Eddie 'Lockjaw' Davis - Goin' To The Meetin'

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:00
Size: 171,6 MB
Art: Front

(5:02)  1. I Wished On The Moon
(4:24)  2. From This Moment On
(5:44)  3. It's A Pity To Say Goodnight
(6:17)  4. Just Friends
(7:03)  5. The Moon Of Mankoora
(6:53)  6. Speak Low
(5:27)  7. Goin' To Meetin'
(3:05)  8. People Will Say We're In Love
(5:00)  9. Night And Day
(3:41) 10. Pass The Hat
(3:48) 11. Yes, Yes
(3:59) 12. Please Send Me Someone To Love
(2:40) 13. Our Love Is Here To Stay
(5:35) 14. Oh Babee
(4:15) 15. Little Cougar

The esthetic and visceral aspects of Eddie “Lockjaw” Davis’ music have been on my mind a lot lately. My regular AAJ column “Combing the Fantasy Catalog” allowed me the welcome chance to explore his Prestige label legacy at length, but much to my regret this recent reissue wasn’t in circulation until after I’d put the wrap on the articles. The generous clutch of material from three albums, Misty, Stompin’ and Goin’ to the Meetin’ gathered here is much in line with his other work circa this vintage. The disc’s first half revisits the classic Davis/Scott combo flying its full hard-swinging soul-hued regalia with the added bonus of conguero Ray Barretto in the ranks. Originally a Moodsville release the tunes are a surprising mix of up-tempo burners like “From This Moment On” and balladic fare such as “Just Friends.” Both vie to create a swirling batch of performances that bring out the band’s best side. Just drop in on the furious conga breaks on the former tune and tidal force of Scott’s sustain-saturated fills for a taste guaranteed to leave even the most sullenly jaded listener rapacious for more. Even the slice of pop exotica “The Moon of Manakoora,” a regular staple of the Bachelor pad orchestras bandleaders like Les Baxter and is successfully given a make-over in line with the Davis’ no-frills delivery.

The album from which the disc’s title is taken fills out the second half trading Scott’s soul organ for Parlan’s hard bop piano and convening a completely different rhythm section with conga presence intact. Catlett’s moody walking line on the title track (which strangely recalls the bass line to Gil Melle’s “Mars”- how’s that for an obscure reference?) is but one of the many indications of a different, but no less visceral vibe. Bobo’s skins are sparser and more staccato in sound, accenting rather than driving the group, and Taylor’s sticks deliver a crisper, more measured sound than Edgehill. Parlan steps to the solo podium almost as often as the leader, but tune lengths are significantly shorter. Highlights are numerous, but the Latin groove of “Night and Day” where Taylor and Bobo sculpt a living lattice of interlocking cross rhythms beneath Davis’ booting phrasings garners first prize by my estimation. Listener’s familiar with Davis won’t need much prodding when it comes to acquisition of this disc, but suffice it to say that those unfamiliar with his gruff charms are likely to find themselves pleased by the purchase as well.By Derek Taylor
https://www.allaboutjazz.com/goin-to-the-meetin-eddie-lockjaw-davis-review-by-derek-taylor.php

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Horace Parlan (piano); Shirley Scott (organ); George Duvivier (bass); Ray Barretto, Willie Bobo (congas).

Goin' To The Meetin'

---

Charlie Rouse - Bossa Nova Bacchanal

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 42:32
Size: 97,8 MB
Art: Front

(3:56)  1. Back to the Tropics
(2:58)  2. Aconteceu
(4:50)  3. Velhos Tempos
(6:18)  4. Samba de Orfeu
(5:56)  5. Un Dia
(5:58)  6. Meci Bon Dieu
(5:29)  7. In Martinique
(7:05)  8. One for Five

About eight or nine years ago, the major record labels finally realized that they could sell more copies of classic jazz CDs if they reissued them with the respect they deserved, including high-quality remastering and packaging. This has proved an unprecedented boon for the jazz fan; never have so many records by so many artists been readily available, even if the inventories are in cyberspace rather than in the attic of the corner shop. However, there is a cloud to this silver lining. There are simply so many old albums in the reissue queue that some artists, particularly those who were more prolific as sidemen than as leaders, are underrepresented. And not just in quantity sometimes whole stylistic forays are lost. A case in point is Charlie Rouse, the vastly underrated tenor man best known for his long tenure with Thelonious Monk in the late '50s and '60s. Thankfully, then, Blue Note has reissued Rouse’s 1962 Bossa Nova Bacchanal as part of its limited edition Connoisseur Series. I know, I know, “not another bossa nova cash-in album!” But keep an open mind; this is no crass marketing ploy. Bacchanal is actually a fine album, and apparently Rouse was very serious about making authentic bossa nova music, recruiting excellent Latin rhythm players alongside the dual guitar line of Kenny Burrell and Lord Westbrook (playing acoustic Spanish guitars). 

