Traffic Sound

It could be argued that, in its most basic form, Traffic was a vehicle for the songs of Steve Winwood and Jim Capaldi, who wrote most of the material and on some tracks were the only musicians performing. But the question of whether Winwood and Capaldi could validly constitute Traffic by themselves was not addressed until 1994, 20 years after the group disbanded, when the two surprisingly announced they would be recording and touring under their old band name. The album they made together sounded for the most part like a Winwood solo album. He played most of the instruments and sang (Capaldi drummed and sang occasional backup vocals), and he didn't show much interest in the lengthy instrumental passages that characterized Traffic in its heyday…

Coryell, Bailey & White - Traffic
SACD ISO (2.0/MCH): 2,81 GB | 24B/88,2kHz Stereo FLAC: 1,14 GB | Artwork
Label/Cat#: Chesky Records # SACD 322 | Country/Year: US 2006 | 5% Recovery Info
Genre: Jazz | Style: Fusion, Contemporary Jazz

"…The whole thing sounds like jamming and improvising with fantastic solos and thrilling interplay, sometimes relaxed sometimes aggressive, always attracting. For example: Bailey and White are demonstrating for 7 minutes what “Drum & Bass” does mean to jazz men. One can use this instruments in another than a stupid way. If you like modern intelligent fusion by a small group, mixed with wonderful relaxed acoustic guitar tracks, here`s one for you." ~sa-cd.net

Bennie Maupin - Slow Traffic To The Right & Moonscapes (2011) {Vocalion CDSML8485 rec 1977-78}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 397 Mb | MP3 @320 -> 153 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1977-78, 2011 Mercury / Vocalion CDSML8485
Jazz / Fusion / Jazz Funk / Post Bop / Flute / Reeds

A pair of funky jazz sets from Bennie Maupin – '77's Slow Traffic To The Right and '78's Moonscapes – together in a single set! Slow Traffic To The Right is Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament".