ERIC DOLPHY — Muses (2013) MONO | Historical Series | FLAC (tracks+.cue), lossless

This Marshmallow release in its Historical Series features Eric Dolphy's previously unreleased studio recordings from the so-called "Douglas Sessions," supposedly produced by Alan Douglas who was an A&R man for United Artists. Some materials from these sessions have been released over the years from several different labels, including the album Conversations from the FM label and Iron Man from the Douglas label.
Tracks 1 and 3-5 are previously unreleased alternate takes from these sessions, and Track 2 is a newly discovered tune that was supposedly "rejected" and therefore thought to have been erased. The album opens with two stunning duo performances by Dolphy and bassist Richard Davis. Their interplay is intimate and at times telepathetic. "Iron Man" and "Mandrake" are played by a quintet featuring Woody Shaw on trumpet and Bobby Hutcherson on vibraphone. "Love Me" is a searing alto sax solo performance by Dolphy.
Tracklist :
1    Alone Together 12:07
Written-By – A. Schwartz
2    Muses 8:48
Written-By – E. Dolphy
3    Iron Man 8:27
Written-By – E. Dolphy
4    Love Me 3:39
Written-By – V. Young
5    Mandrake 4:18
Written-By – E. Dolphy
Credits :
Alto Saxophone – Eric Dolphy (tracks: 3 to 5)
Bass – Eddie Khan (tracks: 3), Richard Davis (tracks: 1, 2, 5)
Bass Clarinet – Eric Dolphy (tracks: 1, 2)
Drums – J.C. Moses (tracks: 3, 5)
Trumpet – Woody Shaw (tracks: 3, 5)
Vibraphone – Bobby Hutcherson (tracks: 3, 5)
Recorded in New York, July 1st (1,2), July 3rd or 4th, 1963.

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

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

BOBBY HUTCHERSON — Four Seasons (1983-2015) RM | Serie Timeless Jazz Master Collection – 24 | FLAC (tracks+.cue), lossless

This set by vibraphonist Bobby Hutcherson is a bit unusual in that, rather than playing complex originals, he interprets seven jazz standards. With the assistance of pianist George Cables, bassist Herbie Lewis and drummer Philly Joe Jones, Hutcherson sounds in top form on such numbers as Thelonious Monk's "I Mean You," "Star Eyes" and "If I Were A Bell." Scott Yanow
Tracklist :
1    I Mean You 5:49
Composed By – T. Monk
2    All Of You 5:54
Composed By – Cole Porter
3    Spring Is Here 7:03
Composed By – Rodgers/Hart
4    Star Eyes 7:47
Composed By – Raye, De Paul
5    If I Were A Bell 5:37
Composed By – Loesser
6    Summertime 6:50
Composed By – Heyward, Gershwin
7    Autumn Leaves 6:36
Composed By – Prevert
Credits :
Bass – Herbie Lewis
Drums – Philly Joe Jones
Piano – George Cables
Vibraphone [Vibes] – Bobby Hutcherson

JOE SAMPLE — Roles (1987) APE (image+.cue), lossless

Tracklist & Credits :

ERIC DOLPHY — Out to Lunch (1964) Two Version (1986, Blue Note CD Super 50 – 11 + 1999, RVG Edition | FLAC & APE (image+.cue), lossless

 Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. Steve Huey 
Tracklist :
1 Hat And Beard 8:24
2 Something Sweet, Something Tender 6:02
3 Gazzelloni 7:22
4 Out To Lunch 12:06
5 Straight Up And Down 8:19
Credits
Alto Saxophone, Flute, Bass Clarinet, Composed By – Eric Dolphy
Bass – Richard Davis
Drums – Tony Williams
Recorded By [Recording] – Rudy Van Gelder
Trumpet – Freddie Hubbard
Vibraphone [Vibes] – Bobby Hutcherson

