Michel Petrucciani - Both Worlds (1997) [re-rip]

The diminutive piano dynamo with the dynamic technique has enjoyed a decidedly mixed recording career, never really establishing a good sense of momentum with any one company. That is perhaps until now, where Dreyfus has opened its arms to his various projects, this outing being a program exclusively of his original compositions. His writing is sparkling, witty, largely optimistic and full of heart. All is arranged by the esteemed Bob Brookmeyer, who also graces the session with the somewhat rare offering of his considerable trombone work, rare because his concentration in recent times has been on pen and paper. 

Also assisting Michel are drummer Steve Gadd, who used to be ubiquitous on New York sessions but who seems to have limited such activity in the latter ’90s; the adroit bass guitarist with the acoustic sensibility Anthony Jackson; trumpeter Flavio Boltro and saxophonist Stefano DiBattista, a nice cultural balancing act of three Americans and three Europeans, thus in part comes the title. The theme is further borne out in the Frenchman Petrucciani entrusting his creations to the arranging skills of the American Brookmeyer. The results are a fresh, jazz-proud date that neatly spans the poly-world sensibility. Petrucciani’s compositional influences are equally as disparate, but despite the melding of these wide-ranging elements the date works as a cohesive whole. And the ensemble flavor is indeed manifest. It certainly seems the wisdom of age and experience find Michel no longer content with diving headlong into piano furioso, instead he deals from the standpoint of the essence of jazz-the band sound, something all too rare these days. ~ Willard Jenkins, JazzTimes.

Dreyfus Records, FDM 36590-2, 1997
Recorded 1997At Right Track Recording Studio, New York 

Musicians:
Michel Petrucciani - Piano
Flavio Boltro - Trumpet
Bob Brookmeyer - Trombone, Arranger
Stefano Di Battista - Soprano & Alto Saxophones
Anthony Jackson - Bass
Steve Gadd - Drums 

Tracks:
1. 35 Seconds Of Music And More (5:24)
2. Brazilian Like (4:47)
3. Training (3:58)
4. Colors (6:58)
5. Petite Louise (5:25)
6. Chloe Meets Gershwin (6:14)
7. Chimes (5:11)
8. Guadeloupe (6:12)
9. On Top Of The Roof (5:35) 

All Compositions by Michel Petrucciani 

Total Time: 49:50

Credits:
Producer - Francis Dreyfus, Yves Chamberland
Recording & Mixing Engineer - Roger Roche
Mastering Engineer - Scott Hull [Masterdisk, New York]
Photos - Jean Ber [Back/Front]
Photos - William Laxton [Booklet]
Artwork - Jean-Paul Théodule
Liner Notes - Thierry Pérémarti

LINK

Brazilian Like

David Sanborn - Closer (2004)

Saxophonist and composer David Sanborn has always been a maverick. A top-notch technician, he has always imbued his playing with deep emotion -- indeed, that emotional element in his playing has been his signature since he began leading his own bands on record in the 1970s. He has wed modern jazz sophistication to the smooth jazz groove for many years now, and has followed his muse while remaining a commercially viable artist. Closer is another exercise in ambition for Sanborn and his sidemen. They include bassist Christian McBride, guitarist Russell Malone, Larry Goldings on electric piano and organ, vibist Mike Manieri, and drummer Steve Gadd, among others. The material is a fine collection of pop tunes, standards, and surprises from the jazz canon. First, the bad news: Sanborn and vocalist Liz Wright team up for a version of James Taylor's "Don't Let Me Be Lonely Tonight" that is as bland as soy milk. That said, Sanborn's read of Abdullah Ibrahim's "Capetown Fringe" carries within it the joy and dignity of Ibrahim's original and proves to the public something Sanborn has been aware of all along -- that the composer's music is truly accessible to the masses. Underscore this for the album's opener, a smoking little groove read of Gil Fuller and Chano Pozo's "Tin Tin Deo." Horace Silver's "Enchantment" and "Señor" are given fine finger-popping treatments, as are the stellar standards "Ballad of the Sad Young Men," "You Must Believe in Spring," and the beautiful "Poinciana." There is a lovely version of Charlie Chaplin's "Smile" here, given chamber orchestra treatment. Sanborn contributes a pair as well, in the silvery ballad "Another Time, Another Place" and the album's closer, the haunting "Sofia," with a fine string and horn treatment by Gil Goldstein. Once more, Sanborn has wed his commercial and creative aspirations into a thoroughly engaging whole. ~ by Thom Jurek, AMG. 

