STEVE KUHN — Jazz 'n (E)Motion (1998) FLAC (tracks), lossless

Tracklist :
1    Once Upon A Time 3:42
Written-By – Charles Strouse, Lee Adams
2    Last Tango In Paris 7:34
Written-By – Gato Barbieri
3    Lonely Town 6:36
Written-By – Adolph Green, Betty Comden, Leonard Bernstein
4    The Night Has A Thousand Eyes 6:57
Written-By – Buddy Bernier, Jerry Brainin
5    Love Is For The Very Young 3:46
Written-By – David Raksin
6    Emily 6:46
Written-By – Johnny Mandel, Johnny Mercer
7    The Rain Forest 6:03
Written-By – Steve Kuhn
8    The Pawnbroker 5:53
Written-By – Quincy Jones
9    This Is New 5:10
Written-By – Ira Gershwin, Kurt Weill
10    Invitation 7:27
Written-By – Bronislaw Kaper, P. F. Webster
11    Smile 3:40
Written-By – Charles Chaplin, Geoffrey Parsons, John Turner
Credits :
Piano – Steve Kuhn

FREDDIE GREEN — Mr. Rhythm (1955-2007) RM | MONO | BMG Prime Jazz Series | FLAC (tracks+.cue), lossless

Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie. He adds small flourishes to the rhythm of pieces like "Easy Does It," and only a scattering of tastefully chosen notes on his solo. Coker and Cohn deliver nice solos on "When You Wish Upon a Star," with the trombone's lovely tone and the tenor's deep, mellow pitch complimenting the romanticism of the piece. Newman offers a concise, discerning solos on "Free and Easy" and "Learnin' the Blues." He uses a mute for both solos, perfectly capturing a calm, bluesy mood. Of course Green doesn't solo, and while his guitar is often barely audible, his presence is always felt. This album shows him to be a fine leader who is happy to remain in his role as rhythm guitarist. For fans of Green, and for those who enjoy swinging jazz with great soloists, Mr. Rhythm is a fine release. Ronnie D. Lankford, Jr.
Tracklist :
1    Up In The Blues    2:34
 Freddie Green
2    Down For Double    3:58
 Freddie Green
3    Back And Forth    2:17
 Freddie Green
4    Free And Easy    3:25
 Freddie Green
5    Learnin The Blues    3:28
 Freddie Green / Delores Vicki Silvers
6    Feed Bag    2:58
 Freddie Green
7    Something's Gotta Give    2:51
 Freddie Green
8    Easy Does It    3:42
 Freddie Green / Sy Oliver / Trummy Young
9    Little Red    2:08
 Freddie Green
10    Swinging Back     3:21
 Freddie Green
11    A Date With Ray    4:52
 Freddie Green
12    When You Wish Upon A Star    2:38
 Freddie Green / Leigh Harline
Credits
Bass – Milt Hinton
Drums – Jo Jones, Osie Johnson
Guitar – Freddie Green
Piano – Nat Pierce
Tenor Saxophone, Clarinet – Al Cohn
Trombone – Henry Coker
Trumpet – Joe Newman

AMINA CLAUDINE MYERS – Amina (1988) FLAC (tracks), lossless

Tracklist & Credits :

AMINA CLAUDINE MYERS – In Touch (1989) FLAC (tracks), lossless

An album that surprised some fans when it was issued, due to the reputations of everyone involved. Myers has been a fierce soloist and adventurous composer and worked in experimental, on-the-edge contexts for much of her career, but turned to fusion and light pop on this date, playing more synthesizer than anything else. It was well produced and effectively played, but guitarist Jerome Harris had a larger role than Myers. Ron Wynn
Tracklist & Credits :

DIZZY GILLESPIE + MAX ROACH — Dizzy Gillespie Pleyel Concert 1948 + Max Roach Quintet 1949 (1997) FLAC (tracks+.cue), lossless

Tracklist + Credits :

