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"The Best Smooth Jazz...Ever! [2 CD Blue Note]" (03/01/2005) Jazz Instrument Various Artists, Liberty (USA)Performers include: Dave Koz, Al Jarreau, Bobby McFerrin, Casandra Wilson, Earl Klugh. Richard Elliott, Bob James, Donald Byrd, Medeski, Martin & Wood and many more. This incredibly light, fun, and surprisingly hip two-CD collection from Blue Note uses the term "smooth jazz" in an unexpected way. Rather than referring to the genre, "smooth" refers to the temperament and feel of these sometimes funky/sometimes poppy tracks that are selected from six decades of jazz. Dave Koz, Richard Elliot, and a couple other names could be filed in the smooth jazz section, but Adderley, Baker, and Byrd are too classic for that, and it's easy to imagine the legions of funky Medeski, Martin & Wood fans recoiling in horror over the title's Kenny G. insinuation. In actuality the disc is a whole lot of fun. Most of it is very hip fun and very little of it is wallpaper. The Bobby McFerrin, Ramsey Lewis, and Chet Baker cuts are obvious choices, but the inclusion of Charlie Hunter's smoky version of Roxy Music's "More Than This" is a very pleasant surprise and having such divergent sounds as St. Germain's "Latin Note" and Elza Soares' "Mas Que Nada" in the same collection is crafty cool. Perhaps Sauve Jazz would be a better title for this pleasing collection of refined and relaxing tunes. ~ David Jeffries

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"The Very Best of Fats Waller [RCA]" (11/07/2000) Jazz Instrument Waller, Fats, RCA Victor Records (USA)Personnel includes: Fats Waller (vocals, piano, organ); Rudy Powell (alto saxophone, clarinet); Gene Sedric (tenor saxophone, clarinet); Herman Autry, Bunny Berigan, John Hamilton (trumpet); Tommy Dorsey (trombone); Al Casey (guitar); Cedric Wallace, Charlie Turner, Slam Stewart (bass); Zutty Singleton, George Wettling, Slick Jones, Harry Dial (drums). Recorded between 1929 & 1943. Includes liner notes by Doug Ramsey. All tracks have been digitally remastered. Personnel: Fats Waller (vocals, piano, celesta, organ); Dick McDonough, Irving Ashby, John Smith, Al Casey (guitar); Rudy Powell (clarinet, alto saxophone); Gene Sedric (clarinet, tenor saxophone); Gene Porter (reeds); William Alsop, Lawrence Fields, Alfred Skerritt, Jimmy Powell (alto saxophone); Lonnie Simmons (tenor saxophone); George Wilson, John "Bugs" Hamilton , Herb Fleming, Herman Autrey, Nathaniel Williams, Benny Carter , Bunny Berigan (trumpet); Alton Moore, George James, George Robinson, John Haughton, Tommy Dorsey (trombone); George Wettling, Harry Dial, Arthur Trappier, Arnold Boling, Wilmore Slick Jones, Slick Jones, Zutty Singleton (drums). Liner Note Author: Doug Ramsey. Recording information: 03/01/1929-01/23/1943. This best-of features the inimitable performer in a variety of settings, from the rollicking late-1920s small group arrangements of "Ain't Misbehavin'" and "Honeysuckle Rose" to the beautiful, and unexpectedly delicate, big band sound of the instrumental "Jitterbug Waltz."

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"Ah Via Musicom" (03/20/1990) Jazz Instrument Johnson, Eric (Guitar 1), Capitol/EMI RecordsPersonnel: Eric Johnson (vocals, guitar, lap steel guitar, electric sitar, piano); Steven Hennig (guitar); Wee Willie (harmonica); Steve Barber (synthesizer); Roscoe Beck, Kyle Brock, Reggie Witty (bass); Tommy Taylor (drums); Paul Bissell, James Fenner (percussion); Jody Lazo (background vocals). Recorded between March 1988 and June 1989. After being overlooked on his debut, Tones, guitarist Eric Johnson burst onto the airwaves with the surprising hit "Cliffs of Dover." Armed with excellent chops and a clear tone, Johnson took a tired formula and made it sound fresh again. Despite his talents on the fret board, he plays with great restraint and chose to explore a variety of styles, including rock, pop, blues, country, and jazz. While his singing is not quite as interesting as his guitar playing, it is not obtrusive and is at times quite pleasing. This recording has reached near-classic proportions within the guitar community. ~ Robert Taylor

