Ron Carter, Herbie Hancock, Tony Williams - 1978 [1992] "Third Plane"

Third Plane is an album by jazz bassist Ron Carter, released on the Milestone label in 1977. It features performances by Carter, Herbie Hancock and Tony Williams.

A second selection of five tracks recorded by the trio during the same day's sessions was released under Herbie Hancock's name as Herbie Hancock Trio.

The second album that was released from the material recorded with Herbie, Tony, and Ron at David Rubinson's new studio in San Francisco on July 13, 1977--this one released on Milestone Records due to contractual obligations

A1. "Third Plane" (5:52) a nice little Latin-shaded tune composed and anchored by Ron that sees Herbie taking the melodic lead with vim, verve and a Antonio Carlos Jobim-like respect for space and clean phrasing. The drumming is solid though rarely Tony Williams-like in its fire and creativity. Still, an excellent, beautiful tune. (9.25/10)

A2. "Quiet Times" (7:50) a late night wanderer that slides into some Miles Davis Kind of Blue-like blues in its second minute while Ron's slip-sliding bass runs up front, Tony's brushed drums down beneath the others, and Herbie's piano somewhere in between. Though Ron is credited as the song's composer, he performs more as if this were so than on the album's opener (to which he is also the credited composer), soloing quite eruditely throughout fourth and fifth minutes. Herbie's piano play even brings in a lot of Kind of Blue phrasing and stylings. (13.625/15)

A3. "Lawra" (6:06) on this one the boys return to the light, performing a Tony Williams song that would also be exhibited in expanded form (9:43) on the September V.S.O.P. release of the Greek Theater concerts sandwiched around this date in the recording studio entitled The Quintet. (9/10)

B1. "Stella By Starlight" (8:24) another cover a jazz standard, yet another one that Miles helped to resuscitate make popular, this one a song from a film of the same name that came out in 1944 and whose music was composed by Victor Young. The song was made a jazz standard via covers by Charlie Parker, Chet Baker, Stan Getz, Bud Powell, Stan Kenton's big band as well as Nat King Cole before Miles grabbed it and twice revived it's popularity in 1955 and as part of his live concert standards in the mid -1960s. Nice rendition though I know the previous versions so little that it feels fresh and original (if a little scattered) to me. (17.75/20)

B2. "United Blues" (2:59) another Carter composition that displays Ron's propensity for bounce and syncopation with the trio being asked to hold fast and firm to a very clean and clear-cut discipline throughout. (8.875/10)

B3. "Dolphin Dance" (8:18) here reviving an old Herbie classic (originally from Maiden Voyage, it was inspired by a Count Basie tune), the band rises and falls with the ocean swells as Herbie and Ron swim playfully around each other while Tony seems content to watch like a mesmerized child. (18.5/20)

If I have any complaint of this album it would be of the continued low levels of the drums and continued far-forward push of Ron's bass: I would like to have heard from these recordings at The Automatt a little more even leveling of the three instruments as I found myself tiring a bit at trying to work past Ron's bass playing, as amazing as it is, in order to hear Tony's drum play.

Total Time 38:03

Track listing:

"Third Plane" (Carter) – 5:53

"Quiet Times" (Carter) – 7:52

"Lawra" (Tony Williams) – 6:08

"Stella by Starlight" (Ned Washington, Victor Young) – 8:26

"United Blues" (Carter) – 3:01

"Dolphin Dance" (Herbie Hancock) – 8:20

Personnel:

Ron Carter – bass

Herbie Hancock – piano

Tony Williams – drums

Wayne Shorter - 1967 [2021] "Schizophrenia"

Schizophrenia is the eleventh album by Wayne Shorter, recorded on March 10, 1967, and released on the Blue Note label in May 1969. The album features five Shorter compositions and an arrangement of James Spaulding's "Kryptonite". The album features Shorter with alto saxophonist/flautist Spaulding, trombonist Curtis Fuller, pianist Herbie Hancock, bassist Ron Carter and drummer Joe Chambers.

Wayne Shorter was 33 on March 10, 1967, when he recorded Schizophrenia. It was his eleventh leader date overall, his eighth for Blue Note, and first in a little over a year, after having recorded the previous seven within the 17 months following Night Dreamer in April 1964. He was 30 months into a five-and-a-half-year association with Miles Davis, who had followed a half-year hiatus in 1965 by finding steady work for the Shorter-Hancock-Carter-Williams laboratory, resulting in the music documented two months after Schizophrenia on the astonishing Sorcerer, the date that clarified, as Todd Coolman wrote in the notes for Miles Davis Quintet: 1965-‘68, that Miles “had found and solidified the sound, style, and substance he had been searching for” and that the group, with Shorter as its “central compositional voice,” had become “the singular pivotal force in propelling jazz out of the bebop era and into the music of the ‘70s and beyond.”

On Schizophrenia, the leader deploys a less-traveled front line mix of his tenor saxophone, James Spaulding’s alto saxophone or flute, and Curtis Fuller’s trombone, and the same unitary Hancock-Carter-Joe Chambers “rhythm section” that coalesced Shorter’s October 1965 septet suite, The All Seeing Eye, into a visionary masterpiece. He feeds them such ravishing, harmonically ambiguous songs as “Go” and “Miyako” (for his daughter) and burners-with-an-edge like the title track and “Playground” to dig into. In sum, Shorter attains an equipoise between his first-half-of-the-‘60s achievements in “bish-bash, sock ‘em dead’ hardbop as musical director with Art Blakey and the Jazz Messengers and the form-bending equations he was conjuring for his Davis bandmates to experiment with on a nightly basis.

Although it couldn’t be predicted in 1967, Schizophrenia would be Shorter’s last “straight-ahead jazz” album for a while. On his ninth Blue Note date, Super Nova, rendered 30 months later, Shorter incorporated multiple guitars and percussion (with a decidedly Afro-Brazilian orientation), offering his own perspective on the new sounds that Miles Davis was exploring on the 1969 recordings In A Silent Way and Bitches Brew. “Miles called me later,” Shorter once told me. “He said,‘We covered a lot of ground, didn’t we.’ His saying that stayed with me. It was music for music’s sake. Miles realized that we had covered a lot of ground; somehow it touched his whole human essence.”

One of the albums that Shorter recorded while he was part of Miles’ second quintet, Schizophrenia is somewhat of a cornerstone or hinge in his solo discography. Indeed, while still entrenched in the standard jazz like his previous albums (like SNE, for ex), Wayne is definitely wondering about and sometimes daring to reach beyond himself, something that Miles was also doing, as clearly both men were pushing each other. The present album is still in the previous effort’s line, despite a psychedelic photo for artwork, with the usual suspects of Hancock, Chambers and Carter, but fronting a horn-trio with, perhaps, the less-expected Spaulding (flute, sax) and Fuller (trombone).

Track listing:

"Tom Thumb" – 6:16

"Go" – 5:42

"Schizophrenia" – 6:50

"Kryptonite" (James Spaulding) – 6:29

"Miyako" – 5:00

"Playground" – 6:20

Personnel:

Wayne Shorter – tenor saxophone

Curtis Fuller – trombone

James Spaulding – flute, alto saxophone

Herbie Hancock – piano

Ron Carter – bass

Joe Chambers – drums

Teus Nobel Liquid Music Quintet - 2012 "Flow"

Teus Nobel is a Dutch jazz trumpet player and flugelhorn player. He performs with different bands and is a teacher at Fontys Hogeschool. In 2020 he won an Edison Award for the album Saudade.

Teus Nobel studied classical music and jazz at the Codarts University for the Arts in Rotterdam. Here he obtained a bachelor's (2006) and a master's degree, with a research project on the intellectual legacy of jazz trumpeter Woody Shaw.

He has played and toured with the Rotterdam Ska Jazz Foundation, Caro Emerald, The Kyteman Orchestra and Frank McComb. With his own Liberty Group he performed at the North Sea Jazz Festival.

Nobel has released several albums, with Liberty Group and collaborated with Jef Neve and Roeland Jacobs/Radio Filharmonisch Orkest. With Jacobs he won an Edison Award in 2020 for their Saudade album.

He has been a teacher at Fontys Academy of Music & Performing Arts since 2020.

In 2012, Teus released his first solo album, an album called “Flow”. The album featured several dutch artists, including alto star Ben van Gelder. The band was welcomed as a ‘fresh and wayward quintet’ (newspaper Parool) and an ‘interesting new group’ (magazine Jazzism) and Teus was called out “Soul & Jazz Talent” bij Radio 6. The album single “Shifting Expectations” was #1 in the iTunes jazz charts for over a week and Teus’ Liquid Music Quintet made their appearance in multiple radioshows, introduced as the ‘new kid on the block’.

Dutch trumpet player Teus Nobel presents his first solo album Flow! This cd features his Liquid Music Quintet with their own compositions. These songs were created when Teus melted the music of the great trumpeters Roy Hargrove, Christian Scott, Eric Vloeimans and Woody Shaw together with the music of Pat Metheny and Herbie Hancock.

The result is Liquid jazz: a style balancing on the flow-motion between comfort zone and the unknown which sounds like groovy, contemporary jazz dipped into a little fusion.