LEE KONITZ - Sound of Surprise (1999) FLAC (tracks+.cue), lossless

While Whitney Balliett coined the phrase "sound of surprise" to describe jazz, it also pretty well sums up the entire career of Lee Konitz, whose fluid, dynamic alto has been a constant source of inspiration, distinction, and clarity. This effort teams him with such empathetic instrumental foils as Ted Brown John Abercrombie Marc Johnson and Joey Baron, who are superb rhythmic navigators, plotting interesting paths for Konitz with metered maps of their own drafting. Brown, a quite literate tenor saxophonist much in the style of old Konitz confrere Warne Marsh, has never had much use for the music business, and is rarely heard anymore. But he drops in here, shining on four cuts. The loose, freewheeling "Hi Beck" finds Brown and Konitz in unison, then counterpointed on heads and tails, with Baron tastefully trading eights in between. They play individual lines during the course of the ballad "Soddy & Bowl" but are firmly welded together for "Thingin'," the now-obligatory Konitz adaptation of "All the Things You Are." With Abercrombie, who is much more reserved and less affected, they do a crisp bossa line of "Mr. 88," the swinging bopper "Friendlee," and "Crumbles," a good swinger with upper-register melody. The bluesy "Bits & Pieces" is randomly tossed about, as Johnson drops out and then saunters back in with a solo, as does the roiling Baron. The famous "Subconsciouslee" finds each member playing by himself, then together, then with solos and rhythmic backup. Baron is really head and shoulders above most drummers; his dynamic concept consistently commands attention. Yet another fine recording from Konitz, this adds to an already immense discography that seems to get broader and deeper as it lengthens. Michael G. Nastos  
Tracklist :
1    Hi Beck    6:17
2    Gundunla    3:46
3    Mr. 88    4:39
4    Bits And Pieces    3:00
5    Blues Suite    7:51
6    Friendlee    7:32
7    Soddy And Bowl    5:39
8    Singin'    2:26
9    Wingin' 6:40
Composed By – Joey Baron, John Abercrombie, Lee Konitz, Marc Johnson , Ted Brown
10    Thingin'    7:26
11    Crumbles    5:33
12    Subconsciouslee    8:20
Credits :
Alto Saxophone, Vocals, Composed By – Lee Konitz
Bass – Marc Johnson
Drums – Joey Baron
Guitar – John Abercrombie
Tenor Saxophone – Ted Brown

ORNETTE COLEMAN - Friends and Neighbors : Ornette Live at Prince Street (1970-2001) RM | FLAC (tracks+.cue), lossless

This disc contains one of Ornette Coleman's lesser-known sessions. In addition to his own alto (and occasional trumpet and violin), Coleman is joined by Dewey Redman on tenor, bassist Charlie Haden, drummer Ed Blackwell, and (on one of the two versions of "Friends and Neighbors") a variety of friends who sing along as best they can. Actually, the most notable tracks are the two extended pieces, "Long Time No See" and "Tomorrow." The music is typically adventurous, melodic in its own way, yet still pretty futuristic, even if (compared with his other releases) the set as a whole is not all that essential. Scott Yanow
Tracklist :
1    Friends And Neighbors (Vocal)    4:13
2    Friends And Neighbors (Instrumental)    2:55
3    Long Time No See    10:53
4    Let's Play    3:23
5    Forgotten Songs    4:24
6    Tomorrow    12:07
Credits :
Performer [Personnel], Alto Saxophone, Trumpet, Violin – Ornette Coleman
Performer [Personnel], Bass – Charlie Haden
Performer [Personnel], Drums – Ed Blackwell
Performer [Personnel], Tenor Saxophone – Dewey Redman
Producer [Original Album Produced By], Written-By – Ornette Coleman

SAM RIVERS' RIVBEA ALL-STAR ORCHESTRA - Culmination (1999) FLAC (tracks+.cue), lossless

Sam Rivers' second recording with his Rivbea All-Star Orchestra for RCA is similar to his first one in that he uses an impressive 17-piece band full of top avant-gardists to interpret the dense arrangements of his originals. The music, which is frequently atonal, has so much going on at times that it will take several listens to comprehend everything; it certainly does not lose one's interest! The only fault to this stimulating set is that the soloists are not identified. Although one may recognize the various saxophonists (Steve Coleman, Greg Osby, Chico Freeman, Gary Thomas, and Hamiet Blueitt) and trombonist Ray Anderson, most of the brass players will be more difficult to determine. This very adventurous music is remarkable in ways and well worth acquiring by free jazz collectors. Scott Yanow
Tracklist :
1    Spectrum    7:22
2    Bubbles    8:27
3    Revelation    10:36
4    Culmination    8:12
5    Ripples    13:38
6    Neptune    5:53
7    Riffin'    6:26
Credits :
Alto Saxophone – Greg Osby, Steve Coleman
Baritone Horn – Joseph Daley
Baritone Saxophone – Hamiet Bluiett
Bass – Doug Mathews
Drums – Anthony Cole
Painting – Scramble Campbell
Soprano Saxophone, Tenor Saxophone, Flute, Written-By – Sam Rivers
Tenor Saxophone – Chico Freeman, Gary Thomas
Trombone – Art Baron, Joseph Bowie, Ray Anderson
Trumpet – Baikida Carroll, James Zollar, Ralph Alessi, Ravi Best
Tuba – Bob Stewart

JOHNNY HODGES | COLEMAN HAWKINS - The Vogue Recordings (1998) FLAC (tracks), lossless

