[Japanese 24-bit Remastered CD Reissue***]

[24-bit 2007 Japan CD Reissue]

Antonio Carlos Jobim, "Stone Flower", CTI [Japan] #KICJ 8325 (2000).[24-bit digitally remastered CD]
Antonio Carlos Jobim, "Stone Flower", CTI Timeless Collection [Japan] #KICJ-2157 (2007).[24-bit CD Reissue]

***Special Note from Mr. DeSouteiro: the Japanese reissue shown above is the ONLY CD reissue of Stone Flower which uses the original mix (by legendary engineer Rudy Van Gelder) done for the original album issue in 1970, while all the European and USA reissues use a new mix done by engineer Mark Wilder at Sony Studios in 1987.


Tereza My Love
Children's Games
Stone Flower
God and the Devil in the Land of the Sun

*Bonus track on U.S. and European CD Reissues only.

Above left--legendary producer Creed Taylor of Verve, A&M/CTi, & CTI Records.
Above right--Arnaldo DeSouteiro, remastering supervisor for the Japanese reissue and liner notes author.


  Stone-flower-liners-jp.pdf - This is a transcription, retyped especially for this site, of the liner notes for the Japanese 24-bit remastering of Jobim's "Stone Flower" album and written by Arnaldo DeSouteiro.

  Technical-data-sf-jp.pdf - This is the complete technical data breakdown for the Japanese CD Reissue of "Stone Flower", including the musicians for each track and what instruments were played.

Musician personnel: Antonio Carlos Jobim, piano/electric piano/guitar/vocals; Eumir Deodato, arranger/conductor/guitar; Ron Carter, bass; Urbie Green, trombone; Ron Carter, bass; João Palma, drums; Airto Moreira & Everaldo Ferreira, percussion; Soprano sax solo on God and the devil: Joe Farrell; flute solo on Amparo: Hubert Laws; violin solo on Stone Flower: Harry Lookofsky.  (See Technical Data .pdf file above for complete breakdown of which musicians played on each track).

Liner notes on all CD reissues of "Stone Flower" (Europe, U.S. and Japan) written by Arnaldo DeSouteiro.
24-bit Remastered Edition Japan CD supervised by Arnaldo DeSouteiro.

Original LP produced by Creed Taylor.

AAS(Trip+to+Brazil,Dancefolor+Classics+EP).jpg  122007Label.jpg
Various Artists, "A Trip to Brazil:  Dancefloor Classics", EmArcy/Universal [Germany] #122007 (2007).[12" EP Promo Compilation]

1. Tombo in 7/4 - Airto
2. Amazon - Thiago de Mello
3. Que Besteira - João Donato
4. Aquarela do Brasil - João Gilberto
5. Emoriô - Fafá de Belém
6. Ponteio - Rogerio Duprat


Airto Moreira - Drums, Vocals, Arranger
Creed Taylor - Producer
Flora Purim - Vocals, Percussion
Hugo Fattoruso - Keyboards, Fender Rhodes, Arranger, Vocals (Backg)
Arnaldo DeSouteiro - Compilation Producer
Rudy Van Gelder - Engineer
David Amaro - Guitar (Electric)
George Fattoruso - Drums, Vocals (Backg)
Rogério Duprat - Arranger, Conductor
Ringo Thielmann - Bass (Electric), Vocals (Backg)
Fafá de Belém - Vocals
Roberto Santana - Producer
Portinho - Drums
Thiago de Mello - Arranger, Percussion, Vocals, Guitar (Acoustic), Producer
Dom Salvador - Keyboards
Al Valente - Bass (Electric)
Claudio Roditi - Trumpet
Tutty Moreno - Percussion
Mauricio Smith - Sax (Tenor)
Airto Moreira - Percussion
João Donato - Piano (Acoustic), Vocal, Arranger, Conductor
Aladim - Drums
Copinha - Flute
Rosinha de Valença - Guitar (Acoustic)
Tobi - Producer
Geraldo - Flute
Luiz Carlos dos Santos - Percussion
Novelli - Bass (Electric)
Jorge Ferreira da Silva - Flute
Alberto das Neves - Percussion, Congas
Celso Woltzenlogel - Flute
Milcho Leviev - Synthesizers
João Gilberto - Vocals, Guitar (Acoustic), Producer
Clare Fischer - Fender Rhodes
Harry Klee - Flute
Gilberto Gil - Vocals
Michael Boddicker - Oberheim
Jim Hughart - Bass
Bud Shank - Flute
Johnny Mandel - Arranger, Conductor
Joe Correro - Drums
Glen Garrett - Flute
Stella Castelucci - Harp
Paulinho da Costa - Congas, Percussion
Eddie Caini - Flute


Various Artists, "Bossa Nova Singers", Verve (JazzClub Series) [Germany] #06007 5301955 9 (2007).[CD Compilation]

This CD Compilation produced by Arnaldo DeSouteiro.


