Tuesday, August 14, 2018

Stan Kenton - Adventures In Jazz

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 53:15
Size: 122,7 MB
Art: Front

(5:33)  1. Turtle Talk
(5:50)  2. Stairway To The Stars
(4:29)  3. Limehouse Blues
(4:25)  4. Malaguena
(3:37)  5. Misty
(6:45)  6. Waltz Of The Prophets
(5:20)  7. Body And Soul
(5:17)  8. It Might As Well Be Spring
(6:32)  9. Waltz Of The Prophets (First Version)
(5:24) 10. Body And Soul (First Version)

This is one of the finest albums ever recorded by the remarkable Stan Kenton Orchestra. It features two compositions by the composer/trombonist/drummer Dee Barton, "Turtle Talk" and "Waltz of the Prophets," that are among the best-known works from the Kenton library. Barton later went on to fame (like those other Kenton stalwarts, Pete Rugolo and Lennie Niehaus) as a composer for films such as Clint Eastwood's Play Misty for Me. The CD includes a well-known version of the song "Misty," but the arrangement is by Gene Roland, not Dee Barton. "Misty" showcases the incredible mellophonium work of Ray Starling, undoubtedly the finest soloist who ever mastered that notoriously difficult brass instrument. Another featured soloist is Sam Donahue, a deep-throated tenor player in the Vido Musso tradition, who provides a stratospherically high solo on his own arrangement of "Body and Soul." An alternative version of "Body and Soul" (along with another version of "Waltz of the Prophets") is included as a CD bonus, but it lacks the polish of the take included on the original LP. The composer/arranger Bill Holman is represented by two of his best charts: "Stairway to the Stars," a tour de force arrangement of the standard featuring the alto of Gabe Baltazar; and the big production arrangement of Lecuona's "Malaguena," an arrangement that was a staple of Kenton concerts and clinics in the 1960s and 1970s. Aficionados of Stan Kenton's band won't want to be without this CD. This is Kenton at the peak of his power, leading a dynamite collection of soloists and sidemen during the last glory days of the travelling big bands. ~ William Grim https://www.allaboutjazz.com/adventures-in-jazz-stan-kenton-capitol-records-review-by-william-grim.php

Personnel:  Stan Kenton, piano;  Jim Amlotte, trombone;  Buddy Arnold, tenor sax;  Gabe Baltazar, alto sax;  Norman Baltazar, trumpet;  Dee Barton, trombone;  Bob Behrendt, trumpet;  Allan Beutler, baritone & bass saxes;  Bud Brisbois, trumpet;  Dwight Carver, mellophonium;  Sam Donahue, tenor sax; Wayne Dunstan, bass sax;  Bob Fitzpatrick, trombone; Marvin Holladay, baritone sax;  Joel Kaye, baritone & bass saxes;  Keith LaMotte, mellophonium;  Jerry Lestock McKenzie, drums;  Red Mitchell, bass;  Bud Parker, trombone;  Paul Renzi, tenpr sax;  Bob Rolfe, trumpet;  Carl Saunders, mellophonium;  Pat Senatore, bass;  Dalton Smith, trumpet;  Jack Spurlock, trombone;  Marvin Stamm, trumpet;  Ray Starling, mellophonium;  Dave Wheeler, bass trombone, tuba

Adventures In Jazz

Bill Frisell - Selected Recordings

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 76:37
Size: 177,1 MB
Art: Front

(5:10)  1. Mandeville
(3:02)  2. Introduction
(7:25)  3. India
(4:22)  4. Singsong
(4:35)  5. In Line
(5:47)  6. Resistor
(4:49)  7. Music I Heard
(8:04)  8. Tone
(4:40)  9. Lonesome
(6:29) 10. Alien Prints
(2:28) 11. Hangdog
(4:44) 12. Kind Of Gentle
(5:01) 13. Closer
(9:54) 14. Sub Rosa

Whatever the musical context, guitarist Bill Frisell has always been a team player. From the edgy avant-garde of Naked City to the deeply melodic music of the Ginger Baker Trio and several wide-ranging groups of his own, he's proven repeatedly that he has the versatility and perceptiveness to fit into wildly different surroundings. His ECM work has for the most part been of the quiet, melodic sort. Since he last recorded under his own name for the label in 1987, he's forged onward with a more country/blues orientation on his own recordings. Some critics have slapped the term "Americana" on this new material, but Frisell dismisses the label: "People say this has come into my playing in recent years. I think it's been there all along." Perhaps so. Regardless, this set documents a fertile period during the '80s when Frisell was finding his own voice. In his solo recordings, Frisell prizes space and texture. The solo guitar piece "Introduction" (from the Paul Motian band recording Psalm ) has as much silence as sound. "In Line" (from Frisell's record of the same name) explores extremes of timbre and pitch overlaid on a solid, pulsing acoustic foundation. Then there's his work with saxophonist Joe Lovano and drummer Paul Motian. In trio or quintet settings, these players have a very rare kind of cohesion. Surely Lovano has developed his sound substantially since the '80s this material emphasizes his sure grasp of melody, but it lacks the deftness of tone and angularity of phrasing which he acquired in the '90s. But in some sense, the '80s were golden years for these players. They deliver some of their strongest, most memorable playing on these tunes. Frisell's work with trumpeter Kenny Wheeler (documented here on three tunes from 1984's Rambler ) has a sharper edge, more extreme in tone and color than the rest of the collection. Frisell plays here and there with effects to thicken atmospheric backgrounds and sharpen his crispy improvisations. You can hear the roots of his post-ECM music in the soft blues of "Lonesome" and the stretched, gossamer meanderings of "Alien Prints." Just in case you thought you had Frisell pinned down, he tosses out "Hangdog," a punchy, dissonant fragment from the same record, 1987's Lookout for Hope.  The luminaries: Paul Motian, Joe Lovano, Jan Garbarek, Eberhard Weber, Kenny Wheeler, Joey Baron, Lee Konitz, Dave Holland, Paul Bley, John Surman. (Definitely in the big leagues.) The big surprise: Frisell on banjo on "Hangdog." He turns the instrument inside out and it works. (Note: this disc represents the fifth volume of :rarum, a series of artist-picked compilations from ECM Records. It comes with brief notes by the artists, an extensive biography, and discographical information.) ~ AAJ Staff https://www.allaboutjazz.com/rarum-selected-recordings-of-bill-frisell-bill-frisell-ecm-records-review-by-aaj-staff.php

Personnel: Bill Frisell: guitars, banjo, guitar synth; Joe Lovano: ts; Billy Drewes: as; Ed Schuller: b; Paul Motian: d; Jan Garbarek: ss; Eberhard Weber: b; Michael DiPasqua: d; Kenny Wheeler: tpt, ct; Bob Stewart: tuba; Jerome Harris: bg; Hank Roberts: cello; Kermit Driscoll: bg; Joe Baron: d; Lee Konitz: as; Dave Holland: b; Paul Bley: p; John Surman: ss; Jamie McCarthy: recorder; Roger Heaton: cl; Alexander Balanescu: v; Martin Allen: vb; John White: p; Gavin Bryars: b.

