RAVI COLTRANE — Spirit Fiction (2012) FLAC (tracks+.cue), lossless

Despite the metaphysical suggestion in Spirit Fiction's title, this is Ravi Coltrane's most cerebral, process-oriented recording to date. This does not mean, however, that his debut offering for Blue Note Records is dry or academic. There is an abundance of emotion and sensual detail, most of it expressed gently, with the confidence -- and authority -- of a veteran bandleader. Coltrane employs two lineups on the date. First is his longstanding quartet with pianist Luis Perdomo, bassist Drew Gress, and drummer E.J. Strickland. The other is the quintet that appeared on 2000's Round Box: trumpeter Ralph Alessi, pianist Geri Allen, bassist James Genus, and drummer Eric Harland. Coltrane composed six pieces for this session and Alessi, three. There are also readings of Ornette Coleman's "Check Out Time" and Paul Motian's "Fantasm." Spirit Fiction was produced by saxophonist Joe Lovano, who appears on cover tunes. Coltrane's vision of process gets a bold workup here on three tunes. "Roads Cross" is jarring at first, head-to-head knotty, yet it jells about two minutes in. Here and on the seventh cut, conversely named "Cross Roads," the feel is similar. This is because the quartet was recorded as two separate duos playing the tune simultaneously and then mixing them together. The title track offers a further exploration of this technique, but this time, the duos recorded the piece separately and were dubbed on top of one another. In each case, Coltrane's process theory -- using the studio as a fifth member -- actually creates additional strategic possibilities not only of color and texture, but for improvisation. Other highlights are more organic in approach, the gorgeous original ballad "The Change, My Girl" provides a delicate, intricate Coltrane solo full of grace and elegance. Alessi's "Klepto" is a solid, swinging, post-bop groover. On the trumpeter's "Yellow Cat," Coltrane displays his exceptionally well-developed skills as an accompanist. The interplay between Lovano and Coltrane on "Check Out Time" is instinctive, full of delightful dialogue, and a fine contrast in harmonic ideas with stellar playing by Allen. On closer "Marilyn & Tammy," Coltrane's soprano reveals his father's influence in the building of arpeggios, yet the sense of compositional mapmaking is his own. Spirit Fiction is a confident next step for the saxophonist; its execution and ambition offer a glance at where he's been, but more importantly, a solid look at where he's going.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Roads Cross 5:04
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
2    Klepto 7:30
Written-By – Ralph Alessi
3    Spirit Fiction 2:28
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
4    The Change, My Girl 6:46
Written-By – Ravi Coltrane
5    Who Wants Ice Cream 6:32
Written-By – Ralph Alessi
6    Spring & Hudson 2:21
Written-By – Ravi Coltrane
7    Cross Roads 4:03
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
8    Yellow Cat 6:50
Written-By – Ralph Alessi
9    Check Out Time 7:26
Written-By – Ornette Coleman
10    Fantasm 4:08
Written-By – Paul Motian
11    Marilyn & Tammy 5:42
Written-By – Ravi Coltrane
Credits :
Bass – Drew Gress (tracks: 1, 3, 4, 7, 11), James Genus (tracks: 2, 5, 8, 9)
Drums – E.J. Strickland (tracks: 1, 3, 4, 6, 7, 11), Eric Harland (tracks: 2, 5, 8, 9)
Piano – Geri Allen (tracks: 2, 5, 8 to 10), Luis Perdomo (tracks: 1, 3, 4, 7, 11)
Tenor Saxophone – Joe Lovano (tracks: 9, 10)
Tenor Saxophone, Soprano Saxophone – Ravi Coltrane
Trumpet – Ralph Alessi (tracks: 2, 5, 8, 9)

REUBEN WILSON — Set Us Free (1971-2008) RM | Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless

Set Us Free, Reuben Wilson's final album for Blue Note, was issued in 1971. Since that time it has become an immortal and much sought classic by beatheads for a single track: "We're in Love." DJ Premier sampled it liberally -- for its Hammond B-3 vamps, backing vocals, and decorative percussion -- for use on rapper Nas' smash "Memory Lane." Hip-hop fans suddenly had to hear more, and as a result not only is Wilson active again on the circuit, but there has also been terrific interest in his catalog. Not only did Blue Note's Michael Cuscuna reissue this all but forgotten nugget for the label's killer Rare Groove series (before August 2008 it had never been available on CD in America), but Chicago's Dusty Groove re-released 1975's funky Cadet burner Got to Get Your Own during the same month. Set Us Free stands almost completely outside the space inhabited by the rest of Wilson's Blue Note titles. Produced by the late George Butler, it's a wildly textured and seamless aural meld of gritty B-3 jams, smooth yet psychedelic soul, rock, pop, and funk. Wilson and Butler employed a killer band for this date that included reedman Jerome Richardson, bassist Richard Davis, guitarist David Spinozza (who also plays some electric sitar on the date), drummer Jimmy Johnson, conguero Ray Armando, percussionist Specs Powell, and Gene Bianco on harp; the entire proceeding was arranged by the great Wade Marcus.