Quincy Jones, "Summer In The City", Verve (JazzClub Series) [Germany] #06007 5301956 (2007).[CD Compilation]

Featuring Toots Thielemans, Ray Brown, Herbie Hancock, Hubert Laws, Milt Jackson, Freddie Hubbard.

Release Date: September 14, 2007
Available in Japan on September 18, 2007

1. Killer Joe (5:10)
(Benny Golson) Time Step Music - ASCAP
Quincy Jones - conductor, leader / Paul Griffin - Wurlitzer electric piano / Ray Brown - acoustic bass / Grady Tate - drums / Eric Gale - guitar / Hubert Laws - flute solo / Freddie Hubbard - trumpet solo / J.J. Johnson, Jimmy Cleveland - trombones / Alan Raph, Tony Studd - bass trombones / Marvin Stamm, Dick Williams, Lloyd Michels - trumpets / Roland Kirk, Joel Kaye, Jerome Richardson - woodwinds / Hilda Harris, Marilyn Jackson, Valerie Simpson, Maretha Stewart - background vocals / Arranged by Quincy Jones / Rec. on June 18, 1969 in NJ / Produced by Creed Taylor / From "Walking In Space" (A&M Records SP 3023)

2. I Never Told You (4:17) from the motion picture "That Cold Day in the Park"
(Johnny Mandel/Arthur Hamilton)
Quincy Jones - conductor, leader / Toots Thielemans - harmonica solo / Jerome Richardson - soprano sax solo / Bob James- electric piano / Ray Brown - electric bass / Grady Tate - drums / Eric Gale - guitar / John Frosk, Snooky Young, Freddie Hubbard, Marvin Stamm - trumpets / Kai Winding, George Jeffers, Jimmy Cleveland - trombones / Tony Studd - bass trombones / Hubert Laws, Roland Kirk, Joel Kaye - woodwinds / Arranged by Bob James / Rec. on June 19, 1969 in NJ / Produced by Creed Taylor / From "Walking In Space" (A&M Records SP 3023)

3. Walkin' (7:57)
(Richard Carpenter)
Quincy Jones - conductor, leader; Bobby Scott - electric piano solo; Major Holley - arco bass and voice (unison) solo; Ray Brown - acoustic bass; Grady Tate - drums; Milt Jackson - vibes solo; Hubert Laws - flute solo; Jerome Richardson - soprano sax solo; Pepper Adams, Danny Bank - baritone sax; Ernie Royal, Freddie Hubbard, Danny Moore, Marvin Stamm, Gene Young - trumpets; Al Grey, Wayne Andre, Benny Powell - trombones; Tony Studd - bass trombone; Arranged by Quincy Jones; Rec. on May 12, 1970 in NJ; Produced by Creed Taylor; From "Gula Matari" (A&M Records 3030)

4. Brown Ballad (4:23)
(Ray Brown)
Quincy Jones, conductor, leader; Bobby Scott, acoustic piano solo; Jimmy Smith, organ; Paul Beaver - Moog synthesizer; Ray Brown, acoustic bass; Grady Tate, drums; George Devens, percussion; Larry Bunker, vibes; Jim Hall, guitar solo; Toots Thielemans - harmonica solo; Wayne Andre, Garnett Brown - trombones; Arranged by Quincy Jones; Rec. 1971, in NY; Produced by Quincy Jones, Ray Brown & Phil Ramone; From "Smackwater Jack" (A&M Recods 3037)

5. Cast Your Fate To The Wind (4:28)
(Vince Guaraldi) Unichappell Music Inc. - BMI
Quincy Jones, conductor, leader; Bobby Scott, acoustic piano solo; Bob James, electric piano; Chuck Rainey, electric bass; Paul Humphrey, drums; George Devens, percussion; Eric Gale, guitar; Marvin Stamm - flugelhorn solo; Ernie Royal, Snooky Young, Joe Newman, Freddie Hubbard - trumpets & flugelhorns; Wayne Andre, Garnett Brown - trombones; Dick Hixon, Alan Raph, Tony Studd - bass trombones; Jerome Richardson, Hubert Laws, Pete Christlieb - woodwinds; Arranged by Quincy Jones; Rec. 1971, in NY; Produced by Quincy Jones, Ray Brown & Phil Ramone; From "Smackwater Jack" (A&M Records 3037)

