THELONIOUS MONK SEPTET - Monk's Music (1957) Two Version (1986, RM | MONO | Riverside CD Masterpiece Series – 6) + (2011, RM | Serie Original Jazz Classics Remasters) FLAC (tracks+.cue), lossless

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk's completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins' rich textures and Coltrane's playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. AdAdditionally, Blakey is in top form, with a solo that borders on spastic precision. Lindsay Planer
Tracklist :
1    Abide with Me 0:55    
Henry Francis Lyte / Thelonious Monk
2    Well, You Needn't 11:27
Thelonious Monk
3    Ruby, My Dear 5:28    
Thelonious Monk
4    Off Minor (Take 5) 5:11    
Thelonious Monk
5    Epistrophy  10:48
Kenny Clarke / Thelonious Monk
6    Crepuscule with Nellie (Take 6) 4:40    
Thelonious Monk
– BONUS TRACK –
7    Off Minor (Take 4) 5:15    
Thelonious Monk
 8    Crepuscule with Nellie (Take 4 & 5) 4:44
Thelonious Monk
9    Blues For Tomorrow    13:33
Credits :
Trumpet – Ray Copeland
Alto Saxophone – Gigi Gryce
Bass – Wilbur Ware
Drums – Art Blakey
Piano – Thelonious Monk
Tenor Saxophone – Coleman Hawkins, John Coltrane

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanborn.
Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.
After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song.  Samuel L. Chell

Tracklist :
1     Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Buddy De Franco - Clarinet
Sonny Clark - Piano and Organ
Tal Farlow - Guitar
Gene Wright - Bass
Bobby White - Drums
Recorded in Los Angeles, CA, on September 1, 1954 and August 12 & 26, 1955.

BUDD JOHNSON – 1944-1952 (2003) The Classics Chronological Series – 1307 | FLAC (tracks+.cue), lossless

