Ginger Baker’s African Force – Palanquin’s Pole (2006)

FrontCover1.jpgThose thunderous drums we hear in the beginning of this set could only come from one drummer — Ginger Baker — and despite the name of the band, it is Baker who is its backbone. Recorded live in 1987 in Bremen, Germany, Baker, Thomas Akuru Dyani, Kwaku A. Mensa, Ansoumana Bangoura, and Ampofo Acquah used their percussive stature to completely bowl over a throng at the Schaumburg Festival. All five men play percussion or drums, two sing, and one occasionally plays guitar. For over 47 minutes they travel into the hypnotic heart of the drum. The drum exists here not only as a means to make music, but also as a means to impart history, mystery, magic, and communication. Whether the polyrhythms begin as simple 4/4 patterns and wind out immeasurably, snaking their way through subsets of counter balanced time, or set out from the beginning to suspend all notions of time and its place in the space is of no consequence; this quintet plays only to hear, and hears only to speak in that intimate language that utters itself as culture. This is a drum record like none other in existence. It is a mystical record that is rooted in the bone buried in the earth, and Baker’s assemblage understands all too well, that the drum is the heartbeat of the universe. Awesome. (by Thom Jurek)

Recorded live by Radio Bremen/Germany at the Schauburg, May 4, 1987


Alternate frontcovers

Ampofo Acquah (percussion, guitar, vocals)
Ginger Baker (drums)
Ansoumana Bangoura (percussion)
Thomas Akuru Dyani (percussion)
Francis Kwaku A. Mensah (percussion, vocals)


01. Go Do (Mensah) 5.05
02. Brain Damage (Baker) 5.20
03. Ansumania (Bangoura) 4-53
04. The Palanquin’s Pole (Traditional/Acquah) 9.46
05. Abyssinia / 1.2.7. (Acquah) 6.00
06. Ginger’s Solo (Baker) 9.30
07. Want Come? Go! (Dyani) 6.17




Michael Atherton – Ankh – The Sound Of Ancient Egypt (1998)

FrontCover1Hi, back from Egypt I will present a wonderful piece of music, wirtten by Michael Atherton:

Emeritus Professor Michael Atherton (nee Jones) AM is an Australian musician, composer, academic and author (born 17 February 1950). Michael Atherton was born in Liverpool, England, of Irish, Welsh and German descent – eldest of five children. His family migrated from England to Australia in 1965 first living in Bunnerong Migrant Hostel, NSW, where he taught himself to play guitar, formed bands and played football with friends of British, Greek and Italian background.

Atherton (nee Jones) attended Sir John Deane’s Grammar School in Northwich, England (1962–65). Following arrival in Australia he attended Matraville High (1965–66) then Randwick Boys High (1967), completing his matriculation via the School of Correspondence Studies while working as an office boy at the Boral Oil Refinery, Matraville. Atherton studied at the University of NSW, achieving a Bachelor of Arts with Honours (1973) followed by a Master of Arts with Honours in 1977. He studied music at the University of Sydney (1977-77) and the University of New England (1986-7), majoring in ethnomusicology. Awarded PhD by the University of Technology Sydney (2017).

In 1993 Atherton was appointed Foundation Professor of Music at Western Sydney University. He built a teaching and research department that focused on Australian expressions. Subsequently, in 2001 he was appointed inaugural head of the School of Contemporary Arts (Music, Theatre, Dance, Fine Arts & Electronic Arts). Following a University restructure to a college based system, he was appointed Associate Dean of the College of Arts and Social Sciences, responsible for the research portfolio.

Michael Atherton5A

Atherton’s postgraduate supervision included sixteen successful doctorates in diverse fields of musical enquiry including, performance, cross-cultural composition, music therapy, ethnomusicology, and music for the screen. Atherton pioneered creative music therapy in adolescence, working at Rivendell (1978–80) with Professor Dame Marie Bashir. He played ‘world’ music in Sirocco (1980-6).