6. Summer In The City (4:05)
(Steve Boone/John Sebastian/Mark Sebastian)
Quincy Jones, conductor, leader; Eddy Louiss - organ; Dave Grusin - electric piano; Chuck Rainey - electric bass; Grady Tate, drums; Valerie Simpson, vocal solo; Strings section; Arranged by Quincy Jones; Rec. 1972 & 1973 in NY & Hollywood; Produced by Quincy Jones & Ray Brown; From "You've Got It Bad Girl" (A&M Records 3041)

7. Eyes of Love (3:30) from the motion picture "Banning"
(Quincy Jones/Bob Russell)
Quincy Jones - conductor, leader; Dave Grusin, Bob James - electric piano, synthesizer; Ray Brown - acoustic bass; Toots Thielemans - harmonica solo; Strings section; Arranged by Quincy Jones; Rec. 1972 & 1973 in NY & Hollywood; Produced by Quincy Jones & Ray Brown; From "You've Got It Bad Girl" (A&M Records 3041)

8. You've got It Bad Girl (5:43)
(Stevie Wonder/Yvonne Wright)
Quincy Jones - conductor, leader, vocal solo; George Duke - electric piano; Chuck Rainey - electric bass; Grady Tate - drums; Dennis Budimir - guitar; Brass & Strings Sections; Arranged by Quincy Jones; Rec. 1972 & 1973, in NY & Hollywod; Produced by Quincy Jones & Ray Brown; From "You've Got It Bad Girl" (A&M Records 3041)

9. Everything Must Change (6:00)
(Bernard Ighner) Almo Music - ASCAP
Quincy Jones - conductor, leader; Bernard Ighner - lead vocal; Dave Grusin - electric piano; Herbie Hancock - acoustic piano, Arp Odyssey synthesizer; Billy Preston - Arp Soloist syhtnesizer; Chuck Rainey - electric bass; James Gadson, drums; Frank Rosolino - trombone solo; Quincy Jones, Tom Bahler, Leon Ware, Minnie Riperton, Joe Greene, Jesse Kirkland, Carolyn Willis, Jim Gilstrap, Myrna Matthews - backing vocals; Arranged by Quincy Jones, Tom Bahler & Dave Blumberg; Recorded in LA, 1974; Produced by Quincy Jones & Ray Brown; From "Body Heat" (A&M Records 3617)

10. Along Came Betty (4:47)
(Benny Golson) Time Step Music - ASCAP
Quincy Jones - conductor, arranger; Dave Grusin - electric piano, Arp Soloist synthesizer; Chuck Rainey - electric bass; Bernard Purdie - drums; Bobbye Hall - congas, percussion; Phil Upchurch - guitar; Hubert Laws - flute solo; Jerome Richardson, Clifford Solomon, Pete Christlieb - sax; Chuck Findley - trumpet; Frank Rosolino - trombone; Tom Bahler, Leon Ware, Minnie Riperton, Carolyn Willis, Jim Gilstrap, Myrna Matthews - backing vocals; Arranged by Quincy Jones, Tom Bahler & Dave Blumberg; Rec. in LA, 1974; Produced by Quincy Jones & Ray Brown; From "Body Heat" (A&M Records 3617)

11. Tell Me A Bedtime Story (6:46)
(Herbie Hancock) Hancock Music Corp. - BMI
Quincy Jones, conductor, leader; Sy Johnson - arranger; Herbie Hancock - electric piano, clavinet; Anthony Jackson - electric bass; Steve Gadd - drums; Ralph MacDonald - percussion; Eric Gale - guitar; Hubert Laws - flute; Harry Lookofsky - violin solo (15 overdubbed violins); Henry Sigismonti, David Duke, Sidney Muldrow, Arthur Maebe, Audrey Bouth, French horns; Bud Shank, Bill Perkins, Jerome Richardson, Buddy Collette - woodwinds; Oscar Brashear, Bill Lamb, Chuck Findley, Snooky Young - flugelhorns; Chauncey Welsch, Jimmy Cleveland, Donald Waldrup, Bill Watrous, Robert Payne, Charles Loper - trombones; Patti Austin (concertmistress), Gwen Guthrie, Lani Groves, Vivian Cherry, Yolanda McCullough, Tom Bahler, Luther Vandross, Zach Sanders, Bill Eaton, Frank Floyd - background vocals and hanclaps; Arranged by Quincy Jones & Sy Johnson; Vocal Arrangement by Tom Bahler; Rec. in NY, 1978; Produced by Quincy Jones; From "Sounds...and Stuff Like That!!" (A&M Records 3249)