The selection of tunes is perfect, too, with really only one bossa warhorse (“Samba de Orfeu”), several refreshingly lesser-known gems (the breezy “Aconteceu,” the ominous “Meci Bon Dieu”), and a Rouse original for good measure. Rouse does nothing to soften his sharp-edged, sinusoidal tone but lacks nothing in melodic invention, and his acerbic lines provide a citric zing where this kind of music is often too sticky sweet. The dual-guitar team is a real treat, providing excellent solos (both Westbrook and Burrell have their chance to shine) and a constant stereophonic percolation in the background. A startling bonus track, however, threatens to steal the show, at least for Rouse fans "One For Five," a non-bossa original from a later, 1965 session with (get this) Freddie Hubbard, McCoy Tyner, Bob Cranshaw, and Billy Higgins. The tune is reminiscent of something that might have fit on Wayne Shorter’s contemporary Blue Notes, and it features a nice Rouse solo different from his Monk guise, as well as fleet work by Hubbard and Tyner. How the rest of this session could remain in the vaults is beyond imagining, and only goes to prove the point made above. So please, Blue Note, put out the rest, and soon but until then, thanks for the Brazilian appetizer. ~ Joshua Weiner https://www.allaboutjazz.com/bossa-nova-bacchanal-charlie-rouse-blue-note-records-review-by-joshua-weiner.php

Personnel: Charlie Rouse, tenor sax; Kenny Burrell and Chauncey "Lord" Westbrook, guitars; Larry Gales, bass; Willie Bobo, drums; Patato Valdes, conga; Garvin Masseaux, chekere. On "One For Five": Rouse; Freddie Hubbard, trumpet; McCoy Tyner, piano; Bob Cranshaw, bass; Billy Higgins, drums

Bossa Nova Bacchanal

---

Willie Bobo - Tomorrow Is Here

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 35:13
Size: 81,5 MB
Art: Front

(3:51)  1. Suitcase Full Of Dreams
(3:18)  2. Funk De Mambo
(4:29)  3. Keep On Walking
(5:11)  4. Dreamin'
(3:01)  5. Wacky Tobacky (The Race)
(3:31)  6. Can't Stay Down Too Long
(3:18)  7. Time After Time
(3:36)  8. Kojak Theme
(4:54)  9. A Little Tear

Willie Bobo's only LP for Blue Note came at a point well past the label's heyday, when crossover was its primary focus. Hence Tomorrow Is Here has a pronounced '70s R&B/funk feel, with synthesizers, envelope followers, electric pianos, guitars and occasional strings interwoven with Bobo's steady Latin congas, timbales and self-effacing vocals. But there are a few gems to be found here one in particular. The leadoff track "Suitcase Full Of Dreams" is a great, haunting, Latin-accented song about a journeyman musician's life on the road that should have become a standard but is now almost completely forgotten. Karma's Reggie Andrews sits in on keyboards to give the record its contemporary sound; the other participants are L.A. sessionmen. Bobo's engaging personality, the injected Latin element, and "Suitcase" are what makes this otherwise dated record come alive.

Personnel: Willie Bobo - vocals, percussion; Gary Grant, Ron King, Nolan Smith - trumpet; George Bohanon, Thurman Green - trombone; Ray Pizzi, Ernie Watts - saxophone; Gary Herbig - reeds; Reggie Andrews, Larry Farrow, David Garfield - keyboards; Dennis Budimir, John Cadrecha, Craig McMullen, Sidney Muldrow, Curtis Robertson Jr. - guitar; Dean Cortez, Jim Hughart, David Troncoso - bass; Gary Denton, James Gadson, Jeff Porcaro, Carlos Vega - drums; Victor Pantoja - percussion; Sandi Erwin, Benard Ighner - vocals

Tomorrow Is Here

---

Cal Tjader, Willie Bobo, Mongo Santamaria - Latino!

