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Reminder! Íàïîìèíàíèå! |
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Dear JBC members!
I want to remind that, in accordance with JBC rules, everyone must post something at least once a month.
If you do not post something at least once a month, you will be demoted one step. For example, if your rank is "club member," you will be demoted to "registered user."
This rule is to ensure that everyone who joins is active.
Thank you very much for your understanding!
Äîðîãèå ÷ëåíû JBC!
ÍÀÏÎÌÈÍÀÅÌ, ÷òî ñîãëàñíî Ïðàâèëàì íàøåãî Êëóáà, êàæäûé åãî ÷ëåí äîëæåí âûêëàäûâàòü ñâîè àëüáîìû íå ðåæå, ÷åì 1 ðàç â ìåñÿö!
Åñëè ìû íå óâèäèì íîâûõ àëüáîìîâ îò ÷ëåíîâ Êëóáà, òî ýòîò ÷åëîâåê áóäåò ïåðåâåäåí íà îäèí øàã íàçàä è ñòàíåò îïÿòü òîëüêî "çàðåãèñòðèðîâàííûì ïîëüçîâàòåëåì"! Èçâèíÿþñü çà òàêèå äåéñòâèÿ, íî ïðàâèëà åñòü ïðàâèëà! Áîëüøîå ñïàñèáî çà Âàøå ïîíèìàíèå!
×ëåíû Êëóáà, êîòîðûå ïðåäëàãàþò ê ïóáëèêàöèè ïîñòû ñ èñïîëüçîâàíèåì ÷óæèõ ññûëîê áóäóò óäàëåíû! Club members who offer to publish posts with foreign link will be deleted! |
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1974: Willis Jackson - Headed And Gutted |
Music » Soul » Soul-Jazz |
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 Artist: Willis "Gator" Jackson Album: Headed And Gutted Label: Muse Records (Catalog#: MR 5048) Format, Bitrate: FLAC (LP-Rip) Year:1974 Size: 169.34MB Time:38:44 AMG rating  Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads ("My One and Only Love" is fairly memorable) and funky jazz, although "The Way We Were" did not really need to be recorded again. ~ Scott Yanow, All Music Guide Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ soulstrut.com |
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1961: Doris Day & Andre Previn - Duet |
Music » Jazz » Vocal Jazz |
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 Artists: Doris Day With Andre Previn Trio Album: Duet Label: Columbia Year: 1961; release: 1999 Quality: MP3@320 kbps Size: 91,4 mb Total time: 41:18 AMG Rating:  REPOST with a new mp3 link from lex Recorded late in 1961, this album is a milestone in Doris Day's career -- despite having generated no hits -- as her best long-player (and, by extension, her best CD), and her purest jazz solo album. Cut as a duet with André Previn (with Previn Trio bassist Red Mitchell and drummer Frank Capp providing occasional support), the album presents Day in the most intimate musical setting of her career. Her trademark style of singing works twice as well here as it did on her swing-era and early solo recordings. The repertory includes "Fools Rush In," and Alec Wilder's "Give Me Time," "Falling in Love Again," and a few Previn-authored pieces that hold up magnificently in this company. The CD reissue includes three previously unreleased outtakes, among them even more upbeat renditions of "Fools Rush In" and "Close Your Eyes." And the notes by Will Friedwald are also a treat. Worth tracking down; if you own only one Doris Day non-hits/non-swing-era CD, this is the one. ~ Bruce Eder, All Music Guide |
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2008: Clark Terry Sextet Featuring Ben Webster - More / Tread Ye Lightly |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Clark Terry Sextet Featuring Ben Webster Album: More / Tread Ye Lightly Label: Lone Hill Jazz Year: 1963; release: 2008 Format: mp3, bitrate: 320@kbps Time: 69:28 Size: 140 MB REPOST with a new link This edition presents two rare consecutive 1963 albums by the great Clark Terry (the first on wich features Ben Webster), appearing here on CD complete and in the correct track order for the first time ever. Three tracks, "More", "Meditation" and "Sweet Juke", have never been previously issued on CD. More is one out of seven collaborations between Clark Terry and Ben Webster. More was the third studio encounter and the first in a small group format. ~ Album's Notes This is one of Clark Terry's finest records of the 1960s, but has yet to be reissued on CD. Possessor of the happiest sound in jazz, the flugelhornist is particularly exuberant on "Georgia on My Mind," "Misty" and "Lilies of the Field." The colorful supporting cast includes Seldon Powell on tenor, baritone and flute, Buddy Lucas doubling on harmonica and tenor, bassist Major Holley (who sings along with some of his solos) and the mysterious "Homer Fields" on piano, who is actually Ray Bryant. Well worth searching for. ~ Scott Yanow, All Music Guide |
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1982: Cleo Laine and Dudley Moore - Smilin Through |
Music » Jazz » Vocal Jazz |