12. Superwoman (5:28)
(Stevie Wonder) Black Bull Music Inc. / Jobete Music Inc./ASCAP
Quincy Jones, conductor, leader; Patti Austin - lead vocal; Herbie Hancock - electric piano solo; Richard Tee - electric piano; Anthony Jackson - electric bass; Steve Gadd - drums; Ralph Mac Donald - percussion; Eric Gale - guitar; Hubert Laws - flute solo; Tom Scott - lyricon solo; Patti Austin (concertmistress), Gwen Guthrie, Lani Groves, Vivian Cherry, Yolanda McCullough, Tom Bahler, Luther Vandross, Zach Sanders, Bill Eaton, Frank Floyd - background vocals; Strings Section; Arranged by Quincy Jones & Pendarvis; Vocal Arrangement by Tom Bahler; Recorded in LA, 1978; Produced by Quincy Jones; From "Sounds...and Stuff Like That!!" (A&M Records 3249)

13. Velas (4:05)
(Ivan Lins/Vitor Martins) Kidada Music, Inc / Brammus Music - BMI
Quincy Jones - leader; Toots Thielemans - harmonica solo, guitar & whistle; Greg Phillinganes, electric piano and synthesizer; Ian Underwood, keyboards & synthesizer programming; Louis Johnson, bass; John Robinson, drums; Paulinho da Costa, percussion; Gerald Vinci, strings concertmaster; Rhythm arrangement by Quincy Jones; String arrangement & synthesizer arrangement by Johnny Mandel; Strings conducted by Johnny Mandel; Produced by Quincy Jones; Rec. in LA and Brussels, 1981; Produced by Quincy Jones; From "The Dude" (A&M Records 75021-3248)

14. Stuff Like That (6:17)
(Q. Jones/V. Simpson/N. Ashford/E. Gale/S. Gadd/R. Tee/R. MacDonald) Yellow Brick Road Music Corp./Nick-O-Val Music- ASCAP
Quincy Jones, conductor, leader / Richard Tee - electric piano / Michael Boddicker, synthesizers /Clark Spangler - bass synthesizer / Steve Gadd, drums / Ralph MacDonald - percussion / Eric Gale, David T. Walker - guitars / George Young - alto sax solo / Jon Faddis, Virgil Jones - trumpets / Alan Raph - bass trombone / Harold Vick, David Tofani, Howard Johnson - saxophones / Nick Ashford, Valerie Simpson, Chaka Khan - vocals / Gayle Levant - harp / Israel Baker - strings concertmaster / Arranged by Quincy Jones & Leon Pendarvis / Rec. in NY, 1978 / Produced by Quincy Jones / From "Sounds...and Stuff Like That!!" (A&M Records 3249)

Compilation Produced by Arnaldo DeSouteiro
Cover Photo: Christian Oberück
Artwork: Knut Schötteldreier
Digitally Mastered at Eastside Mastering Studios (Berlin)
Special Thanks to Sergej Braun, Douglas Payne, Matthias Kunnecke, Creed Taylor and Yuichiro Inoue
Personal Assistant to Mr. DeSouteiro: Marcia Martin


Eumir Deodato, "Do It Again: The Fantastic Jazz Funk of Eumir Deodato", Boutique JazzClub Series/Universal [Germany] #06007 5300715 (2007) [CD Compilation].

This CD Compilation Produced by Arnaldo DeSouteiro.


Joe Beck, "Beck", Kudu [Japan] #KICJ 2212 (released on March 07, 2007).[CD Reissue]


1. Star Fire aka The Saddest Thing (Joe Beck) 4:34
PZB Publishing/ASCAP
2. Cactus (Don Grolnick) 4:59
Carmine St. Music/BMI
3. Texas Ann (Joe Beck) 7:57
PZB Publishing/ASCAP
4. Red Eye (Joe Beck) 7:13
PZB Publishing/ASCAP
5. Cafe Black Rose (Gene Dinwiddie aka Jalal Mansur Nuriddin) 4:26
Djallon Music/ASCAP
6. Brothers and Others (Joe Beck) 6:31
PZB Publishing/ASCAP

Total Time 35:54

Musician personnel and credits:

Joe Beck: lead guitar and all guitar solos
David Sanborn: alto sax
Don Grolnick: electric piano (1,2,3,4,5), acoustic piano (6), organ (2,4)
Will Lee: electric bass
Chris Parker: drums
Ray Mantilla: congas & percussion (4,6)
Steve Khan: rhythm guitar

