JACO PASTORIUS - JACO PASTORIUS

 It's impossible to hear Jaco Pastorious' debut album today as it sounded when it was first released in 1976. The opening track -- his transcription for fretless electric bass of the bebop standard "Donna Lee" -- was a manifesto of virtuosity; the next track, the funk-soul celebration "Come On, Come Over" was a poke in the eye to jazz snobs and a love letter to the R&B greats of the previous decade (two of whom, Sam & Dave, sing on that track); "Continuum" was a spacey, chorus-drenched look forward to the years he was about to spend playing with Weather Report. The program continues like that for three-quarters of an hour, each track heading off in a different direction -- each one a masterpiece that would have been a proud achievement for any musician. What made Jaco so exceptional was that he was responsible for all of them, and this was his debut album. Beyond his phenomenal bass technique and his surprisingly mature compositional chops (he was 24 when this album was released), there was the breathtaking audacity of his arrangements: "Okonkole Y Trompa" is scored for electric bass, French horn, and percussion, and "Speak Like a Child," which Pastorious composed in collaboration with pianist Herbie Hancock, features a string arrangement by Pastorious that merits serious attention in its own right. For a man with this sort of kaleidoscopic creativity to remain sane was perhaps too much to ask; his gradual descent into madness and eventual tragic death are now a familiar story, one which makes the bright promise of this glorious debut album all the more bittersweet. (This remastered reissue adds two tracks to the original program: alternate takes of "(Used to Be a) Cha Cha" and "6/4 Jam") (Jaco Pastorius Review by Rick Anderson for AllMusic.com)

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THE SHADOWS - THE SOUND OF THE SHADOWS

 The Shadows' fourth album (not counting hits collections) follows on from Dance with the Shadows. The common perception among Americans watching from afar and British historians who just don't know is that the Shadows were operating in a vacuum during the 1960s, oblivious to the pop music universe swirling around them, but their mid-'60s albums tell a different story -- the band tries hard to be a mainstream rock & roll outfit without betraying their roots as a virtuoso instrumental ensemble. "A Little Bitty Tear," "Let It Be Me," and "Five Hundred Miles" are attempts at successful vocal numbers, and not bad -- they harmonize beautifully on the latter two. All of these do rather get lost in the shuffle, amid slow instrumental ballads like "Blue Sky, Blue Sea, Blue Me" (which features the band supported by the Norrie Paramor Strings) and harder dance numbers like "Bossa Roo" and "Breakthru'," but the vocal efforts are valid. The latter track is a great showcase for John Rostill's bass and Marvin's lead picking and Welch's melodic rhythm guitar. Surprisingly, drummer Brian Bennett isn't quite as visible on this record, as either a songwriter or on his instrument, as he was on their other albums of this era -- in his place, John Rostill shares songwriting with both Marvin and Welch on four numbers featured on this album. Some of the outside songwriting is a bit lacking in imagination, most notably Jerry Lordan's "Santa Ana," which often seems one note away from turning into "La Bamba." By contrast, "Dean's Theme" by Hank Marvin and John Rostill is a bluesy little venture that's a bit different for the quartet, although the best (and hardest rocking) number on the album is an outside composition, a driving instrumental called "Breakthru'." The sound throughout is more than good, but not as radiant here as it is on several of the group's other remastered CD editions -- this one was done in 1997, not 1998, and although it features 24-bit digital audio mastering and the same noise reduction process, the later releases are more successful. Additionally, the CD version predates the decision by EMI to include the mono and stereo mixes together on the same compact disc. (The Sound of the Shadows Review by Bruce Eder for All Music.com)

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DAVID BENOIT - SHAKEN, NOT STIRRED

 