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 Artists: Cleo Laine and Dudley Moore Album: Smilin' Through Label: RCA Victor Year: 1982; release: 1992 Format, bitrate: MP3: 320 kb/s Time: 39:00 Size: 94 MB REPOST with a new link from Mr.Dementio This album is the result of two giant entertainers from the British Isles getting together in London in 1982 for a session of ballads and traditional pop. Dudley Moore was more famous, at least in the United States, for his comedic roles in a number of films. But he was a pianist and composer of no mean skills. Cleo Laine had been a singing talent of the first order since the 1950s and often performed and recorded with husband and sax player John Dankworth. Dankworth is present on one cut on this album. While Moore dashes off some nice solo work on such cuts as "When I Take My Sugar to Tea" and an Erroll Garner-like "I Can't Give You Anything but Love," it's Laine's wide-ranged, full-throated, expressive, and clear-as-a-mountain-lake voice that dominates the session. She sets the table for "I Don't Know Why I Just Do," recalling a few lines from "Love Me or Leave Me," and squeezes every ounce of feeling from "I'll Be Around." Then there's a fun, hip, overdubbed, scatting 1960 girl-singer rendition of "Before Love Went out of Style." The album's highlight track is a bluesy "Soft Shoe," where Dankworth chips in with his soprano sax and Laine and Moore engage in congenial patter. Moore's fellow rhythm section players are the inestimable Ray Brown and Nick Ceroli, which is the icing on a tasty musical cake that this album serves up. ~ Dave Nathan, All Music Guide |
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1960: Dave Brubeck Quartet with Carmen Mcrae - Tonight Only! (with bonus tracks) |
Music » Jazz » BeBop » Cool |
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 Artists: Dave Brubeck Quartet with Carmen McRae Album: Tonight Only! (with bonus tracks) Label: American Jazz Classics Year: 1960; release : 2011 Format, bitrate: mp3, 320 kbps Time: 57:45 Size: 129 MB One of the more obscure Dave Brubeck albums is really a showcase for the young singer Carmen McRae who performs nine numbers: six composed by the pianist/leader, one song apiece by altoist Paul Desmond and bassist Eugene Wright and the lesser-known standard "Paradiddle Joe." McRae is in fine voice but strangely enough all of the songs (except for "Strange Meadowlark") have been long forgotten. Stronger material would have resulted in a more memorable session. ~ Scott Yanow, All Music Guide The first out of there collaborations between Dave Brubeck and singer Carmen McRae. Five extra songs presenting McRae backed by the Dave Brubeck Trio have been added here as a bonus, including a rare reading of "There'll Be No Tomorrow" that also appears here on CD for the first time ever. ~ cduniverse.com |
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1925-1956: Dave Tarras - Yiddish-American Klezmer Music - 1925-1956 |
Music » Country & Folk |
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 Artist: Dave Tarras Album: Yiddish-American Klezmer Music 1925-1956 Label: Yazoo/Shanachie Entertainment Years: 1925-1956; release: 1992 Style: Klezmer music, pop-swing Quality: MP3@320 kbps Size: 140 mb Total time: 71:28 AMG Rating:  This much-welcome CD provides a capsule history of one of the most important American klezmer artists via a 36-page biography keyed to 78-rpm sides, radio transcriptions, and theatrical performances that zoom from cartoon soundtrack joy to delicate waltzes. Klezmer clarinetist Dave Tarras may not have taught Benny Goodman to swing, but his breakthrough style had a profound effect on American pop. Bandmate Ziggy Elman brought the Yiddish influence on jazz out into the open via Goodman's "And the Angels Sing," and where would the Andrew Sisters be without "Bay mir bistu sheyn?" Highly recommended. ~ Bob Tarte, All Music Guide |
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2000: Don Byron - A Fine Line: Arias and Lieder |
Music » Jazz » BeBop » Post-bop |
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 Artist: Don Byron Album: A Fine Line: Arias and Lieder Label: Blue Note Year: 2000 Format: FLAC(CUE/LOG) Size: 279 mb (with scans) AMG rating Repost with a new link Arias and lieder are forms strongly associated with classical music, yet clarinetist Don Byron defines them in a newly expansive way for this remarkable project. To Byron, arias and lieder belong not only to classical figures, but also to writers as diverse as Ornette Coleman, Roy Orbison, Stevie Wonder, Henry Mancini, and Stephen Sondheim.