Coleman Hawkins    
1    Coleman Hawkins And His Rhythm–    It's Only A Paper Moon 3'03
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
2    Coleman Hawkins And His Rhythm–    Sih-Sah 3'15
Coleman Hawkins / James Moody
3    Coleman Hawkins And His Rhythm–    Bean's Talking Again 3'17
Kenny Clarke / Coleman Hawkins
4    Coleman Hawkins And His Rhythm–    Bah-Uh-Bah 3'23
Tadd Dameron / Coleman Hawkins
5    Coleman Hawkins And His Rhythm–    I Surrender Dear 3'14
Harry Barris / Gordon Clifford
6    Coleman Hawkins And His Rhythm–    Sophisticated Lady 3'14
Duke Ellington / Irving Mills / Mitchell Parish
Johnny Hodges      
7    Johnny Hodges And His Orchestra–    Jump, That's All 3'04
Harold Baker
8    Johnny Hodges And His Orchestra–    Last Legs Blues - Part 1 3'06
Johnny Hodges
9    Johnny Hodges And His Orchestra–    Last Legs Blues.- Part 2 2'59
Johnny Hodges
10    Johnny Hodges And His Orchestra–    Nix It, Mix It 3'19
Jimmy Hamilton
11    Johnny Hodges And His Orchestra–    Time On My Hands 3'18
Harold Adamson / Mack Gordon / Vincent Youmans
12    Johnny Hodges And His Orchestra–    Run About 3'03
Johnny Hodges
13    Johnny Hodges And His Orchestra–    Wishing And Waiting 3'23
Johnny Hodges
14    Johnny Hodges And His Orchestra–    Get That Geet 3'18
Johnny Hodges
15    Johnny Hodges And His Orchestra–    That's Grand 3'25
Johnny Hodges
16    Johnny Hodges And His Orchestra–    Skip It 3'24
Johnny Hodges
17    Johnny Hodges And His Orchestra–    Perdido 3'08
Ervin Drake / Hans Lengsfelder / Juan Tizol
18    Johnny Hodges And His Orchestra–    In The Shade Of The Old Apple Tree 3'40
Egbert VanAlstyne / Harry Williams
19    Johnny Hodges And His Orchestra–    Mood Indigo 3'50
Barney Bigard / Duke Ellington / Irving Mills
20    Johnny Hodges And His Orchestra–    Sweet Lorraine 3'13
Clifford R. Burwell / Mitchell Parish
21    Johnny Hodges And His Orchestra–    Bean Bag Boogie 3'06
Harold Baker
22    Johnny Hodges And His Orchestra–    Hop, Skip And Jump 2'27
Duke Ellington

All Credits
Notas.
Tracks 1-6: Recorded in Paris on December 21, 1949.
Tracks 7-22: Recorded in Paris on April 15 & June 20, 1950.

COLEMAN HAWKINS WITH BILLY BYERS AND HIS ORCHESTRA - The Hawk in Hi-Fi (1956-2001) RM | FLAC (tracks), lossless

 In January 1956, veteran tenor saxophonist Coleman Hawkins recorded a dozen songs, eight with a string orchestra and four accompanied by a big band, all arranged by Billy Byers. Hawkins is the main soloist throughout, and he was still very much in his prime 33 years after he first joined Fletcher Henderson's orchestra; in fact, the upcoming year of 1957 would be one of his finest. However, Byers' arrangements are more functional than inspired, and some of these selections are more easy listening than they are swinging. Still, there are some strong moments (particularly on "The Bean Stalks Again" and "His Very Own Blues") and, although not classic, this is a pleasing release. Scott Yanow

Tracklist :
1     Body and Soul 5:00
Frank Eyton / John Green / Edward Heyman / Robert Sour
2     Little Girl Blue [Take 3] 3:04
Lorenz Hart / Richard Rodgers
3     I Never Knew [Take 5] 3:07
Raymond B. Egan / Roy Marsh / Tom Pitts
4     Dinner for One Please, James [Take 3] 3:12     
Michael Carr
5    The Bean Stalks Again 3:25
Coleman Hawkins
6     His Very Own Blues 3:03
Coleman Hawkins    
7     The Day You Came Along 4:10
Sam Coslow / Arthur Johnson
8     Have You Met Miss Jones [Take 7] 3:06
Lorenz Hart / Richard Rodgers
9     The Essence of You 3:30
Coleman Hawkins
10     There Will Never Be Another You 3:00
Mack Gordon / Harry Warren
11     I'm Shooting High 2:36
Ted Koehler / Jimmy McHugh
12     Bean and the Boys [Issued As "39-25-39"] 2:52
Coleman Hawkins
13     There Will Never Be Another You 3:23
Mack Gordon / Harry Warren
14     There Will Never Be Another You 3:26
Mack Gordon / Harry Warren
15     Little Girl Blue [Take 1] 3:09
Lorenz Hart / Richard Rodgers
16     Dinner for One Please, James [Take 2] 3:17
Lorenz Hart / Richard Rodgers
17     I Never Knew [Take 2] 3:18
Raymond B. Egan / Roy Marsh / Tom Pitts
18    Have You Met Miss Jones [Take 1] 3:10
Lorenz Hart / Richard Rodgers
19     Have You Met Miss Jones? 3:20
Lorenz Hart / Richard Rodgers
20     Have You Met Miss Jones? 2:38
Lorenz Hart / Richard Rodgers
21     The Day You Came Along 3:15
Sam Coslow / Arthur Johnson
All Credits

SONNY ROLLINS AND COLEMAN HAWKINS - Sonny Meets Hawk! (1963-1994) FLAC (tracks+.cue), lossless