Unlike most genre superstars, David Benoit never seems content to stick strictly with any pop formula for very long. While his hummable ivory spirit always shines through, his many attempts to shake and stir the typical expectations make him perhaps the most artistic pop jazz artist around. Shaken Not Stirred is thus an appropriate moniker for this wildly eclectic collection, which makes overwhelmingly effective use of orchestral grandeur (the enrapturing "Carmel"), and comes across more as a smashing musician's playground than a lightweight, radio friendly stab. he treads just enough familiar territory to keep old fans pleased but enjoys experimenting with percussive explosions, wild jamming, and traditional smoky club blues. The genuine simple warmth of the acoustic tribute "Jacqueline" (Jackie Kennedy Onassis died the year this was released) reminds us, however, that behind the crazy, genre-busting navigations is a gentle man full of grace. Hopefully the mixed bag of vocals -- a solid effort by David Pack undercut by a meandering schmaltzer by Kenny Rankin -- won't detract from the wide-ranging and powerful instrumental tracks. The only voice Benoit needs is in his fingers. (Shaken, Not Stirred Review by Jonathan Widran for AllMusic.com)

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THE RIPPINGTONS - BLACK DIAMOND

 After nearly a decade at GRP Records, smooth jazz's premier ensemble made a very successful switch to Windham Hill with this recording inspired by leader Russ Freeman's ski adventures in his adopted home of Colorado. Their tenth album continues the band's recent successful ventures into urban-flavored music while also showcasing Freeman's amazing talents for jazz and flamenco guitar playing, in addition to his trademark classical guitar-influenced pop/rock sound. The collection is also a celebration of ten years of the smooth jazz format and the Rippingtons' instrumental role in creating music that helps define the genre's sound. The band weaves through the title track with a soaring, echoing guitar melody over a cool, shuffling hip-hop groove. Mark Williamson's spiritual-flavored chanting enhances the moody textures and funky, retro-soul vibe of the electric guitar-driven "Deep Powder," while the steamy, classical guitar-led "Seven Nights in Rome" finds the band looking down from the mountaintop, thoughtfully recounting the romantic ambience of a recent concert trip to Italy. "North Peak"'s slamming percussion approximates a speedy downhill race, but all that chill is more than balanced by the daring and exotic "Angelfire," which blends Freeman's colorful flamenco stylings and Arturo Sandoval's crackling trumpet. (Black Diamond Review by Jonathan Widran  for AllMusic.com)

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WEATHER REPORT - TALE SPINNIN'

 

Weather Report's ever-changing lineup shifts again, with the somewhat heavier funk-oriented Leon "Ndugu" Chancler dropping into the drummer's chair and Alyrio Lima taking over the percussion table. As a result, Tale Spinnin' has a weightier feel than Mysterious Traveller, while continuing the latter's explorations in Latin-spiced electric jazz/funk. Zawinul's pioneering interest in what we now call world music is more in evidence with the African percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on the previous two albums and Alphonso Johnson puts his melodic bass more to the fore. While not quite as inventive as its two predecessors, this remains an absorbing extension of WR's mid-'70s direction. (Tale Spinnin' Review by Richard S. Ginell for AllMusic.com)

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WHEATER REPORT - MR. GONE

 

On Mr. Gone, Weather Report becomes merely a cover name for a Joe Zawinul/Jaco Pastorius jazz/rock/funk record production, with several guest drummers (Steve Gadd, Tony Williams, Peter Erskine), no resident percussionist, and Wayne Shorter as a still-potent solo saxophone threat. This album was denounced in its time as a sellout, probably on the reputation of Jaco's pulsating "River People," which is as close as WR ever came to outright disco. But there is lots of diversity and adventure here, as the creative core of the band uses the latest electronics to push out the boundaries of sound while maintaining tight control over structure. "The Pursuit of the Woman with the Feathered Hat" is quintessential Zawinul; the Third World-centered groove is everything, no chord changes to impede this rush of layered electronics, percussion, and voices. Shorter's spare "The Elders" flirts with the electronic avant-garde and he retrofits his Miles Davis-era "Pinocchio" in rapid-fire electro-acoustic garb. In other words, the multi-flavored WR stew continues to cook at a fine boil. (Mr. Gone Review by Richard S. Ginell for AllMusic.com)

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MICHAEL FRANKS - THE ART OF TEA

 The Art of Tea is a jazz vocal album by Michael Franks, his first on Frank Sinatra's Reprise label, released in February 1976. The album peaked at #131 on the Billboard 200. Franks's only Billboard Hot 100 single, "Popsicle Toes", which peaked at #43, is a track on the album. 