Byron's right-hand man in this endeavor is pianist Uri Caine. The two play a series of duets throughout the program: "Zwielecht (Twilight)" by Robert Schumann, "Basquiat" by Byron himself, "Nessun Dorma" by Puccini, and "Reach Out (I'll Be There)," the 1966 Holland/Dozier/Holland hit sung by the Four Tops. Byron concludes the album with a solo clarinet rendition of the "Larghetto" from Chopin's second piano concerto.
These duo and solo vignettes frame the full ensemble pieces, on which Byron and Caine are joined by Jerome Harris, Paulo Braga, and a number of very effective guest vocalists. Former Pat Metheny Group vocalist Mark Ledford is wispy and ethereal on Ornette Coleman's "Check Up," deep-toned and far more dramatic on Roy Orbison's "It's Over." Patricia O'Callaghan takes a turn on Leonard Bernstein's "Glitter and Be Gay," an epic piece which Byron infuses with a strong dose of calypso. Both vocalists are joined by Dean Bowman and Harris to form a four-voice choir on Henry Mancini's "Soldier in the Rain." And finally, the great Cassandra Wilson turns in a spellbinding performance on Stephen Sondheim's "The Ladies Who Lunch."
The juxtapositions are unusual, and almost certain to be rejected by purists of any stripe. But at a time when more and more creative artists are bringing together classical, jazz, and pop influences, Byron's attempt surely ranks as one of the most personal and least calculating. ~ David R. Adler, All Music Guide |
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1960: Art Farmer/Benny Golson Jazztet - Blues March |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Art Farmer / Benny Golson Jazztet Album: Blues March Label: Jazz Time Records Year: 1960; release: 1993 Quality: FLAC Size: 239 mb (with all covers) Total time: 39:56 AMG Rating:   Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable. ~ Scott Yanow, All Music Guide |
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1938: Count Basie Live - 1938 At The Famous Door, NYC |
Music » Jazz » Swing |
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 Artist: Count Basie Album: 1938 At The Famous Door, NYC Label: Jazz Hour Year: 1938; release: 1997 Quality: MP3@320 kbps Size: 154 mb Total time: 72:47 AMG Rating: REPOST by request The Basie band, with Harry James as the guest soloist and new arrival Harry Edison in the lineup, rocked New York's 52nd Street. The band is captured here in six late-night CBS broadcasts in the midst of its first big year of success, in an engagement that was supposed to last six weeks and ended up running four months, before an audience so taken with the group's sound that they willingly moved out onto the sidewalk while the group opened up to full volume for these broadcasts. There's hardly a note out of place, and the band shows its stuff behind renditions of "Jumping at the Woodside," "King Porter Stomp," and "One O'Clock Jump" (a killer finale) clocking in at between five and seven minutes with extended solos, double the length of their records of this era. Basie's piano gets some of the spotlight in a bracing version of "Lady Be Good." The fidelity is good to very good, and only "Everybody Loves My Baby" (a great number) is, alas, incomplete, a result of a transcription disc that was never found. That flaw aside, it is a release like this that transcends any of the criticism of the digital medium -- put simply, it's only the existence of digital audio and digital editing that permitted an engineer to remove more than 200 scratches per second from the original transcription discs that this CD came from. ~ Bruce Eder, All Music Guide |
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1981: Paul Butterfield - North South |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Album: North South Label: Rhino Year:1981 Format, bitrate: mp3, 320 kbps CBR Time: 35:02 min Size: 79.11 Ìb This is absolutely terrible! East West is one of my favorite Paul Butterfield albums (actually I like all 3 of them) and was surprised to find an album I'd never heard of. This album is a bunch of 70's disco songs with Paul Butterfield listed as doing back up vocals. Must have sold the rights to use his name. ~ Amazon.com |
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1927-1943: Dicky Wells 1927-1943 |
Music » Jazz » Swing |
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 Artist: Dicky Wells Album: Dicky Wells 1927-1943 Label: Classics Years: 1927-1943; release: 1997 Quality: MP3@320 kbps Size: 144 mb Total time: 70:45 AMG Rating: Î÷åðåäíàÿ âñòðå÷à ñ âåëèêîëåïíûì òðîìáîíèñòîì! This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. ~ arwulf arwulf, All Music Guide |
