Various Artist - 2005 Drum Nation Vol. 2

Not an album for the regular "foot tapper", Drum Nation is some very good progressive rock/jazz, with some incredible drumming, as well as guitar, keyboards and bass.

Tracklist / Personnel:

1 –Mike Portnoy, Andy West Meetings (From Album "Rama 1")
Bass – Andy WestDrums – Mike PortnoyGuitar – Mike KeneallyKeyboards – Jens JohanssonSynth – Jens Johansson 5:55
2 –Pat Mastelotto Toccata (From Album, "Encore, Legends And Paradox")
Bass – Wayne GardnerDrum – Pat MastelottoElectronic Drums – Pat MastelottoKeyboards – Trent GardnerLead Guitar – Peter BanksPercussion – Pat MastelottoRhythm Guitar – Peter BanksSynth – Matt Guillory 8:04
3 –Dennis Chambers With Niacin One Less Worry (From Album "Niacin Live Blood Sweat And Beers")
Bass – Billy SheehanDrums – Dennis ChambersKeyboards – John Novello 7:28
4 –Terry Bozzio & Billy Sheehan The Last Page (From Album "Nine Short Films")
Baritone Guitar – Billy SheehanBass – Billy SheehanDrums – Terry BozzioGuitar Synthesizer – Terry BozzioKeyboards – Terry BozzioLyrics By – Terry BozzioPercussion – Terry BozzioVocals – Terry Bozzio 8:25
5 –Clyde Stubblefield With Clinton Administration, The Cosmic Slop (From Album "One Nation Under A Re-Groove")
Bass – Melvin GibbsDrums – Clyde StubblefieldGuitar – Phil UpchurchKeyboards – Robert WalterPercussion – Chuck PradaSaxophone – SkerikTurntables – DJ Logic 4:57
6 –Virgil Donati, Derek Sherinian Space Martini (From Album "Planet X")
Bass – Tony FranklinDrums – Virgil DonatiGuitar – Brett GarsedKeyboards – Derek Sherinian 3:47
7 –Tim Alexander With Attention Deficit My Fellow Astronauts (From Album "The Idiot King")
Bass – Michael ManringDrums – Tim AlexanderGuitar – Alex Skolnick, Tim Alexander 4:04
8 –Keith Carlock With Oz Noy Steroids (From Album "Oz Live")
Bass – James GenusDrums – Keith CarlockGuitar – Oz Noy 4:52
9 –Rod Morgenstein With Andy West Herd Instinct (From Album "Rama 1")
Bass – Andy WestDrums – Rod MorgensteinGuitar – Mike Keneally 4:36
10 –Simon Phillips The Barbarian (From Album, "Encore, Legends And Paradox")
Bass – Robert BerryDrums – Simon PhillipsGuitar – Robert BerryKeyboards – Igor Khoroshev 4:40
11 –Josh Freese With Stripsearch Baby-Faced Assassin (From Album "Stripsearch")
Bass – Mike ElizondoDrums – Josh FreeseGuitar – Michael WardSaxophone – Jason Freese 9:54
12 –Anton Fig With Oz Noy Cissy Strut (From Album "Oz Live")
Bass – Will LeeDrums – Anton FigGuitar – Oz Noy 4:06
13 –Stanton Moore With Clinton Administration, The Family Affair (From Album "Take You Higher")
Alto Saxophone – Cochemea "Cheme" Gastelum*Bass – Kai EckhardtBass Clarinet – Cochemea "Cheme" Gastelum*Drums – Stanton MooreEffects – Cochemea "Cheme" Gastelum*Flute – Cochemea "Cheme" Gastelum*Organ – Robert WalterPercussion – Chuck PradaPiano – Eric LevyRhythm Guitar – Charlie Hitchcock, Fareed Haque, Michael Lee FirkinsSlide Guitar – Michael Lee FirkinsSoloist – Michael Lee Firkins 7:05

Various Artist - 2004 Drum Nation Vol. 1

When the people at Modern Drummer magazine conceived the idea of an album highlighting some of the most innovative drummers on the scene today, they probably didn't realize they would also be making a statement applicable to all instruments: that there are some people who are players of their instruments, and then there are musicians —artists who transcend the boundaries of their instrument, rise above the egotistical concerns of demonstrating just how good they are and ambitiously aim, instead, to create compelling musical statements. Modern Drummer Presents Drum Nation Volume One has its share of both, but, happily, the tendency leans towards artists whose interests lie beyond merely the potential of their chosen instrument.
Take Bill Bruford's reading of "Beelzebub," an interesting choice because it finds Bruford's recent all-acoustic Earthworks ensemble tackling the first track from his first solo album, Feels Good to Me ('78), a more electric fusion affair that included guitarist Allan Holdsworth. With his current group of pianist Steve Hamilton, woodwind multi-instrumentalist Tim Garland and acoustic bassist Mark Hodgson, Bruford proves that good material transcends context and instrumentation. While Bruford's mathematically-precise drumming still drives this complicated little piece, he has loosened up over the years. And Garland's bass clarinet and soprano saxophone bring a different complexion to the tune, making it every bit as relevant as the original.
Chad Wackerman uses his space to continue documenting his most recent band of Australians, including vibraphonist Daryl Pratt, bassist Leon Gaer and, in particular, young guitarist James Muller, who continues to be one of the most inventive players you've never heard. "The Spell" is a clever and more cerebral kind of fusion that should make listeners want to dash out to check out Scream ('00) and the more recent Legs Eleven ('03), both featuring this fine group.
Stanton Moore, of Galactic fame, continues to mine the wealth of New Orleans rhythms, this time augmenting his organ-guitar-bass-baritone quintet with a six-piece horn section to give "Sprung Monkey" an authentic New Orleans street vibe. Steve Smith, teamed with tabla master Zakir Hussain, delivers the eleven-minute opus "Mad Tea Time," which successfully traverses the boundary between East and West, climaxing with a thrilling series of trade-offs between drums and tablas. And British legend Simon Phillips delivers a pedal-to-the-metal piece of high octane fusion with "Manganese," featuring not only his fine drumming, but also guitarist Andy Timmons, a player we ought to be hearing more from.
While the rest of the tracks successfully demonstrate the innovative minds of its creators—most notably Terry Bozzio's "A Glimpse into a Deeply Disturbed Mind," which turns techno on its ear by having live drums trigger and work off sampled sounds instead of sampled sounds working off programmed drum rhythms—the album really does separate the men from the boys when it comes to true artists versus players. Still, Modern Drummer Presents Drum Nation Volume One is a captivating look into the instrument's potential, highlighting several artists who are certainly worthy of more than a second look.

Track Listing:

A Glimpse into a Deeply Disturbed Mind; Beelzebub; Mad Tea Time Part 1; Mad Tea Time Part 2; The Spell; Sprung Monkey; Manganese; Lagerborg; Faceless Pastiche; Shut Up and Play Yer Drums; Wandering Portland Maine; Pull Up My Sleeve

Personnel:

On "A Glimpse into a Deeply Disturbed Mind": Terry Bozzio (drums, keyboards, voice, reason, and Ableton "live" sequencing software)
On "Beelzebub": Bill Bruford's Earthworks: Bill Bruford (drums), Tim Garland (bass clarinet, soprano saxophone), Steve Hamilton (piano), Mark Hodgson (acoustic bass)
On "Mad Tea Time Parts 1 and 2": Steve Smith (drums), Zakir Hussain (tablas), George Brooks (tenor sax and tamboura), Fareed Haque (sitar guitar), Kai Eckhardt (bass)
On "The Spell": Chad Wackerman (drums), Daryl Pratt (vibes), James Muller (guitar), Leon Gaer (bass)
on "Sprung Monkey": Stanton Moore (drums), Robert Mercurio (bass), Jeff Raines (guitar), Rich Vogel (Hammond B-3), Ben Ellman (baritone sax), with the L'il Rascals Brass Band Horns: Dewen Scott (trumpet), Jeffery Hills (tuba), Glen David Andrews (trombone), Corey Henry (trombone), Mervin Campbell (trumpet), Vincent Broussard (saxophone)
On "Manganese": Simon Phillips (drums), Jeff Babko (keyboards), Jimmy Johnson (bass), Andy Timmons (guitar)
On "Lagerborg": Josh Freese (drums)
On "Faceless Pastiche": Rod Morgenstern (drums, percussion), Jordan Rudess (keyboards)
On "Shut Up and Play Yer Drums": Tim Alexander (drums, percussion), Brain (drums, percussion)
On "Wandering Portland Maine": Marco Minnemann (drums, percussion)
On "Pull Up My Sleeve": Stephen Perkins (drums), Brooks Wackerman (drums)

Herbie Hancock - 1974 [1998] "Thrust"

Thrust is a jazz-funk album by Herbie Hancock, released in September 6, 1974 on Columbia Records. It served as a follow-up to Hancock's album, Head Hunters (1973), and achieved similar commercial success, as the album reached as high as number 13 on the Billboard Hot 200 listing. The lineup for Thrust is the same as on Head Hunters, except Mike Clark replaced Harvey Mason on drums. This is Hancock's thirteenth album overall.
The composition "Actual Proof" was originally written for the film The Spook Who Sat By the Door, and Hancock has used it as a demonstration of his style of playing the Fender Rhodes piano.[3]
The composition "Butterfly" would subsequently be performed on the live album, Flood, and two more studio releases: Direct Step and Dis Is Da Drum. Butterfly is the opening track on Eddie Henderson's album Mahal (1978); the album features Hancock on keyboards