Verve Records, 0602498631973, 2005
Recorded at Hiatus Studios, New York, NY;
Right Track Studios, New York, NY 

Musicians:
David Sanborn - Alto Saxophone, Rhythm Arranger
Alex Sipiagin - Trumpet, Flugelhorn (#1,2,5-7,11)
Mike Davis - Trombone (#1,2,5-7,11)
Bob Sheppard - Flute D'Amour, C Flute (#1,2,5-7,11), Tenor & Soprano Sax (#8)
Sheryl Henze - Alto Flute, Bass Flute (#1,2,5-7,11)
Gil Goldstein - Electric Piano, , Accordion (#8), Rhythm Arranger, Orchestration
Larry Goldings - Electric Piano, Organ
Mike Mainieri - Vibraphone
Russell Malone - Guitar
Christian McBride - Bass
Steve Gadd - Drums
Luis Quintero - Percussion
Lizz Wright - Vocals (#3)
+
Strings [#1,2,4,5,11]
Belinda Whitney, Joyce Hammann - Violin
Ron Lawrence - Viola
Dave Edgar - Cello 

Tracks:
01. Tin Tin Deo {Gil Fuller, Chano Pozo} (6:19)
02. Señor Blues {Horace Silver} (5:09)
03. Don't Let Me Be Lonely Tonight {James Taylor} (6:08)
04. Smile {Charlie Chaplin, Geoffrey Parsons, John Turner} (3:52)
05. Enchantment {Horace Silver} (4:28)
06. Ballad Of The Sad Young Men {Fran Landesman, Tommy Wolf} (4:01)
07. Another Time, Another Place {David Sanborn} (6:05)
08. Capetown Fringe {Abdullah Ibrahim} (3:25)
09. Poinciana {Buddy Bernier, Nat Simon} (6:03)
10. You Must Believe In Spring {Bergman, Demy, Legrand} (3:50)
11. Sofia {David Sanborn} (3:45) 

Total Time: 53:11 

Credits:
Producer - Stewart Levine
Audio Engineer, Engineer, Mixing - Joe Ferla
Engineer - Jonathan Duckett
Assistant Engineer - Bryan Pugh, Jason Spears, Jason Finkel
Digital Editing, Pro-Tools - Dean Sharenow
Mastering - Bernie Grundman
Coordinator - Heather Buchanan, Stephanie Pappas
Design - Isabelle Wong
Art Direction - Hollis King
Photography - Henry Leutwyler 

Enchantment

Joe Sample - The Hunter (1983)

Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. ~ by William Ruhlmann, AMG. 

MCA Records, MCAD-1471, 1983
Recorded at Sound Recorders, Hollywood and Salty Dog Studios, L.A., CA;
Except ‘The Hunter’ at A & R Studios, New York, N.Y. 

Musicians:
Joe Sample - Keyboards [Acoustic], Electric Piano, Synthesizer
Tom Browne - Trumpet [Lead], Soloist (#1)
Bill Reichenbach, Chuck Findley, Dick Hyde, Ernie Watts,
Jerry Hey, Larry Williams, Steve Madaio - Horns (#1,3-6)
John Phillips - Woodwinds (#2), Bass Clarinet, Soloist (#6)
Rory Kaplan - Programming [Synthesizers]
Galen Senogles - Synthesizer [Overdubs]
David Spinozza - Guitar (#1)
Phil Upchurch - Guitar, Soloist (#3)
Dean Parks - Guitar (#2-4,6), Soloist (#5), Rhythm Guitar (#5)
Marcus Miller - Bass (#1)
Abraham Laboriel - Bass (#2-6)
Steve Gadd - Drums (#1)
Bob Wilson - Drums (#2-6)
Paulinho da Costa - Percussion