Atherton is a composer and performer with broad experience in music for the concert hall, film, television and radio. He toured extensively throughout Asia, Europe, USA and Canada with Sirocco, the Atherton TableBand, and Southern Crossings, supported by Music Viva Australia. He has made numerous CD recordings, documentary film scores Michael Atherton3and television themes, including the station music for TVS. Atherton played with the Renaissance Players (1974-1981), Southern Crossings Ensemble (1986-1993) and is currently a member of SynC, an electroacoustic duo. Performance highlights include the Aurora Festival 2008; New Interfaces for Musical Expression (NIME) opening concert, New York, June 2007; and NIME/Agora Resonances, Paris, 2006.

Atherton AM (Medal of the Order of Australia, awarded for services to music education and society) is an elected fellow (FRSA) of the Royal Society of Arts, Manufactures and Commerce. He was awarded an Australian Centenary Medal (2003) by Prime Minister John Howard for service to the community. He achieved a high commendation for research training and supervision in the Vice Chancellor’s Awards for Excellence at Western Sydney University (2008). In 2012, Western Sydney University honoured him with the title, Emeritus Professor, for his distinguished contribution to teaching and research in the field of music and service to the University over many years. Atherton led the establishment of a music therapy clinic and teaching facility at Kinsgwood, NSW. In 2011 he was officially acknowledged by Nordoff-Robbins Music Therapy and the music industry for leadership and support.
Personal life

Michael Atherton2Atherton is married to early childhood teaching specialist, Catherine Atherton. He has a son and a daughter from his first wife, Rosalind Croucher, and a son with Catherine Atherton.

Atherton is considered a leading expert in Australian made musical instruments and sound producing objects in Oceania. He authored the groundbreaking book Australian Made, Australian Played (1990) and was the contributing curatorial editor for Sounds Unlimited: building the instruments (2003). Music of the Spirit: Asian-Pacific Musical Identity was published in 2009, and Musical Instruments and Sound-Producing Objects of Oceania was published in 2010. A Coveted Possession: the rise and fall of the piano on Australi. (by wikipedia)

The catalyst for Ankh: The Sound of Ancient Egypt was an exhibition—Life and Death in the Land of the Pharaohs, developed by the National Museum of Antiquities in Leiden, The Netherlands. The exhibition came to the Australian Museum in 1998. It provided the challenge of producing a creative reconstruction of ancient Egyptian music and the inspiration for a longer term research project.

The first stage of the project began with a response to the contents of the exhibition itself, followed by a delving into the ever-increasing output of Egyptological scholarship, to establish a broader musical context. The big questions loomed large: what did the music sound like? How were the instruments tuned? Was the music polyphonic? One must proceed by conjecture and deduction, using the literary and visual record in conjunction with an examination of surving instruments. The answers remain elusive, mainly gleaned from instruments housed in museums, along with iconographic and literary evidence. There is no surviving music notation, nor any musical theory which might instruct one about pitch, rhythm and timbre.

Michael Atherton4

In approaching the composition and performance of the music, Michael Atherton drew on his experience in playing medieval monophony, eastern European and Turkish folk music, as well as his participation in intercultural music projects.

Atherton primarily uses 5, 6, and 7 note scales based on specific pitches, resulting in a combination of Moroccan ramal mai mode and Persian afshari. He also gravitates toward pentatonic scales and major modes. The melodies move in small steps. The setting of the hymns is monophonic, with the inclusion of call and response development. Sung items include interpolated recitations, as a means of acknowledging a deep connection between lanuguage and music.

Ankh: The Sound of Ancient Egypt is a contribution to giving a voice to the vivid images of a dynamic musical culture. (by

Ancient Egypt1

The concept for this album came when composer/multi-instrumentalist Michael Atherton was commissioned to produce a creative reconstruction of ancient Egyptian music for an exhibition at the Australian Museum. Atherton took it one step further, pursuing a long-term research project of which this entrancing CD is the result. By studying literary and visual records as well as surviving artifacts, he began to get an idea of which instruments had been used in ancient Egypt, then approached the compositions by drawing on his experience with medieval monophony, Eastern European and Turkish folk music, and a variety of intercultural projects. Scholarly though all this may sound, the music on Ankh teems with mystical passion, with hypnotic melodies that wrap you in their webs and won’t let go. Is it authentic? Who knows? But it’s definitely effective. (by by Bret Love)

Enjoy the magic of this very rare and beautiful sounds, recorded by a real master of world music !


