Lou Donaldson - Mr. Shing-A-Ling (1967)

Here we have a reissue of one of Blue Note's LPs to remain out of print. Essentially, it is a classic soul-jazz album by the great jazz saxophonist & band leader, Lou Donaldson whom was a predominant fixture throughout the sixties. Lou had his own tone and thrived on expressing the boogaloo style which many later artists attempted to mimic and sample in the eighties onwards. "Mr. Shing-A-Ling", the follow up album to Lou Donaldson's hit album "Alligator Boogaloo", has long been considered the best of Lou Donaldson's funk/soul-jazz albums from the late-60s. For this date Lou surrounds himself with a who's who of great soul jazz players, including legendary trumpeter Blue Mitchell, organist Lonnie Smith, guitarist Jimmy Ponder and drummer Leo Morris. Together they showcase four popular tunes with the addition of Lou's own composition "The Humpback". Recorded by the master engineer Rudy van Gelder at his home studio in New Jersey, and now this audiophile vinyl reissue produced by Joe Harley and features an all-analogue vinyl is available. A revitalised and worthy addition to any Lou Donaldson fan's collection. [DR14] 

Blue Note, BST 84271, 1967
Blue Note, BST 84271, 2019
Recorded 27th October, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet
Lonnie Smith - Organ [Hammond B-3]
Jimmy "Fats" Ponder - Guitar
Leo Morris - Drums

Tracks:
A1. Ode To Billie Joe {Bobby Gentry} (6:30)
A2. The Humpback {Lou Donaldson} (5:27)
A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (6:23)
B1. Peepin' {Lonnie Smith} (8:18)
B2. The Kid {Harold Ousley} (10:57) 

Total Time: 37:35 

Credits:
Producer - Frank Wolff
Reissue Supervisor - Joe Harley
Recording Engineer - Rudy van Gelder
Mastering, Lacquer Cut - Kevin Cray
Design [Cover], Photography [Cover] - Reid Miles
Liner Notes - Del Shields 

The Humpback

Wayne Shorter - Super Nova (1969)

Super Nova is an important transitional album for tenor saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies," which had been recorded previously by Miles Davis) and Antônio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen, because his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums, and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music, but there is nothing derivative about the often-surprising results. As with Wayne Shorter’s best albums, this set rewards repeated listenings. ~ by Scott Yanow, AMG. 

Blue Note Records, CDP 7 84332 2, 1988
Recorded 29th August and 2nd September, 1969 at A&R Studios, New York 

Musicians:
Wayne Shorter - Soprano Saxophone
Chick Corea - Vibraphone, Drums
John McLaughlin - Guitar, Classical Guitar (#2)
Sonny Sharrock - Guitar
Walter Booker - Classical Guitar (#3)
Miroslav Vitous - Bass
Jack DeJohnette - Drums, African Thumb Piano
Airto Moreira - Percussion
Maria Booker - Vocals (#3) 

Tracks:
1. Super Nova {Wayne Shorter} (4:52)
2. Swee-Pea {Wayne Shorter} (4:37)
3. Dindi {Antônio Carlos Jobim} (9:35)
4. Water Babies {Wayne Shorter} (4:54)
5. Capricorn {Wayne Shorter} (7:48)
6. More Than Human {Wayne Shorter} (6:12) 

Total Time: 37:59 

Credits:
Producer - Duke Pearson
Recording Engineer - Tony May
Digital Transfer - Ron McMaster
Art Direction - Frank Gauna
Cover Design - Tony DeStefano 

Wayne Shorter (25th August, 1933 - 2nd March, 2023)
RIP ☹

Horace Silver Quintet - Doin' The Thing [At The Village Gate] (1961)

This live set (recorded at the Village Gate) finds pianist/composer Horace Silver and his most acclaimed quintet (the one with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Roy Brooks) stretching out on four selections, including his new song "Filthy McNasty." Two shorter performances were added to the CD version of this enjoyable and always funky hard bop session. ~ by Scott Yanow, AMG. 

Blue Note Records, 0946 3 62682 2 4, 2006
Recorded 19th & 20th May, 1961 at the Village Gate, New York City 

Musicians:
Horace Silver - Piano
Blue Mitchell - Trumpet
Junior Cook - Tenor Saxophone
Gene Taylor - Bass
Roy Brooks - Drums 

Tracks:
1. Filthy McNasty (11:02)
2. Doin' The Thing (11:16)
3. Kiss Me Right (9:18)
4. The Gringo / Cool Eyes [Theme] (12:03)
5. It Ain't S'Posed To Be Like That (6:21)
6. Cool Eyes [Full Version] (3:56) 

All Compositions by Horace Silver 

Total Time: 53:57 

Credits:
Producer - Alfred Lion
Producer [Reissue] - Michael Cuscuna
Recording, Remastering - Rudy van Gelder
Cover Design - Reid Miles
Cover Photograph - Jim Marshall
Liner Photographs - Francis Wolff 

Furious live set that swings insanely hard. And I mean really, really hard. Silver's quartet at this time included Blue Mitchell (trumpet), Junior Cook (tenor sax), Gene Taylor (bass) and Roy Brooks (drums) and everyone but Brooks had been playing together since 1958 (he joined September 1959). Their dynamic chemistry is apparent within the first minute of "Filthy McNasty" and the energy level is just off the scale. These Guys Really Know How To Swing. Highlights? The whole damn album is a highlight. No wussy-pussy ballads or standards to be found, just four really great Silver originals. "Kiss Me Right" is the slowest thing on here and it's still pretty fast. The sound quality is decent for a live recording, the remastered CD may have cleaned that up. The extended applause after "Filthy" shows that the audience was at least somewhat aware that they were witnessing something special that night. ~ Extract by coolidge, rateyourmusic.com. 

Doin' The Thing

Horace Silver Quintet - 6 Pieces Of Silver {RVG} (1956,58)

The first classic album by the Horace Silver Quintet, this set is highlighted by "Señor Blues" and "Cool Eyes." The early Silver quintet of 1956 was essentially the Jazz Messengers of the year before, with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins (while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map, and the album is a hard bop and gospel-tinged jazz gem. [Some reissues add bonus tracks, including two additional versions of "Señor Blues," including a later vocal rendition by Bill Henderson.]. ~ by Scott Yanow, AMG. 

Blue Note Records, 5 25648 2 8, 2000
Recorded 10th November, 1956 (#1-8) & 15th November, 1958 (#9,10)
at Van Gelder Studio, Hackensack, New Jersey

Musicians:
Horace Silver - Piano
Donald Byrd - Trumpet (#1,2,4-6,8-10)
Hank Mobley - Tenor Saxophone (#1,2,4-6,8)
Junior Cook - Tenor Saxophone (#9,10)
Doug Watkins - Bass (#1-8)
Gene Taylor - Bass (#9,10)
Louis Hayes - Drums (#1-8)
Roy Haynes - Drums (#9,10)
Bill Henderson - Vocals (#10) 

Tracks:
01. Cool Eyes {Horace Silver} (5:55)
02. Shirl {Horace Silver} (4:16)
03. Camouflage {Horace Silver} (4:25)
04. Enchantment {Horace Silver} (6:22)
05. Señor Blues {Horace Silver} (7:01)
06. Virgo {Horace Silver} (5:48)
07. For Heaven's Sake {Elise Bretton, Donald Meyer, Edwards Sherman} (5:09) 

Bonus Tracks:
08. Señor Blues [Alternate 45 Take] {Horace Silver} (6:38)
09. Tippin' {Horace Silver} (6:12)
10. Señor Blues [Vocal Version] {Horace Silver} (6:14) 

Total Time: 58:05 

Credits:
Producer - Alfred Lion
Reissue Producer - Michael Cuscuna
Recording, Remastering - Rudy van Gelder
Liner Notes - Bob Blumenthal, Leonard Feather
Creative Director - Gordon H. Jee
Cover Design - Reid Miles
Cover & Liner Photos - Francis Wolff 

Señor Blues

Michel Petrucciani Trio - Live At The Village Vanguard (1984)

A very expressive and thrilling live trio date at the renowned 'Village Vanguard' in New York by three great artists, leader Michel Petrucciani is in fine form alongside two equally brilliant jazz musicians; bassist Palle Danielsson and drummer Eliot Zigmund. Here's what Michel had to say about the remarkable event. "It is very difficult to speak of Art. I would rather simply say "Please close your eyes, and take what is there to give." However, I wish to tell you about the pleasure we feel bringing you this music. For me, working with Palle and Eliot is a great honor. When we shape the rhythms and frequencies, and all the magical sounds come out ... it is blessing, because the communication is so spontaneous. So fresh. So simple. And we like to think it is so like life itself. I love the feeling we all have of wishing to share those colors and joy to make the people happy. Thank You. ~ Michel Petrucciani. 

Concord Jazz, GW-3006, 1985
Concord Jazz, CCD 43006, 2002
Blue Note / EMI, 7243 5 40382 2 8, 2002
Recorded 16th March, 1984 with The Fedco Truck at the Village Vanguard, New York 

Musicians:
Michel Petrucciani - Piano
Palle Danielsson - Bass
Eliot Zigmund - Drums 

Tracks:
1. Nardis {Miles Davis} (11:12)
2. Oleo {Sonny Rollins} (6:49)
3. Le Bricoleur De Big Sur {Michel Petrucciani} (3:23)
4. To Erlinda {Michel Petrucciani} (11:29)
5. Say It Again And Again {Michel Petrucciani} (9:52)
6. Trouble {Olle Adolphson} (9:36)
7. Three Forgotten Magic Words {Michel Petrucciani} (8:57)
8. 'Round About Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (8:51) 

Total Time: 70:10 

Credits:
Producer, Engineer, Editing, Back Photo - Gabreal Franklin
Co-producer, Editing, Liner Notes - Michel Petrucciani
Engineer - Tom Arrison
Editing - Phil Edwards
Mastering - George Horn
Photography [Front] - Jerry Takigawa
Photography [Inside] - Alison Perry

Alphonse Mouzon - Mind Transplant (1974)

Amazing Jazz Fusion
Drummers Alphonse Mouzon and Billy Cobham led almost parallel careers during the 1970s and helped to raise the bar by which all subsequent drummers were to be judged. They were both in legendary fusion bands (Mouzon in Weather Report and Larry Coryell's Eleventh House and Cobham in Dreams and the Mahavishnu Orchestra), both led their own successful bands, both reinvented jazz-rock drumming, and both released one classic, genre-defining recording. Cobham's classic was Spectrum, a recording that is regularly considered as one of the genre's best. This, Mind Transplant, is Mouzon's classic recording that is often hailed as "Spectrum II." The common thread, besides the aggressive drumming, is guitarist Tommy Bolin. Where Cobham used Bolin's aggressive playing as a counterpoint to Jan Hammer, Mouzon features the guitarist as the primary attraction. The tunes themselves may not be as memorable as, say, "Red Baron" or "Stratus," but the playing is no less inspired. Mouzon and Bolin are a natural fit and push themselves to levels of creativity and skill that few can attain. Raw and powerful, the music herein is what made fusion such a viable musical style. This recording has never been as popular as Spectrum, but was finally released on CD in 1993 with the addition of the 15-minute jam session "The Real Thing." Easily one of the best fusion recordings of all time. http://harukimurakami.livejournal.com/ 

Recorded 4th (#2,5,7), 5th (#6), 6th (#3,8) and 9th & 10th (#1,3) December, 1974
At Wally Heider Sound Studio III, Los Angeles, California 

Blue Note, BN-LA398-G, 1975
Capitol Records, 7243 8183652 1, 2003 

Musicians:
Alphonse Mouzon - Drums, Vocals, ARP 2600 Synth, Fender Rhodes, Farfisa Organ
Jerry Peters - Fender Rhodes Piano, Organ [Hammond B-3]
Jay Graydon - Guitar, ARP 2600 Synthesizer Programming
Tommy Bolin - Guitar
Lee Ritenour - Guitar
Henry Davis – Bass 

Tracks:
A1. Mind Transplant (4:05)
Soloist: Alphonse Mouzon - Synthesizer, Drums
A2. Snow Bound (3:06)
A3. Carbon Dioxide (4:39)
Soloists: Tommy Bolin - Guitar; Jerry Peters - Organ
A4. Ascorbic Acid (3:27)
Soloists: Jay Graydon, Lee Ritenour
B1. Happiness Is Loving You (4:09)
Soloist: Lee Ritenour
B2. Some Of The Things People Do (3:41)
Soloist: Lee Ritenour
B3. Golden Rainbows (6:56)
Soloist: Tommy Bolin
B4. Nitroglycerin (3:05)
Soloist: Tommy Bolin 

Composed by Elvena Mouzon 

Credits:
Producer - Skip Drinkwater
Co-producer, Arranger, Conductor - Alphonse Mouzon
Executive-Producer - George Butler
Engineer - Gabby Garcia
Assistant Engineer - Brian Ingalls, Gary Lubow
Remix & Mastering Engineer - Fred Catero
Mastering Engineer - George Horn
Art Direction - Lloyd Ziff, Bob Cato
Photography - Doug Metzler
Design - Ria Lewerke

Booker Ervin - Back From The Gig [vinyl 24/96]

 I am aware that Tom Ryan posted an excellent vinyl rip of this here some years ago, but I've decided to share my own hi-res version as well.