Tracks:
1. The Hunter (5:48)
2. Blue Ballet (4:09)
3. Beauty And The Beast (6:29)
4. Wings Of Fire (5:25)
5. Just A Little Higher (5:32)
6. Night Flight (9:00) 

All compositions by Joe Sample 

Total Time: 36:26 

Credits:
Producer - Joe Sample, Wilton Felder
Executive Assistant - Tom Hooper
Recording Engineer - Jim Boyer (#1)
Recording & Mixing (#2) Engineer - Rik Pekkonen
Mixing - Galen Senogles, Wilton Felder (#1,3-6)
Mastering Engineer - Bernie Grundman [A&M Studios]
Coordinator - Pamela H. Lobue, Robin Howell
Art Direction - George Osaki
Painting [Cover] - Laddia Holly 

The Hunter

Joe Sample - Rhino Hi-Five (2007)

A fine compilation of Joe Sample tracks selected by Rhino Records as part of their Hi-Five series of digital downloads released in 2007. 

Rhino Records, Digital Download, 2007 

Musicians:
Joe Sample - Piano, Piano [Electric], Keyboards, Synthesizer, Arranger
Larry Williams, Ricky Peterson - Synthesizer
St. Paul, Michael Landau - Guitar
Dean Parks - Guitar [Electric]
Marcus Miller - Bass
Steve Gadd, Omar Hakim - Drums
Lenny Castro - Percussion
Jason Miles, Robbie Buchanan - Programming
Lori Perry, Lynn Davis, Jim Gilstrap - Vocals [Background] 

Tracks:
1. Spellbound {Joe Sample} (4:29)
2. Ashes To Ashes {Joe Sample} (4:53)
3. Invitation {Bronislaw Kaper} (4:21)
4. Stormy Weather {Harold Arlen, Ted Koehler} (5:01)
5. Street Life {Joe Sample} (5:04) 

Total Time: 23:52 

Credits:
Producer - Joe Sample, George Duke, Tommy LiPuma

Hank Crawford - Hank Crawford's Back (1976)

Hank Crawford turns his back on the cover of this sweet little set from Kudu - but the groove itself is very upfront, strongly in the best mix of funky jazz and club the label had going down into the late 70s! Arrangements are by David Matthews, who keeps things lean and mean, even when the instrumentation is fairly large - and Hank's nicely burning alto is firmly in the lead, blown with a sound that echoes back to older soul jazz modes of the 60s, but which has some smoother touches overall for the 70s. The album's got plenty of keyboards from Richard Tee, plus trombone solos from Fred Wesley, flute from Jeremy Steig, and guitar from Eric Gale - plus backing vocals on some of the cuts. © Dusty Groove, Inc. 

Kudu Records, KU-33 S1, 1976
Recorded at Mediasound in New York 

Personnel:
Hank Crawford - Alto Saxophone
Fred Wesley - Trombone [Solos]
Jeremy Steig - Flute [Solos]
Richard Tee - Electric Piano [Solos]
Eric Gale - Guitar [Solos]
Gary King - Bass (#A1-A3)
Anthony Jackson - Bass (#B1,B2)
Andy Newmark - Drums (#A1-A3)
Steve Gadd - Drums (#B1,B2)
Nicky Marrero - Percussion
Frank Floyd, Ray Simpson, Zachary Sanders - Backing Vocals
David Matthews - Arranger 

Tracks:
A1. Funky Pigeon {David Matthews} (6:07)
A2. I Can't Stop Loving You {Don Gibson} (3:07)
A3. You'll Never Find Another Love Like Mine {Kenny Gamble, Leon Huff} (6:47)
B1. Canadian Sunset {Eddie Heywood, Norman Gimbel} (6:11)
B2. Midnight Over Memphis {John Stubblefield} (11:23) 

Total Time: 33:35 

Credits:
Producer - Creed Taylor
Engineer - Alan Varner, Alec Head, Joe Jorgensen
Engineer [Assistant] - Doug Epstein, Ramona Janquitto
Mixing & Mastering - Rudy van Gelder
Album Design - Rene Schumacher
Album Photography - Wendy Lombard 

