BUD POWELL — Bud Plays Bird (1958-1997) MONO | The Blue Note Collection Series | FLAC (tracks+.cue), lossless

Previously unissued until 1996, this trio session by pianist Bud Powell with bassist George Duvivier and drummer Art Taylor is better than his Verve recordings of the period if not quite up to the level of his earlier classic Blue Note dates. Actually it is a mystery how such excellent music could be unknown and go unreleased for so long. Powell performs 13 Charlie Parker compositions (including two versions of "Big Foot") and Dizzy Gillespie's "Salt Peanuts." Although there are some minor missteps, the music is quite enjoyable and generally hard-swinging with the more memorable performances including "Straw 'Nuff," "Yardbird Suite," "Confirmation" and "Ko Ko." Scott Yanow
Tracklist :
1.    Big Foot (Long Version)    6:28
  Composed By – Charlie Parker
2.    Shaw 'Nuff  4:13
Songwriter – Charlie Parker, Dizzy Gillespie
3.    Buzzy    4:06
  Composed By – Charlie Parker
4.    Yardbird Suite    4:07
  Composed By – Charlie Parker
5.    Relaxin' At Camarillo    4:31
  Composed By – Charlie Parker
6.    Confirmation    5:54
  Composed By – Charlie Parker
7.    Billie's Bounce    4:06
  Composed By – Charlie Parker
8.    Ko Ko    5:44
  Composed By – Charlie Parker
9.    Barbados    4:12
 Charlie Parker / Amedeo Tommasi 
10.    Dewey Square    4:18
  Composed By – Charlie Parker
11.    Moose The Mooch    3:40
  Composed By – Charlie Parker
12.    Ornithology  5:10
Songwriter – Benny Harris, Charlie Parker
13.    Scrapple From The Apple    3:55
  Composed By – Charlie Parker
14.    Salt Peanuts  2:45
Songwriter – Dizzy Gillespie, Kenny Clarke
15.    Big Foot (Short Version)    3:30
  Composed By – Charlie Parker
Credits :
Bass – George Duvivier (tracks: 1, 3 to 11, 13, 15)
Drums – Art Taylor
Piano – Bud Powell

FREDDIE HUBBARD — Breaking Point! (1964) RM | RVG Edition Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

Immediately after leaving Art Blakey's Jazz Messengers, trumpeter Freddie Hubbard formed his own quintet and set the modern jazz world on its collective ear with this incredible album. Beyond hard bop and into early creative territory, Hubbard explored a sonic deliverance based on his fiery personality and a refusal to stand still or be satisfied with standardized phrasings and nomenclature. His effective teaming with the unique alto saxophonist James Spaulding and pianist Ronnie Mathews is particularly telling, as this set of Hubbard originals and one from drummer Joe Chambers constitutes some of the most powerful jazz music of this time period. The expansive style of Andrew Hill is identifiable especially during the title track, with the piano of Mathews leading a startling charge of several short and swift mini-theme clarion bursts, moving into calypso. This is one of the more astonishing pieces ever conceived in modern music. "Blue Frenzy" and "D Minor Mint" both display uncanny original themes within mainstream frameworks, bearing the stamp of Hubbard's fierce approach to post-Dizzy Gillespie-type trumpet. The former piece is an easy 24-bar blues activated into cool constraints via the style of Horace Silver but fired up by the antics of Mathews, while the latter track sports a chatty melody, humorously cackling onward. "Far Away" is the most intriguing piece rhythmically and sonically, moving from 6/4 and 3/4 to 12/6, again similar to Andrew Hill's harmonic concept with Spaulding's piquant flute accenting a hip, agile melody. The pure energy Hubbard injected into this ensemble, and the sheer originality of this music beyond peers like Miles Davis and Lee Morgan, identified Hubbard as the newest of new voices on his instrument. Breaking Point has stood the test of time as a recording far ahead of mid-'60s post-bop, and is an essential item for all listeners of incendiary progressive jazz. [Some reissues offer alternate takes of "Blue Frenzy" and the pretty Joe Chambers composition "Mirrors," wavering via Spaulding's flute, a reaching-for-the-stars ballad that has become a standard.] Michael G. Nastos

Tracklist :
1.    Breaking Point  10:15
Composed By – F. Hubbard
2.    Far Away
Composed By – F. Hubbard
3.    Blue Frenzy  6:22
Composed By – F. Hubbard
4.    Blue Frenzy (Alternate Take)  3:15
Composed By – F. Hubbard
5.    D Minor Mint 6:22
Composed By – F. Hubbard
6.    Mirrors  6:04
Composed By – J. Chambers
7.    Mirrors (Alternate Take)  3:19
Composed By – J. Chambers
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Eddie Khan
Drums – Joe Chambers
Engineer [Recording] – Rudy Van Gelder
Liner Notes – Leonard Feather
Piano – Ronnie Matthews
Producer – Alfred Lion
Reissue Producer [Produced For Release] – Michael Cuscuna
Transferred By [Digital Transfer] – Ron McMaster
Trumpet – Freddie Hubbard 

ANDREW HILL— Point of Departure (1965) RM | Two Version | 24 Bit By RVG Series | FLAC (tracks+.cue), lossless

Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalog -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    Refuge    12:12
 Andrew Hill 
2.    New Monastery    7:00
 Andrew Hill 
3.    Spectrum    9:42
 Andrew Hill 
4.    Flight 19    4:10
 Andrew Hill 
5.    Dedication    6:40
 Andrew Hill 
– BONUS TRACKS –
6.    New Monastery (Alternate Take)    6:08
7.    Flight 19 (Alternate Take)    3:45
8.    Dedication (Alternate Take)    7:01
Credits :
Alto Saxophone, Flute, Bass Clarinet – Eric Dolphy
Bass – Richard Davis 
Drums – Tony Williams
Piano, Written-By – Andrew Hill
Producer – Alfred Lion
Recorded By, Remastered By [1998] – Rudy Van Gelder
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Joe Henderson
Trumpet – Kenny Dorham

THELONIOUS MONK — Genius of Modern Music, Vol. 1 (1947) RM | MONO | RVG Edition, Modern Jazz Series | Two Version | FLAC (tracks+.cue), lossless

Volume 1 of the two-volume Genius of Modern Music set comprises the first sessions Thelonious Monk recorded as a leader, on October 15 and 24 and November 21 of 1947. It's impossible to overstate the importance of these sessions. They include some of the earliest recordings of Monk compositions that would become standards, despite their angularity and technical difficulty: the strange, sideways chord progression of "Thelonious"; the bouncy and cheerful but melodically cockeyed "Well, You Needn't"; the post-bop Bud Powell tribute "In Walked Bud"; and, of course, "'Round Midnight," which is now one of the most frequently recorded jazz compositions ever. There are kinks to be worked out: Art Blakey's drumming is fine, but he obviously hasn't quite taken the measure of Monk's compositional genius, and on the November session, alto saxophonist Sahib Shihab employs a fat, warbly tone that sounds out of place. But the excitement of discovery permeates every measure, and Monk himself is in top form, his solos jagged and strange, yet utterly beautiful. This first volume of Genius of Modern Music, along with the second, belongs in every jazz collection. Rick Anderson   
Tracklist :
1. Humph 2:50
Composed By – Monk
2. Evonce (Alternate Take) 3:00
Composed By – I. Sulieman, I. Quebec
3. Evonce 3:01
Composed By – I. Sulieman, I. Quebec
4. Suburban Eyes 2:58
Composed By – Ike Quebec
5. Suburban Eyes (Alternate Take) 2:55
Composed By – Ike Quebec
6. Thelonious 2:58
Composed By – Monk
7. Nice Work If You Can Get It (Alternate Take) 3:01
Composed By – Gershwin
8. Nice Work If You Can Get It 3:00
Composed By – Gershwin
9. Ruby My Dear (Alternate Take) 3:03
Composed By – Mon
10. Ruby My Dear 3:05
Composed By – Monk
11. Well You Needn't 2:55
Composed By – Monk
12. Well You Needn't (Alternate Take) 2:52
Composed By – Monk
13. April In Paris (Alternate Take) 2:39
Composed By – Harburg, Duke
14. April In Paris 3:17
Composed By – Harburg, Duke
15. Off Minor 2:58
Composed By – Monk
16. Introspection 3:10
Composed By – Monk
17. In Walked Bud 2:54
Composed By – Monk
18. Monk's Mood 3:09
Composed By – Monk
19. Who Knows 2:40
Composed By – Monk
20. 'Round Midnight 3:09
Composed By – Monk
21. Who Knows (Alternate Take) 2:39
Composed By – Monk
Credits :
Alto Saxophone – Danny Quebec West (tracks: 1 to 6), Sahib Shihab (tracks: 17 to 21)
Bass – Bob Paige (tracks: 17 to 21), Gene Ramey (tracks: 1 to 16)
Drums – Art Blakey
Piano – Thelonious Monk
Trumpet – George Taitt (tracks: 17 to 21), Idrees Sulieman (tracks: 1 to 6)

THELONIOUS MONK — Genius of Modern Music, Vol. 2 (1952) RM | MONO | RVG Edition, Modern Jazz Series | Two Version | FLAC (tracks+.cue), lossless

