Mulgrew Miller - Getting To Know You (1995)

Mulgrew Miller is in top form for these 1995 sessions. as he covers a wide range of compositions. With his regular trio on hand, including bassist Richie Goods and drummer Karriem Riggins, plus the addition of percussionist Steve Kroon and conga player Big Black, this marked the pianist's final recording for the Novus label. Miller's exotic "Eastern Joy Dance" and thoughtful "Second Thoughts" (which brings James Williams' writing style to mind) provide an excellent introduction. Standards include a breezy waltz treatment of "Getting to Know You" (from The King and I) and a driving rendition of "If I Should Lose You." The Beatles' "Fool on the Hill" takes flight in Miller's hands, as he adds a sprightly touch without sounding like a cocktail pianist. He also manages to make something of the usually lame "I Don't Know How to Love Him," as one wouldn't expect an introspective gospel flavor added to an Andrew Lloyd Webber composition, even if it is from Jesus Christ Superstar. Goods' contributed the soulful "Nandhi" to provide a strong finish to this rewarding, though now sadly out of print, CD. ~ by Ken Dryden, AMG. 

RCA/Novus Records, 01241 63188-2, 1995
Recorded & Mixed 20th-21st March, 1995 At Manhattan Center Studios, New York City 

Musicians:
Mulgrew Miller - Piano [Steinway Concert Grand]
Richie Goods - Bass
Karriem Riggins - Drums
Big Black - Conga (#1,2,4,7)
Steve Kroon - Percussion (#1,2,7,8) 

Tracks:
01. Eastern Joy Dance {Mulgrew Miller} (6:39)
02. Second Thoughts {Mulgrew Miller} (5:49)
03. Sweet Sioux {Freddie Hubbard} (6:52)
04. Getting To Know You {Richard Rodgers, Oscar Hammerstein II} (6:19)
05. Whisper {Mulgrew Miller} (5:46)
06. Didn't We {Jimmy Webb} (5:15)
07. Fool On The Hill {John Lennon, Paul McCartney} (6:46)
08. I Don't Know How To Love Him {Andrew Lloyd Webber, Tim Rice} (5:11)
09. If I Should Lose You {Ralph Rainger, Leo Robin} (6:54)
10. Nandhi {Richie Goods} (5:36) 

Total Time: 61:07 

Credits:
Producer - Tim Patterson
Recording, Mixing & Mastering - James Nicholls
Assistant Recording & Mixing Engineer - Richard Clarke
Art Direction, Artwork, Design - Sean Mosher-Smith
Photography - Daniel Miller
Liner Notes - Samuel Fromartz

Kevin Hays - El Matador (1990)

Kevin Hays recorded this early session (his second as a leader) in 1990, at the age of 22. Originally released in 1991 on the Jazz City import label, the disc was reissued in the U.S. in 1998 by Evidence. The young pianist is joined by alto/soprano saxophonist Steve Wilson, bassist Scott Colley, drummer Bill Stewart, and on four tracks, the tenor titan Joe Henderson. Hays' writing and playing are remarkably advanced, particularly on "Emperor Leon" (dedicated to drummer Leon Parker) and "The Brahmin's Son," an extended piece inspired by Herman Hesse. Quartet renderings of "The Good Life" and John Coltrane's "Like Sonny" also appear, along with a full quintet arrangement of Hindemith's "Nobilissima Visione," on which Henderson truly shines. Steve Wilson's angular blues-head "No Such Luck" closes the set. El Matador is a vital addition to Hays' discography, even after the fact. ~ by David R. Adler, AMG. 

Jazz City, PCCY-00247, 1991
Evidence Records, ECD 22199-2, 1998
Recorded August, 1990 At “The Studio”, New York City 

Musicians:
Kevin Hays - Piano
Steve Wilson - Alto Saxophone, Soprano Saxophone
Joe Henderson - Tenor Saxophone {#1,2,5,6)
Scott Colley - Bass
Bill Stewart - Drums 

Tracks:
1. El Matador {Kevin Hays} (8:02)
2. Emperor Leon {Kevin Hays} (10:28)
3. Like Sonny {John Coltrane} (6:46)
4. The Good Life {Sacha Distel, Jack Reardon} (6:56)
5. The Brahmin's Son {Kevin Hays} (10:54)
6. Nobilissima Visione {Paul Hindemith} (6:16)
7. Snake Eyes {Kevin Hays} (7:53)
8. No Such Luck {Steve Wilson} (5:26) 

Total Time: 62:41 

Credits:
Producer - Tony Ariga, Yoshiaki Masuo
Engineer - David Baker
Photography - Alan Nahigian
Liner Notes - Ira Gitler
Reissue Producer - Jerry Gordon

Lewis Nash - It Don't Mean A Thing (2005)

For this session Lewis is accompanied by vibist Steve Nelson, pianist Jeb Patton and bassist Peter Washington. Most of the tunes are trio performances with drums, vibes and bass, with only three songs in a quartet formation with pianist Jeb Patton. There are a number of instances on this disc, where Nash as the leader plays some great solos, but never dominates. In addition, Steve Nelson is well featured playing in a crisp mid-tempo across many of the tracks. Meanwhile the driving rhythm of Peter Washington's running basslines push a tight sound are a standout. Not to overlook the comping of Jeb Patton adding further dynamism with differing chords, rhythms, and countermelodies. Overall, this album is a showcase of well-known jazz standards including "Skeeter Blues" by Nash, that that truly swing! 

M&I Jazz, MYCJ-30250, 2005
Recorded 2003? 