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"When I Fall in Love" (09/28/2004) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (vocals, trumpet); Chris Botti; Jill Zadeh (vocals); Mitch Dalton (acoustic guitar); Fiona Hibbert (harp); Julian Leaper, Dave Woodcock, Deborah Widdup, Jonathan Evans Jones, Maciej Rakowski, Tom Bowes, Paul Willey, Rolf Wilson, Steve Morris, Roger Garland, Patrick Kiernan, Boguslaw Kostecki, Rita Manning, Kenneth Sillito, Cathy Thompson, Jackie Shave (violin); Ivo Jan Vanderwerff, Vicci Wardman, Edward Vanderspar, George Robertson, Peter Lale, Bruce White (viola); Frank Schaefer, David Daniels , Caroline Dearney, Paul Kegg, Anthony Lewis , Anthony Pleeth (cello); Karen Jones, Helen Keen, Stan Sulzmann, Philip Todd (flute, alto flute); Andy Panayi (bass flute); Nick Rodwell, Anthony Pike (clarinet); Jamie Talbot (bass clarinet, tenor saxophone); David Theodore (oboe); Bob Sheppard (saxophone); Nigel Hitchcock (alto saxophone); John Barclay, Guy Barker, Derek Watkins (trumpet, flugelhorn); Mike Thompson , Richard Bissill, David Pyatt (French horn); Pete Beachill, Mark Nightingale, Richard Edwards (trombone, tenor trombone); Dave Stewart (bass trombone, euphonium); Billy Childs Trio (piano, Fender Rhodes piano); Greg Phillinganes (piano, keyboards); Federico Gonzalez Pe?a, Billy Childs (piano); Brian Bromberg (bass instrument); Patrick Lannigan, Alec Dankworth, Chris Laurence, Mary Scully (double bass); Ralph Salmins (drums); Paula Cole, Sting (vocals); Dean Parks, Dominic Miller, Shane Fontayne (guitar); Gil Goldstein (accordion); Jeff Lorber (keyboards); Billy Kilson, Vinnie Colaiuta (drums); Paulinho Da Costa (percussion). Audio Mixer: Al Schmitt. Recording information: Air Lyndhurst Hall, London, England; Avatar Studio, New York, NY; Capitol studios, Los Angeles, CA; JHL Sound, Los Angeles, CA. Photographer: Fabrizio Ferri. Arrangers: Bobby Colomby; Jeff Lorber; Brian Bromberg; Jeremy Lubbock; Mark Schulman. Although the most popular contemporary jazz tends to fall into the "lite" category, trumpeter Chris Botti avoids painting himself into this corner by sticking with an approach more reminiscent of Chet Baker. For his 2004 album, WHEN I FALL IN LOVE, Botti takes it a step further by employing the London Session Orchestra to provide him with lush accompaniment on a program predominantly made up of standards. The Oregon native adds further layers to the album's sound by calling on singer Paula Cole, whose burnished vocals provide a fine foil on a brush-stroked version of Irving Berlin's "What'll I Do?" and "How Love Should Be," with its subtle mix of piano and strings. Along with exquisite takes on Rodgers & Hart ("My Romance") and the Gershwins ("Someone to Watch Over Me"), Botti also shows a knack for the cinematic nuance of Ennio Morricone ("Cinema Paradiso") and the pop-jazz of Sade ("No Ordinary Love"). The handsome horn player even ropes old employer Sting and bandmates Dominic Miller and Vinnie Colaiuta into lending their talents on the samba-flavored "La Belle Dame Sans Regrets" (composed by Sting and Miller). With its dusky mood, WHEN I FALL IN LOVE serves as the perfect soundtrack for a late-night cocktail party or a romantic evening by the fireplace.

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"Time Out" (04/11/2006) Jazz Instrument Brubeck, Dave, Legacy RecordingsDave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race. Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon. The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on TIME OUT, an album everyone should own.