Michael Atherton (all instruments, vocals)
Mary Demovic (vocals)
Greg Hebblewhite (trumpet)
Mina Kanaridas (vocals)
Philip South (percussion)
background vocals:
Angela Shrimpton – Hasan Shanal – Maria Campbell – Stephen Clark


Atum (Creator Sungod):
01. Song 1.10
02. Instrumental (Harp, Undongo) 6.47
03. Instrumental (Bendir, Tapan) 3.19
04. Instrumental (Sistrum Ensemble, Voice) 1.16
05. Instrumental (Arghul) 3.46

Maat (Truth, Balance, Order):
06. Song (Voice, Sistrum, Tapan, Puk) + Instrumental (Egyptian Trumpet, Barrel Drums, Puk, Cymbals) 3.36
07. Instrumental (Boat-shaped Harp, Rewap) 3.38
08. Intrumental (Nay) 4.01
09. Instrumental (Double-reed Pipes, Gaval, Riq) 4.30

Khet (The Physical Body):
10. Song (Voice, Modified Oud, Crotala, Hand Claps, Papyrus) 1.46
11. Instrumental (Bamboo Flute, Tar) 6.27
12. Instrumental (Boat-shaped Harp) 5.01
13. Instrumental (Voices, Rewap, Arghul, Trigon, Riq, Bendir, Hand Claps) 2.09

Shen (Eternity):
14. Instrumental (Sistrum, Clapper Bells, Pellet Bells, Crotala, Cymbals) 2.15
15. Instrumental (Rewap, Riq, Gaval) 4.33
16. Song (Voices, Boat-shaped Harp, Trigon, Sistrum) 5.02
17. Instrumental (Nay) 2.40

Music composed by Michael Atherton



Ancient Egypt2

Ry Cooder & Vishwa Mohan Bhatt – A Meeting By The River (1992)

FrontCover1.jpgA Meeting by the River is an album recorded by Ry Cooder and Vishwa Mohan Bhatt; it was recorded in September 1992 and released in April 1993 through the record label Water Lily Acoustics. This improvised, collaborative album features Cooder on slide guitar and Bhatt on the Mohan veena, a stringed instrument created by Bhatt. A Meeting by the River was produced by Kavichandran Alexander and Jayant Shah, engineered by Alexander, and mastered by Kevin Michael Gray and Paul Stubblebine. It peaked at number four on Billboard’s Top World Music Albums chart, and earned Cooder and Bhatt Grammy Awards for Best World Music Album at the 36th Grammy Awards (1994). The album is included in Tom Moon’s 2008 book 1,000 Recordings to Hear Before You Die.

A Meeting by the River was recorded in September 1992; it features Cooder solely on slide guitar and Bhatt on the Mohan veena, a stringed instrument he created.[2][3] Allmusic’s Daniel Gioffre described the instrument as a hybrid between a guitar and a vichitra veena; it is played with a metal slide moving across steel rods along the neck. Cooder had heard a recording of Hindustani classical music performed by Bhatt and was impressed by his playing and the “haunting clarity” of the Mohan veena. Cooder and Bhatt met for the first time less than one hour before recording began; they improvised much of the set; the album’s liner notes state, “this recording was unplanned and unrehearsed”. The album was produced by Kavichandran Alexander, founder of Water Lily Acoustics, and Jayant Shah. It was engineered by Alexander, and was mastered by Kevin Michael Gray and Paul Stubblebine. Cooder and Bhatt are accompanied by Cooder’s fourteen-year-old son Joachim on dumbek, a Middle Eastern drum, and by Sukhvinder Singh Namdhari on tabla.