Selected Recordings

Beth Rowley - Gota Fria

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 56:25
Size: 129,6 MB
Art: Front

(4:25)  1. Shut It Down
(4:30)  2. Howl At The Moon
(3:51)  3. Bronze
(5:15)  4. Brave Face
(2:22)  5. Brother
(4:29)  6. Forest Fire
(5:38)  7. Princess
(4:53)  8. Get It Back
(5:59)  9. Only One Cloud
(3:30) 10. Run To The Light
(3:39) 11. Hide From Your Love
(7:48) 12. Gota Fria

Beth Rowley is a singer who employs a healthy crossover feel of vintage rhythm & blues and gospel music welded onto contemporary pop and jazz elements. She was born in Lima, Peru in October of 1981 to British missionary parents who moved when she was two years old. Raised in Bristol, England, her initial influences included Mahalia Jackson, Emmylou Harris, Neil Young, Roy Orbison, and (through her guitar-playing father) Woody Guthrie. Rowley attended St. Mary Redcliffe and Temple schools before being noticed at an open-mike night in London, and she subsequently formed a funk-soul-acid jazz band, the Apogee, when she was 16. After high school, she studied casually at Weston-Super-Mare College, and formally for a year at the Brighton Institute of Modern Music. Meeting and conferring with vocalist Carleen Anderson, Rowley was inspired to develop her own sound, but gained initial professional experience as a backup singer with Enrique Iglesias and Ronan Keating. Working more on the underground scene, she teamed up with saxophonist Ben Castle of Jamie Cullum's band in 2000 and began writing her own material, influenced as much by country and bluegrass as soul music. Her EP Violets was followed by the full-length Blue Thumb album Little Dreamer, which included songs co-written with Castle and covers of tunes by Led Zeppelin, Bob Dylan, and Willie Nelson. With backup from Duke Special, the album was also shaped by Blur producer Steve Power with help from Kevin Bacon and Jonathan Quarmby. Upon release, the album graced the U.K. Top Ten and saw Rowley nominated for Best Female Vocalist at the 2009 Brit Awards. The same year, she appeared onscreen in Lone Scherfig's An Education, while also contributing to the soundtrack of The Edge of Love. In 2010, she parted ways with Universal and continued on her own path, playing live shows across the U.K. and performing with Jools Holland & his R&B Band. 2013 saw the release of the Wretched Body EP, and after a move from London back to Bristol, Rowley took time some time off but still performed when she could. After an eight-year semi-hiatus, she returned to the studio to record new material. The resulting album, Gota Fría (Cold Drop), was released in mid-2018 on the independent label Stoopnik and was preceded by the single "Forest Fire." ~ Michael G. Nastos https://itunes.apple.com/us/album/gota-fr%C3%ADa/1369923472

Gota Fria

Monday, August 13, 2018

Miles Davis - Miles In The Sky

Styles: Trumpet And Cornet Jazz
Year: 1968
File: MP3@320K/s
Time: 51:12
Size: 117,7 MB
Art: Front

(17:03)  1. Stuff
(12:45)  2. Paraphernalia
( 7:30)  3. Black Comedy
(13:52)  4. Country Son

With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano one of the very first sounds on the record, as a matter of fact and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy "Country Son," this is less visionary than its predecessor and feels like a transitional album and, like many transitional albums, it's intriguing and frustrating in equal measures. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/miles-in-the-sky-mw0000652711

Personnel:  Miles Davis – trumpet, cornet on "Stuff" and "Country Son";  Wayne Shorter – tenor saxophone;  Herbie Hancock – piano, electric piano on "Stuff";  Ron Carter – bass, electric bass on "Stuff";  Tony Williams – drums;  George Benson – electric guitar on "Paraphernalia"

Miles In The Sky

Helen Merrill - Just Friends

Styles: Vocal, Jazz
Year: 1989
File: MP3@320K/s
Time: 44:51
Size: 106,1 MB
Art: Front

(5:51)  1. Cavatina
(6:16)  2. It Never Entered My Mind
(4:41)  3. Just Friends
(6:04)  4. It Don't Mean A Thing (If It Ain't Got That Swing)
(2:53)  5. Baby Ain't I Good To You
(2:57)  6. It's Not Easy Being Green
(4:05)  7. If You Go Away
(6:46)  8. Yesterdays
(5:17)  9. Music Maker

Veteran singer Helen Merrill is greatly assisted on this fine set by the warm tenor of Stan Getz, who was always a perfect choice for accompanying vocalists. With pianist Joachim Kuhn (replaced by Torrie Zito on three of the nine songs), bassist Jean-Francois Jenny-Clark and drummer Daniel Humair completing the group, Merrill sounds quite inspired on such selections as "Just Friends," "It Don't Mean a Thing," "Yesterdays" and even "It's Not Easy Being Green." Virtually all of Helen Merrill's recordings are special events because of the planning and intelligent ideas that go into them; this recommended set is no exception. ~ Scott Yanow https://www.allmusic.com/album/just-friends-mw0000203447

Personnel:  Vocals – Helen Merrill;  Tenor Saxophone – Stan Getz;   Bass – Jean-François Jenny-Clark;  Drums – Daniel Humair;  Piano – Joachim Kühn, Torrie Zito 

Just Friends

The Ellis Marsalis Trio - Twelve's It

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 76:27
Size: 229,1 MB
Art: Front