Musicians:
Lewis Nash - Drums
Steve Nelson - Vibraphone
Jeb Patton - Piano (#3,9,10)
Peter Washington - Bass 

Tracks:
01. It Don't Mean A Thing {Duke Ellington, Irving Mills} (6:56)
02. Caravan {Duke Ellington, Juan Tizol} (9:27)
03. Sophisticated Lady {Duke Ellington} (6:44)
04. Tico Tico {Zequinha de Abreu} (4:08)
05. Strollin' {Horace Silver} (5:25)
06. Body And Soul {Green, Heyman, Sour, Eyton} (7:13)
07. Close Your Eyes {Bernice Petkere} (6:01)
08. How Insensitive {Antônio Carlos Jobim} (5:27)
09. We'll Be Together Again {Carl T. Fischer, Frankie Laine} (5:11)
10. Skeeter Blues {Lewis Nash} (3:41) 

Total Time: 60:13 

Producer - Makoto Kimata, Todd Barkan 

"Everything depends on how daring you want to be," he said. "Parameters exist in any musical situation, and they force you to get the most from the least. You try not to limit yourself to 'this is how you're supposed to play this kind of music.' You jump in, let your ears dictate, and keep all options on the table. I might borrow some sound or approach from an avant garde context that works in the middle of trading fours on a blues. Sound can cross genres and styles. It's just a sound. It's your job to figure out how to use that sound tastefully and in context. The more things you've done, the more you'll be able to interject something new." ~ Lewis Nash.

LeeAnn Ledgerwood - You Wish (1991)

LeeAnn Ledgerwood, who played in New York clubs for most of the 1980s, finally made her debut as a leader on this set, which is comprised of six of her originals, two from flutist Jeremy Steig and a pair of standards. Throughout, the pianist often recalls Chick Corea (especially on "Nardis" and the intense "Terribillis"), performing with a trio, a quartet and solo (a largely unrecognizable "I Want to Talk About You"). Ledgerwood takes several impressive improvisations, but Jeremy Steig really dominates the four songs he appears on, while tenorman Bill Evans (who is on two selections) is quite effective on "Smash and Grab." With either Eddie Gomez or Steve LaSpina on bass in addition to drummer Danny Gottlieb, this well-rounded set was a good start for LeeAnn Ledgerwood's solo career. ~ by Scott Yanow, AMG. 

Triloka Records, 320187-2, 2002
Digitally recorded 4th-5th January, 1991 At Power Station, New York City 

Musicians:
LeeAnn Ledgerwood - Piano, Keyboards
Jeremy Steig - Flute
Bill Evans - Tenor Saxophone, Soprano Saxophone
Eddie Gomez, Steve LaSpina - Bass
Danny Gottlieb - Drums 

Tracks:
01. Robins Row {Jeremy Steig, LeeAnn Ledgerwood} (3:53)
02. Taisho Pond {LeeAnn Ledgerwood} (4:50)
03. Miss Perfect {Jeremy Steig} (5:32)
04. Chance {LeeAnn Ledgerwood} (5:39)
05. Nardis {Miles Davis} (8:09)
06. Afterglow {Jeremy Steig} (3:12)
07. You Wish {LeeAnn Ledgerwood} (7:02)
08. Smash And Grab {LeeAnn Ledgerwood} (4:20)
09. Terribillis {LeeAnn Ledgerwood} (6:31)
10. I Wanna Talk About You {Billy Eckstine} (2:58) 

Total Time: 52:06 

Credits:
Producer, Remixing - Walter Becker
Executive-Producer - KD Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Digital Editing, Mastering - Roger Nichols
Engineer [Assistant] - Dan Gellert
Remixing [Assistant] - Tom Hardisty

Géraldine Laurent - At Work (2015)

A very personal approach to the alto saxophone, an incandescent playing whose sentences are imbued with an always surprising lyricism, a sound which belongs only to her: Géraldine Laurent is one of those figures who have proved that they have their word to say and that jazz was not just a men's business. 

Born in 1975 in Niort, Géraldine began her musical studies with the classical piano then with the saxophone at the age of 13. When she came of age, she was quickly noticed for her talent as a sidewoman and at 30 she took the plunge to form her own group, the Time Out Trio, in the company of double bass player Yoni Zelnik and drummer Laurent Bataille, with whom she skimmed the stages. national and international. 

Impressed by the volcanic sincerity of her playing, producer Francis Dreyfus invited her to join his label Dreyfus Jazz for which she recorded Time Out Trio (2007) and Around Gigi (2010). When the producer disappears, Géraldine leaves the label and takes part in a collective around the music of Charlie Parker with Manu Codjia on guitar and Christophe Marguet on drums. Together they record Looking for Parker (2013), an explosive record of delightful modernity. During this time, she does not neglect her pleasures as a sidewoman alongside Aldo Romano, Henri Texier, Ricardo Del Fra, Rhoda Scott or Terez Montcalm. 

In 2015, Géraldine decided to resume her career as a leader and gathered around her a group bringing together the rising stars of the new generation: Paul Lay on the piano, Donald Kontomanou on drums and the faithful Yoni Zelnik on the double bass. The resulting disc, At Work, is made up for the most part of personal compositions and a few historical standards, all approached with disconcerting freshness. To hear the result, one wonders what is the secret of Geraldine to keep intact the great lyrical tradition of jazz while radically renewing it with so much naturalness and talent. The answer is undoubtedly in her stubbornness to be in the music, always at work. ~ Inclinaisons.com. [Translated from French] 

Gazebo Records, GAZ 123, 2015
Recorded & Mastered in March, 2015 at MidiLive Studios (France) 

Musicians:
Géraldine Laurent - Alto Saxophone
Paul Lay - Piano
Yoni Zelnik - Double Bass
Donald Kontomanou - Drums 

Tracks:
1. Odd Folk {Géraldine Laurent} (3:19)
2. At Work {Géraldine Laurent} (6:15)
3. Another Dance {Géraldine Laurent} (5:12)
4. N-C Way {Géraldine Laurent} (7:01)
5. Room Number 3 {Géraldine Laurent} (5:50)
6. Up To It {Géraldine Laurent} (6:48)
7. Chora Coraçao {Antônio Carlos Jobim} (5:32)
8. Epistrophy {Thelonious Monk} (6:19)
9. Goodbye Porkpie Hat {Charles Mingus} (4:12) 

Total Time: 51:28 

Credits:
Producer - Laurent De Wilde
Executive Producer - Hélène Lifar
Recording & Mastering - Dominique "Dume" Poutet
Photography - Steve Wells
Photos [Session] - Benoît Erwann Boucherot
Artwork - Ugo Cab

Ayako Hosokawa - to Mr. Wonderful (1977)

Recorded originally by the renowned Japanese jazz label Three Blind Mice in 1977, this popular title has been re-mastered and released by First Impression Music on the popular audiophile format developed by Sony known as SACD. Discovered by Earl Hines, Ayako Hosokawa is a delightful blend of East meets West vocal jazz music. Hosokawa's music clearly illustrates the possible contact between the two cultures. Accompanied by an orchestra, you will be surprised by the heart and soul Ayako puts into each of these songs on this Stereo SACD including her versions of: 'Misty,' 'My Foolish Heart,' 'Bridge Over Troubled Water' and 'The Lady is a Tramp.' 

