sábado, 24 de junio de 2017

Claude Williams • Call For The Fiddler

Claude "Fiddler" Williams (February 22, 1908 – April 26, 2004) was an American jazz violinist and guitarist who recorded and performed into his 90s. He was the first guitarist to record with Count Basie and the first musician to be inducted into the Oklahoma Jazz Hall of Fame.
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VA • Groovy Jazz Organ

Howlin' Wolf • The London Sessions

AllMusic Review by Cub Koda
For the casual blues fan with a scant knowledge of the Wolf, this 1971 pairing, with Eric Clapton, Bill Wyman and Charlie Watts from the Rolling Stones, Ringo Starr, and other British superstars, appears on the surface to be one hell of a super session. But those lofty notions are quickly dispelled once you slip this disc into the player and hit play. While it's nowhere near as awful as some blues purists make it out to be, the disparity of energy levels between the Wolf and his U.K. acolytes is not only palpable but downright depressing. Wolf was a very sick man at this juncture and Norman Dayron's non-production idea of just doing remakes of earlier Chess classics is wrongheaded in the extreme. The rehearsal snippet of Wolf trying to teach the band how to play Willie Dixon's "Little Red Rooster" shows just how far off the mark the whole concept of this rock superstar mélange truly is. Even Eric Clapton, who usually welcomes any chance to play with one of his idols, has criticized this album repeatedly in interviews, which speaks volumes in and of itself.

* Howlin' Wolf: vocals, harmonica, acoustic guitar
* Eric Clapton: lead guitar Clapton
* Hubert Sumlin: rhythm guitar
* Steve Winwood: piano, organ
* Bill Wyman, Klaus Voormann, Phil Upchurch: bass
* Charlie Watts, Ringo Starr (credited as "Richie": drums
* Ian Stewart, Lafayette Leake, John Simon: piano
* Jeffrey M. Carp: harmonica
* Joe Miller, Jordan Sandke, Dennis Lansing: horns

Dick Hyman • Provocative Piano, Vols.I & II

The Bassface Swing Trio • Plays Gershwin

Lightning Slim • The Feature Sides

Kjeld Lauritsen, The Organizers ‎• Fontaine Nights

Kjeld Lauritsen is one of the few remaining jazz organ players who plays the big Hammond Organ with rotating leslie speakers and bass pedals.
These two Scandinavian offerings could not be more different or enjoyable. Tenor Saxophonist Anders Gaardmand bar-walks his way through ten B-3-oozing standards in a manner bordering on sentimental schmaltz, but fortunately never quite getting there. La Fontaine Live is the documentation of a Chitlin' Circuit Danish Sinatra singing in front of the Texas Tenor cum Scandinavia of the Gaardmand—(Red) Holloway axis. Old war-horses like "Misty" and "Old Folks" are peppered with the more contemporary fare of Marvin Gaye's "What's Going On" and the Beatles' "Long and Winding Road." Bobo Moreno's vocals are believable, as are Gaardmand's solos. The glue for this disc and the next is organist Kjeld Lauritsen, who single handedly saves Fontaine from being something else altogether. Don't get me wrong; there is nothing wrong with Fontaine. But it is not as serious as The Organizers + 1.
On the Organizers + 1, the standard tenor—organ trio is augmented with the congas of Ethan Weisgard. The music is groovin' and but not too greasy, though the blues are very much in evidence. Eddie Harris' "1974 Blues" is very cool and funky and an antiseptic sort of way. That is to say that this music tend to be more squeeky clean than down and dirty. It is crisp and exciting and should give any organ jazz aficionado a good listen for their money. The cold country of Northern European is indeed the spawning palace of some of the best jazz being made. Generally better known for their big bands, these two recordings show that small Scandinavian groups can function at the very same high standards.  https://www.allaboutjazz.com

Sergio Mendes & Brasil 66 • Introducing

Artist Biography by Bruce Eder
For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.
Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians. He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.
The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."
During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.
During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

Csaba Deseo • The Swinging Violin Of Csaba Deseo

Herbie Mann • Brazil Blues

AllMusic Review by Scott Yanow
A slightly expanded version of flutist Herbie Mann's 1961-62 group performs African-, Cuban- and Brazilian-influenced jazz on this appealing LP. With guitarist Billy Bean, vibraphonist Hagood Hardy, Dave Pike on marimba and four percussionists in the backup group, Mann's flute is well featured on tunes ranging from his own "B.N. Blues" and the standard "Brazil" to "One Note Samba." This album will be difficult to find but is worth the search.