Both sessions were originally give catalogue numbers and scheduled for release when recorded, however they subsequently languished in the Blue Note vaults until Cuscuna rescued them for this 1976 vinyl issue; both have since been issued individually.

Johnny Coles (tp) Booker Ervin (ts) Horace Parlan (p) Grant Green (g -1/5) Butch Warren (b) Billy Higgins (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 15, 1963

[originally intended for BST 84134]

A1        Home In Africa (Ronnie Boykins)
A2        A Tune For Richard (Booker Ervin)
A3        Back From The Gig (Horace Parlan)
B1        Dexi (Johnny Coles)
B2        Kucheza Blues (Randy Weston)
B3        Happy Frame Of Mind (Horace Parlan)

Woody Shaw (tp) Booker Ervin (ts) Kenny Barron (p) Jan Arnet (b) Billy Higgins (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 24, 1968

[originally intended for BST 84314]

C1        Gichi (Kenny Barron)
C2        Den Tex (Booker Ervin)
C3        In A Capricornian Way (Woody Shaw)
D1        Lynn's Tune (Booker Ervin)
D2        204 (Booker Ervin)

Franco D'Andrea Quartet - The Siena Concert (2008)

It is always a pleasure to listen to a Franco D'Andrea CD. His music, we know it well, is always dense and rich in content. It is always the bearer of an idea. Essential music, so to speak. Each note in place of him, with surgical precision. Never a superfluous note. The art of subtraction to its highest degree, without becoming ethereal emptiness as sometimes happens in certain European jazz. Search for the essentiality and meaning of music (which at times can therefore be rich and full!), Not for pauses and gaps. In this album we find D'Andrea at the head of his excellent quartet, in a live recording. A CD that therefore gives us the freshness and immediacy of a concert, and also those freedoms that are not usually allowed in an album recorded in the studio (who knows why?). For example, the freedom to propose six long medleys. Six long pieces, which develop according to the rhythms dictated by the music, and which explore, each in their own way, a wide range of emotional and expressive universes. From the most authentic free improvisation to the introspection of a solo double bass. A bird's eye view of a good part of the production of the pianist from Merano, with an eye to the master and reference of all time (Thelonious Monk) and a beautiful tribute to Charles Mingus. ~ by AAJ Staff. [Translated From Italian] 

Blue Note, 50999-520334-2-1, 2008
Recorded 26th July, 2006 Live at "Enoteca Italiana" during "Enoteca Jazz Club Festival"
12th Edition organized by "Siena Jazz Foundation" 

Musicians:
Franco D'Andrea - Piano
Andrea [Ayace] Ayassot - Alto & Soprano Saxophones
Aldo Mella - Bass
Zeno De Rossi - Drums 

Tracks:
1. Medley: Into The Mystery / Riff / Dancin' Thirds / Six Bars / Dancing Colours (27:25)
2. Medley: Monodic / Afro Abstraction / Deep (12:16)
3. Medley: Fragole / Monodic (6:41)
4. Medley: Slow Five / Another Riff (12:49)
5. Medley: Old Time Blues / Goodbye Pork Pie Hat (7:33)
6. Medley: Altalena / March (10:19) 

All Compositions by Franco D'Andrea Except "Goodbye Pork Pie Hat" by Charles Mingus 

Total Time: 77:08

Credits:
Executive-Producer - Vittorio Albani
Recording & Mixing Engineer - Vincenzo Vanni
Editing & Mastering Engineer - Aldo Mella
Graphic Design - Panaro Design Srl
Photography - Massimiliano Sorrentini, Pino Ninfa

Terence Blanchard - Bounce (2003)

Bounce is a collage of swinging, soulful, and artistic cuts that are bound to strike the fancy of Terence Blanchard fans. The band's vast range covers territory from bop to African beats to traditional New Orleans marching band music, as demonstrated on the cuts "Transform," "Azania," and "Bounce/Let's Go Off" respectively. Blanchard calls on the services of Brice Winston, Lionel Loueke, Robert Glasper, Aaron Parks, Brandon Owens, and Eric Harland for Bounce. Interestingly, none of the band members (save Blanchard) are proverbial household jazz names. This is testimony enough that straight up, unadulterated jazz need not include neon-light, star musicians in order to produce quality, thoughtful scores. This tight band came to play. 

The skillfully done "Nocturna" is the most seductive, mellow cut on the disc. Blanchard uses his trumpet as a voice, communicating his penchant for romantic flair. Owens keeps the melody going on bass while Loueke flicks his guitar to accent the piece. As the track quickens, Blanchard returns and turns up the heat, cooking at a mile high crescendo. And Harland's sound is simply beautiful as he massages the drums, knowing when to accent the melody. 

"Footprints," a Wayne Shorter classic, is excellently done and begins with the funky bass-driven, drum-accented vamp. Blanchard appears to lay back in the cut before he moves into Shorter's classic vein. The band handles this classic with the utmost integrity, handling the jewel with class. Parks' piano accents are skillfully conceived and well-timed along with Harland's drum strokes. Blanchard has a way of capturing the listeners ear using high notes combined with sounds from the lower range. Not to be outdone, Winston delves into a tight mini-solo on saxophone that demonstrates a fluent sense of improvisation in addition to a resonance with the original composition. ~ by Eddie Becton, AAJ. 

