in Brazil,’ which was recorded in Sao Paulo with a full complement of great Brazilian musicians and released on Summit Records. Chosen one of the top 10 CDs of 2008 by AllAboutJazz.com, the CD won the Grammy for “Best Contemporary Jazz Album,” bringing his Grammy total to five. A “Tribute to the Brecker Brothers” featuring Randy and recorded live at the Hamamatsu Jazz Festival in Japan with Yoichi Murata’s Solid Brass & Big Band was released by JVC Victor in Japan in late 2008. And in 2009, Randy’s roots were celebrated with the release of ‘Jazz Suite Tykocin,’ a project initiated and conceived by the Polish pianist and composer Wlodek Pawlik, featuring Randy as a soloist with members of the Bialystok Philharmonic. Tykocin is the area in Poland where Randy’s ancestors (mother’s maiden name: Tecosky) hail from, a fact that Pawlik discovered while helping to search for a bone marrow donor for Michael. 2011 saw the release of ‘The Jazz Ballad Song Book: Randy Brecker with the Danish Radio Big Band and The Danish National Chamber Orchestra,’ which garnered 4 Grammy nominations and enjoyed enthusiastic critical acclaim.  And in 2012, Sony Legacy recaptured history with the long-awaited boxed set, “The Brecker Brothers – The Complete Arista Albums Collection.” A Brecker Brothers Band Reunion tour of European festivals in the summer of 2013 in support of Randy’s newest project, Randy Brecker’s “Brecker Brothers Band Reunion,” re-introduced the familiar faces of Brecker Brothers Band members from the past and their special brand of music to sell-out crowds. 

A dual-disc release, Randy’s newest project will be released on September 25th, 2013 on Piloo Records. Randy Brecker’s “Brecker Brothers Band Reunion” features a live DVD recorded at the Blue Note in NYC bundled with a new 11-song studio recording featuring members of the Brecker Brothers bands from throughout the years including Dave Sanborn, Mike Stern, Will Lee, and Dave Weckl. George Whitty is back in the production and keyboard chair, and Randy’s Italian wife Ada Rovatti is in the ‘hot saxophone’ seat, keeping it in the family on tenor and soprano saxophone. The new dual-disc recording will be released in North America by Magenta/E-One, in Europe by Moosicus Records in November and in Japan by JVC/Victor. A long time in the making, this project is very close to Randy Brecker’s heart. It is dedicated to his brother, Michael, and other departed Brecker Brothers Band members. As a composer, performer and in-demand Yamaha clinician, Randy Brecker continues to influence and inspire young musicians around the world. http://randybrecker.com/about/

Personnel: Randy Brecker - Electric Trumpet, Flugelhorn, Mixing, Producer, Trumpet, Vocals, Arranger; Jim Beard - Drum Machine, Drum Programming, Keyboards, Arranger, Producer; Michael Brecker - Sax (Tenor); Bob Mintzer - Clarinet (Bass); Jon Herington - Guitar; Victor Bailey - Bass (Electric); Darryl Jones – Bass; Dennis Chambers - Drums, Drums (Snare); Bashiri Johnson – Percussion; Regina Belle - Vocals (Background); Mark Ledford - Arranger, Vocals, Vocals (Background)

Toe to Toe

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Larry Coryell - Traffic

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 62:55
Size: 145,1 MB
Art: Front

(5:12)  1. Judith Loves Jazz
(3:58)  2. Manic Depression
(7:35)  3. Door #3
(7:09)  4. Joyce's Favorite
(7:56)  5. Misterioso
(5:37)  6. Dedication
(7:18)  7. Drums & Bass
(3:43)  8. Jake's Lullaby
(5:14)  9. Overruled
(9:11) 10. Electric Jam

CBW are guitarist Larry Coryell, former Weather Report bassist Victor Bailey and drummer Lenny White a trio capable of ear-blasting blues and funk. What distinguishes this fierce but patchy jazz-rock set from its CBW predecessor, Electric, is an unplugged delicacy on a couple of slow tracks, and good reworkings of imports like Hendrix's Manic Depression and Monk's Misterioso. Coryell, who was a 1970s jazz-rock guitar pioneer, mixes raw fluency and an R&B player's boogieing drive on Door £3. A one-take exercise, the set has its insecurities (Bailey sounds initially uncertain of the famous ascending hook of Misterioso, and Coryell's time can waver), but a what-the-hell boldness usually wins out - like the guitarist's ghostly use of the slide on Misterioso, or Bailey's chord-playing and tapping effects on Drums & Bass. Lots of raw blues and power-playing - though perhaps everybody from Scofield to D'Angelo has reworked these surefire ingredients in more subtle ways. … we have a small favour to ask. More people are reading and supporting The Guardian’s independent, investigative journalism than ever before. And unlike many news organisations, we have chosen an approach that allows us to keep our journalism accessible to all, regardless of where they live or what they can afford. But we need your ongoing support to keep working as we do. ~ John Fordham More... https://www.theguardian.com/music/2007/jan/12/jazz.shopping1

Personnel: Acoustic Guitar – Larry Coryell; Drums – Lenny White; Electric Bass – Victor Bailey; Electric Guitar.

