Pete Escovedo

Herbie Hancock’s Magic Windows (1981) is one of his numerous album issues in the period between the 70’s and 80’s. During these years Hancock released nearly 2 albums per year. On this jazz fusion album Herbie Hancock plays EMU Polyphonic Keyboard, Clavitar, Prophet 5, Yamaha CS80, Rhodes Piano and a variety of synthesizers, including Minimoog and a Modified Apple II plus Microcomputer, Sennheiser Vocoder …and much more. There are no strings, brass or other orchestral instruments on this album. Although Magic Windows is a funk album it is also his most pop-oriented album of this period. The album is an enjoyable adventure in synthesized funkness. Herbie starts out with "Magic Number" with lead vocals of Sylvester, but he must have had a vision of the future, playing "Everybody's Broke".

Jazz-Funk band Pleasure are Bruce Carter on drums, Sherman Davis and Randy Hall on vocals, Donald and Michael Hepburn on keyboards, Douglas Lewis on guitar and Nathaniel Phillips on bass. Guests are Pat Gleeson and Kashif on synthesizers, Pete Escovedo Jr. and Jimmy Maelen on percussion, plus background vocals. The album was first released in 1982 on RCA Records and produced by Robert Wright and Pleasure.

Mongo Santamaria Y Su Orquesta - Sabroso! (1960) {Fantasy OJCCD-281-2 rel 1993}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 262 Mb | MP3 @320 -> 101 Mb
Full Artwork @ 300 dpi (jpg) -> 23 Mb | 5% repair rar
© 1960, 1993 Fantasy, Inc. | OJCCD-281-2
Jazz / Latin Jazz / Charanga / Afro-Cuban Jazz / Boogaloo / Congas

At the time that Sabroso was recorded, Mongo Santamaria's group was essentially a charanga band with two trumpets added, a combination that works quite well. The group has superior playing by Jose "Chombo" Silva on both violin and tenor (helping "Para Ti" to become a classic), two little-known but talented trumpeters (Louis Valizan and Marcus Cabuto), the great flutist Rolando Lozano, pianist Rene Hernandez, bassist Victor Venegas, and Willie Bobo on drums. Pete Escovedo is one of the background singers as Rudi Calzado takes the lead on a few numbers but does not dominate. There are many fine individual moments on this joyous and infectious set.

A solid effort that has been dismissed based upon its associations with two Cobham lemons, Simplicity of Expression: Depth of Thought and B.C., all recorded around the same time. This recording finds Cobham continuing to explore the funk genre; however, the overall mood here is quite darker and more introspective, similar to Crosswinds. "Inner Conflicts" is a haunting song that includes Cobham's experimentation with electronic percussion and synthesizer. "Nickles and Dimes" is a page out of Cobham's early work, while "El Barrio" is heavily influenced by African rhythms. Of note, Prince's former sidekick Sheila E. performs here with her father Pete. The closer, "Arroyo," is another of Cobham's memorable compositions that he continues to perform.

Billy Cobham - Inner Conflicts (1978) {2014 Japan Fusion Best Collection 1000 Series WPCR-28147}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 279 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb | 5% repair rar | 24-bit remaster
© 1978, 2014 Atlantic / Warner Japan | WPCR-28147
Jazz / Fusion / Jazz Funk

Features 24-bit digital remastering. Comes with a mini-description. A solid effort that has been dismissed based upon its associations with two Cobham lemons, Simplicity of Expression: Depth of Thought and B.C., all recorded around the same time. This recording finds Cobham continuing to explore the funk genre; however, the overall mood here is quite darker and more introspective, similar to Crosswinds.

One of the most successful, most recorded and most influential jazz players of his time, Cal Tjader is these days a largely overlooked figure in the music’s history. Part of the cause of his lack of recognition is present in the reasons he was so successful. Tjader made no great leaps forward harmonically or rhythmically, but instead showed how jazz and Afro-Cuban music could blend together with the vibraphone as the lead instrument, its percussiveness working very well in that musical context. In doing so, he was followed by many others, his commercial success affording him the opportunity to record a great number of albums.