The second volume in this two-disc series displays Thelonious Monk coming into his own fully as a leader. The program consists almost entirely of original compositions, and in fact it opens with two of his most difficult: "Four in One" (with its conventional bop intro that leads into a bizarre, repeated five-against-two quintuplet sequence) and the forbiddingly abstract "Criss Cross." Get through those and you'll eventually be rewarded with the relatively straightforward, blues-based "Straight No Chaser" and the sweet ballad "Ask Me Now," among other treats. Sidemen include the young trumpeter Kenny Dorham and bassist Al McKibbon, as well as a more clued-in Art Blakey and (replacing Blakey on half of the program) Max Roach. Sahib Shihab's sax tone is more appropriate this time out, and the production quality is somewhat better. This disc, along with Volume 1, belongs in every jazz collection. Rick Anderson
Tracklist :
1.    Four In One    3:27
 Thelonious Monk 
2.    Four In One (Alternate Take)    3:26
 Thelonious Monk 
3.    Criss Cross    2:55
 Thelonious Monk 
4.    Criss Cross (Alternate Take)    2:48
 Thelonious Monk 
5.    Eronel    3:01
 Thelonious Monk 
6.    Straight No Chaser    2:54
 Thelonious Monk 
7.    Ask Me Now (Alternate Take)    4:26
 Thelonious Monk 
8.    Ask Me Now    3:12
 Thelonious Monk 
9.    Willow Weep For Me  3:00
Written-By – Ann Ronnell
10.    Skippy    2:55
 Thelonious Monk 
11.    Skippy (Alternate Take)    3:07
 Thelonious Monk 
12.    Hornin' In (Alternate Take)    3:05
 Thelonious Monk 
13.    Hornin' In    3:07
 Thelonious Monk 
14.    Sixteen (First Take)    3:28
 Thelonious Monk 
15.    Sixteen (Second Take)    3:36
 Thelonious Monk 
16.    Carolina Moon  3:25
Written-By – Davis, Burke
17.    Let's Cool One    3:45
 Thelonious Monk 
18.    I'll Follow You  3:46
Written-By – Alhert, Turk
Credits :
Alto Saxophone – Lou Donaldson (tracks: 10 to 17), Sahib Shihab (tracks: 1 to 6, 9)
Bass – Al McKibbon (tracks: 1 to 9), Nelson Boyd (tracks: 10 to 18)
Drums – Art Blakey (tracks: 1 to 9), Max Roach (tracks: 10 to 18)
Piano – Thelonious Monk
Producer – Alfred Lion
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Lucky Thompson (tracks: 10 to 17)
Transferred By [Disc Transfers, 2001], Restoration [Digital Audio Restoration, 2001], Remastered By [Mastered By, 2001] – Rudy Van Gelder
Trumpet – Kenny Dorham (tracks: 10 to 17)
Vibraphone – Milt Jackson (tracks: 1 to 6, 9) 

BOBBY HUTCHERSON ft. HAROLD LAND — San Francisco (1970-2014) RM | SHM-CD Blue Note, The Masterworks Series | FLAC (tracks+.cue), lossless

Bobby Hutcherson's late-'60s partnership with tenor saxophonist Harold Land always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn't wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too. Joined by pianist/keyboardist Joe Sample (also of the Jazz Crusaders), acoustic/electric bassist John Williams, and drummer Mickey Roker, Hutcherson and Land cook up a series of spacious, breezy grooves that sound unlike any other record in the vibist's discography (even his more commercial fusion sessions). The selections -- all group-member originals -- often skirt the edges of fusion, but rarely play it as expected; they might float some spare tradeoffs over a loping, heavy bass groove, throw in an oboe solo by Land, or -- as on the slowest piece -- keep time only with intermittently spaced piano chords. It's all done with enough imagination and harmonic sophistication to achieve the rare feat of holding appeal for traditional jazz and rare-groove fans alike. It's a shame Hutcherson didn't explore this direction more, because San Francisco is not only one of his best albums, but also one of his most appealing and accessible. Steve Huey
Tracklist :
1.    Goin' Down South  7:08
Written-By – Joe Sample
2.    Prints Tie  7:30
Written-By – Bobby Hutcherson
3.    Jazz  5:26
Written-By – Joe Sample
4.    Ummh  7:49
Written-By – Bobby Hutcherson
5.    Procession  5:47
Written-By – Bobby Hutcherson
6.    A Night In Barcelona  7:24
Written-By – Harold Land
Credits :
Bass, Electric Bass [Fender Bass] – John Williams 
Drums – Mickey Roker
Piano, Electric Piano – Joe Sample
Producer – Duke Pearson
Tenor Saxophone, Flute, Oboe – Harold Land
Vibraphone [Vibes], Marimba, Percussion – Bobby Hutcherson

BLUE MITCHELL— Bring It Home To Me (1966-2014) RM | SHM-CD | Blue Note, The Masterworks Series | FLAC (tracks+.cue), lossless

Tracklist :
1.    Bring It Home To Me    7:58
 Jimmy Heath 
2.    Blues 3 For 1    6:04
 Blue Mitchell 
3.    Port Rico Rock    6:34
 Tom McIntosh 
4.    Gingerbread Boy    6:36
 Jimmy Heath 
5.    Portrait Of Jenny    5:39
 Gordon Budge / Russel Robinson 
6.    Blue's Theme    5:23
 Blue Mitchell 
Credits :
Bass – Gene Taylor
Drums – Billy Higgins
Piano – Harold Mabern Jr.
Producer – Alfred Lion
Recorded By – Rudy Van Gelder
Tenor Saxophone – Junior Cook
Trumpet – Blue Mitchell 

WAYNE SHORTER — Speak No Evil (1964) RM | Three Version | Blue Note CD Treasury 2800 – 24 + RVG Edition + SHM-CD Blue Note, The Masterworks | FLAC (image+.tracks+.cue), lossless