viernes, 23 de junio de 2017

Vince Guaraldi Trio • Jazz Impressions Of Black Orpheus

All too often, when presented with the phrase “crossover jazz,” contemporary listeners bring forth mental visions of Kenny G. His sort of insipid, non-challenging elevator music is, for many, the typical example of what happens when jazz goes popular.
It was not always so. Jazz pianist Vince Guaraldi was already at the top of his game in the winter of 1961-62 when he recorded the album Jazz Impressions of Black Orpheus with his trio. With Monty Budwig on the upright bass and Colin Bailey on the traps, the album – though packaged as a bandwagon-jumping exercise in the bossa nova subgenre – was a monster hit. Though this all took place before his even-higher-profile Peanuts cartoon soundtrack work, Jazz Impressions was that rarest of creatures: an album that satisfied both jazz aficionados and the mass pop market.
The album’s success was due in no small part to the inclusion of a Guaraldi original called “Cast Your Fate to the Wind.” Rarely has an instrumental been so aptly titled; the sprightly, upbeat, jubilant tune exudes a carefree attitude. The signature melodic line so embedded itself in the popular consciousness that it has popped up again and again, sometimes in rather unexpected places. In the mid-1960s through early 70s, John Fogerty’s group Creedence Clearwater Revival recorded for Fantasy, the same label that released Guaraldi’s Jazz Impressions. In the 1980s, the title track from Fogerty’s “comeback” LP Centerfield was built around a lick quite similar to Guaraldi’s.
Vince Guaraldi’s album as a whole is every bit as successful as “Cast Your Fate to the Wind,” though it surveys a number of styles and moods. And though billed as a bossa nova excursion, that style appears rather subtly. Guaraldi took the music from the 1959 film Black Orpheus and recast it in his own context. The hybridization is a successful one.
The original album’s eight tracks have been joined by five additional numbers on the 2010 Concord reissue. In addition to a single edit of “Samba de Orfeu,” four alternate takes of other album tracks are included. Derrick Bang’s reissue liner notes center mostly on “Cast Your Fate to the Wind,” but make clear that the author understands his subject well. (Bang is working on a book about Guaraldi.) Yet left unexplained* is a minor mystery: the original back cover of the LP listed the fourth track as “Generique” and credited it as public domain; on the reissue it’s listed as “Felicidade,” a composition by Antonio Carlos Jobim and Vinicius de Moraes. Still, a minor mystery is all it is, so we’ll leave it at that and simply enjoy this delightful album.

Ron Levy's Wild Kingdom • B-3 Blues and Grooves

Jethro Tull • Velvet Flute [Live]

Richard 'Groove' Holmes • Soul Mist!

VA • B-3 in Organ Jazz

The Men from S.P.E.C.T.R.E. - With the finger on the trigger

Mark Gamsjager & The Lustre Kings • Way Out There

Mark Gamsjager and the Lustre Kings is a four-piece American band. “Way Out There” is their fourth album, which is very well presented and produced. It consists of 11 tracks; only some of them are kind of originals (“Empty Town” and “Just About Through With You” were not exactly written by the band, but Mark Gamsjager and the Lustre Kings are the first ones to perform and record them). The rest are covers, which were carefully chosen. I could recognise only some of them - a cover of Eddie Angel's song "Humas High" as well as "Long Lean Baby" of Bobby Wayne and his Warriors are very well performed. And you will love the cover of Sparklin' Brown Eyes, the song which was performed and recorded by Wanda Jackson (who is, by the way, quite often backed up by the Lustre Kings these days). The band plays professionally and you won’t find anything wrong about their instrumental work, or in vocal of Mark.