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was. arwulf arwulf  
Tracklist :
1    Yesterdays 5'12
Written-By – J. Kern, O. Harbach
2    All The Things You Are 9'30
Written-By – J. Kern, O. Hammerstein II
3        Summertime
Written-By – D. Heyward, G. & I. Gershwin
4    Just Friends 4'37
Written-By – J. Klenner, S. Lewis
5    Lover Man 8'50
Written-By – J. Davis, J. Sherman, R. Ramirez
6    At McKies' 7'01
Written-By – S. Rollins
Credits :
Bass – Bob Cranshaw (pistas: 1, 2, 5), Henry Grimes (pistas: 3, 4, 6)
Drums – Roy McCurdy
Piano – Paul Bley
Tenor Saxophone – Coleman Hawkins, Sonny Rollins

COLEMAN HAWKINS - Body & Soul (1996) FLAC (tracks+.cue), lossless

Much of the material on this two-LP set has been since reissued on CD, but, one way or the other, this music (particularly the first 16 tracks) belongs in every serious jazz collection. In 1939, Hawkins returned to the U.S. after five years in Europe, and it took him very little time to reassert his prior dominance as king of the tenors. This set starts off with the session that resulted in Hawk's classic version of "Body and Soul," teams him with Benny Carter (on trumpet) for some hot swing (including a memorable rendition of "My Blue Heaven"), and then finds Hawkins using younger musicians (including trumpeter Fats Navarro and trombonist J.J. Johnson) on some advanced bop originals highlighted by "Half Step Down Please." The remainder of this set is also good, but less historic, with Hawkins being well-showcased with three larger groups in 1956, culminating in a remake of "Body and Soul." Scott Yanow
Tracklist :
1     Meet Doctor Foo 2'32
Coleman Hawkins
2     Fine Dinner 2'33
Coleman Hawkins
3     She's Funny That Way 3'14
Neil Moret (Chas. N. Daniels) / Richard A. Whiting
4     Body and Soul 3'00
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5     When Day Is Done 3'15
Buddy DeSylva / Robert Katscher
6     The Sheik of Araby 2'56
Harry Beasley Smith / Ted Snyder / Francis Wheeler
7     My Blue Heaven 2'46
Walter Donaldson / George A. Whiting
8     Bouncing with Bean 3'03
Coleman Hawkins
9     Say It Isn't So 2'57
Irving Berlin
10     Spotlite 3'06
Coleman Hawkins
11     April in Paris 3'06
Vernon Duke / E.Y. "Yip" Harburg
12     How Strange 3'02
Earl Brent / Gus Kahn / Herbert Stothart / Traditional
13     Half Step Down, Please 3'02
Tadd Dameron / Coleman Hawkins
14     Angel Face 3'12
Coleman Hawkins / Victor Herbert / Hank Jones
15     There Will Never Be Another You 2'57
Mack Gordon / Harry Warren
16     The Bean Stalks Again 3'24
Coleman Hawkins
17     Body and Soul 4'51
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
18     I Love Paris 3'30
Cole Porter
19     Under Paris Skies 2'45
Jean Dréjac / Kim Gannon / Hubert Giraud
Notas.
Recorded between 1939 and 1956 at RCA Studios, New York.

AHMED ABDUL-MALIK - East Meets West (1959-1995) FLAC (tracks+.cue), lossless

The late Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic and also the hardest to find. The Brooklyn native was of Sudanese descent; in addition to playing bass on this interesting blend of Middle Eastern instruments with those from the world of jazz, he also plays oud, the forerunner to the lute. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. The Middle Eastern instruments are absent during "Searchin'," which is sort of a hard bop vehicle featuring trombonist Curtis Fuller and Jerome Richardson on flute, along with the tenor sax. "Takseem (Solo)" omits the jazz instruments; the slowness of the variations of the music and rather piercing vocal make it harder for Western ears to comprehend. Not a release of interest to everyone but, for the most part, this fusion of vastly different styles of music is quite enjoyable; it's obvious from the start that the musicians were enjoying themselves as it was recorded. This long out print LP will be difficult to locate. by Ken Dryden
Tracklist :
1. E-lail (The Night) 4:17
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drums – Al Harewood
Drum [Darabeka] – Bilal Abdurraham
2. La Ibky (Don't Cry) 4:55
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drum [Darabeka] – Bilal Abdurraham
Drums – Al Harewood
3. Takseem (Solo) 5:08
Violin – Naim Karacand
Viola – Jakarawan Nasseur
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
4. Searchin' 4:02
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson
5. Isma'a (Listen) 4:15
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drums – Al Harewood
Drum [Darabeka] – Bilal Abdurraham
6. Rooh (The Soul) 3:37
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Flute – Jerome Richardson
Drums – Al Harewood
7. Mahawara (The Fugue) 4:12
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson
8. El Ghada (The Jungle) 3:06
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson

ALICE BABS - Swingtime Again (1998) Mp3

Tracklist :
1 Me And You 2:36
Arranged By – Mikael Råberg
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Duke Ellington
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Saxophone – Alberto Pinton, Erik Häusler, Jan Kling, Karl-Martin Almqvist, Per "Ruskträsk" Johansson
Trombone – Anders Norell, Andreas Carpvik, Magnus Olsson, Olle Blomqvist
Trumpet – Hans Dyvik, Jonas Lindeborg, Mikael Sörensen
Trumpet [Solo] – Bosse Broberg
2 It's Wonderful 4:25
Bass – Jan Adefelt
Drums – Lasse Persson
Lyrics By – Mitchell Parish
Music By – Stuff Smith
Piano – Charlie Norman
3 Sugar 4:16
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – George Meyer, Joseph Young
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Soloist [Guest] – Putte Wickman
4 I Let A Song Go Out Of My Heart 2:45
Arranged By – Anders Berglund
Bass – Jan Adefelt
Composed By – Duke Ellington
Drums – Lasse Persson
Lyrics By – Henry Nemo, Irving Mills, John Redmond
Piano – Kjell Öhman
Saxophone – Alberto Pinton, Erik Häusler, Jan Kling, Karl-Martin Almqvist, Per "Ruskträsk" Johansson
Trombone – Anders Norell, Andreas Carpvik, Magnus Olsson, Olle Blomqvist
Trumpet – Hans Dyvik, Jonas Lindeborg, Mikael Sörensen
Trumpet [Solo] – Bosse Broberg
5 Our Love Is Here To Stay 4:42
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – George & Ira Gershwin
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
6 A Sailboat In The Moonlight 5:04
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Carmen Lombardo, John Loeb
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
7 Swing It Magistern 1:51
Arranged By – Anders Berglund
Bass – Jan Adefelt
Drums – Lasse Persson
Lyrics By – Hasse Ekman
Music By – Kai Gullmar
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Saxophone – Alberto Pinton, Erik Häusler, Jan Kling, Karl-Martin Almqvist, Per "Ruskträsk" 
Johansson
Trombone – Anders Norell, Andreas Carpvik, Magnus Olsson, Olle Blomqvist
Trumpet – Bosse Broberg, Hans Dyvik, Jonas Lindeborg, Mikael Sörensen
8 I Don't Mind 4:31
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Billy Strayhorn, Duke Ellington
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Soloist [Guest] – Olle Holmqvist
9 Who's Got The Other Half Of Heaven 1:52
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Povel Ramel
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
10 Regntunga Skyar 3:46
Arranged By – Anders Berglund
Bass – Jan Adefelt
Drums – Lasse Persson
Keyboards, Percussion – Anders Berglund
Lyrics By – Hasse Ekman
Music By – Eckert-Lundin, Thore Ehrling
Piano – Kjell Öhman
Saxophone [Solo], Flute [Solo] – Per "Ruskträsk" Johansson
Saxophone, Flute – Alberto Pinton, Erik Häusler, Jan Kling, Karl-Martin Almqvist
Trombone – Anders Norell, Andreas Carpvik, Magnus Olsson, Olle Blomqvist
Trumpet – Bosse Broberg, Hans Dyvik, Jonas Lindeborg, Mikael Sörensen
11 I'm Checkin' Out Go'om Bye 3:46
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Duke Ellington
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Tenor Saxophone [Guest] – Karl-Martin Almqvist
Trumpet [Guest] – Bosse Broberg
12 Don't Get Around Much Anymore 3:21
Arranged By – Anders Berglund
Bass – Jan Adefelt
Drums – Lasse Persson
Lyrics By – Bob Russel
Music By – Duke Ellington
Piano – Kjell Öhman
Saxophone – Alberto Pinton, Erik Häusler, Jan Kling, Karl-Martin Almqvist, Per "Ruskträsk" Johansson
Soloist [Guest] – Putte Wickman
Trombone – Anders Norell, Andreas Carpvik, Magnus Olsson, Olle Blomqvist
Trumpet – Bosse Broberg, Hans Dyvik, Jonas Lindeborg, Mikael Sörensen
13 Drop Me Off In Harlem 4:09
Bass – Jan Adefelt
Drums – Lasse Persson
Music By, Lyrics By – Duke Ellington, Nick Kenny
Organ [Hammond B3] – Kjell Öhman
Piano – Charlie Norman
Trumpet [Guest] – Bosse Broberg
14 Bluer Than Blue 4:18
Composed By, Lyrics By – Avon Long, Lill Harding
Piano – Charlie Norman