On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect "Fee-Fi-Fo-Fum," with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful "Wild Flower," a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    Witch Hunt    8:08
 Wayne Shorter 
2.    Fee-Fi-Fo-Fum    5:52
 Wayne Shorter 
3.    Dance Cadaverous    6:43
 Wayne Shorter 
4.    Speak No Evil    8:21
 Wayne Shorter 
5.    Infant Eyes    6:52
 Wayne Shorter 
6.    Wild Flower    6:03
 Wayne Shorter 
– BONUS TRACKS –
7.    Dance Cadaverous (Alt. Take)    6:35
8.    Witch Hunt (Alt. Take)    6:52
9.    Fee-Fi-Fo-Fum (Alt. Take)    5:59
Credits :
Bass – Ron Carter
Drums – Elvin Jones
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trumpet – Freddie Hubbard

DONALD BYRD — The Cat Walk (1961) RM | Three Version | The BN Works 4000 Series + RVG Edition + XRCD24 Series | FLAC (tracks+.cue), lossless

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams worked together on several recordings between 1958 and 1961, and The Cat Walk (released on LP in 1962) is among the best. A quintet setting, with pianist Duke Pearson (another longtime Byrd collaborator), bassist Laymon Jackson, and a lively Philly Joe Jones on drums joining the front line of Byrd and Adams, the sessions for The Cat Walk benefited from the writing and arrangement skills of Pearson, who contributes three compositions here, the impressive opener "Say You're Mine," "Duke's Mixture," and "Hello Bright Sunflower," which borrows its melodic structure from the opening bars of "Lullaby of Broadway" and features Byrd using a muted trumpet. Byrd contributed the title track, which attempts to capture the coiled, taut, but somehow still relaxed and assured gait of a tomcat, thanks in no small part to Jones' inspired drumming which hits the mark with stops and turns and smooth run-outs that are indeed very feline in nature. Byrd's playing throughout is typically sleek and lyrical, and Adams' sturdy, husky baritone sound is the perfect counterbalance, making The Cat Walk an essential Byrd purchase. Steve Leggett
Tracklist :
1.    Say You're Mine  7:22
Written-By – Duke Pearson
2.    Duke's Mixture  7:07
Written-By – Duke Pearson
3.    Each Time I Think Of You  5:42
Written-By – Donald Byrd, Duke Pearson
4.    The Cat Walk 6:46
Written-By – DonaldByrd
5.    Cute  6:23
Written-By – Neal Hefti
6.    Hello Bright Sunflower  7:39
Written-By – Duke Pearson
Credits :
Baritone Saxophone – Pepper Adams
Bass – Laymon Jackson
Drums – Philly Joe Jones
Piano – Duke Pearson
Producer – Alfred Lion
Recorded By – Rudy Van Gelder
Trumpet – Donald Byrd 

JEFF LORBER — He Had A Hat (2007) Two Version | FLAC (image+.tracks+.cue), lossless

A sophisticated showcase for his varied jazz styles, Jeff Lorber's He Had a Hat finds the pianist moving from softly funky pop-jazz numbers to a few straight-ahead swingers. Always an urbane and tasteful musician, Lorber has often found a good balance between contemporary pop oriented material and more cerebral improvisational cuts, and He Had a Hat is a prime example of this duality. To these ends, tracks like the title cut and the frenetic "Surreptitious" evince a kind of Tower of Power meets Brecker Brothers funk. Fittingly, trumpeter Randy Brecker adds his supple chops to the latter track. Similarly engaging big-band numbers like "All Most Blues" and the afterglow ballad "Orchid" bring to mind both early- and late-period Miles Davis, respectively. Also joining Lorber here are a bevy of name artists including trumpeter Chris Botti, vocalist Paula Cole, saxophonist Gerald Albright, and many others.This CD was nominated for a Grammy award in 2007 for Best Contemporary Jazz Album. Matt Collar
Tracklist :
1.    Anthem For A New America    3:48
2.    He Had A Hat  4:34
Horns, Tenor Saxophone – Kirk Whalum
Trombone – Jacques Voyemant
3.    Grandma's Hands  4:07
Alto Saxophone – Gerald Albright
Featuring [Vocals], Vocals – Eric Benet
Guitar – Paul Brown
Horns [Section] – Tom Scott
Tambourine – Lenny Castro
4.    Surreptitious  4:10
Tenor Saxophone – Ada Rovatti
Trumpet – Randy Brecker
5.    All Most Blues  4:24
Alto Saxophone – Tom Scott
6.    Orchid  3:53
Tenor Saxophone – Bob Sheppard
Trumpet – Chris Botti
7.    BC Bop    2:28
8.    The Other Side Of The Heart  5:35
Featuring [Vocals], Vocals – Eric Benet, Paula Cole
9.    Hudson  3:58
Tenor Saxophone – Bob Sheppard
10.    Super Fusion Unit    3:52
11.    Eye Tunes    3:50
12.    Requiem For Gandalf    3:44
13.    Burn Brightly  3:52
Guitar – Russell Malone
Recorded By [Guitar] – Kevin Killen
Credits :
Alto Flute – Bob Sheppard (tracks: 5, 10, 12), Jeff Driskoll (tracks: 5, 10, 12)
Arranged By [Horns] – Bobby Colomby (tracks: 7, 9, 11, 13), Jeff Lorber (tracks: 2, 4, 7, 9 to 11, 13), Randy Brecker (tracks: 4), Teddy Mulet (tracks: 4), Tom Scott (tracks: 3, 5)
Bass – Alex Al (tracks: 2 to 4, 8 to 10, 13), Brian Bromberg (tracks: 1, 5 to 7, 11, 12)
Bass Clarinet – John Mitchell (tracks: 5, 10, 12)
Bass Trombone – Craig Gosnell (tracks: 5, 10, 12), Jens Wendelboe (tracks: 4, 7, 9, 11, 13)
Drums – Abraham Laboriel, Jr (tracks: 1 to 3, 8, 9), Dave Weckl (tracks: 4, 10, 13), Vinnie Colaiuta (tracks: 5 to 7, 11, 12)
Featuring – The Krim Symphonic Orchestra (tracks: 1, 8)
Flugelhorn – Steve Jankowski (tracks: 4, 7, 9, 11, 13), Teddy Mulet (tracks: 4, 7, 9, 11, 13)
Flute – Bob Sheppard (tracks: 5, 10, 12), Hubert Laws (tracks: 9, 11)
French Horn – Richard Todd (tracks: 5, 10, 12), Steve Durnin (tracks: 5, 10, 12)
Guitar – Paul Jackson, Jr (tracks: 2 to 4, 8, 10)
Keyboards – Jeff Lorber
Orchestrated By – Jeremy Lubbock (tracks: 1, 8)
Percussion – Lenny Castro (tracks: 2, 9, 10, 12, 13)
Saxophone – Tom Timko (tracks: 4, 7, 9, 11, 13)
Trombone – Bob McChesney (tracks: 5, 10, 12), Jens Wendelboe (tracks: 4, 7, 9, 11, 13)
Trumpet – Gary Grant (tracks: 5, 10, 12), Steve Jankowski (tracks: 4, 7, 9, 11, 13), Teddy Mulet (tracks: 4, 7, 9, 11, 13) 