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"Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2" (01/26/1999) Jazz Instrument Stitt, Sonny, Prestige RecordsOriginally released as two separate albums, Sonny Stitt's SOUL ELECTRICITY! and Don Patterson's FUNK YOU! Personnel includes: Sonny Stitt (saxophone); Don Patterson (organ); Charles McPherson (saxophone). Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Pat Martino, Billy Butler (guitar); Charles McPherson (alto saxophone, tenor saxophone); Don Patterson (organ); Billy James (drums). Liner Note Author: Joe Segal. Recording information: Englewood Cliffs, NJ (09/23/1968-09/24/1968); New York, NY (09/23/1968-09/24/1968). Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package -- Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category -- but for fans of either artist, the material is worth hearing. ~ Richie Unterberger

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"Heavy Weather [Remaster]" (09/23/1997) Jazz Instrument Weather Report, Legacy RecordingsWeather Report: Joe Zawinul (vocals, piano, synthesizer, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Weather Report: Joe Zawinul (vocals, acoustic & Fender Rhodes pianos, synthesizer); Jaco Pastorious (vocals, fretless bass, mandocello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by Peter Keepnews. Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system. This is a Super Audio CD playable only on Super Audio CD players. Weather Report: Joe Zawinul (vocals, piano, synthesizers, melodica); Jaco Pastorius (vocals, fretless bass, mando-cello, drums, steel drums); Manolo Bandrena (vocals, percussion); Wayne Shorter (soprano & tenor saxophones); Alex Acuna (drums, percussion). Recorded at Devonshire Sound Studios, North Hollywood, California. Includes liner notes by John Ephland. Composers: Jaco Pastorius; Joe Zawinul. Personnel: Joe Zawinul (vocals, guitar, melodica, piano, Fender Rhodes piano, keyboards, synthesizer, Oberheim synthesizer, drums, tabla); Jaco Pastorius (vocals, mandocello, mandolin, drums, steel drum); Manolo Badrena (vocals, congas, tambourine, timbales, percussion); Wayne Shorter (saxophone, soprano saxophone, tenor saxophone); Tom Oberheim (synthesizer); Alex Acu?a (drums, congas, tom tom, hand claps, percussion). Liner Note Author: John Ephland. Recording information: Devonshire Sound Studios, North Hollywood, CA (1977). Directors: Seth Rothstein; Kevin Gore; Steven Berkowitz. Illustrator: Lou Beach. Photographers: Don Hunstein; Keith Williams; Keith Williamson; Keith Williams. Unknown Contributor Role: Brian Risner. Probably the best fusion album ever made, and the coming together of five precociously talented musicians. Joe Zawinul and Wayne Shorter assembled the unit with little knowledge that the complex music would become so accessible. Two compostions stand out; the graceful 'A Remark You Made', an evocative love song without words, and the hit single 'Birdland' (so successful it was even used by Akai for a major advertising campaign). On these two Zawinul compostions their genius bass player Jaco Pastorius gives a taste of what he was capable of. He bent the notes to make them talk, and that high octave solo on 'Birdland' is still a treasured moment.

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"Urban Smooth Jazz" (10/01/2002) Jazz Instrument Various Artists, Ichiban