Blue Note, 7243 5 90953 2 5, 2003
Recorded 16th - 19th February, 2003 at Avatar Studios, New York, NY 

Personnel:
Terence Blanchard - Trumpet
Brice Winston - Tenor & Soprano Saxophones (#1-3,5-8)
Aaron Parks - Piano (#1,2,4-8)
Robert Glasper - Hammond B-3 & Fender Rhodes (#2-6,8)
Lionel Loueke - Guitar & Vocals (#1-8)
Brandon Owens - Bass
Eric Harland - Drums 

Tracks:
1. On The Verge {Aaron Parks} (8:43)
2. Passionate Courage {Terence Blanchard} (6:32)
3. Fred Brown {Terence Blanchard} (7:43)
4. Nocturna {Ivan Links, Victor Martins} (7:34)
5. Azania {Terence Blanchard} (6:04)
6. Footprints {Wayne Shorter} (7:32)
7. Transform {Eric Harland} (9:01)
8. Innocence {Brandon Owens} (7:23)
9. Bounce {Terence Blanchard}, Let's Go Off {Donald Harrison} (7:06) 

Total Time: 67:38 

Credits:
Producer - Terence Blanchard, Michael Cuscuna
Executive-Producer - Bruce Lundvall

Terence Blanchard feat. The E-Collective - Breathless (2015)

Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009). In keeping with this boundary-pushing trajectory, Blanchard's follow-up, 2015's Breathless, finds the New Orleans native jumping wholeheartedly into a funky stew of R&B, hip-hop, and fusion-influenced jazz. Blanchard is joined here by his band the E-Collective, an adroit group of young players including keyboardist Fabian Almazan, Charles Altura on Guitar, bassist Donald Ramsey, drummer Oscar Seaton and also guest vocalist PJ Morton. Breathless is Blanchard's most electrified album to date in a contemporary jazz direction. Here, we get a very '90s hip-hop/jazz, several languid, new agey spoken word pieces, and some expansive, groove-oriented cuts. Also, intriguing are Morton's several slow jam vocal numbers, including an inspired cover of Hank Williams' "I Ain't Got Nothin' But Time”. Also, compelling is the languid, dreamy ballad "Everglades," with its angular, synthy, '80s electro-funk. Ultimately, while Breathless is a break from the aggressive, acoustic swing that has marked much of Blanchard's career, it nonetheless retains all the jaw-dropping artistry and soulful creativity we have come to expect, albeit delivered in a vibrant, electric style. ~ Extract by Matt Collar, AMG. 

Blue Note, 0602547269393, 2015
Recorded 2015 at Esplanade Recording Studios, New Orleans, Louisiana 

Musicians:
Terence Blanchard - Trumpet
Fabian Almazan - Piano, Synthesizer
Charles Altura - Guitar
Donald Ramsey - Bass, Backing Vocals
Oscar Seaton - Drums 

Guests:
PJ Morton - Vocals (#1,6,11)
JRei Oliver - Backing Vocals, Spoken Words (#6,8)
Dr. Cornel West (#9) 

Tracks:
01. Compared To What {Gene McDaniels} (5:48)
02. See Me As I Am {Terence Blanchard} (8:52)
03. Everglades {Fabian Almazan} (14:33)
04. Breathless {Terence Blanchard} (4:38)
05. Confident Selflessness {Terence Blanchard} (8:13)
06. Shutting Down {T. Oliver Blanchard, Jr.} (4:12)
07. Soldiers {Terence Blanchard} (6:08)
08. Samadhi {Terence Blanchard} (3:56)
09. Talk To Me {Terence Blanchard} (4:04)
10. Tom & Jerry {Terence Blanchard} (2:48)
11. I Ain't Got Nothin' But Time {Hank Williams} (4:28)
12. Cosmic Warrior {Terence Blanchard} (5:24)
13. Midnight {C. Martin, G. Berryman, J. Buckland, W. Champion} (4:53) 

Total Time: 78:04 

Credits:
Producer - Robin Burgess, Terence Blanchard
Executive-Producer, A&R - Don Was
Engineer, Mixing - Frank Wolf
Engineer [Assistant] - Casey Contreary
Mastering - Gavin Lurssen
Photography - Henry Adebonojo
A&R [Administration] - Steve Cook
Art Direction, Design - Randall Leddy

Hank Mobley - Far Away Lands (1967)

Of all the Blue Note artists of the 1960s, tenor saxophonist Hank Mobley may very well be the most underrated. A consistent player whose style evolved throughout the decade, Mobley wrote a series of inventive and challenging compositions that inspired the all-stars he used on his recordings while remaining in the genre of hard bop. For this lesser-known outing, Mobley teams up with trumpeter Donald Byrd, pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins for four of his songs (given such colorful titles as "A Dab of This and That," "No Argument," "The Hippity Hop," and "Bossa for Baby"), along with a song apiece from Byrd and Jimmy Heath. An excellent outing, fairly late in the productive career of Hank Mobley. ~ by Scott Yanow, AMG. 

Blue Note, BST 84425, 1985
Blue Note, CDP 7 84425 2, 1988
Recorded 26th May, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Hank Mobley - Tenor Saxophone
Donald Byrd - Trumpet
Cedar Walton - Piano
Ron Carter - Bass
Billy Higgins - Drums 

Tracks:
1. A Dab Of This And That {Hank Mobley} (5:11)
2. Far Away Lands {Jimmy Heath} (5:32)
3. No Argument {Hank Mobley} (6:31)
4. The Hippity Hop {Hank Mobley} (5:39)
5. Bossa For Baby {Hank Mobley} (6:06)
6. Soul Time {Donald Byrd} (6:48) 

Total Time: 35:47 

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Reissue Producer, Liner Notes - Michael Cuscuna
Digital Transfer - Ron McMaster
Design - Richard Mantel

Joe Lovano - Flights Of Fancy: Trio Fascination Edition Two (2001)

With four decidedly different trios, Joe Lovano pushes the mainstream jazz envelope along its meandering course. The tenor saxophonist’s brusque tone stands apart as distinctively as his passion for molding the art form. This is a blue-collar effort from a creative, dues-paying, veteran artist. Consider the nonstandard combinations the leader employs here. Lovano joins Toots Thielemans and Kenny Werner for four pieces. He teams with Billy Drewes and Joey Baron for three. Three more tracks feature Mark Dresser and Dave Douglas, while half the album features Lovano with Cameron Brown and Idris Muhammad. In all, the artists engage in trio interplay with each member "speaking his own mind." Lovano encourages the others without dominating. Open trumpet, lyrical harmonica, melody-driven bass and other partners share in the album’s creation. On "Blue Mist," a rainbow of percussion textures surround one solitary soprano saxophone voice before the trio eventually moves into "Off and Runnin'," with two conversing saxophones. As with Lovano’s first Flights Of Fancy project, artist interaction is the key ingredient. When working with harmonica and piano, the saxophonist seems more at ease with the mainstream. When creating alongside Douglas’ trumpet or Drewes’ woodwinds, he’s stretching the envelope. In all situations, Lovano tends to share the microphone in creative interplay that seems determined not to simply recreate the past. Soundscapes, timbre combinations, unexpected turns, and variety mark the saxophonist’s adventures. On "206," he’s at the drum set while trumpet and bass weave melodies. Consisting, for the most part, of forward-looking avant-garde jazz, Lovano’s latest album belongs on this year’s "ten best" list. Directions are changing. It’s up to the "movers and shakers" heard here to continue moving jazz in new, creative directions. In order to survive, jazz must grow. ~ by Jim Santella, AAJ. 