Styles: Latin Jazz, World Fusion
Year: 1994
File: MP3@320K/s
Time: 73:31
Size: 171,8 MB
Art: Front

(4:49)  1. Manila
(3:30)  2. Key Largo
(6:43)  3. Tumbao
(3:04)  4. Bludan
(3:24)  5. Chispita
(3:42)  6. September Song
(3:32)  7. Cal's Pals
(3:26)  8. Para Ti
(4:37)  9. Mamblues
(6:32) 10. Afro Blue
(6:29) 11. Cuban Fantasy
(5:56) 12. Rezo
(4:20) 13. Mambo Terrifico
(8:34) 14. A Night In Tunisia
(4:45) 15. The Continental

Vibraphonist Cal Tjader is heard leading five different groups throughout this set, but the identities of the flutists, bassists, and pianists are less important than knowing that Tjader, Willie Bobo (on drums and timbales), and the great conga player Mongo Santamaria are on every selection. The music really cooks, with torrid percussion, inspired ensembles, and occasional solos from the sidemen (which sometimes include pianists Lonnie Hewitt or Vince Guaraldi, bassist Al McKibbon, and flutist Paul Horn). Highlights include Latinized versions of "Key Largo" and "September Song," "Night in Tunisia," "The Continental," and a definitive version of Santamaria's "Afro Blue." This is Latin jazz at its finest. ~ Scott Yanow https://www.allmusic.com/album/latino-con-cal-tjader-mw0000626426

Personnel:  Vibraphone – Cal Tjader; Backing Band – The Eddie Cano Big Band; Bass – Al McKibbon, Eddie Coleman , Victor Venegas; Congas – Mongo Santamaria; Drums, Timbales – Willie Bobo; Featuring – Al McKibbon, Eddie Cano, José "Chombo" Silva , Lonnie Hewitt, Mongo Santamaria, Paul Horn, Vince Guaraldi, Willie Bobo; Flute – José Lozano, Paul Horn, Rolando Lozano; Flute, Alto Saxophone – Modesto Briseno ; Piano – Eddie Cano, Lonnie Hewitt, Vince Guaraldi Remastered By – Phil De Lancie; Tenor Saxophone – José "Chombo" Silva; Trumpet – Tony Terran 

Latino!

---

Ike Quebec - Bossa Nova Soul Samba

Styles: Saxophone Jazz, Latin Jazz
Year: 1996
File: MP3@320K/s
Time: 46:10
Size: 106,6 MB
Art: Front

(3:10)  1. Loie
(3:01)  2. Lloro Tu Despedida
(5:41)  3. Goin' Home
(4:42)  4. Me 'N You
(3:42)  5. Liebestraum
(3:32)  6. Shu Shu
(5:15)  7. Blue Samba
(4:00)  8. Favela
(3:29)  9. Linda Flor
(3:33) 10. Loie - Alternate Take
(2:38) 11. Shu Shu - Alternate Take
(3:21) 12. Favela - Alternate Take

This is quite a painful disc to listen to. Not because of the music which is beautiful but because of the events surrounding it. Recorded in October 1962, it was to be tenor saxophonist Ike Quebec's final album. Less than four months later he died of lung cancer. This fact rather sticks in the mind like a house guest who has outstayed his or her welcome. Wistful, pretty and elegiac, the music is somehow a fitting final statement from a player best known for more muscular, extrovert, swing-to-bop balladeering. The wonder is that Quebec was able to create such lovely music when he must have known his end was near. But as session engineer Rudy Van Gelder says in the liner notes to this RVG remaster, "Ike always played beautifully, even at the end, when he was dying...I mean, literally dying." And it's true. Despite the circumstances surrounding it, Bossa Nova Soul Samba is an album of beauty. 1962, of course, was the year it seemed every jazzman was making a bossa nova album. Tenor saxophonist Stan Getz began the trend with Jazz Samba (Verve, 1962), made with guitarist Charlie Byrd and containing the chart hit "Desafinado." By the time Quebec was in the studio, even big-tone tenor maestro Coleman Hawkins was on board, with Desafinado (Impulse!, 1962). Next up were Sun Ra & The Solar Myth Arkestra with Sugar Loaf Mountain Bossa Party! (no, I made that up actually, but it might have been). By the end of the year, the genre was already in danger of becoming a cliché; not least for its reliance on the songwriting of Antonio Carlos Jobim, whose tunes dominated many track listings. But Quebec had the wit to ring the changes with the material for Bossa Nova Soul Samba he began his time with Blue Note, after all, as an A&R man. The tunes are the real thing, but little known; Brazilian composers are used, but not Jobim; and there are two originals by Quebec ("Blue Samba," "Me 'n' You"), who also, imaginatively, re-arranges Anton Dvorak's "Goin' Home." Bossa nova was well suited to Quebec's physical and, one imagines, mental states at the time of this recording. It requires no strutting or grandstanding, and lends itself instead to subtlety and ellipsis. The saxophonist plays with heartrending tenderness throughout, sensitively supported by guitarist Kenny Burrell, drummer Willie Bobo and bassist Wendell Marshall. If you already know Quebec's chef d'oeuvres The Complete Blue Note 45 Sessions (Blue Note, 1959-62) and Blue And Sentimental (Blue Note, 1961), Bossa Nova Soul Samba will enhance your understanding of both, while also providing plenty of enjoyment in its own right. ~ Chris May https://www.allaboutjazz.com/bossa-nova-soul-samba-ike-quebec-blue-note-records-review-by-chris-may.php

Personnel: Ike Quebec: tenor saxophone; Kenny Burrell: guitar; Wendell Marshall: bass; Willie Bobo: drums; Garvin Masseaux: shekere.