Funky Pigeon

Steps - Step By Step (1981)

The '70s proved to be a challenging time for jazz in general. As the last strains of progressive rock gave way to the decade end's disco boon, jazz found itself in an uncertain position. Fusion had seemed to play itself out and acoustic music was becoming as rare as those proverbial "hen’s teeth". As the '80s approached, Wynton Marsalis would emerge as a voice in support of refurbishing the jazz tradition. Also, a part of this milieu, the group Steps (later to be dubbed Steps Ahead) would turn their regular jam sessions at Michael Brecker's NYC jazz club, Seventh Avenue South, into a forum for presenting contemporary jazz in a well-versed and sagacious manner. It would be a few years before American audiences would catch wind of Steps and its musical modus operandi due to the fact that their early work was released only in Japan on Nippon Columbia. The brainchild of vibraphonist Mike Mainieri, the initial incarnation of the band included Brecker, the late pianist Don Grolnick, bassist Eddie Gomez, and drummer Steve Gadd. This album while short on duration it more than makes up for things by presenting a heady mix of straight ahead and fusion tendencies, particularly notable is Mainieri’s "Bullet Train." ~ Extract by C Andrew Hovan, AAJ. 

Better Days, YF-7020-N, 1981
Better Days, 28CY-2867, 1988
Recorded 8th & 10th December, 1980 at Nippon Columbia Studio, Tokyo, Japan 

Musicians:
Mike Mainieri - Vibraphone
Michael Brecker - Tenor Saxophone
Don Grolnick - Piano
Eddie Gomez - Bass
Steve Gadd - Drums 

Tracks:
1. Uncle Bob {Don Grolnick} (11:00)
2. Kyoto {Mike Mainieri} (6:57)
3. Belle {Mike Mainieri} (7:49)
4. Bullet Train {Mike Mainieri} (5:31)
5. Six Persimmons {Don Grolnick} (6:09) 

Total Time: 37:29

Credits:
Producer - Mike Mainieri
Executive-Producer - Christine Martin
Recording & Mixing - Neil Dorfsman
Engineer [Assistant] - Tsukasa Aoyama
Photography [Front & Inner] - Susan Aimee Weinik
Photography [Back] - Akira Aimi
Liner Notes - Hisashi Ikegami

Jake Langley - Diggin' In [Deluxe Version] (2011)

Guitarist Jake Langley's Diggin' In features organist Joey DeFrancesco and drummer Terry Clarke playing mostly standards in a Wes Montgomery vein. Learning that much by reading the CD cover suggests a contemporary Lee Ritenour-style treatment with enough twists from DeFrancesco's presence for an intelligent recreational listen. The sort of album, in other words, for unwinding after a long day when one isn't ready to completely submit to the mental enema of typical contemporary. Langley, 30, a Toronto resident selected as Canada's guitarist of the year in the National Jazz Awards, possesses stylings that carries over from studies with Pat Martino and Jim Hall, plus plenty of influence from the Montgomery school. Diggin' In, his third solo album, returns to the lower-key trio playing of his debut Doug's Garage after showcasing a collection of funk/acid/Latin originals with a larger cast on Non Fiction. Consistency is a good summary for this set, never venturing into uncomfortably exploration or hollow mailed-in territory. Langley keeps the melodies recognizable and his soloing elaborates rather than reinterprets. His plucking runs the range of leisurely to lively, easily absorbed without being completely predictable. Montgomery's "O.G.D." has a laid-back feel, for instance, but Langley spices it up with a rapid series of post-bop runs. He also displays a fine command for upbeat blues on "The Garage," the lone original composition on this album. His blues-ballad rendition of Billie Holiday's "God Bless The Child" is a smooth change of pace, although it fails to leave any lasting impressions. The same might be said for the album as a whole - while it's pleasant, it may not linger beyond the moment the listener hits the "off" switch. DeFrancesco has more acclaimed outings on his resume, but he isn't being called upon to go all out and delivers well for the setting. His tone and a bit of extra kick compared to Langley's treatments, plus offering some extra depth as an accompanist, are what will spur listeners to pick this over similar trio discs when the mood arises. Clarke gets little time on his own, but generally his loose-style playing feels like a living organism propelling things ahead. Diggin' In doesn't cover any new territory, but does a good job within the one it does occupy as long as listeners are seeking comfort rather than a life-changing experience. It's also comforting knowing Langley is capable of mixing styles album to album, making his past and future efforts worth keeping an eye on if this one satisfies. ~ by Mark Sabbatini, AAJ. 