Blue Note, 7243 5 27618 2 1, 2001
Recorded 14th-15th June, 2000 in Four Consecutive Sessions at Avatar Studios, New York 

Trio #1: 14th June, Noon-6:00 pm
Joe Lovano, Cameron Brown, Idris Muhammad
Trio #2: 14th June, 7:30 pm-Midnight
Joe Lovano, Billy Drewes, Joey Baron
Trio #3: 15th June, Noon-3:00 pm
Joe Lovano, Kenny Werner, Toots Thielemans
Trio #4: 15th June, 6:00 pm-9.00 pm
Joe Lovano, Dave Douglas, Mark Dresser 

Musicians:
Joe Lovano - Alto (#10), Tenor (#1-3,5-8,11,13,14) Soprano (#4,12) & C-Melody (#4) Saxes;
Alto (#4) & Bass (#9) Clarinets, Gongs (#4), Drums (#7), Percussion (#4)
Billy Drewes - Soprano Saxophone (#5,9), Alto Flute (#9), Percussion (#4)
Dave Douglas - Trumpet (#3,7,12)
Toots Thielemans - Harmonica (#2,13)
Kenny Werner - Piano (#2,6,13)
Cameron Brown - Bass (#1,4,8,10,11,13,14)
Mark Dresser - Bass (#3,7,12)
Idris Muhammad - Drums (#1,4,8,10,11,13,14)
Joey Baron - Drums (#4,5,9) 

Tracks:
01. Flights Of Fancy {Joe Lovano} (6:23) [#1]
02. On April [I'll Remember April] {Don Raye, Gene DePaul, Pat Johnson} (3:31) [#3]
03. Amsterdam {Joe Lovano} (4:36) [#4]
04. Blue Mist {Joe Lovano} (4:26) [#2/#1]
05. Off And Runnin' {Joe Lovano} (4:01) [#2]
06. Infant Eyes {Wayne Shorter} (6:26) [#3]
07. 206 {Joe Lovano} (6:35) [#4]
08. Bougainvillea {Judi Silvano} (8:01) [#1/#3]
09. Windom Street {Joe Lovano} (4:52) [#2]
10. Hot Shot {Joe Lovano} (4:42) [#1]
11. Aisha {McCoy Tyner} (3:57) [#1]
12. Amber {Joe Lovano} (3:10) [#4]
13. On Giant Steps {John Coltrane} (5:47) [#3/#1]
14. Flights Of Fancy [Reprise] {Joe Lovano} (1:26) [#1] 

Total Time: 67:53 

Credits:
Producer - Joe Lovano
Assistant Producer - Judy Silvano
Recording - James Farber
Mixing - Mark Fraunfelder, Rory Romano
Mastering - Greg Calibi
Art Direction and Design - Jessica Novod
Illustrations - David Hollenbach
Photography - Jimmy Katz

Greg Osby - The Invisible Hand (2000)

Though chock full of Osby's signature brand of dissonance, The Invisible Hand is one of the altoist's mellower, more contemplative offerings. Its most novel aspect is the inclusion of pianist Andrew Hill and guitarist Jim Hall, two of jazz's fascinating elder statesmen. Hill's piano style is fractured and fragmented, yet suffused with its own ornamental beauty. Hall is a master of the understated, perfectly chosen phrase. Both have worked with Osby on more than one occasion. But The Invisible Hand is an historic first: prior to its recording, Hill and Hall had never played together. Disappointingly, the two are paired only on Hill's "Ashes" and Hall's "Sanctus"; otherwise, they appear separately. In fact, Hall is present only on three of the album's ten tracks, giving listeners only the briefest glimpse of his talents. Hill, appearing on six numbers, is utilized more effectively; the pianist is especially brilliant on Fats Waller's "Jitterbug Waltz." Gary Thomas, an Osby contemporary, overdubs multiple woodwinds to create thick orchestration on "Nature Boy," "With Son," and a couple of others. Bassist Scott Colley and drummer Terri Lynne Carrington provide reliable rhythmic support throughout. But overall the record suffers from a discontinuity brought about by repeated personnel shifts. In a sense, The Invisible Hand sounds like three different albums, and Osby's production seems unnecessarily convoluted. ~ by David R. Adler, AMG. 

Blue Note, 7243 5 20134 2 5, 2000
Recorded 8th-9th September, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone, Clarinet
Gary Thomas - Flute, Flute [Alto], Tenor Saxophone
Andrew Hill - Piano
Jim Hall - Guitar
Scott Colley - Bass
Terri Lyne Carrington - Drums 

Tracks:
01. Ashes {Andrew Hill} (8:02)
02. Who Needs Forever? {Howard Greenfield, Quincy Jones} (5:10)
03. The Watcher {Greg Osby} (5:40)
04. Jitterbug Waltz {Richard Maltby, Jr., Fats Waller} (7:40)
05. Sanctus {Jim Hall} (7:39)
06. [Back Home Again In] Indiana {James F. Hanley, Ballard MacDonald} (4:32)
07. Nature Boy {Eden Ahbez} (8:44)
08. Touch Love {Andrew Hill} (6:00)
09. With Son {Greg Osby} (7:29)
10. The Watcher, No. 2 {Greg Osby} (4:22) 

Total Time: 65:20 

Credits:
Producer, Liner Notes - Greg Osby
Co-producer - Kay Vaughn
Recording & Mixing Engineer - Joseph Marciano
Engineer [Assistant] - Nancy Marciano
Mastering Engineer - Nicholas Prout
Photography [Session] - Jimmy Katz
Art Direction, Design - Burton Yount
Liner Notes - Ted Panken