Three Blind Mice, TBM-3008, 1977
First Impression Music, FIMSACD061, 2004
Recorded 9th & 10th June, 1977 at Epicurus Studios, Tokyo, Japan 

Personnel:
Ayako Hosokawa - Vocals
Konosuke Saijo - Tenor Saxophone
Tsuyoshi Yamamoto - Piano
Shoji Yokouchi - Guitar
Isoo Fukui - Bass
Kazuo Okamoto - Cello
Tetsujiro Obara - Drums
Yoshihisa Tamano - Violin [1st Violin]
Mihoko Morioka - Violin [2nd Violin] 

Tracks:
1. Wrap Your Troubles In Dreams {Harry Barris, Ted Koehler, Billy Moll} (3:32)
2. Misty {Johnny Burke, Erroll Garner} (5:38)
3. Our Love Is Here To Stay {George Gershwin, Ira Gershwin} (4:04)
4. My Foolish Heart {Victor Young, Ned Washington} (5:23)
5. Bridge over Troubled Water {Paul Simon, ‎Art Garfunkel} (5:44)
6. When You Smile {Ralph MacDonald, William Salter} (2:58)
7. Mr. Wonderful {Jerry Bock, George David Weiss, Larry Holofcener} (3:56)
8. Feel Like Makin 'Love {Eugene McDaniels} (4:19)
9. The Lady Is A Tramp {Richard Rodgers, Lorenz Hart} (2:46) 

Total Time: 38:20 

Credits:
Producer - Takeshi "Tee" Fujii
Arranger - Shoji Yokouchi
Recording Engineer - Yoshihiko Kannari
Cutting Engineer - Mitsuharu Kobayashi
Art Direction - Ben Nishizawa

Dave Kikoski - Persistent Dreams (1991)

Persistent Dreams, which was produced by Walter Becker, jumps between two different genres. While Becker in the liner notes expresses admiration for pianist Dave Kikoski's modern straight-ahead quintet which he had heard a couple of years earlier at the legendary Hollywood jazz club Catalina Bar & Grill, four of the first five selections on this CD are somewhat commercial. Kikoski and his sidemen play well but the material is forgettable. Best on those mostly sleepy tracks are the wordless vocals of Vera Mera during the haunting "Lord of the Vine." Things begin to wake up with David Jensen's fiery tenor on John Coltrane's "Satellite" and Kikoski finally cuts loose on Wayne Shorter's "Toy Tune." The high point is the heated quintet on "Falling in Love with Love," featuring Kikoski, Jensen and trumpeter Randy Brecker. If only the entire CD was at that level. Still, if found at a budget price, this now-obscure CD is worth picking up. ~ by Scott Yanow, AMG. 

Triloka Records, 7191-2, 1992
Recorded 17th & 18th October, 1991 At Clinton Studios, New York 

Musicians:
Dave Kikoski - Piano, Synthesizer (#1,4,5), Arranger
Randy Brecker - Trumpet (#3,8)
Dave Jensen - Tenor Saxophone (#4,8)
Cecelia Tenconi - Flute (#5)
Vadim Zilbershtein - Guitar (#5)
James Genus - Electric Bass (#1,3,5)
Ed Howard - Acoustic Bass (#2,4,6-8)
Ben Perowsky - Drums (#1-3,5)
Billy Hart - Drums (#4,6-8)
Alex Acuña - Percussion (#1,3,5)
Vera Mera - Vocals (#1) 

Tracks:
1. Lord Of The Vine {Dave Kikoski} (5:25)
2. Morning After {Al Kasha, Joel Hirschhorn, John Williams} (8:11)
3. Train Of Thought {Dave Kikoski} (6:23)
4. Satellite {John Coltrane} (6:27)
5. Green Trees {Dave Kikoski} (5:12)
6. Toy Tune {Wayne Shorter} (5:04)
7. Lonely {Dave Kikoski} (6:58)
8. Falling In Love With Love {Richard Rodgers, Lorenz Hart} (7:14)
9. Persistent Dreams {Dave Kikoski} (3:28) 

Total Time: 54:22

Credits:
Producer, Liner Notes - Walter Becker
Executive-Producer - K.D. Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Mixing, Editing [Digital], Assemblage, Mastering - Roger Nichols
Engineer [Assistant] - Jackie Brown
Coordinator - June Popowich
Art Direction - The Duke Design Co.

Donald Harrison, Mulgrew Miller, Christian Scott - The Survivor (2006)

Cultural critic Greil Marcus wrote a scathing essay at the end of the 1970s about the rampant overuse of the word "survivor" in modern life. Over 25 years on, musicians of a certain age arguably have more of a right to use the S-word, especially a saxophonist like Donald Harrison, who has stayed true to his own soul-jazz path since his early days as a sideman despite the fact that his brand of funk-influenced hard bop has rarely been the least bit fashionable, even among many jazz listeners. The Survivor is a timeless album, most of which sounds like it could have come from any point in Harrison's career. Yet it's no mere nostalgia kick, because underneath Harrison's sterling alto work, the rhythm section sounds fairly attuned to contemporary trends. "The Hook Up" in particular has a skittering, hip-hop-influenced vibe to John Lamkin's drums; the closing track takes it all the way, being a mash-up of Harrison playing the Duke Ellington standard "Caravan" over a turntablist and a sample of James Brown's iconic "Funky Drummer" beat, perhaps the most-used sample in hip-hop history. The reason this track works in the context of more standard Harrison fare as the gentle original ballad "Sincerely Yours," rather than sounding like a stab at cultural relevance from an aging player, is that funk in all its forms has been at the root of not only Harrison's own music, but of this particular jazz path since the days of Miles Davis' "Walkin'" back in the early '50s. "Survivor" may still be overstating the case a bit, but The Survivor shows that far from being an esoteric form for aesthetic snobs and old folks, Harrison's music has grown along a parallel path to more familiar styles, and moves easily back and forth between them. ~ by Stewart Mason, AMG. 