Track listing:

"Palm Grease" – 10:38
"Actual Proof" – 9:42
"Butterfly" (Hancock, Bennie Maupin) – 11:17
"Spank-A-Lee" (Hancock, Mike Clark, Paul Jackson) – 7:12

Personnel

Herbie Hancock – Fender Rhodes electric piano, Hohner D-6 Clavinet, ARP Odyssey, ARP Soloist, ARP 2600, ARP String Ensemble
Bennie Maupin – soprano and tenor saxophones, saxello, bass clarinet, alto flute
Paul Jackson – electric bass
Mike Clark – drums
Bill Summers - percussion

Jaco Pastorius - 1981 [2013] "Word of Mouth"

Word of Mouth was the second album by Jaco Pastorius, released in 1981 while the bassist was a member of Weather Report, and also the name of a big band group that Pastorius assembled and with whom he toured from 1981 to 1983. While his debut album showcased his eclectic and impressive skills on the electric bass, Word of Mouth focused more on his ability to compose and arrange for a larger band than was previously featured on his first album. The album still shows off Pastorius' skill, most notably in the solo opening to the Bach-written "Chromatic Fantasy" and the title track, "Word of Mouth," in which Pastorius' bass is drenched in fuzzy distortion. "Crisis" also features a fast bass pattern looping, which runs under the frantic soloing. Most of the rest of the album's bass is highly subdued and blends into the band's arrangement, allowing them to shine through. The song "John and Mary" is dedicated to Jaco's children from his first marriage to Tracy; he had two other children, twin sons Julius and Felix with his second wife, Ingrid.
The band's all-star cast included Herbie Hancock, Wayne Shorter, Peter Erskine, Jack DeJohnette, Michael Brecker, Don Alias and Toots Thielemans who is featured on harmonica on many of the songs. Early pressings of the album did not include a list of musicians, though later releases listed only the names of the performers in respective, unnamed groups (for example, the main band was the first block of names.) The reason that early pressings of the album had no personnel listed was because Epic/CBS disputed Pastorius' contract with Warner, and only agreed to the album being released if no other CBS artists on the album were credited - prompting Pastorius to dispense with the credits altogether.

Track listing

All tracks written by Jaco Pastorius except where noted.

"Crisis" – 5:21*
"Three Views of a Secret" – 6:05
"Liberty City" – 11:57
"Chromatic Fantasy" (Johann Sebastian Bach) – 3:01
"Blackbird" (Lennon–McCartney) – 2:48
"Word of Mouth" – 3:53**
"John and Mary" – 10:52

For the original LP, Cassette and CD release, "Crisis" was 5:21. However, for reasons that are unclear, the current MP3 downloads cut the first three seconds of the improvisation. The 1981 Warner Brothers promo disc has the 5:17 listing for "Crisis."

Personnel

Herbie Hancock: Keyboards, Synthesizers, Piano
Wayne Shorter, Michael Brecker, Tom Scott: Saxophone
Toots Thielemans: Harmonica
Chuck Findley: Trumpet
John Clark: French horn
Howard Johnson: Tuba
Don Alias, Robert Thomas Jr.: : Percussion
Peter Erskine, Jack DeJohnette: Drums
Jaco Pastorius: Electric bass, acoustic bass, organ, piano, synthesizers, autoharp, percussion, vocals, drums on "Word Of Mouth"
Paul Horn-Muller: Steel pans
Othello Molineaux: Steel pan
John F. Pastorius IV: vocal on "John and Mary"
Michael Gibbs: Hanging out

Dave Weckl - 1998 "Rhythm Of The Soul"

Toss into the musical blender the spirits of Stevie Wonder, Crusaders, Van Halen, Sting, Dr. John, and Chick Corea; turn on the fire, low for easy simmering blues-rock at times, high for a fiery intensity that busts the borders between R&B and fusion. The result: the Dave Weckl Band's hard-to-categorize adventure, Rhythm of the Soul. Here, he celebrates his liberation from Corea's Elektric fold with a vengeance. The ensemble ventures into a variety of decades: the 70s, with Steve Tavaglione blowing percussive sax over Buzz Feiten's wah-wah over Jay Oliver's Fender Rhodes Crusaders feel; to the 60s, where, on "101 Shuffle," Weckl and Tom Kennedy lay a throbbing foundation based on Booker T's "Green Onions" for the playful interaction of saxman Bob Malach and Feiten; and even the 80s, where Gambale does his best Eddie Van Halen power guitar to drive the rockin' blues of "Access Denied." Weckl's skin and high-hat energy jumps out at every turn, most notably on the jams but also on the more subtly rhythmic "Mud Sauce" and the dreamy ballad "Song for Claire." Those tunes are the cool oases in the midst of the piping gumbo.

Tracklist

1 The Zone
2 101 Shuffle
3 Mud Sauce
4 Designer Stubble
5 Someone's Watching
6 Transition Jam
7 Rhythm Dance
8 Access Denied
9 Song For Claire
10 Big B Little B
11 Good Night

Personnel

Dave Weckl - drums
Jay Oliver - keyboards
Buzz Feiten - guitar
Also: Bob Malach, Steve Tavaglione, Tom Kennedy, Frank Gambale

Tribal Tech - 1991 "Tribal Tech"

Guitarist Scott Henderson is a fusion fanatic's dream, by virtue of his wild yet fluid and even melodic riffs. Bassist Gary Willis lacks Henderson's range compositionally and as a player, but still manages to keep the proceedings grooving. Backed by the keys of David Goldblatt, Joey Heredia's drums and the percussion of Brad Dutz, the two form a powerful musical bond as Tribal Tech. Unlike their previous album, TT's new disc features more melodies (the best ones, "Peru" and "Signal Path" are by Henderson), the softening effect of Goldblatt's key soloing and a tighter tune structure and production all around. There's still lots and lots of improvising, but on the less memorable Willis tunes, it seems to go on interminably. Pop jazz fans will finally be able to relate to Henderson's solid playing by virtue of a smoother context, but it's still mostly geared for the guitar lover or student. Extra credit is due for the very creative song titles, including "Elvis at the Hop" and "The Necessary Blond." 

Track listing

"Signal Path" (Scott Henderson) – 6:26
"Big Girl Blues" (Scott Henderson) – 6:15
"Dense Dance"(Gary Willis, Scott Willis) – 4:51
"Got Tuh B"(Gary Willis, Scott Willis) – 6:43
"Peru" (Scott Henderson) – 7:23
"Elvis At The Hop" (Scott Henderson) – 4:34
"The Necessary Blonde" (Gary Willis, Scott Willis) – 6:52
"Fight The Giant" (David Goldblatt) – 4:05
"Sub Aqua" (Scott Henderson) – 5:30
"Formula One" (Scott Henderson) – 4:44
"Wasteland" (Gary Willis) – 8:03

Personnel

Scott Henderson - guitar, guitar synthesizer
Gary Willis - bass, synthesizers
David Goldblatt - keyboards
Joey Heredia - drums
Brad Dutz - percussion

Jaco Pastorius - 2003 "Word Of Mouth Revisited"

It may be surprising to learn that legendary bassist Jaco Pastorius had deep roots in the big band tradition. His father Jack was a big band singer and drummer in the late '40s and early '50s, and in Jaco's early twenties he played for five years with the Peter Graves Orchestra, a progressive big band located in Ft. Lauderdale. Graves' orchestra gave Pastorius valuable experience writing and arranging – and provided a supportive environment for his blossoming genius.
Then in 1975 Pastorius left the band and released his self-titled debut album, which propelled him into the spotlight. His subsequent work with Weather Report, Pat Metheny, and Joni Mitchell continued his phenomenal rise. He still gigged with Graves whenever he was in Florida, and when he left Weather Report in 1982 he formed his big band Word of Mouth, hiring Graves and other members of his orchestra.
Twenty years later, Graves has returned the favor by forming the Jaco Pastorius Big Band and releasing Word of Mouth Revisited. Although this is clearly a personal project for Graves, his aims are broad: he wants to continue Pastorius' legacy (the bassist died in 1987) by presenting his songs and arrangements in a fresh setting, as well as showcase some of jazz's best electric bassists. Actually it's a heartfelt project for everyone involved; many of the musicians played with Pastorius, all of the bassists are indebted to him, and there's even fine bass work by Pastorius' nephew David. And to help involve the listener, the CD has soundbites of Pastorius conducting, giving a taste of the personality behind the talent.
All this plus fine musicianship yields an excellent collection that celebrates and explores Pastorius' prodigious gifts. There are early songs such as "Punk Jazz," "Cha Cha," "Opus Pocus," and "Domingo," as well as Weather Report favorites "Havona," "Teen Town," and "Barbary Coast." Pastorius even plays on the CD; Herbie Hancock's "Wiggle Waggle" features a Pastorius bass line lifted from a late '70s gig, supplemented by enthusiastic studio work. The bassists appearing on the recording are the cream of the crop: Victor Bailey, Richard Bona, Jimmy Haslip, Christian McBride, Marcus Miller, Gerald Veasley and Victor Wooten. Also notable are the enthusiastic and disciplined brass and woodwind sections.
Throughout the disc, the musicians give life to Pastorius' melodic grooves and uplifting rhythms, as compelling today as when they first appeared. The new technology and new voices bring Pastorius' work into the 21st century, where the seeds planted decades ago will surely continue to sprout.