After his debut on the tiny Brut Records (a short-lived record label of the famous cologne company), Michael Franks established both his unique sound and a recording process he has continued throughout his career. Primarily a jazz artist, Franks crossed over to pop and rock fans through heavy FM airplay beginning with The Art of Tea. Sensually suggestive and playful tracks, such as "Popsicle Toes" and "Eggplant" contain sly wordplay and almost Henry Mancini-like, breezy jazz-pop. Employing a similar approach as Steely Dan did with its music, Franks' singing and songwriting formed the basis of a sound rooted in the support of top-notch musicians, many of whom were the hottest studio jazz players on the scene. Here, the killer rhythm section of drummer John Guerin and bassist Wilton Felder is augmented by horn pros Michael Brecker and David Sanborn, with Franks and Larry Carlton handling all the guitar work. This winning combination of players, styles, singing, and songwriting would be reshuffled and refined over the years, but perhaps with no finer results than on this official major label debut. (The Art of Tea Review by Stephen J. Matteo  for All Music.com)

Personnel

Michael Franks – vocals

Michael Brecker – saxophone

David Sanborn – saxophone

Joe Sample – keyboards

Larry Bunker – vibraphone

Larry Carlton – guitar

Wilton Felder – bass guitar

John Guerin – drums

Jerry Steinholtz – congas

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DAVID BENOIT - AMERICAN LANDSCAPE

 

From his poignant liner notes, David Benoit would have us believe that the wide range of styles he delves into on the majestic American Landscape will take us on an adventure completely new in the pianist's catalog, but it simply expands upon the unique themes he introduced on 1994's Shaken Not Stirred, one of his best ever. These include his expansion into orchestral music, which grew out of his budding film score career: the dusty Western flavors of the title track "American Landscape," for example, actually evolved from of an unused demo for a Kevin Costner movie. The song includes the brilliant touches of Tommy Morgan's harmonica and the swelling London Symphony Orchestra, which dances here not with wolves, but in and around Eric Marienthal's funky sax. The melancholy orchestral intro to "A Personal Story" sounds like it should accompany scenes of heartbreak, but then Benoit throws a curve, easing into a lively trio date. That sort of cheerfulness reaches a fever pitch on the full-blown venture into salsa, "Mr. Rodriguez's Opus," highlighted by the dual energy of Benoit's Latin piano excitement and Jerry Hey's trumpet. The energetic closer "Speed Racer" builds from a soft orchestral intro into a full-on Western horse race between Benoit and banjo virtuoso Béla Fleck, then combines a jazz trio with a dramatic orchestral underscore. Benoit's career has always been about those stylistic and thematic surprises popping up as a balance to his sense of jazz-pop fun. American Landscape stands as his most dramatic adventure yet.

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LARRY CARLTON - ALONE BUR NEVER ALONE

 

One of the few smooth jazz artists of the '80s to make music that's simultaneously melodically substantial and sonically contemplative, Larry Carlton hit a career high on 1986's Alone/But Never Alone. Playing only acoustic guitar (with electric bass, drums, and synthesizers on most tracks), Carlton neatly sidesteps the twin pitfalls of new age mush and smooth jazz showboating, playing neatly phrased, well-thought solo lines against a variety of melodic and rhythmic backgrounds. The acoustic focus gives the album a timeless quality, even though a few tracks feature synthesizer lines that betray their mid-'80s origins, and the obviously spiritual quality of the music (song titles include not only the higher-power-oriented title track, but "Smiles and Smiles to Go" and "Perfect Peace," and the centerpiece track is an instrumental setting of a common tune for "The Lord's Prayer") is becalming without being drippy or pillow-soft. This is not an album that will change the mind of those dead-set against smooth jazz, but it's a small masterpiece of the genre.(Alone/But Never Alone Review by Stewart Mason for All Music.com)

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JOYCE COOLING - REVOLVING DOOR

 