Vocal arranger Jimmy Briggs was brought in to write charts for a female backing chorus on a funky Latinized blues version of "Mr. Big Stuff," the lush psych-soul babymaker "We're in Love," and Marvin Gaye's "Mercy, Mercy, Mercy (The Ecology)." This isn't to say that there aren't slamming organ jams on the set; Marcus' "Right on with This Mess" makes that abundantly clear. That said, even on these back-to-basics numbers, Wilson's B-3 may be up front and slamming, but Richardson's sweet soprano saxophone (which, to be fair, wails in its solo), the warm guitar lines, and the congas add depth and dimension -- even while Johnson's drums are breaking all over the place. The title track, written by Eddie Harris, is smooth instrumental soul at its best -- Richardson's soprano and the hand drums are up front with Davis' slowly rolling bassline and the hand drums. But it cuts loose in places, with Wilson adding textural flourishes in his solo rather than soaring above the mix. The closest thing to the hard bopping blues Wilson's other recording showcased are sections of the closer, "Tom's Thumb," but even here, with its harp adornment, augmented major sevenths by Spinozza, and the shuffling one-two one-two of Johnson, this comes off as exotic -- especially with the wonderful percussion section laying in the cut as he breaks often and true. Wilson is the only one letting it rip. Yet somehow, this ambitious, lushly orchestrated album not only sounds current, but still ahead of its time. Highly recommended.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Set Us Free 5:08
Written-By – Eddie Harris
2 We're In Love 3:27
Written-By – P. Barsella, R. Wilson
3 Sho-Nuff Mellow 4:32
Written-By – Reuben Wilson
4 Mr. Big Stuff 4:37
Written-By – C. Washington, J. Broussard, R. Williams
5 Right On With This Mess 4:38
Written-By – W. Marcus Bey
6 Mercy, Mercy, Me (The Ecology) 3:39
Written-By – Marvin Gaye
7 Tom's Thumb 5:30
Written-By – Reuben Wilson
Credits :
Arranged By – Wade Marcus
Arranged By [Vocals] – Jimmy Briggs (tracks: 2, 4, 6)
Bass – Richard Davis
Congas – Ray Armando
Drums – Jimmy Johnson
Guitar, Sitar – David Spinozza
Harp – Gene Bianco
Organ – Reuben Wilson
Percussion – Gordon (Spec) Powell
Soprano Saxophone, Tenor Saxophone – Jerome Richardson
Vocals [Essence] – Mildred Brown (tracks: 2, 4, 6), Naomi Thomas (tracks: 2, 4, 6), Rosalyn Brown (tracks: 2, 4, 6)

BOBBI HUMPHREY — Fancy Dancer (1975-2008) RM | Blue Note Rare Groove Series | Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

The third and final collaboration between flutist Bobbi Humphrey and Larry Mizell also marked the end of Humphrey's five-album run with Blue Note Records. Humphrey began recording with Larry and his brother Fonce (who provides arrangements and plays clavinet and trumpet here) in the aftermath of Donald Byrd's Black Byrd, the collaborative jazz-funk effort that resulted in a massively successful (and influential) commercial breakthrough for the trumpeter and the label. While not as well known as her Blacks and Blues album, her stellar debut with the pair from 1973, Fancy Dancer is every bit its aesthetic equal. The Mizells lined up a serious crew of studio aces for the date, including trumpeter Oscar Brashear; trombonist Julian Priester; Tyree and Roger Glenn on saxophone and piano, respectively; pianists Skip Scarborough and Jerry Peters (who were part of an army of them on this date); drummer Harvey Mason; bassist Chuck Rainey; and even the great Dorothy Ashby on harp. Recorded at their Sound Factory studio in Los Angeles, Fancy Dancer is a seamless collection of seven tracks that cruise the distance across soulful fusions of funk, Latin grooves, electric jazz, and gauzy vocal choruses that offer a hint as to what the underground dancefloor scenes of Los Angeles and New York were offering in at the predawn of the disco era. Humphrey's flute playing feels effortless as she hovers around and plays through the layers of spacy keyboards, shimmering rhythmic pulses, and seductive textures provided by lilting voices, hand percussion, and breaks. The set comes popping out of the gate with the glorious "Uno Esta," featuring bank upon bank of warm bubbling keyboards, roiling basslines, and hand drums courtesy of Mayuto Correa's congas. Craig McMullen and John Rowin contribute some bright chunky guitars, and Larry lays a fine horn chart in the cut as Humphrey begins the first of three solo breaks. When the chorus comes in, the rhythm shifts; the vibe get funkier but never loses the sheen and polish in the mix.