Track Listing:

 1. Jaco Speaks 2. Havona 3. Teen Town 4. Jaco Speaks 5. Punk Jazz 6. Jaco Speaks 7. Barbary Coast 8. Killing Me Softly 9. Jaco Speaks 10. (Used to Be A) Cha Cha 11. Wiggle Waggle 12. Jaco Speaks 13. Continuum 14. Jaco Speaks 15. Elegant People 16. Opus Pocus 17. Peter & Jaco Speak 18. Domingo 19. Forgotten Love 20. Jaco Speaks 21. Punk Jazz Revisited

Personnel:

Victor Bailey - bass; Jaco Pastorius - bass; Randy Bernsen - guitar, koto; Peter Graves - conductor; Jimmy Haslip - bass; Gerald Veasley - bass; Joe Zawinul - keyboards; Michael Brignola - flute, bass clarinet, baritone sax, woodwinds; Ed Calle - clarinet, soprano sax, tenor sax, woodwinds; Kenneth Faulk - trumpet, flugelhorn, brass; Michael Levine - synthesizer, piano, keyboards; Christian McBride - bass; Marcus Miller - bass; Billy Ross - flute, piccolo, alto sax, soprano sax, woodwinds; Dana Teboe - trombone, brass; Victor Wooten - bass; John Kricker - bass trombone, brass; Mike Scaglione - flute, tenor sax; Jason Carder - trumpet, flugelhorn; Jeff Carswell - bass; Mark Griffith - drums; Gary Keller - clarinet, flute, alto sax, tenor sax; Gary Mayone - marimba; Michael "Patches" Stewart - trumpet; Jeff Kievit - trumpet, flugelhorn; Bobby Thomas, Jr. - hand drums; Richard Bona - bass; Roger Byman - soprano sax; Dave Pastorius - bass.

Tommy Bolin - 2012 "The Definitve Teaser Collectors Edition" [5 CD Box]

Guitarist Tommy Bolin elevated the role of journeyman to a high art. After leaving his home in Colorado, where he played with Energy and Zephyr, he worked with fusion drummers Billy Cobham and Alphonse Mouzon, joined a post-Joe Walsh James Gang, and went on to Deep Purple when Richie Blackmore left the group. All of this occurred before and during a solo career, which began with Teaser, a remastered, expanded version that confirms Bolin's versatility as guitarist, songwriter and singer. The original nine tracks resound with musicianship consisting of a varying lineup of sidemen including: Mahavishnu Orchestra keyboardistJan Hammer,Genesis drummer Phil Collins, and saxophonist David Sanborn. Tracks such as "Wild Dogs" and "Homeward Strut" show Bolin could lead a band in more ways than one.
The explosive funk-driven opening that is "The Grind" suggests Bolin's intelligent facility with a song, while the quiet likes of "Savannah Woman" reaffirms that songwriting skill— not to mention his natural instincts as a vocalist. The structure of the title song extends to the largely improvisational likes of the six unreleased numbers on two other discs of outtakes and alternate versions from the original sessions. They suggest the source of the continuing resonance of this album some forty years after its initial release and Bolin and co-producer/engineer Dennis McKay had plenty of ideas to work with as they used only those most effective.
Available on its own, as well as part of a box set with the expanded three-disc Teaser, a double-disc package titled Great Gypsy Soul furthers the concept of The Definitive Teaser Collector's Edition. One disc, co- produced by Gov't Mule guitarist Warren Haynes, finds such luminaries as guitarists Peter Frampton and John Scofield adding their readily identifiable styles to tracks from the original sessions, while the second disc is largely comprised of an original extended piece inspired by Bolin's instrumental "Marching Powder." Four movements include Aerosmith guitarist Brad Whitford and Haynes, not to mention guitarist Derek Trucks, flashing his inimitable power, the sum effect of which is a focused, inspired music not just reminiscent of the album from which it is derived, but of a piece with it.
Other titles of Bolin remain available from his own archives, not to mention a second solo album Private Eyes (Columbia, 1976) and a two-CD version of his sole Deep Purple studio work Come Taste the Band (EMI, 2010). But, if the late lamented musician could choose a work by which to be remembered best, odds are in the favor of Teaser, and this package, notwithstanding its less than exemplary graphics design, documents why.
 
Track Listing:

CD1: Teaser Remastered: The Grind; Homeward Strut; Dreamer; Savannah Woman; Teaser; People, People; Marching Powder; Wild Dogs; Lotus.

CD2: Teaser Alternates and Outtakes: Teaser; Flying Fingers; Cookoo; Wild Dogs; Chameleon.

CD3: Teaser Alternates and Outtakes: Crazed Fandango; People, People; Smooth Fandango; Marching Powder; Homeward Strut; Oriental Sky (Lotus).

CD4: Great Gypsy Soul: The Grind; Dreamer; Savannah Woman; Smooth Fandango ; People People; Wild Dogs; Homeward Strut; Sugar Shack; Crazed Fandango; Lotus.

CD5: Great Gypsy Soul Bonus Disc: Flying Fingers; Marching Bag: Movements One through Four.

Personnel:

Tommy Bolin: guitar, vocals; Myles Kennedy: vocals; Glenn Hughes: vocals; Gordie Johnson: vocals, guitar; Peter Frampton: guitar; Derek Trucks: guitar; Warren Haynes: guitar; John Scofield: guitar; Gordie Johnson: guitar; Brad Whitford: guitar; Steve Lukather: guitar; Steve Morse: guitar; Nels Cline: guitar; Joe Bonamassa: guitar; Oz Noy: guitar; Sonny Landreth: guitar; David Sanborn: saxophone; David Foster: piano, synthesizer; Jan Hammer: synthesizer, drums; Ron Fransen: piano; Stanley Sheldon: bass; Paul Stallworth: bass; Terry Wilkins: bass; Al Cross; drums; Jeff Porcaro: drums; Prairie Prince: drums; Narada Michael Walden: drums; Bobby Berge: drums; Phil Collins: percussion; Sammy Figueroa: percussion; Rafael Cruz: percussion.

Tribal Tech - 1990 "Nomad"

Nomad is the third album by fusion band Tribal Tech, a project led by guitarist Scott Henderson and bassist Gary Willis.
Like its predecessors, Henderson's third date as a leader is a fine example of how creative and inspired genuine jazz-rock can be. Tough and aggressive yet full of appealing melodic and harmonic nuances, this CD contains not one iota of the type of lightweight smooth jazz or Muzak for which Henderson has often voiced his contempt. With Nomad, Tribal Tech underwent a few personnel changes, and for the first time, recorded an entire album minus a sax. While electric bassist Gary Willis, drummer Steve Houghton, and percussionist/mallet player Brad Dutz remained, saxman Bob Sheppard was gone, and keyboardist Pat Coil had been replaced by David Goldblatt. Despite these changes, Tribal Tech's sound (which was essentially guided by Henderson and Willis) remained easily recognizable. The '70s breakthroughs of Weather Report, Return to Forever, and John McLaughlin, among others, still had an impact on Tribal Tech, but by 1988, it was even more evident that Henderson was a fine soloist and composer in his own right. 

Track listing

"Renegade" (Gary Willis) – 5:51
"Nomad" (Scott Henderson) – 7:18
"Robot Immigrants" (Brad Dutz, David Goldblatt) – 5:09
"Tunnel Vision" (Gary Willis) – 4:43
"Elegy For Shoe" (David Goldblatt) – 4:09
"Bofat" (Scott Henderson) – 8:34
"No No No" (Gary Willis) – 5:53
"Self Defense" (Gary Willis) – 5:00
"Rituals" (Scott Henderson) – 5:44

Personnel

Scott Henderson - Guitars
Gary Willis - Bass
Brad Dutz - Mallets & Keyboards
David Goldblatt - Keyboards
Steve Houghton - Drums

Vital Tech Tones - 2000 "VTT2"

Talk about a power trio! Emphasizing the ROCK half of jazz-rock fusion, Vital Tech Tones brings together three monster players of the genre, blends their creative juices and virtuosic abilities, and creates a truly vital sound that reinvigorates and re-establishes fusion as a viable part of the musical landscape. Most of the songs on this recording started with drummer Steve Smith giving his rhythmic ideas to bassist-extraordinaire Victor Wooten, who developed a groove over which guitarist Scott Henderson worked melodies and harmonies. Such a simple, straight-forward, jam-oriented process is risky, but these three have the goods to pull it off, in the process creating a fresh electric music unique for its time.
Although VTT has been a studio-only side project for these three, they interact here as though they've been on the road together for several years. It's loud, it's raw, and it's awesome -- just what aging baby boomers need to cure their smooth jazz blues, just what generation X-ers need to take them away from the tedious sameness of the alt-rock world.

Songs / Tracks Listing

1. VTT (1:33)
2. Subzero (7:06)
3. The Litigants (7:07)
4. Puhtainin' Tuh... (5:17)
5. Drums Stop, No Good (3:11)
6. Catch Me If U Can (4:24)
7. Nairobe Express (4:10)
8. Who Knew? (7:13)
9. Time Tunnel (4:41)
10. Chakmool-Ti (11:45)

Total Time 56:27

Personnel:

Steve Smith - drums
Scott Henderson - guitar
Victor Wooten - vocals, bass

Charlie Hunter Trio - 1995 "Bing, Bing, Bing!"

