STEVE KUHN TRIO — Life's Magic (1986) FLAC (tracks+.cue), lossless

 Steve Kuhn leads an all-star trio with bassist Ron Carter and drummer Al Foster in this compilation of 1986 performances recorded over several nights at the Village Vanguard. First issued on Black Hawk and subsequently re-released in 2012 with a new cover, this is one of the many highlights of the pianist's vast discography. Opening with a spry, playful take of "Little Old Lady," Kuhn follows with his loping, bluesy "Two by Two" and Fats Waller's lyrical "Jitterbug Waltz," the latter showcasing Carter's intricate bass and Foster's light touch with brushes. His brisk setting of "Yesterday's Gardenias" (a song recorded by Glenn Miller in the 1940s) takes it far from its roots, turning this ballad into an engaging post-bop vehicle. The pianist's "Mr. Calypso Kuhn" puts the spotlight on Foster, opening with an intense solo, followed by the addition of Carter and, finally, the leader. Kuhn's luxurious, spacious take of "Never Let Me Go" conveys the song's message even without its lyrics. The disc closes with an extended workout of "Softly, as in a Morning Sunrise" that leaves the entranced audience wanting more. Ken Dryden
Tracklist :
1    Little Old Lady 4:03
Written-By – Carmichael, Adams
2    Two By Two 7:40
Written-By – Kuhn
3    Jitterbug Waltz 10:00
Written-By – Waller
4    Ulla 0:35
Written-By – Kuhn
5    Trance 10:45
Written-By – Kuhn
6    Yesterday's Gardênias 5:56
Written-By – Robertson, Cogane, Mysels
7    Mr. Calypso Kuhn 6:01
Written-By – Kuhn
8    Never Let Me Go 4:41
Written-By – Evans/Livingston
9    Softly As In A Morning Sunrise 13:21
Written-By – Hammerstein, Romberg
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN — Porgy (1989-1998) FLAC (tracks+.cue), lossless

Tracklist :
1    Shoutin' Out    6:07
 Horace Silver
2    Just Squeeze Me    8:13
 Duke Ellington / Lee Gaines
3    Tadd's Delight    4:49
 Tadd Dameron
4    I Loves You Porgy    6:43
 George Gershwin / Ira Gershwin / DuBose Heyward
5    Isotope    3:49
 Joe Henderson / Laura Anne Taylor
6    Where Do You Go?    3:25
 Arnold Sundgaard / Alec Wilder
7    Ladies In Mercedes    4:48
 Steve Swallow
8    Repetition    4:53
 Neal Hefti
9    On Stage    5:13
 Rudolph Stevenson
10    Lullaby    4:25
 Steve Kuhn / Laura Anne Taylor
11    A House Is Not A Home    2:34
 Burt Bacharach / Hal David
Credits :
Double Bass – Buster Williams, Eddie Gomez
Drums – Al Foster
Piano – Steve Kuhn
Vocals – Laura Ann Taylor (tracks: 5, 10)

STEVE KUHN — The Vanguard Date (1991) Serie Owl Time Line | Two Version | FLAC & APE (image+.cue), lossless

The Vanguard Date features jazz pianist Steve Kuhn performing with his trio at New York's Village Vanguard in 1986. Joining Kuhn here are bassist Ron Carter and drummer Al Foster. Whether playing jazz standards, ballads, or the pianist's own atmospheric and harmonically interesting post-bop compositions, Kuhn and his trio sound superb. This is a highly recommended album for Kuhn fans. Matt Collar
Tracklist :
1    Clotilde 4:39
Composed By – Steve Kuhn
2    Superjet 7:30
Composed By – Tadd Dameron
3    Little Waltz 6:30
Composed By – Ron Carter
4    The Zoo 4:57
Composed By – Steve Kuhn
5    I Thought About You 7:13
Composed By – Jimmy Van Heusen
6    Music Prayer For Peace 11:38
Composed By – Phil Perry
7    Dance Only With Me 5:39
Composed By – Jule Styne
8    Lullaby 5:04
Composed By – Steve Kuhn
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN — Seasons of Romance (1999) FLAC (tracks+.cue), lossless