THE JAZZ MESSENGERS ft. ART BLAKEY — Ritual (1957-1988) FLAC (tracks+.cue), lossless

Interesting, uneven '57 date that contains a lengthy drum piece by Blakey. This was not his greatest group, although alto saxophonist Jackie McLean was among the hardest blowers he ever employed. Bassist Spanky Debrest and trumpeter Bill Hardman were good musicians, but a notch below the others who filled their roles in future Messenger editions. Ron Wynn
Tracklist :
1.    Little T  8:45
Written-By – Donald Byrd
2.    Exhibit A  6:45
Written-By – A. Blakey, L. Sears
3.    Scotch Blues  8:34
Written-By – Duke Jordan
4.    Once Upon A Groove  8:38
Written-By – Owen Marshall
5.    Sam's Tune  5:48
Written-By – Sam Dockery
6.    Touche 6:15
Written-By – Mel Waldron
7.    Wake Up 5:06
Written-By – Leo Sears
8.    Art Blakey's Comments On Ritual    1:54
9.    Ritual  9:45
Written-By – Art Blakey
Credits :
Art Blakey - Drums
Bill Hardman - Trumpet
Spanky DeBrest - Bass
Sam Dockery - Piano
Jackie McLean - Alto Sax

LENA HORNE — An Evening with Lena Horne (1995) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Is difficult not to love Lena Horne. Recorded when she was 77, this live CD finds the ageless singer sounding as if she were 57 at the most (and the photo of her on the cover makes her look 47). Horne talks the lyrics a little more than in the past but she cuts loose in spots with power, performs superior standards, takes part of a Duke Ellington/Billy Strayhorn medley as a duet with bassist Ben Brown and is not shy to hold long notes. on six of the songs 11 horns from the Count Basie Orchestra riff and play harmonies behind her; otherwise Horne is joined by her usual quartet with pianist Mike Renzi and guitarist Rodney Jones. The well-rounded set is Lena Horne's most rewarding recording in years. Scott Yanow
Tracklist :
1.    I Come Runnin' 3:08 
2.    Maybe 2:47 
Billy Strayhorn
3.    I've Got the World on a String 4:56 
Harold Arlen / Ted Koehler
4.    Old Friend 3:13 
Stephen Sondheim
5.    Something to Live For 5:12 
Duke Ellington / Billy Strayhorn
6.    Mood Indigo 1:11 
Barney Bigard / Duke Ellington / Irving Mills
7.    Squeeze Me 1:20 
Fats Waller / Clarence Williams
8.    Do Nothin' Till You Hear from Me 4:21 
Duke Ellington / Bob Russell
9.    Yesterday, When I Was Young 5:45 
Charles Aznavour / Herbert Kretzmer
10.    How's Your Romance? 1:50 
Cole Porter
11.    Why Shouldn't I? 2:56 
Cole Porter
12.    Ours 2:50 
Cole Porter
13.    Just One of Those Things 3:27
Cole Porter
14.    We'll Be Together Again 1:24 
Carl Fischer / Frankie Laine
15.    Watch What Happens 3:36 
Norman Gimbel / Michel Legrand
16.    The Lady Is a Tramp 3:04 
Lorenz Hart / Richard Rodgers
17.    [Untitled Track] 3:05
Credits :
Alto Saxophone, Flute – Danny Turner (tracks: 1, 8, 9, 14, 16)
Baritone Saxophone – John Williams (tracks: 1, 8, 9, 14, 16)
Bass – Ben Brown
Drums – Akira Tana
Guitar – Rodney Jones
Orchestra – Count Basie Orchestra (tracks: 1, 8, 9, 14, 16)
Piano, Synthesizer – Mike Renzi
Tenor Saxophone, Flute – Doug Miller (tracks: 1, 8, 9, 14, 16), Kenny King (tracks: 1, 8, 9, 14, 16)
Trombone – Bill Hughes (tracks: 1, 8, 9, 14, 16), Clarence Banks (tracks: 1, 8, 9, 14, 16), Melvin Wanzo (tracks: 1, 8, 9, 14, 16)
Trumpet, Flugelhorn – Bob Ojeda (tracks: 1, 8, 9, 14, 16), Michael Williams (tracks: 1, 8, 9, 14, 16), Derrick Gardener (tracks: 1, 8, 9, 14, 16), Scotty Barhart (tracks: 1, 8, 9, 14, 16)
Vocals – Lena Horne

