ANDREW HILL — Grass Roots (1968-2014) RM | SHM-CD | Serie Blue Note Masterworks | FLAC (tracks+.cue), lossless

As the '60s drew to a close, Blue Note spent less time than ever with adventurous music, since it didn't sell as well as soul-jazz or mainstream hard bop. So, it may seem a little strange that the label invited Andrew Hill back to record in 1968, two years after he last cut a session for the label. Hill's work for the label stands among the most challenging cerebral post-bop of the '60s, but there was another side of Hill that wasn't showcased on those records: He also had a knack for groove and melody, as indicated by his composition "The Rumproller," a hard-grooving hard-bop classic made famous by trumpeter Lee Morgan. That was the side that Blue Note wanted to showcase on Grass Roots. Hill and his band were working from the basic template of making a commercial hard-bop album, but nevertheless pushed themselves to challenging territory. Blue Note sat on the session however, and Hill went back to the studio four months later with a new group of musicians: trumpeter Lee Morgan, tenor saxophonist Booker Ervin, bassist Ron Carter, and drummer Freddie Waits. This group was every bit as adventurous as the last, but they laid down a solid groove without compromising the music. The end result may not be as bracing as Hill's earlier works, but it's a pleasure to hear him in such a genial, welcoming mood. Furthermore, the record is hardly insubstantial musically -- the songs have strong melodies, even hooks, to bring casual listeners in, but they give the musicians the freedom to find a distinctive voice in their solos. It's the best of both worlds, actually -- accessible, just like Blue Note wanted, without compromising Hill's integrity. [Blue Note's 2000 CD reissue contains the entire first draft of the album as a bonus.] Stephen Thomas Erlewine
Tracklist :
1. Grass Roots 5:41
 Andrew Hill
2. Venture Inward 4:46
 Andrew Hill
3. Mira 6:20
 Andrew Hill
4. Soul Special 8:22
 Andrew Hill
5. Bayou Red 7:45
 Andrew Hill
- Bonus Tracks -
6. MC 9:11
 Andrew Hill
7. Venture Inward 4:34
 Andrew Hill
8. Soul Special 8:51
 Andrew Hill
9. Bayou Red 5:59
 Andrew Hill
Credits:
Bass – Reggie Workman (tracks: 6 to 10), Ron Carter (tracks: 1 to 5)
Drums – Freddie Waits (tracks: 1 to 5), Idris Muhammad (tracks: 6 to 10)
Guitar – Jimmy Ponder (tracks: 6, 8, 9)
Piano, Composed By – Andrew Hill
Recorded By – Rudy Van Gelder
Tenor Saxophone – Booker Ervin (tracks: 1 to 5), Frank Mitchell (tracks: 6 to 10)
Trumpet – Lee Morgan (tracks: 1 to 5), Woody Shaw (tracks: 6 to 10) 

ANDREW HILL — Black Fire (1964) Two Version | 1994, The BN Works 4100 Series + 2004, RM | BONUS TRACK | RVG Edition | FLAC (image+tracks.cue), lossless

Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise, along with the nimble, unpredictable rhythm section, help make Black Fire a modern jazz classic. Stephen Thomas Erlewine
Tracklist :
1 Pumpkin 5:24
Andrew Hill  
2 Subterfuge 8:04
Andrew Hill  
3 Black Fire 6:56
Andrew Hill  
4 Cantarnos 5:42
Andrew Hill  
5 Tired Trade 5:51
Andrew Hill  
6 McNeil Island 2:58
Andrew Hill  
7 Land of Nod 5:48
Andrew Hill  
– BONUS TRACKS –
8 Pumpkin 5:17
(Alternate Take)
9 Black Fire 5:47
(Alternate Take)
Credits :
Bass – Richard Davis
Drums – Roy Haynes
Piano – Andrew Hill
Tenor Saxophone – Joe Henderson

ANTHONY BRAXTON - Nine Compositions (Hill) 2000 (2001) FLAC (tracks+.cue), lossless