( 5:16)  1. Twelve's It
( 6:31)  2. Syndrome
( 6:03)  3. Homecoming
( 8:27)  4. Mozartin'
( 5:18)  5. Orchid Blue
( 2:22)  6. Friendships
(11:51)  7. The Surrey With The Fringe On Top
( 5:57)  8. I've Grown Accustomed To Her Face
( 6:00)  9. Tell Me
( 6:42) 10. All Good Intentions
( 7:40) 11. Zee Blues
( 4:14) 12. The Party's Over

The most famous and accomplished family in jazz history is the Marsalis family led by Ellis Marsalis. Ellis, the family's leader, is a highly respected master of piano and composition in the modern Jazz world; his eldest son, Branford Marsalis, is a great saxophone player and film soundtrack; the second child, Wynton Marsalis, is in the music world. Not only did he succumb to the classical and jazz world at the same time, Zhang Zhang’s well-received album made him famous as Miles Davis after the 1980s; although the third child Delfeayo was not as well known as other family members who established the Marsalis dynasty, his skills behind the scenes. It should not be underestimated. The youngest son, Jason, has a deep knowledge of the drums. In addition, as with other members of the Marsalis family, his strength in creation and production is quite impressive. This album, created by Ellis Marsalis and the youngest son, Jason, brings out the outstanding instrumentality of Ellis's knives and the excellent musical talents of the younger son Jason. The album was recorded in the famous Snug Harbor bar in New Orleans, which recorded live performances by Ellis who led his latest lineup of trios, including of course Jason Marsalis. The album name is called "Twelve's It" because the title of the album is originally composed of 12 bars, and the 12 bars are also the basic structure of the blues. The blues are the mother of the jazz. Ellis hopes to use this album to chase this book. Tracing back to the simple spirit of jazz development, the album name was taken as "Twelve's It". In addition, the album has just collected 12 pieces of music, including Ellis' own creations and classics by others. Ellis's keen sense of enthusiasm with strong and lingering emotions, after Jason's rigorous production, shows a sense of incitement. It is hard to imagine such a wonderful multi-level work, which is from the hands of a talented drummer who is only 21 years old. This album, full of vivid rhythm curves, once again proves that the Marsalis family has an unpredictable top position in the jazz scene. http://www.books.com.tw/products/0020043222

Personnel:   Bass – Bill Huntington (tracks: 5, 6, 8, 12), Roland Guerin (tracks: 1 to 4, 7, 9 to 11);  Drums – Jason Marsalis;  Piano – Ellis Marsalis

Twelve's It

Ty Causey - Mr. Mellow

Styles: Vocal, Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 42:59
Size: 99,5 MB
Art: Front

(3:45)  1. Shake & Dance
(3:53)  2. Uptown Girl
(4:04)  3. Feelin' That Vibe
(3:48)  4. I Can't Let Go
(3:48)  5. Mr. Mellow
(4:19)  6. Don't Stop (Let the Feelin' Flow)
(3:29)  7. Nobody Like You
(4:03)  8. Turn It Up (That's My Jam)
(4:02)  9. Can't Stop (So Emotional)
(3:52) 10. Love Will Always Find a Way
(3:51) 11. I Just Love Ya

Ty Causey's musical style is original and very unique. His smooth style is a Blend of Soulful R&B and Smooth contemporary jazz. His music production is very melodic which compliments his silky smooth vocal delivery. One of the most recognizable voices on the soul music scene today. Ty started his music career back in the late 1990's as a co-writer and featured vocalist for smooth jazz saxophonist Najee. Ty co-wrote and sang lead vocals on Najee's "Morning Tenderness" album. Since that time Causey has released twelve of his own full length Cds on his independent record label "Tyvonn Records". Ty's music has been define by many as "Feel Good Music"! Just put in and let it play!! https://store.cdbaby.com/cd/tycausey111

Mr. Mellow

Sunday, August 12, 2018

Ivo Perelman - Cama De Terra

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 53:56
Size: 130,5 MB
Art: Front

(0:47)  1. Soundcheck
(2:58)  2. One converse
(4:37)  3. To another
(8:51)  4. Nho quim
(5:37)  5. Spiral
(3:54)  6. Adriana
(4:54)  7. Groundswell Descent
(3:50)  8. Dedos
(2:40)  9. Elephants Have Brains
(9:24) 10. Cama de terra
(6:19) 11. The Dark of Day

In the mid- to late 1990s, Ivo Perelman was recording frequently and freelancing for more than a few independent labels. So many trips to the studio might have been overkill for less interesting players, but Perelman had so much to say musically that it was good to see him being extensively documented. To his credit, he kept things unpredictable by recording in a variety of settings. 

Cama De Terra found the tenor explorer in a drumless trio with bassist William Parker and the Cecil Taylor-influenced pianist Matthew Shipp, both of whom communicate with him splendidly on such absorbing Perelman compositions as the dusky "Elephants Have Brains," the chaotic "Spiral" and the angular "To Another." A very dark and lonely ballad, "Adriana" is one of the most moving songs Perelman has ever written. ~ Alex Henderson https://www.allmusic.com/album/cama-de-terra-mw0000086473

Personnel: Ivo Perelman - tenor sax;  Matthew Shipp - piano;  William Parker - bass

Cama De Terra

Deborah Cox - The Promise

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 39:54
Size: 91,8 MB
Art: Front

(4:11)  1. Love Is Not Made In Words
(3:55)  2. You Know Where My Heart Is
(4:37)  3. Did You Ever Love Me
(4:20)  4. Saying Goodbye
(4:10)  5. Beautiful U R
(3:31)  6. The Promise
(3:38)  7. All Over Me
(3:40)  8. All Hearts Aren't Shaped The Same
(4:08)  9. Down 4 U
(3:39) 10. Where Do We Go 2

After a stylistic detour with 2007’s Destination Moon, on which Deborah Cox paid tribute to jazz and classic-pop vocal legend Dinah Washington, the Canadian chanteuse returns to her natural R&B milieu on THE PROMISE. Working with a selection of top-tier collaborators (John Legend, Jimmy Jam & Terry Lewis), Cox delivers a set of eminently smooth yet impassioned music which alternates between hip-hop-style jams (“Saying Goodbye”) and neo-soul fare (“You Know Where My Heart Is”). On “Did You Ever Love Me,” the singer reveals the benefits of briefly leaving one’s comfort zone, combining modern production with a vocal that recalls Washington’s best torch songs. 
~ Pemberton Roach https://www.allmusic.com/album/the-promise-mw0000800024

