1.  Amor Em Paz (Antonio Carlos Jobim/Vinicius De Moraes) 2:36
2.  Desafinado (Antonio Carlos Jobim/Newton Mendonca) 1:58
3.  Bolinha De Papel (Geraldo Pereira) 1:15
4.  Insensatez (Antonio Carlos Jobim) 3:05
5.  Maria Ninguem (Carlos Lyra) 2:20
6.  O Barquinho (Roberto Menescal/Ronaldo Boscoli) 2:27
7.  Samba Da Minha Terra (Dorival Cyammi) 2:20
8.  Rosa Morena (Dorival Cyammi) 2:02
9.  Consolacao (Baden Powell) 4:26
10.  One Note Samba (Antonio Carlos Jobim/Newton Mendonca) 3:20
11.  Bim Bom (Joao Gilberto) 1:12
12.  Deve Ser Amor (Baden Powell/Vinicius de Moraes) 4:19

Herbie Mann (Flute and Alto Flute)
Joao Gilberto (Guitar and Vocals)
Antonio Carlos Jobim (Arranged, Piano and Vocals)
Baden Powell (Guitar) – 12

Nice, more light than emphatic Afro-Latin and jazz mixture by flutist Herbie Mann and composer/vocalist Joao Gilberto. The two make an effective team, with Gilberto's sometimes sentimental, sometimes impressionistic works effectively supported by Mann's lithe flute solos. --- Ron Wynn, Rovi

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1. Fascinating Rhythm (Gershwin, Gershwin) - 3:49
2. Why Do I Love You? (Hammerstein, Kern) - 3:49
3. It's Only Sunshine (Puma) - 2:42		play
4. Love Letters (Heyman, Young) - 2:11		play
5. Let's Get Away from It All (Adair, Dennis) - 3:22
6. Flying Home (Goodman, Hampton, Robin) - 3:21
7. I'll Remember April (DePaul, Johnston, Raye) - 4:59
8. Empathy (Most) - 3:19
9. It Might as Well Be Spring (Hammerstein, Rodgers) - 3:13
10. Just One of Those Things (Porter) - 3:56
11. Seven Comes Eleven (Goodman) - 4:54

Personnel:
Jim Gannon - Bass
Guitar Joe - Guitar
Lee Kleinman - Drums
Herbie Mann - Fiddle, Flute
Sam Most - Fiddle, Flute
Joe Puma – Guitar

This early Herbie Mann set matches him with his fellow flutist, Sam Most. (Originally, this date was known as The Mann with the Most.) Recorded back during Mann's bebop period, the set teams the two flutists with guitarist Joe Puma, bassist Jimmy Gannon, and drummer Lee Kleinman. The quintet performs nine standards plus an original apiece from Most and Puma. Highlights include "Fascinating Rhythm," "Let's Get Away from It All," and "Seven Come Eleven." Most was actually the better known of the two flutists at the time but, while he ended up in the Los Angeles studios, Mann's constant musical curiosity would result in him gaining worldwide fame. Their enjoyable music finds the flutists battling it out to a draw. ---Scott Yanow, allmusic.com

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1 Nirvana 5:50
2 Gymnopedie 3:19			play
3 I Love You 7:13
4 Willow Weep for Me 5:33
5 Lover Man 4:51
6 Cashmere 

Personnel:
Bill Evans - piano
Herbie Mann - flute
Chuck Israels - bass
Paul Motian – drums

It is surprising that this obscure session featuring Herbie Mann with the Bill Evans Trio (making its first recordings following the sudden death of bassist Scott LaFaro just a short time after the trio's landmark gig at the Village Vanguard) only reappeared on LP during the initial wave of CD reissues during the 1980s, but it is available once again nearly 40 years after it was completed. Mann, who has changed his style numerous times throughout his long career, is heard exclusively in a straight-ahead and bop context on this pair of studio dates.