Nagel Heyer Records, 2068, 2006
Recorded 22nd November, 2004 At The Studio, New York 

Musicians:
Donald Harrison - Alto Saxophone
Christian Scott - Trumpet
Mulgrew Miller - Piano
Zaccai Curtis - Piano
Luques Curtis - Bass
John Lamkin - Drums 

Tracks:
1. The Survivor {Donald Harrison} (8:49)
2. Twerk It {Donald Harrison} (8:43)
3. Summertime {George Gershwin} (9:28)
4. Cool Breeze {Donald Harrison} (5:20)
5. The Hook Up {Donald Harrison} (9:08)
6. Oriental Folk Song {Wayne Shorter} (7:54)
7. Nouveau Swing {Donald Harrison} (7:41)
8. Sincerely Yours {Donald Harrison} (9:27)
9. Caravan [Who Is The Funky Drummer] {Juan Tizol} (5:19) 

Total Time: 71:49 

Credits:
Producer, Photo - Frank Nagel-Heyer
Engineer - Jon Rosenberg
Assistant Engineer - Eiji Takasugi
Mixing - Florian Sommer
Mastering - Ben Ahrens
Cover - Woellergestaltung, Hamburg

Weldon Irvine - Time Capsule (1973)

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. ~ by Jason Ankeny, AMG. 

Nodlew Music, NM-1002, 1973
Hubbub Records, HUBCD13, 1996
Recorded and Re-Mixed 17th May, 1973 At Sound Ideas Studio, New York 

Musicians:
Weldon Irvine - Hammond B-3 (#3), Fender Rhodes (#1,2,4,7) Melodica (#5,6),
Piano [Solo] (#6), Narrator (#1), Vocals (#3,4)
Jimmy Owens - Trumpet (#2,3), Flugelhorn (#4)
Preston Williams - Flugelhorn (#2-4)
George Cables - Fender Rhodes (#3,5,6)
John King - Guitar, Vocals (#2)
Alex Blake - Electric Bass [Fender] (#2,4)
Clint Houston - Bass (#3,5,6)
Anthony Wiles - Congas (#2,4,5,6) Percussion (#3)
Lenny White - Drums (#2-6)
Napoleon Revels - Percussion (#3-6)
Charlette Cook - Voice [Recitation] (#1,4,7)
Emerson Cain Vocals (#2,4)
Willa Vaughn - Vocals (#2) 

Tracks:
1. Time Capsule {Weldon Irvine} (2:24)
2. Feelin' Mellow {Weldon Irvine, John King} (3:44)
3. Soul Sisters {Weldon Irvine} (7:36)
4. Deja Vu {Weldon Irvine} (9:26)
5. Watergate---Don't Bug Me! {Weldon Irvine} (7:10)
6. Spontaneous Interaction {Weldon Irvine} (6:02)
7. I Am {Weldon Irvine} (1:27)
8. Bananas {Weldon Irvine} (2:18) 

Total Time: 40:07

Credits:
Producer, Liner Notes, Arranger - Weldon Irvine
Engineer - George Klabin
Photography, Design, Layout - Collis H. Davis, Jr.

Moacir Santos - The Maestro

by Jason Ankeny

For his Blue Note debut, Maestro, Brazilian composer Moacir Santos assiduously avoids his homeland's familiar bossa nova and samba rhythms, instead reinventing lesser-known idioms like baiao and frevo to create his own complex yet pulsating signatures and cadences. Opening with "Nana," easily Santos' most familiar and oft-recorded composition, Maestro quickly proves an uncommonly vast canvas for a who's who of Los Angeles session greats including Joe Pass, Clair Fischer, and Don Menza, all of whom explore new territory throughout the LP. For all their depth and intricacy, Santos' songs never box in their players, but allow them the space and the tools necessary to spread out. Though little-heard on its original release, many of the songs that comprise Maestro were later re-recorded by an all-star Brazilian group for the 2001 Santos tribute effort Ouro Negro, reaffirming their timelessness and their vitality.

The Guitar Album (repost)

Apparently I have been ignoring a request to repost this for a long time... here ya go oldandintheway! 

I think I bought my first copy of this at 17 or 18 yeas old! I saw a clean copy of it a couple weeks ago and couldn't resist as I had never been satisfied with the rip of it that I had.

This Town Hall concert was similar in concept to one I saw in conjunction with Newport in NY. The double album open's with 3 Charlie Byrd tunes that are quite nice and three more from Joe Beck that are also pretty good. Sides B and C are absolute monsters, one whole side of Bucky Pizzarelli and George Barnes followed by one whole side of Tiny Grimes! Both are killer.

The final side begins with 3 nice tracks from Chuck Wayne. Chuck had just had a cast taken off of his arm the day before and was playing in some pain but it isn't evident in his playing. The final track of this set is sadly utter dreck! John McLaughlin and wife Eve do a version of Devotion that is just wretched! I don't know which is worse, the dreadful auto harp or the horrid vocals. A few years ago Ron (Jazzman) posted a rip in which he refused to even include this song but for what it is worth I choose to offer this complete.

Side 1

1. Introduction
2. It Don't Mean a Thing
3. You've Got A Friend
4. Jitterbug Waltz

 Charlie Byrd

5. All Blues

6. The Things We Did Last Summer
7. Down Under
 Joe Beck

Side 2

1. Blue Skies
2. Medlley Eleanor Rigby/Here There and Everywhere

3. Satin Doll
4. Rose Room

5. Theme From Love Story
6. Honeysuckle Rose
 Bucky Pizzarelli & George Barnes

Side 3

1. Frantic
2. Watermelon Man
3. Blues For Connie
4. Food For Thought
5. Three Quarter Moon
 Tiny Grimes

side 4

1. Softly As In A Morning Sunrise
2. What's New
3. All The Things You Are

 Chuck Wayne

4. Devotion

 Eve & John McLaughlin

Fabrizio Bosso Quintet - Rome After Midnight (2004)

Here we have an excellent early release by Italian master trumpeter Fabrizio Bosso. For this date he assembles a quintet comprising of similar youngish talent that would go on to become equally well-known Italian jazz musicians. The album comprises of a lively repertoire of hard bop and post-bop classics. He is joined by Daniele Scannapieco on tenor, pianist Mike Melillo, bass player Massimo Moriconi and drummer Lorenzo Tucci. All musicians have continued to develop and have correspondingly evolved into some of the best jazz players on the continent today. Many have been part of and are still actively engaged within the European circuit and abroad. The majority have led a multitude of groups and produced a considerable number of high-quality albums. There's not a lot more to say other than that Fabrizio unites his group to produce and showcase an exhilarating assortment of great jazz music, Enjoy! 

