01. Sofrito
02. Come Candela
03. Asi Asi
04. Manteca
05. A Mayra
06. Autumn Leaves			play
07. Mambo 9/34
08. Oye Como Va		 	     play
09. Mambo Sandoval
10. Quiero Ir Contigo
11. Mambo Inn

Personnel:
Arturo Sandoval : Trumpet, flugelhorn
Mattis Cederberg : Bass trombone
Ludwig Nuss : Trombone
Tim Coffman : Trombone
Nils Marquardt, Bernt Laukamp, Mattis Cederberg : Trombone
Oliver Peters : Flute, tenor saxophone
Mark Walker : Drums
Pernel Saturnino : Percussion
Karolina Strassmayer, Heiner Wiberny : Alto saxophone
Paul Heller : Tenor saxophone
Frank Chastenier : Piano
Jens Neufang, Frank Jakobi : Baritone saxophone
Andy Haderer, Rob Bruynen, Wim Both, Hlaus Osterlok, John Marshall : Trumpet
Paul Shigihara : Guitar

Cool, a trumpet and four trombone as a solo instrument in a row on Mongo Santamaria's classic "Sofrito" let go and arrange the whole thing over a pleasurable grooving and precision then sprung big-band sound ... Or Joseph Kosma "Autumn Leaves" - one of the feature equipped with a erratic bongo intro and then a piano-trumpet part, up tempo to start with strong high notes - - pieces by Miles Davis, so a total counter-casting of Miles Davis' proposal - which is just as clever . So we put in already in the middle of the great cooperation of the WDR Big Band under the direction of the former Tito Puente trumpeter Michael Philip Mossman, with the ex-Irakere trumpeter Arturo Sandoval. Refer to both gentlemen on their former positions makes little sense, such a thing is only for quick understanding. Mossman is a brilliant leader and arranger, and has long been a world star Sandoval on trumpet. Both Latin roots can of course not with the cute slogan "Mambo" grasp. The two make is because even with the super-correct mambo-style arrangement of Perez Prado's long-running "Asi Asi" a bit over the corresponding cliché funny, why at this track, the WDR Big Band and almost sounds like a TV Orchestra of 1960s in a Saturday night show with Vico Torriani. But, as I said, meant more parody. The 11 tracks on the CD offer, all at all, classic Latin jazz in the classic Latin-jazz style, in the spirit of Tito Puente, Mongo Santamaria, Dizzy Gillespie (clear, "Manteca" is also there) and Mario Bauza. Varied shades, and subtle nuances in the most dazzling shades. High Notes from Sandoval (the lower register, he served just as a virtuoso), fetzende guitars by Paul Shigira, creative and precise piano by Frank Chastenier and an almost uncanny grooving rhythm section - John Goldsby (b), Mark Walker (drums), Pernell Saturnino (prec) - define the sound that is less on innovation than on the total playing the opportunities within the 'genre'. And so rather effortlessly arises a world-class, non-traditional and nostalgic at the same time, imaginative Latin-jazz production, which can be heard again and again. And should!

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1 	Second Line 	9:11
2 	Bebop Medley	16:03
3 	Dear Diz (Every Day I Think Of You) 	4:47
4 	El Manisero 	8:39
5 	Joy Spring 	9:12
6 	Sureña 	9:23
7 	Seven Steps To Heaven 	8:43

Bass, Vocals – John Belzaguy
Drums – Johnny Friday
Guitar – Rene Toledo
Keyboards – Dave Siegel
Percussion, Vocals – Ricardo "Tiki" Pasillas
Piano, Keyboards – Kemuel Roig
Trumpet, Timbales, Vocals, Piano, Keyboards – Arturo Sandoval
Violin – Carlos Reyes (tracks: 6)

Celebrated ten time Grammy winner and 2015 Hispanic Heritage Award Recipient Arturo Sandoval packed Yoshi's Oakland for a galvanizing weekend of Afro Cuban jazz music. His picante hot group consisted of: pianist Kemuel Roig, drummer Johnny Friday, keyboardist Dave Siegel, bassist John Belzaguy, percussionist Ricardo "Tiki" Pasillas and special guest Carlos Reyes on violin.

His crowd pleasing second session boasted "Blues in Bb" (Sandoval),"Smile," "There Will Never Be Another You," "Sureña" (Sandoval), and "Jam" , a funky Cuban music improvisation. The second show closing encore was "All The Things You Are."

During the blistering set, the Cuban born, six time Billboard and Emmy Award winner asked the jubilant Yoshi's house, "Are you having fun?" Sandoval received thunderous confirmation to his rhetorical question. When the band implored the crowd to, "Shake your booty," the keyboardist played a long rocking solo.