Bing, Bing, Bing!
Studio album by the Charlie Hunter Trio
Released 1995
Genre Post-bop, acid jazz, jazz rock
Label Blue Note Records
Bing, Bing, Bing! album by jazz musician Charlie Hunter. This was his first album for the Blue Note label and features his 8-string guitar.
The cover is a retro homage to Horace Parlan's 1960 album, Speakin' My Piece. The neon sign, 500 Club, is a landmark bar in San Francisco's Mission District, a few blocks away from the Elbo Room nightclub where the trio made a name for themselves (see Track 10).

Track listing

"Greasy Granny" – 4:34
"Wornell's Yorkies" – 3:58
"Fistful of Haggis" – 6:44
"Come as You Are" (Cobain) – 6:08
"Scrabbling for Purchase" – 4:49
"Bullethead" – 5:34
"Bing, Bing, Bing, Bing!" – 7:56
"Squiddlesticks" – 4:03
"Lazy Susan (with a client now)" – 6:15
"Elbo Room" – 5:58

Personnel

Charlie Hunter - 8-string guitar
Dave Ellis - Tenor saxophone
Jay Lane - Drums
David Phillips - Pedal steel guitar on tracks 3 and 7
Ben Goldberg - Clarinet on tracks 5 and 9
Jeff Cressman - Trombone on tracks 5 and 9
Scott Roberts - Percussion on tracks 2 and 3

Steps - 1979 [1999] "Smokin' In The Pit" [NYC]

In 1979 Mike Mainieri formed Steps (which later became Steps Ahead), an all-star jazz oriented R&B band that originally included such players as Mike Brecker, Don Grolnick, Eddie Gomez and Steve Gadd in its line-up.

Now Steps’ groundbreaking debut CD has been rereleased as a 2-CD set with three previously unreleased ‘bonus tracks’ and alternate takes which were just recently discovered in the musician’s personal tape collections.

Personnel:
Bass – Eddie Gomez
Drums – Steve Gadd
Guitar – Kazumi Watanabe
Piano – Don Grolnick
Tenor Saxophone – Mike Brecker*
Vibraphone – Mike Mainieri

Track listing:
Disc 1
1 Tee Bag
2 Uncle Bob (bonus track)
3 Fawlty Tenors
4 Lover Man
5 Fawlty Tenors (alternate take)
6 Song to Seth
7 Momento (bonus track)

Disc 2
1 Young and Fine
2 Not Ethiopia
3 Soul Eyes
4 Recordame (bonus track)
5 Not Ethiopia (alternate take)
6 Saras Touch

Enjoy!

Herbie Hancock V.S.O.P. The Quintet - 1977 "Tempest In The Colosseum"

Herbie Hancock V.S.O.P. The Quintet - 1977 Tempest In The Colosseum

Only five days after The Quintet concerts in California, V.S.O.P. was caught live again on tape in Tokyo's Den-En Colosseum for another Japanese CBS/Sony release. "Tempest" is a good description, for this CD contains more volatile ensemble playing than its Columbia predecessor; clearly some tighter bonding took place since the trans-Pacific flight. The notion that Freddie Hubbard is filling in for Miles Davis in a reunion of his old quintet does not have much relevance, for Hubbard is always his own man, in command of his reverberant tone quality and idiosyncratic flurries that owe very little to Miles. Only "Lawra" is duplicated from The Quintet, and there is the additional treat of hearing Hubbard's masterpiece "Red Clay" performed to a turn by this crack quintet.

Tempest in the Colosseum was recorded on July 23, 1977 in Tokyo's Den-En Colosseum. Musicians in this landmark performance were Herbie Hancock on keyboards, Freddie Hubbard on trumpet, Tony Williams on drums, Ron Carter on bass, and Wayne Shorter on tenor and soprano saxophones. The recording was originally released in late 1977, as a Japan-only release issued on the Columbia label.

Personnel

Ron Carter – bass
Herbie Hancock – keyboards, piano, synthesizer, vocals
Freddie Hubbard – trumpet
Wayne Shorter – soprano saxophone, tenor saxophone
Tony Williams – drums

Track listing

1."Eye of the Hurricane" (Hancock) - 16:38
2."Diana" (Shorter) - 4:31
3."Eighty-One" (Carter) - 13:08
4."Maiden Voyage" (Hancock) - 11:55
5."Lawra" (Williams) - 8:23
6."Red Clay" (Hubbard) - 14:15

Enjoy!

Herbie Hancock Trio - 1977 "The Herbie Hancock Trio"

Herbie Hancock Trio - 1977 The Herbie Hancock Trio

The first V.S.O.P. tour triggered a flood of recording activity in July 1977, but only a fraction of it was released in the U.S. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter, and Tony Williams mixing it up sans the horns -- and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of "Speak Like a Child," which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like "Watcha Waiting For" and "Watch It." This is uncompromising acoustic jazz, commercial anathema in the electronic '70s -- and thus, only Japan got to hear it.

Herbie Hancock Trio is an album by Herbie Hancock released in September 21, 1977 in Japan. It features performances by Hancock with Ron Carter and Tony Williams. It is the first of two albums with the same title—this album was released in 1977, and a second Herbie Hancock Trio was released in 1982.

Track listing

1. "Watch It" - 12:25
2. "Speak Like a Child" - 13:06
3. "Watcha Waitin' For" - 6:20
4. "Look" - 7:42
5. "Milestones" (Davis) - 6:40

Personnel

Herbie Hancock – piano
Ron Carter – bass
Tony Williams – drums

Herbie Hancock - 1975 "Flood"

Herbie Hancock - 1975 Flood

Flood is the eighteenth album by Herbie Hancock. It was originally released only in Japan in 1975 as a double LP, and features the Headhunters Band, performing their hits from the Head Hunters, Thrust and Man-Child albums. It originally received a Japanese CD release & finally got a US release in 2014 on the Wounded Bird label.

Track listing

All compositions by Herbie Hancock except as indicated

"Introduction/Maiden Voyage" – 7:59
"Actual Proof" – 8:28
"Spank-A-Lee" (Mike Clark, Hancock, Paul Jackson) – 8:47
"Watermelon Man" – 5:50
"Butterfly" (Hancock, Bennie Maupin) – 12:44
"Chameleon" (Hancock, Jackson, Harvey Mason, Maupin) – 10:24
"Hang Up Your Hang Ups" (Hancock, Jackson, Melvin "Wah-Wah" Ragin) – 19:54

Personnel

Herbie Hancock – acoustic piano, Fender Rhodes, clavinet, ARP Odyssey, ARP Soloist, ARP String Ensemble
Bennie Maupin – soprano saxophone, tenor saxophone, saxello, bass clarinet, flute, percussion
Dewayne "Blackbyrd" McKnight – guitar
Paul Jackson – Fender bass
Mike Clark – drum set
Bill Summers – congas, percussion

Vital Information - 2004 "Come On In"

Steve Smith's Vital Information has evolved from being a fusion band into one that is closer to soul-jazz. He had led units under the Vital Information name for 21 years when he recorded Come On In, a tight quartet album featuring guitarist Frank Gambale (of Chick Corea's Elektric Band), keyboardist Tom Coster (who also plays accordion), and bassist Baron Browne. The music includes some grooves worthy of Joe Zawinul, straight-ahead sections, catchy themes, and plenty of funky rhythms that avoid being predictable, plus a heated up-tempo blues "A Little Something." Smith is mostly in the background, content to propel and inspire his sidemen into playing some of their finest music. This set, which crosses many musical boundaries, reveals Steve Smith's Vital Information to be one of the most underrated bands in modern jazz and serves as an excellent introduction to the group's music. 

 Personnel:
Steve Smith - Audio Production, Composer, Drums, Primary Artist, Producer, Udu
Tom Coster Accordion, Composer, Group Member, Keyboards
Frank Gambale Composer, Group Member, Guitar
Baron Browne Bass, Bass (Electric), Composer, Group Member, Guitar (Bass)

Songs / Tracks Listing
1. Time Tunnel ( 5:38 )
2. Come On In ( 5:40 )
3. Beneath The Surface ( 2:06 )
4. Cat Walk ( 6:05 )
5. Around The World 9:35 )
6. Soho ( 6:25 )
7. A Little Something ( 8:23 )
8. From Naples To Heaven ( 4:08 )
9. Baton Rouge ( 6:18 )
10. Fine Line ( 2:18 )
11. High Wire ( 5:52 )

Total Time : 62:28

Vital Information - 1996 "Ray Of Hope"

Ray of Hope is Vital Information's seventh release, the first for Intuition Records and their first in four years. The material was actually recorded long before the release, while leader/drummer Steve Smith shopped around for a record deal. The majority of the selections have heavy commercial overtones, but the heavy grooves, nice melodies, and superb musicianship save this from being just another light fusion affair. Ever the selfless leader, Smith gives all bandmates plenty of opportunities to shine. In particular, keyboardist Tom Coster and bassist Jeff Andrews both shine on their duet of Horace Silver's "Peace." Drummers will be most pleased with the Max Roach-inspired drum solo "Maxed Out," a three-minute tour de force that proves why Smith is held in such high regard among his colleagues. While Ray of Hope may not be the most inspired recording the band has released, there is enough here to please most fans of high-energy jazz/rock fusion and/or contemporary jazz. 