Strings Section (tracks 1,2,4)
Frederick Buldrini, Harry Cykman, Peter Dimitriades, Max Ellen, Harold Kohon, Charles Libove, Harry Lookofsky, Joe Malin & David Nadien: violins
Jesse Levy, Charles McCracken & George Ricci: cello

Basic tracks arranged by Joe Beck
Strings arranged & conducted by Don Sebesky

Liner Notes below written by Arnaldo DeSouteiro for the 24Bit Remastering Japanese CD reissues of Joe Beck, "Beck".
2001 and 2007 CD Reissues Supervised and Remastered by Arnaldo DeSouteiro for CTI/Kudu.

* * *

Beck is back! A perfectionist, gifted with a sharp sense of self-criticism, Joe Beck (born on July 29, 1945, in Philadelphia, Pennsylvannia) was making good music (and a lot of money) when he disappeared from the NY music scene in 1971 to become a dairy farmer in Vermont. After his professional debut with Paul Winter’s group in 1964, he had played with such masters as Gary McFarland, Charles Lloyd, Chico Hamilton, and Gil Evans, on whose orchestra he was a member from 1967 to 1971. (One of his best albums with Evans, Where Flamingos Fly, only came out ten years later on the Artists House label).

Not to mention that Joe Beck had been the first guitarist to record with Miles Davis, on a controversial December 1967 session later released, in 1979, on the Circle in The Round album. “For years I dreamed to play with Miles, one of my heroes. But, when I had the chance, I wasn’t prepared yet, and I played very badly on that session,” Beck comments. “By the end of 1971, I was feeling so stressed that I gave up everything and decided to take a long break of music. I wasn’t satisfied with my life nor with my career.”

After almost three years milking cows (“during that period as a farmer, my only musical work was to write the soundtrack for a porno movie, a spiced version of Grimm’s Fairy Tales, which I did just for fun”, he laughs), Beck returned with renewed energy to Manhattan’s studio scene. Soon he was recording on Dom Um Romao’s debut album for Muse, as well as touring with Joe Farrell.

At that time, Farrell was signed to CTI and, through him, Joe Beck re-encountered Creed Taylor. Beck’s first session as a sideman for CTI, on October 29, 1968, had been for J.J. Johnson & Kai Winding’s Betwixt & Between album, followed by a recording for Paul Desmond’s Summertime album on November 20, 1968, playing acoustic guitar on the now cult samba version of Louis Armstrong’s Struttin’ With Some Barbecue.

After being an integral part, in October 1973, of the sessions which yielded Joe Farrell’s Penny Arcade album (for which he also contributed as composer of its title track), Beck was invited to take part on Idris Muhammad’s Power of Soul (March 1974), as well as on two other albums by Farrell’s group: Upon This Rock (March 1974) and Canned Funk (Nov-Dec 1974). Beck’s ferocious guitar style impressed Creed Taylor so much that the producer invited him to join the CTI/Kudu family. “Creed offered me the chance to do my own album, which represented my artistical redemption”, states the guitarist.

On March 10 & 11, 1975, at Van Gelder’s Studio in New Jersey, Joe Beck and his buddies (Don Grolnick, Will Lee, Chris Parker, Steve Khan and David Sanborn, a superteam of second-generation fusion players) recorded all the basic tracks for the self-titled Beck album. On March 17, Beck, Khan and Grolnick, plus percussionist Ray Mantilla, returned to do some overdubs. At last, on June 25, Don Sebesky added unobstrusive string arrangements to three tracks: Star Fire, Cactus and Red Eye.

The opening track, Star Fire, had been previously recorded (under the title The Saddest Thing) on Idris Muhammad’s Power of Soul album. Beck and Sanborn play the melody in unison, in a dense atmosphere that is not sweetened by Sebesky’s string arrangement.

Don Grolnick shines as a composer on Cactus (adding an organ during Joe Beck’s fiery guitar solo), and as a soloist on Texas Ann, on which Grolnick performs a masterful improvisation on the Fender Rhodes, a lesson in dynamics and architectonic logical. By the way, he uses electric piano on all tracks, except on Brothers And Others (comping on the acoustic piano in a way only he and another late funk master, Richard Tee, knew how to do).

Percussionist Ray Mantilla adds congas and cowbell to Red Eye, an incandescent bluesy tune written by Beck, whose guitar attack seems to bite the listener’s ears. However, Sanborn steals the show with a fantastic performance, phrasing beautifully during his astonishing solo.