PAT MARTINO — Live at Yoshi's (2001) Two Version | APE + FLAC (image+.tracks+.cue), lossless

With Live at Yoshi's, his 20th recording as a leader and third release for the Blue Note label, the legendary Pat Martino has come full circle. Accompanied by Joey DeFrancesco on Hammond B-3 and Billy Hart on drums, the hard bop and funky soul-jazz of this trio are sure to please enthusiasts of the guitar, organ, and drum trio. Martino, heir to Wes Montgomery's warm, bluesy guitar style, plays eight great compositions, including two great extended versions of the classic Miles Davis compositions "All Blues" and "Blue in Green." On "All Blues," creative guitar voice plays the melody with soulful interpretations and subtle musical resonance. Martino's version of "Blue in Green" creates a world of melancholy and the guitarist plays his guitar with the same sweet sadness as Miles did with the support of DeFrancesco's organ solo adding additional shades of emotion. The songs selected for this "live" performance recording also appear on previously recorded Martino projects, including his 1970 Desperado album and his 1998 Stone Blue CD. However, listeners now receive the benefit of having the set performance available in real time. From the sound of the audience on Live at Yoshi's, the guitar sage's head-spinning dexterity and cool tones on "Catch" are more spirited than ever, and after listening to this CD, you'll be inclined to agree. Paula Edelstein  
Tracklist :
1     Oleo 6:59
Sonny Rollins
2     All Blues 12:02
Miles Davis
3     Mac Tough 10:02
Pat Martino
4     Welcome to a Prayer 10:30
Pat Martino
5     El Hombre 10:29
Pat Martino
6     Recollection 7:57
Pat Martino
7     Blue in Green 7:10
Miles Davis / Bill Evans
8     Catch 11:05
Pat Martino
Credits :
Drums – Billy Hart
Guitar – Pat Martino
Organ [Hammond B-3] – Joey DeFrancesco

JUNKO ONISHI TRIO — Live At The Village Vanguard (1994) FLAC (tracks+.cue), lossless

This is a memorable set. When pianist Junko Onishi performs songs from the likes of Charles Mingus ("So Long Eric"), John Lewis ("Concorde"), and Ornette Coleman ("Congeniality"), she interprets each of the tunes as much as possible within the intent and style of its composer. "So Long Eric," although performed by her trio, gives one the impression at times that several horns are soloing together; in addition, polyrhythms are utilized part of the time, Ornette's "Congeniality" has a strong pulse but fairly free improvising, while "Concorde" sounds both distinguished and full of blues feeling, like John Lewis himself. Onishi's exploration of "Blue Skies" uplifts the warhorse through the use of colorful vamps and an altered melody, she takes the slow ballad "Darn That Dream" as a medium-tempo stomp, and her original, "How Long Has This Been Goin' On," is brooding but not downbeat and swings hard without losing its serious nature. There is not a weak selection in the bunch and the interplay between Onishi, bassist Reginald Veal, and drummer Herlin Riley is quite impressive. Scott Yanow
Tracklist :
1.    So Long Eric 8:27
Written-By – Charles Mingus
2.    Blue Skies 9:16
Written-By – Irving Berlin
3.    Concorde 6:32
Written-By – John Lewis 
4.    How Long Has This Been Goin' On 10:45
Written-By – Junko Onishi
5.    Darn That Dream 6:31
Written-By – Eddie De Lange, Jimmy Van Heusen
6.    Congeniality 14:02
Written-By – Ornette Coleman
Credits :
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Junko Onishi

JUNKO ONISHI TRIO — Live At The Village Vanguard II (1994) FLAC (tracks), lossless

Tracklist :
1.    The House Of Blue Lights 9:19
Written-By – Gigi Gryce
2.    Never Let Me Go 10:27
Written-By – Jay Livingston-Ray Evans
3.    Brilliant Corners 10:24
Written-By – Thelonious Monk
4.    Ringo Oiwake 20:29
Written-By – Fujio Ozawa, Masao Yoneyama
5.    Tea For Two 5:45
Written-By – Irving Caesar, Vincent Youmans
Credits :
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Junko Onishi