Steve Kuhn's sole session for the Postcards label feels like three separate dates. With tenorist Bob Mintzer and trumpeter Tom Harrell individually featured on three quartet tracks apiece, plus three trio selections with bassist George Mraz and drummer Al Foster, the chemistry is stimulating throughout the disc. Mintzer's brisk bop vehicle "Six Gun" explodes right from the start, while a lush treatment of Quincy Jones' "'The Pawnbroker" and Kuhn's magical samba "Clotilde" also merit praise. Harrell is added for the wistful ballad "Romance," making a late entrance following the leader's poignant opening solo. The trumpeter contributed the passionate"Visions of Gaudi" and also appears in Kuhn's upbeat "Looking Back." But Kuhn is best heard in the trio numbers, including a playful extended workout of the standard "There Is No Greater Love"; Steve Swallow's driving, intense "Remember"; and an emotional arrangement of "Good Morning, Heartache." This valuable CD unfortunately did not remain on the market for long, with the swift demise of the Postcards label after only a few years of existence. Ken Dryden
Tracklist :
1    Six Gun    4:57
 Bob Mintzer
2    Romance    4:10
 Dori Caymmi
3    Visions Of Gaudi    5:27
 Tom Harrell
4    There Is No Greater Love    9:12
 Isham Jones / Marty Symes
5    The Pawnbroker    5:57
 Quincy Jones / Jack Lawrence
6    Remember    6:03
 Steve Swallow
7    Clotilde    6:16
 Steve Kuhn
8    Good Morning, Heartache    5:33
 Ervin Drake / Dan Fisher / Irene Higginbotham
9    Looking Back    5:02
 Steve Kuhn
Credits :
Double Bass – George Mraz
Drums – Al Foster
Piano – Steve Kuhn
Tenor Saxophone – Bob Mintzer (tracks: 1, 5, 7)
Trumpet – Tom Harrell (tracks: 3, 6, 9)

STEVE KUHN TRIO — Quiereme Mucho (2001-2008) Serie Venus Millennium Campaign | FLAC (tracks+.cue), lossless

Veteran pianist Steve Kuhn and his trio (with bassist David Finck and drummer Al Foster) dig into six Spanish and Mexican melodies with Quiereme Mucho, turning them into straight-ahead jazz. Latin rhythms are largely absent from a set that includes "Andalucia" ("The Breeze and I"), an up-tempo "Besame Mucho" and "Time Was" ("Duerme"). The music in general is boppish and full of wit, with Kuhn often quoting other unexpected songs along the way. Finck and Foster have their brief spots but this is largely Steve Kuhn's show. The music may have been largely de-Latinized but the result is one of Kuhn's most swinging recordings. Scott Yanow
Tracklist :
1    Andalucia (The Breeze And I) 8:01
Written-By – E. Lecuona
2    Besame Mucho (Kiss Me Mucho) 8:06
Written-By – C. Velazques
3    Siempre En Mi Corazon (Always In My Heart) 6:49
Written-By – E. Lecuona
4    Duerme (Time Was) 5:41
Written-By – Prado
5    Quiereme Mucho (Yours) 4:56
Written-By – G. Roig
6    Tres Palabras (Without You) 9:45
Written-By – O. Farres
Credits :
Double Bass – Davis Finck
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN TRIO — Plays Standards (2007) FLAC (tracks+.cue), lossless

Veteran jazz pianist Steve Kuhn has proved to be a popular artist in Japan, recording a series of CDs for the Japanese label Venus. On these 2006 sessions, Kuhn is joined by bassist Buster Williams and drummer Al Foster, two artists who also have extensive résumés. While the CD is titled Plays Standards, Kuhn doesn't stick exclusively to well-known works. In addition to Victor Young's widely recognized "Beautiful Love" (a favorite of pianist Bill Evans), the pianist offers a seductive take of the composer's "Golden Earrings" and a lighthearted, breezy setting of "Love Letters" as well. Kuhn's intense workout of "Alone Together" includes an amusing detour into Thelonious Monk's "Locomotive," while his revamping of "Softly, as in a Morning Sunrise" disguises the tune rather well. Kuhn also revisits his original "Oceans in the Sky," a brilliant piece evocative of a coming storm. Highly recommended. Ken Dryden
Tracklist :
1    Alone Together 7:16
Written-By – A. Schwartz
2    Golden Earrings 5:31
Written-By – V. Young
3    I Wish I Knew 5:59
Written-By – H. Warren
4    Left Alone 4:07
Written-By – M. Waldron
5    Blue Bossa 5:28
Written-By – K. Dorham
6    Nature Boy 6:34
Written-By – E. Ahbez
7    Softly As In A Morning Sunrise 6:32
Written-By – S. Romberg
8    You Leave Me Breathless 5:20
Written-By – F. Hollander
9    Oceans In The Sky 6:18
Written-By – S. Kuhn
10    I See Your Face Before Me 5:28
Written-By – A. Schwartz
11    Love Letters 6:50
Written-By – V. Young
12    Beautiful Love 4:35
Written-By – E.V. Alstyne, V. Young, W. King
Credits :
Bass – Buster Williams
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN TRIO — Live at Birdland (2007) APE (image + .cue), lossless