Greg Osby - Zero. (1998)

"Zero." represents Greg Osby's 3rd release for Blue Note records and perhaps his finest recording to date. Osby’s inaugural Blue Note release "Art Forum" sported a 360-degree turn for this artist. Having been a longtime collaborator with Steve Coleman and Cassandra Wilson in the "Mbase" days, Osby subsequently turned his creative juices towards Hip-Hop and the results were less than satisfying. "Art Forum" was a stylish entry into the modern jazz scene and re-established Osby as a major talent on the rise. Osby's 2nd release for Blue Note, "Further Ado" saw the advent of young piano phenom Jason Moran along with a cast of veteran jazz session musicians. "Further Ado" was fairly weak compositionally and lacked identity. Not a bad outing but at times sounded forced and hastily produced. On "Zero" Osby is backed by a fine bunch of young musicians who display earnest intentions and well-schooled technical attributes. The opener, "Sea of Illusion" demonstrates Greg Osby's easily identifiable technique and signature sound. On "Sea of Illusion" Osby artfully blends melody and dissonance in an angular yet rapid-fire fashion. His attack and execution is flawless. Osby tap dances over his alto sax, alluding to his disclosure of thinking like a pianist. Not just a technician, Osby emits fire and emotion; thus, making every note count. Perhaps if Bud Powell were an alto saxophonist, he would have sounded something like Greg Osby? On "Interspacial Affair" the young pianist Jason Moran displays wit and maturity with pervasive chord structures and strong dynamics. Moran superfluous sense of dynamics frequently prods Osby into taking several engaging, razor sharp alto and soprano sax solos. "Minstrale" is Osby's salutation to the fine jazz pianist Andrew Hill. Subtle melodic phrasing with traces of Monk, Moran captures the spirit of Andrew Hill in illustrious fashion. On "Nekide" drummer Rodney Green opens up with some nifty, dexterous stick work although he seems somewhat cautious or at times hesitant to mix it up on most of these cuts. "Deuce Ana Quota" is a lazy funk-blues romp and reminiscent of early 1970’s Lou Donaldson. Moran works the Hammond B-3 while guitarist Kevin McNeal strums delicate blues riffs to augment the spirited feel of the rhythm section. Osby is the bandleader and it shows in most instances. Despite the hefty dose of soloing and improvisation the band is tight and well-rehearsed under Osby’s direction. No doubt Greg Osby has the stuff to become a world-beater. His enormous talents as a composer and saxophonist have seldom been scrutinized. Blue Note records and Greg Osby have forged a strong relationship and with his current band the future looks that much brighter for jazz. ~ by Glenn Astarita, AAJ. 

Blue Note, 7243 4 93760 2 1, 1998
Recorded 8th-11th January, 1998 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto, Soprano & Sopranino Saxophones
Jason Moran - Piano, Organ [Hammond B-3], Fender Rhodes
Kevin McNeal - Guitar
Dwayne Burno - Bass (#1,2,7,8)
Lonnie Plaxico - Bass (#3-6)
Rodney Green - Drums 

Tracks:
01. Sea Of Illusion {Greg Osby} (5:13)
02. Interspacial Affair {Greg Osby} (6:59)
03. Minstrale {Greg Osby} (5:16)
04. Two Over One {Muhal Richard Abrams} (7:49)
05. Ozthetica {Greg Osby} (6:24)
06. Nekide {Greg Osby} (4:14)
07. Savant Cycles {Greg Osby} (5:59)
08. Extreme Behavior {Greg Osby} (3:06)
09. Deuce Ana Quota {Greg Osby} (6:53)
10. Penetrating Stare {Greg Osby} (4:57)
11. Concepticus In C {Greg Osby} (2:42) 

Total Time: 59:32

Credits:
Producer, Liner Notes, Mixing - Greg Osby
Recording & Mixing - Joseph Marciano
Mastering - Nicholas Prout
Art Direction, Design, Illustration [Digital] - P.R. Brown
Photography - Jana Leon

Greg Osby - Inner Circle (1999)

Jazz fans searching for a quintessential forward-thinking artist should look no further than the musical musings of Mr. Greg Osby. He's an artist who will not be satisfied with the status quo. Distinguished as an alto saxophone stylist, his voice is unique and easily recognizable among the masses. His recordings of the past few years have all been modern exercises in jazz music that are entertaining, cerebral, and illuminating. As any successful visionary, he has surrounded himself with like-minded individuals who continue to push the envelope of jazz; such as piano extraordinaire Jason Moran and vibraphonist Stefon Harris. His previous recording Symbols of Light (A Solution), which implemented a string quartet into his eclectic mix, was one of 2001's top jazz picks. Inner Circle continues on the same high level that Osby has been operating at throughout his career. His music is progressively expanding into new boundaries on the ubiquitous jazz theme. It swings, grooves and moves with a distinctive style. The recording features Osby originals with covers by Euro-Pop sensation Bjork and famous bassist Charles Mingus. The title Inner Circle could easily refer to one of the tightest set of young musicians paving the jazz path today. The musicians have been featured on recordings by Jason Moran and Stefon Harris. Bassist Taurus Mateen and drummer Eric Harland comprise one of the most dynamic and talented rhythm sections on the scene today. Osby and Moran have formed a unique and wonderful symbiosis over the past few years that allows for freedom and expression with wide possibilities. Stefon Harris' vibe work just keeps getting better. All the compositions are creative with odd patterns and complex arrangements that never leave the listener too far, and will also encourage a deeper appreciation for the art form. The many highlights include the circuitous and hypnotic "Fragment Decoding" and the brilliant "Inner Circle Principle" with its memorable solos expressed by each musician. With Osby at the helm, one can only anticipate the next move in his forward progression. Another top pick for 2002. ~ by Mark F Turner, AAJ. 