 Line-up / Musicians

Steve Smith / drums
Tom Coster / keyboards
Frank Gambale / guitar
Jeff Andrews / bass

Songs / Tracks Listing

1. Clouds ( 1:01 )
2. Celebrate Life ( 4:57 )
3. Rio Lize ( 4:48 )
4. Lorenzo`s Soul ( 5:32 )
5. Sacred Treasure ( 5:49 )
6. Sixth Sense ( 4:37 )
7. Ray Of Hope ( 5:41 )
8. Maxed Out ( 2:56 )
9. All My Love, Always ( 6:30 )
10.Peace ( 4:13 )
11.Fit To Be Tied ( 6:25 )
12.Over And Out ( 5:39 )

Total Time : 60;01

Vital Information - 1991 "Vitalive!"

The drummer with the very successful rock group Journey for seven years, Steve Smith left the band in 1985 to devote his career to jazz and specifically his group Vital Information. This CD is taken from their tour of August 1989 and features Smith's unit (which also includes Larry Schneider on reeds, guitarist Frank Gambale, keyboardist Tom Coster, and bassist Larry Grenadier) playing a strong set of group originals plus the standard "I Should Care" (a straight-ahead feature for Coster and the rhythm section). Although Coster uses electronics on some of the pieces, much of his date is simply high-quality acoustic jazz; even the funkier material swings. Recommended. 

 Songs / Tracks Listing

1. One Flight Up ( 6:06 )
2. Looks bad, Feels Good ( 5:39 )
3. Jave And A Nail ( 5:12 )
4. (What Lies) Beyond ( 7:09 )
5. I Should Care ( 7:29 )
6. Mac Attack ( 5:01 )
7. Johnny Cat ( 7:30 )
8. The Perfect Date ( 6:37 )
9. Island Holiday ( 7:31 )
10. Europa ( Earth Cry - Heaven`s Smile ) ( 4:37 )

Total Time : 62:51

Recorded live at Club Nova 2, Ignacio, California, August 2, 1989

Line-up / Musicians

Frank Gambale / guitar, voice on Johnny Cat
Steve Smith / drums
Tom Coster / keyboards
Larry Schneider / saxophone
Larry Grenadier / acoustic bass
Tom Coster Jr. / additional keyboards on Johnny Cat

Vital Information - 2000 Live Around The World "Where We Come From" Tour '98 - '99.

A live album not to be missed, Live Around the World is a two-disc set full of funk, fusion, fiery fretwork, and just plain fun. It's obvious these guys are having the time of their lives, working and reworking material old and new. From the zydeco funkiness of "Swamp Stomp" to the Headhunters' era funk of "The Perfect Date," this music has a groove that won't let up. When Frank Gambale goes into the melody of Led Zeppelin's classic drum feature, "Moby Dick," it's over a Steve Smith swing/funk rhythm the likes of which John Bonham could never have imagined. A 15-minute "Mr P.C." resembles the Coltrane original only in the brief head before the band takes it to places previously unknown.

The group stretches out on most of the tracks here, and the foursome uses the time to shine individually and as a group. Gambale's fleet fingers are amazing, burning up the fretboard like Dimeola, Coryell, or McLaughlin, then delivering an extended slice of tasty Wes Montgomery smoothness that ought to get radio airplay on "First Thing This Morning." Tom Coster's Hammond B-3 is also in the front seat much of the time. He occasionally recalls Larry Young back in the Tony Williams Lifetime days, reminds listeners of his own great '70s work with Santana, and does a mean Jimmy Smith on "Listen Up" and "First Thing This Morning." For a change of pace, Coster turns the Santana classic "Europa" into an accordion love song out of a Paris bistro. On "It's a Jungle out There," bassman Baron Browne captures Black Market-era Jaco, while "Over and Out" is a hard driving jam à la Return to Forever. Steve Smith brought his personal fusion crusade out of the studio to eager crowds for the tour captured in this collection. Judging by the recorded results, it was a huge musical success.

Personnel:

Bass – Baron Browne
Drums – Steve Smith (5)
Guitar – Frank Gambale
Keyboards – Tom Coster

Track Listings:

Disc: 1
1. Dr. Demento
2. Moby Dick
3. Swamp Stomp
4. Cranial Jam
5. Happy House
6. Fortaleza
7. First Thing This Morning
8. The Perfect Date
9. It's A Jungle Out There

Disc: 2
1. The Drum Also Waltzes
2. Take Eight
3. Listen Up!
4. Europa
5. Do You Read Me?
6. Over And Out!
7. Mr. PC
8. Soulful Drums

Lenny White - 1978 "Streamline"

Lenny White - 1978 Streamline
Personnel
Lenny White – drums, percussion, production
Chaka Khan – lead vocals (track 2)
Diane Reeves – vocals (track 4), background vocals
Don Blackman – vocals (track 6), keyboard, Minimoog (track 4), synthesizer (track 7), Rhodes piano (track 10), piano (track 11), organ (track 3)
Nick Moroch – guitar (except tracks 1, 3, 10)
Jamie Glaser – guitar (tracks 1, 3, 10)
Denzil Miller, Jr. – keyboard (track 8), Minimoog (track 9), rhythm arrangement (track 2)
Larry Dunn – Minimoog (track 1), synthesizer programming, production
Marcus Miller – bass

Track listing
No. Title Writer(s) Length
1. "Struttin'" Jamie Glaser 4:45
2. "Lady Madonna" John Lennon, Paul McCartney 3:54
3. "12 Bars From Mars" Nick Moroch 3:10
4. "Earthlings" Lenny White, Don Blackman 4:48
5. "Spazmo Strikes Again" White 0:25
6. "Time" Blackman 2:58
7. "Pooh Bear" White, Weldon Irvine 5:02
8. "Lockie's Inspiration" Denzil Miller, Jr. 0:41
9. "I'll See You Soon" White 6:30
10. "Night Games" Marcus Miller 3:58
11. "Cosmic Indigo" Blackman 0:50
Total length:
37:01

Lenny White - 1975 [2017] "Venusian Summer"

CD reissue. Lenny White is a three time Grammy Award winning American jazz fusion drummer. He is best known for being the drummer of Chick Corea's Return To Forever. As far as Jazz-Rock-Fusion albums go... this is one of the very best. Very impressive for his first solo album! This album, originally released on Nemperor Records, made the Billboard Music Charts on 1/31/76. Guest musicians include Hubert Laws, Al Di Meola, Larry Coryell, Jimmy Smith, David Sancious and Larry Young

Lenny White's "Venusian Summer" is a reissue of a 1975 album by this superb jazz drummer, assisted by great guitarists such as Al Di Meola, Larry Coryell, Ray Gomez and Doug Rodrigues, along with keyboard players including Jimmy Smith and Larry Young. Six tracks total mark this classic mid '70s fusion album, including "Chicken Fried Steak" and "Prince Of The Sea", the latter which features Di Meola and Coryell cuttin' heads. A drummer-led, guitarist-fueled instrumental fusion must-have.

One of the better entries to emerge from a genre that was quickly growing tired. Return to Forever drummer Lenny White, while not as powerful or talented as counterparts Billy Cobham or Alphonse Mouzon, had an excellent feel for funk and an amazing sense of taste. "Chicken-Fried Steak" contains enough odd-time beats and fills to satisfy any drum fanatic, but White proves to be more than just a technician. "The Venusian Summer Suite" and "Mating Drive" are both moody pieces that were obviously influenced by the music of Tangerine Dream. But the primary reason this session succeeds is "Prince of the Sea." It is a strong composition that features Al di Meola and Larry Coryell. This was their only recorded performance together in the '70s and fans are still seeking this recording out to see "who won". This is a must-have fusion recording.

I have no problem giving this album 5 stars or more! The drummer from Return to Forever delivers an incredible fusion album that never got the recognition it deserves! David Sancious does his usual wonderful job on keyboards on a few tunes. And the closing finale piece has superlative playing by fusion guitar legends Larry Coryell and Al DiMeola (they each take one long solo, then they trade alternating solos at the end...an album highlight, for sure!). Billed as a concept album (as hard as it is to do that with an instumental album), this CD features influences of jazz, rock, funk, an occasional drift into classical, and just GREAT performances by all the musicians involved, although I don't remember recognizing any of the personnel other than those I have mentioned. Wonderful guitar solos are plentiful........keyboards solos pop up here and there.......there's even a flute solo in there somewhere. And of course, Lenny's drumming is spectacular, as always. Lenny wrote or cowrote most of the songs.....although his fusion mindset on this album is much different (more rockin') than the tunes he wrote for Return to Forever. Still, if you like fusion and you're a Return to Forever fan, this is an overlooked classic that you just have to hear! Take my word for it!! Don't pass this one up!!!