Bossa Nova Soul Samba

---

Cal Tjader - Concerts In The Sun

Styles: Vibraphone Jazz
Year: 1960
File: MP3@320K/s
Time: 53:52
Size: 127,1 MB
Art: Front

(5:11)  1. Love For Sale
(4:39)  2. Goodbye
(6:00)  3. Raccoon Straits
(7:14)  4. Walkin With Wally
(5:09)  5. My Romance
(5:28)  6. Sigmund Sten Groove
(4:26)  7. Cubano Chant
(5:03)  8. Afro Blue
(5:43)  9. Tumbao
(4:54) 10. Day In, Day Out

Concerts in the Sun languished in the vaults for 42 years, but it's now finally available on CD. The recording finds Cal Tjader in a state of transition between the West Coast cool jazz he helmed with Dave Brubeck and a full-blown commitment to integrating Afro-Cuban rhythms into jazz. Culled from two concerts, one in Honolulu and the other in San Francisco, the first half features well-mannered standards and a distinct lack of perspiration; unfortunately, the five song routine seems overly rehearsed and detached. Only in the second half, which features the dense polyrhythms of Willie Bobo and Mongo Santamaria, does the band really swing into gear. (Jazz historians will note the appearance of “Afro Blue,” a few years before Coltrane’s famous version.) However, despite the enthusiasm of the band, at this point Tjader wasn’t yet able to fully fuse the foreign rhythms and jazz concept into a convincing whole, so they come off like a bunch of guys who showed up at a black tie dinner wearing sombreros. The problem with much of Tjader’s music is that Tjader himself is frequently the least interesting thing about it; and only later, with classics like Black Orchid, was he able to create a distinctive and enjoyable Latin jazz hybrid. Of course Tjader fans will want to pick this up, but the mildly curious should explore the excellent Monterey concerts first. ~ David Rickert https://www.allaboutjazz.com/concerts-in-the-sun-cal-tjader-fantasy-jazz-review-by-david-rickert.php

Personnel: Cal Tjader-vibes; Lonnie Hewitt-piano; Victor Venegas, Eddie Coleman-bass; Willie Bobo-drums; Mongo Santamaria-congas, bongos.

Concerts In The Sun

---

Cal Tjader - Sentimental Moods

Styles: Vibraphone Jazz
Year: 1958
File: MP3@320K/s
Time: 72:53
Size: 170,5 MB
Art: Front

(2:36)  1. I Should Care
(2:39)  2. Spring Is Here
(2:59)  3. Time Was
(3:17)  4. Star Eyes
(3:16)  5. Stella By Starlight
(4:29)  6. Alone Together
(2:20)  7. Ode To A Beat Generation
(2:39)  8. Skylark
(3:10)  9. Martha
(4:01) 10. Quizas, Quizas, Quizas
(3:25) 11. Running Out
(2:28) 12. Racoon Strait
(3:41) 13. The Last Luff
(4:40) 14. Sigmund Stern Groove
(1:38) 15. Coit Tower
(6:03) 16. Triple T Blues
(4:23) 17. Union Square
(3:47) 18. Skyline Waltz
(3:43) 19. Viva Cepeda
(7:30) 20. The Grant Avenue Suite

Fantasy Records is to be commended for re-releasing so many of their classic Cal Tjader albums in the budget-priced two-for-one CD format, even if Sentimental Moods features one of their odder pairings. The first ten selections are culled from the dreamy mood music album Latin for Lovers (aka Latin for Lovers With Strings), and the final ten are from San Francisco Moods, a lean and mean West Coast jazz ode to his hometown. While these two sessions don't really go together, they do show you the breadth of what Tjader was recording for Fantasy at the time. While the Latin for Lovers selections aren't really Latin jazz (or even "Latin" or "jazz," for that matter), it is superior mood music with fine string arrangements written by Jack Weeks. If all lounge music was this good, the term couldn't be used as an insult. The soloists don't really stretch out at all, but Tjader, pianist Vince Guaraldi, and flutist Paul Horn each make their presence felt on regal, melodic passages. Willie Bobo and Mongo Santamaria are on the session, but unlike their sizzling one-track cameo on the next session's "Viva Cepeda," they are only around to keep strict time. So while the first half of the disc is upscale easy listening, those culled from San Francisco Moods show how underrated Tjader was at mainstream small-group jazz. Tjader starts out the session on piano, but on most tracks his vibraphone skills are given a real chance to shine. Tjader was always a giving group leader and guitarist Eddie Duran and the rest of the quartet are featured prominently. San Francisco Moods is an exhilarating session, one that veers from gritty, hard-swinging romps to uptown "chamber jazz" and back again without a hitch. Cal Tjader had such great success with Latin jazz that listeners and critics have tended to forget that he really was a major part of the cool West Coast jazz scene and that he recorded all kinds of music throughout his career. This CD reissue is a must-have for Cal Tjader fans and one that reminds people how far-reaching the vibraphonist's mainstream musical talent really was. ~ Nick Dedina https://www.allmusic.com/album/sentimental-moods-mw0000646495