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2003: Don Byron - The Music of Henry Mancini & Sly Stone |
Music » Jazz |
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 Artist: Don Byron Album: The Music of Henry Mancini & Sly Stone Label: Symphony Space, New York Year: 2003 Format, bitrate: MP3, 192 Kbps Time: 2.2 hours Size: 231.73 MB Repost with new link Since 2000, Don Byron has been Artist-in-Residence at New York's Symphony Space. Contrasting Brilliance: The Music of Henry Mancini and Sly Stone (November 2000) was followed by Sugar Hill Revisited, a tribute to the music of the pioneering hip-hop label, which established his Symphony Space Adventurers Orchestra. The second installment of Contrasting Brilliance, in November 2002, was dedicated to the music of two more of his favorite composers: Igor Stravinsky and Raymond Scott. Today, Don Byron's working ensembles include Music for Six Musicians, Bug Music/Bug Music for Juniors, the Don Byron Quintet, and the Don Byron Medium Band featuring Abdoulaye Diabate. He has also touerd with The Symphony Space Adventurers Orchestra to festivals in the US and Europe beginning in 2003. His Ivey-Divey Trio with Jason Moran and Jack DeJohnette began touring in 2004. |
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1957: Art Blakey - Mirage |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Art Blakey & The Jazz Messengers Album: Mirage Label:Savoy Year: 1957; Release:1976 Format, bitrate: Mp3, 320 Kbps Size:89 MB The 1957 edition of The Jazz Messengers heard throughout this enjoyable LP features altoist Jackie McLean, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest and leader/drummer Art Blakey. Already at this early stage, the band was the epitome of hard bop and just beginning to become an influential force. Although none of these six selections (three by tuba player Ray Draper) would become standards, the music is consistently excellent and typically hard swinging. ~ Scott Yanow, All Music Guide |
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1999: Stacey Kent - Let Yourself Go - Celebrating Fred Astaire |
Music » Jazz » Vocal Jazz |
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 Artist: Stacey Kent Album: Let Yourself Go - Celebrating Fred Astaire Label: Candid Records Year: 1999; release: 2000 Format: lossless: (eac-flac, cue, log) Size: 281 MB (with scans) Total time: 54:41 Let Yourself Go is an exceptional collection of 13 tunes written by the cream of popular song writers -- Berlin, Gershwin Brothers, and others -- honoring Fred Astaire's contributions to the vocal art. With his low key, narrow ranged voice, Astaire probably introduced and/or made popular more songs that were destined to become standard entries in the Great American Songbook than any other artist. Kent delivers this selective play list with one of three musical combinations, just piano, with piano plus rhythm, and with a larger aggregation which includes sax and guitar. Irrespective of the instrumental context, all of the tunes are delivered with Stacey's pleasant nasal twang to help her create the impression that the lyrics she's singing are part of an intimate one on one conversation with each listener. There's nothing over dramatic on this album. No gimmicks, just a voice as engaging as any on the scene conveying the meaning of a melody in the tradition of the person she is honoring, the inestimable Astaire.
Kent's pianist, David Newton, is one of the premiere accompanists in the U.K., having worked with such top flight singers as Tina May. He and Kent display their musical attraction to each other on a relaxed, suave rendition of "Isn't This a Lovely Day" and "They Can't Take That Away From Me," where Kent and Newton gently joust as they deliver an elegant rendition of this tune. "Relaxed" is as good a word as any to describe the atmosphere for this session. There's nothing frenetic here. "S'Wonderful," usually performed at a fast pace, gets a languid, medium tempo treatment with Newton's piano, an effortlessly lilting Colin Oxley guitar and Jim Tomlinson's tenor sharing the mike with Kent. "A Fine Romance" is about as upbeat as it gets, with Oxley's cleaned line guitar setting the pace. Newton engages in a bit of Erroll Garner-like humming during his solo on this tune. Tomlinson's romantic tenor is featured on "Let Yourself Go" and "They All Laughed." On "One for My Baby," he brings out his clarinet, using the middle register to help create the proper melancholy mood for this definitive "drowning my sorrows in booze" tune.