Alma Records, ACD14292, 2004
Tonepoet Records, Digital, 2011
Recorded in Reaction Studio, Toronto, Ontario, Canada 

Musicians:
Jake Langley - Guitar
Joey DeFrancesco - Organ [Hammond B-3]
Byron Landham - Drums (#1-7)
Steve Gadd (#9-11) 

Tracks:
01. O. G. D. (feat. Joey DeFrancesco, Byron Landham) [6:40]
02. God Bless The Child (feat. Joey DeFrancesco, Byron Landham) [8:14]
03. Cheesecake (feat. Joey DeFrancesco, Byron Landham) [8:21]
04. The Garage (feat. Joey DeFrancesco, Byron Landham) [5:34]
05. Sugar (feat. Joey DeFrancesco, Byron Landham) [6:39]
06. Blues For Jim San (feat. Joey DeFrancesco, Byron Landham) [8:16]
07. Gibraltar (feat. Joey DeFrancesco, Byron Landham) [9:43]
08. Maya (feat. Joey DeFrancesco, Steve Gadd) [6:24]
09. Continental Blues (feat. Joey DeFrancesco, Steve Gadd) [5:56]
10. Bolivia (feat. Joey DeFrancesco, Steve Gadd) [4:58]
11. Desert Sun (feat. Joey DeFrancesco, Steve Gadd) [6:59] 

Total Time: 01:17:44 

Credits:
Producer, Mixing - Jake Langley
Engineer - Ormond Jobin
Mastering - Peter J. Moore
Design, Layout Design - Howard
Photography - Denise Grant

Earl Klugh - Finger Paintings (1977)

This might be one of Earl's greatest albums whereby the intricacies and yet simple music only Earl can produce. The music in the album ranges from slow heartbreaking "Christina" to finger snapping "Cabo Frio". The arrangements in "summer song" is nice. His renditions of Dance with Me, This Time (another great song from a great jazz artist, Al Jarreau),John Taylor's "Long ago and far away" are timeless classics! ~ C. Tongol, Amazon.com

I've been listening to Earl Klugh for over 30 years and this is one of my favorites. Great for dedicated listening and for just having in the background, very accessible and relaxing. ~ ejr1953, Amazon.com

Blue Note; BN-LA737-H, 1977

Mobile Fidelity Sound Lab, UDCD 549, 1991

Recorded, Mixed, and Mastered at Kendun Recorders, Burbank, California

Personnel:

Earl Klugh - Acoustic Guitar

Dave Grusin - Fender Rhodes, Synthesizer, Percussion (#5,6)

Lee Ritenour - Electric Guitar (#1-3,5,9), 12-String Guitar (#9)

Chuck Findley, Dick Hyde, Jack Nimitz, Jerome Richardson, Tom Scott, Lawrence Williams - Horns

Anthony Jackson - Electric Bass (#1-3,5,9)

Louis Johnson - Electric Bass (#4,6,7)

Francisco Centeno - Electric Bass (#8)

Harvey Mason - Drums (#2,3,5,9)

Steve Gadd - Drums (#1,4,6-8)

Ralph MacDonald - Percussion (#1,2,7,9)

Steve Forman - Percussion (#3,4,8)

Arnold Belnick, Pamela Goldsmith, Endre Granat, Allan Harshman, Karen Jones, Jacob Krachmalnick, Bernard Kundell,

Edgar Lustgarten, David Montagu, Constance Pressman, Dana L. Rees, Sheldon Sanov, Marshall Sosson, Ann M. Stockton, and Gerald Vince - Strings