Evans, who studied flute through his college years, rarely recorded with a flutist (Jeremy Steig joined him on a later record for Verve), though he was fond of the instrument; the capable Chuck Israels on bass and drummer Paul Motian round out the trio. The low-key "Willow Weep for Me" and impressionist composer Erik Satie's Gymnopedie bring out the lyricism of Mann's playing, though the trio's backing is very understated. Things open up a bit with a sparkling take of Cole Porter's "I Love You." Mann's two originals, "Nirvana" and "Cashmere," aren't quite as memorable; substituting one of Evans' compositions for either of them might have provided some additional spark. Fans of either Herbie Mann or Bill Evans will want to acquire this enjoyable CD. --- Ken Dryden, allmusic.com

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1.Chicken Little (3:00)
2.Cuban Love Song (3:16)
3.The Things We Did Last Summer (4:10)
4.Deep Night (3:40)
5.Between The Devil And The Deep Blue Sea (4:00)
6.After Work (4:00)
7.Moon Dreams (3:30)
8.A Spring Morning (2:39)
9.Scuffles (2:58)
10.The Purple Grotto (2:37)
11.My Little Suede Shoes (2:37)
12.A Spring Morning (alt.take) (2:40)
13.The Purple Grotto (alt.take) (2:45)
14.Chicken Little (alt.take) (3:11)

Herbie Mann - flute,alto flute
Benny Weeks or Joe Puma - guitar
Keith Hodgson or Whitey Mitchell - bass
Lee Rockey or Herbie Wasserman - drums

Flutist Herbie Mann's first recording as a leader (seven selections from 1954 originally on a 10" LP plus four others cut in 1956) has been reissued on CD with three alternate takes added on. Even back in 1954, Mann (who doubles here on flute and alto flute) had his own sound. The music (featuring either Benny Weeks or Joe Puma on guitar in a piano-less quartet) is essentially straight-ahead bop and finds Mann playing quite melodically and with swing. This set is a good example of Herbie Mann's early style before he started exploring various types of world musics. ---Scott Yanow, Rovi

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1.  No Matter What Shape (Granville Burland) 3:25
2.  More Rice Than Peas, Please (Herbie Mann) 3:30
3.  Hey Ho (Herbie Hancock) 2:45
4.  The Honeydripper (Joe Liggins) 2:45
5.  The Beat Goes On (Sonny Bono) 2:50
6.  Swingin´ Shepherd Blues (Kenny Jacobson/Moe Koffman/Rhoda Roberts) 3:05
7.  West African High Life (Herbie Mann) 2:40
8.  Dream Garden (Dave Pike) 4:37
9.  Soul Montuno (Rene Hernandez) 2:58
10.  Is Paris Burning? (Maurice Jarre) 2:37

Herbie Mann (Flute)
Reggie Workman (Bass) - 1-7,9,10
Carlos "Patato" Valdes (Congas) - 1-7,9,10
Bruno Carr (Drums) - 1-7,9,10
Jimmy Wisner (Piano) - 1-7,9,10
Roy Ayers (Vibraphone) - 1-7,9,10
Jack Six (Bass) - 8
Bobby Thomas (Drums) - 8
Attila Zoller (Guitar) - 8
Don Friedman (Piano) - 8
King Curtis (Tenor Saxophone) - 4
Clark Terry (Trumpet) – 7

Herbie Mann was quite unpredictable in the 1960s -- from one album to the next, you never knew if he would embrace hard bop, bossa nova, Latin jazz, soul-jazz, or whatever else he was in the mood for. He could be commercial one minute, esoteric and experimental the next. One of Mann's more commercial LPs from that period, The Beat Goes On, is a generally funky, groove-oriented soul-jazz effort with strong Latin leanings. Much of the material brings to mind Pucho and the Latin Soul Brothers, and comparisons to Pucho are unavoidable on cuts that range from Mann's "More Rice Than Peas, Please" to a version of Sonny & Cher's "The Beat Goes On" and a Latin boogaloo interpretation of Joe Liggins' "The Honeydripper" (which features King Curtis on tenor sax). Afro-Cuban rhythms are a high priority, although Mann gets into more of a bossa nova groove on vibist Dave Pike's "Dream Garden." Jazz purists hated this release, but let them say what they will -- this LP is full of highly infectious grooves and makes a great party album. Regrettably, The Beat Goes On has long been out of print -- so if you're a lover of Latin-flavored soul-jazz and come across a copy somewhere, grab it immediately. --- Alex Henderson, Rovi

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