Track listing:

1 Intro 0:49

2 Shifting Expectations 3:51

3 Gut Feeling 8:10

4 Water Resist (Feat. Tom Beek) 5:45

5 Believe 5:42

6 Escape From All I Know (Feat. Ben van Gelder) 6:51

7 Big Four 5:08

8 Inner Depth (Feat. Qeaux Qeaux Joans) 6:32

9 Brain Storm 6:27

Personnel:

Teus Nobel (trumpet/fluegelhorn)

Jerome Hol (guitar)

Daan Herweg (keys)

Hugo Den Oudsten (bass)

Salle de Jonge (drums)

Ben van Gelder (alto saxophone)

Tom Beek (tenor saxophone)

Qeaux Qeaux Jones (vocal)

Bunny Brunel - 1984 [1996] "Ivanhoe"

Ivanhoe by Bunny Brunel Featuring... BUNNY BRUNEL: Fretless Bass & Electric Upright Bass CHICK COREA: Mini Moog & Fender Rhodes HERBIE HANCOCK: Piano STANLEY CLARKE: Piccolo Bass TONY WILLIAMS: Drums JOE FARRELL: Tenor & Soprano Saxes BILL WATROUS: Trombone STEVE KUJALA: Tenor Sax AL VIZZUTTI: Trumpet DANIEL GOYONE, KEI AKAGI, KEN SHIMA: Keyboards MICHAEL O'NEILL, BERNARD TORELLI: Guitars JEAN PAUL CECCARELLI, TOM BRECHTLEIN: Drums DON ALIAS, LAUDIR DE OLIVIERA: Percussion.

About Bunny Brunel.... When CHICK COREA watched BERNARD BUNNY BRUNEL play one night at an upscale London jazz club in 1978, Bunny was unaware of the ultimate significance Corea would play in his future success as a bassist. A few weeks after that visit to London, Chick called Bunny on the telephone and asked him to pack up and join him on a world wide tour. Bunny quickly accepted and went on to record the classics "Tap Step" and "Secret Agent" with the legendary jazz fusionist. 

The roster of artists Bunny went on to record and perform with is practically a "Who's Who" of music industry giants. Notables include: HERBIE HANCOCK, WAYNE SHORTER, TONY WILLIAMS, AL JARREAU, NATALIE COLE, LARRY CORYELL, AL DIMEOLA, MIKE STERN, JOE FARRELL, and a list that goes on and on. Besides his work as a performer, he is equally at home in the roles of composer, arranger and producer. 

As a soundtrack composer, Bunny collaborated with Clint Eastwood in creating the main theme ("Claudia's Theme") for the Oscar winning film, "The Unforgiven." He also worked on several TV shows, including the popular series "Highlander." As a designer, Bunny created a line of Electric Bass Guitars for Carvin Corp. And an Electric Upright Bass. 

Bunny has released many albums. See his page on CD Baby or personal website at bunnybrunel.com for current list. These projects highlight his beautiful compositions and melodic solos and show off breathtaking bass lines. 

'CAB2' was nominated for the "Best Contemporary Jazz Instrumental Album" Grammy award of 2002. Taking an active interest in helping bass players, Brunel regularly gives seminars and lessons on his unique approach to the instrument. He has written several books and instructional videos.

Great, great, great! Meaningful and well-constructed music for jazz-fusion aficionados. The overall sound is awesome and Brunel has it all: the sound, the groove, the compositional knack. The guests are well-chosen and used: Herbie Hancock on piano on two tracks, Chick Corea, Tony Williams, Joe Farrell etc. Tracks are in various styles: latin, funk, jazz... Track dedicatees include Hancock, Wayne Shorter and Chick Corea.

As far as bass players are concerned, this is better than anything by Stanley Clarke (who plays piccolo bass here on the opening track), Marcus Miller or Victor Wooten. If I was to describe Brunel's sound on bass, I'd say he is somehow at the crossroads between Jaco Pastorius (for the velocity and groove) and Bill Laswell (for the BIG sound and some of the effects used), with a strong hint of Stanley Clarke thrown in. This record (which I discovered via the Hancock connection) has made me hungry for other Brunel recordings. This one's from 1986, still sounds fresh in 2009 and it sincerely is a blast.

Track listing:

1 Ivanhoe 4:48

2 Going Home 4:28

3 Dede 6:00

4 Latin 6:10

5 Magic Player 3:25

6 Song For Wayne 8:50

7 As My Brother 3:20

8 Nani 3:23

Personnel:

Bass [Piccolo] – Stanley Clarke (tracks: A1)

Bass, Producer – Bunny Brunel

Congas – Don Alias (tracks: A2)

Drums – Tony Williams* (tracks: A1, B4), Jean Paul Ceccarelli* (tracks: B1, B3), Tom Brechtlein (tracks: A2, A3, A4, B2)

Guitar – Bernard Torrelli* (tracks: B1, B3), Michael O'Neill (tracks: A2, A3)

Keyboards – Chick Corea (tracks: A2, A4), Daniel Goyone (tracks: B1, B3)

Percussion – Laudir De Oliveira (tracks: A2, A4)

Piano – Herbie Hancock (tracks: A4, B2), Ken Akagi* (tracks: A3)

Piano, Keyboards – Ken Shima (tracks: A1, A3)

Saxophone – Joe Farrell (tracks: B1, B3), Steve Kujala (tracks: B1, B3)

Trombone – Bill Watrous (tracks: B1, B2, B3)

Trumpet – Al Vizzutti* (tracks: B1, B3)

Vocals, Percussion – Nani Villa Brunel

Chick Corea - 2017 "The Musician" [Audio & Video]

Chick Corea first laid eyes on New York’s Greenwich Village in 1959, fresh from high school, with a head full of music that only he could have imagined. With this new release The Musician, recorded in the epicenter of Chick’s original NYC haunts and more than 50 years later, Corea finally brings all that music together at once.

The live 3-CD and Blu-ray set captures Corea’s 70th birthday celebration at the famed Blue Note Jazz Club in 2011, where he assembled a staggering lineup of musical friends and fellow-travelers – among them Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin and Stanley Clarke – for a month-long residency featuring 10 different bands, including triumphal sets by his own Chick Corea Elektric Band and Return to Forever. All of it is captured brilliantly in the first feature-length documentary on Corea’s life, music and genius musical partners. The film takes you inside the heads and “hangs” of some of the greatest artists of our time – backstage and personal – and the CDs capture almost four hours of live recordings of every band.

Over the course of an artist's lifetime, especially one well into their fifth decade like Chick Corea, it's not uncommon to see a great musician look back and take stock of what he’s done and who he’s worked with, and that's exactly what Corea does on 2017's The Musician. To mark his 75th birthday in 2016, the lauded pianist played a six-week stint of shows at the Blue Note in New York city. During the event, he was joined by a bevy of guests including many longtime friends and collaborators like Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin, Stanley Clarke, and others. The shows were filmed, recorded, and released in 2017 as part of The Musician four-disc album/video and documentary project. It's fascinating to hear Corea take this time-traveling odyssey through his career, and despite the epic nature of the six-week event, he never sounds anything less than engaged, always playing with his trademark intensity and playful spontaneity. His duets are particularly engaging; just listen to his enthralling interplay with singer Bobby McFerrin on "I've Got the World on a String" and "Spain" and you'll be captivated. Similarly compelling are his head-to-head sparrings with pianist Herbie Hancock on "Hot House," "Dolphin Dance," and "Cantaloupe Island." Elsewhere, Corea revisits one of his most popular ensembles, Return to Forever, with bassist Stanley Clarke, drummer Lenny White, and guitarist Frank Gambale. A pre-eminent fusion group, here they take an unexpected acoustic approach to several of their best-known tunes, "Captain Marvel" and "Light as a Feather." We also get a taste of Corea's trio with bassist Gary Peacock and drummer Brian Blade, who deliver a nuanced version of "I Hear a Rhapsody." Other discs showcase equally compelling collaborations with luminaries like pianist Marcus Roberts and vibraphonist Gary Burton, and a reunion with his Elektrik Band featuring drummer Dave Weckl and bassist John Patitucci. We also get a thrilling homage to early Corea employer, jazz trumpet legend Miles Davis, with his From Miles band featuring trumpeter Wallace Roney, drummer Jack DeJohnette, and other Davis alum. Indeed, The Musician is a superb live document spotlighting Corea in settings that recall the best of his classic albums and proving how remarkably well both he and his music have aged.