Personnel includes: Cal Tjader (vibraphone); Paul Horn, Vince Guaraldi, Al McKibbon, Mongo Santamaria, Willie Bobo, Boris Blinder, Harry Moulin, Frances Wiener, Eugene Winkler, Eddie Duran, John Mosher, Jack Weeks, John Markham. Johnny Horn, Paul Horn (flute); Vince Guaraldi (piano); Mongo Santamaria, Cal Tjader (piano, vibraphone); Eddie Duran (guitar); Franz Wiener, Frances Wiener, Boris Blinder, Harry Moulin, Eugene Winkler John Markham (drums).

Sentimental Moods

---

Slide Hampton - Explosion! The Sound Of Slide Hampton

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 29:51
Size: 71,8 MB
Art: Front

(2:26)  1. Revival
(2:23)  2. Maria
(3:59)  3. Delilah
(2:33)  4. Begin The Beguine
(3:01)  5. Your Cheatin' Heart
(3:33)  6. Spanish Flier
(2:58)  7. Bye Bye Love
(3:29)  8. Love Letters
(5:26)  9. Slide's Blues

The explosion in the title is definitely well-placed as trombonist Slide Hampton makes his group groove with a tremendous amount of power here all horns focused strongly on the rhythms, which themselves are wonderfully soulful! As with some of Hampton's best from the time, there's some really fresh young players on the set some obscure musicians, mixed with future heavyweights Joe Farrell and Ronnie Cuber on reeds plus piano from the great Horace Parlan! The tunes have a tight focus that really shows off Hampton's arranging skills and titles include "Spanish Flyer", "Bye Bye Love", "Slide's Blues", and "Begin The Beguine". (White label promo. Cover has some wear.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/33449/Slide-Hampton:Explosion-The-Sound-Of-Slide-Hampton

Personnel:  Slide Hampton - trombone, arranger;  Johnny Bello, Chet Ferretti, Jerry Tyree - trumpet;  Benny Jacobs-El - trombone;  Joe Farrell - tenor saxophone;  Jay Cameron, (1, 3, 5, 7, 8) Ronnie Cuber (2, 4, 6 & 9) - baritone saxophone;  Walter Davis, Jr., (1, 3, 5, 7, 8) Horace Parlan (2, 4, 6 & 9) - piano;  Bob Cranshaw - bass;  Vinnie Ruggiero - drums;  Willie Bobo - congas (2, 4, 6 & 9)

Explosion! The Sound Of Slide Hampton

---

Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

---

Mongo Santamaria - Mongo's Greatest Hits

Bitrate: MP3@320K/s
Time: 63:45
Size: 145.9 MB
Styles: Latin jazz
Year: 1995
Art: Front

[ 3:57] 1. Afro Blue
[ 2:51] 2. Mi Novia
[ 3:04] 3. Linda Guajira
[ 2:43] 4. Pito Pito
[10:39] 5. Mazacote
[ 3:02] 6. Para Ti
[ 2:26] 7. Watermelon Man
[ 5:25] 8. Manteca
[ 3:42] 9. Sabroso
[ 4:05] 10. Conga Pa Gozar
[ 3:25] 11. Federico
[ 4:36] 12. Mi Guaguanco
[ 5:59] 13. Para Ti (Alternate)
[ 7:45] 14. Las Guajiras

This is a excellent single-disc sampler of what Mongo Santamaria was like before "Watermelon Man" catapulted him into the charts. Some of the Fantasy tracks sound like the musicians were just off the boat from Havana, and are a bit primitive in contrast to the brassy Santamaria of the mid- to late '60s, but they have overwhelming charm. The revered "Afro-Blue" can be heard in its original, spooky, stripped-down form, and it would be hard for anyone to resist the voodoo spell that the ten-plus minute "Mazacote" conveys. Besides Santamaria himself, included among the world-class percussionists on this record are Willie Bobo and Armando Peraza. The CD version adds four tracks, including "Watermelon Man" from the Battle/Riverside period and an alternate take of "Para Ti." ~Richard S. Ginnell