BILL CHARLAP · RENEE ROSNES – Double Portrait (2010) FLAC (tracks+.cue), lossless

Pianists Bill Charlap and Renee Rosnes married in 2007, so the had plenty of time to practice for this duo piano date, since they have twin grand pianos in their apartment and have played a few gigs together as well. Both of them have long résumés as leaders and in support of other musicians. Recorded at the 92nd Street Y in New York City (where Charlap took over the reins from Dick Hyman for Jazz in July series a few years earlier), the husband-and-wife team put together a wide-ranging set list. Their arrangement of fusion keyboardist Lyle Mays' "Chorinho" is a brilliant opener, crackling with its infectious Brazilian rhythm. The soft emotional setting of "My Man's Gone Now" proves haunting; the quiet interpretation of Gerry Mulligan's tender ballad "Little Glory" suggests parents watching a sleeping infant; their rendition of Wayne Shorter's "Ana Maria" shimmers with a subtle energy; and Rosnes' "The Saros Cycle" sounds as if it were written for film, suggesting a journey. Although some writers and musicians dismiss two piano meetings as a mere gimmick, this session by proves that two pianists who are in sync with one another's thoughts can produce timeless music. No time should be wasted in scheduling a follow-up Ken Dryden
Tracklist  :
1.    Chorinho    3:57
2.    Double Rainbow    5:04
3.    Ana Maria    8:56
4.    The Saros Cycle    4:27
5.    My Man's Gone Now    8:35
6.    Dancing In The Dark    5:03
7.    Inner Urge    5:15
8.    Little Glory    4:15
9.    Never Will I Marry    4:26
Credits :
Painting [Cover Painting] – Marc Chagall
Piano [Uncredited], Producer – Bill Charlap, Renee Rosnes

BOBBI HUMPREY — Dig This! (1972) RM | Two Version | Blue Note, The Masterworks Series | FLAC (tracks+.cue), lossless

Dig This, recorded and released in 1972, is the second of Bobbi Humphrey's seven Blue Note albums; it is also her sophomore recording. The album was produced by then-label president George Butler. He had signed Humphrey and helmed her debut, Flute In, the previous year. Recorded at A&R Studios, the young flutist was teamed with bassists Ron Carter and Wilbur Bascomb, Jr., powerhouse drummer Alphonse Mouzon, guitarists David Spinozza and William Fontaine, and keyboardists Harry Whitaker and Paul Griffin. While the album’s formula didn’t deviate that much from her debut -- an easy, tasty balance of soul, pop, and jazz tunes -- the material, production, and Humphrey’s confidence all stand out here. Check her reading of Bill Withers' “Lonely Town, Lonely Street,” as she stretches the melody to meet Bascomb's and Spinozza’s funky grooves. While strings swoop and hover, threatening to overtake the mix, her plaintive style goes right at them with meaty, in-the-pocket phrasing. Her version of Whitfield and Strong’s “Smiling Faces Sometimes” is well-known in pop culture for the sample that appeared on Common’s “Puppy Chow,” but taking the tune in full, Humphrey’s gift as a soloist is revealed in full, as she winds around and through funky clavinets, Rhodes, strings, guitars, and Mouzon’s popping snare. The reading of Stevie Wonder's “I Love Every Little Thing About You,” with its bubbling basslines and Humphrey’s understatement of the melody, make this a bright, shining jazz-funk number. “El Mundo de Maravillas (A World of Beauty),” is one of two fine Mouzon compositions to appear here, this one commences with a cello in a spacy, soulful ballad that showcases Humphrey’s classical chops before it moves into funk terrain and then back again. The set closer is a souled-out reading of Kenny Barron's “Nubian Lady,” with chunky guitars, Bascomb’s Fender bass, shuffling drums, and Humphrey adding air and space to the knotty groove. While Dig This is not the revelation that Blacks and Blues is (it appeared two years later), it is nonetheless a stone killer example of jazz-funk in its prime, and should be considered an essential part of the canon.

-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1. Lonely Town, Lonely Street 4:35  
(Bill Withers) 
2. Is This All? 3:43
(Henry Johnson) 
3. Smiling Faces Sometimes 6:19
 (Barrett Strong-Norman Whitfield) 
4. Virtue 4:28
(Alphonse Mouzon) 
5. I Love Every Little Thing About You 4:19
(Stevie Wonder) 
6. Love Theme from "Fuzz" 3:47
(Dave Grusin) 
7. Eo Mundo de Maravillas (A World of Beauty) 7:31
 (Alphonse Mouzon) 
8. Nubian Lady 4:47
(Kenny Barron) 
Credits :
Bobbi Humphrey - Flute
George Marge - Oboe, English Horn
Seymour Berman, Paul Gershman, Irving Spice, Paul Winter - Violin
Julian Barber (Viola), Seymour Barab (Cello), Eugene Bianco (Harp)
Harry Whitaker (Electric Piano), Paul Griffin (Electric Piano, Clavinet)
William Fontaine, David Spinozza - Guitar
Ron Carter - Bass
Wilbur Bascomb Jr. - Electric Bass
Alphonse Mouzon - Drums, Bell Tree, Arranger
Warren Smith (Percussion)
Wade Marcus, Horace Ott - Arranger