Blue Note, 7243 4 99871 2 8, 2002
Recorded 22nd & 23rd April, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone
Jason Moran - Piano
Stefon Harris - Vibraphone
Tarus Mateen - Bass
Eric Harland - Drums 

Tracks:
1. Entruption {Greg Osby} (4:59)
2. Stride Logic {Greg Osby} (4:08)
3. Diary Of The Same Dream {Greg Osby} (4:14)
4. Equalatogram {Greg Osby} (4:07)
5. All Neon Like {Björk} (6:35)
6. Fragmatic Decoding {Greg Osby} (4:43)
7. The Inner Circle Principle {Greg Osby} (4:39)
8. Sons Of The Confidential {Greg Osby} (6:15)
9. Self-Portrait In Three Colors {Charles Mingus} (6:09) 

Total Time: 45:49

Credits:
Producer, Liner Notes - Greg Osby
Product Manager - Mantis Evar
Recording & Mixing - Joseph Marciano
Mastering - Allan Tucker
Photography - Till Krautkrämer
Photography [Session Photos] - Jimmy Katz
Art Direction, Design - Burton Yount

Rick Margitza - This Is New (1991)

For his third release as a band leader, the Crescent City's former resident "pays homage to the tradition." The title song by George Gershwin tells all: this is a new approach to standard material. Backed by some heavy contemporary mainstream musicians, the album remains consistent throughout, with the rhythm section swinging hard under subtle improvisation. Although only 30-years-old, Margitza’s playing is mature and controlled, with a smooth and pure bright-edged tone. He expresses himself through note choice and in his own unique approach to phrasing, rather than through exuberant dynamics and spastic runs. Even his fat runs are effortless and in perfect time, and his out-of-range high notes sustain tone and pitch. Pianist Joey Calderazzo complements Margitza perfectly with his smooth style; with single-note phrases in his right hand, he also plays reservedly and can burn smoothly in perfect time. Drummer Jeff "Tain" Watts swings hard on the cymbals and ties it all together following the soloists and the other accompaniment intuitively, and Robert Hurst drives it all with a thumping, full-toned bass. Margitza's own "Beware of the Dog" is a minor modal piece with Tim Hagans on trumpet. Hagans' tone blends with Margitza’s on the haunting gypsyish melody. They explore the basic melodic outline of "On Green Dolphin Street," Margitza's straight tone echoing back to Miles Davis' muted trumpet sound. And on the ballad, "Everything Happens to Me," Margitza proves his bright tone can also serenade us. ~ Anthony Clark, Off Beat Magazine. 

Blue Note, CDP 7 97196 2, 1991
Recorded 27th-28th May, 1991 at Power Station, New York City 

Musicians:
Rick Margitza - Tenor Saxophone, Arranger
Joey Calderazzo - Piano (#1,2,4-7,9)
Robert Hurst - Acoustic Bass
Jeff "Tain" Watts - Drums
Tim Hagans - Trumpet (#5 only) 

Tracks:
1. This Is New {Ira Gershwin, Kurt Weill} (5:18)
2. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (9:59)
3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (5:37)
4. Just In Time {Betty Comden, Adolph Green, Jule Styne} (6:29)
5. Beware Of The Dog {Rick Margitza} (8:49)
6. Invitation {Bronislaw Kaper, Paul Francis Webster} (5:30)
7. Everything Happens To Me {Hoagy Carmichael, Johnny Mercer} (5:33)
8. When Will The Blues Leave? {Ornette Coleman} (7:07)
9. Gypsies {Rick Margitza} (6:36) 

Total Time: 61:02

Credits:
Producer - Matt Pierson
Recording Engineer - Jim Anderson
Assistant Engineer - Matthew "Boomer" LaMonica
Mastering Engineer - Bob Ludwig [Masterdisk]
Design - Mark Larson
Photography - Michael Williams
Art Direction - Cynthia Cochrane

Rick Margitza - Color (1989)

Rick Margitza's debut features the playing of a young tenor-saxophonist who mixes together the usual influences: Michael Brecker, Wayne Shorter and John Coltrane. In his favor is that Margitza's 11 originals (performed with a septet that includes guitarist Steve Masakowski, pianist Joey Calderazzo and Jim Beard on synthesizers) range from a Coltranish blues to the poppish "Color Scheme," from brooding ballads to uptempo straightahead explorations. The main weak point is that some of Margitza's solos sound as if he they were taken straight from exercise books. Less formal studying and more jamming will probably eventually eliminate that problem for Margitza certainly had the technique and the power at this early point in his career. ~ by Scott Yanow, AMG. 

Blue Note, CDP 592279, 1989
Recorded April - May, 1989 at Power Station, New York 

Musicians:
Rick Margitza - Tenor Saxophone, Soprano Saxophone
Steve Masakowski - Guitars [7 & 12-String Acoustic, 7-String Electric]
Joey Calderazzo - Piano
Jim Beard - Synthesizers
Marc Johnson - Acoustic Bass
Adam Nussbaum - Drums
Airto Moreira - Percussion 

Tracks:
01. Widow's Walk (4:59)
02. Color Scheme (6:08)
03. Ferriss Wheel (5:18)
04. Our Song (3:16)
05. Walts (5:46)
06. Change-Up (7:12)
07. Anthem (4:40)
08. Brace Yourself (6:14)
09. Karensong (4:41)
10. We Stand Adjourned (5:00)
11. Point Of View (1:28) 

All Compositions by Rick Margitza

Total Time: 54:49

Credits:
Producer - Matt Pierson, Rick Margitza
Recording & Mixing Engineer - Jason Corsaro
Assistant Engineer - Bruce Calder, Ben Fowler, Dan Gellert
Mastering Engineer - Bob Ludwig [Masterdisk]
Art Direction & Photography - Carol Friedman

Michel Petrucciani - Playground (1991)

Pianist Michel Petrucciani, who during the early part of his career was heavily influenced by Bill Evans, gradually developed his own sound. By 1991 he was using Adam Holzman on synthesizer with his quintet (which on this date also includes bassist Anthony Jackson, drummer Omar Hakim and percussionist Steve Thornton) to play colors behind his piano. In addition, Petrucciani was backed by funky rhythms and emphasized his own original compositions. Rather than selling out to blatant commercialism, Petrucciani had actually found his own voice within the "contemporary" setting. The music on his CD is of consistently high quality (despite a few too many fadeouts). Highlights include "Miles Davis' Licks" (a blues that utilizes some of Davis' late-period nursery rhyme melodies), the intense "Brazilian Suite #3," a playful jam on "Laws of Physics" and the Keith Jarrett-ish "P'tit Louis." Actually, all 11 of Michel Petrucciani's originals are worth hearing and, despite the brief playing time (39 minutes) of this CD, it is recommended. ~ by Scott Yanow, AMG. 