The Promise

Arthur Blythe Trio - Spirits in the Field

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:51
Size: 134,0 MB
Art: Front

( 6:33)  1. One Mint Julep
( 7:26)  2. Miss Nancy
(10:59)  3. Odessa
( 9:29)  4. Rambler
( 3:24)  5. Spirits in the Field
( 6:37)  6. Lenox Avenue Breakdown
( 7:23)  7. Ah George, We Hardly Knew You
( 5:55)  8. Break Tune #2

On this live club date, recorded at the Bim Huis in Amsterdam, Blythe and his combo (tubaist Bob Stewart and drummer Cecil Brooks III) perform a nice cross section of his most familiar material. Blythe's husky, virile alto sax has never sounded better, and though the recording quality is a little thin, the music comes roaring through the speakers nonetheless. The good-time swinger "One Mint Julep" kicks things off, and is followed by the rambling bopper "Miss Nancy," which is the leader at perhaps his most quintessential. The showstopper is a reworked, energized "Odessa," on which Brooks uses his mallets to fine effect, Stewart blows a minimal but insistent tuba, and Blythe unfurls more of his startling improvisational legerdemain. A quirky, elusive 9/8 rhythm informs the tuba modality of "Rambler," and the title track sports a sneaky melody and a short but free discourse without drums. The trio digs right in on "Lenox Avenue Breakdown," even dispensing with an intro. The slow waltz "Ah George, We Hardly Knew You" (written by Don Pullen for George Adams) and the funky and fat "Break Tune #2" close this satisfying set. In his insightful liner notes, Francis Davis questions Blythe's diminished cachet among critics. That he's moved back home to San Diego from New York City might be an issue, but it doesn't detract from the fact that Blythe's sound and vision remain as fresh and vital as ever. ~ Michael G.Nastos https://www.allmusic.com/album/spirits-in-the-field-mw0000605222

Personnel:  Arthur Blythe – alto saxophone;  Bob Stewart – tuba;  Cecil Brooks III – drums.

Spirits in the Field

Matthew Shipp Quartet - Our Lady of the Flowers

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 67:09
Size: 157,5 MB
Art: Front

( 7:02)  1. Atomic Note
( 5:17)  2. New Tension
( 7:37)  3. A Different Plane
( 8:26)  4. From The Beyond
( 4:23)  5. Silence Blooms
( 6:45)  6. Irrational
(11:02)  7. Our Lady of the Flowers
( 7:40)  8. Gasp
( 8:55)  9. Cosmic Joke

Our Lady Of The Flowers, titled in homage to French writer Jean Genet, constitutes the second disc by Declared Enemy, a familiar foursome convened by pianist Matthew Shipp. That association apart, the participants share a lot of history together. As a result they move like a finely tuned machine with well oiled parts through a program of nine selections credited to the pianist, but which sound like group inventions. And those parts are magnificent. Drummer Gerald Cleaver creates a chattering pulse fashioned from interlocking lines from disparate elements of his kit, while bassist William Parker majors on ferocious momentum, leavened by the occasional melodic serenade. Shipp propounds his utterly distinctive style, with nagging motifs prominent, though he reins in his customary explosions. Rounding out the ensemble on reeds, Sabir Mateen generates a palpable emotional charge through his surging forays into the altissimo registers. In a trope familiar from other sessions, Shipp varies the instrumentation between tracks, resulting in five full quartet numbers, one trio, two duets, and one solo. Parker engages in the knotty "Silence Blooms" unaccompanied. On "New Tension" the dynamic becomes more conversational, as the quicksilver duet between Shipp and Mateen's clarinet is by turns ethereal, querulous and relaxed. But that's not the only game plan in play. 

Elsewhere a slightly different approach manifests, such that in "Irrational," the duet between Shipp and Cleaver resembles a pair of parallel monologues. It's a choice borne out of experience rather than any deficit of communication. And one that makes this a raw yet sophisticated performance in which no-one worries unduly about matching or mirroring. The consequent sense of creative dissonance pervades the album. Even though the quartet pieces tend to be dense everyone proves adept at allowing enough space for each other without compromising their own direction. Listen to Shipp behind Mateen on "Atomic Note." Comping doesn't get anywhere near describing the complexity of what the pianist is doing, let alone considering Cleaver and Parker's contributions. Mateen himself generates an exciting fluent stream of consciousness, into which he sometimes interjects practiced blues inflected licks to relaunch his exhortations, as on the choppy dancing "Gasp." A lovely moment ensues on the ballad like "A Different Plane" when, after his breathy vibrato laden tenor vies in spirited dialogue with Shipp's piano, he enjoys a falsetto passage which finally tumbles down through the treble clef. "From The Beyond" begins as a tête-à-tête between Parker's arco and Mateen's tenor, before the bassist's urgent sawing is picked up first in a drum tattoo, and then by Shipp's pummeling which ignites the saxophonist into a powerful incantation. The piece ends with an extended drum and bass repeat, until finally Parker's bowing sees out the cut alone. It's just one example among many of the potent full on free jazz which characterizes this date. ~ John Sharpe https://www.allaboutjazz.com/our-lady-of-the-flowers-matthew-shipp-rogueart-records-review-by-john-sharpe.php

Personnel: Matthew Shipp: piano; Sabir Mateen: tenor saxophone, clarinet; William Parker: double bass; Gerald Cleaver: drums.