ARCHIE SHEPP - The Impulse Story (2007) FLAC (image+.cue), lossless

Archie Shepp's volume in The Impulse Story series, with liner notes by Ashley Kahn, author of The House That Trane Built: The Impulse Story, is arguably the best and most representative of any of the editions in it. These ten cuts capture Shepp's many faces. There's his wonderful look inside the music of his mentor John Coltrane ("Naima" from Four for Trane), through to his gaze at the jazz tradition (Duke Ellington's "Sophisticated Lady"), to bossa nova (a very unique read of "Girl from Ipanema") to the weighty concerns of his own compositions that engaged everything from the avant-garde "Les Matin des Noires" to politics ("Malcolm Malcolm -- Semper Malcolm"), to R&B and soul ("Damn If I Know" "Mama Too Tight," and "Attica Blues"). While certain albums are not represented here -- the magnificent Magic of Ju-Ju being one -- the breadth and depth of Shepp's true genius is all here. That said, it is a shame that many of his albums recorded for Impulse (the classic Fire Music and Magic of Ju-Ju just to name two) are currently out of print. Of all the volumes in this fine collection, Shepp's stands, with Alice Coltrane's as the very best in that it gives a true introduction to an artist often misunderstood, but during his tenure for this label, he was creatively unstoppable.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Naima 7'10
(John Coltrane)
Bass – Reggie Workman
Drums – Charles Moffett
Flugelhorn – Alan Shorter
Producer – John Coltrane
Trombone – Roswell Rudd
2     Los Olvidados 8'56
(Archie Shepp)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
3     The Girl from Ipanema 8'35
(Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
4     Malcolm, Malcolm - Semper Malcolm 4'51
(Archie Shepp)
Bass – David Izenzon
Drums – J.C. Moses
Vocals [Recitation] – Archie Shepp
5     Le Matin des Noires 8'00
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson     
6     Scag 3'23
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson
Vocals [Recitation] – Archie Shepp
7     Mama Too Tight 5'25
(Archie Shepp)
Bass – Charlie Haden
Clarinet – Perry Robinson
Drums – Beaver Harris
Trombone – Grachan Moncur III, Roswell Rudd
Trumpet – Tommy Turrentine
Tuba – Howard Johnson
8     Damn If I Know (The Stroller) 6'19
(Walter Davis, Jr.)
Bass – Ron Carter
Drums – Beaver Harris
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
9     Sophisticated Lady 7'10
(Duke Ellington / Irving Mills / Mitchell Parish)
Bass – Ron Carter
Drums – Roy Haynes
Trombone – Grachan Moncur III
Trumpet – Jimmy Owen
10     Attica Blues 4'47
(Beaver Harris / Archie Shepp)
Alto Saxophone – Clarence White, Marion Brown
Backing Vocals – Albertine Robinson, Joshie Armstead
Baritone Saxophone – James Ware
Bass [Fender] – Jerry Jemmott, Roland Wilson
Cello – Calo Scott, Ronald Lipscomb
Cornet – Clifford Thornton
Drums – Beaver Harris
Guitar – Cornell Dupree
Lead Vocals – Henry Hull
Percussion – Juma Sutan*, Nene DeFense, Ollie Anderson
Producer – Ed Michel
Tenor Saxophone – Roland Alexander
Trombone – Charles Greenlee, Charles Stephens, Kiane Zawadi
Trumpet – Charles McGhee, Michael Ridley
Tuba – Hakim Jami
Violin – John Blake, Leroy Jenkins, Shankar

ARCHIE SHEPP - On This Night (1966-1993) RM | GRP Presents The Legendary Masters Of Jazz | FLAC (tracks+.cue), lossless

Tenor saxophonist Archie Shepp's third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington's "In a Sentimental Mood" and the title piece, a moving tribute to W.E.B. DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers, and Ed Blackwell, playing a variety of percussion. Al Campbell
Tracklist :
1    On This Night (If That Great Day Would Come) 10'00
Bass – Henry Grimes
Drums – Rashied Ali
Tenor Saxophone, Piano – Archie Shepp
Timpani – Joe Chambers
Vibraphone [Vibes] – Bobby Hutcherson
Vocals [Soprano Voice] – Chirstine Spencer
2    The Mac Man 7'27
Bass – Henry Grimes
Drums – Rashied Ali
Percussion [Rhythm Logs] – Ed Blackwell
Tenor Saxophone – Archie Shepp
Vibraphone [Vibes] – Bobby Hutcherson
3    The Mac Man (Alternate Take) 9'27
Bass – Henry Grimes
Drums – Rashied Ali
Percussion [Rhythm Logs] – Ed Blackwell
Tenor Saxophone – Archie Shepp
Vibraphone [Vibes] – Bobby Hutcherson
4    The Original Mr. Sonny Boy Williamson 5'58
Bass – Henry Grimes
Drums – J.C. Moses
Percussion [Rhythm Logs] – Ed Blackwell
Tenor Saxophone – Archie Shepp
Vibraphone [Vibes] – Bobby Hutcherson
5    In A Sentimental Mood 3'18
Bass – Henry Grimes
Drums – Joe Chambers
Tenor Saxophone – Archie Shepp
Vibraphone [Vibes] – Bobby Hutcherson
Written-By – Duke Ellington
6    The Chased (Take 1) 11'42
Bass – David Izenzon
Drums – J.C. Moses
Tenor Saxophone – Archie Shepp
7    The Chased (Take 2) 6'10
Bass – David Izenzon
Drums – J.C. Moses
Tenor Saxophone – Archie Shepp
8    The Chased (Take 3) 5'11
Bass – David Izenzon
Drums – J.C. Moses
Tenor Saxophone – Archie Shepp
9    The Pickaninny (Picked Clean -- No More -- Or Can You Back Back Doodlebug) 7'22
Bass – David Izenzon
Drums – J.C. Moses
Tenor Saxophone – Archie Shepp
10    Malcolm, Malcolm, Malcolm, Semper Malcolm 4'50
Bass – David Izenzon
Drums – J.C. Moses
Tenor Saxophone, Voice [Recitation] – Archie Shepp
Note:
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on August 12, 1965 (#1-5) and March 9, 1965 (#6-10)
Tracks 3, 6 to 8, 10: Bonus cuts, not included on the original album [tray insert]
"Gingerbread, Gingerbread Boy" which appeared on the original LP of On This Night, was recorded live at Newport and now appears on the CD of New Thing At Newport by Shepp and John Coltrane.
"Malcolm" originally appeared on Fire Music (AS-86). The Third Take of "The Chase" originally appeared on The Definitive Jazz Scene - Volume Three (AS 9101). The first two takes of "The Chase" and the alternate take of "The Mac Man" first appeared on Further Fire Music (IA-9357). The output of these August and March, 1965 sessions is presented completely on this CD.
[booklet]

ARCHIE SHEPP — Further Fire Music (1978) 2 x Vinyl, LP | The Dedication Series – Vol. XVII | FLAC (tracks), lossless

Tracklist :
A1        The Chased (Take 1)    11:47
A2        The Chased (Take 2)    6:11
B1        The Chased (Take 3)    5:15
B2        The Pickaninny    7:20
B3        Malcolm, Malcolm Semper Malcolm 4:40
Vocals [Recitation] – Archie Shepp
C1        Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)    4:58
C2        Le Matin De Noire    7:39
C3        Scag 3:04
Vocals [Recitation] – Archie Shepp
C4        Call Me By My Rightful Name    6:19
D1        Gingerbread, Gingerbread Boy    10:15
D2        The Mac Man (Alternate Take) 9:30
Bass – Henry Grimes
Drums – Ed Blackwell, Rashied Ali
Credits
Bass – Barre Phillips (pistas: C1 to D1), David Izenzon (pistas: A1 to B3)
Drums – J. C. Moses (pistas: A1 to B3), Joe Chambers (pistas: C1 to D1)
Engineer – Rudy Van Gelder
Tenor Saxophone, Written-By – Archie Shepp
Vibraphone – Bobby Hutcherson (pistas: C1 to D2)
Notas.
All selections previously released on various ABC Impulse albums, except Side A and D-2 which are previously unreleased alternate takes.
A, B recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on March 9, 1965
C & D1 recorded live at The Newport Jazz Festival, Newport, Rhode Island on July 2, 1965
D2 recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on August 12, 1965

PHAROAH SANDERS - Rejoice (1981-2003) RM | FLAC (tracks+.cue), lossless

A two-LP set on Theresa, Rejoice features Pharoah Sanders in excellent form in 1981. Sanders sounds much more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane, particularly on "When Lights Are Low," "Moments Notice," and "Central Park West." The personnel changes on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre, trumpeter Danny Moore, a harpist, and (on "Origin" and "Central Park West") five vocalists. The music always holds one's interest, making this one of Sanders' better later recordings. Scott Yanow
Tracklist :
1     Rejoice 12:42
Agogô – Babatunde
Bells, Composed By, Arranged By – Pharoah Sanders
Drums – Elvin Jones
Vibraphone – Bobby Hutcherson
Vocals – B. Kazuko Ishida
2     High Life 7:38
Arranged By – Pharoah Sanders
Bass, Vocals – Jorge Pomar
Congas, Vocals – Big Black
Drums, Vocals, Shaker – Babatunde
Guitar, Vocals – Peter Fujii
Vocals – Joe Bonner
3     Nigerian Juju Hilife 9:57
Arranged By – Pharoah Sanders
Bass – Jorge Pomar
Congas – Big Black
Drums, Shaker – Babatunde
Guitar – Peter Fujii    
4     Origin 5:41
Arranged By [Vocals] – William S. Fischer
Composed By, Arranged By – Pharoah Sanders
Vibraphone – Bobby Hutcherson
Vocals – Bobby London, Carroll Wilson Scott, Flame Braithwaite, Sakinah Muhammad, Yvette S. Vanterpool
5     When Lights Are Low 6:24
Composed By – Benny Carter    
6     Moment's Notice 5:16
Composed By – John Coltrane
Vibraphone – Bobby Hutcherson
Vocals – George V. Johnson Jr.
7     Central Park West 5:43
Arranged By [Vocals], Directed By – William S. Fischer
Composed By – John Coltrane
Harp – Lois Colin
Vocals – Bobby London, Carroll Wilson Scott, Flame Braithwaite, Sakinah Muhammad, Yvette S. Vanterpool    
8     Ntjilo Ntjilo/Bird Song 4:03
Arranged By – Pharoah Sanders
Harp – Lois Colin    
9     Farah 5:28
Composed By, Arranged By – Pharoah Sanders
Credits :
Bass – Art Davis (pistas: 1, 4 to 7)
Drums – Billy Higgins (pistas: 4 to 7)
Piano – Joe Bonner (pistas: 1 to 3, 8, 9), John Hicks (pistas: 4 to 7)
Saxophone [Tenor] – Pharoah Sanders
Trombone – Steve Turre (pistas: 4 to 7)

ROY HAYNES - Quiet Fire (2004) APE (tracks+.cue), lossless

A Roy Haynes CD that incorporates funk, soul, rock, and pop elements and includes electric keyboards and electric bass? In the generally conservative jazz climate of the 21st century -- a time when Wynton Marsalis and his equally rigid associates enjoy way too much influence -- the assumption is that a CD by someone of Haynes' caliber shouldn't be anything less than 100 percent purist in its outlook. But Haynes, truth be told, has long been versatile -- his resumé includes everyone from Pat Metheny to Lester "The Pres" Young -- and Quiet Fire reflects the veteran drummer's admirable diversity. Quiet Fire reissues two Galaxy LPs (1977's Thank You Thank You and 1978's Vistalite) back to back on a 77-minute CD. Haynes was in his early fifties when the albums were recorded, and he was obviously open to trying a variety of things. Parts of Quiet Fire are essentially straight-ahead post-bop, including Stanley Cowell's reflective "Sweet Song" and a hard-swinging version of Bronislaw Kaper's "Invitation." But a poppier, more R&B-influenced Haynes asserts himself on funky offerings like "Venus Eyes" and "Water Children" -- a Haynes who gives the impression that he's hip to Grover Washington, Jr., the Crusaders, Tom Scott, Charles Earland, Ronnie Laws, and other jazz-funksters of the '70s. At their best, all of those artists exemplified tasteful commercialism back then -- and Haynes brings a similar mentality to the more commercial parts of Quiet Fire. Haynes was definitely reaching out to soul, rock, and pop audiences at the time, but he did it with integrity; he never stooped to playing the sort of abysmal, mind-numbing elevator music that dominates today's NAC/smooth jazz formats. This CD is mildly uneven -- some of the tunes are more memorable than others -- but all things considered, Quiet Fire paints an attractive picture of Haynes in 1977 and 1978. by Alex Henderson  
Tracklist :   
1     Thank You Thank You 6:55
Bass – Ron Carter
Drums – Roy Haynes
Electric Piano – George Cables
Tenor Saxophone – John Klemmer
Vibraphone [Vibes] – Bobby Hutcherson
Written-By – George Cables
2     Bullfight 11:13
Bass – Cecil McBee
Drums – Haynes
Electric Piano – Stanley Cowell
Guitar – Marcus Fiorillo
Percussion – Kenneth Nash
Piano – Milcho Leviev
Vibraphone [Vibes] – Hutcherson
Written-By – Roy Haynes
3     Quiet Fire 8:13
Bass – McBee
Drums – Haynes
Percussion – Nash
Piano – Cables
Written-By – George Cables
4     Processional 5:24
Drums – Haynes
Percussion – Nash
Written-By – Nash, Haynes
5     Sweet Song 6:21
Bass – McBee
Drums – Haynes
Piano – Cowell
Vibraphone [Vibes] – Hutcherson
Written-By – Stanley Cowell
6     Vistalite 5:55
Drums, Bell Tree – Haynes
Electric Bass – Dave Jackson
Electric Piano – Cowell
Flute – Ricardo Strobert
Guitar – Fiorillo
Percussion – Nash
Tenor Saxophone – Joe Henderson
Written-By – Haynes
7     More Pain Than Purpose 5:43
Drums, Bell Tree – Haynes
Electric Bass – Jackson
Flute – Strobert
Guitar – Fiorillo
Piano – Cowell
Tenor Saxophone – Henderson
Written By – Scott / Cowell
8     Wonderin' 4:06
Bass – McBee
Drums – Haynes
Electric Piano – Cables, Cowell
Guitar – Fiorillo
Percussion – Nash
Written-By – Cecil McBee
9     Venus Eyes 4:41
Alto Saxophone – Strobert
Drums – Haynes
Electric Bass – Jackson
Electric Piano – Cowell
Guitar – Fiorillo
Tambourine – Nash
Written-By – John Stubblefield        
10     Rok Out 6:30
Alto Saxophone – Strobert
Cowbell – Nash
Drums – Haynes
Electric Bass – Jackson
Guitar – Fiorillo
Tenor Saxophone – Henderson
Written-By – Marcus Fiorillo
11     Water Children 6:44
Bass – McBee
Drums – Haynes
Electric Piano – Leviev
Guitar – Fiorillo
Percussion – Nash
Piano – Cables
Written-By – Kenneth Nash
12     Invitation 6:05
Drums – Haynes
Electric Bass – Jackson
Piano – Cowell
Tenor Saxophone – Henderson
Written-By – Bronislau Kaper

ABBEY LINCOLN — Wholly Earth (1998) FLAC (image+.cue), lossless

Lincoln's place among the pantheon of great jazz singers is undisputed, but this recording finds her voice past its best years. The ravages of time have taken their toll, and the result is pleasant but not her best work. The drop in strength is especially evident in the opening duet with a much younger Maggie Brown. Still, the album has many fine moments, such as an easy swinging "If I Only Had a Brain" and the sweet original "And It's Supposed to Be Love." Her band is particularly fine, especially pianist Marc Cary and Bobby Hutcherson on vibes. Tim Sheridan
Tracklist :
1     And It's Supposed to Be Love 5:12
Abbey Lincoln
2     Midnight Sun 8:23
Sonny Burke / Lionel Hampton / Johnny Mercer
3     Wholly Earth 6:01
Abbey Lincoln
4     Look to the Star 6:42
Abbey Lincoln
5     Another World 9:13
Abbey Lincoln
6     Conversation With a Baby 6:36
Abbey Lincoln
7     If I Only Had a Brain 5:33
Harold Arlen / E.Y. "Yip" Harburg
8     Another Time, Another Place 7:13
Benny Carter
9     Caged Bird 7:04
Abbey Lincoln
10     Learning How to Listen 6:32
Abbey Lincoln
Credits :
Bass – John Ormond (faixas: 2 to 8, 10), Michael Bowie (faixas: 1, 9)
Drums – Alvester Garnett
Flugelhorn – Nicholas Payton (faixas: 8)
Marimba – Bobby Hutcherson (faixas: 1)
Percussion – Daniel Moreno (faixas: 1, 3, 5, 6, 9)
Piano – James Hurt (faixas: 1, 9), Marc Cary (faixas: 2 to 8, 10)
Trumpet – Nicholas Payton (faixas: 4)
Vibraphone – Bobby Hutcherson (faixas: 2, 4, 8, 10)
Vibraphone, Marimba – Bobby Hutcherson (faixas: 5, 6, 9)
Vocals – Maggie Brown (faixas: 1, 9)
Vocals, Arranged By – Abbey Lincoln

JOE HENDERSON - Mode for Joe (1966-2003) RVG Edition / FLAC (tracks+.cue), lossless

Given the recording date of Mode for Joe and the band lineup, it's easy to assume this is a straight-up hard bop album. However, this 1966 Joe Henderson record -- featuring trumpeter Lee Morgan, trombonist Curtis Fuller, vibraphonist Bobby Hutcherson, pianist Cedar Walton, bassist Ron Carter, and drummer Joe Chambers -- is a great example of modern jazz at its best. It was recorded during a time of sweeping musical changes due to developments in free jazz, soul-jazz, and even early experiments with fusion. It was a time when the bluesy and funky leanings of hard boppers were giving way to more individualized contemporary approaches. One of the best examples of this shift, Mode for Joe sounds more like the experimental work of Branford Marsalis than the groovy musings of Art Blakey & the Jazz Messengers. The last track here, "Free Wheelin'," is the only dyed-in-the-wool hard bop tune heard here. Other than that, this outing's mostly uptempo songs serve as vehicles for solos. Henderson himself proves that the template for players such as Marsalis, Joe Lovano, and Joshua Redman was invented a generation earlier, as evidenced on "A Shade of Jade," "Black," and others, making this one of the sax legend's most intriguing albums.  by Eric Starr  
Tracklist :
1 A Shade Of Jade 7:07
Written-By – Joe Henderson
2 Mode For Joe 8:02
Written-By – Cedar Walton 
3 Black 6:51
Written-By – Cedar Walton
4 Black (Alternate Take) 6:47
Written-By – Cedar Walton
5 Caribbean Fire Dance 6:41
Written-By – Joe Henderson
6 Granted 7:20
Written-By – Joe Henderson
7 Free Wheelin' 6:39
Written-By – Lee Morgan
Credits :
Bass – Ron Carter
Design – Reid Miles
Drums – Joe Chambers
 Piano – Cedar Walton
 Tenor Saxophone – Joe Henderson
Trombone – Curtis Fuller
Trumpet – Lee Morgan
Vibraphone [Vibes] – Bobby Hutcherson

BOBBY HUTCHERSON - Components (1965-1994) APE (image+.cue), lossless

Perhaps the single album that best sums up Bobby Hutcherson's early musical personality, Components is appropriately split into two very distinct halves. The first features four Hutcherson originals in a melodic but still advanced hard bop style, while the latter half has four free-leaning avant-garde pieces by drummer Joe Chambers. Hutcherson allots himself more solo space than on Dialogue, but that's no knock on the excellent supporting cast, which includes Herbie Hancock on piano, James Spaulding on alto sax and flute, Freddie Hubbard on trumpet, and Ron Carter on bass. It's just more Hutcherson's date, and he helps unite the disparate halves with a cool-toned control that's apparent regardless of whether the material is way outside or more conventionally swinging. In the latter case, Hutcherson's originals are fairly diverse, encompassing rhythmically complex hard bop (the title track), pensive balladry ("Tranquillity," which features a lovely solo by Hancock), down-and-dirty swing ("West 22nd Street Theme"), and the gaily innocent "Little B's Poem," which went on to become one of Hutcherson's signature tunes and contains some lyrical flute work from Spaulding. The Chambers pieces tend to be deliberate explorations that emphasize texture and group interaction in the manner of Dialogue, except that there's even more freedom in terms of both structure and tonal center. (The exception is the brief but beautiful closing number, "Pastoral," an accurate title if ever there was one.) Components illustrated that Hutcherson was not only the most adventurous vibes player on the scene, but that he was also capable of playing more straightforward music with intelligence and feeling. by Steve Huey  
Tracklist :
1    Components    6:23
Bobby Hutcherson
2    Tranquillity    5:01
Bobby Hutcherson
3    Little B's Poem    5:08
Bobby Hutcherson
4    West 22nd Street Theme    4:42
Bobby Hutcherson
5    Movement    7:29
Joe Chambers
6    Juba Dance    5:21
Joe Chambers
7    Air    4:45
Joe Chambers
8    Pastoral    2:02
Joe Chambers
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Ron Carter
Drums – Joe Chambers
Piano – Herbie Hancock
Trumpet – Freddie Hubbard
Vibraphone [Vibes], Marimba – Bobby Hutcherson

DEXTER GORDON - Gettin' Around (1965-2006) RM / FLAC (tracks+.cue), lossless

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop. It's hard to resist how Gordon massages the light and sweet bossa nova "Manha de Carnaval" hand in hand with Hutcherson, the heartfelt way "Who Can I Turn To?" or "Everybody's Somebody's Fool" is turned into a personalized statement, or how the co-leaders take Frank Foster's Count Basie staple, "Shiny Stockings," beyond a classic and into immortal territory. Where Gordon and Hutcherson's true strength lies is in their ability to listen and balance their sound into a unified whole beyond any other tenor sax-vibraphone combination you might care to name, unless it's Hutch's partnership in the ensuing years with Harold Land. Picking up on a Sonny Rollins idea, "Heartaches" is a loping cowboy-type swinger with some lustrous comping from Hutcherson and Harris, while the light, cat-prancing "Le Coiffeur" is the highlight among highlights, a stealth calypso with Gordon's deftly rendered staccato notation. One has to listen closer to the pianist on this date, as he buoys the others without demanding equal space, but he is just as reverberant. While this is not Gordon's ultimate hard bop date, it is reflective of his cooling out in Europe, adopting a tonal emphasis more under the surface than in your face. It's not essential, but quite enjoyable, and does mark a turning point in his illustrious career. [The CD version contains two bonus tracks, including the Onzy Matthews composition "Very Saxily Yours" with a melody very similar to "Shiny Stockings," Hutcherson alone during a second chorus, and a classy quarter-to-eighth note solo by Gordon. Ben Tucker's "Flick of a Trick" is added on, an 11-minute groove blues that lets Harris cut loose, digging in after-hours style.] by Michael G. Nastos  
Tracklist:
1 Manha De Carnival
Written-By – Antonio Maria, Luiz Bonfa
2 Who Can I Turn To
Written-By – Newley, Bricusse
3 Heartaches
Written-By – Hoffman, Klenner
4 Shiny Stockings
Written-By – Frank Foster
5 Everybody's Somebody's Fool
Written-By – H. Greenfield, H. Keller
6 Le Coiffeur
Written-By – Dexter Gordon
Credits:
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – Barry Harris
Recorded By – Rudy Van Gelder
Tenor Saxophone – Dexter Gordon
Vibraphone [Vibes] – Bobby Hutcherson

JOHN COLTRANE / ARCHIE SHEPP - New Thing At Newport (1965-2009) RM / FLAC (tracks+.cue), lossless

The classic John Coltrane Quartet made one of its final appearances at the Newport Jazz Festival in 1965. The tension among bandmembers is evident on the advanced versions of "One Down, One Up" and "My Favorite Things." Coltrane's performance is moving...yet weary. It's apparent the saxophonist wasn't getting the sound he wanted and by the end of the year he would take a different direction, hiring Pharoah Sanders and wife Alice Coltrane for the band. Tenor saxophonist Archie Shepp's earlier afternoon New Thing performance includes engaging versions of "Call Me by My Rightful Name" and "Gingerbread, Gingerbread Boy" (included as a bonus track on this package) with Bobby Hutcherson on vibes. by Al Campbell
Tracklist:
1 –Father Norman O'Connor Introduction To John Coltrane's Set 1:09
2 –John Coltrane One Down, One Up 12:28
Bass – Jimmy Garrison
Drums – Elvin Jones
Piano – McCoy Tyner
Tenor Saxophone – John Coltrane
Written-By – John Coltrane
3 –Archie Shepp Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped 4:58
Written-By – Archie Shepp
4 –Archie Shepp Le Matin Des Noire 7:39
Written-By – Archie Shepp
5 –Archie Shepp Scag 3:04
Written-By – Archie Shepp
6 –Archie Shepp Call Me By My Rightful Name 6:19
Written-By – Archie Shepp
Credits:
Bass – Jimmy Garrison (track, 2)
Drums – Elvin Jones (track, 2)
Piano – McCoy Tyner (track, 2)
Tenor Saxophone – John Coltrane (track, 2)
Bass – Barre Phillips (tracks: 3 to 6)
Drums – Joe Chambers (tracks: 3 to 6)
Tenor Saxophone – Archie Shepp (tracks: 3 to 6)
Vibraphone – Bobby Hutcherson (tracks: 3 to 6)

BARNEY KESSEL - Feeling Free (1969-2000) RM / FLAC (tracks+.cue), lossless

Guitarist Barney Kessel recorded regularly for the Contemporary label during 1953-1961, one gem after another. In 1969 he returned to Lester Koenig's label for this lone effort, a quartet set with vibraphonist Bobby Hutcherson, bassist Chuck Domanico, and drummer Elvin Jones. The music is fairly free, particularly Kessel's four originals (which include "Blues, Up, Down & All Around" and "Two Note Samba"). Even Paul Simon's "The Sounds of Silence" and "This Guy's in Love With You" are turned into reasonably creative jazz by the all-star group. Although none of the musicians was associated exclusively with the avant-garde (Elvin Jones came the closest but never quite embraced free jazz), they show the influence of the explorations of the era, using aspects of the innovations as a logical way to stretch the jazz mainstream. Fascinating music. by Scott Yanow
Tracklist:
1 Moving Up  5:14
Barney Kessel
2 Blue Grass  9:24
Barney Kessel
3 This Guy's in Love With You  5:14
Burt Bacharach / Hal David
4 Blues up, Down and All Around  8:21
Barney Kessel
5 The Sound of Silence   7:39
Paul Simon
6 Two Note Samba  4:55
Barney Kessel
Credits
Bass – Chuck Domanico
Drums – Elvin Jones
Guitar – Barney Kessel
Vibraphone [Vibes] – Bobby Hutcherson

PAULA WEST - Come What May (2001) Mp3

On her third CD, singer Paula West demonstrates that she isn't adverse to risk taking, which is a rather refreshing idea for a young performer. With a soulful voice, a great range, and the ability to get the most out of each set of lyrics, this confident singer seems capable of taking on any song in which she takes an interest. Although the intermingling of "Caravan" and "A Night in Tunisia" in a back and forth medley isn't completely satisfying, her strong voice and the great playing of her supporting cast, including clarinetist Ken Peplowski, vibraphonist Bobby Hutcherson, guitarist Peter Bernstein, and the Stuff Smith-like violin of John Blake, make this wild arrangement rather appealing. Other highlights include Leonard Bernstein's show tune "Big Stuff," with guest pianist Bill Charlap, a delightfully campy take of "Blues in the Night," and a stunning interpretation of "Lush Life" with some inventive backing by pianist Ken Muir, who is also responsible for most of the arrangements. The only real misfire is the incessant bongos that dominate most of "Day In, Day Out," which detract from an otherwise great performance by West and bassist Peter Washington. Great things should be in store for Paula West following this very impressive release by Ken Dryden  
Credits:
Alto Saxophone, Tenor Saxophone, Flute – Frank Wess (tracks: 1, 2, 4, 6, 10 to 12)
Arranged By – Ken Muir
Baritone Saxophone, Bass Clarinet – Joe Temperley (tracks: 1, 6, 12, 13)
Bass – Peter Washington
Cello – Akua Dixon (tracks: 6, 12)
Clarinet – Don Byron (tracks: 6, 12), Ken Peplowski (tracks: 1, 3)
Drums – Victor Lewis
Guitar – Peter Bernstein (tracks: 1, 2, 9, 12)
Percussion – Rudy Bird (tracks: 1, 4)
Piano – Bill Charlap (tracks: 3, 9, 13), Ken Muir (tracks: 1, 2, 5, 6, 8, 10 to 12)
Trumpet – Ryan Kisor (tracks: 1, 6, 12)
Vibraphone – Bobby Hutcherson (tracks: 1, 5, 7, 13)
Viola – Richard Spencer (tracks: 6, 12)
Violin – Carlos Baptiste (tracks: 6, 12), John Blake (tracks: 1, 6, 8, 9, 12)
Vocals – Paula West

JACKIE McLEAN - Destination Out! (1963-2003) APE (image+.cue), lossless

Like Eric Dolphy before him, Jackie McLean sought to create a kind of vanguard "chamber jazz" that still had the blues feel and -- occasionally -- the groove of hard bop, though with rounded, moodier edges. Destination Out! was the album on which he found it. Still working with Grachan Moncur III and Bobby Hutcherson -- his direct spiritual connection to Dolphy -- McLean changed his rhythm section by employing drummer Roy Haynes and bassist Larry Ridley. This combination proved a perfect balance of the four elements. The program is four tunes, three of which were written by Moncur. If there was a perfect Blue Note session after John Coltrane's Blue Train, this was it. Opening with a ballad was a novel idea in 1966, but McLean uses Moncur's love and hate to reveal all the tonal possibilities within this group of musicians, and the textural interplay that exists in the heightened sense of form, time breaks, and rhythm changes. As begun on One Step Beyond, the notion of interval is key in this band, and an elemental part of Moncur's composition. The horn lines are spare, haunting, warm, and treated as textural elements by Hutcherson's vibes. On the tune "Esoteric," Hutcherson and Haynes throw complex rhythmic figures into the mix. Moncur's writing is angular, resembling Ornette's early-'60s melodic notions more than Coltrane's modal considerations. Hutcherson's solo amid the complex, knotty melodic frame is just sublime. "Khalil the Prophet" is McLean's only contribution compositionally to the album, but it's a fine one. Using a hard bop lyric and a shape-shifting sense of harmonic interplay between the three front-line players, McLean moves deeply into a blues groove without giving into mere 4/4 time structures. The architecture of his solo is wonderfully obtuse, playing an alternating series of eighths, 12ths, and even 16ths against Hutcherson's wide-open comping and arpeggio runs. The set ends with Moncur's "Riff Raff," a strolling blues that makes full use of counterpoint on the vibes. Moncur sets his solo against McLean's melodic engagement of Hutcherson, forcing both men into opposition positions that get resolved in a sultry, funky, shimmering blues groove. Of all of McLean's Blue Note dates, so many of which are classic jazz recordings, Destination Out! stands as the one that reveals the true soulfulness and complexity of his writing, arranging, and "singing" voice. by Thom Jurek

ANTHONY WILLIAMS - Life Time (1964-1998) RM / RVG Edition / FLAC (tracks+.cue), lossless

Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer. by Scott Yanow
Tracklist :
1     Two Pieces of One: Red    8:06
Tony Williams
 Bass – Richard Davis 
2     Two Pieces of One: Green    10:40
Tony Williams
 Bass – Richard Davis 
3     Tomorrow Afternoon    5:35
Tony Williams
Drums [Drum Set], Timpani [Tympani], Wood Block, Maracas, Triangle – Tony Williams
Piano – Herbie Hancock
Vibraphone [Vibes], Marimba – Bobby Hutcherson
4     Memory    8:06
Tony Williams
5     Barb's Song to the Wizard    5:56
Tony Williams
Bass – Ron Carter
Piano – Herbie Hancock
Credits :
Bass – Gary Peacock (tracks: 1 to 3)
Drums – Tony Williams (tracks: 1 to 3)
Tenor Saxophone – Sam Rivers (tracks: 1 to 3)
Written-By – Tony Williams