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Drummer Lenny White live – stepping out here in a sweet funky set that also features some great keyboards from Patrice Rushen and Don Blackman! The date was recorded in the late 90s, and has a back-to-basics quality that reflects the renewed love of older funk styles that players like White were picking up at the time – a quality that shakes off some of the excesses of fusion, and glitz of smooth jazz – and really lets the players stretch out in a no-nonsense setting! The whole group's pretty great – and fetaures Bennie Maupin on saxes, Victor Bailey and Foley on basses, Mark Ledford on trumpet, and the aforementioned Rushen and Blackman on keyboards – on titles that include "Whew What A Dream", "East St Louis", "Pic Pocket", "Dark", and "Wolfbane".

One of the best ever records from Twennynine – produced and arranged by Lenny White & Larry Dunn– jazzy modern soul at it's dawn of the decade finest! Twennynine With Lenny White is way at the front of the pack of a lot of the 80s groove elements to follow in its wake – with popping basslines, heavy bass pedals, compressed guitar riffs and a really insistent overall groove! The record's got a pretty straight R&B feel, but thanks to White's nice production, there's a lot of good fusion elements in the mix – which raises the album a step above, and makes it groove nicely. The group features keyboards by Skip Anderson, doing a great job stepping in for Don Blackman, with lead vocals by Tanya Willoughby, synths by Larry Dunn, percussion by Paulinho De Costa, guitar by Eddie Martinez, bass by Barry Johnson and others. Titles include "My Melody", "Kid Stuff", "Fancy Dancer", "Slip Away", "We Had To Break Away", and "Love & Be Loved".

Drummer Lenny White live – stepping out here in a sweet funky set that also features some great keyboards from Patrice Rushen and Don Blackman! The date was recorded in the late 90s, and has a back-to-basics quality that reflects the renewed love of older funk styles that players like White were picking up at the time – a quality that shakes off some of the excesses of fusion, and glitz of smooth jazz – and really lets the players stretch out in a no-nonsense setting! The whole group's pretty great – and fetaures Bennie Maupin on saxes, Victor Bailey and Foley on basses, Mark Ledford on trumpet, and the aforementioned Rushen and Blackman on keyboards – on titles that include "Whew What A Dream", "East St Louis", "Pic Pocket", "Dark", and "Wolfbane".

Classic early Lenny Bruce work on Fantasy – a groundbreaking set of tracks that features some great shorter snippets, plus a few of the longer, more drawn-out routines that soon became Bruce's stock in trade during the more controversial years – those live riffs that really set Lenny apart from other comedians, and which set the scene for generations to come! Titles include the 19 minute "The Palladium", plus "Our Governors", "My Trip To Miami", "Esther Costello Story", "White Collar Drunks", and "The Steve Allen Show".

An excellent electric Joe Henderson album from the 70s – one that features both live and studio material, all of which show Henderson at the height of his powers! George Cables is on electric piano throughout, and his backing of Joe Henderson is excellent – bringing out a whole new edge for the saxophone giant – one that's spacious, and searching, and much more open than before! The album features 2 tracks from the legendary 1970 Lighthouse concert with Woody Shaw on trumpet and Lenny White on drums – plus 3 more from a studio session that includes Curtis Fuller on trombone, Pete Yellen on saxes, and Stanley Clarke on bass. Titles include "Gazelle", "Mind Over Matter", "Invitation", and "A Shade Of Jade".

Bobby M is Bobby Militello – a sweet-blowing saxman who did some great studio work back in the day – and who steps out here with some nicely grooving arrangements from Lenny White and Bernard Wright! The set's a strong blend of soulful fusion and 80s groove – just the kind of record you might expect when turning the Rick James name on the cover towards a more instrumental sound. But that doesn't mean that the whole album's instrumental – as Jean Carn sings on one cut, and Keely Curtis on another. And although Bobby's work on alto, tenor, and soprano sax is pretty nice, it's almost the keyboard work of Bernard Wright that really makes this album great – as the set's almost an extension of his classic GRP sessions from the same time! Titles include "Alto Man", "Let's Stay Together", "Redliner", "A Little Song For You", "Charlie's Backbeat", "Rome Tones", and "Blow".