According to local East Bay resident and retired commercial photographer nick named Dr Porky, "He (Sandoval) loves funk. He's playing Funk-Pop!" Sandoval recognized this long time patron along with his buddy sitting up front from the early set. He said, "We have to do something different and can't play the same stuff. That guy in the first show-need more customers like you," Sandoval joyfully stated to the spirited venue. He improvised something new that included some of his Dizzyesque vocalese in a warm tribute to his early sponsor and friend, the beloved trumpeter Dizzy Gillespie.

Among his numerous awards, Sandoval has also received a honorary Doctorate in Fine Arts from the University of Notre Dame in 2016. After introducing the band members, he asked this photojournalist, "Your camera on a roll? I never see the pictures." I assured him he would see the images, and also some from his gig at the Vancouver Jazz and Wine Festival.

As he comfortably strolled among his large audience, Sandoval asked a favor. "When you get home, leave the TV off. Off! So much bad news and BS. Instead of TV on, listen to the song we're going to play." The tune was the quietly encouraging "Smile" originally composed by the actor Charlie Chaplin, with lyrics later added to it by John Turner and Geoffrey Parsons. Sitting at a customer's table, he serenaded the astonished fan. When Sandoval finished the standard, a supporter shouted, "Beautiful," during the massive applause.

Sandoval talked about the time he had to do a 7 AM radio show after playing two long sets the previous night. Later, he was pleasantly shocked when his early morning performance was captured and put on line. He proudly commented, "It is the most viewed video in my life on iTunes now." The band then went into "There Will Never Be Another You." "Are you sure it's like this?, he asked his able band. A haunting keyboard solo was included.

Among the many funky solos by Sandoval's crack band, special guest Carlos Reyes' engaging work on violin was inspiring. The trumpeter remarked when he added gringos to the band, he was asked to be more precise when pronouncing English song titles. His band had the house moving to polyrhythms on the next track that featured percussionist Pasillas taking center stage singing and playing the maracas. Sandoval also played keyboards and timbales at various times in the concert. Sandoval joked, "Money's not everything in life (pause) only ninety five percent."

Referring to his popular brand of Afro Cuban jazz, he said the audience was wonderful and not everyone would get it. Then Sandoval proclaimed, "Let's play some salsa," and his musical team mates fired up blistering Afro Cuban rhythms that had the attendees standing up for the finale. Arturo Sandoval and his outstanding band closed the night with a standing ovation by a crowd who got it and enjoyed it. ---Walter Atkins, allaboutjazz.com

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A1 	King Pete's Heart 	
A2 	My Funny Valentine 	
A3 	Mambo Influenciado 	
B1 	Claudia 	
B2 	Blues 88 	
B3 	Blue Monk

Arturo Sandoval - Trumpet 
Chucho Valdés - Piano 
Ron Mathewson - Bass 
Martin Drew - Drums

With his remarkable range and phenomenal technique, Arturo Sandoval is one of the world's great trumpeters; he can do virtually anything he wants on his instrument. Some detractors have claimed that he has too much technique (is such a thing possible?) and that his recordings for GRP are a bit erratic. The latter criticism cannot be applied to this 1988 release. Sandoval is heard with a standard quartet comprised of the great pianist Chucho Valdes (the leader of Irakere), bassist Ron Matthewson, and drummer Martin Drew. Recorded in England before Sandoval broke ties with Cuba, Sandoval is in near-miraculous form on some blues, a lyrical "My Funny Valentine," and a few basic originals. Just listen to him tear through "Blue Monk," playing in the low register with the speed of an Al Hirt before jumping into the stratosphere like Maynard Ferguson. This CD serves as an excellent introduction for the bop lover to the very talented Arturo Sandoval. –Scott Yanow, Rovi

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01. Apres Un Reve 5:08
02. Emily 4:26
03. Speak Low 4:36
04. Estate 3:58
05. A Time For Love 5:04
06. Pavane Pour Une Infante Defunte (feat. Chris Botti) 5:12
07. I Loves You Porgy 5:15			play
08. Oblivion (How To Say Goodbye) 5:24
09. Pavane 4:50
10. Smile 3:59					play
11. All The Way 4:02
12. Smoke Gets In Your Eyes 4:21	
13. Windmills Of Your Mind 5:32
14. Every Time We Say Goodbye 5:54

Personnel: 
Arturo Sandoval (vocals, trumpet, flugelhorn); 
Monica Mancini (vocals); 
Chris Botti (trumpet);
David Ewart, Songa Lee, Robin Olson, Searmi Park, Tiffany Yi Hu, Phillip Levy, Tamara Hatwan, Razdan Kuyumijian, Kevin Connolly,
 Natalie Leggett, Darius Campo, Liane Mautner, Charlie Bisharat (violin); 
Darren McCann, Keith Greene, Harry Shirinian, Alma Fernandez (viola); 
Trevor Handy, Vanessa Freebairn-Smith, Dennis Karmazin, Christine Ermacoff (cello); 
Kenny Barron, Shelly Berg (piano); 
Gregg Field (drums, percussion).