FREDDIE HUBBARD — Hub Cap (1961) RM | Three Version | SACD, Hybrid | RVG Edition | The Blue Note Reissues Series | APE + FLAC (image+.tracks+.cue), lossless

On Hub Cap, his third effort as a leader, Freddie Hubbard sticks to the tried-and-true hard bop formula, which is something of a mixed blessing. There's no question that much of this music is enjoyable, but it's not quite up to the standards of its two predecessors. Part of the problem is Hubbard's sextet, which features tenor saxophonist Jimmy Heath, trombonist Julian Priester, pianist Cedar Walton, bassist Larry Ridley, and drummer "Philly" Joe Jones. All of the musicians are talented, but only a few are inventive, and that becomes a problem, since it becomes clear that Hubbard is beginning to break free from his influences and develop his own style. In other words, he's capable of more adventurous music than this straight-ahead hard bop. That said, Hub Cap is a very good hard bop date. There is energy to the performances, and the artist's vigorous, inspired playing continues to impress, as do some of his original compositions. Only when compared to Hubbard's first two records, or what would come later, does Hub Cap seem like a lesser effort. Stephen Thomas Erlewine
Tracklist :
1 Hub Cap 5:17
Written-By – Freddie Hubbard
2 Cry Me Not4:48
Written-By – Randy Weston
3 Luana 10:06
Written-By – Freddie Hubbard
4 Osie Mae 6:53
Written-By – Freddie Hubbard
5 Plexus 9:03
Written-By – Cedar Walton
6 Earmon Jr. 6:18
Written-By – Freddie Hubbard
Credits :
Bass – Larry Ridley
Drums – Philly Joe Jones
Piano – Cedar Walton
Tenor Saxophone – Jimmy Heath
Trombone – Julian Priester

BOBBI HUMPHREY — Flute-In (1971) RM | Two Version | SHM-CD | Blue Note, The Masterworks Series | APE + FLAC (image+.tracks+.cue), lossless

A landmark signing, Bobbi Humphrey was the first female ever signed by Blue Note Records. Her debut pays homage to songs popularized by others, no original material made it pass the drawing board. The petite flautist from Texas sticks to tradition on covers of "Ain't No Sunshine," and "It's Too Late," her flute conveying the songs' sentiment, and sadness as convincingly as any voice in music. Jazz roots spar with funk and soul influences on Lee Morgan's "Sidewinder," and Eddie Harris' "Set Me Free." The fight continues on Ben E. King's "Spanish Harlem," and which has more bounce and rhythm than the original. Bobbi displays dexterity and power throughout her coming out, mainstream LP. Andrew Hamilton
Tracklist :
1. Ain't No Sunshine 2:30
 Bill Withers
2. It's Too Late 3:05
 Carole. King / Tony Stern

3. Sidewinder 6:13
 Lee Morgan
4. Sad Bag 5:05
 Dick Griffin
5. Spanish Harlem 3:45
 Jerry Leiber / Phil Spector
6. Don't Knock My Funk 4:36
 W. Marcus Bey
7. Set Us Free 5:48
 W. Marcus Bey
Credits :
Bobbi Humphrey - Flute
Billy Harper - Sax Tenor
Lee Morgan - Trumpet
Gene Bertoncini - Guitar
Hank Jones, Frank Owens - Piano
Gordon Edwards, George Duvivier - Bass
Idris Muhammad, Jimmy Johnson Jr. - Drums
George Devens - Marimba, Percussion, Vibraphone
Ray Armando - Conga

DEXTER GORDON — Dexter Calling ... (1961) Three Version (1987, Blue Note – CDP 7 46544 2 US) + (2004, RM | RVG Edition Series) + (2008, RM | SACD, Hybrid | The Blue Note Reissues Series) WV + FLAC (image+.tracks+.cue), lossless

Dexter Gordon's second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. Where Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. "The End of a Love Affair" takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn. The remarkable "Modal Mood" combines hard bop with Drew's three-chord piano repetitions and Gordon's soulful, simplified sax, while the equally impressive "Clear the Dex" steamrolls the competition as the band -- cued by Jones -- skillfully pushes or pull tension and release elements, then busts loose into joyous swinging in a true signature tune that is immediately recognizable as only the long, tall tenor man. The sad ballad "Ernie's Tune" is based on a yin/yang theme via Freddie Redd's stage play The Connection and the crazy character that ran wild or tame. The excellent band, solid musicianship, and memorable music on every track make this one of the more essential recordings of Gordon's career. Michael G. Nastos
Tracklist :
1. Soul Sister - 7:45
 Dexter Gordon
2. Modal Mood - 5:23
Kenny Drew
3. I Want More - 5:20
 Dexter Gordon
4. The End of a Love Affair - 6:53
Edward Redding
5. Clear the Dex - 4:54
Kenny Drew
6. Ernie's Tune - 4:16
 Dexter Gordon
7. Smile - 3:23
Charlie Chaplin
– BONUS TRACK –
8. Landslide - 5:15
 Dexter Gordon
Credits :
Dexter Gordon - Tenor Saxophone
Kenny Drew - Piano
Paul Chambers - Bass
Philly Joe Jones - Drums