Hard grooving work from the middle years of the Return To Forever group – featuring the line up with Chick Corea on keys, synths & percussion, Stanley Clarke on bass, organ and more, Lenny White on percussion and Al DiMeola on guitar. As you'd expect from this crew, this is some of the hardest hitting cosmic fusion that the group ever cut! Titles include "Dayride", "Jungle Waterfall", "Flight Of The Newborn", "Sofistifunk" and "Excerpt From The First Movement Of Heavy Metal".

A modern soul gem produced by Lenny White! Though White lends a touch of jazzy sophistication to the set, it's a straight up dose of mainstream modern soul, with great ensemble vocals and crisp production over tight songs that should have landed Wax at the top of the radio. Somehow though they managed to only find success with some sought after singles years after the fact, but you can grab the whole album here! It's got all the hallmarks of the best of the era – chirping guitars, tasteful keyboards that sit just right in the mix, and rhythms and tempos on most of the tracks that veer between club oriented grooves and tight pop soul. 9 tracks in all, including "Can't Hide From Love", "Crazy In Love", "Playin' The Part", "The Right Time For Us", "Do You Believe In Magic", "Music's On The One", "When And If I Fall In Love" and "April Lady".

Jazz's Mad Men get the full issue treatment from our friends at Wax Poetics – with a suave shot of George Benson on the front cover and funk era George Duke on the back – with pieces on Billy Cobham, Norman Connors, Tom Brown, Bernard Wright, Don Blackman, Lenny White, Marcus Miller, Weldon Irvine and Phil Cohran! That is one heck of an amazing issue – if we were to put together a list of legendary and overlooked jazz figures we'd want Wax Po to take a look at or revisit, it might look a whole lot like this issue! Plus, you get the always great Re:Discovery and Record Rundown, looks at Coltrane's Lost Recordings, Nostalgia 77 and more.

Early 80s greatness from Bernard Wright – the benchmark Nard from '81 and his Funky Beat from '83 – in a single set! Nard is a masterpiece of smooth jazzy funk – and super-hip session headed up by the young keyboardist! Wright's working here with an insider crowd of jazz funk players that includes Bobby Broom, Dave Grusin, Marcus Miller, and Don Blackman, whose funky style is very similar to Wright's. The record sort of picks up the groove where some of the Fantasy Records sessions of the 70s left off – mixing together jazz and soul into a captivating blend that's made even better by Dave Grusin's tight production. Includes Don Blackman's sample classic "Haboglabotribin", a nice version of Weldon Irvine's "Music Is The Key", and the cuts"Just Chillin' Out", "Master Rocker", and "Bread Sandwiches". Funky Beat is his second album – an 80s groove electro classic that's quite different than his first LP! It takes Bernard firmly into a b-boy jazz mode – working keyboards, bass, and drum programs into a groove that's farther reaching and more soulful than anything that Herbie Hancock was doing at the time. And as with his first album, Bernard's got plenty of great help on this one – as the record features work by Weldon Irvine, Lenny White, Dave Grusin, and others. The album includes some great Weldon Irvine compositions – like a remake of "Mr Clean", and the sweet vocal numbers "Won't You Let Me Love You" and "Keep On Doing That Right Thing", both of them warm wonderful tunes that stand with the best work on the album! Also includes a straight jazz version of "Joy Spring", and the breakin' tracks "Funky Beat", "Get Your Lover Back", "Video Generation", and "Move Your Body".

A seminal set in the rebirth of straight jazz in the early 80s – a wonderful record with a much warmer, more traditional feel than you'd expect from some of the players involved! Bassist Stanley Clarke and pianist Chick Corea really return to their roots here – Stanley with some of the bold acoustic tones of his earliest soul jazz years, Chick with those modern-yet-soulful piano lines he first brought to magical recordings of the 60s – including the Sweet Rain session with Stan Getz. Freddie Hubbard's also in the group – blowing wonderfully with that reborn sound of his early 80s years, still some of the best work he ever did – and the group also features Joe Henderson on tenor, always a treat, and Lenny White on drums, really keeping things focused. The set's a gem through and through – and titles include "L's Bop", "Happy Times", "Remember", "Guernica", "October Ballade", and "Why Wait".