Our Lady of the Flowers

Ben Paterson - Live At Van Gelder's

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 59:28
Size: 137,6 MB
Art: Front

(5:01)  1. F.S.R.
(6:48)  2. Edda
(8:22)  3. Frame For The Blues
(6:14)  4. Green Jeans
(5:35)  5. Enchantment
(3:58)  6. The Vibrator
(6:34)  7. I Remember Cliffor
(5:14)  8. The Hustler
(6:39)  9. Easy Time
(5:00) 10. Sweatin

Following up his very well-received recordings That Old Feeling (Cellar Live Records, 2018) and For Once in My Life (Origin Records, 2015), Ben Paterson enters the sanctum santorium of jazz recording, Rudy Van Gelder's Studio in Hackensack, NJ. Having collided somewhere with saxophonist/entrepreneur Cory Weeds, the two initiate an idea perfect to the pair's hard bop sensibilities and something we can hope Weeds is considering for future recordings, hopefully a Cellar Live series with much more music like this.  Weeds has fashioned his Cellar Live Label as the equivalent for hard bop as Nagel Heyer and Arbors Jazz are for traditional jazz. Paterson had to have this in mind when selecting his ten songs to play with his organ trio a Van Gelder's Studio March 22 of this year. Paterson addresses soul-jazz organ icons with funky performances of Brother Jack McDuff's "The Vibrator" and Richard "Groove" Holmes' "Sweatin.'" He then branches out to musicians known to frequent organ combos, with Grant Green's "Green Jeans" and Stanley Turrentine's "The Hustler." The remainder are devoted to hard bop proper, with Ray Brown's "F.S.R. (For Sonny Rollins)," Wayne Shorter's by way of Lee Morgan "Edda," and Benny Golson's "I Remember Clifford." Paterson is an exceptional organist, one who avoids every Jimmy Smith cliché to which lesser talents fall prey. Guitarist Ed Cherry plays with a sophisticated, round tone augmented with just a touch of reverb and echo. Drummer Jason Tiemann sounds as if he were born for organ jazz, always knowing where to be loud or not. This is not territory circuit greasy soul-jazz. It is that flavor, cleaned up ever so slightly for the concert stage. How great to hear drinking an ice-cold Vesper on a hot summer day. ~ C.Michael Bailey https://www.allaboutjazz.com/live-at-van-gelders-ben-paterson-cellar-live-review-by-c-michael-bailey.php

Personnel: Ben Paterson: Hammond B3 Organ; Ed Cherry: Guitar; Jason Tiemann: drums.

Live At Van Gelder's

Saturday, August 11, 2018

Don Ellis - Giants Of Jazz

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 74:07
Size: 180,1 MB
Art: Front

( 3:31)  1. I'll Remember April
( 6:09)  2. Sweet And Lovely
( 3:42)  3. Out Of Nowhere
( 6:06)  4. All The Things You Are
( 3:43)  5. You Stepped Out Of A Dream
( 4:26)  6. My Funny Valentine
( 4:37)  7. I Love You
( 3:39)  8. Just One Of Those Things
( 4:54)  9. Johnny Come Lately
( 4:19) 10. Angel Eyes
( 3:24) 11. Lover
(10:08) 12. Form
( 4:38) 13. Sallie
( 6:28) 14. How Time Passes
( 4:15) 15. A Simplex One

Before his untimely death in 1978 at the young age of 44, Don Ellis was one of the most creative and innovative jazz musicians of all time. In a career span of less than 25 years, Don Ellis distinguished himself as a trumpeter, drummer, composer, arranger, recording artist, author, music critic, and music educator. However, Don Ellis is probably best remembered for his work as a big band leader. His orchestra, which was active from 1966-78, achieved enormous popular appeal at a time when the influence of big band music was noticeably fading. Ellis's significance lies in his use of groundbreaking musical techniques and devices, new to the world of jazz. Ellis's innovations include the use of electronic instruments, electronic sound-altering devices, experiments with quartertones, and the infusion of 20th century classical music devices into the jazz idiom. Ellis's greatest contributions, however, came in the area of rhythm. New rhythmic devices ultimately became the Don Ellis trademark. His compositions frequently displayed time signatures with numerators of 5, 7, 9, 11, 19, 25, 33, etc. His approach within more conventional time signatures could be equally innovative through the use of rhythmic superimpositions. Ellis's rhythmic innovations, despite much criticism, were not gimmicks, but rather a direct result of his studies in non-Western musical cultures, which included graduate work at UCLA's Department of Ethnomusicolog Ellis ultimately applied his experiences and knowledge of the music of non-Western cultures to the rhythmic language of jazz. He was one of the first to have accomplished such a fusion of ideas, and his works as a composer and an author stand as a memorial reflecting a significant stage in the evolution of jazz. https://musicians.allaboutjazz.com/donellis

Personnel:  Don Ellis – Trumpet;  Jaki Byard – Piano, Alto Sax;  Paul Bley – Piano;  Ron Carter – Bass;  Steve Swallow – Bass;  Gary Peacock – Bass;  Charlie Persip – Drums;  Nick Martins – Drums

Giants Of Jazz

Dexter Gordon & Slide Hampton - A Day In Copenhagen

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 40:57
Size: 113,4 MB
Art: Front

(9:07)  1. My Blues
(5:59)  2. You Don't Know What Love Is
(5:03)  3. A New Thing
(8:00)  4. What's New
(4:57)  5. The Shadow Of Your Smile
(7:48)  6. A Day In Vienna

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.~ Scott Yanow https://www.allmusic.com/album/day-in-copenhagen-mw0000649538

Personnel:  Dexter Gordon - tenor saxophone;  Slide Hampton - trombone;  Dizzy Reece - trumpet;  Kenny Drew - piano;  Niels-Henning Orsted Pedersen - bass;  Art Taylor - drums

A Day In Copenhagen

Maynard Ferguson & Big Bop Nouveau - One More Trip To Birdland

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 53:05
Size: 123,3 MB
Art: Front

(4:11)  1. You Got It
(6:24)  2. Manteca
(7:13)  3. The Vibe
(7:10)  4. Cajun Cookin'
(5:32)  5. Milestones
(6:26)  6. She Was Too Good To Me
(4:12)  7. Birdland
(7:33)  8. Blues From Around Here
(4:20)  9. It Don't Mean A Thing If It Ain't Got That Swing

Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing." ~ Scott Yanow https://www.allmusic.com/album/one-more-trip-to-birdland-mw0000081085

Personnel:  Maynard Ferguson - trumpet, flugelhorn;  Matt Wallace - vocals, alto saxophone, tenor saxophone;  Carl Fischer - trumpet;  Tom Garling - guitar, trombone;  Marko Marcinko - drums, percussion;  Christopher Farr - soprano saxophone, alto saxophone, tenor saxophone;  Dan Zank - piano, keyboards;  Larry Foyen - trumpet;  Phil Palombi - acoustic bass, bass guitar.