Cafe Black Rose, a Gene Dinwiddie song for which Lightinin’ Rod later added lyrics on the Hustler’s Convention album, is a country-tinged performance. Steve Kahn, a guitarist’s guitarist, son of the legendary composer Sammy Cahn, sounds like if he was playing a pedal steel guitar. It is worth to remember that Gene Dinwiddie is the Christian name of Jalal Mansur Nuriddin, who formed the legendary The Last Poets group in 1969, after releasing from prison. A USA paratrooper, who opted to go to jail instead of fighting in the Vietnam War, Gene converted to Islam while in prison, adopting a new name.

Undoubtedly the album highlight, Brothers and Others begins with a piano intro played by Don Grolnick on his unmistakable style. There are bright solos by both Beck and Sanborn, propelled by a rhythm section that is pure dynamite. It is the perfect ending for an album full of excitement, musical intensity and vital energy.

The psychedelic cover art was done, at Joe Beck’s request, by Abdul Mati Klarwein, who created the paintings for several Miles Davis’ albums of the jazz-rock era, such as the seminal Bitches Brew and its follow-up Live Evil. However, when reissuing the Beck album in 1979, on the CTI 8000 series, Creed Taylor opted for a new cover provided by photographer Mitchell Funk, and retitled the album Beck & Sanborn for obvious commercial purposes, to take advantage of David Sanborn’s huge fame. This second cover and false title were also used on the USA CD reissue by CBS in 1987.

Although he never recorded again for Creed Taylor as a leader, Joe Beck did many other albums as a sideman for both the CTI and Kudu labels: The Chicago Theme (Hubert Laws), The Rape of El Morro (Don Sebesky) and House of the Rising Sun (Idris Muhammad), all of them recorded in 1975. That same year, he became the main responsible for making What A Diff’rence A Day Makes, the best-selling album ever in Esther Phillips’ career, thanks to Beck’s disco-arrangement of the title track, which became a big dancefloor hit all over the world during the summer of 1975. A second Phillips/Beck collaboration, For All We Know, was quickly produced in October of that same year. But it’s another story that also deserves to be told in details. For now, let’s cheers because . . . Beck is back!

--Arnaldo DeSouteiro
May 24, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian

Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Basic tracks recorded on March 10, 11 & 17, 1975
Strings overdubs recorded on June 25, 1975

Original album producer: Creed Taylor.

Album illustrations: Abdul Mati Klarwein.

Original album design: Bob Ciano.

Reissue supervisor: Arnaldo DeSouteiro.

Liner notes: Arnaldo DeSouteiro.

Original catalog number: KU-21
Reissued as Beck & Sanborn (CTI LP 8002)


Esther Philips with Beck, "For All We Know", Kudu [Japan] #KICJ 2213 (2007).[CD Reissue]


1. Unforgettable (Irving Gordon) 3:38
2. For All We Know (J. Fred Coots / Sam M. Lewis) 3:33
3. Pure Natural Love (J. Deshannon / G. Ballantyne) 5:20
4. Fools Rush In (R. Bloom / J. Mercer) 4:25
5. Going Out of My Head (T. Randazzo / B. Weinstein) 7:51
6. Fever (J. Davenport / E. Cooley) 3:35
7. Caravan (D. Ellington / J. Tizol / I. Mills) 5:43

Musician personnel and album credits:

Arranged by Joe Beck
Esther Phillips: vocal
Joe Beck: lead guitar & all guitar solos
Steve Khan: rhythm guitar (1,2,3,4,5,6)
Don Grolnick: electric piano (1,2,3,5), acoustic piano (7)
Leon Pendarvis: electric piano (2)
Bobby Lyle: electric piano (4)
Will Lee: electric bass (1,2,3,4,5,6)
Gary King: electric bass (7)
Andy Newmark: drums (1,3,4,7)
Chris Parker: drums (2,6)
George Devens: percussion & congas (2,5,6)
Ralph MacDonald: percussion & congas (3,4)
Nicky Marrero: percussion (1,2,6,7) & timbales (5)
Michael Brecker: all tenor sax solos
Frank Vicari: tenor sax (7)
Ronnie Cuber: baritone sax
Randy Brecker: trumpet
Barry Rogers: trombone
Fred Wesley: trombone (7)
Max Ellen, Paul Gershman, Harry Glyckman, Emanuel Green, Harold Kohon, David Nadien, John Pintavalle & Max Polikoff: violin
Harold Coletta & Theodore Israel: viola
Seymour Barab, Charles McCracken, Alan Shulman & Anthony Sophos: cello
Patti Austin: backing vocal & vocal arrangement (1,6)
Tasha Thomas: backing vocal & vocal arrangement (2,4,3,5,7)
Peggy Blue, Carl Carldwell, Hilda Harris & Maeretha Stewart: backing vocal