Alexandra Brown, Lisa Roberts, Stephanie Spruill - Vocals (#4)

Dave Grusin - Arranger, Conductor

Tom Scott - Arranger [Horns] (#4)

Tracks:

1. Dr. Macumba {Earl Klugh} (4:26)

2. Long Ago And Far Away {James Taylor} (5:36)

3. Cabo Frio {Earl Klugh} (3:32)

4. Keep Your Eyes On The Sparrow{Dave Grusin, Morgan Ames} (4:40)

5. Catherine {Earl Klugh} (4:11)

6. Dance With Me {Johanna Hall, John Joseph Hall} (3:26)

7. Jolanta {Earl Klugh} (3:02)

8. Summer Song {Earl Klugh} (4:09)

9. This Time {Earl Klugh} (3:41)

Credits:

Producer - Dave Grusin, Larry Rosen

Executive-Producer - Dr. George Butler

Recording & Mixing Engineer - Larry Rosen

Mastering Engineer - John Golden

Recording [Strings & Horns] - Phil Schier

Photography - Greg Heisler

Design - Bill Burks

Notes:

"Summer Song" recorded at Electric Lady Studios, New York

Strings recorded at Columbia Studios, 30th Street, New York

Grover Washington, Jr. - Feels So Good (1975)

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top. ~ by Jason Ankeny, AMG.

Kudu Records, KU-24 S1, 1975

Recorded May & July, 1975 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington Jr. - Tenor & Soprano Saxophones

John Frosk, Jon Faddis, Randy Brecker, Bob Millikan - Trumpet, Flugelhorn

Barry Rogers - Trombone

Alan Ralph, Dave Taylor - Bass Trombone

Sid Weinberg - Oboe, English Horn

Bob James - Piano, Electric Piano, Synthesizer

Eric Gale - Guitar

Gary King - Bass (#A1-A3)

Louis Johnson - Bass (#B1,B2)

Steve Gadd - Drums (#A1,A2)

Kenneth "Spider Webb" Rice - Drums (#B1,B2)

Ralph MacDonald - Percussion

Charles McCracken, Seymour Barab - Cello

Alfred Brown, Manny Vardi - Viola

Barry Finclair, David Nadien, Emanuel Green, Guy Lumia,
Harry Lookofsky, Lewis Eley, Max Ellen, Raoul Poliakin - Violin

Tracks:

A1. The Sea Lion {Bob James} (5:57)

A2. Moonstreams {Grover Washington Jr.} (5:55)

A3. Knucklehead {Grover Washington Jr.} (7:59)

B1. It Feels So Good {Ralph MacDonald, William Salter} (8:19)

B2. Hydra {Grover Washington Jr.} (9:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Bob James

Photography - Alen MacWeeney

Art Direction & Design - Richard Mantel

Liner Note - Todd Barkan

Art Farmer with Joe Henderson - Yama (1979) [vinyl>flac, 24-bit/48khz]

Many critics have looked upon the majority of CTI recordings as a ploy to commercialise jazz, Scott Yanow being no exception. However, when approached again with newer ears and less prejudice, Creed Taylor has certainly left a legacy of some very fine albums. This album in particular finds Art Farmer playing beautifully alongside Joe Henderson’s solid tenor; producing some very powerful Jazz-Funk/Fusion interpretations. It is an LP which I have relished for many a year. Ripped to FLAC at 24-bit/48khz I hope you also will find it just as fascinating and enjoyable.