Following this is the stunning Chuck Davis number "The Trip." Commencing with a cut-time funk break, wah-wah guitars, and three different synth harmonic lines all painting a nocturnal spaced-out groove, Humphrey begins to play fills around and through them. A Rhodes enters and the drums become more pronounced in the mix, just as a guitar begins to play contrapuntal fills under her flute. This is one of the greatest tracks in her catalog because it is simultaneously dreamy and sensual and offers enough head-nodding funk to seduce an army. The title track feels more laid-back at first with its gentle chorus. But some flipped-out psychedelic soul finds its way through in waves of Latin percussion that build a shelf under Roger Glenn's vibes break, which in turn sets up Humphrey's burning flute solo prefiguring a salsa piano line and furious hand drumming in syncopated grooves. "Mestizo Eyes" is a steamy, lusty babymaker with simmering, ratcheted intensity as Rainey's fat-bottom electric Fender bassline belies the chunky wah-wah guitars and synth strings and Dorothy Ashby's harp floats through the center. A chorus of male voices softly chants the title and Humphrey goes to town, rhythmically undulating her solo through the entire mix. There isn't anything approaching a middling moment here -- this is all killer, no filler. Jazz critics may have had their troubles with this set, but no one cared; Humphrey and the Mizells were creating a new kind of largely instrumental funk that was inclusive of everything they could weave in from world music to soul-jazz to club music to pop -- and the public responded.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Uno Esta 6:40
Arranged By – Fonce Mizell & Larry Mizell
Written-By – L. Mizell
2 The Trip 5:36
Arranged By – Chuck Davis, Skip Scarborough
Piano – Chuck Davis
Written-By – C. Davis, D. Jones
3 You Make Me Feel So Good 6:12
Arranged By – Fonce Mizell & Larry Mizell
Written-By – F. Mizell-L. Mizell
4 Fancy Dancer 5:42
Written-By, Arranged By – Jerry Peters
5 Mestizo Eyes 4:49
Arranged By – Fonce Mizell & Larry Mizell
Written-By – L. Mizell-F. Mizell, W. Jordan
6 Sweeter Than Sugar 4:20
Whistle – James Carter 
Written-By, Arranged By – Chuck Davis, Skip Scarborough
7 Please Set Me At Ease 6:05
Arranged By – Fonce Mizell & Larry Mizell
Written-By – F. Mizell-L. Mizell, Ruby Mizell
Credits :
Arranged By [Background Vocal] – Larry Mizell, Fonce Mizell
Bass – Chuck Rainey
Clavinet, Synthesizer [Solina], Trumpet – Fonce Mizell
Conductor – Fonce Mizell, Larry Mizell, Sigidi
Congas – Mayuto Correa
Drums – Harvey Mason
Flute, Vocals – Bobbi Humphrey
Guitar – Craig McMullen, John Rowin
Harp – Dorothy Ashby
Marimba, Vibraphone – Roger Glenn
Piano, Electric Piano [Fender Rhodes], Clavinet – Skip Scarborough
Piano, Electric Piano [Fender Rhodes], Synthesizer [Arp] – Jerry Peters
Piano, Synthesizer [Solina, Arp], Electric Piano [Fender Rhodes] – Larry Mizell
Tenor Saxophone – Tyree Glenn, Jr.
Trombone – Julian Priester
Trumpet – Oscar Brashear
Vocals – Augie Rey, Bobbi Humphrey, Fonce Mizell, Jesse Acuna, Katherine Lyra, Larry Mizell, Rosario Davila, Sónia Tavares

JUNKO ONISHI TRIO — Cruisin' (1993) FLAC (tracks+.cue), lossless

On her debut, pianist Junko Onishi (who is accompanied by bassist Rodney Whitaker and drummer Billy Higgins) shows a great deal of creativity. She builds up her "Eulogia" gradually and colorfully with impressive use of the piano's lower register. When she tackles Ornette Coleman's "Congeniality," Onishi manages to be both free and melodic and the pianist also comes up with something fresh to say on "Caravan." In general her tricky frameworks, self-restraint, use of space and careful attention to dynamics and pacing are impressive and show quite a bit of maturity. Scott Yanow
Tracklist:
1 Eulogia 8:58
Written By – Junko Onishi
2 The Shepherd 6:03
Written By – Duke Ellington
3 Summertime 7:50
Written By – DuBose Heyward, George Gershwin
4 Congeniality 11:15
Written By – Ornette Coleman
5 Melancholia 2:32
Written By – Duke Ellington
6 Caravan 6:21
Written By – Duke Ellington, Irving Mills, Juan Tizol
7 Roz 7:58
Written By – Rodney Whitaker
8 Switchin' It 3:31
Written By – Junko Onishi
9 Blue Seven 7:09
Written By – Sonny Rollins
Credits:
Bass – Rodney Whitaker
Drums – Billy Higgins
Piano – Junko Onishi

JEAN-LUC PONTY — King Kong : Jean-Luc Ponty Plays the Music of Frank Zappa (1970-1993) Two Version | WV (image+.cue), lossless + FLAC (tracks+.cue), lossless

Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity -- not just the feel -- of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin. Steve Huey   

Tracklist :
1    King Kong 4:54
Bass – Buell Neidlinger
Composed By, Arranged By – Frank Zappa
Drums – Arthur D. Tripp, III
Electric Piano – George Duke
Tenor Saxophone – Ian Underwood
Vibraphone, Percussion – Gene Estes
Violin [Electric Violin & Baritone Violectra] – Jean-Luc Ponty
2    Idiot Bastard Son 4:00
Alto Saxophone, Tenor Saxophone – Ernie Watts
Bass [Fender] – Wilton Felder
Composed By, Arranged By – Frank Zappa
Drums – John Guerin
Electric Piano – George Duke
Violin [Electric Violin & Baritone Violectra] – Jean-Luc Ponty
3    Twenty Small Cigars 5:35
Alto Saxophone, Tenor Saxophone – Ernie Watts
Bass [Fender] – Wilton Felder
Composed By, Arranged By – Frank Zappa
Drums – John Guerin
Electric Piano – George Duke
Violin [Electric Violin & Baritone Violectra] – Jean-Luc Ponty
4    How Would You Like To Have A Head Like That 7:14
Bass [Fender] – Wilton Felder
Composed By – Jean-Luc Ponty
Drums – John Guerin
Electric Piano – George Duke
Guitar – Frank Zappa
Tenor Saxophone – Ernie Watts
Violin [Electric] – Jean-Luc Ponty
5    Music For Electric Violin And Low Budget Orchestra 19:20
Bass – Buell Neidlinger
Bassoon – Donald Christlieb
Cello – Harold Bemko
Composed By, Arranged By – Frank Zappa
Conductor – Ian Underwood
Drums – Arthur D. Tripp, III
Flute – Jonathan Meyer
French Horn, Recorder [Descant] – Vincent DeRosa
French Horn, Tuba [Tuben] – Arthur Maebe
Oboe, English Horn – Gene Cipriano
Piano, Electric Piano – George Duke
Viola – Milton Thomas
Violin [Electric] – Jean-Luc Ponty
6    America Drinks And Goes Home 2:39
Alto Saxophone, Tenor Saxophone – Ian Underwood
Bass – Buell Neidlinger
Composed By, Arranged By – Frank Zappa
Drums – Arthur D. Tripp, III
Electric Piano – George Duke
Vibraphone, Percussion – Gene Estes
Violin [Electric Violin & Baritone Violectra] – Jean-Luc Ponty 

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

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

DUKE PEARSON — Sweet Honey Bee (1966-1993) FLAC (tracks+.cue) lossless

Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians -- trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader -- are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music. Scott Yanow
Tracklist :
1    Sweet Honey Bee    4:50
 Duke Pearson
2    Sudel    5:40
 Duke Pearson
3    After The Rain    4:25
 Duke Pearson
4    Gaslight    5:50
 Duke Pearson
5    Big Bertha    5:50
 Duke Pearson
6    Empathy    6:00
 Duke Pearson
7    Ready Rudy?    6:10
 Duke Pearson
Credits :
Freddie Hubbard - Trumpet
James Spaulding - Alto Sax & Flute
Joe Henderson - Tenor Sax
Duke Pearson - Piano
Ron Carter - Bass
Mickey Roker - Drums

FREDDIE ROACH — Good Move! (1963-2000) FLAC (tracks+.cue), lossless

Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos. Stephen Thomas Erlewine
Tracklist :
1. It Ain't Necessarily So (5:02)
 George Gershwin / Ira Gershwin
2. When Malindy Sings (5:21)
 Paul Lawrence Dunbar / Oscar Brown, Jr.
3. Pastel (4:31)
 Erroll Garner
4. Wine, Wine, Wine (6:32)
 Freddie Roach
5. On Our Way Up (6:20)
 Freddie Roach
6. 'Tain't What You Do (4:59)
 Sy Oliver / Trummy Young
7. Lots of Lovely Love (4:59)
 Richard Rodgers
8. I.Q. Blues (5:21)
 Freddie Roach
Credits :
Freddie Roach - Organ
Blue Mitchell - Trumpet
Hank Mobley - Tenor sax
Eddie Wright - Guitar
Clarence Johnston - Drums

JACKIE McLEAN — Let Freedom Ring (1961) Two Version (2003, RM | Serie 24 Bit By RVG) + (2003, RM | Serie RVG Edition ) FLAC (tracks+.cue), lossless & APE (image+.cue), lossless

Jackie McLean had always been a highly emotional soloist, so it makes sense that he was one of the first hard bop veterans to find a new voice in the burning intensity of jazz's emerging avant-garde. McLean had previously experimented with Coltrane's angular modes and scales and Ornette's concept of chordal freedom, but Let Freedom Ring was the landmark masterpiece where he put everything together and ushered in the era of the modernists at Blue Note. A number of saxophonists were beginning to explore the ability of the instrument to mimic human cries of passion, and here McLean perfected a long, piercing squeal capable of expressing joy, anguish, fury, and more. The music on Let Freedom Ring remained more rooted in hard bop structure than Coleman's, and McLean was still recognizably himself, but that was precisely what was revolutionary about the album: It validated the avant-garde aesthetic, demonstrating that it had enough value to convert members of the old guard, and wasn't just the province of radical outcasts. There are only four pieces, one of which is the surging Bud Powell ballad "I'll Keep Loving You"; the other three are McLean originals ("Melody for Melonae," "Rene," and "Omega," dedicated to his daughter, son, and mother respectively) that spotlight his tremendous inventiveness on extended material and amaze with a smoldering fire that never lets up. Pianist Walter Davis takes the occasional solo, but the record is McLean's statement of purpose, and he accordingly dominates the proceedings, with the busy, free-flowing dialogues of bassist Herbie Lewis and Ornette drummer Billy Higgins pushing him to even greater heights. The success of Let Freedom Ring paved the way for a bumper crop of other modernist innovators to join the Blue Note roster and, artistically, it still stands with One Step Beyond as McLean's greatest work. Steve Huey
Tracklist :
1    Melody For Melonae    13:17
 Jackie McLean
2    I'll Keep Loving You    6:14
 Bud Powell
3    Rene    9:57
 Jackie McLean
4    Omega    8:30
 Jackie McLean
Credits :
Alto Saxophone – Jackie McLean
Bass – Herbie Lewis
Drums – Billy Higgins
Piano – Walter Davis, Jr.
Recorded By, Remastered By – Rudy Van Gelder

THE HORACE SILVER QUINTET & TRIO — Blowin' the Blues Away (1959) Two Version (2004, RM | Serie Blue Note 決定盤 1500 – 21) + (2011, RM | SACD, Hybrid | Serie The Blue Note Reissues) FLAC (tracks+.cue), lossless

Blowin' the Blues Away is one of Horace Silver's all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes; it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song for My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver's signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver's repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver's aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin' the Blues Away is one of Silver's finest albums, and it's virtually impossible to dislike. Steve Huey
Tracklist :
1    Blowin' The Blues Away    4:44
 Horace Silver
2    The St. Vitus Dance 4:10
 Horace Silver
3    Break City    4:56
 Horace Silver
4    Peace    6:02
 Horace Silver
5    Sister Sadie    6:19
 Horace Silver
6    The Baghdad Blues    4:52
 Horace Silver
7    Melancholy Mood (New Version) 7:10
 Horace Silver
 – BONUS TRACK –
8    How Did It Happen    4:4
Credits :
Bass – Eugene Taylor
Drums – Louis Hayes
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – Junior Cook
Trumpet – Blue Mitchell

BIG JOHN PATTON — Got A Good Thing Goin' (1966-2003) RM | Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless

Grant Green always brought out the best in Big John Patton. Almost any record that featured the guitarist and organist was dominated by their scintillating interplay, and it always sounded like they were trying to top each other's blistering, funky solos. Patton and Green rarely sounded better than they did on Got a Good Thing Goin', a 1966 session that functioned as a showcase for the pair's dynamic interaction and exciting, invigorating solos. In particular, the duo's mastery is evident because there are no horns to stand in the way -- only drummer Hugh Walker and conga player Richard Landrum provide support, leaving plenty of room for Green and Patton to run wild. All five numbers -- two originals by Patton and Green, two pop covers ("Ain't That Peculiar," "Shake"), and Duke Pearson's "Amanda" -- are simple blues and soul-jazz songs that provide ample space for the guitarist and organist to stretch out. And they do stretch out -- as a pair, they have never sounded so fiery or intoxicating. Fans of hard bop may find the songs a little too simple, but hot, up-tempo soul-jazz rarely comes any better than it does on Got a Good Thing Goin'. Stephen Thomas Erlewine
Tracklist :
1    The Yodel 8:15
Written-By – Green, Patton
2    Soul Woman 7:40
Written-By – Green, Patton
3    Ain't That Peculiar 6:45
Written-By – Tarplin, Rogers, Robinson, Moore
4    The Shake 7:44
Written-By – Sam Cooke
5    Amanda 6:08
Written-By – Duke Pearson
Credits :
Congas – Richard Landrum
Drums – Hugh Walker
Engineer [Recording] – Rudy Van Gelder
Guitar – Grant Green
Organ – John Patton

KENNY DORHAM — Trompeta Toccata (1964) Two Version (1995, The BN Works 4100 Series) + (2006, RM | Serie RVG Edition) FLAC (tracks+.cue), lossless

It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy "Mamacita" also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath served as a strong (if premature) ending to Dorham's impressive career as a solo artist. Scott Yanow
Tracklist :
1    Trompeta Toccata 12:28
Written-By – Kenny Dorham
2    Night Watch 5:48
Written-By – Kenny Dorham
3    Mamacita 11:06
Written-By – Joe Henderson
4    The Fox 8:02
Written-By – Kenny Dorham
Credits :
Bass – Richard Davis
Drums – Albert Heath
Piano – Tommy Flanagan
Tenor Saxophone – Joe Henderson
Trumpet – Kenny Dorham

BOOKER ERVIN — The In Between (1968-1997) RM | Blue Note Connoisseur Series | FLAC (tracks+.cue), lossless

Booker Ervin headed to Blue Note in 1968 for The In Between, a record that found him continuing in the vein of his later Prestige sessions. Supported by trumpeter Richard Williams, pianist Bobby Few, bassist Cevera Jeffries and drummer Lennie McBrowne, Ervin created an album that pushed the boundaries of hard bop. Every song on The In Between is an Ervin original designed to challenge the musicians. The music rarely reaches avant-garde territory -- instead, it's edgy, volatile hard bop that comes from the mind as much as the soul. Appropriately, Ervin balances his full-bodied tone with a forceful, aggressive attack that even sounds restless on the slower numbers. The result is a satisfying, cerebral set of adventurous hard bop that finds Booker Ervin at a creative peak. Stephen Thomas Erlewine
Tracklist :
1    The In Between    7:39
 Booker Ervin
2    The Muse    7:14
 Booker Ervin
3    Mour    5:57
 Booker Ervin
4    Sweet Pea    5:33
 Booker Ervin / Tommy Roe
5    Largo    6:23
 Booker Ervin
6    Tyra    7:28
 Booker Ervin
Credits :
Bass – Cevera Jeffries Jr.
Drums – Lenny McBrowne
Engineer – Rudy Van Gelder
Piano – Bobby Few Jr.
Tenor Saxophone, Flute – Booker Ervin
Trumpet – Richard Williams (tracks: 1 to 4, 6)

KENNY BURRELL — Midnight Blue (1963) Three Version (1986, Serie Blue Note CD Super 50 – 29) + (1999, RM | Serie RVG Edition) + (2010, RM | SACD, Hybrid, DSD | Serie The Blue Note Reissues | FLAC (image+.cue), lossless & FLAC (tracks+.cue), lossless

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." Scott Yanow
Tracklist :
1 Chitlins con Carne 5:30
Kenny Burrell
2 Mule 6:56
Kenny Burrell / Major Holley
3 Soul Lament 2:43
Kenny Burrell
4 Midnight Blue 4:02
Kenny Burrell
5 Wavy Gravy 5:47
Kenny Burrell
6 Gee Baby, Ain't I Good to You 4:25
Andy Razaf / Don Redman
7 Saturday Night Blues 6:16
Kenny Burrell
8 Kenny's Sound 4:43
Kenny Burrell
9 K Twist 3:37
Kenny Burrell
Credits:
Bass – Major Holley, Jr.
Congas – Ray Barretto
Drums – Bill English
Guitar – Kenny Burrell
Tenor Saxophone – Stanley Turrentine

THE THREE SOUNDS — Moods (1960-2005) Serie Blue Note 決定盤 1500 – 82 | FLAC (image+.cue), lossless

The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter's "Love for Sale" to Harris' original "Tammy's Breeze." Like its predecessor, Feelin' Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on "On Green Dolphin Street," the hep swing of "Loose Walk," and the infectious cover of Ellington's "I'm Beginning to See the Light." Occasionally, the Three Sounds play it a little too cool -- while the slow, relaxed "Things Ain't What They Used to Be" manages to be engaging, "Li'l Darlin'" slows down to a crawl -- but on the whole, Moods is an endearing collection of appealing mainstream jazz. Stephen Thomas Erlewine
Tracklist :
1     Love For Sale    6:37
 Cole Porter
2    Things Ain't What They Used To Be    8:54
 Ted Persons
3    On Green Dolphin Street    5:36
 Bronislaw Kaper / Ned Washington
4    Loose Walk    4:56
 Johnny Richards / Sonny Stitt
5    Li'l Darlin'    4:51
 Neal Hefti
6    I'm Beginning To See The Light    2:29
 Duke Ellington / Don George / Johnny Hodges / Harry James
7    Tammy's Breeze    4:28
 Gene Harris
8    Sandu    4:20
 Clifford Brown
Credits :
Bass – Andrew Simpkins
Drums – Bill Dowdy
Piano – Gene Harris
Recorded By [Recording By] – Rudy Van Gelder

JOE LOVANO NONET — On This Day At The Vanguard (2003) FLAC (tracks+.cue), lossless

Recorded live at the Village Vanguard, On This Day...At the Vanguard is saxophonist Joe Lovano's first recording with his award-winning nonet since the release of 52nd Street Themes in 2000. Having recorded in a variety of settings ranging from those of big-band leaders Woody Herman and Mel Lewis to duets with Mulgrew Miller on Tenor Legacy to quartets featuring such stellar artists as Dave Holland, John Scofield, and Al Foster (collectively known as Scolohofo), Joe Lovano proves with this CD that his artistry remains highly adaptable to any musical setting. Opening the program with the first of two originals written for this recording is Lovano's swinging "At the Vanguard." It has a harmonic sequence based on "Stompin' at the Savoy," and features outstanding solos by Lovano, alto saxophonist Steve Slagle, trumpeter Barry Ries, and pianist John Hicks. "Focus" and John Coltrane's "After the Rain" offer listeners two exceptional contrasts of Lovano's playing style, while "On This Day Just Like Any Other" is a 15-minute free jazz offering with amazing improvisations that Lovano wrote around the time drummer Billy Higgins passed away. The recording closes with "My Little Brown Book," a beautiful, serene ballad that returns the music to the quartet sound and served as the show's encore. Overall, On This Day...At the Vanguard captures the essence of Lovano's reverence and enthusiasm for the jazz venue that has supplied a great deal of his musical inspiration over the course of his jazz career. Paula Edelstein
Tracklist :
1    At The Vanguard 9:30
Composed By, Arranged By – Joe Lovano
2    Focus 8:09
Arranged By – Willie Smith
Composed By – Tadd Dameron
3    After The Rain 7:34
Arranged By – Steve Slagle
Composed By – John Coltrane
4    Good Bait 14:09
Arranged By – Joe Lovano
Composed By – Tadd Dameron
Orchestrated By [Orchestration] – Willie Smith
5    Laura 5:22
Arranged By – Joe Lovano, Willie Smith
Composed By – David Arksin
Orchestrated By [Orchestration] – Willie Smith
6    On This Day (Just Like Any Other) 15:22
Composed By, Arranged By – Joe Lovano
7    My Little Brown Book 9:04
Composed By – Billy Strayhorn
Credits :
Alto Saxophone – Steve Slagle
Baritone Saxophone – Scott Robinson
Bass – Dennis Irwin
Drums – Lewis Nash
Piano – John Hicks
Tenor Saxophone – George Garzone, Joe Lovano, Ralph Lalama
Trombone – Larry Farrell
Trumpet – Barry Ries

PAUL CHAMBERS SEXTET — Whims of Chambers (1956-2010) RM | SACD Hybrid | Serie The Blue Note Reissues | FLAC (tracks+.cue), lossless

Of the seven songs on this Blue Note date, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers," and "Tale of the Fingers" is a showcase for Chambers' bowed bass. This is a fine effort and would be worth picking up by straight-ahead jazz fans even if John Coltrane had not participated. Scott Yanow
Tracklist :
1    Omicron 7:17
Written-By – Donald Byrd
2    Whims Of Chambers 4:05
Written-By – Paul Chambers
3    Nita 6:31
Written-By – John Coltrane
4    We Six 7:40
Written-By – Donald Byrd
5    Dear Ann 4:19
Written-By – Paul Chambers
6    Tale Of The Fingers 4:42
Written-By – Paul Chambers
7    Just For The Love 3:41
Written-By – John Coltrane
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Guitar – Kenny Burrell
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd

McCOY TYNER — Tender Moments (1968-1987) Serie Blue Note CD Treasury – CP32-9545 | FLAC (image+.cue), lossless

On this excellent set, McCoy Tyner had the opportunity for the first time to head a larger group. His nonet is an all-star aggregation comprised of trumpeter Lee Morgan, trombonist Julian Priester, altoist James Spaulding, Bennie Maupin on tenor, Bob Northern on French horn, Howard Johnson on tuba, bassist Herbie Lewis, and drummer Joe Chambers in addition to the pianist/leader. Tyner debuted six of his originals, and although none became standards (perhaps the best known are "The High Priest" and "All My Yesterdays"), the music is quite colorful and advanced for the period. Well worth investigating. Scott Yanow
Tracklist :
1    Mode To John    5:40
 McCoy Tyner
2    Man From Tanganyika    6:52
 McCoy Tyner
3    The High Priest    6:05
 McCoy Tyner
4    Utopia    7:35
 McCoy Tyner
5    All My Yesterday    6:03
 McCoy Tyner
6    Lee Plus Three    5:41
 McCoy Tyner
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Herbie Lewis
Drums – Joe Chambers
French Horn – Bob Northern
Piano – McCoy Tyner
Recorded By – Rudy Van Gelder
Tenor Saxophone – Bennie Maupin
Trombone – Julian Priester
Trumpet – Lee Morgan
Tuba – Howard Johnson

ELVIN JONES — The Ultimate (1968-2014) RM | SHM-CD | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

This is one of Joe Farrell's finest recordings. Switching between tenor, soprano and flute, Farrell had to be good because he was joined in the pianoless trio by bassist Jimmy Garrison and drummer Elvin Jones. The group performs two standards, three Garrison originals and one by Farrell; it is a tossup as to who takes honors. Farrell is in consistently creative form but Garrison's occasional solos and Jones's polyrhythmic accompaniment are also noteworthy. This LP is long overdue to reappear on CD. Scott Yanow
Tracklist :
1    In The Truth 5:04
Written-By – Joe Farrell
2    What Is This? 7:07
Written-By – Jimmy Garrison
3    Ascendant 5:13
Written-By – Jimmy Garrison
4    Yesterdays (From The Musical Production "Roberta") 5:37
Written-By – Jerome Kern, Otto Harbach
5    Sometimes Joie 10:37
Written-By – Jimmy Garrison
6    We'll Be Together Again 3:05
Written-By – Carl T. Fischer, Frankie Laine
Credits :
Bass – Jimmy Garrison
Drums – Elvin Jones
Flute – Joe Farrell (tracks: 6)
Recorded By [Recording By] – Rudy Van Gelder
Soprano Saxophone – Joe Farrell (tracks: 2, 3)
Tenor Saxophone – Joe Farrell (tracks: 1, 4, 5)

THE NEW ELVIN JONES TRIO — Puttin' It Together (1968-2014) RM | SHM-CD | Limited Edition | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

Joe Farrell (heard on tenor, soprano, and flute) did some of his finest playing while with drummer Elvin Jones' trio during 1968-1969. Joined by bassist Jimmy Garrison (in one of his first post-Coltrane recordings), Farrell really digs into group originals, obscurities, "For Heaven's Sake," and Jimmy Heath's "Gingerbread Boy." With Jones pushing him and Garrison sounding quite advanced, Farrell was consistently inspired to play at the peak of his creativity. Scott Yanow
Tracklist :
1    Reza 7:12
Written-By – Edu Lobo, Ruy Guerra
2    Sweet Little Maia 7:47
Written-By – Jimmy Garrison
3    Keiko's Birthday March 6:50
Written-By – Elvin Jones
4    Village Greene 5:08
Written-By – William Greene
5    Jay-Ree 3:48
Written-By – Joe Farrell
6    For Heaven's Sake 5:04
Written-By – Don Meyer, Elise Bretton, Sherman Edwards
7    Ginger Bread Boy 5:10
Written-By – Jimmy Heath
Credits :
Bass – Jimmy Garrison
Drums – Elvin Jones
Recorded By – Rudy Van Gelder
Tenor Saxophone, Alto Flute, Soprano Saxophone, Piccolo Flute – Joe Farrell