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"A Thousand Kisses Deep" (09/30/2003) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Chantal Kreviazuk, Bridget Benanate (vocals); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer piano, keyboards, shaker); Keefus Ciancia (piano, keyboards, Moog synthesizer); Jim Cox (organ, keyboards); Mark Goldenberg (keyboards, programming); Printz Board (synthesizer, programming); Dean Parks (acoustic & electric guitars); Smokey Hormel (electric guitar); Doyle Bramhall (guitar); Chuck Berghofer, Mike Elizondo (bass); Joey Waronker, Abe Laboriel, Jr. (drums); Lenny Castro (bongos, percussion). Personnel: Bridget Benenate, Chantal Kreviazuk (vocals); Dean Parks (guitar, acoustic guitar); Doyle Bramhall (guitar); Matthew Gerrard (electric guitar, keyboards, bass synthesizer, drum programming); Smokey Harmel (electric guitar); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer organ, keyboards, shaker); Keith Ciancia (piano, keyboards, bass synthesizer, Moog synthesizer); Billy Childs Trio (piano); Jim Cox (Fender Rhodes piano, organ, keyboards); Mark Goldenberg (keyboards, drum programming); Chuck Berghofer (acoustic bass); Abe Laboriel, Jr. (drums, hi-hat); Joey Waronker (drums); Lenny Castro (bongos, percussion). Audio Mixer: Dave Way. Recording information: Bill Schnee Studios, N. Hollywood, CA; Capitol Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Sunset Sound Studios, Los Angeles, CA; The Green Room, Los Feliz, CA; The Lab, Santa Monica, CA; World Famous Flamingo Studios, Los Angeles, CA. Photographer: Fabrizio Ferri. Chris Botti's sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a jazz and pop musician. Botti's phrasing is very keen, uncanny in the way it works with simple rhythmic structures, and his tone is rich and warm. His use of keyboards and drum loops is pretty much up to the minute in terms of its hip factor, and his arrangements appeal to serious jazz fans and are something akin to blessed-out ecstasy to smooth jazz aficionados. Therein also lies the problem. Botti hasn't significantly developed his sense of artifice since his debut album and, if anything, has delved deeper into its oh-so-cool bachelor pad faux elegance than ever on A Thousand Kisses Deep. The title track, a very moving song written by Leonard Cohen, is the finest moment on the disc. A spare guitar backdrop is adorned simply; Botti plays the melody in short, clipped staccato phrases for an entire full verse before the rhythm section enters. The effect is haunting, lushly romantic, and full of a sensual warmth that is as spooky as it is silky. The spare keyboards and brushed drums offer the song as something slightly Latin (thanks to the gorgeous guitar playing by Dean Parks). It could have been the love theme in Robert Rodriguez's Once Upon a Time in Mexico -- yes, it really does feel slightly mariachi! Burt Bacharach's "The Look of Love," despite a marvelous vocal by Chantal Kreviazuk, suffers from cute syndrome -- as does "The Last Three Minutes," another Bacharach tune. The straight pop stuff, such as "Ever Since We Met" with Bridget Benenate's breathy vocals, work very well. Botti's solo entwines the refrain and carries the singer's voice along into the ether. A duet with pianist Billy Childs on "My Funny Valentine" feels a tad stilted, but there is great tension resolution in the third chorus. "If I Could," another original, with the great Smokey Hormel on guitar in addition to Parks, is a true mood-setter. Smoky, slightly steamy with just a hint of a funk backdrop and Botti whispering through the pastel keyboard sounds with his own shade of deep blue and gauzy elegance, it's the babymaker on the album. In all, as with each of Botti's recordings, there is nothing inherently wrong here, and the formula is successful; it's one of the better mood records out there, but it's still formula, contrived and calculated to establish and keep the listener paying some degree of attention, but not too much. ~ Thom Jurek

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"The Colors of Latin Jazz: Cha Cha Soul!" (04/27/2004) Jazz Instrument Various Artists, Concord Special ProductsConcord's The Colors of Latin Jazz series rounds up Latin jazz sounds originally released by their Concord Picante offshoot. The tunes on Cha Cha Soul! are a mix of Latin styles, but mainly focus on the cha cha and guajira rhythms, and are taken from records released between 1982 and 2003. Tracks by Mongo Santamaria, Ray Barretto, Eddie Palmieri, Cal Tjader (with the great Carmen McRae), and Tito Puente provide marquee drawing power, and the rest of the performers aren't exactly unknowns in the Latin jazz field. None of the aforementioned performers are at the peak of their powers, but they turn in credible and often exciting dance music. Standout performances include McRae's gritty take on Santana's "Evil Ways" and Tito Puente and his band going to town on a live take of their classic "Oye Como Va." So while the sound of the record certainly reflects the time the songs were recorded, very clean and with most of the grease wiped away, this collection will satisfy fans of Latin jazz looking for a smooth and easy selection of modern sounds. ~ Tim Sendra