LEE WILEY - West of the Moon (1956-2007) RM / FLAC (image+.cue), lossless

Lee Wiley was still in prime form during the 1950s, although she was disappointed that she did not become a major commercial success. On this LP (all but two cuts have since been reissued on CD), Wiley is joined by three different orchestras arranged by Ralph Burns. Her renditions of "You're a Sweetheart," "Who Can I Turn to Now," "Can't Get Out of This Mood," "East of the Sun," and "Moonstruck" are particularly memorable. Despite the passing of time, Wiley's voice was still sensuous and haunting, lightly swinging and full of subtlety. With trumpeter Nick Travis, trombonist Urbie Green, trumpeter Billy Butterfield, trombonist Lou McGarity, and clarinetist Peanuts Hucko helping out with a few short solos, Wiley sounds inspired throughout this memorable set. by Scott Yanow
Tracklist :
1     You're a Sweetheart    2:57
Harold Adamson / Jimmy McHugh
2     This Is New    2:59
Ira Gershwin / Kurt Weill
3     You Must Have Been a Beautiful Baby    3:02
Johnny Mercer / Harry Warren
4     Who Can I Turn to Now?    3:56
William Engvick / Alec Wilder
5     My Ideal    3:26
Newell Chase / Leo Robin / Richard A. Whiting / Alec Wilder
6     Can't Get out of This Mood    3:16
Frank Loesser / Jimmy McHugh
7     East of the Sun    3:34
Brooks Bowman
8     I Left My Sugar Standing in the Rain    3:48
Sammy Fain / Irving Kahal
9     Moonstruck    3:43
Sam Coslow / Arthur Johnston
10     Limehouse Blues    3:06
Philip Braham / Douglas Furber
11     As Time Goes By    3:16
Herman Hupfeld
12     Keepin' out of Mischief Now    2:45
Andy Razaf / Fats Waller
- Bonus Tracks -
13     Stars Fell On Alabama    4:05
 Written-By – F. Perkins, M. Parish
14     Do You Know What It Means To Miss New Orleans?    4:06
Written-By – DeLange, Alter
Credits :
Arranged By – Deane Kincaide (tracks: 13, 14), Ralph Burns (tracks: 1 To 12)
Baritone Saxophone – Danny Bank (tracks: 2, 6, 9, 10), Deane Kincaide (tracks: 13, 14)
Bass – Bob Haggart (tracks: 13, 14), Milt Hinton (tracks: 1 To 12)
Clarinet – Peanuts Hucko (tracks: 1, 3, 8, 12, 13, 14)
Drums – Cliff Leeman (tracks: 13, 14), Don Lamond (tracks: 1 To 12)
Flute, Clarinet, Alto Saxophone – Ray Beckenstein (tracks: 4, 5, 7, 11)
Flute, Oboe, English Horn – Romeo Penque (tracks: 4, 5, 7, 11)
Guitar – Barry Galbraith
Harp – Jane Putnam (tracks: 4, 5, 7, 11)
Piano – Lou Stein (tracks: 13, 14), Moe Wechsler (tracks: 1 To 12)
Reeds – Ray Beckenstein (tracks: 2, 6, 9, 10), Romeo Penque (tracks: 2, 6, 9, 10)
Tenor Saxophone – Al Epstein (tracks: 2, 6, 9, 10), Al Klink (tracks: 1, 3, 8, 12)
Trombone – Cutty Cutshall (tracks: 13, 14), Lou McGarity (tracks: 1, 3, 8, 12), Bob Alexander (tracks: 2, 6, 9, 10), Urbie Green (tracks: 2, 6, 9, 10)
Trumpet – Bernie Glow (tracks: 2, 6, 9, 10), Billy Butterfield (tracks: 1, 3, 8, 12, 13, 14), Nick Travis (tracks: 2, 6, 9, 10)
Viola – Dave Schwartz (tracks: 4, 5, 7, 11)
Violin – Leo Kruczek (tracks: 4, 5, 7, 11), Paul Winter (tracks: 4, 5, 7, 11)
Vocals – Lee Wiley 

GATO BARBIERI - The Third World (1970-1995) FLAC (tracks+.cue), lossless

The Third World is the initial session that mixed Gato Barbieri's free jazz tenor playing with Latin and Brazilian influences. It's also the album that brought Barbieri positive attention from the college crowds of the late '60s. He would expand on this musical combination with his next few Flying Dutchman releases as well as his first recordings for the Impulse! label. The records made between 1969 through 1974 find Barbieri creating a danceable yet fiery combination of South American rhythms and free jazz forcefulness. Strangely, once Barbieri signed with A&M, he began making commercial records geared to fans of Herb Alpert, sounding nothing like his earlier albums. by Al Campbell
Tracklist :
1. Introduction / Cancion Del Llamero / Tango 11:02
(Barbieri, Piazzola, Quiroga)
2. Zelao 8:00
(Ricordo)
3. Antonio Das Mortes 9:24
(Barbieri)
4. Bachianas Brasileiras / Haleo And The Wild Rose 10:58
(Villa-Lobos)
Musicians :
Gato Barbieri - Tenor Sax, Flute, Vocals
Charlie Haden - Bass
Beaver Harris - Drums
Richard Landrum - Percussion
Roswell Rudd - Trombone
Lonnie Liston Smith - Piano 

GATO BARBIERI - Fenix (1971-1996) APE (image+.cue), lossless

Some artists totally change directions; some reinvent their personalities. It is hard to know exactly what to make of the case of this Argentinian tenor saxophonist, who first appeared as a sideman on several extremely important Don Cherry projects, making such an essential contribution to the overall feel of these records that listeners expected great things. After a few attempts at finding a meeting place between the energy and harshness of free jazz and the his own rhythmic roots, he created this album in which everything seemed to come together perfectly. If a judgement is to be made based on Barbieri's overall career, then a lot of credit would be given to his accompanying musicians here, who are strictly the cream of the crop. A horn player certainly couldn't complain about a rhythm section featuring bassist Ron Carter, drummer Lenny White, and pianist Lonnie Liston Smith, the last fresh out of the band of Pharoah Sanders, where he had established himself as the absolute king of modal, vaguely Latin or African sounding vamps. Smith was able to fit right in here, and he of course knew just what to do when the saxophonist went into his screaming fits, because he surely had plenty of practice with this kind of stuff playing with Sanders. The leader adds a nice touch of ethnic percussion with some congas and bongos and Na Na on berimbau; in fact, this was the first time many American listeners heard this instrument. From here, Barbieri continued to build, reaching a height with a series of collaborations with Latin American musicians playing traditional instruments. He would then switch gears, tone down the energy, and become kind of a romantic image with a saxophone in his mouth, producing music that brought on insults from reviewers, many of whom would have bit their tongues if they'd known much worse sax playing was to come via later artists such as Kenny G. But at this point in 1971, well before the Muppets would create a caricature out of him, Barbieri was absolutely smoking, and for a certain style of rhythmic free jazz, this is a captivating album indeed.  by Eugene Chadbourne 
Tracklist :
1 Tupac Amaru 4:14
Gato Barbieri 
2 Carnavalito 9:08
Gato Barbieri 
3 Falsa Bahiana 5:50
Geraldo Pereira 
4 El Dia Que Me Quieras 6:12
Carlos Gardel / Alfredo Le Pera 
5 El Arriero 7:22
Atahualpa Yupanqui 
6 Bahia 6:22
Ary Barroso 
Credits :
Berimbau, Congas – Naná Vasconcelos
Congas, Bongos – Gene Golden
Drums – Lenny White
Electric Bass – Ron Carter
Piano, Electric Piano – Lonnie Liston Smith
Tenor Saxophone – Gato Barbieri

GATO BARBIERI - El Pampero (1971-2002) RCA Victor Gold Series / RM / FLAC (tracks+.cue), lossless

This record chronicles a flavorful and unforgettable night during a live show recorded in Montreux, Switzerland. Gato Barbieri leads his fantastic group of musical friends with hurricane-like flair on his tenor sax. At times surreal and mind-boggling, Barbieri shows just how far one can let the music go to break the borders of jazz, sending his music into fresh and uncharted territory. Barbieri's chops and melodic sweeps are daring and bold, while the back crew brings vitality and utter life to the music, from the record's beginning to its very end. Within the first tune, "El Pampero," Barbieri plays a home tone riff over and over, changing only the keys of the song, with improvisation in between that gets the audience into dancing. Lonnie Liston Smith plays with great sweeping ease on the piano, while percussionists Pretty Purdie, Na-Na, and Sonny Morgan send their rhythms into soaring heights. A wondrous sense of dynamics is displayed here and throughout the record. The call and response between Na-Na and Morgan is a featured key ingredient, keeping the mood of the percussion section fluid and tight. Yes, the listeners were mesmerized, and one can feel lifted in spirit again with each playing of this recording. Perhaps the focus and direction of the music, which latched on greatly to the home key and initial melody, gives the music a more solid foundation. This was certainly a special night in Switzerland, in which Barbieri proudly shared his music, credited in a natural more than economic fashion, breathing spirit into the audience rather than taking money. For this performance was priceless, a can't-miss that left audience members bedazzled, talking among themselves years later, saying, "Do you remember when?...I was there!" With passion and faith in music, this group of musicians thrived here in this recorded moment, to demonstrate art, haunting art, vivid imagination, and victory in art.
For real jazz fans, two words suffice for this recording: Get it. El Pampero is one of the greatest live jazz recordings ever made, a showcase for the soaring tenor saxophone of Gato Barbieri and a primer on what spontaneous jazz music can aspire to at its most passionate and joyous. The ensemble work by Gato's partners on this outing is superb. And after all these years, I still believe that the way Gato Barbieri weaves the hypnotic folk music of South America into the very North American textures of mainstream jazz points the way to the future for this still vibrant form of music. by Shawn M. Haney  
Tracklist :
1. El Pampero 13:44
Gato Barbieri
2. Mi Buenos Aires Querido 6:21
Carlos Gardel / Alfredo Le Pera
3. Brasil 9:36
Ary Barroso / Bob Russell
4. El Arriero 11:59
Atahualpa Yupanqui
- Bonus Tracks -
5. El Gato 12:25
Oliver Nelson
Credits :
Gato Barbieri (Tenor Saxophone)
Lonnie Liston Smith (Piano)
Chuck Rainey (Electric Bass)
Bernard Purdie (Drums)
Sonny Morgan (Conga)
Naná Vasconcelos (Percussion)