Track listing/Band/Personnel:

1-1 Return To Forever– Captain Marvel

Bass – Stanley Clarke

Drums – Lenny White

Guitar – Frank Gambale

1-2 Return To Forever– Light As A Feather

Bass – Stanley Clarke

Drums – Lenny White

Guitar – Frank Gambale

1-3 Chick Corea, Gary Peacock, Brian Blade– I Hear A Rhapsody

1-4 Chick Corea, John McLauglin*, Kenny Garrett, John Patitucci, Brian Blade– Spirit Rides

1-5 Chick Corea, John McLauglin*, Kenny Garrett, John Patitucci, Brian Blade– Special Beings

1-6 Chick Corea, Bobby McFerrin– I've Got The World On A String

1-7 Chick Corea, Bobby McFerrin– Spain

2-1 Chick Corea, Gary Burton, Harlem String Quartet*– Overture

2-2 Chick Corea, Gary Burton, Harlem String Quartet*, Gayle Moran Corea– Your Eyes Speak To Me

2-3 Chick Corea, Wallace Roney, Gary Bartz, Eddie Gomez, Jack DeJohnette– If I Were A Bell

2-4 Chick Corea, Wallace Roney, Gary Bartz, Eddie Gomez, Jack DeJohnette– Nefertiti

2-5 Chick Corea, Concha Buika, Carles Benavent, Jorge Pardo, Niño Josele, Jeff Ballard– Zyryab

2-6 Chick Corea, Concha Buika, Carles Benavent, Jorge Pardo, Niño Josele, Jeff Ballard– Mi Nina Lola

3-1 Chick Corea, Marcus Roberts, Wynton Marsalis– CC's Birthday Blues

3-2 Chick Corea, Marcus Roberts– Caravan

3-3 Chick Corea, Herbie Hancock– Hot House

3-4 Chick Corea, Herbie Hancock– Dolphin Dance

3-5 Chick Corea, Herbie Hancock– Cantaloupe Island

3-6 The Chick Corea Elektric Band– Ritual

Bass – John Patitucci

Drums – Dave Weckl

Guitar – Frank Gambale

Saxophone – Eric Marienthal

3-7 The Chick Corea Elektric Band– Silver Temple

Bass – John Patitucci

Drums – Dave Weckl

Guitar – Frank Gambale

Saxophone – Eric Marienthal

Herbie Hancock - 1973 [1997] "Head Hunters"

Head Hunters is the twelfth studio album by American pianist and composer Herbie Hancock, released October 26, 1973, on Columbia Records. Recording sessions for the album took place in the evening at Wally Heider Studios and Different Fur Trading Co. in San Francisco, California. The album was a commercial and artistic breakthrough for Hancock, crossing over to funk and rock audiences and bringing jazz-funk fusion to mainstream attention, peaking at number 13 on the Billboard 200. Hancock is featured with his ‘Mwandishi’ saxophonist Bennie Maupin and new collaborators – bassist Paul Jackson, percussionist Bill Summers and drummer Harvey Mason. The latter group of collaborators, which would go on to be known as The Headhunters, also played on Hancock's subsequent studio album Thrust (1974). All of the musicians (with the exception of Mason) play multiple instruments on the album.

Head Hunters followed a series of experimental albums by Hancock's sextet: Mwandishi, Crossings, and Sextant, released between 1971 and 1973, a time when Hancock was looking for a new direction in which to take his music:

    I began to feel that I had been spending so much time exploring the upper atmosphere of music and the more ethereal kind of far-out spacey stuff. Now there was this need to take some more of the earth and to feel a little more tethered; a connection to the earth. ... I was beginning to feel that we (the sextet) were playing this heavy kind of music, and I was tired of everything being heavy. I wanted to play something lighter.
    — Hancock's sleeve notes: 1997 CD reissue

For the new album, Hancock assembled a new band, the Headhunters, of whom only Bennie Maupin had been a sextet member. Hancock handled all synthesizer parts himself (having previously shared these duties with Patrick Gleeson) and he decided against the use of guitar altogether, favoring instead the clavinet, one of the defining sounds on the album. The new band featured a tight rhythm and blues-oriented rhythm section composed of Paul Jackson (bass) and Harvey Mason (drums), and the album has a relaxed, funky groove that gave the album an appeal to a far wider audience. Perhaps the defining moment of the jazz-fusion movement (or perhaps even the spearhead of the Jazz-funk style of the fusion genre), the album made jazz listeners out of rhythm and blues fans, and vice versa. The album mixes funk rhythms, like the busy high hats in 16th notes on the opening track "Chameleon", with the jazz AABA form and extended soloing.

Of the four tracks on the album "Watermelon Man" was the only one not written for the album. A hit from Hancock's hard bop days, originally appearing on his first album Takin' Off (1962), it was reworked by Hancock and Mason and has an instantly recognizable intro featuring Bill Summers blowing into a beer bottle, an imitation of the hindewho, an instrument of the Mbuti Pygmies of Northeastern Zaire (this is also reprised in the outro). The track features heavy use of African percussion. "Sly" was dedicated to the pioneering funk musician Sly Stone, leader of Sly and the Family Stone. "Chameleon" (the opening track) is another track with an instantly recognizable intro, the introductory line played on an ARP Odyssey synth. "Vein Melter" is a slow-burner, predominantly featuring Hancock and Maupin, with Hancock mostly playing Fender Rhodes electric piano, but occasionally bringing in some heavily effected synth parts.

Heavily edited versions of "Chameleon" and "Vein Melter" were released as a 45 rpm single.

The album was also re-mixed for 4-channel quadraphonic sound in 1974. Columbia released it on LP record in the SQ matrix format and on 8-track tape. The quad mixes feature elements not heard in the stereo version, including an additional 2-second keyboard melody at the beginning of "Sly". Surround sound versions of the album have been released a number of times on the Super Audio CD format. All of these SACD editions use a digital transfer of the original four-channel quad mix re-purposed into 5.1 surround.

Until George Benson's Breezin' (1976), it was the largest-selling jazz album of all time.

The Headhunters band (with Mike Clark replacing Harvey Mason) worked with Hancock on a number of other albums, including Thrust (1974), Man-Child (1975), and Flood (1975), the latter of which was recorded live in Japan. The subsequent albums Secrets (1976) and Sunlight (1977), had widely diverging personnel. The Headhunters, with Hancock featured as a guest soloist, produced a series of funk albums, Survival of the Fittest (1975) and Straight from the Gate (1978), the first of which was produced by Hancock and included the big hit "God Make Me Funky".

The image on the album cover, designed by Victor Moscoso, is based on the African kple kple mask of the Baoulé tribe from Ivory Coast. The image is also based on tape head demagnetizers used on reel-to-reel audio tape recording equipment at the time of this recording. Hancock is represented by the man wearing said image while playing the keyboard, and positioned clockwise around him from lower left are Mason, Jackson, Maupin and Summers.

In 2005, the album was ranked number 498 in the book version of Rolling Stone magazine's list of the 500 Greatest Albums of All Time. While it was not included in Rolling Stone's original 2003 online version of the list, nor the 2012 revision, it was ranked number 254 in their 2020 reboot of the list. Head Hunters was a key release in Hancock's career and a defining moment in the genre of jazz, and has been an inspiration not only for jazz musicians, but also to funk, soul music, jazz funk and hip hop artists. The Library of Congress added it to the National Recording Registry, which collects "culturally, historically or aesthetically important" sound recordings from the 20th century.

Track listing:

01 Chameleon     15:41
02 Watermelon Man 6:29
03 Sly             10:18
04 Vein Melter      9:10

Personnel:

    Herbie Hancock – Fender Rhodes electric piano, Hohner D6 Clavinet, ARP Odyssey & ARP Pro Soloist synthesizers
    Bennie Maupin – tenor saxophone, soprano saxophone, saxello, bass clarinet, alto flute
    Paul Jackson – bass guitar, marímbula
    Harvey Mason – drums
    Bill Summers – agogô, balafon, beer bottles on Watermelon Man, cabasa, congas, gankogui, hindewhu, log drum, shekere, surdo, tambourine

Joe Farrell - 1973 [2018] "Penny Arcade" - 1974 [2018] "Upon This Rock" - 1975 [2018] "Canned Funk"

Joe Farrell - 1973 [2018] Penny Arcade

Joe Farrell gained his greatest fame with his popular string of CTI recordings. For this set, he performs three of his originals (none of which caught on), guitarist Joe Beck's "Penny Arcade," and a 13-minute version of Stevie Wonder's "Too High." Farrell (heard on tenor, soprano, flute and piccolo) is in excellent form, as are keyboardist Herbie Hancock, Beck, bassist Herb Bushler, drummer Steve Gadd and Don Alias on conga. As is true of his other CTI sets, this Joe Farrell effort expertly mixes together some slightly commercial elements and superior recording quality with strong solos.

Penny Arcade is a jazz album by Joe Farrell on the CTI Records label. It was recorded at the Van Gelder Studio in October 1973

Track listing:
Side one

    "Penny Arcade" (Joe Beck) – 4:45
    "Too High" (Stevie Wonder) – 13:15

Side two

    "Hurricane Jane" (Joe Farrell) – 4:25
    "Cloud Cream" (Joe Farrell) – 6:15
    "Geo Blue" (Joe Farrell) – 7:30

Personnel

    Joe Farrell – tenor and soprano sax, flute, piccolo
    Herbie Hancock – piano
    Joe Beck – guitar
    Steve Gadd- drums
    Herb Bushler – bass
    Don Alias – conga


Joe Farrell - 1974 [2018] Upon This Rock

Upon This Rock is an album by Joe Farrell released in 1974.

In 2008 it returned to media attention when Farrell's daughter sued Kanye West, Method Man, Redman, Common and their respective record companies over alleged sampling of the title track.

As one might guess from the album's title, this Joe Farrell date is a bit rock-oriented in places. Guitarist Joe Beck is the co-star, and Farrell (who switches between tenor, soprano and flute) is also joined by bassist Herb Bushler and drummer Jim Madison; "I Won't Be Back" has Farrell, Beck and Bushler joined by keyboardist Herbie Hancock, drummer Steve Gadd and the conga of Don Alias.