Vishwa Mohan Bhatt1

The collaboration between Cooder and Bhatt is Alexander’s first attempt to record musicians of different cultures together, one of his goals when he founded the record label. Author George Plasketes described Bhatt’s playing as “highly nuanced” and said, Cooder performs in a more “loose-jointed, slip ‘n’ slide style”. According to Gioffre, Cooder and Bhatt use improvisation and “voice-like” phrasing, showing melodic performances in an alternating fashion and in unison. The album contains four tracks, three of which are credited to Cooder and Bhatt; tracks range in duration from approximately seven-and-a-half minutes to twelve minutes. “Longing” has a structure similar to a raga. Author Tom Moon said Cooder takes the lead on the hymn “Isa Lei” as Bhatt contributes “elaborate squiggling asides” and “swooping nosedives”. In 2011, Bhatt performed “A Meeting by the River” at a music festival in honor of guru Kelucharan Mohapatra. Bhatt said of the song, “Music has no religion and no geographical or linguistic barrier. It speaks a universal language. My composition – ‘A Meeting by the River’ – aims at explaining this.” Bhatt has said he considers working with Cooder his “most special” collaboration.

Ry Cooder1Gioffre wrote a positive review of the album and called Cooder and Bhatt “genuine masters” of their respective instruments. He described the musical interplay between the musicians as “nothing short of astounding” and the album as a rare instance in which a combination of genres works. Gioffre also wrote, “this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding. A Meeting by the River is a must-own, a thing of pure, unadulterated beauty, and the strongest record in Cooder’s extensive catalog. Peter Margasak of the Chicago Tribune awarded the album four stars out of four, describing Cooder’s performance as “arresting” and Bhatt’s as “haunting”. Margasak wrote that the fusion revealed a “rare, often transcendental beauty” as the two artists “gently and intuitively” found common ground. Rolling Stone called the album “fruitful” and awarded it three stars out of five.

A Meeting by the River reached a peak position of number four on Billboard’s Top World Music Albums chart. In 1994, the album earned Cooder and Bhatt Grammy Awards for Best World Music Album. Bhatt became one of a few Indian musicians to have received a Grammy Award until A. R. Rahman won at the 52nd Grammy Awards in 2010. Previous Indian award winners had been recognized jointly with Western artists. The February 25, 1995, issue of Billboard, which featured the annual “Indies Spotlight” and covered independent music between the January 29, 1994, and January 21, 1995, issues of the magazine included A Meeting by the River at number ten on its list of the “Top Indie World Music Albums”. The album is included in Tom Moon’s 2008 book 1,000 Recordings to Hear Before You Die: A Listener’s Life List.


Vishwa Mohan Bhatt (mohan veena, slide guitar)
Joachim Cooder (dumbek)
Ry Cooder (bottleneck guitar, guitar)
Sukhvinder Singh Namdhari (tabla)


01. A Meeting By The River (Cooder/Bhatt) 10.08
02. Longing (Cooder/Bhatt) 9.59
03. Ganges Delta Blues (Cooder/Bhatt) 7.49
04. Isa Lei” (Caten) 12.00



Andy Summers & Victor Biglione – Splendid Brazil (2004)

FrontCover1.jpgAndrew James Somers (born 31 December 1942), known professionally as Andy Summers, is an English guitarist who was a member of the rock band the Police. Summers has recorded solo albums, collaborated with other musicians, composed film scores, and exhibited his photography in galleries. (by wikipedia)

Arranger and composer, Victor Biglione (born February 22 1958) is one of the best acoustic and electric guitar player of this era. Biglione was born in Argentina, but yet very young, he moved to Brazil where he has lived for the last 30 years. After an academic preparation at Berklee College of music, Biglione has developed an unique mixture of influences. Along the years, he became a SummersBiglione01lover of the American Jazz. (by