In addition to providing more than 50 minutes of musical entertainment, the liner notes set out the lyrics for each tune. This is another excellent album by American born, U.K.-based singer Stacey Kent, and is happily recommended. ~ Dave Nathan, All Music Guide |
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1976: Paul Butterfield Blues Band - Put It In Your Ear |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Blues Band Album: Put It In Your Ear Label: JVC Compact Discs Year: 1976; release: 2005 Format, bitrate:mp3 320 kbps CBR Time: 35:37 min Size: 78.62 Mb The Butterfield Blues Band has been critically acclaimed as one the greatest electric blues bands ever! Lead by singer & harmonica player Paul Butterfield, their albums have stood the test of time as classics of the 60's & early 70's. Put It In Your Ear was originally issued in 1975 & features David Sanborn, Eric Gale, plus Garth Hudson & Levon Helm from The Band. ~ Wounded Bird Records. 2005. |
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1953: Ken Colyer's Jazzmen - Vintage Ken Colyer 1953 |
Jazz, Traditional Jazz |
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 Artist: Ken Colyer's Jazzmen Album: Vintage Ken Colyer 1953 Label:Lake Records LACD190 Year: 1953; release: 2004 Format, bitrate: mp3 320 kbps CBR Time: 01:14:34 min Size: 123.35 Ìb Once again Paul Adams and Lake Records have done fans of Vintage Ken Colyer and Chris Barber music a great service by compiling and re-mastering twenty-two recordings by Ken Colyer's Jazzmen made in Copenhagen in April and May, 1953, soon after Ken returned from New Orleans and the band was founded. Eighteen of the tracks are full or partial band recordings, while an additional four are from an early skiffle set with Lonnie Donegan on banjo and vocals, Chris Barber on bass, and Ken Colyer on vocals. The sound quality of these sometimes rudimentary and amateur recordings does vary considerably, but the re-mastering job is excellent, and of course the music itself is an indispensable collection for jazz historians and those Barber fans who simply want to know how the music they love originated. ~ chrisbarber.net |
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1973: Jimmy McGriff & Groove Holmes - Giants Of The Organ In Concert |
Music » Soul » Soul-Jazz |
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 Artists: Jimmy McGriff and Richard "Groove" Holmes Album: Giants Of The Organ In Concert Label: Groove Merchant Year: 1973, release 2007 Genre: Funk-jazz, Blues Format, bitrate: mp3, 320 kbps Size: 134 MB The complete concert of two giants of the Hammod B-3. Recorded live at Paul's Mall, Boston, 1973 |
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1947-1950: Todd Rhodes And His Orchestra - Blues For The Red Boy: The Early Sensation Recordings |
Music » Blues » Rhythm-n-Blues |
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 Artist: Todd Rhodes And His Orchestra Album: Blues for the Red Boy: Early Sensation Recordings Label: Ace Year: 1947-1950 Release: 2002 Format, bitrate: Mp3, 320 Kbps Size: 181 Mb AMG Rating:   ~ Richie Unterberger, All Music Guide |
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1976: Santana - Amigos |
Latin, Blues-Rock |
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 Artist: Santana Album: Amigos Label: Columbia Year: 1976 Format, bitrate: Mp3, 320 Kbps Time: 41:14 Size: 102 MB AMG rating: Ýòî óæå áîëåå áëþçîâûé àëüáîì, êîòîðûé âåðíóë ãðóïïå áûëûå ïîçèöèè. Íî êàê ïî ìíå, òóò íå âåçäå ïðîÿâëÿåòñÿ äóõîâíûé ôåíîìåí Ñàíòàíû è ïåðåæèâàåìîì íàìè äèñêå, áîëåå ïðîÿâëÿþñÿ òå÷åíèÿ óæàñíîãî äåíåæíîãî ïîãëîòèòåëÿ. By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status. ~ William Ruhlmann, All Music Guide |
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