On her previous album, This Girl's Got to Play -- which was inspired by the soul-searching she did post 9/11 -- this popular San Francisco-based smooth jazz guitarist made an ongoing commitment to making music about things that matter. Joyce Cooling's early album titles were cute twists on her name, but the Revolving Door she's referring to on this diverse and heartfelt disc goes into some deep territory; it's about the cycle of mental illness, which she knows intimately about due to growing up with a brother who was schizophrenic. That sounds like heavy stuff for an artist in a genre that's usually about happy escapist music, but Cooling finds a way to balance the darker edges with the joyful breeziness that has long endeared her to fans. First the shadier stuff, off the smooth path: the title track is a seductive and emotional blues-drenched expression featuring some of her most gutsy, heartfelt playing ever; it's reminiscent of some of Larry Carlton's brilliant fusions of smooth jazz and real blues. Though it only runs for over a minute, the simple and percussive acoustic tune "In Case of Rain" delves into some interesting Brazilian territory, while "Jesse's Bench" more fully explores her talent for gritty emotional digging on the acoustic. Powered by trippy and hypnotic backing vocals, "Cool of the Night" is all vibey, atmospheric, exotic, retro, and has an irresistible straight-ahead drum brush-driven groove. These songs show tremendous artistic growth for both her and her longtime keyboardist partner Jay Wagner, but Cooling's bread and butter will always be lighthearted gems like the opening tune "Mildred's Attraction," and the jubilant, brass-enhanced "At the Modern." The guitarist always includes a few pleasant vocals in the mix, and the most memorable one here, on the sparsely arranged live track "I'll Always Love You (Ode to the Audience)" directly addresses her love affair with the fans. They'll be giving a lot of love back thanks to the magic of this collection.

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LEE RITENOUR - ON THE LINE

With JVC midwifing again for the insatiable jazz fans of Japan, Ritenour aims to please -- this time with a series of live-in-the-studio tracks that were recorded with a supermarket of audiophile processes (direct to disk, direct to digital, direct to analog tape). The analog tape version is the one that Elektra/Musician put out in the U.S. later in 1983 -- and it's a rather slight piece of L.A. electric-jazz work, not worth the extra engineering effort. Perhaps they were inhibited by the direct-to-whatever conditions, but then perhaps not, for they're all battle-tested session pros (Ernie Watts, Dave and Don Grusin, Harvey Mason, Nathan East, Anthony Jackson, Greg Mathiesen, Steve Forman, Lenny Castro and Rit himself). The real power failure lies in the ordinary material, which no synthesizer growls or Rit's versatile technique can enliven for long (though "Dolphin Dreams" has some pretty moments). Ambition rears its head when "The Rit Variations" are launched by a neobaroque theme by Spanish composer Federico Mompou, but the track soon slips into the land of cliché (all Music.com)

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BOB JAMES - ONE

 

One is the third solo album by jazz keyboardist Bob James. It was an important album in the early smooth jazz genre and is famous for its end track, "Nautilus", which became important to hip hop as one of the most sampled tracks in American music. This is not 'pleasant background music', it's a brilliantly written and performed genre defying set of superb tracks. In The Garden and Night on Bald Mountain are wonderful adaptations of two very different pieces of classical music, totally engaging for anyone who appreciates complex arrangements made funky and jazzy, and played with consummate musicianship. Soulero is a wonderful bolero style piece, building layers of beautiful tones and rhythms. Play loud and often and you'll appreciate and enjoy more with every listen. Five stars not enough. Thank you Bob James for this and other CTI, KUDU and Tappen Zee dates which have given me boundless pleasure. (All Music.com)

One

T-SQUARE - NATURAL

 

Natural is the fifteenth studio album by Japanese Jazz fusion band T-Square. It was released on April 21, 1990. It was the last to feature Takeshi Itoh on saxophone and EWI, during his initial run with the band (from the formation to 1990). He returned to T-Square in mid-2000 and has been performing with the group ever since.

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BOB JAMES - SIGN OF THE TIMES

 

Another of Bob's great post 70s releases. He can serve up a mix of spice and sweet all in one musical spoonful. Again you like the bell-tones of Rhodes electric married to great arrangements and a penchant for the hook this is for you. Nice well executed smooth jazz (I hate the term BUT it is true) this isn't Return to Forever in your face rock fusion. Deeper into the album/cd tracks prove Bob can really utilize dynamics to get a mood across to the listener. He dips into latin, funk, a little disco, classical and of course jazz waters with stride. Brilliant!