One thing about these chronological compilations: if the featured musician only rarely acted as a bandleader, what listeners get is a core sample of nearly every recording date he happened to be in on. In the case of Texas tenor Budd Johnson, the people at Classics decided to begin his story with sessions waxed when he was 34 years of age and had been making records as a sideman for more than ten years. This is a pity, as a thorough survey could have begun with his bizarre vocal on Louis Armstrong's "Sweet Sue" (1933), then sampled his work with Lionel Hampton and Earl Hines, up through 1943. That would have lent context and background to this grab bag of primal bebop and R&B, designated as "the first volume of the recordings of Budd Johnson." Nevertheless, this segment of Johnson's career is exciting and full of surprises. Clyde Hart's Hot Seven, recording for Savoy in December of 1944, included legendary trumpeter Benny Harris and the wild alto sax of Herbie Fields. A Manor date led by squealing trumpeter Al Killian is extra solid due to the presence of Ellington's baritone, Harry Carney, who seems to enjoy weaving a bit of thunder into an already smoking ensemble. J.C. Heard & His Cafe Society Orchestra deliver four very concise, classy studies in boppish swing. George Treadwell's muted trumpet is notably attractive, and Johnson is able to shout or soothe as needed. James Charles Heard was a discerning artist, and his band's interpretation of Ellington's "Azure" is breathtakingly lovely. Of the three sides recorded in March of 1946 for the Hot Record Society by trombonist Dicky Wells & His Big Seven, "Bed Rock" is the cooker, but is somewhat upstaged by "Opera in Blue," a rhapsody built entirely around Johnson's lyrically inspired tenor.
Johnson led his own session in June of 1947 for the obscure Cyclone label. Included here are apparently the only two surviving sides. The tenor is very expressive on "My Heart's Doin' Time (For You)," and Mary Stafford belts out a smart little piece of blues on the flip side. A few months later, crooner Leslie Scott fronted a band with strings and a handful of jazz musicians, including drummer Denzil Best and a very sensuously laid-back Johnson. These sentimental numbers are oddly comforting, and fortunately the strings are not obtrusive. Johnson seems to have specialized in getting signed with small-time labels. In February 1951, working for Faith Records, he can be heard leading an all-star ensemble including Howard McGhee, J.J. Johnson, Cecil Payne, Kenny Drew, Oscar Pettiford, and Kansas Fields. Freddie Jackson sings a tough take on the blues called "Sometime I Feel Like Leaving Home," the band bounces through something called "Grooving in Birdland," and Johnson completely dominates the ballad "Talk of the Town." In March of 1952, Budd Johnson's All-Stars backed vocalist Johnny King on a pair of Louis Jordan-style numbers issued on the MGM label. The leader adapted unflinchingly to every stylistic trend during these years, always delivering gutsy, substantial solos. Here is an intriguing glimpse of one working tenor's professional evolution during a period notable for its many cultural transitions. arwulf arwulf   
Tracklist :
1    Clyde Hart's Hot Seven–    Smack That Mess 3:02
Vocals – Joe Gregory
2    Clyde Hart's Hot Seven–    Dee Dee's Dance    3:00
3    Clyde Hart's Hot Seven–    Little Bennie (King Kong)    2:40
4    Clyde Hart's Hot Seven–    Shoot The Arrow To Me Cupid    3:02
5    Al Killian And His Orchestra–    You're The One    3:00
6    Al Killian And His Orchestra–    Goin' Down     2:40
7    J.C. Heard And His Orchestra–    The Walk    3:00
8    J.C. Heard And His Orchestra–    Heard But Not Seen    2:38
9    J.C. Heard And His Orchestra–    Azure    2:49
10    J.C. Heard And His Orchestra–    Bouncing For Barney    2:54
11    Dickie Wells' Big Seven–    Bed Rock    2:50
12    Dickie Wells' Big Seven–    Opera In Blue    2:59
13    Dickie Wells' Big Seven–    Drag Nasty - The Walk    2:49
14    Budd Johnson–    My Heart's Doing Time    2:43
15    Budd Johnson–    I Just Can't Find That Kind 2:47
Vocals – Mary Stafford
16    Leslie Scott And His Orchestra–    So Long 3:11
Vocals – Leslie Scott
17    Leslie Scott And His Orchestra–    Blue And Sentimental 3:01
Vocals – Leslie Scott
18    Budd Johnson's All Stars–    Sometime I Feel Like Leaving Home 3:09
Vocals – Freddy Jackson
19    Budd Johnson's All Stars–    Grooving In Birdland    3:08
20    Budd Johnson's All Stars–    I'm All Alone 3:07
Vocals – Charlie Singleton
21    Budd Johnson's All Stars–    Talk Of The Town    2:52
22    Johnny King With Budd Johnson And His All Stars–    Where Were You ?    2:09
23    Johnny King With Budd Johnson And His All Stars–    Way Downtown At The Bottom Of The Hill    2:25
Credits
Alto Saxophone – George Dorsey (tracks: 14 to 15), Herbie Fields (tracks: 1 to 4), Hilton Jefferson (tracks: 22 to 23)
Baritone Saxophone – Cecil Payne (tracks: 18 to 23), Cecil Scott (tracks: 11 to 13), Harry Carney (tracks: 5 to 6)
Bass – Al McKibbon (tracks: 7 to 13), Joe Shulman (tracks: 5 to 6), Milt Hinton (tracks: 22 to 23), Oscar Pettiford (tracks: 1 to 4, 18 to 21), Trigger Alpert (tracks: 16 to 17)
Clarinet – Eddie Barefield (tracks: 14 to 15)
Clarinet, Alto Saxophone – Aaron Sachs (tracks: 5 to 6)
Directed By, Piano – Luther Henderson (tracks: 16 to 17)
Drums – Denzil Best (tracks: 1 to 4, 16 to 17), George Jones (tracks: 5 to 6), J.C. Heard (tracks: 7 to 13), Kansas Fields (tracks: 18 to 21), Kelly Martin (tracks: 22 to 23)
Guitar – Chuck Wayne (tracks: 1 to 4), Herman Mitchell (tracks: 16 to 17)
Piano – Billy Taylor (tracks: 22 to 23), Clyde Hart (tracks: 1 to 4), Jimmy Jones (tracks: 7 to 13), Kenny Drew (tracks: 18 to 21), Marty Napoleon (tracks: 5 to 6)
Tenor Saxophone – Budd Johnson, Charlie Singleton (tracks: 18 to 21)
Trombone – Dickie Harris (tracks: 7 to 10), Dicky Wells (tracks: 11 to 13), J.J. Johnson (tracks: 18 to 21), Trummy Young (tracks: 5 to 6)
Trumpet – Al Killian (tracks: 5 to 6), Little Benny Harris (tracks: 1 to 4), George Treadwell (tracks: 7 to 13), Howard McGhee (tracks: 18 to 21), Joe Newman (tracks: 22 to 23)

CLARK TERRY - Duke With A Difference (1957-1990) RM | FLAC (tracks), lossless

Trumpeter Clark Terry and some of the top Ellington sidemen of the period (trombonist Britt Woodman, altoist Johnny Hodges, tenor saxophonist Paul Gonsalves, Tyree Glenn on vibes, bassist Jimmy Woode, and drummer Sam Woodyard) perform eight songs associated with Duke, but with fresh arrangements. There is plenty of solo space for Terry, Gonsalves, and Hodges, and the arrangements by Terry and Mercer Ellington cast a new light on some of the warhorses; highlights include "C Jam Blues," "Cotton Tail," "Mood Indigo," and "Come Sunday." Scott Yanow
Tracklist :
1    C-Jam Blues    3:03
Barney Bigard / Duke Ellington
2    In A Sentimental Mood    2:55
Duke Ellington / Manny Kurtz / Irving Mills
3    Cottontail    6:54
Duke Ellington
4    Just Squeeze Me    6:15
Duke Ellington / Lee Gaines / Fats Waller / Clarence Williams
5    Mood Indigo    6:55
Barney Bigard / Duke Ellington / Irving Mills
6    Take The A Train    3:27
Billy Strayhorn
7    In A Mellotone    5:08
Duke Ellington / Milt Gabler            
8    Come Sunday    3:32
Duke Ellington
Credits :
Alto Saxophone – Johnny Hodges
Arranged By – Clark Terry (tracks: 1, 3 to 7), Mercer Ellington (tracks: 2, 8)
Bass – Jimmy Woode
Celesta – Luther Henderson (tracks: 2)
Drums – Sam Woodyard
Piano – Billy Strayhorn (tracks: 2, 8), Tyree Glenn (tracks: 1, 3 to 7)
Tenor Saxophone – Paul Gonsalves
Trombone – Britt Woodman (tracks: 1, 3 to 7), Quentin Jackson (tracks: 2, 8)
Trumpet – Clark Terry
Vocals – Marian Bruce (tracks: 2)