A really unique album for Chaka Khan – one in which she teams up with a host of jazz artists to craft a classic-styled set of vocals! Given that Chaka was at the height of her 80s groove solo career at the time of this one, the move was a surprising one – but also a great chance for Chaka to show that she had a lot more to offer than just pop chops, as she sounds pretty darn great scatting on these classic jazz numbers. Players include Freddie Hubbard, Joe Henderson, Lenny White, and Chick Corea – and titles include "Them There Eyes", "All Of Me", "Take The A Train", "Hire Wire", "The Aerialist", and "I Hear Music".

Woody's very first LP – and a pretty great album of standup material, cut back when he was just a budding writer for TV. The set was recorded at Mr Kelly's in Chicago, and has an easy going flow – with Woody just talking his way through material, almost in a Lenny Bruce sort of way.

A crowning moment for the west coast Latin scene in the 70s – a wonderful Bay Area set that brings together some of the best talents working on that scene at the time! The set's got a great blend of modes – Latin soul, touches of funk, and plenty of the jazzy inflections you'd expect from a lineup that includes Coke Escovedo on timbales, Paul Jackson on bass, Lenny White on drums, George Muribus on Fender Rhodes, Tom Harrell on trumpet, and Victor Pantoja on congas! Vocals are by Pete Escovedo – who brings in a heady soulful sound to the set – and the vibe is a bit like work by Malo or El Chicano, but even more jazz-based overall! Titles include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". CD features two bonus tracks – single versions of "Mamita Linda" and "Ain't Got No Special Woman".

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD also features a bonus single mix of "Whatcha Gonna Do".

A stone classic from The Brecker Brothers – working here at a new level for 70s jazz fusion! Sure, it's as slick as it can be – with touches of club and disco grooves to give an even smoother edge to the jazz funk of the Brecker Brothers – but thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! There's more than enough interesting jazz funk numbers on here to keep you happy if you dig a soulful fusion groove, and with Steve Gadd and Lenny White on drums, the beats are heavy enough in the right places. Titles include "Tabula Rasa", "Finger Lickin Good", "Funky Sea, Funky Dew", "Squids", "Petals", and "As Long As I've Got Your Love".

One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come! The double-length set makes full use of all four sides of the record – expanding the flow (as well as the lineup) of the original Davis modal vision – and using all players to amazing effect, so much so that most players here turn out some of their best recorded work ever! The lineup is virtually a whose who for the sound of fusion in the 70s – including Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet, Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Lenny White and Jack DeJohnette on drums – plus Jumma Santos and Don Alias on added percussion. Titles include "Pharaoh's Dance", "Spanish Key", "Sanctuary", "Bitches Brew", "John McLaughlin", and "Miles Runs the Voodoo Down". CD features one bonus track – "Feio" – nearly 12 more minutes of electric goodness!

A strangely compelling record by Henry Gibson – an artist who's known for his work on so many fronts, from his classic appearances in 70s Robert Altman films, his 60s work on Laugh-In, and his more recent stint in Magnolia! This set's a pretty weird little batch of comedy routines – mostly done in a southern accent, with a slight edge to them – almost Lenny Bruce-ish, but a bit more straight. Titles include "Education Is Important", "A Little Bit About Myself", "Why I Like Soap", and "The Alligator".

Sure, Rickie Lee Jones went onto become a bit of a cliche in later years, but this early album's still got an undeniable power – and was a great breath of fresh air, at a time when it seemed like most of modern music was forgetting its roots! What is it with the LA scene from the 60s onward that they always seemed to find their best inspiration in the past? Artists like Harpers Bizarre, Randy Newman, Tom Waits and others set the stage for a record like this – by reaching back into older styles and bringing them forward with a more contemporary spin. (And why was it that LA seemed to be the center of this mode – and New York, Chicago, and other cities never worked that way?) Rickie serves up a nice assortment of older-styled vocal cuts – performed with a mixture of traditional and 70s jazz backings, supported by some extra-classy Warner production from Lenny Waronker. Titles are all originals, but done with an older hipser sort of feel – and titles include "Easy Money", "Chuck E's In Love", "Young Blood", "The Last Chance Texaco", "Danny's All Star Joint", "Weasel & The White Boys Cool", "Company", "Coolsville", and "On Saturday Afternoons In 1963".