Track listing:

Side one

    "Weathervane" (Joe Farrell) – 8:00
    "I Won't Be Back" (Joe Beck) – 10:05

Side two

    "Upon This Rock " (Joe Farrell) – 11:54
    "Seven Seas" (Joe Beck) – 6:50

Personnel

    Joe Farrell – tenor saxophone, soprano saxophone, flute
    Herb Bushler – bass
    Joe Beck – guitar
    Jimmy Madison – drums
    Steve Gadd – drums (on "I Won't Be Back")
    Herbie Hancock – piano (on "I Won't Be Back")
    Don Alias – conga (on "I Won't Be Back")


Joe Farrell - 1974 [2011] Canned Funk:

Joe Farrell's final of six CTI dates has fairly lengthy versions of four of his originals. Farrell, who adds baritone to his usual trio of instruments (tenor, soprano and flute), once again welcomes guitarist Joe Beck as his co-star, along with bassist Herb Bushler, drummer Jim Madison and percussionist Ray Mantilla. The music is melodic, sometimes funky, and enjoyable if not essential, but all of Joe Farrell's CTI sets are worth acquiring.  

 Canned Funk is a jazz album by Joe Farrell for CTI Records. It was recorded at Van Gelder Studios November and December 1974. The album was released in 1975.

Track listing
Side one

    "Canned Funk" (Joe Farrell) – 7:20
    "Animal" (Farrell) – 9:55

Side two

    "Suite Martinique" (Farrell) – 9:03
    "Spoken Silence" (Farrell) – 7:43

Personnel

    Joe Farrell – tenor saxophone, soprano saxophone, baritone saxophone, flute
    Herb Bushler – bass
    Joe Beck – guitar
    Jim Madison – drums
    Ray Mantilla – conga, percussion

Tony Williams - 1996 "Wilderness"

 

A full orchestra joins Tony Williams, Herbie Hancock, Michael Brecker, Pat Metheny and Stanley Clarke in this collection of tone poems that compare and contrast several takes on the meaning of wilderness. The leader provides a glimpse of the moods being portrayed through his choice of titles, as well as by supplying in the liner notes several familiar quotations about mankind and the natural world. Drummer Williams, who led the fusion band Lifetime in decades past, opts to contrast the natural sounds of an orchestra with the electronic sounds from keyboard synthesizers, electric bass, and electric guitar. Three distinct thoughts on wilderness present themselves through the musical moods being portrayed. The full orchestra, with its natural sounds, supplies pastoral scenes of the outdoors. The fusion quintet, through its "China Town" trilogy, expresses the brash rhythmic attitude of city life. Several pieces are special in that they employ thoughtful and soulful improvisation, which of course comes from that other wilderness lying deep within the mind.

One of drummer Tony Williams' final studio projects, this adventurous effort alternates selections by an all-star quintet (which includes tenor saxophonist Michael Brecker, guitarist Pat Metheny, pianist Herbie Hancock and bassist Stanley Clarke) with string orchestra tracks (usually using the rhythm section). Williams wrote most of the music (there is one song apiece from Metheny and Clarke), and despite the general unpredictability of the music (which ranges from melancholy to fiery), there is a surprising unity throughout the CD. Highlights include the pretty opener for strings "Wilderness Rising," a lyrical quintet number, "The Night You Were Born," the rockish freakout "China Moon" and the heated "Gambia"; only guitarist Lyle Workman's guest spot on his droning "Machu Picchu" is a minus. Otherwise, this is intriguing music that rewards repeated listenings, making one further appreciate the great loss suffered as a result of Tony Williams' premature death.

"The Night You Were Born" features Michael Brecker with a challenging tenor sax outing that shows off his technique and deep, ringing tone. Hancock on piano and Metheny on guitar blend to produce an image of some smoky dance hall late at night with only a few customers left standing around. Hancock stretches out in "Gambia" to share his unique mix of energetic and blues-based piano stylings; Metheny follows that with some of his delicate and fluid solo guitar work. Finally, "Cape Wilderness" sums it all up with fine solo work and group interplay from the quintet. Recommended.

This is the Tony's authoral last work, if i'm not wrong.
As he said in a 1997 interview to modern drummer, he was very proud with this album. He composed almost all musics. He was feeling himself more mature as a composer. This album is about a travel. Something like an imigrant in the new world travelling across the new land by train. This work is a movie in music format. The arrangement have an harmonic orchestration. For him, one album is a complete history, not a fragmented number of peaces. This songs are linked, musical, peacefull, not a drum show in first plane (this he made as a master in all his life). It's a beautyfull and poetical goodbye from one of the greatest master of the music. And, defying simple categorization, right to the end. Tony William's last album (?) and in many ways a synthesis of more new beginnings for him - jazz meets the orchestra - neo-fusion - funk - latin - swing - classical. If anything, I was only disappointed he didn't throw in some hard bop - but his own compositional leanings were more toward jazz-rock-fusion, and in some ways that has become mainstream - only because Mr Williams was one of the key innovators of these genre, and we are appreciating his work from a post-Williams, post-Zappa perspective, if you get my drift. Anyway, it's a fantastic album - with great synergy between all players - all giants of jazz!! Highly recommended.

Track listing:

01 Wilderness Rising     7:35
02 China Town     8:33
03 Infant Wilderness     2:31
04 Harlem Mist '55     4:03
05 China Road     2:46
06 The Night You Were Born     8:05
07 Wilderness Voyager     2:07
08 Machu Picchu     6:42
09 China Moon     3:24
10 Wilderness Island     2:49
11 Sea Of Wilderness     3:06
12 Gambia     6:13
13 Cape Wilderness     7:15

Personnel:

    Drums – Tony Williams*
    Piano – Herbie Hancock
    Bass – Stanley Clarke
    Guitar – Lyle Workman (tracks: 8), Pat Metheny
    Bassoon – John Steinmetz (tracks: 1, 3, 4, 7, 11), Rose Corrigan (tracks: 1, 3, 4, 7, 11)
    Cello – Armen Ksajikian (tracks: 1, 3, 4, 7, 11), Steve Erdody (tracks: 1, 3, 4, 7, 11)
    Clarinet – Charles Boito (tracks: 1, 3, 4, 7, 11), Ralph Williams (4) (tracks: 1, 3, 4, 7, 11)
    Double Bass – Chuck Berghoffer* (tracks: 1, 3, 4, 7, 11)   
    Flute – Gerri Rotella* (tracks: 1, 3, 4, 7, 11), Susan Greenberg (tracks: 1, 3, 4, 7, 11)
    French Horn – David Duke (tracks: 1, 3, 4, 7, 11), Rick Todd* (tracks: 1, 3, 4, 7, 11)
    Harp – Katie Kirkpatrick (tracks: 1, 3, 4, 7, 11)
    Oboe – Chris Bleth (tracks: 1, 3, 4, 7, 11), Earle Dumler* (tracks: 1, 3, 4, 7, 11)
    Percussion – Bob Zimmitti (tracks: 1, 3, 4, 7, 11)
    Percussion [Additional] – David Garibaldi (tracks: 2)
    Tenor Saxophone – Michael Brecker
    Trombone – Alan Kaplan (tracks: 1, 3, 4, 7, 11)
    Trumpet – Walt Fowler (tracks: 1, 3, 4, 7, 11)
    Viola – Alexis Carreon (tracks: 1, 3, 4, 7, 11), Brian Dembow (tracks: 1, 3, 4, 7, 11), Ken Burward-Hoy* (tracks: 1, 3, 4, 7, 11), Margot Maclaine (tracks: 1, 3, 4, 7, 11)
    Violin – Karen Jones (2) (tracks: 1, 3, 4, 7, 11), Kathy Lenski* (tracks: 1, 3, 4, 7, 11), Ken Yerke* (tracks: 1, 3, 4, 7, 11), Liane Mautner (tracks: 1, 3, 4, 7, 11), Margaret Wooten (tracks: 1, 3, 4, 7, 11), Mario De Leon* (tracks: 1, 3, 4, 7, 11), Ralph Morrison (tracks: 1, 3, 4, 7, 11), Sheryl Staples (tracks: 1, 3, 4, 7, 11)
    Orchestrated By – Tony Williams* (tracks: 1), John Van Tongeren (tracks: 3, 7, 11), Stanley Clarke (tracks: 4)
    Producer – Tony Williams*

Various Artists - 1990 "Jazz Inspiration" - Festival International Jazz Montreal

 Personnel - Track listing:

01    Jean-Luc Ponty–    A Journey's End    4:24
02    Larry Carlton–    All In Good Time    8:39
03    Arthur Blythe–    Autumn In New York (Part 2)    8:09
04    The Zawinul Syndicate–    Little Rootie Tootie    4:45
05    Michel Camilo–    Island Stomp    5:18
06    The Dirty Dozen Brass Band–    Oop Pop A Dah    3:54
07    Tony Bennett–    Don't Get Around Much Anymore    2:01
08    Jack DeJohnette–    John McKee    8:12
09    Bob Berg–    In The Shadows    7:20
10    Herbie Hancock–    Perfect Machine    6:35
11    Al Di Meola–    Flight Over Rio    7:10
12    Milton Nascimento–    Don Quixote    6:18

Vinnie Colaiuta - 1994 "Vinnie Colaiuta"

Long-revered session drummer Vinnie Colaiuta jets to fusion's version of The Twilight Zone on his Stretch Records debut, a multi-influential, hardcore player's fiesta rife with moody effects, monster expressions by all his high-powered pals, and decadent experimentation. So, is that good or bad? Depends on your perspective. From a purely artistic point of view, if your listening palette can handle rambling but iron-fisted nuclear power and intrusive samples, then it's a fantastic look into another realm. If organization and focused craft is an issue, if melody is king, it will drive you insane while still provoking you. To focus on the positive aspects: Colaiuta's amazing as an all-around percussionist, serving up a hip-hop, blues atmospheres, even a wailing dance cut ("Momoska"). The guest list, from John Patitucci to Herbie Hancock to Sting, contributes ear-popping extravagance. Michael Landau strokes his strings like an alien comet from Krypton. And the leader even shows a softer side ("Darlene's Song"). Overall, intriguing, though more fun for the musicians involved than for the listener.