Arturo Sandoval is a true maestro: despite his reputation as a bop-based trumpeter who plays jazz inspired by his native Cuban tradition, he has delved deeply into tango, swing, and electric jazz in his long career. He is also a fine pianist and percussionist. That said, the notion of him recording a collection of classical pieces, standards, and ballads with a trio and a string orchestra as backing is more than a bit of a surprise. Nonetheless, that's what A Time for Love basically is. Sandoval claims that this is the realization of a 20-year dream. He wanted it bad enough to make and release the record himself, but fate stepped in. Pianist Shelly Berg heard the demos and brought him to Concord's Greg Field, who in turn brought in Grammy-winning arranger Jorge Calandrelli. They co-produced while Calandrelli arranged eight of the nine string charts -- Berg arranged the other and brought in his trio to back up Sandoval.

The classical readings include Faur?'s "Aprés Un Reve" and "Pavane," Ravel's "Pavane Pour une Infante Defunte" (with Chris Botti on second trumpet), and Astor Piazzolla's "Oblivion" (with Monica Mancini on vocals). All reveal the emotional depth of Sandoval's playing, not just his technical acumen. While his fiery jazz playing can emote, it is often overshadowed by his expertise. Here, it is softness and tenderness without sentimentality that speak to the listener. The standards such as "I Loves You Porgy," the shimmering swing in "Speak Low," and the deep romance in the Johnny Mandel-Johnny Mercer classic "Emily" seemingly come from the vocal jazz tradition.

Yet in them one can readily hear what Sandoval claims are his two greatest inspirations for this album: trumpeter Bobby Hackett's playing with the Jackie Gleason Orchestra, and the album Clifford Brown with Strings. The musical economy of those influences is reflected in the emotional weight and complex lyrical dimension carried in each note by Sandoval; the arrangements serve to heighten that revelation rather than overtake it. There are two very satisfying bonus tracks included as well, "The Windmills of Your Mind," a stellar duet with Berg, and Cole Porter's "Every Time We Say Goodbye," with Kenny Barron guesting on piano. It's tempting to call A Time for Love Sandoval's masterpiece, but that is based on the sharp contrast with virtually everything else in his catalog; only time will reveal whether or not it is. For now, what is certain is that it is one of them. ~ Thom Jurek

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1 	The Christmas Song 	
2 	I'll Be Home For Christmas 	
3 	Ave Maria 	
4 	Joy To The World 	
5 	O Come All Ye Faithful 	
6 	Have Yourself A Merry Little Christmas 	
7 	All I Want For Christmas Is You 	
8 	Frosty The Snowman 	
9 	Fantasy On Fum Fum Fum 	
10 	O Holy Night 	
11 	Silent Night 	
12 	Let It Shine

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1	A Gozar			
2	Guarachando			
3	Huracan del Caribe, El			play
4	21st Century			
5	Sexy Lady			
6	Peaceful See All 2			
7	Having Fun			
8	Arranca de Nuevo			
9	Rumba Palace			        play
10	Nouveau Cha Cha

Personnel: 
Arturo Sandoval (vocals, trumpet, bass trumpet, flugelhorn, bata); 
Arturo Sandoval; Armando Gola (bass instrument); 
Alexis "Pututi" Arce (bata); 
Cheito Quinones, Sr. (background vocals); 
Felipe Lamoglia (vocals, saxophone, tenor saxophone); 
Jason Carder (trumpet); 
Dante Luciani, Dana Teboe (trombone); 
Tony Perez (piano, keyboards); 
Tomás Cruz (bata, percussion).

There's something about Cuban music that makes you wonder, whenever you listen to it, why it is that you spend so much of your life doing things other than listening to it. And the same goes for the great Cuban trumpeter Arturo Sandoval -- whenever you hear him do something other than play Cuban music, you wonder why on Earth he's doing whatever that other thing is. On his latest album (named after a nightclub he owns in Miami), he gratefully spends most of his time focusing on what he and his band do best: huge horn arrangements, courtesy of Felipe Lamoglia, that not only amaze you with their complexity but also tickle your fancy with their melodic sweetness; richly multi-layered Cuban rhythms; call-and-response vocals; and an irrepressibly joyful ambience. Sandoval is equally impressive as a singer and a trumpeter, and the mix of vocal and instrumental numbers is one of the most enjoyable aspects of this fine album. Things only bog down when they start wearing their sophistication and complexity too heavily: "Having Fun" feels more abstract and musicianly than musical, and "21st Century" sounds like a tone poem trying too hard to evoke a mood rather than a piece of music enjoyable for its own sake. Overall, though, this album is a joy and a pleasure. ~ Rick Anderson

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