Trumpeter Art Farmer has recorded six albums in his name for the CTI label whose enigmatic "Guanabara" with Brazilian singer Ithamara Koorax, which was never published. It is also found on the album of Bob James' BJ4 "and that of Yusef Lateef" Autophysiopsychic ". His lyrical breath, his balanced phrasing, his game while retaining, at times reminiscent of Chet Baker. Throughout his career, he faced several music styles without losing his soul or his talent, as demonstrated by this recording from 1979 with a funky rhythm section. As usual, he plays in a duo orchestra. We remember the wonderful "Big Blues" with Jim Hall recorded a year earlier. But this time, the saxophonist Joe Henderson, another jazz legend, who shares the bill. His quick game lets out moments of incredible sweetness. The texture of his sound is unique in these moments. Despite the presence of excellent classmates (Steve Gadd, Will Lee, David Spinozza, John Tropea ...), the result is rather mixed. Vibraphonist Mike Maineri, in control for the first time, seems to fail creating a real osmosis between all these musicians.  ~ ctifanblog.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope. A decent but largely forgettable effort. ~ by Scott Yanow, AMG.

CTI Records, CTI 9000, 1979

Recorded and Mixed April 1979 at Power Station Studios, New York

Personnel:

Art Farmer - Flugelhorn

Joe Henderson - Tenor Saxophone

Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards

Mike Mainieri - Synthesizer, Vibraphone, Arranger

David Spinozza, John Tropea - Guitar

Eddie Gomez - Bass

Will Lee - Electric-Bass

Steve Gadd - Drums

Sammy Figueroa - Percussion

Suzanne Cianni - Synthesizer Programming

Track Listing:

A1. Dulzura {Clare Fischer} (8:21)

A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)

A3. Young And Fine {Joseph Zawinul} (6:26)

B1. Lotus Blossom {Don Grolnick} (6:43)

B2. Blue Montreux {Mike Mainieri} (7:12)

Credits:

Producer - Creed Taylor

Associate Producer, Arranger - Mike Maineri

Engineer - Neil Dorfsman

Mastering - Rudy Van Gelder

Cover Illustration - Susannah Kelly

Cover Design & Photography [inside] - Alen MacWeeney

Design - Neal Pozner

Calligraphy - Bernard Maisner

Rusty Bryant - For The Good Times (1973) [vinyl>flac]

One of Rusty Bryant's last albums for Prestige - recorded in that more-electric mode that graced the label's albums of the year 1973 - but in a style that's still pretty darn nice! The group's still a small combo - with Rusty on tenor and alto, plus with Hank Jones on electric piano, and the twin guitars of Joe Beck and Hugh McCracken. The rhythm team of Tony Levin and Steve Gadd is still pretty tight too - and there's some nice numbers on the set that cook with a warm electric soul jazz groove. Titles include the mellow "Theme From Deep Throat", a nice soundtrack groover, plus "The Last One Out", "Night In Tunisia", "Killing Me Softly", and "Appalachian Green". © Dusty Groove, Inc.

This album finds Bryant combining pop and soul-jazz with the aid of electric pianos and funky guitars. Things get started with tepid versions of the title track and Roberta Flack's "Killing Me Softly With His Song," both veering dangerously close to Muzak territory. The pieces are salvaged, however, by Joe Beck and Hugh McCracken's guitar work and Hank Jones' steady hand at the keyboards. Bryant turns in his best solo on a groovy version of "Theme From Deep Throat" that's propelled forward by bassist Tony Levin and drummer Steve Gadd. The album provides a backward glance at the strange world of jazz circa 1973. It also offers a chance to hear Bryant cut loose on a number of popular songs. ~ by Ronnie D. Lankford, Jr., AMG.

Prestige Records, P 10073, 1973

Recorded 9^th March, 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Tenor & Alto Saxophones

Hank Jones - Electric Piano

Joe Beck - Guitar

Hugh McCracken - Guitar

Tony Levin - Bass, Electric Bass

Steve Gadd - Drums

Track Listing:

A1. For The Good Times {Kris Kristofferson} (5:02)

A2. Killing Me Softly {Norman Gimbel, Charles Fox} (5:29)

A3. The Last One Out {Rusty Bryant} (6:22)

B1. Appalachian Green {Don Hales} (4:57)

B2. A Night In Tunisia {Dizzy Gillespie, Frank Paparelli} (5:31)

B3. Looking Through The Eyes Of Love {Billy Barberis} (3:49)

B4. Theme From Deep Throat {Robert Whitaker} (4:25)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Art Direction - Tony Lane

Photography - Lee Friedlander