Steve Kuhn has been recording professionally for close to five decades, most of which time he's operated stealthily, rarely achieving the level of recognition he so richly deserves for contributing his immaculate pianistry to a range of jazz greats who have included John Coltrane, Stan Getz, Ornette Coleman, Art Farmer and others, or for leading his own diverse bands. In the mid-'80s Kuhn worked briefly in a trio setting with bassist extraordinaire Ron Carter and drummer Al Foster, cutting a pair of releases, The Vanguard Date and Life's Magic. Two decades later, that trio reconvened at New York's Birdland, and this exquisite aural document of their performance serves as a reminder that, at close to 70, Kuhn is one of jazz piano's unheralded giants. He is as sharp, imaginative and dexterous as he was during his younger years, and with Carter and Foster he is at home -- the musicians reportedly didn't rehearse for these shows, yet they sound as if they'd been at one another's sides for the past 20 years. At Birdland, the trio revisited four compositions that appeared on the earlier albums: Kuhn's own "Clotilde" and "Two by Two," Carter's "Little Waltz" and the Fats Waller standard "Jitterbug Waltz," the latter deconstructed into an 11-minute tour de force that, like much of the music in the set, allows the three musicians to explore a number of tempos, moods and tones. Kuhn, Carter and Foster alternately strut individually and lock intuitively into an airtight groove that takes surprising and pleasing twists before returning to the initial theme. Whether on the opening track, Frank Loesser's "If I Were a Bell," the fusing of Debussy's "La Plus Que Lente" and Billy Strayhorn's "Passion Flower," or the closer, Charlie Parker's "Confirmation," Kuhn establishes a template with light and sensitively executed solo figures before opening things up for all to take off to places unknown. There's a fine balance of simplicity and complexity at work here, but perhaps because he no longer needs to prove anything at this stage in his career, Kuhn seems to have lightened up -- the experimentalism of his ECM period has given way to an approach that is, while still at times blindingly intense, simultaneously light and playful. It's not a bad place for a master to be. Jeff Tamarkin
Tracklist :
1    If I Were A Bell 10:08
Written-By – Frank Loesser
2    Jitterbug Waltz 11:05
Written-By – Thomas Waller
3    Two By Two 7:04
Written-By – Steve Kuhn
4    La Plus Que Lente / Passion Flower 7:11
Written-By – B. Strayhorn, C. Debussy
5    Little Waltz 7:24
Written-By – Ron Carter
6    Lotus Blossom 6:13
Written-By – Kenny Dorham
7    Stella By Starlight 8:13
Written-By – N. Washington, V. Young
8    Slow Hot Wind 7:16
Written-By – H. Mancini, N. Gimbel
9    Clotilde 6:19
Written-By – Steve Kuhn
10    Confirmation 7:09
Written-By – Charlie Parker
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

FRANK MORGAN ALLSTARS — Reflections (1988) FLAC (image+.cue), lossless

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended. Scott Yanow
Tracklist :
1    Old Bowl, New Grits 7:33
Composed By – Mulgrew Miller
2    Reflections 7:12
Composed By – Thelonious Monk
3    Starting Over 6:09
Composed By – Bobby Hutcherson
4    Black Narcissus 6:49
Composed By – Joe Henderson
5    Sonnymoon For Two 9:06
Composed By – Sonny Rollins
6    O.K. 6:11
Composed By – Ron Carter
7    Caravan 9:10
Composed By – Duke Ellington
Credits :
Acoustic Bass – Ron Carter
Alto Saxophone – Frank Morgan
Drums – Al Foster
Piano – Mulgrew Miller
Producer – Orrin Keepnews
Tenor Saxophone – Joe Henderson
Vibraphone – Bobby Hutcherson

BILL EVANS — The Alternative Man (1986) FLAC (tracks+.cue), lossless

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man -- an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon." Alex Henderson
Tracklist :
1    The Alternative Man 5:45
Bass Guitar – Mark Egan
Drums – Danny Gottlieb
Electric Guitar – Jeff Golub
Keyboards – Mitchel Forman
2    The Path Of Least Resistance 4:37
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards – Clifford Carter
Percussion – Manolo Badrena
Vocals, Composed By – Clifford Carter
3    Let The Juice Loose 5:40
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Hiram Bullock
Percussion – Manolo Badrena
Trumpet – Lew Soloff
4    Gardiners Garden 4:30
Bass – Mark Egan
Electric Guitar, Composed By – Chuck Loeb
Percussion – Danny Gottlieb
5    Survival Of The Fittest 3:25
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena
6    Jojo 6:21
Composed By – Rich Meitin
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards, Composed By – Clifford Carter
Percussion – Manolo Badrena
7    The Cry In Her Eyes 5:41
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Dave Hart, Hiram Bullock
8    Miles Away 5:24
Bass Guitar – Marcus Miller
Drums – Al Foster
9    Flight Of The Falcon 7:23
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena

RED GARLAND — Feelin' Red (1978-1998) FLAC (image+.cue), lossless

Producer/jazz scholar Joel Dorn continues to raid the endlessly fertile Muse Records archives for his 32 Jazz reissue series. Reaching into the well and coming up with Feelin' Red is a victory not just for Dorn, but any piano jazz enthusiast. In his youth, Garland was a professional boxer, and his pugilistic sensibilities are audible in the rough-and-tumble way he approaches the keyboard. That's not to say he lacks delicacy or subtlety -- his touch and tone on "You Better Go Now" are as poignant as all get out. But his relentlessly swinging feel on "It's All Right with Me," and his forceful attack on "Cherokee" make it plain that Garland is incapable of giving less than his all. Captured in flight with his late-'70s working trio of Sam Jones and Al Foster, Garland lays down a bevy of authoritative runs over a propulsive rhythm section. Solid but searching and undeniably soulful, Feelin' Red is Garland in top form. Rovi Staff   Tracklist & Credits :

GARY BARTZ - Reflections of Monk (1989) FLAC (tracks+.cue), lossless

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended gem. Scott Yanow
Tracklist :
1     Thelonious 0'55
Thelonious Monk
2     Brilliant Corners 4'56
Thelonious Monk
3     The Pennywhistle Call/Reflections 10'05
Gary Bartz / Thelonious Monk
4     Played Twice 6'27
Thelonious Monk
5     Crepescule With Nellie 4'40
Thelonious Monk
6     Hackensack 8'16
Thelonious Monk
7     Let's Cool One 8'15
Thelonious Monk
8    Monk's Mood 9'58
Thelonious Monk   
9     Epistrophy 8'37
Kenny Clarke / Thelonious Monk
Credits :
Alto Saxophone, Soprano Saxophone – Gary Bartz
Bass – Geoff Harper
Drum – Billy Hart
Piano – Bob Butta
Trumpet – Eddie Henderson
Vocals – Jenelle Fisher (pistas: 8), Mekea Keith (pistas: 3.2)  

GARY BARTZ QUINTET - West 42nd Street (1990) FLAC (tracks+.cue), lossless

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended gem. Scott Yanow
Tracklist :
1     West 42nd Street 8:51
Wilbur Harden    
2     Speak Low 19:10
Ogden Nash / Kurt Weill    
3     It's Easy to Remember 11:45
Lorenz Hart / Richard Rodgers    
4     Cousins 10:02
Gary Bartz    
5     The Night Has a Thousand Eyes 18:56     
Marilyn Garrett / Dorothy Wayne / Ben Weisman
Credits :
Bass – Ray Drummond
Drums – Al Foster
Flugelhorn, Trumpet – Claudio Roditi
Piano – John Hicks
Saxophone [Alto, Soprano] – Gary Bartz

JIMMY HEATH - New Picture (1985) FLAC (tracks), lossless

Ten years after his most recent set as a leader, Jimmy Heath (heard here on tenor and soprano) finally had another opportunity to lead an album of his own. This date, reissued on CD, finds Heath playing in a largely unchanged style from his earlier days, although some of his freer flights hint slightly at the avant-garde. With strong support given by pianist Tommy Flanagan, guitarist Tony Purrone (an alumnus of the Heath Brothers), bassist Rufus Reid and drummer Al Foster, Heath performs four originals, "Lush Life," and Charlie Parker's "Dewey Square," and "Sophisticated Lady." Three numbers add two French horns, a trombone and a tuba to the ensembles for color; Heath provided the arrangements. A tasteful and swinging effort. Scott Yanow
Tracklist :
1     New Picture 5'00
Jimmy Heath
2     Lush Life 8'06
Billy Strayhorn
3     Changes 5'59
Jimmy Heath
4     Keep Love Alive 5'21
Jimmy Heath
5     Dewey Square 4'05
Charlie Parker
6     Sophisticated Lady 6'44
Duke Ellington / Irving Mills / Mitchell Parish
7     Togetherness 5'10
Jimmy Heath
Credits :
Bass – Rufus Reid
Drums – Al Foster
Electric Piano [Rhodes] – Tommy Flanagan (pistas: 3, 4)
French Horn – Bob Routch (pistas: 2, 4, 6), John Clark (pistas: 2, 4, 6)
Guitar – Tony Purrone
Piano [Acoustic] – Tommy Flanagan (pistas: 1, 2, 6, 7 , 8)
Producer – Jimmy Heath, Orrin Keepnews
Recorded By, Engineer [Remix] – Rudy Van Gelder
Soprano Saxophone – Jimmy Heath (pistas: 4 to 7)
Tenor Saxophone – Jimmy Heath (pistas: 1 to 3, 5)
Trombone – Benny Powell (pistas: 2, 4, 6)
Tuba – Howard Johnson (pistas: 2, 4, 6)

THE BLUE MITCHELL QUINTET - Down with It! (1965-2005) RM | RVG Edition | FLAC (image+.cue), lossless

Down With It is a fairly standard bop and soul-jazz session from Blue Mitchell. Leading a quintet that features a young Chick Corea on piano, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Al Foster, Mitchell creates a laid-back atmosphere which makes R&B covers like "Hi-Heel Sneakers" or the lite bossa nova of "Samba De Stacy" roll along nicely. Just as often, the record is so relaxed that it fails to generate much spark, but each the soloists have fine moments that makes the session worthwhile for jazz purists. Stephen Thomas Erlewine
Tracklist :
1     Hi-Heel Sneakers 8:25
Robert Higginbotham   
2     Perception 5:42
Chick Corea / Blue Mitchell
3     Alone, Alone, And Alone 7:45
Terumasa Hino
4     March on Selma 6:16
Blue Mitchell
5     One Shirt 7:30
William Boone
6     Samba de Stacy 6:00
William Boone
Credits :
Bass – Gene Taylor
Drums – Al Foster
Piano – Chick Corea
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Junior Cook
Trumpet – Blue Mitchell