Sound Hills, SSCD-8129, 2004
Recorded 12th & 13th October, 2004 At House Recording Studio, Rome, Italy 

Personnel:
Fabrizio Bosso - Trumpet, Flugelhorn
Daniele Scannapieco - Tenor Saxophone
Mike Melillo - Piano
Massimo Moriconi - Bass
Lorenzo Tucci - Drums 

Tracks:
01. Eye Of The Hurricane {Herbie Hancock} (3:14)
02. Ceora {Lee Morgan} (6:27)
03. Honeysuckle Rose {Fats Waller} (6:43)
04. Road Song {Wes Montgomery} (7:10)
05. Johnny Comes Lately {Billy Strayhorn} (4:14)
06. You Don't Know What Love Is {Gene DePaul, Don Raye} (7:29)
07. Birdlike {Freddie Hubbard} (3:53)
08. Have You Met Miss Jones? {Richard Rodgers, Lorenz Hart} (8:59)
09. Crisis {Freddie Hubbard} (7:13)
10. There Is No Greater Love {Isham Jones} (8:16)
11. I'll Remember April {Gene DePaul, Patricia Johnston, Don Raye} (9:00) 

Total Time: 72:38 

Credits:
Producer - Sergio Veschi
Executive Producer - Hirakasu Sasabe
Recording - Simone Ciammarughi, Emanuele Bossi
Photos - Daniele Molajoli

Geri Allen - Open On All Sides - In The Middle (1987)

Electric and acoustic pianist Geri Allen joins with fellow Detroiters for one of her more ambitious projects, offering a large ensemble featuring bassist Jaribu Shahid, drummer Tani Tabbal, soloists David McMurray and trumpeters Rayse Biggs and Marcus Belgrave, and New Yorkers as saxophonist Steve Coleman and trombonist Robin Eubanks. The tour de force "I Sang A Bright Green Tear For All Of Us This Year" is stunning, featuring the wonderful vocals of Shahida Nurullah, insistent rhythm, haunting refrains from Allen's keyboards, and shifting dynamics that are compelling. The rest of the material is not as innovative within a jazz-funk/M-Base framework, but contrasts her piano trio work. Not essential, but still an invigorating session. ~ by Scott Yanow, AMG. 

Minor Music, CD MM 801013, 1987
Recorded December, 1986 At Sound Suite Recording Studio, Detroit, Michigan 

Musicians:
Geri Allen - Piano, Keyboards, Backing Vocals
Racy Biggs - Trumpet, Flugelhorn
Marcus Belgrave - Trumpet, Flugelhorn [Special Guest] (#8)
Robin Eubanks - Trombone
Steve Coleman - Alto Saxophone, Arranger [Horns] (#4)
David McMurray - Flugelhorn, Soprano Saxophone, Flute
Jaribu Shahid - Acoustic Bass
Tani Tabbal - Drums
Mino Cinelu - Percussion [Special Guest]
Shahita Nurallah - Lead Vocals
Lloyd Storey - Tap Dance [Special Guest] 

Tracks:
1. Open On All Sides / The Glide Was In The Ride... (6:49)
2. Forbidden Place (4:27)
3. The Dancer (2:36)
4. In The Middle (4:06)
5. Ray (4:23)
6. I Sang A Bright Green Tear For All Of Us This Year... (12:46)
7. Drummer's Song (2:29)
8. In The Morning [For Milton Nascimento] (5:05)
9. The Dancer Pt. 2 (1:34) 

All Compositions by Geri Allen 

Total Time: 44:15 

Credits:
Producer, Arranger, Composer - Geri Allen
Co-Producer - Steve Coleman
Executive-Producer - Stephan Meyner
Producer [Associate] - David McMurray, Mino Cinelu
Recording Engineer - Mike Brown
Mixing Engineer - Peter Denenberg
Design [Cover] - Christin Schindler, Claus Bäuerle
Photography - Jules Allen

Nick Brignola - Burn Brigade

Amazingly enough, the 16 month old links [now 7 years! ~ grumpy] on this are still alive and well! These two belong together so I felt compelled to roll this one forward too! 

WARNING, WARNING! Do you feel the earth trembling? Your eyes do not deceive you, THREE baritones! You thought Baritone Madness was big, look out for the Burn Brigade! This is a gift once again from the amazing Wid and he dedicates it to Grumpy since it is on his beloved Bee-Hive label.

Nick Brignola - Burn Brigade 
(1980 BeeHive-7010)

01 - Nick Who's Blues
02 - I'm Getting Sentimental Over You
03 - Busy B's
04 - Groovin' High
05 - Our Delight

Nick Brignola - Baritone Sax
Ronnie Cuber - Baritone Sax
Cecil Payne - Baritone Sax
Walter Davis Jr - Piano
Walter Booker Jr - Bass
Jimmy Cobb - Drums

Recorded NYC, June 19, 1979

The big dogs are barking on this one! Normally I'd start out by pointing to that killer rhythm section and spend some time extolling their virtues (they ARE great) but the big boys step up with those bari's and somehow it is all your brain can manage to absorb what you are hearing, three of them just tearing it up! I don't think Brignola, Payne or Cuber need any introductions here at The Crypt, all three are in fine form here and the rhythm section is so good that they do occasionally manage to shine as well. It's just that the lights keep reflecting off of that impossible mass of brass up there.

I'm listening while writing and this is no gimmick album, it is in fact a dynamite very enjoyable bari-bop (my term) journey. They manage to find plenty of room to operate in, out and around each other with great dexterity and when they start trading.....Whew! Another no-brain-er here, just get it! Da Bee Hive stings again!

Thanks Wid!