One More Trip To Birdland

Lori Williams - Out of the Box

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 68:32
Size: 161,5 MB
Art: Front

(5:35)  1. Sailing on a Dream
(4:25)  2. Let's Walk
(4:43)  3. I Like the Way You Talk (To Me)
(6:24)  4. I Can't Help It
(5:58)  5. Where's That Smile?
(4:40)  6. Out of the Box
(4:29)  7. Hold On
(1:12)  8. I Like the Way You Talk (To Me) [Interlude]
(4:52)  9. Our Love is Real
(5:18) 10. 'Round Midnight
(4:58) 11. Little Girl Blue
(3:56) 12. Let's Walk (Radio Edit)
(4:00) 13. Our Love is Real (Radio Edit)
(3:58) 14. I Like the Way You Talk (To Me) [Radio Edit]
(3:59) 15. Deja Vu (Radio Edit)

Lori A. Williams (born January 22, 1967) is an American Jazz Vocalist from Washington, DC. She is the mother of two children (Lauren V. Highsmith and Yusef K. Chisholm). Lori has recorded two CDs (Healing Within - 2010 and Eclipse of the Soul - 2012). Biographical sketch: Lori Williams continues to reside in the Washington Metropolitan area and teaches vocal music in the DC Public Schools System. She also teaches private vocal instruction, performs and records for various recording sessions as a solo artist and for other recording artists. Education: Lori Williams attended Hampton University (HU) and received a BA in Mass Media Communications in 1988. She is a member of Kappa Tau Alpha National Honor Society and Alpha Kappa Mu Honor Society. At Hampton University, Lori pledged Delta Sigma Theta Sorority, Incorporated (Gamma Iota Chapter) in 1986. After graduating from HU, Lori attended Trinity College and The University of the District of Columbia focusing on Music Education. Lori has received numerous awards recognizing her skills as a performer and educator. Her most notable recognition is a letter from Vice President Joseph Biden acknowledging her stellar performance at the 2013 Frederick Douglass Statue Dedication Ceremony at the US Capital. She has also received a Senate Citation from The Maryland General Assembly on behalf of Maryland State Senator Anthony Muse for her contributions and commitment to the arts as a jazz vocalist, instructor and educator. Also she received the 2007 Superintendent's Arts Teacher of the Year and the 2010 Vincent E. Reed Teacher of the Year. Career: As a high school student, Lori began her search for her musical style. It was at Hampton University where she discovered her passion for vocal jazz under the direction of Professors Dr. Effie Gardner and Robert Ransom. Lori was the Jazz Program Director for her college radio station, WHOV-FM and often performed in the Tidewater area for events. Lori also entered the Budweiser Showdown (winning 2nd place) and appeared on 'Showtime At The Apollo' during her tenure at HU. Lori Williams lived in Japan in the early 90's. It was there where she had the opportunity to record background vocals for commercial and artist sessions. She also directed the Sagamihara Gospel Choir and performed with Eli Saitoh and The Love Tambourines. Upon returning stateside, Lori has had the honor of performing with many national artists (studio session and live performance). She has recorded with The Blackbyrds, Sherry Winston, Maysa, Lloyd Price, Allyn Johnson and Divine Order, Saltman Knowles, and others. She also has performed in musical theatre productions in the Washington, DC area and Atlanta, GA. In 2010, Lori Williams released her debut CD - Healing Within. And in 2012, she released her sophomore project - Eclipse of the Soul. Lori continues to perform as a solo artist, recording session artist, and background vocalist for many international musicians (working with artists like Phil Perry, Terri Lynne Carrington, George Duke, Stanley Clarke, Oleta Adams, Yolanda Adams and Vesta Williams). She also travels to Europe as a clinician and performs in jazz festivals in the US and abroad. JazzTimes calls her “a dynamic presence throughout, offering exquisite wordless vocals.”

Lori Williams is the lead vocalist of the Washington-based jazz ensemble - Lori Williams & Friends  and featured vocalist on The Saltman Knowles Group, The Blackbyrds, Allyn Johnson and Divine Order, Sherry Winston and Collaboration CDs. She graduated from Hampton University where she received a Bachelor of Arts degree. Lori is the proud mother of two talented and gifted children, Lauren Vanessa and Yusef Khalil. Lori was the former Director of Programs for the Best Friends Foundation. She has taught Music in Washington, DC Public Schools since 1995. Currently, Lori is the Director of Vocal Music and former Music Department Chairperson at Wilson Senior High School. She has an extensive background in the performing arts. She has directed several choirs including the National Diamond Girls Jazz Choir (performing for the Inauguration Ceremony for President George Bush); the Sagamihara Christian Fellowship Gospel Choir in Sagamihara, Japan; the Fort Foote Baptist Church Gospel Choir in Fort Washington, Maryland; Carmody Hills Baptist Church Children's Choir in Capitol Heights, Maryland; and the Bethlehem Baptist Church Gospel Choir in Washington, DC. Lori has performed with many nationally-known recording artists such as Oleta Adams, Yolanda Adams, David Archuleta, Regina Belle, Eric Benet, Keter Betts, The Blackbyrds, Norman Brown, Tom Browne, Peabo Bryson, Jerry Butler, T.C. Carson, Gene Chandler, Stanley Clarke, Will Downing, George Duke, David Dyson, James Genus, Savion Glover, Slide Hampton, Walter Hawkins, Nathan Heathman, William Hubbard, Al Johnson (The Unifics), Allyn Johnson and Divine Order, Kindred The Family Soul, Ben E. King, Debbie Kirkland, Ledisi, Marion Meadows, Maysa, Julia Nixon, Phil Perry, Lloyd Price, Ellie Saitoh and The Love Tambourines, Saltman Knowles Group, Sylver Logan Sharp (Chic), The Sherelles, Gary Taylor, Tony Terry, Bobby Vee and The Vees, Andre Ward, Kim Waters, Allyson Williams, Vanessa R. Williams, Vesta Williams, and Sherry Winston. She also has done extensive studio recording and commercial work in the Metropolitan area and Japan. Lori Williams performed in Arts United of Washington's live jazz theatrical and dance presentations of “Meet Me at the Cafe” and “The Scenic Route” at the Joy of Motion Dance Center Jack Guidone Theatre in Washington, DC. She also showcased her singing, acting and dancing ability in director Thomas Jones' production of “The All Night Strut”, “Cool Papa’s Party” (choreographed by Maurice Hines), and “Ladies Swing The Blues: A Jazz Fable” at MetroStage Theatre in Alexandria, Virginia. She co-starred in “Isn’t It Romantic” (written and directed by David Hunter Koch) with Jimi Ray Malary at MetroStage as well. 