Traffic

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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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George Howard - Love And Understanding

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 49:09
Size: 115,9 MB
Art: Front

(5:25)  1. Hopscotch
(5:24)  2. Only Here For A Minute
(6:35)  3. Baby Come To Me
(0:51)  4. Interlude
(5:21)  5. Love And Understanding
(5:13)  6. Everything I Miss At Home
(5:19)  7. Love Struck
(4:37)  8. Talk To The Drum
(5:10)  9. Red, Black, And Blue
(5:10) 10. Broad Street

After eight albums, the late soprano saxophonist George Howard found a comfortable and solid if slightly predictable niche in the intensifying realm of instrumental R&B. On Love & Understanding, his first original GRP outing (after a re-release of 1985's Dancing in the Sun), he sticks to the basic funk and romance formulas which made him one of the most consistent suppliers of sweet and nasty improvisational soul over the previous half decade. As always, his smooth yet bouncy lines and frequent circular breathing patterns stand out over the even most tried and true material, but he earns some kudos with "Talk to the Drum," an adventurous sax/percussion duet with masters Lenny Castro and Munyungo Jackson. ~ Jonathan Widran http://www.allmusic.com/album/love-understanding-mw0000320314

Personnel: George Howard (soprano saxophone, alto saxophone, synthesizer, drums, drum programming); Kevin Chokan (guitar); George Duke (flute, synthesizer, Synclavier, programming); Bobby Brooks (saxophone); Victor Bailey (keyboards, synthesizer, programming, drum programming); Tim Gant (keyboards, synthesizer); Doug Grigsby (keyboards, programming, drum programming); Jerry Brown (drums); Alex Acuña (congas, percussion); Lenny Castro (bongos, timbales, percussion); Munyungo Jackson (bongos, percussion); Brad Buxer (programming); Alexandra Brown, Carl Carwell, Debra Parson, Keith John (background vocals).

Love And Understanding

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Bill Evans - Escape

Styles: Saxophone Jazz, Jazz Fusion
Year: 1996
File: MP3@320K/s
Time: 74:09
Size: 171,2 MB
Art: Front

(5:34)  1. Swing Hop
(5:59)  2. Escape
(6:19)  3. Reality
(6:00)  4. The Sunday After
(4:38)  5. Rattletrap
(5:15)  6. Flash In Dreamland
(7:39)  7. Coravilas
(4:55)  8. Easilee
(5:27)  9. Undercover
(5:55) 10. La Di Da
(4:38) 11. Armsakimbo
(6:15) 12. Aftermath
(5:30) 13. Undercover (Remix - Marcus' Mad Flav)

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T  is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. ~ Alex Henderson http://www.allmusic.com/album/escape-mw0000647830

Personnel: Bill Evans (soprano, alto & tenor saxophones, background vocals); Mark Ledford, Loni Groves, Robin Beck, M.C.900 FT JESUS (vocals); Ahmed Best (rap vocals); Wallace Roney (trumpet); Ken Meccia (trombone); Chelsea Orchestra (strings); Jim Beard (Hammond B-3 organ, keyboards, bass, drums, programming, loops, background vocals); Jon Herington, Gary Poulson, Lee Ritenour, Nick Moroch (guitar); Ron Jenkins, Victor Bailey, Mark Egan, Marcus Miller (bass); Max Risenhoover, Billy Kilson, Steve Ferrone (drums); Manolo Badrena (percussion, background vocals); Nalini (background vocals). .

Escape

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Kevin Eubanks - Shadow Prophets

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 45:20
Size: 104,2 MB
Art: Front

(5:02)  1. Songhouse
(4:38)  2. Village Dance
(5:11)  3. Twilight Tears
(5:31)  4. G-Town Hang
(4:47)  5. He Smiled The Sea
(5:05)  6. Mice Mobsters
(5:45)  7. Shadow Prophets
(4:05)  8. Jenna's Dream
(5:12)  9. Eye Spy

Shadow Prophets was a marked improvement over The Heat of Heat, but it was obvious that GRP was trying desperately to find a niche for Kevin Eubanks. Despite a distinctive guitar style and an endless stream of ideas, Eubanks was again being molded in the same style as George Benson (the pop version). The inclusion of Mark Ledford also indicates an effort to ride the Pat Metheny wave that was so popular on contemporary radio stations at this time. 

Commercial efforts aside, there is some excellent playing here not just by Eubanks, but also by the underrated drummer Tommy Campbell, whose playing on the opening tune, "Songhouse," is breathtaking. Eubanks was certainly compromising his style at this point in his career, but the folks at GRP gave him a little more space and creative freedom. The results are mixed, but worth exploring for the sheer fact that Eubanks is such a great musician and makes the most of this limiting style of music.~Robert Taylor http://www.allmusic.com/album/shadow-prophets-mw0000196508

Personnel:  Acoustic Guitar, MIDI Guitar Synth – Kevin Eubanks;  Lead Vocals – Mark Ledford;  Electric Bass – Rael Wesley Grant,  Victor Bailey;  Keyboards – Onaje Allan Gumbs;  Backing Vocals – Kevin Eubanks, Mark Ledford;  Drums – Gene Jackson, Tommy Campbell.

Shadow Prophets

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Rachel Z - Trust The Universe

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 61:39
Size: 141,2 MB
Art: Front

(7:29)  1. Nardis
(5:16)  2. I Won't Cry 4 Us
(5:01)  3. Monk's Other Women
(7:01)  4. Inamorata
(4:21)  5. Under The Suit
(6:12)  6. Forgive Me
(3:42)  7. Save My Soul
(3:56)  8. Go!
(4:59)  9. One Night
(4:29) 10. Trust The Universe
(4:56) 11. When The Cats Away
(4:11) 12. Iyakutanda

Keyboardist Rachel Z divides her debut CD into mainstream and contemporary sections, but in reality she plays basically the same in both sessions, emphasizing her acoustic work in a style most influenced by Chick Corea, Herbie Hancock, and occasionally Bill Evans. The music is usually soulful enough for the jazz lite listener and contains just enough chance-taking for more serious jazz collectors. Nothing too unexpected occurs, but this enjoyable set has some fine solos from the leader and the contrasting saxophones of David Sanchez and David Mann.~Scott Yanow http://www.allmusic.com/album/trust-the-universe-mw0000094905

Personnel: Rachel Z (piano, keyboards); David Mann (soprano saxophone, alto saxophone, tenor saxophone); David Sanchez (soprano saxophone, tenor saxophone); Charnett Moffett (acoustic bass); Victor Bailey (electric bass); Al Foster, Lenny White (drums); Gumbi Ortiz (percussion).

Trust The Universe

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Larry Coryell, Victor Bailey, Lenny White - Electric

Bitrate: 320K/s
Time: 57:33
Size: 131.7 MB
Styles: Jazz-rock, Jazz guitar
Year: 2001
Art: Front

[6:05] 1. Wolfbane
[5:01] 2. Bb Blues
[6:17] 3. So What
[7:17] 4. Sex Machine
[6:15] 5. Black Dog
[7:24] 6. Footprints
[7:49] 7. Born Under A Bad Sign
[7:11] 8. Low Blow
[4:12] 9. Rhapsody And Blues

This trio set featuring guitarist Larry Coryell, drummer Lenny White, and bassist Victor Bailey is issued by Chesky, purveyor of uncompressed audiophile recordings. And while the sound is wondrous, it's the performances here that take front and center. The mix of jazz, funk, and rock tunes on Electric is infectious, especially when played with such incendiary inspiration. Members of this trio wrote four of the nine tunes here. White's furied funk freak-out "Wolfsbane" opens the proceeding on a hot note, and Coryell's "BB Blues" takes the jazz-inflected blues to a new intensity. But it is the covers here that really resonate, from a skeletal and edgy reading of Miles Davis' "So What," to Wayne Shorter's signature tune "Footprints," the jazz chops and expansive improvisation are present everywhere. On Sly and the Family Stone's "Sex Machine" and the Page & Plant nugget "Black Dog," the pedal to the metal aesthetic really works. Elsewhere, "Born Under a Bad Sign" is dragged kicking and screaming into the 21st century without losing its blues fire. This is not a recording for those looking for Coryell's jazz technique and subtle artistry in interpreting music from the days of yore. Listeners looking for a balls-out charge of electric jazz-rock will be more than delighted by this outing. ~ Thom Jurek

Larry Coryell (electric guitar); Larry Coryell (guitar); Victor Bailey (electric bass, bass guitar); Lenny White (drums).

Electric

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