Mal Waldron - The Quest (1961) [vinyl]

The Quest seems not only an appropriate name for this album but for Waldron's entire musical output, a pianist and composer who always seems to be seeking for something just out of reach. All the compositions here are Waldron's and show the variety of his approach. What makes this particular recording so interesting is the inclusion of Dolphy and Ervin, widely different in style but both rhythmically ingenious. I sometimes find Dolphy too abandoned but here he plays within the constraints of Waldron's compositions and the results are often superb. Ervin is an under-rated tenorist (all of the albums under his own name are well worth checking out, there's a good selection here at the Crypt) who plays with an economy that contrasts well with Dolphy.
A challenging record but occasionally very beautiful, I love Dolphy's clarinet on 'Warm Canto', and the whole LP is consistently rewarding.

01 - Status Seeking
02 - Duquility
03 - Thirteen
04 - We Diddit
05 - Warm Canto
06 - Warp And Woof
07 - Fire Waltz

Eric Dolphy (as, bcl) Booker Ervin (ts) Mal Waldron (p) Ron Carter (cello) Joe Benjamin (b) Charlie Persip (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1961

Moacir Santos - Saudade

Moacir Santos is a Brazilian composer, arranger and saxophonist from the first team of Brazilian Jazz. He's one of those artists who are underrated by the big audiences but widely known by those who appreciate inspiration, beauty, intelligence when applicable to music composition and arrangement.

This is the second of his three albums for Blue Note Records, a long time awaited for reissue. Catalog number was BN-LA260-G, recorded in New York, 1974. A natural follower to the first `The Maestro' (from 1972), also a memorable album with the unique Santos' way of doing the thing what includes an intricate shape of samba, an uncommon way of dividing that is unique in his compositions, a kind of registered mark which identifies Santos. (Carlos from Rio)
 Moacir Santos
baritone saxophone, alto saxophone, arranger, conductor
Jerome Richardson
alto saxophone, tenor saxophone, soprano saxophone, flute, alto flute
Ray Pizzi
alto saxophone, tenor saxophone, bassoon, flute, piccolo flute
Lee Ritenour
electric guitar, acoustic guitar
Steve Huffsteter
trumpet, flugelhorn
Benny Powell
trombone
Morris Repass
bass trombone
Sidney Muldrow
French horn
Mark Levine
piano, electric piano, arranger
John Heard
bass
Harvey Mason
drums
Carmelo Garcia
congas, percussion
Mayuto Correa
congas, percussion
Duke Pearson
producer

Johnny Griffin - Return Of The Griffin (1978) [Galaxy - vinyl]

Review by Chris Sheridan, Jazz Journal (UK) July 1980:
This LP, a result of a remarkable three-day session, is Griffin’s finest-ever recording. The power and variety of his playing on every title is awesome, from the compelling gallop through Autumn to the tender balladry of When We Were One; from the funky Dream to the spring-heeled I Should Care. After an almost brusque dismissal of the theme of Autumn, Griffin takes off on a series of choruses that are simply breathtaking until, halfway through, he changes into overdrive! Dream is so perfect an impression of Monk that it could have been written by the master (but, then, Griffin was Trane's successor in Monk's quartet). Fifty-Six (based on This Masquerade Is Over), the longest cut, is another headlong rush of unrelenting invention, contrasting neatly the "walking the bar" tack of The Way It Is. One interesting point emerging from these LPs is that Griffin's timbre has lost the fluffiness of earlier years; another is that he allows more space in his solos nowadays. Most important, though, is that he is probably the strongest tenorist of his generation playing these days, and, in "Return" he has made not only the record of the month, but also of the year.

Autumn Leaves
When We Were One
Monk's Dream
The Way It Is
Fifty-Six
I Should Care

Johnny Griffin (ts) Ronnie Mathews (p) Ray Drummond (b) Keith Copeland (d)
Fantasy Studios, Berkeley, CA, October 17, 1978

Johnny Griffin - To The Ladies (1979) (Galaxy) [vinyl]

Link is still live

Griffin recorded five albums for Galaxy all are of a uniformly high quality, far better than suggested by Scottie's luke warm review:

"Using the same trio that had joined him on NYC Underground (pianist Ron Mathews, bassist Ray Drummond and drummer Idris Muhammad), tenor saxophonist Johnny Griffin sticks exclusively to group originals on this interesting but not essential (and unfortunately out-of-print) LP. Griffin is in excellent form, as usual, but none of the tunes (by the leader, Drummond, and Mathews) caught on; the best is "Soft and Furry," which is taken in three parts." Scott Yanow

Scottie also fails to mention that the composition "Soft and Furry" first appeared on the excellent 1961 Riverside album "Change of Pace", the OJC CD reissue is again out of catalogue!

Miriam
Susanita
Jean Marie
Soft And Furry, Pt. 1
Soft And Furry, Pt. 2
Soft And Furry, Pt. 3
Honey Bucket

Johnny Griffin (ts) Ron Mathews (p) Ray Drummond (b) Idris Muhammad (d)
Fantasy Studios, Berkeley, CA, November 27 & 28, 1979

Moacir Santos - Carnival of the Spirits, 1975

sublime 70s session from Moacir Santos – a set that mixes the complex grooves he forged in 60s Brazil with the warmly jazzy sound of American fusion – all in a result that's totally unique! The album's quite different than any other electric Brazilian sets recorded in the US at the time – a complex album that's filled with soul and imagination – and not just an electrification of earlier styles from Brazil. Santos' vision here is wonderful – and he works with his own arrangements, and key help from producer Dale Oehler – who knows how to bring in all the right electric elements without losing the edge of Moacir's music. Players are great too – and include Jerome Richardson on soprano sax, Oscar Brashear on trumpet, Don Menza on tenor, Gary Foster on alto, Larry Nash on Fender Rhodes, Clare Fischer on piano, and Jerry Peters on organ. The sound builds and swirls in nice chunks, while the soloists creep in and lay down some horn parts – and a few vocalists, including Santos, add some slight lyrics from time to time.....~

Andy LaVerne - Liquid Silver (1984)

A Tribute to Bill Evans
===================
The CD under review here was recorded 30 October - 3 November 1984 for DMP. In 1984 LaVerne received an NAE grant to organize a Carnegie Hall tribute to his mentor Bill Evans. This CD is a studio version of that concert. The musicians are LaVerne (piano), Eddie Gomez (bass), Peter Erskine (drums), John Abercrombie (guitar), and the Essex String Quartet. All in all, the music on this CD is a nice tribute to Bill Evans, except the last track. The music is not for everyone as it often seems more like an intellectual exercise rather than an emotional outlet. The music does not swing, especial the string quartet tracks. If you are looking for Andy LaVerne jazz, look elsewhere. If you are looking for "chamber jazz" or a cross between classical music and jazz, this may be for you. ~ Extract by D.R.L., Amazon.com.