Additionally, Lori played the role of Mary in “Bending Towards the Light A Jazz Nativity” at Patriot's Theater at the War Memorial in Trenton, New Jersey. The production was written and conducted by Anne Phillips and produced by Bob Kindred. Lori was recognized as an outstanding Music Teacher in the October 2000 issue of Teaching Music magazine. She was selected to have her biography appear in the 2005 Premier Edition of Great Women of the 21st Century for her professional dedication and commitment to communities. She was also recognized as a 2005-2006 National Honor Roll's Outstanding American Teacher. She was the recipient of the 2007 Superintendent's Arts Teacher of the Year Award. Lori was also honored at the Mayor's Arts Awards, held at the John F. Kennedy Center. This award was given on behalf of the DC Commission on the Arts and Humanities, DC Public Schools, and the DC Arts. Additionally, Lori was the 2010 Vincent E. Reed Teacher of the Year. Her affiliations include Delta Sigma Theta Sorority, Inc. (Prince Georges County Alumnae Chapter, Maryland), BMI (songwriter/composer), WAMADC, The International Association for Jazz Education (former President-Elect Washington, D.C. Unit), The National Association for Female Executives, Kappa Tau Alpha and DC – Music Educators Association. Lori Williams released her debut CD ~ Healing Within ~ in 2010. This project is dedicated to the memory of her Mother Myrtle W. Williams. She released her sophomore CD ~ Eclipse of the Soul ~ in the fall of 2012. https://musicians.allaboutjazz.com/loriwilliams

Out of the Box

Friday, August 10, 2018

Suzy Bogguss - Voices In The Wind

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 38:25
Size: 89,5 MB
Art: Front

(3:14)  1. Heartache
(3:09)  2. Drive South
(3:30)  3. Don't Wanna
(3:21)  4. How Come You Go To Her
(3:25)  5. Other Side Of The Hill
(3:41)  6. In The Day
(3:16)  7. Love Goes Without Saying
(3:40)  8. Eat At Joe's
(2:56)  9. Lovin' A Hurricane
(4:33) 10. Letting Go
(3:34) 11. Cold Day In July

Voices in the Wind is an album by American country music singer Suzy Bogguss. It was released on October 6, 1992 via Liberty Records. 

It earned her a second straight gold record and her highest-charting single ever, the No. 2 cover of John Hiatt's "Drive South." "Letting Go," a single from Aces which was co-written by Bogguss's husband Doug Crider, peaked at No. 6 on the Billboard Hot Country Songs chart not long before the release of Voices in the Wind. In an effort to capitalize on the single's success, it was included on the later album as well. https://en.wikipedia.org/wiki/Voices_in_the_Wind

Voices In The Wind

Charles Earland Tribute Band - Keepers of the Flame

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:06
Size: 138,4 MB
Art: Front

( 6:42)  1. Deja Vu
( 7:43)  2. Memorial Day
( 6:37)  3. What Love Has Joined
( 7:25)  4. South Philly Groove
( 5:34)  5. On the Stairs
( 7:42)  6. The Closer I Get to You
( 7:52)  7. The Summit
(10:28)  8. Pick Up the Pieces

Organist Charles Earland, who died in December 1999, was known as “The Mighty Burner.” The intensity of his swing resembled that of the late Art Blakey on drums. An exponent of soul-jazz, Earland was a master of the organ’s foot pedals. His band, usually two or three horns plus guitar and drums, conveyed a big, kicking ensemble sound. The Charles Earland Tribute Band steps in without letdown where the organist left off. With Joey DeFrancesco in the organ seat and five former sidemen from Earland’s band aboard, this album swings hard, with conviction and intelligence. Drummer Vincent Ector organized the group, which features trumpeter James Rotondi, tenor saxophonist Eric Alexander and guitarist Bob DeVos (alternating with Pat Martino). Percussionist Kevin Jones, a nonalum, appears on four of the eight tracks. Three well-known hits from the ’70s-“Deja Vu” (originally sung by Dionne Warwick), “The Closer I Get to You” (originally sung by Roberta Flack and Donny Hathaway) and the Average White Band’s “Pick Up the Pieces”-recall Earland’s ability to find his own jazz groove on pop material. Both hornmen, members of the organist’s final group, sizzle especially well on “Pick Up the Pieces.” Martino, a member of Earland’s first organ group and the most famous participant on the album, performs on three cuts. His “On the Stairs” is a challenging original that each soloist successfully conquers. DeFrancesco, who initiated the current jazz-organ renaissance a decade ago, suggests Earland without slavishly imitating him. His solos are a bit busier than were Earland’s, but his ensemble sound is perfect. The arrangements, uncredited, deserve special mention for their full-sounding harmonies and rhythmic punch. ~ Owen Cordle https://jazztimes.com/reviews/albums/charles-earland-tribute-band-keepers-of-the-flame/

Personnel:  Jim Rotondi - trumpet;  Eric Alexander - tenor sax;  Joey DeFrancesco - organ;  Pat Martino , Bob DeVos - guitar;  Vince Ector - drums

Keepers of the Flame

Behn Gillece - Dare To Be

Styles: Vibraphone Jazz
Year: 2016
File: MP3@320K/s
Time: 53:28
Size: 127,2 MB
Art: Front

(5:26)  1. Camera Eyes
(5:23)  2. From Your Perspective
(4:40)  3. Amethyst
(4:15)  4. Signals
(5:40)  5. Drought's End
(5:52)  6. Same Shame
(4:28)  7. Live It
(6:18)  8. Dare To Be
(5:49)  9. Trapezoid
(5:32) 10. A Time For Love

When it comes to jazz vibraphone, the names of Stefon Harris and Warren Wolf are most likely to be found on a list of contemporary leaders. Add to that now the name of Behn Gillece, a gentleman who has been honing his skills on the New York scene since 2006. His talents first came to the attention of this reviewer having been a spirited voice on Walt Weiskopf's most recent albums, Overdrive and The Way You Say It. Last year, he debuted as a leader with the album Mindset, this sophomore offering coming fast on its heels. Gillece has obviously taken in the history of his instrument, but speaks with a singular voice and purpose. His tone and attack are on the softer side, not unlike the work of Bobby Hutcherson. Also quite notable, he writes the majority of his own compositions. This too is a major factor in his clarity of purpose, along with the fact that his ensemble choice is an inspired one. A student of Jon Faddis' who is making a name for himself on the current scene, trumpeter Bruce Harris can be heard on three tracks. Gillece makes the most of the unique blend between horn and vibes, especially when it comes to the muted trumpet on "From Your Perspective." More integral to the entire set is guitarist Nate Radley, who is a perfect foil for Gillece. His chordal accompaniment and solo lines support the vibes in a manner quite different than a piano might do. The soulful "Amethyst" is a perfect spot to sample Radley's tonal range, from single note riffs to dark and brooding washes of sound. Bobby Hutcherson's "Same Shame" even finds the guitarist sporting a Frisell-like tone that is pure Americana.  Veteran bassist Ugonna Okegwo and talented drummer on the rise Jason Tiemann are also integral to the proceedings. Dig their tight up tempo slam throughout "Signals" or the way they inject a straight-eighth feel to both "Live It" and "Dare to Be." As for Gillece himself, there's quite of range of abilities on display here. Be it the burning bebop of "Trapezoid" or the mature ballad statement delivered on Johnny Mandel's "A Time for Love," Gillece gets down to serious business and he's a name we should be hearing more and more of in the coming years. ~ C.Andrew Hovan https://www.allaboutjazz.com/dare-to-be-behn-gillece-posi-tone-records-review-by-c-andrew-hovan.php

Personnel: Behn Gillece: vibraphone; Nate Radley: guitar; Ugonna Okegwo: bass; Jason Tiemann: drums; Bruce Harris: trumpet.

Dare To Be

Herbie Hancock - Lite Me Up

Styles: Vocal
Year: 1982
File: MP3@320K/s
Time: 38:00
Size: 87,4 MB
Art: Front

(3:41)  1. Lite Me Up!
(3:58)  2. The Bomb
(6:13)  3. Gettin' To The Good Part
(4:29)  4. Paradise
(3:54)  5. Can't Hide Your Love
(4:03)  6. The Fun Tracks
(3:58)  7. Motor Mouth
(7:40)  8. Give it All Your Heart

By 1978, Hancock had another identity as a dance/fusion attraction with the albums Feets Don't Fail Me Now and Sunlight. Lite Me Up is an even more concerted effort to fuse jazz with pop. Hancock handled all of the production chores on all but two of the eight tracks. His main arranger and lyricist here is Rod Temperton, the former Heatwave member who worked with Quincy Jones on albums Off the Wall and Light Up the Night. The title track and "The Bomb" are glossy, propulsive offerings reminiscent of prime Jones without his skill at making it all stick. The biggest hit here, the sleek "Getting' to the Good Part" adheres to the Steely Dan's Gaucho style, has a gorgeous bridge, and has Hancock doing his loved or hated vocoder lead vocals. From a jazz perspective, there is precious little of it on Lite Me Up. In fact, the songs "The Fun Tracks" and the humorous "Motor Mouth" sound like Heatwave retreads. The last song stands out, however. The beautiful, hooky ballad "Give It All Your Heart" features both Hancock and Patrice Rushen both doing their vocal leads on vocoder. The track perfectly captures both prime Temperton and Hancock's '78-'82 fusion ballad style. Songs with producers Jay Graydon and Narada Michael Walden both feature the artist doing vocals without the gadgetry, and, believe it or not, the vocoder is more definitive. Despite the better tracks, Lite Me Up doesn't have the adventurous nature of Hancock's jazz/pop of the era. ~ Jason Elias https://www.allmusic.com/album/lite-me-up-mw0000318353

Personnel:  Vocals, Vocals [Vocoder] – Herbie Hancock, Patrice Rushen, Wayne Anthony;  Backing Vocals – Edi Lehman (tracks: 1 to 3, 5 to 8), Herbie Hancock (tracks: 1 to 3, 5 to 8), Jim Gilstrap (tracks: 1 to 3, 5 to 8), John Lehman (tracks: 1 to 3, 5 to 8), Patti Austin (tracks: 1 to 3, 5 to 8), Paulette McWilliams (tracks: 1 to 3, 5 to 8);  Bass – Louis Johnson (tracks: 1 to 3, 6 to 8);  Drums – John Robinson, Jeff Porcaro, Narada Michael Walden;  Electric Piano [Fender Rhodes], Clavinet [Clavitar], Synthesizer [Yamaha-cs 80, The Source By Moog, Mini Moog, Waves Mini Moog, Prophet 5, Arp 2600, Arp Odyssey], Keyboards [Emu Digital Keyboard], Synthesizer [Oberheim 8-voice Synthesizer, Roland Jupiter 8], Clavinet [Hohner], Vocoder [Sennheiser], Synthesizer [Synclavier Digital Synthesizer, Linn Drum Synthesizer], Piano – Herbie Hancock; Guitar – David Williams (4) (tracks: 2, 3, 6 to 8), Steve Lukather (tracks: 1);  Saxophone, Woodwind – Gary Herbig (tracks: 1 to 3, 5 to 8), Larry Williams (tracks: 1 to 3, 5 to 8);  Trombone – Bill Reichenbach (2) (tracks: 1 to 3, 5 to 8);  Trumpet – “Dr. Negroidal, The” (tracks: 1 to 3, 5 to 8); Trumpet, Flugelhorn – Jerry Hey (tracks: 1 to 3, 5 to 8);  Trumpet, Trombone – Chuck Findley (tracks: 1 to 3, 5 to 8)

Lite Me Up