There is a rockin' rhythm throughout the album which perfectly unites all the songs, but all are performed in different styles. So you have a feeling of traveling in the time through America and seeing the same band trying to fit the certain styles, popular here and there during several years. The first track brings you to the 1950s and makes you enjoy the vintage sound and sensation of a live performance. After that you will get a break to relax and enjoy a rhythmic ballad. And then you better be ready for a rockin' trip. Make yourself comfy and listen closely to amazing Gretsch guitar solos of Mark Gamsjager, supported by another fab guitar player Graham Tichy, the strong beat of Jason Smay's drums and happy slap of the upright bassman Jim Haggerty. And three songs ("Mr. Big", "Long Lean Baby" & "Shazam") give you a pleasure to enjoy the boogie-woogie piano of the band’s special guest - Jeff Potter. The time machine will show you the way out of present time and introduce you to doo-wop, country, hillbilly, bop and wild rock'n'roll, and then bring you back to rockabilly. The last composition is for those who like instrumentals. This final track shows the great skills and talent of all band members and that they certainly understand and enjoy the music they play.
Everyone will find something that they like about this CD and the person, who is just interested in 50s-60s music in general will enjoy every single song. I am sure of it. This is certainly the band for the big parties, because there are lot of people and all of them have different tastes, but this band will satisfy all of them.

Memphis Slim • Boogie Woogie Piano

The Omega Men • Spy-Fi Sounds of

Ramsey Lewis • Goin' Latin

Review by Thom Jurek
In 1966, Ramsey Lewis changed up his winning live piano trio format at Cadet to include a big band. Produced by Esmond Edwards and conducted and arranged by Richard Evans, Wade in the Water was a surprise hit; it's title track reached number 19 on the pop chart (ahhhhh, the days of great AM radio when such a thing was possible). So Lewis had no need to rock the boat all that much on this follow-up, and used the same team for Goin' Latin. The boogaloo craze was taking over the East Coast at the time, and while Lewis was still rooted in Chicago, he got around on tour. Edwards and Evans brought Lewis' great trio (with Cleveland Eaton on bass and Maurice White on drums) again, and augmented the proceedings with horns, percussion, electric guitar, and even strings. The result is an album that is every bit as strong as its predecessor. Evans' arrangements and bottom-heavy soulful sound mix well with Lewis' indulgence in bossa nova, discotheque boogaloo, and Latin soul-lite on this set. The set's opener, "Hey Mrs. Jones," is a I-IV-V blues progression layered with wild bongos and congas in tight boogaloo fashion; there is also a small string section playing the changes and the horns playing the vamp. It's heavy, fat, and smokin', and sets the tone well.
Other notables on this set are Lewis' killer version of "Function at the Junction," with big brassy horns playing the intro filled by congas before the trio enters with its trademark funky soul-jazz where gospel, blues, and jazz all meet on the corner and clap their hands, and the not so subtle remake of another gospel tune (which didn't score on the charts), "Down by the Riverside." The latter number may not have a ton of imagination, but Evans gets miles out of it in his charts. It's fast, furious, and joyous in its groove -- and in its way superior to "Wade in the Water." As is typical of Lewis from the period, there are a couple of ballads as well, but they only partially work here. While the Latinized version of "Lara's Theme (Somewhere My Love)" works well, the syrupy bossa-esque "I'll Wait for You" falls flat. The album ends on two finely imaginative tracks. First is the taut Puerto Rican-Cubano jam "Spanish Grease," which takes Nuyorican boogaloo and rubs it up against clave, montuno, and blues with an absolutely killer horn chart. The last is a very unique reading of "Cast Your Fate to the Wind," which begins as a discotheque boogaloo, layers strings into the melody, and undercuts the rhythmic lines with an army of congas playing midtempo and Lewis prettying up the middle with his own trio. The horns accent the strings in the codas and then Lewis brings it home in the solo, grinding it into rich, greasy soul-jazz. Goin' Latin may have been a fad record, but in the 21st century it holds up well.

Jerry Weldon & Bobby Forrester • Five by Five

Jerry Weldon - Tenor sax
Bobby Forrester - Hammond
John Hart - Guitar
Clarence 'Tootsie' Bean - Drums
Daniel G. Sadownick - Percussion

500 Tangled Artworks • A Showcase Of Inspired Illustrated Designs

pdf / 179 páginas / Idioma: ingles / texto editable (copiar y pegar en traductor)

Pdf / 179 pages / Language: English  

VA • The Lost Grooves

Blue Mitchell, Charles Earland, Dr. Lonnie Smith, Grant Green, Hammond, John Patton, Leon Spencer, Lou Donaldson, McCoy Tyner, Reuben Wilson, Ronnie Foster, Stanley Turrentine ...