Mongo's Greatest Hits

---

Willie Bobo - Dig My Feeling

Bitrate: MP3@320K/s
Time: 47:43
Size: 109.3 MB
Styles: Latin jazz
Year: 2016
Art: Front

[3:55] 1. Broasted Or Fried
[5:26] 2. New Day Magic
[3:08] 3. Lost Years
[5:12] 4. The Thrill Is Gone
[3:40] 5. Dig My Feeling
[4:17] 6. Round Trip
[4:17] 7. Pretty Lady
[4:23] 8. The Day It Rained
[4:08] 9. A Koko
[5:17] 10. Untitled
[3:56] 11. Hymn To The People

“Dig My Feeling adds yet another dimension to Willie Bobo’s music and legacy. It will entice you to revisit his past recordings and make you marvel at his acumen as a trap drummer, percussionist, vocalist, groove master and visionary.” ~Tomas Peña

Percussionist and bandleader Willie Bobo had a remarkable career that not only reflected his Afro-Caribbean background, but also created a cross-cultural hybrid that still reflects the bi-cultural life of Latinos living in this country. Still, he rarely gets enough credit for his role in the development of bugaloo, Latin jazz, and then Latin soul.

From his start with Tito Puente and Latin big bands to his later career as a major exponent of Latin soul, Willie Bobo innovated constantly. The proof of that lies in the way contemporary club DJs seek out vinyl copies of Bobo's albums from the 1960s and '70s, up until his death in 1983.

Dig My Feeling

---

Gary McFarland - Soft Samba

Bitrate: MP3@320K/s
Time: 28:56
Size: 66.2 MB
Styles: Bossa Nova, Latin jazz
Year: 1964/2015
Art: Front

[1:45] 1. Ringo
[2:33] 2. From Russia With Love
[2:16] 3. She Loves You
[3:03] 4. A Hard Day's Night
[2:04] 5. The Good Life
[2:18] 6. More
[3:55] 7. And I Love Her
[1:57] 8. The Love Goddess
[3:13] 9. I Want To Hold Your Hand
[1:51] 10. Emily
[1:53] 11. California, Here I Come
[2:03] 12. La Vie En Rose

Acoustic Guitar – Antonio Carlos Jobim; Bass – Richard Davis; Flute – Seldon Powell, Spencer Sinatra; Guitar – Kenny Burrell; Percussion – Sol Gubin, Willie Bobo; Piano – Patty Bowen; Trombone – Jimmy Cleveland. Recorded June15-16, September 3, October7, 1964, at Van Gelder Recording Studios, NJ.

Gary McFarland's profile was rising in jazz as an arranger and producer, having already crafted respected albums with artists such as Bill Evans. This album was perceived as a step in more commercial directions, what with its covers of Beatles tunes, film themes, and all. This didn't make it popular with jazz critics of the time, generally known for being snobby, anyways. Now that Gary McFarland is being increasingly remembered, there are similarly increasing numbers of McFarland-related reissues like this to be found. It is generally accepted that his follow-up --- The In Sound --- is the better album, but don't let that knowledge cause you to overlook Soft Samba!

Soft Samba may not have Gabor Szabo, but it does have Kenny Burrell and Antonio Carlos Jobim on guitar. It has Willie Bobo on percussion. It has "yeah, yeah, yeah" as the only readily identifiable lyrics on an album otherwise full of vocals. For these reasons and more, please introduce yourself to this album and to the thoroughly enjoyable repertoire of Gary McFarland. ~Panko Morton

Soft Samba

---

Herbie Mann - Live At Newport

Styles: Flute Jazz
Year: 1963
File: MP3@320K/s
Time: 40:24
Size: 94,0 MB
Art: Front

( 7:40)  1. Soft Winds
( 7:39)  2. Desafinado
( 6:09)  3. Samba De Orfeu
(10:49)  4. Don't You Know
( 8:05)  5. Garota De Ipanema

Most of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit "Desafinado" is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded "The Girl From Ipanema" (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as "Garota De Ipanema." A catchy rendition of "Soft Winds," the bossa nova "Samba De Orfeu," and Ben Tucker's "Don't You Know" round out the well-played program.~Scott Yanow http://www.allmusic.com/album/live-at-newport-mw0000011986

Personnel: Herbie Mann (flute); Attila Zoller (guitar); Don Friedman (piano); Dave Pike (vibraphone, background vocals);  Bobby Thomas (drums); Willie Bobo, Carlos "Patato" Valdes (percussion).