Blue Note, CDP 7 95480 2, 1991
Recorded [Basic tracks and Overdubs] at Clinton Recording Studios, New York 

Musicians:
Michel Petrucciani - Piano [Steinway], Synthesizer, Arranger
Adam Holzman - Synthesizer, Programming [Synthesizer], Co-Arranger
Anthony Jackson - Bass
Omar Hakim - Drums (#1-4,6-9,11)
Aldo Romano - Drums (#5)
Steve Thornton - Percussion 

Tracks:
01. September Second {Michel Petrucciani} (4:45)
02. Home {Michel Petrucciani} (5:29)
03. P'tit Louis {Michel Petrucciani} (4:35)
04. Miles Davis' Licks {Michel Petrucciani} (4:29)
05. Rachid {Michel Petrucciani} (3:26)
06. Brazilian Suite #3 {Michel Petrucciani} (2:34)
07. Play School {Michel Petrucciani} (3:05)
08. Contradictions {Michel Petrucciani} (3:00)
09. Laws Of Physics {Adam Holzman} (4:47)
10. Piango, Pay The Man {Michel Petrucciani} (1:54)
11. Like That {Michel Petrucciani} (1:41) 

Total Time: 39:45 

Credits:
Producer - Eric Kressmann, Michel Petrucciani
Engineer - Tom Swift
Recording [Assistant] - Joe Martin, Neil Dignon
Mixing [Assistant] - David Merrill
Mastering - Jose Rodriques
Photography [Back] - Carol Friedman
Photography [Cover] - John Fenton
Art Direction - Carol Friedman
Design - Patrick Roques

Anita Baker - My Everything (2004)

Anita Baker's My Everything is her first studio outing in a decade. Family life seems to have claimed most of that time, as the album's last cut, "Men in My Life," seems to indicate. Baker co-wrote seven of the album's nine songs (one is a reprise of the title track), authored the aforementioned tune, and assisted producer Barry J. Eastmond in the arrangements. The disc's first single, "You're My Everything," is indicative of the album's sound: finely wrought and executed urban adult soul. Most of the set falls into this category, too, with the exception of "Like You Used to Do," a duet with Kenneth "Babyface" Edmonds that walks a line between it and new-school groove. Another cut, the stellar "I Can't Sleep," offers Baker in full-on jazz mode, careening through a skittering and swinging arrangement with a full horn section pushing the groove; it showcases Baker's ability to croon, and she comes very close to Betty Carter's scat. Some may be frustrated that, after such a long time, Baker doesn't push the envelope more stylistically. This may be true in terms of the material itself, but that's not necessarily a bad thing. Right down the line, Baker delivers on what she does best. But in one sense she has expanded her palette. On these cuts, most of the rhythm section's tracks were cut live from the floor, and on three, the vocals were as well. This gives the album a reedy immediacy that contrasts sharply with the rest of her studio catalog. This is a worthy return, qualitatively standing head and shoulders above most everything else in its class. ~ by Thom Jurek, AMG. 

Blue Note, 7243 5 77102 2 0, 2004 

Recording Locations:
Brandon's Way Recording, Hollywood, CA
Conway Studios, Hollywood, CA
East Bay Music Studios, Tarrytown, NY
Le Gonks West Studios, Hollywood, CA
Record One Studios, Sherman Oaks, CA
Soup Can Studios, Detroit, MI
Village Recorders, Los Angeles, CA 

Personnel:
Anita Baker - Vocals, Backing Vocals, Arranger (#1-5,7-10)
Gary Grant - Trumpet (#1-5,7-10)
Jerry Hey - Trumpet, Horn Arrangement (#1-5,7-10)
Reggie Young - Trombone (#1-5,7-10)
Eric Marienthal - Alto Saxophone (#9)
Dan Higgins - Tenor & Baritone Saxophones (#1-5,7-10)
Gary Bias - Tenor Saxophone (#1-5,7-10)
Barry J. Eastmond - Keyboards, Percussion, Horn Arranger, Backing Vocals (#1-5,7-10)
George Duke - Synthesizer [Additional], Percussion (#1-5,7-10)
Eric Rehl, Leo Colon - Synthesizer [Additional] (#1-5,7-10)
Russell Ferrante - Piano (#9)
Paul Jackson Jr., Phil Hamilton, Robert Randolph - Guitar (#1-5,7-10)
Kenneth "Babyface" Edmonds - Guitar, Backing Vocals (#1-5,7-10)
Al Turner, Alex Al, Gerald Albright, Jimmy Haslip, Nathan East, Reggie Hamilton, Ron Jenkins - Bass (#1-5,7-10)
Bernard Davis, Ricky Lawson, Steve Ferrone, William Kennedy - Drums (#1-5,7-10)
Bashiri Johnson - Percussion (#1-5,7-10)
Rafael Padilla - Percussion (#6)
Esther Ridgeway, Gloria Ridgeway, Gordon Chambers, Gracie Ridgeway - Backing Vocals (#1-5,7-10)
Kenya Ivey - Backing Vocals (#6) 

Tracks:
01. You're My Everything {Anita Baker} (5:03)
02. How Could You {Anita Baker, Barry J. Eastmond} (4:21)
03. In My Heart {Anita Baker} (5:07)
04. Serious {Dawn Thomas} (5:26)
05. How Does It Feel {Anita Baker, Barry J. Eastmond} (4:42)
06. Like You Used To Do {Anita Baker, Barry J. Eastmond} (5:12)
07. Close Your Eyes {Anita Baker, Barry J. Eastmond} (4:43)
08. You're My Everything [Revisited] {Anita Baker} (1:12)
09. I Can't Sleep {Anita Baker, Russell Ferrante, W. Kennedy} (5:08)
10. Men In My Life {Anita Baker} (3:37) 

Total Time: 44:31

Credits:
Producer, Engineer - Anita Baker
Producer, Engineer - Barry J. Eastmond
Producer, Arranger - Kenneth "Babyface" Edmonds (#6)
Engineer - Alan Sides, Dylan Dresdow, Ghian Wright
Recording - Paul Boutin (#6)
Engineer [Assistant] - Greg Burns, Jared Nugent, Tom Wilber
Engineer, Engineer [Assistant] - Kevin Szymanski
Mixing - Jon Gass (#6)
Mixing [Assistant] - Edward Quesada (#6)
Mixing - Erik Zobler
Mixing [Assistant] - Stefaniah McGowan
Mixing, Engineer - George Duke
Photography - Andrew Eccles