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"Livin' Large" (03/09/2004) Jazz Instrument Groove, Euge, Narada JazzPersonnel: Euge Groove (vocals, soprano saxophone, tenor saxophone, keyboards, samples); Bridgette Bryant (vocals); JBS (rap vocals); Lee Thornberg (trumpet, flugelhorn); Herman Jackson (vibraphone, piano, Fender Rhodes piano, synthesizer); Ollie Marland (Fender Rhodes piano, programming); Ricky Peterson (organ); Jeff Carruthers (keyboards, guitar, programming); David Woods, Johnny Britt (keyboards, programming); Paul Brown (guitar, percussion, programming); Paul Jackson, Jr. (guitar); Alex Al, Roberto Vally (bass); Lil' John Roberts (drums); Luis Conte (percussion). Personnel: Euge Groove (vocals, soprano saxophone, tenor saxophone, keyboards, programming); Bridgette Bryant (vocals); JBS (rap vocals); Jeff Carruthers (guitar, keyboards, programming); Paul Jackson, Jr. , Tony Maiden (guitar); Paul Brown (wah-wah guitar, drum programming); Herman Jackson (strings, piano, Fender Rhodes piano, synthesizer, vibraphone); Lee Thornberg (trumpet, flugelhorn); Ollie Marland (Fender Rhodes piano, programming); Ricky Peterson (organ); Johnny Britt (keyboards, programming); Alex Al (bass guitar); Lil' John Roberts (drums); Luis Conte (percussion). Audio Mixer: Paul Brown . Liner Note Author: Euge Groove. Recording information: Digital Zoo Music, Reseda, CA (05/2003-09/2003); Entourage Studios, North Hollywood, CA (05/2003-09/2003); Funky Joint Studios, Sherman Oaks, CA (05/2003-09/2003); Sunset Sound Recorders, Hollywood, CA (05/2003-09/2003); The Browns, Somis, CA (05/2003-09/2003); Woody Reed Music, Woodland Hills, CA (05/2003-09/2003). Arrangers: Euge Groove; Ollie Marland; Jeff Carruthers; Johnny Britt; Paul Brown . A few years prior to this release, veteran touring sideman Steve Grove (Richard Marx, Joe Cocker, Tina Turner) decided to stop hitting the road with pop legends to focus on his smooth jazz career. Despite securing a definite toehold for himself in the sax-heavy genre on the basis of a handful of hit radio singles, he ran into a roadblock with his previous label and jumped ship for the smaller but artist-friendly Narada Jazz. The fact that he's still committed to Livin' Large as a smoothie is reflected in his continued dedication to making picture-perfect sax records like this one. His trademark sound is horn texturing at just the right spots and sometimes on the hook of the song (a notion from his Tower of Power days, no doubt), as on the title track, which features some of his most muscular playing ever, or the midtempo funk of "XXL." Groove always offers a balance between the aggressive and romantic, and here finds the perfect blend on the retro-soul-inspired breathy moods of "Take You Higher" and "Too Cool." Producer Paul Brown (who produced tracks on Groove's first two albums) helps him find the '70s pop-soul vibe throughout, an influence directly addressed on the opening track, a shuffle groove cover of James Taylor's "Don't Let Me Be Lonely Tonight" and Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)," presented in two versions, one instrumental and one with an autobiographical rap. Each has a party atmosphere, a slow-burning funk edge, and generous servings of that snazzy horn texturing. Groove intends his title to mean the idea of embracing life in general, but it also applies to the energy and appeal of this solid collection. ~ Jonathan Widran

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"Sarah Vaughan with Clifford Brown [Remaster]" (02/29/2000) Jazz Instrument Vaughan, Sarah, Verve (USA)Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Digitally remastered by Kiyoshi Tokiwa. Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Personnel: Clifford Brown (trumpet); Sarah Vaughan (vocals); Herbie Mann (flute); Paul Quinichette (tenor saxophone); Jimmy Jones (piano); Roy Haynes (drums, snare drum). Audio Remixer: Kiyoshi Tokiwa. Liner Note Authors: Michael Ullman; Michael Bourne. Recording information: Fine Sound, New York, NY (12/16/1954/12/18/1954); New York, NY (12/16/1954/12/18/1954). Photographer: William Claxton. Arranger: Ernie Wilkins. This album joined the talents of legendary jazz singer Sarah Vaughan with those of 24-year-old wonder-trumpeter Clifford Brown for a December, 1954 released on Mercury Records subsidiary EmArcy. A warm and welcoming hiss washes over this album, giving it a graceful, familiar patina. One feels like a privileged listener let in on an intimate closed session. Brown's playing is sharp and confident throughout, and at times even bears a bit of a racy, histrionic edge. But it is clearly Vaughan who steals the show in this set. The opening and closing strains of "Jim" demonstrate her peerless intonation, as her voice blends with the rest of the instruments to create a mellifluous whole. On "Lullaby of Birdland," Vaughan wallows around her soupy lower register only seconds before breaking into some bebop maneuvering. It is interesting to listen to what kind of interpretive character her tight vibrato and winsome pitch-modulation bring to standards like "September Song," and the Gershwins' "Embraceable You." This is a thoroughly representative collection from one of jazz's all-time greats.