Howlin' Wolf • Bluesmaster

Review by Stephen Thomas Erlewine
Howlin' Wolf was certainly a master of the blues, and MCA Special Products' Bluesmaster, thankfully, does offer some evidence proving why that's an acknowledged fact, not simply a matter of opinion. Granted, a ten-track budget-line collection could hardly be called definitive, but this collection is nevertheless a good sampler, largely because it relies on classic Chess material. Many great songs are missing, but a handful are here ("I Asked for Water," "How Many More Years," "Change My Way," "Moanin' at Midnight," "Evil"), along with several lesser-known but very good songs ("Who Will Be Next?," "My Mind is Ramblin'," "Highway 49," "Poor Boy," "Worried About My Baby"). It's certainly not a definitive collection, but it's a strong, varied sampling of Howlin' Wolf in his prime, which may make it of interest to curious listeners on a budget.

Stereophonic Space Sound Unlimited - Live Fast Die Young - Jo Siffert

Various Artists • Can't Stop Playing That Boogie

Infectious collections of boogie woogie piano ever released.
Artists featured include Chas (Mr. Boogie Woogie) Hall, Albert Ammons, Maurice Rocco, Billy Penrose, Forrest Sykes, Montana Taylor, Mr.Freddy Shayne, Cecil Grant, Jimmy Yancey, Meade Lux Lewis, Pete Johnson, Oscar Peterson, Sammy Price and many more.

jueves, 22 de junio de 2017

Vince Seneri • Urban Paradise

Vince Seneri has been pleasing audiences for over twenty years. He is one of the most talented and dynamic ‘burners’ of the Hammond B3 organ on music scene today. Endorsed by Hammond Suzuki Organ Company, USA and on the Senful Record Label, he is in demand for nightclubs, shows, theaters, festivals, and concerts throughout.

Vince Seneri provides a first class performance at all his shows. He is a charming, confident person with a friendly welcoming manner. The integrity for the music and aim to please his audience is paramount. Appreciated as both a musician and performer, Seneri has a dual persona of expert improviser and vibrant entertainer on the Hammond B3 organ. He places his keenly discerning art and virtuosity in the service of a rousing good time .

Raised in Hackettstown, NJ 50 miles west of New York City, Vince began his musical career on the accordion at the age of six. His father, Peter Settineri, was an accordionist who played professionally with his own band during that time and introduced the instrument to his son. Subsequently, his father bought a Hammond M-3 organ and introduced that instrument to his son as well. Vince studied the accordion first and later devoted himself to the Hammond organ and piano.

During his teens, it was the great Jimmy Smith who musically influenced Seneri more than any other jazz organist. He also admired and was greatly influenced by other organists like Jimmy McGriff, Dr. Lonnie Smith, Richard Groove Holmes, The Mighty Burner Charles Earland, Larry Young, Captain Jack McDuff, Ronnie Foster, Wild Bill Davis, Don Paterson. His piano influences were Oscar Peterson, Wynton Kelly, McCoy Tyner, Chick Corea, Herbie Hancock among others. Barry Harris and Dr. James Williams were also great influences who he was fortunate to study with. Vince is also a graduate of Rutgers University located in Newark, New Jersey where he received his BA degree in marketing.

Some of the musicians that have performed and recorded with Vince include: Randy Brecker, Dave Valentin, Houston Person, David "Fathead" Newman, Paul Bollenback, Buddy Williams and many more. Vince has several CD recordings, most recently Street Talk, which received rave reviews and was considered the best B3 record for 2005.

Vince Seneri (Hammond B-3 organ, vocals)
Bob DeVos (guitar, arranger, producer)
Houston Person (tenor sax)
Emedin Rivera (percussion)
Dave Valentin (flute),
Buddy Williams (drums).

Johnny Meijer • It Had To Be You

Oscar Peterson • Reunion Blues

Pianist Oscar Peterson joins up with his old friends, vibraphonist Milt Jackson and bassist Ray Brown, in addition to his drummer of the period, Louis Hayes, for a particularly enjoyable outing. After a throwaway version of the Rolling Stones' "(I Can't Get No) Satisfaction," the all-star quartet performs Jackson's title cut, Benny Carter's ballad "Dream of You," and four standards. Although not up to the excitement of Peterson's best Pablo recordings of the 1970s, this is an enjoyable album.