Liner Notes by Arnaldo DeSouteiro for the 24Bit Remastering Japanese CD reissues of ESTHER PHILIPS with Beck: FOR ALL WE KNOW
Kudu KICJ 8360 (released on July 25, 2001)
Kudu KICJ 2213 (released on March 7, 2007)
Reissues Supervised and Remastered by Arnaldo DeSouteiro

For all we know, it is impossible to talk about For All We know (originally released in 1976 as KU-28) without talking about the unforgettable What A Diff’rence a Day Makes (KU-23), the album that transformed Esther Phillips (at least for one year) into a disco-music diva. Conceived by Tony Sarafino, the unofficial A&R man at CTI/Kudu for disco-oriented projects, What A Diff’rence A Day Makes became a milestone on Esther’s career as her biggest hit and best-selling album ever. Recorded in April 1975, released as a single three months later, its title track (curiously, the big hit of Dinah Washington, Esther’s main idol and influence) exploded in the New York dancefloor scene, and soon it swept Europe.

Besides Tony Sarafino, the other musical hero in that project was Joe Beck, then recently signed for the Kudu label as a solo artist. All in the music circles became very surprised to know that the great guitarist had done the arrangements not only for the basic tracks, but for the string section as well! Basically because nobody had ever heard Joe Beck arranging for strings, not even on his solo album Beck (KICJ 8359), which included string arrangements by Don Sebesky. Anyway, the pairing of Esther Phillips and Joe Beck succeeded in all aspects, leading producer Creed Taylor to do a kind of volume 2, quickly booking dates at Van Gelder’s studio in October 1975.

Most of the musicians featured on What A Diff’rence A Day Makes (Don Grolnick, Will Lee, Chris Parker, Steve Khan, Ralph MacDonald, Barry Rogers and The Brecker Brothers) were once again hired for its follow-up album, For All We Know, with some other studio kings (like Andy Newmark and Ronnie Cuber) also invited to the sessions. Not to mention two other great percussionists: Latin legend and Fania recording artist Nicky Marrero, and the underrated George Devens, a classically-trained percussion master who was a former member of George Shearing’s quintet. Plus: seasoned studio vocalists Patti Austin and Tasha Thomas got the hard task to write the vocal arrangements. 

In November, Esther Phillips completed the vocal parts. In December, Joe Beck added the string section. The following month, the first promo copies were mailed to club and radio DJs, who enjoyed the new album almost as much as they have loved the previous one. However, in spite of all the promotional efforts by the CTI team, For All We Know did not yield any huge hit a la What A Diff’rence A Day Makes, although two tracks (shortened versions of Fever and For All We Know), released on the KU-929 single, received heavy airplay. 

Maybe that was the first mistake. According to Joe Beck, “Creed should have selected Unforgettable as the first single, because it was the most commercial track, as well as a potential disco-hit which I had prepared the same way I had done with What A Diff’rence A Day Makes”, remembers the guitarist, whose name was discretely featured in the album cover.

While, on What A Diff’rence A Day Makes, Esther had been reluctant to record most of the tracks selected by Tony Sarafino, during the pre-production work for the new album she was so happy that she wanted to select some of the songs. Three of them (Unforgettable, For All We Know, Fools Rush In) previously recorded by Nat King Cole. Two of them (Unforgettable and For All We Know) also covered by Dinah Washington.

Actually, Irving Gordon’s Unforgettable, introduced by Nat King Cole in 1951, was recorded by Dinah Washington as the title track of her 1959 album for the Mercury label. Later on, in 1964, it also became the title of an Aretha Franklin session in tribute to Dinah, released by Columbia. And most recently, Natalie Cole sold over six million copies of her 7-time Grammy Award winner Unforgettable album for Elektra in 1991. Listening to Esther Phillips’ crepitant and very sexy version, with the singer sighing of desire behind Michael Brecker’s sax, it is difficult to understand why it was not chosen as the album title neither as its first single.

Fred Coots/Sam Lewis’ For All We Know, another song picked by Esther herself, had been covered by both Dinah Washington (on Drinking Again, in 1962) and Billie Holiday (on Lady In Satin, in 1958), after Nat King Cole’s 1943 version. Another Nat smash hit, covered by everyone, from Glenn Miller to Frank Sinatra to Elvis Presley, Johnny Mercer’s sublime Fools Rush In, also receives a discofied arrangement that sounds better than anything ever recorded by Donna Summer or Gloria Gaynor. The keyboardist is LA-based Bobby Lyle, fresh from his stint with Sly & The Family Stone.