DMP Records, CD-449, 1984
Recorded 30th-31st October At A&R Studios and
3rd November At Clinton Recording Studio, 1984

Musicians:
Andy LaVerne - Piano
John Abercrombie - Guitar (#2,3,7,8)
Eddie Gomez - Bass (#1,3,4,6-8)
Peter Erskine - Drums (#1,3,4,6-8)

The Essex Quartet (#5,9):
Patricia Smith - Cello
Amy Dulsky - Viola
Sebu Sirinian - Violin [I]
Jennifer Cowles - Violin [II]

Tracks:
1. IRS [It's Really Something] {Andy LaVerne} (7:18)
2. Liquid Silver {Andy LaVerne} (6:00)
3. One Page Waltz {John Abercrombie} (5:19)
4. Laurie {Bill Evans} (9:02)
5. Letter To Evan {Bill Evans} (7:05)
6. How My Heart Sings {Earl Zindars} (5:37)
7. Turn Out The Stars {Bill Evans} (6:33)
8. Alpha Blue {Andy LaVerne} (6:20)
9. King's House One {Andy LaVerne} (17:18)

Total Time: 70:32

Credits:
Producer, Liner Notes - Andy LaVerne
Producer, Engineer - Tom Jung
Engineer [Assistant] - Jean Jung, Rebecca Everett
Editing - Greg Squires
Design - Jim Henderson
Illustration - Lee Christiansen
Photography - Dave Horner, Richard Laird

LeeAnn Ledgerwood - Breaking The Waves (2011)

This album is another serious work by pianist LeeAnn Ledgerwood utilising the same trio members as in her previous work "Simple Truth" released in 2010. A listener can't not be drawn into the exceptional muscular musicality showcased throughout this CD. Essentially, LeeAnn is the glue that pulls the powerful rhythm team of bassist Ron McClure and drummer Nasheet Waits together. She is the mastermind of all the compositions on this outing resulting in a truly expressive trio format that deserves further listening, Enjoy!

SteepleChase Records, SCCD 31732, 2012
Recorded February, 2011 

Musicians:
LeeAnn Ledgerwood - Piano
Ron McClure - Bass
Nasheet Waits - Drums

Tracks:
1. Breaking The Waves (8:15)
2. Save The Wolves (6:49)
3. Audrey Girl (8:25)
4. The University Of Free Will (5:17)
5. Chilli’s Walk (8:04)
6. Lutherans For Jesus (7:13)
7. The Great Smoking Mirror (8:04)
8. Deep Six (9:03) 

All Compositions by LeeAnn Ledgerwood 

Total Time: 61:10 

Producer - Nils Winther 

" … pianist Lee Ann Ledgerwood is part of an ever-growing contingency of extremely talented jazz musicians of the female persuasion… and first crack at a piano trio record. Ultimately, it proves to be one of the best of its kind in recent memory. Simultaneously adventurous but also emotionally direct… " (C. Andrew Hovan, AAJ on “Transition” SCCD 31468).

High Five Quintet - Jazz Desire (2004)

Fabrizio Bosso, is a well-known Italian super trumpeter, and here Fabrizio joins together with other equally successful Italian jazz players as the High Five Quintet, one modelled on genuine hard bop traits. Essentially, this group united to produce some amazing compositions and deliver them with such muscular energy. Within the formation is tenorist Daniele Scannapieco, pianist Luca Mannutza, bassist Pietro Ciancaglini and drummer Lorenzo Tucci; all well-regarded on the continent and leading artists in their own right. Together as a group they have such a gorgeous tone, amazing technique and singing phrasing, all of them masters of their individual instruments. It should be noted that all members of the quintet, except Lorenzo Tucci, contribute some thrilling original compositions to the mix. Overall, portraying the title 'Jazz Desire', this album should appeal to all jazz lovers, regardless of age or taste, enjoy!

Via Veneto Jazz, VVJ 047, 2004
Recorded 8th-10th January, 2008 (#1-9) At Diapason Studio, Rome, Italy;
and February, 2004 (#10,11) in Bari, Italy 

Musicians:
Fabrizio Bosso - Trumpet, Flugelhorn
Daniele Scannapieco - Tenor Saxophone
Luca Mannutza - Piano
Pietro Ciancaglini - Double Bass
Lorenzo Tucci - Drums
+
Pierpaolo Bisogno - Bongos (#10,11) 

Tracks:
01. Conversation {Daniele Scannapieco} (6:12)
02. Another One Bites The Dust {John Deacon} (4:41)
03. Libero {Luca Mannutza} (6:00)
04. Dubai {Fabrizio Bosso} (4:53)
05. Campagna {Pietro Ciancaglini} (5:56)
06. Condado {Daniele Scannapieco} (5:22)
07. Shade Of Gira {Luca Mannutza} (6:05)
08. Wide Green Eyes {Fabrizio Bosso} (7:37)
09. The Driver {Pietro Ciancaglini} (4:47) 

Bonus Tracks:
10. Conversation [New Jazz Version] {Daniele Scannapieco} (5:04)
11. Conversation [New Jazz Club Mix] {Daniele Scannapieco} (6:33) 

Total Time: 63:10 

Credits:
Producer - Biagio Pagano
Producer, Arranger - Nicola Conte [Bonus Tracks]
Recording & Mixing - Eugenio Vatta
Mastering - Fabrizio De Carolis
Sound Engineer - Tommy Cavalleri [Bonus Tracks]
Photography - Paolo Soriani
Cover Art - didovalli 

Notes:
Mixed at the Start Studio, Rome
Mastered at Reference Studio, Rome

Conrad Herwig, Andy LaVerne - Shades Of Light (2002)