Bought this on vinyl back in the seventies. This music is the essence of fusion. Although there are a couple of space funk tunes on the album the rest follows the Venusian summer theme.Mating drive is strictly high energy fusion at its best. The rhythm section of Doug Rauch on bass and Lenny on drums absolutely smokes. Raymond gomez does the guitar work on this tune and does not disappoint. Prince of the sea is my favorite tune on this compilation. It starts off with the sound of seagulls and the sound of the sea.As the tune builds,Tom Harrel plays a great flugelhorn solo. Next the amazing solo by Larry Coryell. Coryell at this point has one of the best sounds on his guitar and takes it to the moon .After a great keyboard solo by Onjae Allan Gumbs, Al Dimeola takes his turn. After his amazing solo both he and Coryell trade off back and forth with some of the best guitar playing I ever heard.Please be advised this music is not for the faint of heart. Buy this disc if you dare,it's monster! Oh yeah, one of the keyboard players David Sancious has an album he put out back then called The Forest of Feelings. What an amazing album. Not a bad tune on the record check it out.

Tracks Listing:

1. Chicken-Fried Steak (4:33)
2. Away Go Troubles (Down The Drain) (3:21)
3. The Venusian Summer Suite:
 Part 1. Sirenes (4:28)
 Part 2. Venusian Summer (6:38)
4. Prelude To Rainbow Delta (1:10)
5. Mating Drive (7:40)
6. Prince Of The Sea (11:37)

Line-up / Musicians:

Lenny White - bateria, Wandering Clavinet, Minimoog, Eu Synthesizer, ARP 2600, baixo, tímpano, Snare Drum B1, Roto-Toms, triangulo, gongo, marimba, címbalo suspenso
Larry Coryell - guitarra (6)
Al DiMeola - guitarra (6)
Raymond Gomez - guitarra rítmica (1, 5)
Doug Rodrigues - guitarra (1, 2, 5)
Jimmy Smith - órgão (1)
Larry Young - órgão (5)
David Sancious - Minimoog, órgão
Peter Robinson (Quatermass, Brand X) - Clavinet, Minimoog
Weldon Irvine - órgão (2)
Onaje Allan Gumbs - piano elétrico, piano, Clavinet, Mellotron, órgão (2, 3, 5, 6)
Tom Harrel - Minimoog, flugelhorn
Patrick Gleeson - Eu Synthesizer, ARP 2600, Minimoog Hubert Laws  -  flauta
Doug Rauch (Santana) - baixo
Dennis MacKay - gongo

Network - 2001 "Highly Committed Media Players"

Network - 2001 Highly Committed Media Players


'Highly Committed Media Players' features the talents of legendary jazz guitarist Larry Coryell throughout. This album was also the album that saw Larry Coryell return to the solid body electric guitar follwing an extended period playing a hollow bodied jazz guitar or acoustic. The album also features Jack Bruce on bass and vocals on the track 'Manic Depression'. Elsewhere Wolfgang Schmid and Laurence Cottle handle bass duties. 'Highly Committed Media Players' is one of a series of albums to be released from Network in remastered format.

Release Date: September 11, 2001 

Track listing:

1 Interstellar Overdrive
2 The Hellical Friction Principal
3 Dennis the Menace
4 Sitting on the Back of the Bus
5 Manic Depression
6 Larry's Tune
7 The Target Man
8 The Little Blue Book

 Personnel:

Bass – Chris Laurence (tracks: 3), Laurence Cottle (tracks: 8), Wolfgang Schmid (tracks: 1, 2, 4, 7)
Bass, Vocals – Jack Bruce (tracks: 5)
Drums – Steve Clarke (18) (tracks: 1 to 5, 7, 8)
Guitar – Larry Coryell (tracks: 1 to 5, 7,8)
Guitar [Right + Left] – Larry Coryell (tracks: 6)
Keyboards – Pete Jacobsen (tracks: 1 to 4, 7,8)
Organ – Pete Jacobsen (tracks: 5)
Trumpet – Ted Emmett (tracks: 1 to 5, 7,8)

Tommy Bolin - 1972 [1999] "Energy"

THE BAND:
Energy were formed in 1971 in Boulder, Colorado when Tommy Bolin and Bobby Berge left Zephyr. The members in the most well-known lineup were:
Tommy Bolin: guitar
Jeff Cook: vocals, harmonica
Tom Stephenson: keyboards, vocals
Stanley Sheldon: bass
Bobby Berge: drums

Other players included:
Kenny Passarelli: first bassist (quickly left to join Joe Walsh)
Jeremy Steig: flute
Gary Wilson: first vocalist (replaced by Jeff Cook)
Max Gronenthal: keyboards, vocals (replaced Jeff Cook and Tom Stephenson)
Russell Bizzett: drums (after Bobby left, then second drummer after Bobby returned)
Archie Shelby: percussion (intermittent)

THE STORY:
Bassist Stanley Sheldon and his cousin keyboardist Tom Stephenson arrived in Boulder, Colorado separately. Sheldon had been playing in a psychedelic blues band in his home town of Ottawa, Kansas. Stephenson was from Kansas City and had been playing in horn bands in the style of Chicago. Tommy Bolin and drummer Bobby Berge were still in Zephyr, but that band’s end was near. Stephenson had not yet met Tommy, but knew people who knew him. Stanley Sheldon had talked to Tommy on the phone in late 1970, introduced by the singer in Sheldon’s band’s singer, but had not yet met him in person.

Sheldon’s band then moved to a house on the beach in the Pacific Palisades in California, supported by a backer. Zephyr were doing their last show opening for Mountain at the Santa Monica Civic Center, and Tommy and Stanley finally met face to face. This resulted in a jam with Stanley, Tommy and a drummer named Frosty from Lee Michaels’ band that Tommy knew. Tommy returned to Colorado, followed shortly by Stanley and his band after the withdrawal of their backer.

Tommy and Bobby were set on forming a jazz-rock fusion band, bolstered by Tommy’s experiences meeting players such as Jeremy Steig and Jan Hammer while Zephyr was recording Going Back to Colorado at Electric Lady Studios in New York City at the same time that Steig was working on his Energy album. Tommy and Tom Stephenson had finally met through Sioux City guitarist John Bartle, who had played with Stephenson in a band in Kansas.

At this point all the players in what would become the band Energy knew each other, but the first order of business for Tommy was to form an instrumental band with Jeremy Steig on flute, Bobby Berge on drums and Denver bassist Kenny Passarelli (who went on to play with Joe Walsh and Elton John). This lineup played some shows in Colorado including a residency at Chuck Morris’ club Tulagi in Boulder. Tommy, Jeremy and Kenny then went to New York City, where Steig’s name had more market power. Shows there included over a week at the Gaslight with Marty Morell on drums, ending on May 24, 1971. The last gig with Steig was played after a week at Slugs, in the East Village, a dangerous place where some of Steig’s friends were mugged on their way to that final show. Passarelli soon took a job offer from Joe Walsh. Passarelli has related that he was made to feel a lot less than comfortable during the period of the NYC shows, the competitive nature of the New York scene was brutal. Though it was short lived, audio from the the band provides some excellent examples of playing from the entire band. The music is very jazzy, but there are plenty of guitar excursions by Tommy that are held in high esteem by Tommy’s rock fans.

Tommy then went back to Colorado and got together with Tom Stephenson on keyboards, Stanley Sheldon on bass and Bobby Berge on drums. They chose the name Energy for the new band, taken from the title of the Jeremy Steig album. It was quickly decided to add a vocalist to enhance the band’s commercial appeal. The first vocalist was Gary Wilson, who can be heard on Energy recordings such as “Red Skies” on the CD Tommy Bolin: From the Archives Vol. 1. Wilson was more into soul and R&B than fusion, however, and was replaced by Jeff Cook, who had sung in American Standard with Tommy.

Manager Barry Fey set them up as backing band for some of the major big blues acts that came to Boulder, mainly at Tulagi but also for some road work. Along with names such as John Lee Hooker, Sugar Cane Harris and Chuck Berry, they played with Albert King, who would have a profound effect on Tommy’s blues chops.

The band took the opportunity to save money when it came to finding places to rehearse. Bobby Berge relates that “Energy used to practice at Garth Weber’s farm, in the chicken coup! It’s funny that later on when I reunited with Zephyr for some shows in 1973 we practiced in a converted chicken coup at a different farm.”

Tommy played a number of different guitars, including the well-worn Fender Stratocaster with the Telecaster neck that he is often identified with. On other equipment, Rob Bagg remembers “I moved Tommy’s equipment for him on occasion during the time he was fronting Energy. I remember he had a Marshall speaker cabinet that had eight 12" speakers in it. What a bear to move. Later I found out that Jim Marshall only made a handful of these cabinets before switching to two 4x12" cabs in his stacks. They were originally sold to Pete Townsend of The Who and Bill Wyman of the Stones.”

Chuck Warriner tells the story of the fabled brown Strat: “I traded that brown 1956 Strat to Tommy in Dave Brown's kitchen at 948 South Vine Street when I first got to Denver and stayed with the Brown brothers until I set up my shop at 1st and Broadway. Dave put the Tele neck on at Tommy's request, and when I saw "Shoepolish" a week or so later I was surprised because an old Tele Neck and an old Strat neck pocket are not compatible."

Tommy also took part in many jam sessions around Colorado during this period. As remembered by Mike Reininger, who first saw Tommy with Energy at Massari Gym in Pueblo around Thanksgiving 1971, “In the early 1970s everybody jammed with everybody. Going out on Sunday night to sit in was a ritual. This is how Tommy met my brother Blaine (of Tuxedo Moon). They were jamming in Manitou Springs on a Sunday night. Tommy just loved to play. I hear stories of him jamming in music stores here in Denver. Trying out guitars all afternoon, drawing a crowd. He hung out at Colfax Music all the time I’m told.”