Bob James - Sign of The Times

DAVE GRUSIN - OUT OF THE SHADOWS

 

Out of the Shadows is an album by American pianist Dave Grusin. The album consists mostly of original, pop-influenced jazz compositions. Released by Arista and Grusin's own GRP Records in 1982, it experienced favorable critical reception and became a commercial success, spawning the single "She Could Be Mine" and becoming one of his highest-charting albums when it peaked at number four on Billboard's Contemporary Jazz Albums chart and number 88 on the all-genre Billboard 200. It continues to be retrospectively well regarded by critics. The majority of the eight-song album consists of original compositions by Grusin, as well as a rendition of the Gerry Mulligan song "Five Brothers".The record incorporates elements of jazz and pop, and has been considered to bear influence from the Frank Mills piece "Music Box Dancer". It was released in 1982 by GRP Records. It was released as a compact disc in 1990. The track "She Could Be Mine", produced by Grusin and Larry Rosen, was released as a single in August 1982, by Arista; the single edit was three minutes and forty-six seconds long. It was also later featured as the opening track on his 1988 greatest hits compilation, Collection.

Personnel:

Dave Grusin – Fender Rhodes electric piano, acoustic piano, synthesizers

Don Grusin – synthesizers

Lee Ritenour – guitar

Eric Gale – guitar

Lincoln Goines – bass

Steve Gadd – drums

Harvey Mason – drums

Rubens Bassini – percussion

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PAUL SIMON - ONE-TRICK PONY

 

Though it was released to coincide with the opening of the film One-Trick Pony, which Paul Simon wrote and starred in, the One-Trick Pony album is not a soundtrack, as it is sometimes categorized, at least, not exactly. If it were, it might contain the Paul Simon song "Soft Parachutes" and other non-Simon music featured in the movie. Instead, this is a studio album containing many of the movie songs, some of them in the same performances (two were cut live at the Agora Club in Cleveland). The record is not billed as a soundtrack, but a sleeve note reads, "The music on this Compact Disc was created for the Paul Simon Movie 'One-Trick Pony.'" Anyway, if Simon was in fact writing songs for Jonah, his movie character (as seems true of songs like "Jonah," "God Bless the Absentee," and "Long, Long Day"), he intended that character to take a somewhat less considered lyrical viewpoint than Paul Simon generally does, but to be even more enamored of light jazz fusion than Paul Simon had been on his last album, Still Crazy After All These Years. Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. But it is also his most uneven album, simply because the songwriting, with the exception of the title song and the ballads "How the Heart Approaches What It Yearns" and "Nobody," is not up to his usual standard. Maybe he was too busy writing his screenplay to polish these songs to the usual gloss. (It can't have been than Jonah wasn't supposed to be as talented as Paul Simon. Could it?) In any case, though the album spawned a Top Ten hit in "Late in the Evening" and may have sold more copies than the film did tickets, it remained a disappointment in both artistic and commercial terms.

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DAVE KOZ - LUCKY MAN

 

Lucky Man is the second studio album of saxophonist Dave Koz. It was released by Capitol Records on June 29, 1993 in NYC, followed by a nationwide release in November 1993 and international release in May 1994. The album peaked at number 2 on Billboard Top Contemporary Jazz Albums chart. The album has sold over 500,000 copies in the United States and has thus been certified gold by the RIAA. One of the tracks on the album, "Faces of the Heart", was used as the theme to the ABC soap opera General Hospital from 1993-2004.

Personnel:

Dave Koz: Saxophone

Jeff Lorber: keyboards

Bill Payne: Acoustic piano

Jeff Koz: Keyboards

Brad Cole: Keyboards

Dennis Lambert Programming

Tim Carmon: Keyboards programming

Anthony DeTiege: Keyboards programming

Booker T Jones: Organ

Robbie Buchanan: keyboards

Greg Philinganes: Acoustic piano

Robben Ford: guitar

Paul Jackson Jr.: guitars

Buzz Feiten: Guitar fills

Jimmy Haslip: Fretless bass

Pino Palladino: Fretless bass

Lenny Castro: percussion

Steve Reid: percussion

Paulinho Da Costa: percussion

Maceo Parker: alto saxophone

Phil Perry: lead vocals

Tracks:

1 - Shakin' The Shack

Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Dave Koz

Arranged By, Producer – Dave Koz, Jeff Lorber

Bass – Alec Milstein

Drums – John Robinson (2)

Featuring [Electric Guitar] – Robben Ford

Featuring [Organ] – Chester Thompson (2)

Guitar [Additional] – Oliver Leiber

Keyboards – Jeff Lorber

Percussion – Lenny Castro

Piano – Bill Payne

Written-By – D. Koz*, J. Lorber*

6:06

2 - You Make Me Smile

Acoustic Guitar, Keyboards, Drum Programming, Programmed By [Bass Programming] – Jeff Koz

Arranged By, Producer – Dave Koz, Jeff Koz

Bass – Nathan East

Drums – Rayford Griffin

Electric Guitar – MIchael Thompson

Percussion – Lenny Castro

Soprano Saxophone, Keyboards – Dave Koz

Written-By – D. Koz*, J. Koz*

4:18

3 - Faces Of The Heart

Acoustic Guitar – Bob Mann

Alto Saxophone, Keyboards [Additional] – Dave Koz

Arranged By [Strings], Conductor – Jeremy Lubbock

Bass – John Peña

Contractor – Jules Chaiken*

Drums – Ricky Lawson

Guitar [Nylon], Electric Guitar – Jeff Koz

Keyboards, Piano – Brad Cole

Percussion – Machito Sanchez*

Producer – Dave Koz, Jeff Koz

Written-By – D. Koz*, J. Urbont*, J. Koz*

3:42

4 - Don't Look Any Further (Prelude)

Arranged By, Programmed By – Dave Koz, Dennis Lambert

Backing Vocals [Chant] – Dave Koz, Dennis Lambert, Evelyn King, Franne Golde, Jean McClain, Jheryl Lockhart, Katrina Perkins

Saxophone, Noises [Breath Noises] – Dave Koz

0:41

5 - Don't Look Any Further

Alto Saxophone – Dave Koz

Arranged By, Programmed By [Keyboard], Producer [Pre-Production] – Tony De Tiege*, Billy Moss, Tim Carmon

Backing Vocals – Dave Koz, Dennis Lambert, Evelyn King, Franne Golde, Jean McClain, Jheryl Lockhart, Katrina Perkins, Zelma Davis

Electric Bass – Alec Milstein

Featuring [Lead Vocals] – Zelma Davis

Producer – Dennis Lambert

Producer [Associate] – Dave Koz

Written-By – Lambert*, Hitchings*, Golde*

5:19

6 - Tender Is The Night

Acoustic Guitar, Keyboards – Carl Sturken

Arranged By, Producer – Carl Sturken, Dave Koz, Evan Rogers

Backing Vocals – Evan Rogers

Coordinator [Project Coordinator] – Colleen Donahue Reynolds*

Drums – Mark Schulman

Featuring [Lead Vocals] – Phil Perry (2)

Fretless Bass – Jimmy Haslip

Keyboards, Synth [Synth Bass], Strings, Arranged By [String], Piano – Claude Gaudette

Percussion – Steve Reid (5)

Soprano Saxophone, Electronic Wind Instrument, Keyboards – Dave Koz

Written-By – Sturken*, Koz*, Rogers*

5:56

7 - Saxman

Alto Saxophone, Tenor Saxophone – Dave Koz

Bass, Drum Programming – Claude Gaudette

Drums – Ed Greene (2)

Electric Bass – Nathan East

Featuring [Alto Saxophone] – Maceo Parker

Featuring [Baritone Saxophone] – "Doc" Kupka*

Featuring [Organ] – Booker T. Jones

Featuring [Spoken Introduction] – Edward James Olmos

Featuring [Tenor Saxophone] – Clarence Clemmons*

Guitar – Paul Jackson, Jr.*

Other [Musical Inspiration] – Allee & "Pickles" Willis*

Other [Party Goers] – Allan Rich, Allee Willis, Tony De Tiege*, Audrey Koz, Billy Moss, Bobby Kranc, Cassandre McCowan, David Pearlman, David Perler, David Williams, Harley Neuman, Hilary Mandel, Jud Friedman, Karin Friedman, Mark Mattson, Nick Smith, Norman Koz, Patrick Wilson, Paul La Combe, Roberta Wilson, Simone Lazer, Taylor Rose Wilson, Tim Carmon, Tina Lambert