One of the best drummers of all time, Vinnie's compositions and playing on this CD are outstanding. It's a drummer led CD, but all the players here shine. I would have enjoyed this CD more if there was a long Vinnie solo, but he does no dominate the performances.

Vinnie has always been an inspiration to me, so I decided to buy his album. It was great! He has some really wacked out fusion! Buy this!! Especially if you're a fan of Vinnie or just Jazz Fusion!!

I bought this CD waaay back when it was released and studied it intently as a drummer/musician. What I came away with was a new sense of how time can be applied to music. Vinnie, is the only cat that I have heard that can play behind, ahead or right on top of the beat with metronomic precision while still making the groove *feel* good. This is a monumental achievement and I think one of the most important things to consider while listening. There are alot of very subtle things going on within this album. As a drummer, I will say that you may not be able to fully grasp some of them unless you have put in some serious hours with a metronome. But you'll feel it and be bobbing your head or tapping your foot just the same. Achieving machine like alignment with a metronome is only the 1st step. You gotta then figure out how to make it feel good and that ain't easy...Vinnie has done it.

Of course, Vinnie has incredible chops and an inhuman command of odd time signatures and you can hear just how comfortable and relaxed he is with these. The word "finesse" comes to mind.

I admire that Vinnie created an album of excellent music with some amazing drumming instead of another Super Chops-Volume 3. It shows his maturity as a composer and overall musician. The *music* on the this record is really good and enjoyable to listen to. Those reviews that say was is holding back are correct. And thank the heavens he did.

P.S.The recording and production/mixing/mastering are also very high quality and still hold up over 15 years later. The CD is a good reference point if you are an audio engineer-

Vinnie Colaiuta's self-titled album was recommended to me by a friend who was a mutual Frank Zappa zealot - of course, that's where I heard Colaiuta's work originally. Upon first listen, I was quite apathetic to the majority of the album; however, my disinterest quickly subsided after subsequent listens. It's one of those albums that grows on you, like many of the late Frank Zappa's - whose influence is apparent on this album. Additionally, this album features an array of guest performers, including some of whom Vinnie Colaitua has played with before, including: Sting, Chick Corea, John Patitucci, Herbie Hancock et al. A well-constructed and highly recommended album!

Track listing

1     I'm Tweeked / Attack Of The 20lb Pizza     6:22
2     Private Earthquake : Error 7     7:23
3     Chauncey     9:39
4     John's Blues     5:25
5     Slink     5:57
6     Darlene's Song     5:41
7     Momoska (Dub Mix)     8:04
8     Bruce Lee     6:01
9     If One Was One     3:26

Personnel:

    Drums, Keyboards, Percussion, Programmed By, Liner Notes – Vinnie Colaiuta
    Acoustic Bass – John Patitucci (tracks: 6)
    Bass – Neil Stubenhaus (tracks: 1, 8, 9), Pino Palladino (tracks: 2), Sal Monilla (tracks: 7), Sting (tracks: 3), Tim Landers (tracks: 5)
    Guitar – Dominic Miller (tracks: 3, 4, 6), Michael Landau (tracks: 1, 8, 9), Mike Miller (7) (tracks: 4-6)
    Organ – David Sancious (tracks: 2)
    Percussion – Bert Karl (tracks: 7)
    Piano – Chick Corea (tracks: 6)
    Piano, Soloist – Herbie Hancock (tracks: 7)
    Synthesizer, Electric Piano – David Goldblatt (tracks: 4, 5)
    Tenor Saxophone – Steve Tavaglione (tracks: 2 to 7)
    Trombone – Ron Moss (tracks: 8)
    Trumpet, Flugelhorn – Jeff Beal (tracks: 4, 6)

Sonny Rollins - 1964 [1995] "Sonny Rollins & Co. 1964"

This CD from the Bluebird reissue series fills a lot of gaps in Sonny Rollins' discography. The 13 selections are taken from six different sessions from 1964. The personnel changes from date to date, with either Ron Carter or Bob Cranshaw on bass and Roy McCurdy or Mickey Roker on drums, along with pianist Herbie Hancock on five songs and guitarist Jim Hall on three others. Some of the music comprises alternate takes, and in contrast to a rambling 16-minute version of "Now's the Time," a few of the briefer songs (seven are under four minutes) shut down prematurely. However, the great tenor's improvisations are consistently fascinating, as he reconciles his avant-garde flights to the standards he is performing. "Autumn Nocturne" is a high point.

It took repeated listenings, but I have fallen for this album. The energy and wit Rollins puts into these titles is addicting. Some bounce, some soar, some pop, and others just saunter down the street. Yes, on the Sonny side. There are some lengthy adventures (title 3, Nows The Time, is over 15 minutes) as well as some hopping tunes like Night And Day (3:19), which is as good as anything on Saxophone Colossus. In alternative moods, Sonny can make the wistful blues come through an open window, like the gentle My Ship and Autumn Nocturne.

It took repeated listenings, but I have fallen for this album. The energy and wit Rollins puts into these titles is addicting. Some bounce, some soar, some pop, and others just saunter down the street. Yes, on the Sonny side. There are some lengthy adventures (title 3, Nows The Time, is over 15 minutes) as well as some hopping tunes like Night And Day (3:19), which is as good as anything on Saxophone Colossus. In alternative moods, Sonny can make the wistful blues come through an open window, like the gentle My Ship and Autumn Nocturne.

It's really hard to go past the first track Django. The most sensitive, beautiful, painful, emotional playing ever by any instrumentalist alive or dead... The songs tears me each time I listen to it...

The whole album is swinging, loose and sensitive... I'd say forget everything and listen to Django again..

If you are a Sonny Rollins listener, this one is definitely worth your time, time and time again.

Track listing:

1     Django (Take 8)     5:25
2     Afternoon In Paris (Take 12)     3:02
3     Now's The Time (Take 3)     15:54
4     Four (Alternate Take)     7:53
5     Blue 'N' Boogie     5:31
6     Night And Day     3:18
7     Three Little Words     2:15
8     My Ship     4:12
9     Love Letters     3:26
10     Long Ago And Far Away     2:47
11     Winter Wonderland     5:17
12     When You Wish Upon A Star     3:16
13     Autumn Nocturne     3:01

Personnel:

Sonny Rollins - tenor saxophone
Herbie Hancock - piano
Jim Hall - guitar
Ron Carter, Bob Cranshaw - bass
Roy McCurdy, Mickey Roker - drums

Herbie Hancock - 1979 [1986] "The Best Of Herbie Hancock"

Herbie Hancock is One Of The Baddest Musicians Ever! His Sound&Groove Here is Tight.He Can Play So Many Different Musicial Styles it will Drive you Crazy.He Gets Funky Here,Jazz,Pop,Soulful So Many Elements From this Genius.Watermelon Man&Chameleon are Timeless Songs.Very Essential Collection.

In the second half of the Seventies, Herbie Hancock put most of his energy into advancing the state of jazz/funk in the world. Initially (i.e., Headhunters), Hancock’s exploration of funk led to one of the more exciting musical adventures in modern music. Over time, however, the experiment began to feel formulaic as Hancock moved his experiment from the laboratory to the dance floor.

This compilation provides a brief summary of a very fertile period that included several crossover hits, all of which are included here. You’ll find the insidiously funky “Chameleon” from Headhunters, the lovely jazz/funk hybrid of “I Thought It Was You” from Sunlight, the epic “Hang Up Your Hang Ups” from Man-Child and the indestructible “Doin’ It” from Secrets. Also included here are two tracks from Hancock’s most recent effort, Feets Don’t Fail Me Now: “Tell Everybody” (here presented in its disco mix version) and “Ready Or Not” (replaced by “You Bet Your Love” in the UK, where it was a Top 20 hit).

FDFMN found Hancock shifting toward disco music, which has not endeared it to music critics, although there’s little question that Hancock elevates the medium even if the sum result seemed like slumming to some. Although Hancock did release a few more disco albums into the new decade, their achievements are superseded by what’s here. When this compilation was released on CD in the 80s, digital technology was perceived as its own value-add, and so Columbia simply re-issued it with the same six tracks. The decision not to expand on this in the last 25 years speaks to a cooling interest in Hancock’s funk phase. The Best of Herbie Hancock remains a good, succinct entrypoint into one of Hancock’s most creative (if least understood) periods.