This 2001 release represents the second and final segment in a set of multi-reedman/composer Anthony Braxton's interpretations of the music of pianist/composer Andrew Hill. On this outing, the estimable artist surges forward with mainstream-like accessibility, especially when viewing his rather massive recorded legacy as a whole. Here, Braxton eschews his avant-garde tendencies, although the quintet occasionally delves into the free jazz scheme of things. The quintet pays dutiful homage to a portion of Hill's works via a series of moderate swing vamps and jazz waltz-style passages. Alto saxophonist Steve Lehman chips in on several tracks, while trumpeter Paul Smoker and guitarist Kevin O'Neil receive generous soloing opportunities. However, it's Braxton's fluttering attack and upbeat ruminations that propel the band into a surfeit of variegated excursions, as the soloists jab and spar or render their wares in sequential fashion. Ultimately, the musicians are most effective at reworking and, in some instances, decoding Hill's melodies with multidimensional frameworks and in-the-pocket grooves. Recommended. Glenn Astarita  
Tracklist :
1    New Monastery    5:52
2    Pinnacle    8:49
3    Dedication    4:34
4    Euterpe    7:28
5    Tail Feather    4:43
6    Calliope    7:31
7    Pax    5:24
8    Symmetry    9:22
9    Refuge    6:55
Credits :
Alto Saxophone – Steve Lehman (pistas: 1 to 3, 5, 8, 9)
Alto Saxophone, Soprano Saxophone – Anthony Braxton
Composed By – Andrew Hill
Double Bass – Andy Eulau
Drums – Kevin Norton
Guitar – Kevin O'Neil
Trumpet – Paul Smoker (pistas: 1, 3, 4, 6, 7, 9)

ROLAND KIRK - "Rahsaan" The Complete Mercury Recordings of Roland Kirk (1990) 11xCD BOX-SET | FLAC (tracks+.cue), lossless

Rahsaan Roland Kirk's nearly one-dozen long-players on the Mercury Records family of labels -- including the Smash and Limelight subsidiaries -- are gathered on this massive ten-disc compilation. Actually, it is 11 discs if you count the surprise bonus CD. Additionally, Rahsaan: The Complete Mercury Recordings of Roland Kirk lives up to its name by augmenting those albums with more than two-dozen previously unissued sides. Kirk's thoroughly innovative multi-instrumental reed work caught the attention of legendary producer Quincy Jones, then the vice-president of Mercury Records, who signed Kirk and would later arrange and conduct orchestrations for several of his memorable sessions. Perhaps the most recognizable among them is "Soul Bossa Nova" which is heavily featured in the Austin Powers franchise. Kirk's ability to perform several reed instruments -- including the tenor, flute, clarinet, manzello, and stritch -- simultaneously allowed him a musical autonomy few instrumentalists are afforded. His youthful embrace of the R&B, soul, pop, and eventually rock genres produced swinging interpretations of "And I Love Her" and "Walk on By," among others. Regardless of the genre, however, Kirk's ability to Swing -- with a capitol "S" -- is imprinted upon every piece he performed. Although Kirk continued his prolific output on Atlantic records in the late '60s and '70s, arguably his most profound sides are included here. We Free Kings, Domino, Reeds and Deeds, Gifts and Messages, I Talk with the Spirits and Rip, Rig & Panic are offered in their entirety. Undoubtedly the centerpiece of Kirk's work for the label is the live Kirk in Copenhagen, which features some wicked harp blowing from blues legend "Sonny Boy" Williamson, aka Big Skol. It is only fitting that this album benefits so greatly from inclusion on this set. The original six sides have been supplemented with an additional ten to present the entire October '63 performance, now complete at an hour and 45 minutes. Rahsaan: The Complete Mercury Recordings if Roland Kirk is complimented visually with a 56-page information packed booklet that includes: complete discographical and recording session logs, as well individual essays for each disc. Although not for the light of funds, this is truly the best way to become immersed in these early works of Rahsaan Roland Kirk. Lindsay Planer
All Tracks & Credits

ROLAND KIRK - Domino (1962-2000) RM | FLAC (tracks+.cue), lossless

The expanding musical universe of Rahsaan Roland Kirk continues its orbit on Domino. While always true to his exceptional talents, Kirk's previous efforts are somewhat derivative when compared to his later and more aggressive sound. On Domino, the genesis of his more assertive presence is thoroughly evident. Additionally, this disc features several impressive originals, as well as the most distinctly branded cover tunes to date, including the intense bop of the title track. As evidenced throughout the album, Kirk's compositions are becoming denser and more involved. "Meeting on Termini's Corner" -- an ode to the legendary Five Spot club -- mimics the off-kilter rhythms of Thelonious Monk. The tenor sax solo that rises through his multi-instrumentation is stunning. The contrast between the lilting flute work, which bookends "Domino," and the stirring tenor sax solo at the center is yet again indicative of the boundaries Kirk would be approaching. However, it's the Latin-tinged "Rolando" that might best display the unmistakably singular sound that comes from the stritch -- a Kirk modified second generation B flat soprano sax -- and the tenor sax, when performed simultaneously. The warmth and clarity are at once unique and hypnotic. Another prime example of the multiplicity in Kirk's performance styles can be heard on "I Believe in You." The juxtaposition of the husky tenor with the spry manzello provides a false sense of balance as Kirk delays combining the two until the final chorus. This produces a surprising and memorable effect, as Kirk's arrangement does not anticipate the finale. The 2000 CD reissue contains both recording dates for the original album as well as a previously undocumented session that includes Herbie Hancock(piano), Roy Haynes (drums), and Vernon Martin (bass). Additionally, Domino was the first album to feature Kirk's live band of Haynes, Andrew Hill (celeste/piano), and Henry Duncan (percussion) on several tracks. Lindsay Planer  
Tracklist :
1     Domino 3'11
Louis Ferrari / Jacques Plante / Don Raye
2     Meeting on Termini's Corner 3'39
Rahsaan Roland Kirk
3     Time 3'11
Richie Powell
4     Lament 3'37
J.J. Johnson
5     A Stritch in Time 5'04
Rahsaan Roland Kirk
6     3-In-1 Without the Oil 2'32
Rahsaan Roland Kirk
7     Get Out of Town 4'47
Cole Porter
8     Rolando 3'44
Rahsaan Roland Kirk
9     I Believe in You 4'24
Frank Loesser
10     E.D. 2'20
Rahsaan Roland Kirk
- BONUS TRACKS -
11     Where Monk and Mingus Live/Let's Call This 4'06
Rahsaan Roland Kirk / Thelonious Monk
12     Domino 4'44
Louis Ferrari / Jacques Plante / Don Raye
13     I Didn't Know What Time It Was 3'13
Lorenz Hart / Richard Rodgers
14     I Didn't Know What Time It Was 2'15
Lorenz Hart / Richard Rodgers
15     I Didn't Know What Time It Was 2'18
Lorenz Hart / Richard Rodgers
16     Someone to Watch over Me - Breakdown Take 2'34
George Gershwin / Ira Gershwin
17     Someone to Watch over Me 3'35
George Gershwin / Ira Gershwin
18     Terminis Corner - Breakdown Take 2'32
Rahsaan Roland Kirk
19     Termini's Corner 2'24
Rahsaan Roland Kirk
20     Termini's Corner 2'39
Rahsaan Roland Kirk
21     Termini's Corner - Breakdown Take And Intercuts 3'24
Rahsaan Roland Kirk
22     When the Sun Comes Out 2'38
Harold Arlen / Ted Koehler
23     When the Sun Comes Out 1'54
Harold Arlen / Ted Koehler
24     When the Sun Comes Out 2'41
Harold Arlen / Ted Koehler
25     Time Races With Emit 1'22
Rahsaan Roland Kirk
Credits :
Bass – Vernon Martin
Celesta – Andrew Hill (pistas: 3)
Drums – Henry Duncan (pistas: 1, 2, 4 to 6), Roy Haynes (pistas: 7 to 25)
Piano – Andrew Hill (pistas: 1, 2, 4 to 6), Herbie Hancock (pistas: 11), Wynton Kelly (pistas: 7 to 10, 12 to 25)
Tenor Saxophone, Saxophone [Manzello, Stritch], Flute, Whistle [Siren Whistle], Voice, Nose Flute – Roland Kirk

HANK MOBLEY - No Room for Squares (1964-2000) RM | RVG Edition | FLAC (tracks+.cue), lossless

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back." Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.                                 
|This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'|
Tracklist :
1     Three Way Split 7'49
Hank Mobley    
2     Carolyn 5'30
Lee Morgan    
3     Up a Step 8'31
Hank Mobley    
4     No Room for Squares 6'57
Hank Mobley    
5     Me 'N You 7'17
Lee Morgan    
6     Old World Imports 6'08
Hank Mobley    
7     Carolyn (Alternate Take) 5'35
Lee Morgan    
8     No Room for Squares 6'45
Hank Mobley
Credits :
Bass – Butch Warren (tracks: 3, 6), John Ore (tracks: 1, 2, 4, 5)
Drums – Philly Joe Jones
Piano – Andrew Hill (tracks: 1, 2, 4, 5), Herbie Hancock (tracks: 3, 6)
Recorded By [Recording By], Remastered By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 3, 6), Lee Morgan (tracks: 1, 2, 4, 5)

HANK MOBLEY - Straight No Filter (1986-2001) FLAC (tracks+.cue), lossless

Straight No Filter finds tenor Hank Mobley in several settings from the mid-'60s, each of them excellent. The overall roster is quite impressive, starting with the first set which features trumpeter Lee Morgan, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins. The upbeat title cut is given a loose, post-bop feel by Tyner's comping, but things are brought back to earth by Mobley's emotional playing. A number of exchanges between Morgan and Mobley's horns give the piece an effective ending. "Chain Reaction" gives this group nearly 11 minutes to stretch things out, while "Soft Impressions" features a heavy blues groove. A couple of other standouts on this album -- "This Feelin's Good" and "Yes Indeed" -- feature trumpeter Donald Byrd, pianist Herbie Hancock, bassist Butch Warren, and drummer Philly Joe Jones. Hancock provides a distinctive backdrop for Mobley and Morgan's solos while turning in some fine work himself. Mobley shines on Sy Oliver's "Yes Indeed," delivering a soulful solo, shot through with the blues. His playing throughout Straight No Filter is warm, accessible, and inventive, and it is instructive to have these sessions side by side, giving the listener a chance to compare Mobley's work in different settings. It should be mentioned that he penned eight out of the nine of these fine compositions. Bob Blumenthal's liner notes are helpful, breaking down the individual sessions and providing a good overview of Mobley's career. Straight No Filter will be welcomed by Mobley's fans and lovers of hard bop. It shouldn't be missed. Ronnie D. Lankford, Jr.
Tracklist :
1     Straight No Filter 5:56
Hank Mobley    
2     Chain Reaction 11:00 crans
Hank Mobley    
3     Soft Impressions 4:46
Hank Mobley    
4     Third Time Around 6:23
Hank Mobley    
5     Hank's Waltz 7:41
Hank Mobley    
6     Syrup and Biscuits 5:34
Hank Mobley    
7     Comin' Back 6:24
Hank Mobley    
8     The Feelin's Good 5:38
Hank Mobley    
9     Yes Indeed 5:34
Sy Oliver
Notas.
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 17, 1966 (#1-3), February 4, 1965 (#4-5), October 2, 1963 (#6-7) and March 7, 1963 (#8-9).
Credits :
Bass – Bob Cranshaw (pistas: 1 to 3), Butch Warren (pistas: 8, 9), John Ore (pistas: 6, 7), Paul Chambers (pistas: 4, 5)
Drums – Philly Joe Jones (pistas: 6 to 9), Billy Higgins (pistas: 1 to 5)
Engineer [Recording Engineer] – Rudy Van Gelder
Mastered By [Using 24-bit Super Bit Mapping] – Ron McMaster
Piano – Andrew Hill (pistas: 6, 7), Barry Harris (pistas: 4, 5), Herbie Hancock (pistas: 8, 9), McCoy Tyner (pistas: 1 to 3)
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (pistas: 8, 9), Freddie Hubbard (pistas: 4, 5), Lee Morgan (pistas: 1 to 3, 6, 7)

JOE HENDERSON — Our Thing (1963- 2000) RM | RVG Edition | FLAC (tracks+.cue), lossless