PAQUITO D'RIVERA - Who's Smoking?! (1991) FLAC (tracks+.cue), lossless

The answer to this CD's title is the musicians. The heated bebop-oriented session finds Paquito D'Rivera joined by trumpeter Claudio Roditi, flügelhornist Mark Morganelli, Danilo Perez or Pedrito Lopez on piano, bassist Harvie Swartz, and drummer Al Foster. An extra treat is that veteran tenorman James Moody guests on three of the nine selections, inspiring D'Rivera to be particularly heated. Highlights include exciting versions of "Giant Steps" and "I Mean You," a clarinet-bass duet on "Out of Nowhere," Perez's "You Got It, Diz," and the blazing title cut. Highly recommended. by Scott Yanow
Tracklist :
1     Who's Smoking?! 8:02
Paquito D'Rivera / Claudio Roditi
2     Giant Steps 7:13
John Coltrane
3     Irremediablemente Solo (Incurably Alone) 8:04
Avelino Muñoz
4     Linda's Moody 4:48
Claudio Roditi
5     Desert Storm 8:41
Paquito D'Rivera
6     Nuestro Bolero 4:58
Pedrito Lopez
7     I Mean You 5:46
Coleman Hawkins / Thelonious Monk
8     You Got It, Diz! 6:35
Danilo Pérez
9     Out of Nowhere 5:27
Johnny Green / Edward Heyman
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet – Paquito D'Rivera
Bass – Harvie Swartz
Drums – Al Foster
Flugelhorn – Mark Morganelli
Piano – Danilo Perez, Pedrito López
Tenor Saxophone – James Moody
Trumpet, Flugelhorn – Claudio Roditi 

MILES DAVIS - In Concert : Live at Philharmonic Hall (1973-1997) 2CD / RM / FLAC (tracks+.cue), lossless

Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. Actually, in terms of repertoire, the material from Get Up With It, Big Fun, and A Tribute to Jack Johnson each takes up a greater percentage of space, but the hard-driving rhythms and plentiful effects make it clear which of Davis' fusion aesthetics applied. In Concert begins to move Davis' live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space. Instead, Davis presides over a pulsating mound of rhythm, expanding his percussion section and using traditional lead instruments more to create texture -- including his own horn, which he feeds through a wah-wah pedal and other amplification effects. Drummer Al Foster, tabla player Badal Roy, and percussionist Mtume are the centers of the recording, and electric sitar player Khalil Balakrishna adds an exotic dimension to the already tripped-out sonic stew. And "stew" isn't too far off -- the individual voices and elements in the music tend to get mixed and muddled together, which may be frustrating for some jazz fans not used to listening for the thick layers of texture in the soundscapes or the furious energy in the grooves. There are few melodies to latch onto, save for a theme from On the Corner that Davis frequently uses during the first disc to signal transitions. But melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis' electric jazz-rock albums, In Concert does one of the most mind-bending jobs of living up to those ideals. by Steve Huey  
Tracklist 1:

1 Rated X 12:16

2 Honky Tonk 9:18

3 Theme From Jack Johnson 10:12

4 Black Satin / The Theme 14:15

Tracklist 2:

1 Ife 27:54

2 Right Off / The Theme 10:31

Credits:

Bass – Michael Henderson

Drums – Al Foster

Electric Piano, Synthesizer – Cedric Lawson

Guitar – Reggie Lucas

Percussion – James Mtume

Sitar [Electric] – Khalil Balakrishna

Soprano Saxophone, Tenor Saxophone – Carlos Garnett

Tabla – Badal Roy

Trumpet, Composed By – Miles Davis

MILES DAVIS - Get Up with It (1974-1996) 2CD / RM / FLAC (tracks+.cue), lossless

When Get Up with It was released in 1974, critics -- let alone fans -- had a tough time with it. The package was a -- by then customary -- double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. The music felt, as was customary then, woven together from other sources by Miles and producer Teo Macero. However, these eight selections point in the direction of Miles saying goodbye, as he did for six years after this disc. This was a summation of all that jazz had been to Davis in the '70s and he was leaving it in yet another place altogether; check the opening track, "He Loved Him Madly," with its gorgeous shimmering organ vamp (not even credited to Miles) and its elaborate, decidedly slow, ambient unfolding -- yet with pronounced Ellingtonian lyricism -- over 33 minutes. Given three guitar players, flute, trumpet, bass, drums, and percussion, its restraint is remarkable. When Miles engages the organ formally as he does on the funky groove that moves through "Maiysha," with a shimmering grace that colors the proceedings impressionistically through Lucas, Cosey and guitarist Dominique Gaumont, it's positively shattering. This is Miles as he hadn't been heard since In a Silent Way, and definitely points the way to records like Tutu, The Man with the Horn, and even Decoy when he re-emerged.
That's not to say the harder edges are absent: far from it. There's the off-world Latin funk of "Calypso Frelimo" from 1973, with John Stubblefield, Liebman, Cosey, and Lucas turning the rhythm section inside out as Miles sticks sharp knives of angular riffs and bleats into the middle of the mix, almost like a guitarist. Davis also moves the groove here with an organ and an electric piano to cover all the textural shapes. There's even a rather straight -- for Miles -- blues jam in "Red China Blues" from 1972, featuring Wally Chambers on harmonica and Cornell Dupree on guitar with a full brass arrangement. The set closes with another 1972 session, the endearing "Billy Preston," another of Davis' polyrhythmic funk exercises where the drummers and percussionists -- Al Foster, Badal Roy, and Mtume -- are up front with the trumpet, sax (Carlos Garrett), and keyboards (Cedric Lawson), while the strings -- Lucas, Henderson, and electric sitarist Khalil Balakrishna -- are shimmering, cooking, and painting the groove in the back. Billy Preston, the organist who the tune is named after, is nowhere present and neither is his instrument. It choogles along, shifting rhythms and meters while Miles tries like hell to slip another kind of groove through the band's armor, but it doesn't happen. The track fades, and then there is silence, a deafening silence that would not be filled until Miles' return six years later. This may be the most "commercial" sounding of all of Miles' electric records from the '70s, but it still sounds out there, alien, and futuristic in all the best ways, and Get Up with It is perhaps just coming into its own here in the 21st century. by Thom Jurek  
Tracklist 1:
1 He Loved Him Madly 32:21
Flute – David Liebman
Guitar – Dominique Gaumont
2 Maiysha 14:57
Flute – Sonny Fortune
Guitar – Dominique Gaumont
1-3 Honky Tonk 5:58
Drums – William Cobham
Guitar – John McLaughlin
Keyboards – Herbie Hancock, Keith Jarrett
Percussion – Airto Moreira
Saxophone – Steve Grossman
1-4 Rated X 6:53
Keyboards – Cedric Lawson
Percussion – Badal Roy
Sitar – Khalil Balakrishna
Tracklist 2:
1 Calypso Frelimo 32:13
Flute – David Liebman
Saxophone – John Stubblefield
2 Red China Blues 4:12
Arranged By [Brass] – Wade Marcus
Drums – Bernard Purdie
Guitar – Cornell Dupree
Harmonica – Wally Chambers
Producer, Arranged By [Rhythm] – Billy Jackson
3 Mtume 15:13
Saxophone, Flute – Sonny Fortune
4 Billy Preston 12:36
Organ – Cedric Lawson
Piano – Miles Davis
Saxophone – Carlos Garnett
Sitar – Khalil Balakrishna
Tabla – Badal Roy
Credits:
Drums – Al Foster (tracks: 1-1, 1-2, 1-4 to 2-4)
Electric Bass – Michael Henderson
Guitar – Pete Cosey (tracks: 1-1, 1-2, 2-1, 2-3), Reggie Lucas (tracks: 1-1, 1-2, 1-4, 2-1, 2-4)
Percussion – James Mtume (tracks: 1-1, 1-2, 1-4 to 2-4)
Trumpet, Organ, Written-By – Miles Davis

MILES DAVIS – Agharta (1975-2006) 2CD | RM | Serie The Original Jacket Collection | FLAC (tracks+.cue), lossless

Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis -- saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume -- was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour. There is "Maiysha" from Get up With It and the Agharta "Interlude," which segues into the "Theme From Jack Johnson." The music here is almost totally devoid of melody and harmony, and is steeped into a steamy amalgam of riffs shot through and through with crossing polyrhythms, creating a deep voodoo funk groove for the soloists to inhabit for long periods of time as they solo and interact with one another. Davis' band leading at this time was never more exacting or free. The sense of dynamics created by the stop-start accents and the moods, textures, and colors brought out by this particular interaction of musicians is unparalleled in Davis' live work -- yeah, that includes the Coltrane and Bill Evans bands, but they're like apples and oranges anyway. Driven by the combination of Davis' direction and the soloing of Sonny Fortune and guitarist Pete Cosey, who is as undervalued and underappreciated for his incalculable guitar-slinging gifts as Jimi Hendrix is celebrated for his, and the percussion mania of Mtume, the performance on Agharta is literally almost too much of a good thing to bear. When Cosey starts his solo in the "Prelude" at the 12-minute mark, listeners cannot be prepared for the Hendrixian energy and pure electric whammy-bar weirdness that's about to come splintering out of the speakers. As the band reacts in intensity, the entire proceeding threatens to short out the stereo. These are some of the most screaming notes ever recorded. Luckily, since this is just the first track on the whole package, Davis can bring the tempos down a bit here and there and snake them into spots that I don't think even he anticipated before that afternoon (check the middle of "Maiysha" and the second third of "Jack Johnson" for some truly creepy and beautiful wonders). While Pangaea is awesome as well, there is simply nothing like Agharta in the canon of recorded music. This is the greatest electric funk-rock jazz record ever made -- period. Thom Jurek  
Tracklist 1:
1 Prelude 32:29
2 Maiysha 12:20
Tracklist 2:
2-1 Interlude / Theme From Jack Johnson 51:36
Credits:

Bass [Fender] – Michael Henderson

Congas [Conga], Percussion, Drum [Water Drum], Drum Machine [Rhythm Box] – Mtume
Drums – Al Foster
Guitar – Reggie Lucas
Guitar, Synthesizer, Percussion – Pete Cosey
Soprano Saxophone, Alto Saxophone, Flute – Sonny Fortune
Trumpet, Organ – Miles Davis
Written-By – Miles Davis

MILES DAVIS – Pangaea (1975-2001) RM | Serie Master Sound | 2xCD | FLAC (tracks+.cue), lossless

This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk -- and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the

pursuit of the all-powerful Miles Davis' inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot -- Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist 1 :
1 Zimbabwe 41:38
Tracklist 2 :
1 Gondwana 49:42
Credits :
Bass [Fender] – Michael Henderson
Congas, Percussion, Drums [Water Drums], Drum Machine [Rhythm Box] – Mtume
Drums – Al Foster
Guitar – Reggie Lucas
Guitar, Synthesizer, Percussion – Pete Cosey
Soprano Saxophone, Alto Saxophone, Flute – Sonny Fortune
Trumpet, Organ – Miles Davis

MILES DAVIS - Dark Magus (1977-1997) 2CD / RM / FLAC (tracks+.cue), lossless

Dark Magus is a live recording of a very specific 1974 Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. While drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, and guitarists Pete Cosey and Reggie Lucas were all present, the key element of Sonny Fortune was not yet in the band. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont, with his Jimi Hendrix-styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour. Featuring four titles, all of them Swahili names for the numbers one through four, Dark Magus is a jam record. By this point, Miles was no longer really rehearsing his bands; they showed up and caught a whiff of what he wanted and went with it. Rhythms, colors, keys -- all of them would shift and change at Davis' whim. There were no melodies outside of a three-note vamp on "Wili" and a few riff-oriented melodics on "Tatu" -- the rest is all deep rhythm-based funk and dark groove. Greasy, mysterious, and full of menacing energy, Dark Magus shows a band at the end of its rope, desperate to change because the story has torn itself out of the book, but not knowing where to go and turning in on itself instead. These dynamics have the feel of unresolved, boiling tension. Gaumont's effects-laden guitar playing overshadows the real guitarists in the band: Cosey and his partner, the rhythmically inventive Lucas. Gaumont doesn't fit naturally, so he tries to dazzle his way in -- check the way Miles cuts his solos off so abruptly while letting the others dovetail and segue. Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history, but the front lines, while captivating, are too loose and uneven to sustain the listener for the entire ride. by Thom Jurek  
Tracklist 1:
1 Moja (Part 1) 12:28
2 Moja (Part 2) 12:40
3 Wili (Part 1) 14:20
4 Wili (Part 2) 10:44
Tracklist 2:
1 Tatu (Part 1) 18:47
2 Tatu (Part 2) ("Calypso Frelimo") 6:29
3 Nne (Part 1) ("Ife") 15:19
4 Nne (Part 2) 10:11
Credits:
Drums – Al Foster
Electric Bass – Michael Henderson
Guitar – Dominique Gaumont, Pete Cosey, Reggie Lucas
Percussion – Mtume
Tenor Saxophone – Azar Lawrence
Tenor Saxophone, Soprano Saxophone, Flute – Dave Liebman
Trumpet, Organ, Written-By – Miles Davis