 

RAY BARRETTO AND NEW WORLD SPIRIT - Portraits in Jazz and Clave (2000) FLAC (tracks+.cue), lossless

In this program of mainly Afro-Cubanized jazz standards, conga man Barretto assembled an all-star group of friends to complement his regular working New World Spirit band. The icons include longtime friend Kenny Burrell, whose guitar playing is a key component in the makeup of every selection. Bassist Eddie Gomez, tenor saxophonist Joe Lovano and trombonist Steve Turre join such up-and-coming younger musicians as trumpeter John Bailey, saxophonist Adam Kolker and pianist John DiMartino. Second percussionist Bobby Sanabria is alongside, as is the oustanding trap drummer and longtime Barretto bandmate Vince Cherico. The recording is bookended by Duke Ellington's music. It's front-loaded with "The Mooche," ignited by a simmering bass and left-hand piano ostinato plucked from Horace Silver's "Senor Blues." Conch-shell moans from Turre and punchy congas intro this classic, with Burrell's second melody lead and horns on the first and third. "Cotton Tail" is a good swinger with Latin underpinnings and loads of Burrell (refer to Burrell and Barretto on Burrell's classic Blue Note date Midnight Blue). At the end of the CD is the lesser-known "Oclupaca," taken as a steamy cha-cha. Also included is Billy Strayhorn's Johnny Come Lately," which has clave/mambo rhythms buoying echoed trumpet and tenor lines talking back and forth. The interplay of this counterpoint is stunning, again kicked off by the fuse of Burrell's guitar. There's the fluttery horn intro and dueling tenors on John Coltrane's "Like Sonny," the slight tango-ish "Lamento Borincano" and its heavy dose of Latin Burrell, and the laid-back horns setting up demure-to-forceful piano by DiMartino on Wayne Shorter's "Go." Then there's Thelonious Monk's brisk and brusque "I Mean You," cooked by the unison horns to golden brown perfection with claves, montuno piano and a patented deft bass solo from the brilliant Gomez. A most Afro-Cuban "Cancion del Fuego Fatuo" is quite subtle, Burrell again the focal point with much to say beneath and above the surface. Of the many fine recordings Barretto has produced in the past 30 years as a leader, this ranks right up in the top three, due to the undeniable musicianship of his select guests, the innate ability of his own band, and the meticulous selection of jazz pieces whipped into tangy salsa. It's a winning, highly recommended combination. by Michael G. Nastos  
Tracklist :
1     The Mooche 6:56
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
2     Cotton Tail 5:31
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
3     Johnny Come Lately 5:27
Arranged By – John Di Martino
Written-By – Billy Strayhorn
4     Arranged By – Adam Kolker 7:16
Arranged By – Adam Kolker
Written-By – Manuel De Falla
5     I Mean You 6:40
Arranged By – Adam Kolker
Written-By – Thelonious Monk
6     Go 7:57
Arranged By – Adam Kolker
Written-By – Wayne Shorter
7     Like Sonny 4:34
Arranged By – Adam Kolker
Written-By – John Coltrane
8     Lamento Borincano 7:16
Arranged By – John Di Martino
Written-By – Rafael Hernandez
9     Oclupaca 6:06
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
Credits :
Congas, Mixed By, Mastered By, Edited By, Producer, Liner Notes – Ray Barretto
Drums – Vince Cherico
Featuring, Bass – Eddie Gomez
Featuring, Guitar – Kenny Burrell
Featuring, Tenor Saxophone – Joe Lovano
Featuring, Trombone, Conch [Shells] – Steve Turre
Percussion – Bobby Sanabria
Piano – John Di Martino
Tenor Saxophone, Soprano Saxophone – Adam Kolker
Trumpet – John Bailey  

TONY PERKINS - On a Rainy Afternoon (1958-1996) FLAC (tracks), lossless

"This was the third, and last, album recorded by actor Anthony Perkins. There was an effort in the late 1950s to turn him into a recording star, which was largely unsuccessful, although he did have a Top 30 hit with "Moonlight Swim". While Tony's singles were typical "teen pop" songs of the era, his albums were more "adult pop". I guess record companies at the time thought "kids buy singles, adults buy albums" (which was more or less true). This particular album by Tony has a "jazzier" feel to it than his other albums.
Tracklist:

1. The World is Your Balloon

2. I Remember You

3. Why Was I Born

4. Miss Otis Regrets

5. I've Got Sand in My Shoes

6. Long Ago and Far Away

7. You'd Be So Nice to Come Home to

8. Have You Met Miss Jones?

9. You Came Along

10. It Could Happen to You

11. Darn That Dream

12. Back in Your Own Backyard
Credits 
Bass – Eddie Safranski
Flute – Jerome Richardson
Guitar – Chuck Wayne
Anthony Perkins - Vocals
Saxophone – Hal McKusick
Trombone – Jimmy Cleveland