The second collaboration with Biglione, this entry sounds more influenced by Biglione than Summers, though both guitarists are very present. The jazz covers are mostly ditched, and the concentration is primarily on Brazilian composers, heavily weighted towards Jobim songs, but also some Edu Lobo and a studied take on Laurindo Almeida’s “Brasiliance.” Jobim’s “Inutil Paisagem” (“Useless Landscape”) provides some bluesy licks and is where the jazz lurks, interestingly the only track on the album Summers plays solo (after all, this is an Andy Summers album – jazz is always there somewhere!) “Fotografia” is autumnal. (by


Alternate frontcover

Victor Biglione (guitar)
Andy Summers (guitar)


01. Chovendo Na Roseira (Jobim) 4:34
02. Fotografia (Jobim) 1.51
03. Casa Forte (Lobo) 3.45
04. Retrato em Branco e Preto (Buarque/Jobim) 5.06
05. Vento Bravo (Lobo) 4.21
06. As Rosas Nào Falam (Cartola) 3.28
07. Campina Grande (Valle) 3.24
08. Inútil Paisagem (Jobim) 5.10
09. Brasiliance (Almeida) 3.10
10. Lamento (Jobim) 4.24
11. O Ôvo (Pascoal) 3.19




Various Artists – Bravo Mexico ! (1969)

FrontCover1.JPGThe music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably the culture of the indigenous peoples of Mexico and Europe. Music was an expression of Mexican nationalism, beginning in the nineteenth century.

Many traditional Mexican songs are well-known everywhere, including María Grever’s first international hit “Júrame” (“Swear to me”), and her song “Te quiero dijiste” (English version “Magic Is the Moonlight”), written for the 1944 Esther Williams film. “La Noche de los Mayas,” Huapango de Moncayo, “Sinfonía India (Second Symphony),” “Sobre las Olas,” “La Sandunga,” “Cielito Lindo” (“Beautiful Sweetheart”), “Bésame Mucho” (“Kiss Me a Lot”), “Perfidia”, “Solamente una vez” (English version “You Belong to My Heart”), “Esta Tarde Vi Llover” (English version “Yesterday I Heard the Rain”), “Somos Novios” (English version “We Are Dating”), “¡Ay, Jalisco, no te rajes!”, and “Jesusita en Chihuahua,”

Irma SerranoOther famous songs include “México Lindo y Querido” (“Beautiful, Beloved Mexico”), “Jarabe Tapatío’ (known internationally as “The Mexican Hat Dance”), “El Rey” (“The King”), “El Triste” (“The sad one”), “Pelea de gallos”, “Enamorada” (“Enamoured”), “Échame a mi la culpa” (“Blame me”), “La ley del monte” (“The law of the land”), “La Bikina” (“The Bikina”), “Por Debajo de la Mesa,” “La Media Vuelta,” “La Bamba,” (“The Bamba”), “Lilongo,” and “Jarabe Pateño”. “La Cucaracha” (“The Cockroach”), although popularized during the Mexican Revolution, is a Mexican corrido. (by wikipedia)

And here´s a rare sampler, produced for the German record market with many of popluar singers from Mexico during this period. And maybe you will hear te soul of Mexico …

And we hear the roots of this famous sound of HerbAlpert and his Tijuana Brass Band …


01. Mariachi Los Mensajeros: El Sonero – El Guaje (Sones Jaliscienses) (d.Loza) 2.18
02. Irma Serrano: Flor del Rio (Cordero) 2.45
03. Jorge Valente: El Vivio (Ruiz/Zorrilla) 2.58
04. Mariachi “Jalisco” De Pepe Villa: Guadalajara (Villa) 3.04
05. Los Panchos; La Corriente (Navarro) 2.59
06. Eva Garza: Pader Nuestro (Delfino) 2.32
07. Fernando Soto: Rayando El Sol (Cancion Mexicana) (Traditional) 2.19
08. Mariachi Los Mensajeros: Chapala (Son) (Traditional) 2.21
09. Irma Serrano: La Martina (Castro) 3.03
10. Cuco Sanchez y Antonio: Bribiesca Maria Elena (Barcelata 3.07
11. Linda Vera Guindame: La Hamaca (Guaracha) 2.24
12. Irma Serrano: La Abandonada (Castro) 3.18
13. Mariachi “Jalisco” De Pepe Villa: El Mariachi (Guizar) 2.51
14. Jorge Valente: Calladamente (Maldonado) 2.26
15. Irma Serrano: Cariñto De Mi Vida (Valdes/Ortega) 1.46
16. Coral Mexicano: Cielito Lindo (Fernandez) 2.22