Hard grooving work from the middle years of the Return To Forever group – featuring the line up with Chick Corea on keys, synths & percussion, Stanley Clarke on bass, organ and more, Lenny White on percussion and Al DiMeola on guitar. As you'd expect from this crew, this is some of the hardest hitting cosmic fusion that the group ever cut! Titles include "Dayride", "Jungle Waterfall", "Flight Of The Newborn", "Sofistifunk" and "Excerpt From The First Movement Of Heavy Metal".

Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s. Our favorite track on here is a masterful take of "Can't Hide Love", but there's a lot of other nice funky tracks like "Slippery Hips", "My Place In Space", and "Give Up the Booty". Unfinished Business is mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA".

Tight funky work from Tower of Power – produced here by Steve Cropper, but sounding a lot more like Average White Band than on earlier albums – with a great mix of mainstream funk and warmer, mellow cuts! The group takes advantage of the studio work to let the best funky sides of their instrumentation come to the forefront, and the record's got plenty of great keyboard and guitar riffing, and some well-miked drums that have a nice jazzy flourish on the best cuts. Vocals are a bit weak – but hey, once Lenny Williams left the group, what were they going to do? Titles include "We Came To Play", "Ying Yang Thang", "Let Me Touch You", "Share My Life", "Bittersweet Soul Music", and "Love Bug".

Not only a great follow-up to the first Echoes Of An Era session, but also a standout 80s performance from Nancy Wilson – quite possibly her best of the decade! The setting is nice and laidback – a live date with a core combo that features Joe Henderson on tenor, Chick Corea on piano, Stanley Clarke on acoustic bass, and Lenny White on drums – plus steller vocals from Wilson, who's really at home in the setting – stretching out beautifully on the long tracks, and coming into play with the soloists at a level that's quite different from her more polished studio records. Clarke's bass is a delight, too – a great reminder that his talents didn't always lie in the electric realm during the 80s – and Henderson, as you might guess, provides some soulful undercurrents that reallyg round the whole proceedings. Titles include "500 Miles High", "Round Midnight", "Rhythm A Ning", "My One & Only Love", "Them There Eyes", and "I Want To Be Happy".

The 4th volume of work to appear on the UK Sue Records label in the 60s – and quite possibly the most hard-hitting so far! This set follows strongly in the soul-based sound of volume 3 – and includes a range of key singles from American labels Sue, Okeh, Vee Jay, Fire, Enjoy, and Jamie – all issued by Sue UK in England during the mid 60s, with tremendous impact on mod, mainstream, and Northern Soul scenes! But even getting past the origin or issuing label of the music, the set's a really great one – with a hard-edged groove that mixes New York uptown with some more R&B-styled numbers – a great little all-legit collection that's presented with really great notes. Titles include "The Whip" by Alexander Jackson & The Turnkeys, "Warm & Tender Love" by Joe Haywood, "I'm Dedicating My Life" by Danny White, "Goin Home" by Rosco Gordon, "Round Midnight" by Jimmy McGriff, "Lenny Goofed" by The Naturals, "Lost In A Dream" by Buster Brown, "Pork Chops" by The Dorsets, "La De Da I Love You" by Inez & Charlie Foxx, "Good Time Tonight" by The Soul Sisters, "So Far Away" by Hank Jacobs, and "Stepping Stone" by The Anglos.

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger".

One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come! The double-length set makes full use of all four sides of the record – expanding the flow (as well as the lineup) of the original Davis modal vision – and using all players to amazing effect, so much so that most players here turn out some of their best recorded work ever! The lineup is virtually a whose who for the sound of fusion in the 70s – including Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet, Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Lenny White and Jack DeJohnette on drums – plus Jumma Santos and Don Alias on added percussion. Titles include "Pharaoh's Dance", "Spanish Key", "Sanctuary", "Bitches Brew", "John McLaughlin", and "Miles Runs the Voodoo Down".

