JEFF BECK — Wired (1976-2013) RM | Blu-spec CD2 | Serie Legacy Recordings | Two Version | FLAC (image+.tracks+.cue), lossless

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, "Led Boots," where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused "Come Dancing," which adds an unnamed horn section. While Walden's "Sophie" is overly long and marred by Hammer's arena rock clichés, his "Play With Me" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, "Love Is Green"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, "Head for Backstage Pass," finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's "Blue Wind" features an infectious riff over which Beck and Hammer trade heated salvos. As good as "Blue Wind" is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' "Goodbye Pork Pie Hat." Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form. Mark Kirschenmann
Tracklist :
1.        Led Boots 3:59
Written-By – Max Middleton
2.        Come Dancing 5:54
Written-By – Narada Michael Walden
3.        Goodbye Pork Pie Hat 5:26
Written-By – Charlie Mingus
4.        Head For Backstage Pass 2:41
Written-By – Andy Clark, Wilbur Bascomb
5.        Blue Wind = 蒼き風 5:49
Written-By – Jan Hammer
6.        Sophie 6:27
Written-By – Narada Michael Walden
7.        Play With Me 4:06
Written-By – Narada Michael Walden
8.        Love Is Green 2:28
Written-By – Narada Michael Walden
Credits :
Bass – Wilbur Bascomb
Clavinet [Clavinette], Electric Piano [Fender Rhodes] – Max Middleton
Drums – Ed Green, Richard Bailey
Guitar – Jeff Beck
Keyboards [Synthesizers], Drums – Jan Hammer
Piano, Drums – Narada Michael Walden

JIMMY GIUFFRE — The Jimmy Giuffre 3 (1957-2012) RM | MONO | Serie Jazz Best Collection 1000 – 3 | FLAC (tracks+.cue), lossless

Jimmy Guiffre 3 features the first version of Giuffre's 3. With guitarist Jim Hall and either Ralph Pena or Jim Atlas on bass, Giuffre is heard on clarinet, tenor, and baritone. The generally introverted music is wistful, has a fair amount of variety, and is melodic while still sounding advanced. In addition to the nine original songs (including the earliest recording of Giuffre's classic folk song "The Train and the River"). An excellent introduction to Jimmy Giuffre's unique music. Scott Yanow
Tracklist :
1.     Gotta Dance 2:29
Written-By – Jimmy Giuffre
2.     Two Kinds Of Blues 5:10
Written-By – Jimmy Giuffre
3.     The Song Is You 3:52
Written-By – Jerome Kern, Oscar Hammerstein
4.     Crazy She Calls Me 5:14
Written-By – Bob Russell, Carl Sigman
5.     Voodoo 2:48
Written-By – Jimmy Giuffre
6.     My All 4:09
Written-By – Bob Russell, Jimmy Giuffre
7.     That's The Way It Is 3:45
Written-By – Jimmy Giuffre
8.     Crawdad Suite   7:10
Written-By – Jimmy Giuffre
9.     The Train And The River 3:31
Written-By – Jimmy Giuffre
Credits :
Bass – Ralph Pena
Clarinet, Baritone Saxophone, Tenor Saxophone, Liner Notes – Jimmy Giuffre
Guitar – Jim Hall 

JERRY BERGONZI — Vertical Reality (1994) FLAC (tracks+.cue), lossless

Noted educator and saxophonist Jerry Bergonzi put together an all-star cast for Vertical Reality, sharing the frontline with guitarist Mike Stern. The title of the album may refer to the nature of Bergonzi's playing and arranging in general; his emphasis is on the vertical, harmonic nature of each tune rather than singable lines and enduring melodies. The presence of Stern (five tracks), as well as the strong supporting cast including Andy LaVerne (piano, four tracks), George Mraz (bass), and Billy Hart (drums), all truly make an impact on this recording. Bergonzi is far subtler and more effective in his approach here, creating accessible post-bop while leaving considerable improvisational space for each of the players. Vertical Reality is split between Bergonzi originals and standards principally arranged by LaVerne. Highlights include a hard-edged, Stern-dominated version of Bergonzi's "Jones" and swinging interpretations of "On Green Dolphin Street" and "Lover Man." This is a recommended Bergonzi release. Brian Bartolini
Tracklist  :
1.     Yesterdays  6:50
Written-By – Kern, Harbach
2.     Loud-Zee  6:03
Written-By – Bergonzi
3.     On Green Dolphin Street  6:06
Written-By – Kaper, Washington
4.     Jab  6:44
Written-By – Bergonzi
5.     Lover Man  7:47
Written-By – Davis, Sherman, Ramirez
6.     Jones  7:53
Written-By – Bergonzi
7.     Fall  7:28
Written-By – Shorter
8.     Windows  5:40
Written-By – Corea
Credits :
Bass – George Mraz
Drums – Billy Hart
Guitar – Mike Stern
Piano, Producer – Andy LaVerne
Saxophone – Jerry Bergonzi 

ANDERSON / STOLT — Invention of Knowledge (2016) Two Version | FLAC (image+.tracks+.cue), lossless