Los Panchos

Charlie Mariano & Enrique Sinesi – Tango para Charlie (2000)

FrontCover1More than one is (obviously) two. Might be Four in One, as it so often is in jazz (Think Coltrane Think Rollins). Might take five. (Think Armstrong Think Miles). Might even be eighteen (Think if you still can Ellington). But two is the closest we can get. The closest by far. Two can feel what the other wants. Two is the abstraction of more than one. Two is the most open more than one.
Jazz being the art of communication, two might be the closest we can get to a definition of its essence. In the proliferation of duo recordings that filled the seventies and trickled on into the present, there have been few incorporating the guitar, and often these were guitar duets. Right now, only Joe Pass comes to my mind as a guitarist working with other instruments in a duo setting (J. J. Johnson’s trombone, Ella Fitzgerald’s voice, Jimmy Rowles’ piano). But Pass is a good case in point: a strong solo guitarist who is able to provide both a cushiony accompaniment and a free solo commentary even to a partner whose instrument limits his ability to accompany.
Which brings us (at last!) to this recording. Enrique “Quique” Sinesi, who joins alto saxophonist Charlie Mariano on these recordings, is a strong solo guitarist with a very distinctive musicality. His professional life was determined by the music of his Argentine homeland, he began in Tango Nuevo groups with bandoneonist Dino Saluzzi and Pablo Ziegler, the former pianist in Astor Piazzola’s bands. His playing stays deeply influenced by this music, but he has always remained open toward jazz.

Charlie Mariano1

In 1998 he performed before Jim Hall, who since then considers Sinesi one of his favorite guitarists.
On “Tango para Charlie” this solo wizard encounters the sublime melodic magic of one of the great saxophonists in jazz. The wonder of Mariano has always been his stylistic openness, his ability to go from Kenton to Karnataka, from Pierce to Pork Pie without compromising his personal voice, his “jazz” style. So when Sinesi boards his 7-string Spanish guitar and sets up a tango groove employing the meanest bass string on any side of the ocean, Mariano counters with cool and jazzy melodic lines that abstract the groove toward that openness of the “two”. With his supple scarcity Mariano opens up the closure that is inherent in the solo/accompaniment that a guitar can provide. There is no closure here. With every sound these two musicians make here, with every beat they share, they come closer together, moving like one and yet keeping the openness of the two. An abstraction of more than one.
There is no closure in these two. They provide a dialogue that is more. Than one. The more than two. Of music. (by Stephan Richter)

Pablo Ziegler

Charlie Mariano (saxophone, flute)
Quique Sinesi (guitar, charango)



01. Berliner Tanguismos Part I (Sinesi) 5.16
02. Berliner Tanguismos Part II (Quique Sinesi) 2.47
03. Berliner Tanguismos Part III (Sinesi) 5.35
04. Berliner Tanguismos Part IV (Sinesi) 4.24
05. The Lady (Mariano) 7.14
06. Faluseando (Sinesi) 2.22
07. Zephyr (Mariano) 6.29
08. Tarde de Lluvia en Köln (Sinesi) 5.40
09. Alta Paz (Sinesi) 4.30
10. If Only (Mariano) 4.09
11. Tango para Charlie (Sinesi) 6.52
12. Gone (Mariano) 1.59

Charlie Mariano2


Various Artists – A Twist Of Jobim (1997)

FrontCover1.jpgTwist of Jobim contains a single disc with 11 songs. The CD has an unusual multi-artist tribute to the music of Antonio Carlos Jobim. Some of the Twist of Jobim songs are made funky (but in a melodic and tasteful way), while others become quiet (but still passionate) ballads. Twist of Jobim are all jazz-oriented songs.