Next, Esther displays her r&b roots on a stunning rendition of Pure Natural Love, penned by the beautiful and very talented singer/songwriter Jackie DeShannon. On the acoustic piano, Don Grolnick plunges into Eddie Cooley’s Fever, a big hit for Peggy Lee in the Fifties, revived by Madonna on her x-rated Erotica album from 1992. Curiously, besides Esther Phillips’ intoxicating version, the most successful recording of this song, in the dancefloor scene, was done by Brazilian singer/actress Norma Bengell back in 1959, being recently rediscovered by European DJs. Then comes Duke Ellington’s classic Caravan, in a funky groove, with a baritone sax obbligato by Ronnie Cuber.

But nothing compares to the Latin-tinged arrangement Joe Beck prepared for Teddy Randazzo’s Going Out Of My Head, turned into a hit by Little Anthony & The Imperials in 1965. That same year, Creed Taylor convinced Wes Montgomery to cut this song, used as the title track for his best-selling Verve album which won a Grammy the following year for Best Instrumental Jazz Performance. This is really a perfect track, with an intoxicating groove, a subtle Don Grolnick solo on electric piano, a fantastic interaction between George Devens on congas and Nicky Marrero on timbales, plus a superb backing vocal arrangement by future CTI star Patti Austin. 

After For All We Know, Esther, who had already recorded five albums for Kudu (From A Whisper To A Scream, Alone Again Naturally, Black-Eyed Blues, Performance, and What A Diff’rence A Day Makes), still cut another album for the label, Capricorn Princess, in 1976, with David Matthews replacing Joe Beck as arranger. She can also be heard on two moving performances (Cherry Red and God Bless The Child) from the CTI Summer Jazz Live At The Hollywood Bowl concert, recorded in 1972 but only issued in 1977. And one exciting album recorded live on July 1975, at NY’s Bottom Line, remains unreleased in the CTI archives.

Then, after leaving Kudu, Esther released four albums on Mercury, the same label for which her idol Dinah Washington had recorded her most memorable albums. Her final session, titled A Way To Say Goodbye, for the small Muse label, came out in 1984. Esther Phillips, born Esther Mae Jones on December 23, 1925, passed away on August 7, 1984, of liver and kidney failure. This digitally remastered of For All We Know is a good way to celebrate her immortal talent.

--Arnaldo DeSouteiro
May 29, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian

Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded October 17, November 14 & December 08, 1975

Original album produced by Creed Taylor (KU-28)
Album photos: Bruce Weber
Album design: Rene Schumacher
Reissue supervisor: Arnaldo DeSouteiro
Liner notes: Arnaldo DeSouteiro


Various Artists, "Biciopapao - Ultimate Beach Sounds, Vol. 1", Sigillato #________ (2007).[2-CD Compilation Set]

Track #9, "O Passarinho" is co-written, arranged & produced by Arnaldo DeSouteiro.


Nelson Angelo, "O Maravilhoso Mundo Musical de Nelson Angelo: Tempos Diferentes", Dubas Musica [Brazil] #60251737401 (November 2007).[CD]

This recent release by Nelson Angelo includes a great version of Jobim's "The Red Blouse".

Musician personnel on this track:
Nelson Angelo (guitar, vocals, arranger), Paulo Malaguti (keyboards), Enio Santos (bass) and Rubinho (drums).

Track produced by Arnaldo DeSouteiro.


Anna Ly, "Desenrolando a Língua", AL #CD 03 (2007).[CD]

Includes the track "Fuzuê", co-produced by Arnaldo DeSouteiro.


Thiago de Mello and Dexter Payne, "Another Feeling", Jazz Station Records [Brazil] #JSR 6052 (2007).[CD]

Produced by Arnaldo DeSouteiro.


Rubens Lisboa, "Todas as Tribos", Independent Label [Brazil] #UNICD-RL 03 (2007).[CD]


1. Todas as Tribos
2. Samba - Special Participant: Ithamara Koorax; Cuiqueiro:  Arnaldo DeSouteiro
4. Neném
5. Nem Adianta
6. Sapato Novo
7. A Gata Triste
8. Da Laia do Lama
9. Maria do Sertão
10. Clima Legal
11. Vai de Madureira
12. Escravo
13. Mascarada
14. Se eu Fosse Você
15. Maluquice
16. Só e Vadio

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