Live At Newport

---

Slide Hampton - Jazz With A Twist/Explosion

Styles: Bop, Big Band
Year: 1962
File: MP3@320K/s
Time: 65:05
Size: 149,5 MB
Art: Front

(2:34)  1. The Jazz Twist
(3:04)  2. Mack The Knife
(2:10)  3. Gorgeous George
(3:58)  4. Strollin'
(6:40)  5. The Barbarians
(2:58)  6. Work Song
(2:54)  7. Slide Slid
(4:37)  8. Day In Day Out
(6:17)  9. Red Top
(2:25) 10. Revival
(2:23) 11. Maria
(3:59) 12. Delilah
(2:33) 13. Begin The Beguine
(3:01) 14. Your Cheatin' Heart
(3:33) 15. Spanish Flier
(2:58) 16. Bye Bye Love
(3:29) 17. Love Letters
(5:25) 18. Slide's Blues

A few years ago a “new swing revival” burst onto the music scene, bolstered by newcomers like the Brian Setzer Orchestra, Big Bad Voodoo Daddy, and the Royal Crown Revue, among others. Suddenly techno clubs featured swing nights, as albums by these artists appeared at the top of the charts. Although the new swing craze has passed as we all knew it would, one positive fallout was that many older stalwarts, like Louis Prima and Louis Jordan, received posthumous exposure as a result. 

Another swing artist deserving of wider exposure is Slide Hampton, who has recently been given the reissue treatment by Collectables Records with a two-fer CD overflowing with enthusiasm and swing. Hampton, a gifted trombonist and arranger who previously spent time with both Lionel Hampton and Maynard Ferguson, keeps things lively on both sessions with punchy horn arrangements and lively tempos that make the relatively small orchestra of ten sound like twenty. All of the selections here are real toe-tappers, propelled with a ferocious snap by Vinnie Ruggiero on drums and either Ray Barretto or Willie Bobo on congas. 

The addition of congas adds an additional “junglish” sound to every track, in particular the Hampton original “The Barbarians”. All soloists are in fine form throughout, especially Hampton and Jay Cameron; only a few soloists are permitted on each track, which leaves room for everyone to stretch out for a few choruses. Those in the know will recognize veteran players like George Coleman and Horace Parlan among the mix. As far as the sessions themselves are concerned, Jazz With a Twist is a relatively straightforward set, whereas Explosion! is a bit more adventurous, including country and western tunes, Arabian stylings on “Delilah”, and an upbeat arrangement of “Bye Bye Love” among the more traditional tunes. Although still a good session, the eclectic nature of the tunes on the latter recording detracts from the overall enjoyment. However, the seven originals included on both prove that Hampton can compose tunes that can stand alongside any big band chart currently in circulation.

While not likely to launch another swing revival, this CD is a welcome reissue to an artist deserving of more attention. The last swing craze was fueled by the sheer joy and enthusiasm that good big band music can inspire; Hampton’s recordings are no exception. If Brian Setzer ever needs some inspiration, he would be wise to check out these recordings. ~ David Rickert  http://www.allaboutjazz.com/jazz-with-a-twist-explosion-the-sound-of-slide-hampton-slide-hampton-collectables-review-by-david-rickert.php

Personnel: on "Jazz With a Twist":Slide Hampton and Benny Jacobs-El, trombones; Willy Thomas and Hobrt Johnson, trumpets; George Coleman, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Eddie Khan, bass; Ray Barreto, congas; Vinnie Ruggiero, drums. On "Explosion!" Slide Hampton and Benjamin Jacobs-El, trombones; John Bello, Chad Ferreti, and Jerry Tyree, trumpets; Joe Farrell, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Bob Cranshaw, bass; Vinnie Ruggiero, drums; Willie Bobo, congas.

Jazz With A Twist/Explosion

---

Willie Bobo - Hell Of An Act To Follow

Bitrate: MP3@320K/s

Time: 36:19

Size: 83.2 MB

Styles: Latin jazz, Funk

Year: 1978

Art: Front

[5:08] 1. Always There

[5:11] 2. Keep That Same Old Feeling

[3:42] 3. Together

[3:50] 4. Pisces

[6:18] 5. Dindi

[4:23] 6. Snort Of Green

[4:21] 7. Fairy Tales For Two

[3:23] 8. Sixty-Two Fifty

Keyboards – Bobby Lyle, Stuart Elster; Percussion – Victor Pantoja, Willie Bobo; Saxophone, Flute – Ernie Watts, Gary Herbig; Bass – Donny Beck, Nathaniel Phillips; Drums – Steven Guiterrez; Guitar – Roland Bautista; Trombone – Thurman Green; Trumpet, Flugelhorn – Oscar Brashear, Ronald King; Vocals – Alex Brown, Alicia M. Howard, August Johnson, Deborah D.Thomas, Mortonette M.Jenkins, Sylvia St. James, Willie Bobo.