Track listing:

1. Doin’ It (Remix) (Melvin Ragin/Ray Parker Jr.) (6:43)
2. I Thought It Was You (Herbie Hancock/Jeffrey Cohen/Melvin Ragin) (8:55)
3. Chameleon (Paul Jackson/Harvey Mason/Bennie Maupin/Herbie Hancock) (7:38)
4. Hang Up Your Hang Ups (Herbie Hancock/Melvin Ragin/Paul Jackson) (7:27)
5. Ready Or Not (Ray Parker Jr./Jeffrey Cohen) (6:30)
6. Tell Everybody (Disco Version) (Hancock/David Rubinson/Jeffrey Cohen/Bruce Good) (7:48)

Personnel:

Herbie Hancock with Art Baldacci (background vocals), Leon “Ndugu” Chancler (drums on track 2), Michael Clark (drums on track 4), Fred Dobbs (background vocals), Coke Escovedo (timbales on track 5), Sheila Escovedo (percussion, timblaes, congas on tracks 5 & 6), James Gadson (drums, backround vocals on tracks 1 & 6), Paul Jackson (bass on tracks 3 & 4), Don Kerr (background vocals), Chris Mancini (background vocals), Harvey Mason (drums on track 3), Bennie Maupin (saxes, flute, bass clarinet on tracks 3 & 4), Byron Miller (bass on tracks 2), Kenneth Nash (percussion), Ray Obiedo (guitar on track 6), Ray Parker Jr., (guitar, drums, background vocals on tracks 1, 2 & 5), Raul Rekow (congas on track 2), Bill Summers (percussion on tracks 3 & 4), The Waters: Oren, Maxine, Julia and Luther (vocals, background vocals on tracks 5 & 6), Eddie Watkins (bass on track 6), Wah Wah Watson (guitar,  bass, voice bag vocals on tracks 1, 2 & 4). Produced by David Rubinson & Friends, Inc. and Herbie Hancock; associate producers: Wah Wah Watson (track 1), Jeffrey Cohen (tracks 5 & 6); engineered by Fred Catero, David Rubinson, Michael Fusaro (track 1), Don Miley (track 6), Tim Rivers (track 6), Jeremy Zatkin (track 3).

Wes Montgomery - 1968 [1988] "Down Here on the Ground"

Down Here on the Ground is an album by jazz guitarist Wes Montgomery that was released in 1968. It reached number one on the Billboard Jazz album chart and number 4 on the R&B chart. It also reached number 38 on the Billboard 200. Released just a month before Wes died, this 1968 LP was one of only two that the massively influential jazz guitarist landed in the pop Top 40.

Wes Montgomery acceded to the whims of producer Creed Taylor for this, one of the very first CTI productions that would, over the next decade, popularize jazz with string backdrops or rhythm & blues beats. Much to either the delight or chagrin of urban or traditional jazz fans, the music changed, and Montgomery was in the middle, though his delightful playing was essentially unchanged. On the plus side, the legendary guitarist was allowed to collaborate with great musicians like bassist Ron Carter, pianist Herbie Hancock, flutist Hubert Laws, and percussionist Ray Barretto. While the small orchestral trappings never dominate this session, the seeds for a more grandiose style of music had been planted with the release of this date in 1968.

The arrangements of Don Sebesky are for the most part pretty, unobtrusive, and pleasant but lack groove and soul in the main. "Wind Song" is exactly as its title suggests, a light funk loaded up with chords and woodwinds. The melody of "Georgia on My Mind" is barely stated although the strings are subtle; "I Say a Little Prayer" is a sappy tune made into Muzak; oboe and cello bring "When I Look Into Your Eyes" into an ultimately maudlin arena; and Lalo Schifrin's theme from "The Fox" has the same instrumental complement, more film noir, and parallel to Rahsaan Roland Kirk's "Theme to the Eulipions" if you compare them side by side. The best material is the light funk of Montgomery's original "Up & at It" in a small ensemble, nice enough, and the roots of so-called "smooth" jazz. The bright samba "Know It All" best showcases the guitarist and Hancock's luminous piano, reflecting the classic "No More Blues," while "Goin' on to Detroit" is a typical Montgomery-styled, cool road song featuring Laws.

In may real and important ways, this is the beginning of the end for Montgomery as a jazz artist, and the inception of bachelor pad lounge/mood music that only lasted for a brief time. This recording, with no extra material, alternate takes, or bonus tracks, cannot compare to Charlie Parker with strings. It does fall in that category of recordings where the musicians chose to produce, rather than create their personal brand of jazz, and is at the very least an historical footnote.

This is an example of superb, cool guitar jazz! Wes Montgomery was introduced to me by a family friend many years ago,(back in the late 60s). By this gift she introduced me to a great jazz guitarist!: Wes Montgomery. This is one of the greatest gifts, given to me on vinyl, long playing record. I have this recording, still in playable condition as well as a cd copy purchased from the manufacturer. It is indeed a treasure in my musical collection!

The song "Down Here on the Ground" is Montgomery's version of the theme song from the movie Cool Hand Luke by Lalo Schifrin.

Track listing

    "Wind Song" (Herb Alpert, Nick Ceroli, Neil Larsen, John Pisano, Paul Francis Webster) – 2:22
    "Georgia on My Mind" (Hoagy Carmichael, Stuart Gorrell) – 2:46
    "The Other Man's Grass Is Always Greener" (Tony Hatch, Jackie Trent) – 2:36
    "Down Here on the Ground" (Lalo Schifrin, Gale Garnett) – 3:42
    "Up and at It" (Wes Montgomery) – 4:15
    "Goin' on to Detroit" (Montgomery) – 3:38
    "I Say a Little Prayer for You" (Burt Bacharach, Hal David) – 3:18
    "When I Look in Your Eyes" (Leslie Bricusse) – 3:11
    "Know It All (Quem Diz Que Sabe)" (João Donato, Paulo Valle) – 2:59
    "The Fox" (Lalo Schifrin) – 2:56

Personnel

    Wes Montgomery – guitar
    Herbie Hancock – piano
    Ron Carter – bass
    Grady Tate – drums
    Ray Barretto – percussion
    Hubert Laws – flute, oboe
    George Marge – flute, oboe
    Romeo Penque – flute, oboe
    Bobby Rosengarden – percussion
    Mike Mainieri – vibraphone
    Gene Orloff – violin
    Raoul Poliakin – violin
    George Ricci – cello
    Emanuel Vardi – viola

Miles Davis - 1972 [2000] "On the Corner"

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.

Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet. Various takes from the sessions were then spliced together using the tape editing techniques of producer Teo Macero. The album's packaging did not credit any musicians, an attempt to make the instruments less discernible to critics. Its artwork features Corky McCoy's cartoon designs of urban African-American characters.

On the Corner was in part an effort by Davis to reach a younger African American audience who had left jazz for funk and rock and roll. Instead, it became one of his worst-selling albums and was scorned by jazz critics at the time of its release. It would be Davis's last studio album of the 1970s conceived as a complete work; subsequently, he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

The critical standing of On the Corner has improved dramatically with the passage of time. Many outside the jazz community later called it an innovative musical statement and forerunner to subsequent funk, jazz, post-punk, electronica, and hip hop. In 2007, On the Corner was reissued as part of the 6-disc box set The Complete On the Corner Sessions, joining previous multi-disc Davis reissues.

Following his turn to fusion in the late 1960s and the release of rock- and funk-influenced albums such as Bitches Brew (1970) and Jack Johnson (1971), Miles Davis received substantial criticism from the jazz community. Critics accused him of abandoning his talents and pandering to commercial trends, though his recent albums had been commercially unsuccessful by his standards. Other jazz contemporaries, such as Herbie Hancock, Cecil Taylor, and Gil Evans defended Davis; the latter stated that "jazz has always used the rhythm of the time, whatever people danced to". In early 1972, Davis began conceiving On the Corner as an attempt to reconnect with the young African-American audience which had largely forsaken jazz for the groove-based music of Sly and the Family Stone and James Brown. In an interview with Melody Maker, Davis stated that

    "I don't care who buys the record so long as they get to the Black people so I will be remembered when I die. I'm not playing for any white people, man. I wanna hear a black guy say 'Yeah, I dig Miles Davis.'"

On the Corner was partly inspired by the musical concepts of Karlheinz Stockhausen.

Also cited as an influence by Davis was the work of experimental composer Karlheinz Stockhausen, in particular his forays into electronic music and tape manipulation. Davis was first introduced to Stockhausen's work in 1972 by collaborator Paul Buckmaster, and the trumpeter reportedly kept a cassette recording of the 1966–67 Hymnen composition in his Lamborghini sports car. Some concepts from Stockhausen that appealed to Davis included the electronic sound processing found in Hymnen and the 1966 piece Telemusik, and the development of musical structures by expanding and minimizing processes based on preconceived principles—as featured in Plus-Minus and other Stockhausen works from the 1960s and early 1970s. Davis began to apply these ideas to his music by adding and taking away instrumentalists and other aural elements throughout a recording to create a progressively changing soundscape. Speaking about Stockhausen's influence, Davis later wrote in his autobiography:

    I had always written in a circular way and through Stockhausen I could see that I didn't want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition.

The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the "harmolodics" of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described On the Corner with the formula "Stockhausen plus funk plus Ornette Coleman." Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz performance, and rhythm-based dance music.

Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the story has been broken off in the middle -- deep street music melding with a secret language exchanged by the band and those who can actually hear it as music. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers -- three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It's a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles' strange lyricism returns in "Black Satin." Though a tabla kicks the tune off, there's a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier -- except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street -- though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. "One and One" begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of "Helen Butte/Mr. Freedom X," where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks.

 Track listing:

1. On The Corner, New York Girl, Thinkin' One Thing And Doin' Another, Vote For Miles 19:59
2. Black Satin     5:20
3. One And One     6:09
4. Helen Butte - Mr. Freedom X    23:18

Personnel - Recording dates:

June 1, 1972
Miles Davis (tpt); Dave Liebman (ss); John McLaughlin (el-g); Chick Corea (el-p); Herbie Hancock (el-p); Harold I. Williams (org, synth); Collin Walcott (el-sitar); Michael Henderson (el-b); Jack DeJohnette (d); Billy Hart (d);
Al Foster (d); Badal Roy (tabla)

June 6, 1972 - July 7, 1972
Miles Davis (tpt); Carlos Garnett (ss on track 2, ts on track 4); Bennie Maupin (bcl on track 2); David Creamer (el-g on tracks 2, 3, 4); Herbie Hancock (el-p, synth); Chick Corea (el-p); Harold I. Williams (org, synth); Collin Walcott (el-sitar on tracks 3, 4); Khalil Balakrishna (el-sitar on track 2); Michael Henderson (el-b); Jack DeJohnette (d); Billy Hart (d); Al Foster (d); Badal Roy (tabla, handclaps)

Herbie Hancock - 1964 [1999] "Empyrean Isles"

Empyrean Isles is the fourth album by American jazz pianist Herbie Hancock, recorded in 1964 for Blue Note Records. The album was recorded at Van Gelder Studio, Englewood Cliffs, New Jersey, on June 17, 1964. Pianist Hancock's quartet consisted of Freddie Hubbard on cornet, Ron Carter on bass, and Tony Williams on drums. The four compositions were written by Hancock.

My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams -- a trio just as young and adventurous as he was -- Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.

Even if you've never listened to "Empyrean Isles" before, you already know the track "Cantaloupe Island" off of this album, which together with its follow-up "Maiden Voyage", comprises the pinnacle of Hancock's acoustic 60s output. Listening to this set, it's almost hard to comprehend that it was recorded over fifty years ago, as it is still regularly being sampled and used in films, tv shows and commercials to this day, which is a testament to just how forward thinking this album was, and how fresh and contemporary it still sounds even today. An absolutely essential, core selection for every jazz fan's collection.

One of the great albums from the golden age of modern jazz and one of the key predecessors of post bop jazz. Empyrean Isles stuns in every way with it's variety covering hard bop (One Finger Snap), modal (Oliloqui Valley), soul (Cantaloupe Island), and free (The Egg) jazz. This is edge of your seat type stuff. Throughout the album, Herbie Hancock, Freddie Hubbard, Ron Carter, and Tony Williams stun us with astonishing inventive playing such as the shifting repetitive piano riffs of Hancock on The Egg, which are coupled by Tony Williams perfectly in sync playing, these only make up a part of The Egg which has an almost suite like structure where Hancock and Carter completely go off on their own, but not in a discordant fashion before returning to repetitive, syncopated theme with Williams. While Cantaloupe Island has Hancock repeating a single piano riff while everyone else improvises around him in true soul jazz fashion. One of Hancock's finest Blue Note era contributions, Empyrean Isles is essential.

The 60s was an exciting, inventive period in American Jazz music. And, when one looks at the line-up on this album you realize the musical strength necessary to hold up the visionary leanings of Hancock. A powerhouse of organic Jazz by the fables of the genre. 'Empyrean Isles' is a beautiful instance of the emergence of modal jazz. Those in the know will always tell you, this release is essential. Foundational. And pairs magically with 'Maiden Voyage.'

Original Album Liner Notes:
This is a quartet album for trumpet and rhythm section. In this circumstance, a problem was created for the composer-arranger, in that the lack of another instrument supporting the lower, richer register, such as a tenor saxophone, might result in a shallow sound.

With this problem in mind, Herbie Hancock, who composed and arranged all the tunes, wrote them to sound more like improvisations than ensemble melodies, so that the warmth and fullness of a supporting instrument would not be missed. Free sketches were written in such a way that each instrument is allowed great flexibility of interpretation. In many cases, no melodic line was laid out over the chords nor atonal clusters written, so that the trumpeter could supply any melody he wished.

“The Egg,” the most exemplary composition in the album, has only a short trumpet melody written out over a repeating figure in the rhythm section. This sets the mood and builds up tension; after that, the musicians’ ears do the rest!

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Track listing:

1.    "One Finger Snap"    7:20
2.    "Oliloqui Valley"    8:28
3.    "Cantaloupe Island"    5:32
4.    "The Egg"    14:00
Bonus tracks on 1999 CD release
5.    "One Finger Snap" (alternate take)    7:37
6.    "Oliloqui Valley" (alternate take)    10:47

Personnel:

    Herbie Hancock – piano
    Freddie Hubbard – cornet
    Ron Carter – bass
    Tony Williams – drums

Randy Brecker with Michael Brecker - 2005 "Some Skunk Funk" (Live)

Some Skunk Funk is an album, recorded live in 2003, by Randy Brecker and Michael Brecker. In 2006 it won Grammy Awards for Best Jazz Instrumental Solo (Michael Brecker) and Best Large Jazz Ensemble Album.

The 2003 performance documented on Some Skunk Funk may be credited to trumpeter Randy Brecker, but his brother, saxophonist Michael, joins in for a Brecker Brothers reunion with the added oomph of Germany's WDR Big Band. And if ever a band's repertoire was custom-made to be retrofitted with a larger horn section, it's that of the Brecker Brothers. Some of the material comes from Randy Brecker's solo career: "Shanghigh" and "Let It Go" from 34th N Lex (ESC, 2003), "Wayne Out" from Hanging in the City (ESC, 2001), and a new tune, "Let It Go." But what's remarkable is how comfortably these tunes fit in with Brecker Brothers material on Brecker Bros. (Arista, 1975) through Out of the Loop (GRP, 1994).

The Brecker Brothers emerged as a distinct alternative to the muscular athletics of other fusion bands during the 1970s. As virtuosic as any such group, they played a swaggering downtown New York funk that differentiated them from the higher-octane Mahavishnu Orchestra, the progressive rock leanings of Return to Forever, and the increasingly world music-driven Weather Report. Even the band closest to the Breckers' brand of groove-driven music—Herbie Hancock's Headhunters—occupied a different space.

Maybe it's because the brothers didn't feel it necessary to desert the more jazz-centric harmonies they'd learned playing with artists like Horace Silver. As electric and funky as the Brecker Brothers have always been, their jazz aesthetic has also distinguished them from peer fusion bands, making their best material truly timeless. Three of the ten tunes on this album—the fiery title track, the greasier "Sponge" and the balladic "Levitate"—are taken from their 1975 debut, and they sound as relevant today as they did then.

Credit, of course, goes to Vince Mendoza—who arranged and conducted the tracks for this expanded Brecker Brothers Big Band. The Breckers' writing has always been characterized by rich orchestration—sometimes feeling much bigger than their small ensemble size would suggest. Mendoza's unique voice takes Michael's viscerally funky "Strap-hangin,'" for example, and layers more colors where appropriate, still twisting the arrangement into a new shape that feels like a logical extension, rather than an extensive rewrite.

But with a crack core group featuring keyboardist Jim Beard, bassist Will Lee and drummer Peter Erskine, Mendoza also lets the ensemble collapse into smaller, more interactive units where appropriate during the solo sections. Solos from both brothers build on their own. Mendoza reintroduces the horn section at just the right time, pushing them to even greater extremes. And when the two brothers trade off during the song's outro, they remind us of just how powerful shared genetics can be.

The Brecker Brothers join forces for a set of mostly high-powered originals at a concert in 2003. Their post-bop music is generally funky (although "Freefall" is an uptempo cooker) and sometimes a bit bombastic yet is never predictable. Trumpeter Randy Brecker and tenor saxophonist Michael Brecker take many fiery solos while also sounding warm on ballads. They are supported by a particularly strong rhythm section. In addition, the WDR Big Band contributes 14 horns and a guitar to accompany the core group. The individual songs may not be overly memorable (although "Some Skunk Funk" has been getting covered by other musicians) but the Breckers' solos are full of exciting moments.

The rare blood disorder that has kept Michael Brecker on the sidelines for nearly two years makes Some Skunk Funk a bittersweet experience.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=michael+brecker

https://jazz-rock-fusion-guitar.blogspot.com/search?q=randy+brecker

Track listing:

All tracks written by Randy Brecker except where noted.