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"The Paris Concert" (11/22/1993) Jazz Instrument Peterson, Oscar, Pablo RecordsPersonnel: Oscar Peterson (piano); Joe Pass (guitar); Niels-Henning Orsted Pedersen (bass). Recorded live at Salle Pleyel, Paris, France on October 5, 1978. Includes liner notes by Benny Green. Digitally remastered by Phil De Lancie (1993, Fantasy Studios, Berkeley, California). Pianist Oscar Peterson made so many recordings for Norman Granz's Pablo label (and was so consistent) that while all of his records are recommended, it is difficult to pick out any one as the definitive or essential release. This two-CD set (a straight reissue of the original two-LP release) features Peterson with an all-star trio, a unit comprised of guitarist Joe Pass and bassist Niels Pedersen. Just 16 days later Peterson would record The London Concert with a different trio. This time around he mostly sticks to standards but includes three songs associated with Benny Goodman (including the riff-filled "Benny's Bugle"), features Pass (who contributed his original "Gentle Tears") unaccompanied on "Lover Man" and really romps with his fellow virtuosoes on such numbers as "Ornithology," "Donna Lee" and "Sweet Georgia Brown." ~ Scott Yanow

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"To Love Again: The Duets" (10/18/2005) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Billy Childs (piano); Christian McBride (bass instrument); Peter Erskine (drums); Paulinho Da Costa (percussion). As its title implies, TO LOVE AGAIN is essentially a sequel to trumpeter Chris Botti's well received 2004 outing, WHEN I FALL IN LOVE. In fact, two guest vocalists from the earlier album, Sting and Paula Cole, appear again, with Sting lending his distinctive voice to the lilting "What Are You Doing the Rest of Your Life?" and Cole accompanying Botti on the gentle "My One and Only Love." Among the many other guest performers, Aerosmith's Steven Tyler appears on the lush, string-laden "Smile," an odd yet remarkably suitable departure for the raspy-voiced frontman. Despite the added star power, the record is still Botti's show, as he reminds listeners with his smooth, atmospheric Chet Baker-inspired horn lines, particularly on the gently floating "Embraceable You" and the romantic title track.

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"Getz/Gilberto [Bonus Tracks] [Remaster]" (05/20/1997) Jazz Instrument Gilberto, Joao, Polygram (Japan)Personnel: Joao Gilberto (vocals, guitar); Stan Getz (tenor saxophone); Astrud Gilberto (vocals); Antonio Carlos Jobim (guitar, piano); Milton Banana (drums). Recording information: New York, NY (03/18/1963/03/19/1973). The record that started the bossa nova craze of the mid-'60s, GETZ-GILBERTO is a justly recognized classic. The disc's success is attributable to its spectacular personnel: the man who basically invented bossa nova, Antonio Carlos Jobim; the man who defined and perfected the genre, Joao Gilberto; his charmingly waifish-sounding wife, Astrud Gilberto; and American tenor saxophonist extraordinaire Stan Getz. Jobim plays guitar and piano; Getz provides remarkably lyrical, complementary lead lines, and Joao Gilberto plays and sings in Portuguese with the most understated, romantic, and artful vocal delivery imaginable. It's a hard combination to beat. Opening track "The Girl From Ipanema," a breezy, infectious Jobim composition with vocals by both Joao and Astrud, became one of the biggest (and most recognizable) hits of the era, and the single most popular Brazilian tune in America. The exquisite shuffle "Desafinado," the Joao-Astrud duet "Corcovado," and the eminently grooving "So Danco Samba" have gone on to become standards of both bossa nova and jazz, and the versions here are definitive. Getz's sensitive playing blends seamlessly with the deceptively casual rhythmic sophistication of Jobim, Gilberto, and percussionist Milton Banana. The material, the musicianship, and the gentle, minimal arrangements and production ensure that GETZ/GILBERTO will never date, age, or tire. It's a perfect album. One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer Joao Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history -- "The Girl from Ipanema," a Jobim classic sung by Joao's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Dan?o Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. [The CD was also released with bonus tracks.] ~ Steve Huey

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