The debut release from the I.E. label (which is connected with Polygram) is an unusual multi-artist tribute to the music of Antonio Carlos Jobim. Some of his tunes are made funky (but in a melodic and tasteful way), while others become quiet (but still passionate) ballads. The treatments are all jazz-oriented, and there is plenty of solo space for the likes of guitarist Lee Ritenour (in one of his finest jazz efforts), pianists Dave Grusin and Alan Pasqua, altoist Eric Marienthal, bassist Christian McBride, and tenor saxophonist Ernie Watts. Plus, there are guest spots for Herbie Hancock (an excellent acoustic piano solo on “Stone Flower”), the sopranos of Art Porter (on “Dindi”) and Steve Tavaglione, the Yellowjackets (who team up with Ritenour on “Mojave”), singer El DeBarge (“Dindi”) and the vocal duo of Al Jarreau and Oleta Adams (“Waters of March” and a lightweight rendition of “The Girl from Ipanema”). Nearly every song holds one’s interest, the melodies are celebrated, and the fresh interpretations contain more than their share of surprises. (by Scott Yanow)

Lee Ritenour

Oleta Adams (vocals on 04. + 11.)
El DeBarge (vocals on 03.
John Beasley (synthesizer on 02. + 04.)
Paulinho da Costa (percussion on 01., 06., 07, 10. + 11.)
Melvin Davis (bass on 02., 03. + 07.)
Cassio Duarte (percussion on 02.- 05 + 09.)
Russell Ferrante (synthesizer on 06., piano on 10. + 11.)
Dave Grusin (piano on 01., 02., 04. + 05.)
Herbie Hancock (piano on 06.)
Jimmy Haslip (bass on 10.)
Jerry Hey (flugelhorn on 07., 08.)
Dan Higgins (flute on 01., 07. – 09.)
Al Jarreau (vocals on 04. + 11.)
Will Kennedy (drums on 10.)
Eric Marienthal (saxophone on 02., 04 – 07.)
Harvey Mason (drums on 02., 04., 08. + 09.)
Christian McBride (bass on 08., 09.)
Bob Mintzer (saxophone on 10.)
Gary Novak (drums on 06.)
Alan Pasqua (piano on 08. + 09.)
John Patitucci (bass on 06.)
Lee Ritenour (guitar on 01., 02., 04., 06. – 10., keyboards, synthesizer on 01., 03. 07., 11., bass on 01. + 11.)
Steve Tavaglione (saxophone on 06., electronic wind instrument on 08. + 09.)
Ernie Watts (saxophone on 08. + 09.)


01. Dave Grusin / Lee Ritenour: Water To Drink (Agua de Beber) (Jobim) 5.06
02. Dave Grusin / Eric Marienthal / Lee Ritenour: Captain Bacardi (Jobim) 5.05
03. El DeBarge / Art Porter: Dindi (Jobim) 4.57
04. Oleta Adams / Al Jarreau: Waters of March (Aguas de Março) (Jobim) 4.38
05. Dave Grusin: Bonita (Gilbert/Jobim/Santamaria) 4.04
06. Paulinho Da Costa / Herbie Hancock / Steve Tavaglione: Stone Flower (Jobim) 8.49
07. Eric Marienthal / Lee Ritenour: Favela (Gilbert/Jobim/de Moraes) 4.47
08. Alan Pasqua / Ernie Watts: Children’s Games (Jobim) 3.53
09. Christian McBride / Ernie Watts: Lamento (Jobim/de Moraes) 6.27
10. Lee Ritenour / Yellowjackets: Mojave (Jobim) 5.22
11. Oleta Adams / Al Jarreau: The Girl From Ipanema (Gimbel/Jobim/de Moraes) 429