01.    "Some Skunk Funk"    5.51
02.    "Sponge"    4.05
03.    "Shanghigh"    6.40
04.    "Wayne Out"    4:56
05.    "And Then She Wept"    6:07
06.    "Strap Hangin'" (Michael Brecker)    8:18
07.    "Let It Go"    8:02
08.    "Freefall"    6:17
09.    "Levitate"    4:58
10.    "Song for Barry" (Michael Brecker)    10:32

Personnel:

    Michael Brecker – tenor saxophone
    Randy Brecker – trumpet
    Vince Mendoza – conductor, arranger
    Will Lee – bass guitar
    Jim Beard – piano, synthesizer
    Peter Erskine – drums
    Marcio Doctor – percussion
    Koji Paul Shigihara – guitar

    WDR Big Band:
    Rob Bruynen – trumpet
    Andy Haderer – trumpet
    Rick Kiefer – trumpet
    John Marshall – trumpet
    Klaus Osterloh – trumpet
    David Horler – trombone
    Bernt Laukamp – trombone
    Ludwig Nuss – trombone
    Mattis Cederberg – bass trombone
    Harold Rosenstein – alto saxophone
    Heiner Wiberny – alto saxophone
    Olivier Peters – tenor saxophone
    Rolf Römer – tenor saxophone
    Jens Neufang – baritone saxophone

George Benson Quartet - 1967 [2001] "George Benson Cookbook"

The Hard Bop Homepage says of the album, "This is basically the George Benson quartet, with Smith and Cuber, but trombonist Bennie Green and percussionist Pucho were added on some tracks, giving them a bop flavor that delighted dedicated jazz fans and critics. Benson's quartet was modeled after Jack McDuff's--with baritone saxophonist Ronnie Cuber, organist Lonnie Smith, a powerhouse player who deserved more attention than he ever received, and Jimmy Lovelace or Marion Booker on drums. The sonorous tone of Cuber's baritone gives the quartet a richer, more dense texture than that obtained by McDuff, who used a tenor, but the overall sound is the same. At twenty-five, Ronnie Cuber was an alumnus of Marshall Brown's celebrated Newport Youth Band; he had spent the previous two years with Maynard Ferguson's very loud and brassy orchestra, which may account for his aggressive style, but Cuber's approach also emphasized rhythm, and that was precisely the ingredient called for by a "soul jazz" group of this kind."

The second of Benson's John Hammond-produced albums is far and away the superior of the pair, mixing down-to-basics, straight-ahead jazz with soul-drenched grooving. Suddenly Benson's backup group - same as that of Uptown, with Benny Green added on trombone now and then - has found its bearings and apropos to the title, they can cook, even sizzle. The effect upon Benson's own playing is striking; with something to react against, his sheer ability to swing advances into the realm of awesome. The rapid-fire work on "The Cooker" and "Ready And Able" will make you gasp. Only one vocal here, an exuberant "All Of Me." [In mid-2001 Columbia/Legacy reissued this 1966 classic, along with It's Uptown, recorded only several months earlier. Four bonus tracks include a (previously unreleased) doo wop vocal rendition of Little Willie John's "Let Them Talk" and two Benson originals that are pure rock-n-roll: "The Man from Toledo" and "Goodnight." Two of the bonus cuts are preceded by control-booth comments from the session's legendary producer, John Hammond.]

For those fans, listening to George Benson after 1966 is like the obligatory New Years Drink from your employer. Damn, is guessing who’s been under the sheets with whom the only game around here?. Ok, one might answer the demure jazz buff, next time bring your turntable, light things up a bit, you crank. And the fifty-something who grew up on a diet of Average White Band and Santana might add, hey pal, George Benson did record some awesome stuff after ’66.

Sure he did. Except most of it is drowned in an overstuffed sound soup of strings, harp, flute, synth and, yuk, strings from the synth. A&M and CTI albums like The Other Side Of Abbey Road (1970) and White Rabbit (1972) are, notwithstanding the heavyweight line-ups of, among others, Herbie Hancock and Ron Carter, technically exceptional elevator muzak affairs, no less. If it wasn’t for the greasy, steamroller beat of drummer Idris Muhammad, 1968’s The Shape Of Things To Come would’ve been nothing more than schlock for the building constructors working on the streets where you live. Then again, few are prepared for My Latin Brother from Bad Benson (1974), a smoking, exotic and sizzling Latin tune with a quintet line up from the matured guitar player. And the highlights of Benson’s big break as a smooth jazz star in 1976, collected on Breezin’, are, despite their schmaltzy coating of synth, pretty darn good courtesy of the experienced, first-class session players – take So This Is Love. The only thing it needs is the voice of Barry White. Next thing you know one of sixteen vestal virgins appears from out of the blue, ready to sign up for Procol Harum’s harem.

As early as early 1968, when Benson was still a soul jazz guitarist, there were hints of radio-friendly formatting. His album Giblet Gravy has both the low-down dirty blues, injected with typical lightning-bolt fingering, of Groovin’ as the saccharine take of the ultimate crowd pleaser, Bobby Hebb’s Sunny. In fact, he’s singing an r&b-type version of All Of Me on Cookbook that could’ve done well on the jukebox market. George Benson has always been the kind of performer that succeeds in recording bubblegum ditties in the afternoon and play steamin’ r&b at night. Organist Greg Lewis told Flophouse that he regularly tried to sit in as a woodshedding Hammond B3 player in the early nineties in a Manhattan club, sometimes succeeding to replace one of the accomplished organists for a tune or so. Occasionally, Benson, at the height of his fame, would drive his limousine up the sidewalk, park, get in and join the band on stage. Nobody cut George.

Cocksure at heart. Benson was like that when he first hit the scene as a sideman with organist Brother Jack McDuff in late 1963. By no means arrogant, instead playing with a joy of discovery that is contagious. In McDuff’s band, the youngster, who sang professionally as a kid, still played the kind of r&b guitar style from his teenage years, although the influence of his heroes Charlie Christian and Grant Green (interpreted in fast forward motion) were readily discernible. Displaying quicksilver runs, a biting attack, torrents of foul-mouthed but impeccably placed blues phrases, Benson heated up both studio and stage to temperatures uncommon even in New Jersey or New York City summer season.

After a string of albums with McDuff and his debut album on Prestige, The New Boss Guitar Of George Benson, the guitarist had signed to Columbia, releasing It’s Uptown in 1966, with one of those grandiose subtitles I’m sure musicians weren’t too fond of, The Most Exciting New Jazz Guitarist On The Scene Today. It was a thoroughly exciting group that Benson had assembled and baritone saxophonist Ronnie Cuber, organist Lonnie Smith and drummer Jimmy Lovelace (alternating with Marion Booker) also gathered for the Cookbook session, still more tight-knit as a unit, delivering a hot barbecue of spicy ribs and saucy side dishes. There’s the opening tune, The Cooker, a strike of stop-time thunder, evidence of the group’s effortless breakneck speed swing and Benson’s fast-fingered blues wizardry. Perhaps already the highlight of the album, which yet doesn’t take anything away from the remainder of the repertory, including other Benson originals like the gentle Bossa Rocka and Big Fat Lady, a perky r&b tune that could easily pass for the background to Jimmy Hughes on Fame or Hank Ballard on King.

Benson gets his kicks with licks on Benson’s Rider, a boogaloo-ish rhythm perfectly suitable for the deeply groovy Lonnie Smith. Benson wrote the The Borgia Stick for a mafia television series, a lush greenery for the mutually responsive soul jazz cultivators, who are effectively aroused by sections of tension and release. The nifty Jimmy Smith tune Ready And Able presents the burgeoning talent of baritone saxophonist Ronnie Cuber to full effect. He’s like the cookie monster that’s gotten a shot of rhythm&blues, soulfully eating up the breaks off the I Got Rhythm changes.

The other horn player on the date, Benny Green, happened to walk into his friend George Benson on the street prior to Benson’s session. Benson invited Green over to the studio to join the proceedings. Such is the unique nature of jazz and its practitioners, that sheer coincidence may be turned into a musical advantage. Green’s uplifting, swinging style is an asset on Benny’s Back (which was written on the spot by Benson and refers to the fact that Green was also present on Benson’s first Columbia LP) and the swing-styled jam Jumpin’ With Symphony Sid, the longest track on an album that keeps warming the hearts of ‘early-Benson-fans’ around the globe.

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Track listing:

All tracks composed by George Benson; except where indicated

01.    "The Cooker"         4:18
02.    "Benny's Back"         4:10
03.    "Bossa Rocka"         4:20
04.    "All of Me"    Gerald Marks, Seymour Simons    2:08
05.    "Big Fat Lady"         4:40
06.    "Benson's Rider"         5:30
07.    "Ready and Able"    Jimmy Smith    3:32
08.    "The Borgia Stick"         3:05
09.    "Return of the Prodigal Son"    Harold Ousley    2:34
10.    "Jumpin' with Symphony Sid"    Lester Young    6:33

CD bonus tracks

11.    "The Man from Toledo"    2:08
12.    "Slow Scene"    3:11
13.    "Let Them Talk"    2:51
14.    "Goodnight"    2:21
Total length:    50:31

Personnel

    George Benson – guitar, vocals
    Ronnie Cuber – baritone saxophone
    Bennie Green – trombone
    Lonnie Smith – organ
    Albert Winston – bass
    Jimmy Lovelace – drums
    Marion Booker, Jr. – drums