Percussion – Michael Fisher

Piano – John Barnes, Kenny Moore

Producer – Dennis Lambert

Producer [Associate] – Dave Koz

Written-By – A. Willis*, D. Koz*

4:25

8 - After Dark

Arranged By, Producer – Dave Koz, Jeff Lorber

Drums [Drum Fills] – John Robinson (2)

Electric Bass – Alec Milstein

Fretless Bass – Pino Palladino

Guitar – Paul Jackson, Jr.*

Keyboards, Drum Programming – Jeff Lorber

Percussion – Paulinho Da Costa

Soprano Saxophone, Electronic Wind Instrument, Noises [Whispers], Keyboards [Additional] – Dave Koz

Written-By – D. Koz*, J. Lorber*

6:22

9 - Lucky Man

Alto Saxophone – Dave Koz

Arranged By, Programmed By [Synth Programming], Keyboards – Robbie Buchanan

Drums – John Robinson (2)

Electric Guitar, Acoustic Guitar – Teddy Castellucci

Featuring [Lead Vocals] – Charles Pettigrew

Percussion – Michael Fisher

Producer – Dennis Lambert

Producer [Associate] – Dave Koz

Written-By – Rich*, Koz*, Friedman*

3:26

10 - Silverlining

Alto Saxophone, Keyboards – Dave Koz

Arranged By, Producer – Dave Koz, Jeff Lorber

Drums – Curt Bisquera

Electric Bass – Alec Milstein

Guitar [Extremely Nasty Guitar Shank] – Oliver Leiber

Guitar [Guitar Fills] – Buzz Feiten*

Keyboards, Drum Programming, Synth [Synth Bass] – Jeff Lorber

Percussion – Lenny Castro

Rhythm Guitar – Paul Jackson, Jr.*

Written-By – D. Koz*, J. Lorber*

5:16

11 - Wait A Little While

Alto Saxophone, Keyboards [Additional] – Dave Koz

Arranged By, Producer – Dave Koz, Jeff Lorber

Drums – John Robinson (2)

Electric Bass – Alec Milstein

Electric Guitar, Soloist [Guitar Solo] – Carlos Rios (2)

Fretless Bass – Pino Palladino

Guitar [Additional] – Buzz Feiten*

Keyboards, Programmed By, Synth [Synth Bass] – Jeff Lorber

Percussion – Paulinho Da Costa

Written-By – C. Rios*, D. Koz*

5:40

12 - Show Me The Way

Acoustic Guitar, Keyboards – Jeff Koz

Alto Saxophone, Keyboards – Dave Koz

Arranged By, Producer – Dave Koz, Jeff Koz

Bass – Nathan East

Chorus – Alex Brown, Gigi Worth, Jeff Pescetto, Jim Gilstrap, Katrina Perkins, Leslie Smith, MonaLisa*, Phillip Ingram, Terry Young, Yvonne Williams

Drums – Rayford Griffin

Electric Guitar – Michael Thompson

Percussion – Lenny Castro

Piano – Greg Phillinganes

Soloist [Adlibs] – Alex Brown, Phillip Ingram

Written-By – D. Koz*, J. Koz*

5:22

13 - Misty

Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Dave Koz

Arranged By [Sax Section] – Brad Cole

Producer – Dave Koz

Written-By – Errol Garner*

3:20

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Dave Grusin & Lee Ritenour - Harlequin

 

Harlequin is a collaborative studio album by American pianist Dave Grusin and American guitarist Lee Ritenour, released in 1985 through GRP Records. The album reached No. 2 on Billboard's Contemporary Jazz chart, and earned a 1986 Grammy Award for Best Arrangement on an Instrumental for "Early A.M. Attitude". Harlequin also earned Grammy nominations for Best Engineered Recording, Best Instrumental Arrangement Accompanying Vocals, and Best Pop Instrumental Performance. In 1988, Perri sisters sampled Grusin’s “The Bird” into their track called “The Flight”, from their album “The Flight” under Zebra Records, that song was produced by Michael J. Powell.