European Helmets 1450-1650 • The Metropolitan Museum of Art, pdf

pdf / Idioma inglés / 48 págs

Pdf / English language / 48 pages

Walter Wanderley • Feito Sob Medida

Wild Bill Davis At The Organ • One More Time

Wild Bill Davis, hammond organ
Paul Gonzales, saxophone
Les Spann, guitar
Calvin Newborn, guitar
Janet Putnam, harp
Grady Tate, drums

Will Matthews • Count On Swingin'

Musicians: Will Matthews (guitar)
Mel Rhyne (Hammond B3)
Bobby Watson (alto sax)
Kenny Phelps (drums).

Charles Kynard • Legends of Acid Jazz

Review by Alex Henderson
Released in 1999 for Fantasy's popular Legends of Acid Jazz series, this reissue unites two of Charles Kynard's LPs of 1970, Afro-Disiac and Wa-Tu-Wa-Zui, on a single 76-minute  album . Both albums had been out of print for a long time, and copies of the organist's Prestige recordings had grown increasingly hard to find over the years. While the trumpet-less Afro-Disiac unites Kynard with tenor saxman Houston Person, guitarist Grant Green, electric bassist Jimmy Lewis and drummer Bernard "Pretty" Purdie, Wa-Tu-Wa-Zui employs Lewis, trumpeter Virgil Jones, guitarist Melvin Sparks and drummer Idris Muhammad. The albums are quite similar, though, and the emphasis is on accessible, groove-oriented soul-jazz, funk-jazz and boogaloos. Infectious numbers like "Bella Donna," "Trippin" and "Zebra Walk" won't appeal to jazz purists, but if you like your jazz drenched in R&B and funk, this album is consistently enjoyable. Kynard, like Charles Earland and other B-3 kings of that era, made jazz that was relevant to R&B fans--if you were a Baby Boomer who was digging James Brown, Marvin Gaye and the Temptations but hadn't yet developed a taste for the hardcore jazz of Phil Woods or Charles Mingus, Kynard was the type of artist who could be your introduction to improvisatory music. "Improvisation" is a key word here--while a lot of the quiet storm, crossover and NAC music that came out in the 1980s and 1990s avoided improvisation, stretching and blowing is the rule on this album. In a nutshell, this is commercial jazz with a brain as well as a backbeat.

Herb Alpert • Definitive Hits

How self-serving can one musical genius be to have a label he co-founded release a collection of his best-loved songs? But this is not just any self-serving genius. This is the guy who brought the world Dolores Ericson covered in shaving foam. This is the self-serving genius who scored the best James Bond film that wasn't really a James Bond film ever. This is the self-serving genius who set the music to elevators and waiting rooms around the world. This is Herb Alpert. From the opening charge of "The Lonely Bull" (complete with homesickness-inducing crowd noise) to the closing washes of "Making Love in the Rain," this album chronicles one of the most prolific and constantly contemporary careers in the music industry. Taking his Tijuana Brass in their jalopied "Tijuana Taxi," Alpert blows from the "Heat Wave"-inspiring "Mexican Shuffle" to the bouzouki blitz of "Zorba the Greek." Perhaps his most famous film-related song, however, is the Burt Bacharach classic "Casino Royale," a song that could inspire even Woody Allen to take on the world's most dastardly criminals. Bacharach also gave Alpert one of his most famous ballads, and one of Alpert's peachiest vocal offerings, with "This Guy's in Love With You." Alpert has a groovy thing going with Nat Adderley's "Work Song" as well. On this collection, Alpert swings from the authentic Latin punch of "Fandango" to the smooth American drive of "Route 101," and from the funky crescendo of "Rise" to the hip pop hops of "Diamonds" and "Keep Your Eye On Me." Along the way, Alpert offers delicious delights like the minor-keyed rag "Whipped Cream," the sweet blooms of "Lollipops and Roses," and a bee-utiful spin through "A Taste of Honey." How sweet it is to have all his hits together at last.

Monguito Santamaria • Hey sister

The Ventures • 24 Greatest Surfin' Guitars

The Bonebrake Syncopators • That Da Da Strain