Joe Henderson's second recording as a leader features a very strong supporting cast: trumpeter Kenny Dorham (one of Henderson's earliest supporters), pianist Andrew Hill, bassist Eddie Khan, and drummer Pete La Roca. Together they perform three Dorham and two Henderson originals, advanced music that was open to the influence of the avant-garde while remaining in the hard bop idiom. The up-tempo blues "Teeter Totter" contrasts with the four minor-toned pieces and, even if none of these songs became standards, the playing is consistently brilliant and unpredictable. Even at this relatively early stage, Joe Henderson showed his potential as a great tenorman. Scott Yanow
Tracklist  :
1 Teeter Totter   8:33
Written-By – Joe Henderson
2 Pedro's Time 10:05
Written-By – Kenny Dorham
3 Our Thing 5:36
Written-By – Joe Henderson
4 Back Road 6:20
Written-By – Kenny Dorham
5 Escapade 8:05
Written-By – Kenny Dorham
6 Teeter Totter (Alternative Take) 7:10
Written-By – Joe Henderson
Credits :
Bass – Eddie Khan
Drums – Pete La Roca
Piano – Andrew Hill
Tenor Saxophone – Joe Henderson
Trumpet – Kenny Dorham

ANDREW HILL - Grass Roots (1968-2014) RM / BLUE NOTE MASTERWORKS / SHM-CD / FLAC (tracks+.cue), lossless

As the '60s drew to a close, Blue Note spent less time than ever with adventurous music, since it didn't sell as well as soul-jazz or mainstream hard bop. So, it may seem a little strange that the label invited Andrew Hill back to record in 1968, two years after he last cut a session for the label. Hill's work for the label stands among the most challenging cerebral post-bop of the '60s, but there was another side of Hill that wasn't showcased on those records: He also had a knack for groove and melody, as indicated by his composition "The Rumproller," a hard-grooving hard-bop classic made famous by trumpeter Lee Morgan. That was the side that Blue Note wanted to showcase on Grass Roots. Hill and his band were working from the basic template of making a commercial hard-bop album, but nevertheless pushed themselves to challenging territory. Blue Note sat on the session however, and Hill went back to the studio four months later with a new group of musicians: trumpeter Lee Morgan, tenor saxophonist Booker Ervin, bassist Ron Carter, and drummer Freddie Waits. This group was every bit as adventurous as the last, but they laid down a solid groove without compromising the music. The end result may not be as bracing as Hill's earlier works, but it's a pleasure to hear him in such a genial, welcoming mood. Furthermore, the record is hardly insubstantial musically -- the songs have strong melodies, even hooks, to bring casual listeners in, but they give the musicians the freedom to find a distinctive voice in their solos. It's the best of both worlds, actually -- accessible, just like Blue Note wanted, without compromising Hill's integrity. [Blue Note's 2000 CD reissue contains the entire first draft of the album as a bonus.] by Stephen Thomas Erlewine 
Tracklist:
1 Grass Roots 5:41
 Andrew Hill
2 Venture Inward 4:46
 Andrew Hill
3 Mira 6:20
 Andrew Hill
4 Soul Special 8:22
 Andrew Hill
5 Bayou Red 7:45
 Andrew Hill
- Bonus Tracks -
6 MC 9:11
 Andrew Hill
7 Venture Inward 4:34
 Andrew Hill
8 Soul Special 8:51
 Andrew Hill
9 Bayou Red 5:59
 Andrew Hill
10 Love Nocturne 7:33
 Andrew Hill
Credits:
Bass – Reggie Workman (tracks: 6 to 10), Ron Carter (tracks: 1 to 5)
Drums – Freddie Waits (tracks: 1 to 5), Idris Muhammad (tracks: 6 to 10)
Guitar – Jimmy Ponder (tracks: 6, 8, 9)
Piano, Composed By – Andrew Hill
Recorded By – Rudy Van Gelder
Tenor Saxophone – Booker Ervin (tracks: 1 to 5), Frank Mitchell (tracks: 6 to 10)
Trumpet – Lee Morgan (tracks: 1 to 5), Woody Shaw (tracks: 6 to 10)