In 2014, former Yes vocalist Jon Anderson and Flower Kings/Transatlantic guitarist Roine Stolt began a musical dialogue initiated by Inside Out Music boss Thomas Waber. Invention of Knowledge is their result. Co-produced by the artists, it features a prog dream team: Stolt's brother Michael and Jonas Reingold on basses, keyboardists Lalle Larsson and Tom Brislin, drummer Felix Lehrmann, and a five-voice chorus that includes Daniel Gildenlöw. Waber wanted them to extend the range of "Yes music." That happens, but there's way more to it. Anderson can still create in the mold of his former band, but he also brings his solo experience that explored a vast range of musical traditions. Stolt was deeply influenced by Yes, but he's a rugged individualist. His composing, playing, and modern production ideas are informed by jazz, fusion, electronic, rock, and world musics. He refracts everything through a third-wave prog prism.
The set commences with the "Invention" suite (also comprising "We Are Truth" and "Knowledge"). It is realized through the combination of shimmering folk (English and Swedish), sophisticated pop, jazz fusion, Indian modalism, rockist dynamics, and symphonic strings. Challenging guitar, percussion, and keyboard interplay create a frame for Anderson's contrapuntal vocals. His mytho-poetic lyrics continue to juxtapose physical and metaphysical realms, deep psychology, scientific investigation, and spiritual affirmation. His wide-eyed optimism is undiminished by time (neither is his voice). Second suite "Knowing"/"Chase and Harmony" weaves gorgeous piano and guitar counterpoint into spiraling musical feats. Anderson's melodic invention anchors this engaging mix and encourages flight. Stolt's weave of modern electronic soundscapes, instrumental savvy, and stacked backing vocals adds new colors and textures such as fat R&B horns, stinging bluesy guitar fills, processional percussion, and rhythmic string syncopations. The "Everybody Heals" suite embodies the segments "Better by Far" and "Golden Light." While Stolt's mercurial guitar playing and Reingold's roiling bassline are the instrumental hallmarks throughout, the work's harmonic architecture was erected on a chamber string progression. The interlocking pieces are brightly orchestrated and lushly illustrated with keyboards and choral vocals. Anderson's expressive delivery moves through labyrinthine pop, trad-inspired folk-rock, and elegant jazz, and even touches on Brit soul.
The gorgeous 11-minute closer, "Know," is a stand-alone track. Despite its length and changes in musical direction, it's a beautifully written, nearly hummable song. Its structure employs electric piano, organ, and vibes in jazzy, samba-tinged frames during the first third. Single-line synths (think Rick Wakeman), knotty guitars, and majestic drums append the second and uncover its third-wave prog persona, before a final section carries it out on a breezy wave of Caribbean rhythms and tender singing. On an already emotionally and spiritually affirmative album, this resonant finale is nearly transcendent. Invention of Knowledge displays the individualism of both men. They pursue grandeur, but leave out excess. They add to the depth, dimension, and legacy Yes established, but also make plain that the result is forward-thinking 21st century prog, free of overwrought nostalgia or self-indulgence.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Invention Of Knowledge    
1.        Invention     9:41
2.        We Are Truth    6:41
3.        Knowledge    6:30
Knowing    
4.        Knowing    10:31
5.        Chase And Harmony    7:17
Everybody Heals    
6.        Everybody Heals    7:36
7.        Better By Far    2:03
8.        Golden Light    3:30
Know ...    
9.        Know ...    11:13
Credits :
Artwork – Silas Toball
Artwork [Assisted By] – Eva Toball
Backing Vocals – Anja Obermayer, Daniel Gildenlöw, Kristina Westas, Maria Rerych, Nad Sylvan
Bass, Backing Vocals – Jonas Reingold
Bass, Synthesizer [Moog Bass] – Michael Stolt
Drums – Felix Lehrmann
Electric Guitar, Acoustic Guitar [Acoustic Guitars], Dobro, Portuguese Guitar, Lap Steel Guitar [Lap Steel], Keyboards, Percussion, Backing Vocals – Roine Stolt
Grand Piano [Yamaha C 7 Grand Piano], Electric Piano [Fender Rhodes Piano], Electric Organ [Hammond B 3 Organ], Synthesizer [Synthesizers] – Tom Brislin
Grand Piano, Synthesizer – Lalle Larsson
Lead Vocals, Backing Vocals, Synth, Percussion, Co-producer [Co Produced By],  Lyrics By [All Lyrics By] – Jon Anderson  

ROVA SAXOPHONE QUARTET — Beat Kennel (1987) Two Version | APE + FLAC (image+.tracks+.cue), lossless

ROVA (Bruce Ackley on soprano, tenor saxophonist Larry Ochs, baritonist Jon Raskin and Andrew Voigt on alto and sopranino) perfectly balances advanced arranged sections with dynamic individual and group improvising on this consistently stimulating set. They perform two Raskin originals, a piece by Voigt, a group improvisation ("Sportspeak") and an early Anthony Braxton work. The results reward repeated listenings by open-minded avant-garde collectors. Scott Yanow
Tracklist :
1.     El Amor en los Tiempos de la Finca 7:50 
Andrew Voigt
2.     The Aggregate 10:05
Jon Raskin
3.     Sportspeak 5:07
Rova
4.     Composition 5:39
Anthony Braxton
5.     What Was Lost Regained 10:53
Jon Raskin
Credits :
Alto Saxophone – Andrew Voigt, Jon Raskin (tracks: 2)
Artwork, Design – Robin Winters
Baritone Saxophone – Jon Raskin
Sopranino Saxophone – Andrew Voigt (tracks: 5)
Soprano Saxophone – Bruce Ackley
Tenor Saxophone – Larry Ochs