Personnel:

Dave Grusin – keyboards, conductor

Lee Ritenour – guitar

Ivan Lins – vocals

Jimmy Johnson – bass

Abraham Laboriel – bass

Carlos Vega – drums

Harvey Mason – drums

Paulinho Da Costa – percussion

Alex Acuña – percussion

DAVID SANBORN BAND - PROMISE ME THE MOON

Promise Me The Moon

3:58

		Benjamin	1:29
		Stranger's Arms	4:20
		Heart Lake	5:19
		The Rev.	3:54
		We Fool Ourselves	5:12
		Morning Salsa	6:05
		The Legend Of Cheops

EUMIR DEODATO - LOVE ISLAND

 

1978's Love Island found Deodato in pretty much the same space he'd been for much of the decade, concocting his own ineffable brew of fusion and funky disco, with the help of friends and cover songs along the way. Love Island finds him unleashing yet another passel of songs which are all pleasant to the ear, if not completely fresh -- what makes it most interesting is that it could almost be considered a concept album, every song title apparently revolving around jungle tropics, warm winds, sandy beaches, and, more likely than not, a few beauties bearing cocktails to complete the picture. The album kicks off with "Area Code 808," which places the initial action in Hawaii, a twitchy extended fusion revolving around quite a nice funk bassline. The remainder of the set carries on from there, with the groove ebbing and flowing from the punchy "Whistle Bump" to the pleasant and decidedly mellow strains of "San Juan Hut," and on to the title track. It is unfortunate hindsight alone, and no fault whatsoever of Deodato's, that it conjures up nothing so much as scenes from The Love Boat. Damn pop culture. Also of note is "Tahiti Hut," co-written by Deodato and Earth, Wind & Fire's Maurice White, and buoyed by guest appearances by three more EW&F members: Verdine White, Freddie White, and the percussive genius of Philip Bailey. A pleasing piece of easy listening, Love Island probably won't thrill the pants off anyone but the most rabid fan. By this late in the decade, one had kind of heard it all before. But if you should need to hear it all again, Love Island sounds great when the sun is shining.

1		Area Code 808 Written By – E. Deodato & George Parrish, Jr. Written By – E. Deodato & George Parrish, Jr.	6:19
2		Whistle Bump	3:55
3		Tahiti Hut Written By – E. Deodato & Maurice White Written By – E. Deodato & Maurice White	4:29
4		San Juan Sunset	3:41
5		Love Island	7:23
6		Chariot Of The Gods Written By – Edwin Starr & Don Juan Mancha Written By – Edwin Starr & Don Juan Mancha	3:07
7		Piña Colada	5:45
8		Take The A Train	3:47

• 
  

MIKE MAINIERI - WANDERLUST

• Bass – Marcus Miller, Tony Levin (tracks: 5)
• Drums – Peter Erskine
• Flute – Jeremy Steig (tracks: 6)
• Guitar – Kazumi Watanabe (tracks: 6), Steve Khan
• Keyboards – Don Grolnick
• Piano – Warren Bernhardt (tracks: 5)
• Saxophone – Michael Brecker
• Synthesizer – Warren Bernhardt
• Vibraphone, Marimba – Mike Mainieri

Notes

Bob James - BJ4

 

1		Pure Imagination
2		Where The Wind Blows Free
3		Tappan Zee
4		Nights Are Forever Without You
5		Treasure Island
6		El Verano Alto Recorder – George Marge Arranged By – Bob James Bass – Gary King Cello – Alan Shulman, Charles McCracken Drums – Steve Gadd Engineer – Rudy Van Gelder Flute – Hubert Laws Guitar – Eric Gale Keyboards – Bob James Oboe, English Horn – Sidney Weinberg Percussion – Ralph MacDonald Producer – Creed Taylor Tenor Saxophone, Bass Clarinet, Tenor Recorder – Romeo Penque Tenor Saxophone, Flute, Clarinet – Eddie Daniels Trumpet, Flugelhorn [Solo] – Art Farmer Viola – Emanuel Vardi, Lamar Alsop Violin – Charles Libove, David Nadien, Emanuel Green, Harold Kohan*, Matthew Raimondi, Max Ellen, Paul Gershman