It is without taking away anything from the founding fathers of this music to suggest that some of today's practitioners might be the most technically gifted lot to come along. Of course, they now have the entire rich history of jazz at their fingertips and slews of recordings for inspiration, yet there's no denying the talent at hand. Such is the case with 43-year-old trombonist Conrad Herwig. Hardly a Johnny Come Lately, Herwig has been on the scene for some 20 years playing in the bands of such legends as Buddy Rich and Eddie Palmieri, but has to be considered one of the most innovative players to come along since the days of J.J. Johnson and Curtis Fuller. Herwig's fourth and most recent date for the Dutch Criss Cross label, Hieroglyphica is a no holds barred quartet set of all originals that finds everyone working at full throttle. Without other horns to get in the way, this is the best place to experience Herwig at his most incendiary. Starting with a low moan and then breaking into wild glissandos through the upper register, Herwig kicks off the title track with a dazzling display that then builds to a frenetic climax with drums wailing and the rest of the ensemble participating in the collective frenzy. It's time for a quick cool down with the Latin-tinged 'The Orange Dove,' a breathy melody that is supported beautifully by pianist Bill Charlap's comping. And speaking of Charlap, for those of you only familiar with his demure and most recent trio dates, you'll be surprised at how much the pianist seems to step outside of the box here. In fact, some reckless abandon breaks forth on 'Island of the Day Before' as Herwig builds the tension before giving way to Charlap, who ushers in the calm before the storm and then hits with some heavy stuff of his own. And to get an idea of Herwig's range and the full complement of devices, look no further than a bluesy 'The Intruder.' Technically accomplished and still filled with communicative appeal, Hieroglyphica just may be Herwig's most brilliant recital to date. A bit more reserved, the trombonist's duo recital with pianist Andy LaVerne, Shades of Light, doesn't quite catch the fire that the quartet session does, but there's still plenty to savor. An impressive display of flutter tonguing comes just at the conclusion of 'Three Flowers,' a McCoy Tyner line that has to be among his most striking. Two Chick Corea gems, 'Tones For Joan's Bones' and 'Crystal Silence' seem especially attractive in this duo setting and Herwig's trombone carries both melodies quite well. You can gather some insight as to influences too, with Herwig sagaciously working in a quote from Wayne Shorter's 'Witch hunt' during his solo on 'African Flower.' ~ by C. Andrew Hovan, AAJ. 

SteepleChase Records, SCCD 31520, 2002
Recorded April, 2000 

Musicians:
Conrad Herwig - Trombone
Andy LaVerne - Piano 

Tracks:
01. Three Flowers {McCoy Tyner} (7:37)
02. Tones For Joan's Bones {Chick Corea} (5:43)
03. Crystal Silence {Chick Corea, Neville Potter} (6:13)
04. Bessie's Blues {John Coltrane} (8:22)
05. If You Never Come To Me {Antônio Carlos Jobim} (4:28)
06. Shades Of Light {Hubert Laws} (6:04)
07. Black Narcissus {Joe Henderson} (5:30)
08. Think On Me {George Cables} (5:22)
09. African Flower {Duke Ellington} (5:16)
10. In Your Own Sweet Way {Dave Brubeck} (7:22) 

Total Time: 71:57 

Credits:
Producer, Photography - Nils Winther
Recording Engineer - Keiichi Goto
Liner Notes - Mark Gardner

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

Anita Baker - A Night Of Rapture - Live, 1986 (2004)

When you listen to this recording you get the full measure of Anita. By that I mean, you will find that what she does and is best at, is not by benefit of any studio technical wizardry. In many ways this recording is the equal of "Rapture" for its directness, it's straight to the point delivery. Anita's voice is rich with big, rich tones. Those exhortations and unique vocal embellishments hold you transfixed. The band is first rate and she is backed unobtrusively by a band of some exceptional musicians, most notably James Bradley, Jr. and Gerald Albright. For me, "Mystery" and "(Caught up in the) Rapture" actually surpass the studio versions because Anita is just so much more direct in concert. Nothing gets in the way. This is an enhanced CD with three video files from the accompanying video. This is an excellent concert recording. She even attempts Van Morrison's "Moondance" which has now become a standard especially within the jazz world. This is where the more contemporary band gives it a perfunctory performance but Anita transcends this and captures the jazzy feel of the piece, somewhat faithfully. It's the one departure from what we all know is the Anita Baker repertoire. A truly compelling concert recording. ~ ND, NY, Amazon.com. 

Atlantic/Rhino Entertainment, 8122-78144-2, 2004
Recorded Live at Constitution Hall Washington, DC, 1986 (#2-4)
Recorded Live at The Montreux Jazz Festival, Montreux, Switzerland, July, 1986 (#7)
Recorded Live on Tour, 1986 (#1,5,6,8,9) 

Musicians:
Anita Baker - Vocals
Bobby Lyle - Keyboards, Musical Leader
Garry Glenn - Keyboards, Backing Vocals
Gerald Albright - Bass Guitar, Saxophone
Donald Griffin - Guitar
James Bradley, Jr. - Drums
Freida Williams, Gina Taylor, Joanne Funderburg - Backing Vocals 

Tracks:
1. Caught Up In The Rapture {Dianne Quander, Garry Glenn} (5:30)
2. Mystery {Rod Temperton} (5:23)
3. Been So Long {Anita Baker} (5:53)
4. No One In The World {Ken Hirsch, Marti Sharron} (4:10)
5. Same Ole Love [365 Days A Year] {Darryl K. Roberts, Marilyn McLeod} (4:01)
6. Watch Your Step {Anita Baker} (6:17)
7. Moondance {Van Morrison} (4:07)
8. You Bring Me Joy {David Lasley} (4:34)
9. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (4:51) 

Total Time: 44:46

Enhanced Content:
1. Sweet Love [mp4] (5:12)
2. You Bring Me Joy [mp4] (4:30)
3. No One In The World [mp4] (4:08) 

Credits:
Compilation - Barry "Rockbarry" Benson
Art Direction Nancy L. Hopkins
Design - Saori Soga
Photography [Front, Inlay] - Clayton Call
Liner Notes - Gary Jackson