Hell Of An Act To Follow was produced by Wayne Henderson. The album featured some great musicians including Bobby Lyle and Conga/Latin percussionist Victor Pantoja. Henderson gave Bobo a more sophisticated production style and the album has become a Jazz Funk classic.

Hell Of An Act To Follow

---

Willie Bobo - Talkin' Verve

Bitrate: MP3@320K/s
Time: 55:32
Size: 127.1 MB
Styles: Latin jazz, Salsa
Year: 1997
Art: Front

[5:23] 1. Grazing In The Grass
[6:11] 2. Lisa
[2:41] 3. Black Coffee
[4:14] 4. The Look Of Love
[3:22] 5. Dreams
[2:37] 6. Evil Ways
[2:42] 7. Night Song
[2:33] 8. Mercy, Mercy, Mercy
[3:16] 9. Roots
[2:46] 10. Spanish Grease
[5:10] 11. Shotgun Blind Man, Blind Man
[2:38] 12. Stuff
[3:04] 13. Night Walk
[3:01] 14. Fried Neck Bones And Some Homefries
[5:45] 15. Sham Time

Whatever the meaning of the word "talkin," this is still a most valuable release because it succinctly sums up Willie Bobo's Verve recordings, most of which have yet to see the light of the laser. By this time, Bobo had followed Mongo Santamaria into the marketplace as an energetic exponent of the Latin boogaloo, even scoring a minor hit with "Spanish Grease." But Bobo went even further than Mongo toward an accommodation with the '60s scene, adding the R&B-oriented electric rhythm guitar of Sonny Henry, dropping the piano, incorporating strings and even an occasional graceful vocal now and then. While there are a few covers of '60s standards here, like "The Look of Love" and "Grazing in the Grass" -- and he had the great sense to seek out and record a hip-shaking version of Eddie Harris' "Sham Time" -- Bobo's biggest contribution on these tracks was in providing the inspiration for the Latin rock boom to come. "Evil Ways" is almost an exact blueprint for Carlos Santana's career-launching hit version; "Spanish Grease" reappeared uncredited six years later as Santana's "No One to Depend On," and Santana also played Bobo's lowdown "Fried Neck Bones and Some Homefries" in the band's early days. With Bobo's galvanic congas and timbales swinging at all times, few CDs by a single artist capture the ambience of late-'60s jazz radio in the evening as well as this one. ~Richard S. Ginnell

Talkin' Verve

---

Willie Bobo - Spanish Grease: Uno Dos Tres 1 2 3

Bitrate: 320K/s
Time: 67:54
Size: 155.4 MB
Styles: Latin jazz
Year: 1994
Art: Front

[2:48] 1. Spanish Grease
[2:41] 2. Hurt So Bad
[2:22] 3. It's Not Unusual
[2:52] 4. Our Day Will Come
[4:07] 5. Haitian Lady
[2:14] 6. Blues In The Closet
[4:09] 7. Nessa
[3:50] 8. Elation
[2:30] 9. It's Not Unusual
[5:14] 10. Blind Man, Blind Man
[2:38] 11. Boogaloo In Room 802
[2:31] 12. Come A Little Bit Closer
[3:28] 13. Goin' Out Of My Head
[2:06] 14. I Remember Clifford
[3:10] 15. Rescue Me
[3:18] 16. Michelle
[2:47] 17. No Matter What Shape (Your Stomach's In)
[3:03] 18. Fried Neck Bones And Some Homefries
[3:14] 19. Ol' Man River
[2:40] 20. One, Two, Three (1-2-3) (Uno, Dos, Tres)
[2:45] 21. Night Song
[3:16] 22. The Breeze And I

Originally released as 2 separate LPs. UNO, DOS, TRES was recorded in 1965. SPANISH GREASE was recorded in 1966.

"In the 60's, Willie Bobo created a bridge between Popular and Latin music using an ensemble of instruments that included electric bass and guitar and no keyboards. He used Popular songs and transformed them with Latin rhythms to create a truly unique sound. This allowed for an entire industry of songs to be created by many great artists and composers. Using Willie as an inspiration, Santana created many of his signature styles from these early recordings. If you listen to the music used in the first Austin Powers movie, you will hear Willie's style being used to signify the 60's culture. This man was never given credit for his contribution to the American Pop Culture of the 60's and beyond." ~Luis Correa/amazon

Spanish Grease: Uno Dos Tres 1 2 3

---