A set that features DiMeola moving into some very dynamic territory – jamming out heavy on a mix of electric and acoustic guitars, with additional help from Paco DeLucia on acoustic at points. The instrumentation also features heavy electric piano from Jan Hammer, other keyboards from Barry Miles, bass from Anthony Jackson, and drums from Steve Gadd and Lenny White – all fusion powerhouse players who really take over the groove at times, but still leave enough room on the record for some gentler sounds from Paco and Al. Titles include "Elegant Gypsy Suite", "Flight Over Rio", "Midnight Tango", and "Race With Devil On Spanish Highway".

Nice laidback spiritual funky tunes, played by Eddie on trumpet with a group that includes Herbie Hancock, Bennie Maupin, Lenny White, Billy Hart, Buster Williams, and Pat Gleeson on cool Arp and Moog. The tracks are long, with a nice spacey groove, and the titles include "Spiritual Awakening", "Scorpio-Libra", and "Mars In Libra". (Gee, what did these guys do before the Zodiac became hip?)

Amazing sounds from Heiner Stadler – an artist who's not just remembered for his own work on piano, but for his great talent for choosing excellent players to work with! In fact, this album may well be best known for the musicians working with Heiner more than for his own talents – a well-chosen batch of sharp-edged, yet soulful early 70s musicians – including both Joe Farrell and Tyrone Washington on tenor, Reggie Workman and Barre Phillips on bass, Jimmy Owens on trumpet, Dee Dee Bridgewater on vocals, Manfred Schoof on cornet, Wolfgang Dauner on piano, and Lenny White and Joe Chambers on drums! With players like that, it's hard to miss – and Heiner makes music that's got some of the free, open exchange of the new thing generation, mixed with the spiritual undercurrents of the loft jazz period – really letting the key soloists express themselves strongly. CD features 8 tracks from both volumes of the albums – "No Exercise", "Three Problems", "Heidi", "Bea's Flat", "Love In The Middle Of The Air", "UCS", and "All Tones".

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am".

An amazing triple-header – a set that features three full albums from Return To Forever – one of which is a triple-length set! First up is Romantic Warrior – one of the hardest-jamming Return To Forever albums – recorded with the post-Brazilian lineup that includes Chick Corea on keyboards, Stanley Clarke on bass, Lenny White on percussion, and Al DiMeola on guitars. Corea's very firmly in the lead – stretching out in heavy keyboard romps that really take off into space – propelled by fierce drums from White, heavy bass from Clarke, and a bit of tippling guitar from DiMeola. Next is Music Magic – a further extension of the Return To Forever vibe that helped Chick Corea find some of his best energy of the 70s! The style is still as tightly focused as before, but also opens up with a bit more soul, too – trading some slight moments of jamming for a CTI sense of funk – a mighty nice move that makes this album one of our all-time favorites by the group! Gayle Morgan plays some very cool organ and mini-moog next to Chick's wide array of keyboards – and Joe Farrell serves up wonderful tenor, soprano sax, and flutes – which really help shape the sound. Last up is Return To Forever Live – The Complete Concert – a vastly-extended exploration of this legendary 70s group at their best! The triple-length package offers the ensemble plenty of room to open things up – long tracks that stretch out with the boundless energy that Chick Corea first brought to the group, yet also coming together with the sort of soulful focus that really makes this second chapter so great too! Chick plays a huge host of keyboards, almost more than we can imagine being on a single stage – Fender Rhodes, minimoog, Arp, clavinet, and more – and Gayle Morgan also plays more keys, but more importantly lends some soulful vocals to the outing.

This is the one that really nailed it for Jaco Pastorious – a brilliant showcase for all his many talents on the bass, and a key illustration of the way that he influenced an entire generation! Sure, Jaco in Weather Report was already pretty darn great – but here, on his own, he really gets to sparkle – jamming hard with heavyweights on some funky numbers, sliding out in spacey territory on mellow cuts, and even trying out a few more experimental moments that are far beyond what most other bassists might imagine for a debut of this nature. Players on the date include Herbie Hancock on keyboards, Don Alias on percussion, Lenny White on drums, Hubert Laws on flute, and Randy Brecker on trumpet – and titles include "Portrait Of Tracy", "Donna Lee", "Continuum", "Okonkole Y Trompa", "Kuru/Speak Like a Child", "Opus Pocus", and "Come On Come Over". CD features 2 bonus tracks – "Used To Be A Cha Cha" and "6/4 Jam".