Michael Drumm, who went on to form the Tommy Bolin Archives with Johnnie Bolin in 1995, had become friends with Tommy while he was in Zephyr. A CU student, Drumm was working The Record Center, a hip record store in Boulder that Tommy visited often. By the time Tommy was in Energy they had become even firmer friends, and Drumm bought a 4-track reel-to-reel tape deck for Tommy to use to to record acoustic songs and demos.

Drumm relates that though Energy was a great band, they were not pulling crowds and making money like Zephyr had. Zephyr had been extremely popular with the adventurous young party crowd, but Energy was more of a players band with a smaller but very intense following.

Energy didn’t release any official albums or singles, but did complete a number of studio recordings, some of which appeared later on Tommy Bolin ArchivesCD releases. The first lineup of the band featuring Steig concentrated on long intense jams, often featuring Steig’s flute more than Tommy’s guitar. The band’s appeal was notably widened after adding a vocalist, beginning with Gary, then Jeff and later Max. The greatest amount of existing live material features Jeff Cook, and shows the band ranging from slow blues to rocking blues to hard rock to marathon fusion jams, often in one performance. Their studio output showed a band that would have made the big time if they had the power of a record deal. Some of the material written by Tommy with John Tesar and Jeff Cook went on to be used by Tommy in later bands. “Got No Time for Trouble” and “Praylude/Red Skies” were used in James Gang, “Lady Luck” with Deep Purple and “Dreamer” was used on Teaser.

Tommy’s appearance was beginning to change, partly with the influence of his girlfriend Karen Ulibarri. She dyed psychedelic colors into his hair and made stage clothes such as a silver lamé suit that he would wear into the James Gang days, and a pair of leopard skin-covered platform shoes. Tommy also pierced his ears and wore the feathered earrings that became his trademark for a while. Tommy was into glitter rock and loved David Bowie’s Ziggy Stardust album, so androgyny becoming an acceptable form of stage presentation.

The lack of getting a record contract resulted in the group’s eventual demise, as they were having trouble making ends meet and becoming frustrated at not being able to move upward. Jeff Cook has related a story about the band being seen by record company representatives at a club on Colfax in Denver. The reps were blown away by the first set and told the band that a recording contract was definite. The reps then left and the band then celebrated by getting wasted during the break, and when they returned to to play they found that the reps had stayed and their second set was haphazard and the reps were turned off.

In the first part of 1973 Max Gronenthal came in on keyboards and vocals to replace Tom Stephenson, who left to join Joe Walsh’s new band Barnstorm, and Jeff Cook who was given his release by the band. Though the band would prove to work well with Max, the end was near. Tommy recorded Spectrum with Billy Cobham in New York City in May, 1973 and started getting national attention immediately, which included some shots at the big time.

After the band split, Tommy went on to join the James Gang as a replacement for the departing Joe Walsh. Tommy and Stanley would hook up again in Boulder after Tommy left the James Gang in August 1974. By the end of December they would also get back together with Bobby Berge in Los Angeles. Jeff Cook would continue to supply Tommy with song lyrics until his passing. In 1975 Tom Stephenson joined Tommy in guesting on the debut album from Moxy.

In spite of the lack of commercial success, the band is held in especially high regard by the band’s members, some considering it the musical highlight of their lives.

By 1972, Tommy Bolin had left Zephyr and was yet to join the James Gang. He had formed a band christened, aptly enough, Energy, but they broke up before releasing any recordings. Yet, time in the studio was spent, resulting in this collection of songs released 27 years after their recording. Some of the songs would be redone with the James Gang ("Red Skies," "Got No Time for Trouble") or solo ("Dreamer") in the next few years, while "Naked Edge" comes from the soundtrack to a mountain-climbing film called Break on Through, but most of the contents of the album see their first release here. The album is mixed: "Heartlight" and "Miss Christmas" are fairly generic hard rock, while "Hok-O-Hey" and "Eyes of Blue" have a very Allman Brothers sound/feel, yet all are elevated by Bolin's guitar playing. The neo-psychedelic "Limits," sung by keyboardist Tom Stephenson, is unlike most of Bolin's other work and the extended instrumental "Naked Edge" furthers this psychedelic jamming. "Sky Sail" is a cinematic piano/guitar duet and is a perfect album closer. In the end, the album works more as a compilation of Energy's various styles than as a cohesive album.

Track Listing:

  1. Red Skies
  2. Heartlight
  3. Hok-O-Hey
  4. Got No Time for Trouble
  5. Limits
  6. Eyes of Blue
  7. Dreamer
  8. Miss Christmas
  9. Naked Edge
  10. Sky Sail

Personnel:

Bass – Stanley Sheldon
Drums – Bobby Berge
Guitar – Tommy Bolin
Keyboards, Vocals – Tom Stephenson
Vocals, Harmonica – Jeff Cook

Lenny White - 1977 [2017] "Big City"

On his second solo album, Big City, Return to Forever drummer Lenny White leads an all-star cast on a jaunt through the diverse worlds of jazz fusion. The title track is a groove-oriented monster that unites the Brian Auger Oblivion Express with the Tower of Power horn section. While "Sweet Dreamer" is a soft ballad that features the singing of Linda Tillery, and "Rapid Transit" is a study in funk built around the bass playing of Verdine White, both songs benefit from the presence of Herbie Hancock on electric piano. Not to be forgotten, Lenny White shows off his penchant for sharp and accelerated drum cadences on interludes titled "Egypt" and "Ritmo Loco." Yet his leanings towards rock are taken a bit too far with Ray Gomez and Neal Schon trading epic guitar solos on "Dreams Come and Go Away" as well as "And We Meet Again." Fortunately the gap between sonic freak-outs is bridged by the exceptional "Enchanted Pool Suite," which features Miroslav Vitous on acoustic bass, Jerry Goodman on violin, and Jan Hammer on Minimoog.

With a guest list of over a dozen (including Herbie Hancock,Neal Schon and Jan Hammer) one might think 'Big City' would be a somewhat overwelming album musically. And in many ways it can be-Lenny White's ambitions on this album were quite spacious as usual but he had a pretty good idea what it was he wanted to do. With the title song his intent was very clear:his music hear was going to be based in the groove and this one has plenty of funk-even Lenny Pickett of TOP shows up and his horn really adds to the overal spice of the tune! "Sweet Dreamer" is a simply beautiful,gentle ballad sung by the strong,husky singer Linda Tillery and has a wonderful humanitarian message delivered with great dignity-Herbie Hancock's dreamy solo is icing on the cake. After a couple brief orchestral interludes Herbie's back for a solo of a different color on the heavy fusion funk of "Rapid Transit",one of my favorite songs here.Another guest is emediatly identifiable guest is Verdine White who wraps is popping vamps aroun Lenny's thundering beats. A brief little blip after sure got my attention-the Afro-cuban electronica of "Ritmo Loco" where Lenny plays all the instruments (mostly percussion) and a moog drum solo that sounds a lot like a synthezier. Neil Schoen's presense here is best summed up by the wild "Dreams Come And Go Away". "Enchanted Pool Suite" presents us with an elongated fusion jam that goes from string section to jazzy funk interludes featuring Jan Hammer's keyboards that work so well with Lenny and keeps it right through the finale "And We Meet Again". 'Big City' joins the lost list of "all star fusion albums" the most famous of which is George Duke's Reach for It,Narada Michael Walden's Awakening and Norman Connors' You Are My Starship-all of which are worth checking out and all of which jump to the head of the class. This at least have one the idea that sophmore slump would'nt be a problem for Lenny White.

This album was one of the best releases from the now defunct Nemperor Records. The composition "Rapid Transit" features one of the best pianos solos from Herbie Hancock ever recorded. This CD should be in every fusion afficianado's collection.

"Big City" is far more throughaly funky and far less self
indulgent then alot of Lenny Whites solo work and therefore can be seen as an overall high water mark in his catalog.Nothing
on this album is dull or overdone and the funk level is set on
HIGH so if you want some Lenny White in your collection,get this!

This is White's second solo album ,the first one was Ven. Summer.
This is the ex-drummer from the great Chick Corea band Return
to Forever. His fame with them was on the CD Romantic Warrior.
(get this too ,amazing!!) The is much better than his first,
White uses an all-star cast to make this cd Groove!!! Great
CD,worth getting.

How long I have waited to see the great Lenny White's work available on digital media. I just died and went to heaven!!! This album is a funky masterpiece that has been hidden from view in the the digital world far too long!!! I still have my vinyl copy under lock and key as well as armed guards on duty round the clock!!! If anyone even thinks about stealing my "Big City" LP all I have to say is make sure your insurance premiums are paid up and you may as well say good-bye to your family, because when I catch you with my copy of Lenny Whites "Big City" the undertaker will have work to do!!!

Tracks Listing:
 

1. Big City

  2. Sweet Dreamer

  3. Egypt

  4. Nocturne

  5. Rapid Transit

  6. Ritmo Loco

  7. Dreams Come And Go Away

  8. Enchanted Pool Suite(Part I-II)

  9. And We Meet Again

Line-up / Musicians

Lenny White Synthesizer, Bass, Piano, Arranger, Conga, Drums, Keyboards, Timbales, Moog Synthesizer, Producer, Oberheim, Horn Arrangements, Roto Toms, Announcer, Mini Moog, Arp Strings, Moog Drum
Verdine White Bass  
Tower of Power Horn
Miroslav Vitous Bass, Bass (Acoustic)
Neal Schon Guitar, Guitar (Electric), Soloist
Marcus Miller Bass
Bennie Maupin Saxophone, Sax (Soprano)
Patrick Gleeson Synthesizer, Keyboards, Producer, Brass, Brass Arrangement, Arp Strings
Ray Gomez Guitar (Acoustic), Guitar, Arranger, Guitar (Electric), Performer, Soloist
Jerry Goodman Violin
Onaje Allan Gumbs Piano, Keyboards
Jan Hammer Piano, Keyboards, Piano (Electric), Mini Moog
Herbie Hancock Keyboards, Piano (Electric)
Paul Jackson, Jr. Bass
Paul Jackson Bass
Greg Adams Trumpet
Lamar Alsop Violin, Viola
Brian Auger Organ, Piano, Keyboards, Piano (Electric)
Raymond Beckenstein Flute
Don Blackman Performer
Alex Blake Bass
Al Brown Viola
Emilio Castillo Sax (Tenor)
Clive Chaman Bass
Louis Colin Harp
Michael Comins Violin
Harry Cykman Violin
Harvey Estrin Flute
Barry Finclair Violin
Paul Gershman Violin
Mike Gibbs Piano, Orchestration
Mic Gillette Trombone, Trumpet
David Earle Johnson Conga
Gary King Bass, Drums
Harold Kohon Violin
Stephen "Doc" Kupka Sax (Baritone)
Lennox Laington Conga
Walter Levinsky Flute
Jesse Levy Cello
Alex Ligertwood Guitar
Guy Lumia Violin
Charles McCracken Cello
Homer Mensch Double Bass
Jack Mills Guitar, Soloist
Marin Morganstern Violin
Marvin Morgenstern Violin
David Nadien Violin
Lenny Pickett Sax (Tenor), Lyricon, Soloist
John Pintavalle Violin
Max Pollikoff Violin
Alan Shulman Cello
Linda Tillery Vocals

Lenny White - 1978 [2015] "Astral Pirates"

One of Lenny White's finest, most essential albums, The Adventures of Astral Pirates is a jazz-fusion masterpiece with a futuristic science-fiction theme. Star Wars was number one at the box office when, in 1977, White produced this disc with Al Kooper, and perhaps Elektra was hoping to cash in on the film's popularity. If you open the record's foldout cover, you can read White's tale of sci-fi battles that take place in the fifth millennium A.D. But you don't have to be a sci-fi fan to appreciate the mostly instrumental songs on this imaginative, risk-taking album, which finds White blending a jazz/rock/funk foundation with elements of everything from Middle Eastern music to Asian music. This set isn't the least bit predictable, and it could easily be described as "the sound of surprise" -- critic Whitney Balliett's term for jazz -- even though no one will mistake it for straight-ahead bop any time soon.

'Lenny White's Adventures Of Astral Pirates' is the drummer's fourth solo album. There is some of the best drumming, jazz, rock or otherwise, on this recording. There is very syncopated, punchy jazz-funk and there is heavy, heavy metallic rock with lightning fast drumset playing on this disc. Highly recommended for anyone serious about playing drums or interested in how experimental recorded music was in the 70's. This album was originally released in 1978. A versatile drummer, Lenny White is still best-known for being part of Chick Corea's Return To Forever in the 1970's. White was self-taught on drums and he largely started his career on top, playing regularly with Jackie McLean (1968) and recording "Bitches Brew" with Miles Davis in 1969. White was soon working with some of the who's who of jazz including Freddie Hubbard, Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stanley Clarke and Stan Getz among others. As a member of Return To Forever during 1973-76, White gained a strong reputation as one of the top fusion drummers, but he was always versatile enough to play in many settings.

 Fusion Jazz at its prime! I wore this record out!! I played the song Revelation and the Great Pyramid every day for two years (1978-1980), I cant tell you how many metal, rock ,jazz concerts hearing the sound guys use this album while setting and and breaking down. This is a must have album for all musicians!!! Play it ,you will get it! Please play Universal Love if you are wanting to be enlightened or you are having a bad day for real !! Universal Love is one of the best songs ever written !

'Lenny White's Adventures Of Astral Pirates' is the drummer's fourth solo album and I was very skeptical right from the start.My first Lenny White CD purchase was 'Streamline' and that's probably my favorite of all his albums,and between CD's and vinyl I have most of them,including this one.I am not a huge fan of White's early solo albums-he spends a great deal of time imitating Billy Cobham's spastic fusion drumming style and fills every available space with his instrumentation-much as he also did with Return To Forever.So on 'Astral Pirates' his drumming is very loud,but at the same time is more controlled and explores the sci-fi theme of this music.And the louder numbers are also saddled with simple funk numbers that came to full flower on the next outing.Not only that but this is probably his better crafted material thus far,even the fusion pieces.The presence of more vocals on this album gives White's music a sense of individuality that it didn't tend to have earlier when he was trying to imitate the styles of other fusion drummers instead of working on being his own musician.So in the end I have a vinyl LP copy of this album (not the Wounded Bird CD issue spoken of) but an album is an album and for all interested I strongly suggest that for a good introduction to early Lenny White you should pick this up-it's a great sampler from his fusion side rather then his funk side.For that I suggest 'Streamline'.

Track listing:

1 Prelude: Theme For Astral Pirates 1:20
2 Pursuit 2:58
3 Mandarin Warlords 5:06
4 The Great Pyramid 2:30
5 Universal Love 3:30
6 Remenbering 0:34
7 Revelation 3:25
8 Stew, Cabbage And Galactic Beans 3:51
9 Heavy Metal Monster 4:39
10 Assault 3:36
11 Climax: Theme For Astral Pirates 7:42

Personnel:

Bass - Alex Blake
Drums, Percussion, Synthesizer - Lenny White
Guitar [Lead] - Nick Moroch
Guitar [Rhythm] - Jeff Sigman
Keyboards, Vocals - Don Blackman
Synthesizer [Programming] - Patrick Gleeson

Miles Davis - 1974 [1991] "Big Fun" [Japan Import]

Big Fun is a double album by American jazz recording artist Miles Davis, released April 19, 1974, on Columbia Records. It contains tracks recorded between 1969 and 1972 by Davis. Largely ignored on its original release, it was reissued on August 1, 2000 by Columbia and Legacy Records with additional material, which led to a belated critical reevaluation. Big Fun presents music from three different phases of Miles Davis's early-seventies "electric" period. Sides one and four ("Great Expectations/Orange Lady" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers. "Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove (which in fact at one point breaks down due to mistiming) and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline. "Go Ahead John" Recorded on March 7, 1970, "Go Ahead John" is an outtake from Davis's Jack Johnson sessions. The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal. It was one of the rare occasions in which Davis recorded without a musical keyboard. It was recorded in five sections, ranging from three to 13 minutes, which producer Teo Macero subsequently assembled in post-production four years later for Big Fun. DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, and McLaughlin plays in a staccato style with blues and funk elements. According to one music writer, the track's bass parts has "a trancelike drone that maintains" the predominantly Eastern vibe of the album. Davis's trumpet and McLaughlin's guitar parts were heavily overdubbed for the recording. The overdubbing effect was created by superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two parts become four and they become eight parts. This was done over in the editing room and it just adds something to the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard". DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording. In his book Running the Voodoo Down: The Electric Music of Miles Davis, Davis-biographer Phil Freeman describes this technique as "100 percent Macero" and writes of its significance to the track as a whole, stating:     This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention. The drums cease to perform their traditional function. Jack DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes one of floating in space. Track listing: 1. Great Expectations 27:34 2. Ife 21:33 3. Go Ahead John 28:26 4. Lonely Fire 21:21 Line-up / Musicians - Miles Davis / trumpet (1,3-8), electric trumpet with wah wah (2) - Steve Grossman / soprano saxophone (1,4,5,7,8) - Sonny Fortune / soprano saxophone & flute (2) - Carlos Garnett / soprano saxophone (2) - Wayne Shorter / tenor saxophone (3,6) - Bennie Maupin / bass clarinet (1,3,4,6-8), clarinet & flute (2) - John McLaughlin / electric guitar (1,3,5,7,8) - Khalil Balakrishna / electric sitar (1,4,6-8), Indian instruments (6) - Herbie Hancock / electric piano (1,8) - Chick Corea / electric piano (1,3,4,6-8) - Lonnie Liston Smith / electric piano (2) - Harold I. Williams, Jr. / electric piano (2) - Joe Zawinul / electric piano (3,6), Farfisa organ (6) - Larry Young / organ & celeste (4,7) - Ron Carter / double bass (1,8) - Harvey Brooks / Fender bass guitar (1,4,6-8) - Michael Henderson / electric bass (2 - Dave Holland / electric bass (3,5), double bass (4,6,7) - Billy Cobham / drums (1,4,6-8), triangle (3,8) - Al Foster / drums (2) - Billy Hart / drums (2) - Jack DeJohnette / drums (3-7) - Airto Moreira / percussion (1,3,6), cuica (3,4,7,8), berimbau (4,7,8), Indian instruments (6) - Badal Roy / tabla (2) - James Mtume / African percussion (2) - Bihari Sharima / tamboura (1,4,7,8), tabla (1,8)