JACQUES LOUSSIER TRIO - Vivaldi : The Four Seasons (1997) FLAC (image+.cue), lossless

Pianist Jacques Loussier has certainly had an unusual career, much of it spent performing jazz interpretations of Bach's music. While his original works have been noteworthy, Loussier's most famous projects have been his transformations of Bach's music. In 1997 he tackled Vivaldi's Four Seasons, four concertos that he performed and recorded with his trio. As with Bach's pieces, Loussier pays respect to Vivaldi's melodies and the development of the works while swinging the music. He divides each of the concertos into three parts, improvises tastefully while keeping the themes in mind, and leads his trio through some uncharted territory. Loussier occasionally recalls the style of John Lewis and Allegro Non Molto from the Summer piece has some resemblances to Lewis' "Django." Due to Loussier's impressive technique, respect for both idioms and his well thought-out concept, this unique set is a complete by Scott Yanow
Tracklist:
La Primavera - Spring (Concerto No. 1 In E Major)    
L'Estate - Summer (Concerto No. 2 In G Minor)    
L'Autunno - Autumn (Concerto No. 3 In F Major)    
L'Inverno - Winter (Concerto No. 4 In F Minor)     
Credits:
Composed By – Vivaldi
Double Bass – Vincent Charbonnier
Drums – André Arpino
Piano, Producer, Arranged By – Jacques Loussier

JACQUES LOUSSIER TRIO - Satie : Gymnopédies • Gnossiennes (1998) FLAC (tracks+.cue), lossless

 
Tracklist:
1     Gymnopédie No.1 / Var.1     4:35
2     Gymnopédie No.1 / Var. 2     4:32
3     Gnossienne No.3     4:25
4     Gnossienne No.6     5:22
5     Gnossienne No.2     4:16
6     Gymnopédie No.1 / Var. 3     5:03
7     Gnossienne No.4     7:08
8     Gnossienne No.5     4:12
9     Gymnopédie No.1 / Var. 4     3:42
10     Gnossienne No.1     3:52
11     Pas À Pas     3:44
Credits:
Bass – Benoit Dunoyer de Segonzac
Drums – André Arpino
Piano – Jacques Loussier
 

JACQUES LOUSSIER TRIO - Ravel's Bolero (1999) FLAC (tracks+.cue), lossless

Ravel: Bolero continues Jacques Loussier's series of jazz-inspired interpretations of classical music. His version of "Bolero" emphasizes the hypnotic, rhythmic structure of the work, and highlights his inspired, energetic playing. by Heather Phares
Tracklist:
1     Ravel's Boléro 17:10
    Arranged By – Jacques Loussier
    Nympheás
2     I. Allegro 6:06
    Composed By – Jacques Loussier
3     II. Andante 5:41
    Composed By – Jacques Loussier
4     III. Vivace 5:23
    Composed By – Jacques Loussier
5     IV. Largo 5:57
    Composed By – Jacques Loussier
6     V. Presto 3:50
    Composed By – Jacques Loussier
7     VI. Cantabile 3:03
    Composed By – Jacques Loussier
8     VII. Prestissimo 4:09
    Composed By – Jacques Loussier
Credits:
Bass – Benoît Dunoyer de Segonzac
Drums – André Arpino
Piano – Jacques Loussier

JOHN LEWIS - The John Lewis Piano (1957-2012) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

  Pianist John Lewis, heard on vacation from the Modern Jazz Quartet, mostly plays introverted interpretations on this out-of-print LP. He duets with drummer Connie Kay and guitarists Barry Galbraith and Jim Hall, only using a full rhythm section (bassist Percy Heath and drummer Kay) on two of the seven selections. The thoughtful and introspective selections include four Lewis originals (best-known is "D & E") and three standards (including a tender "It Never Entered My Mind"). by Scott Yanow
Tracklist:
1    Harlequin 5:14
Drums – Connie Kay
2    Little Girl Blue 4:30
Bass – Percy Heath
Drums – Connie Kay
3    The Bad And The Beautiful 4:16
Guitar – Barry Galbraith
4    D & E 4:19
Bass – Percy Heath
Drums – Connie Kay
5    It Never Entered My Mind 3:36
Guitar – Barry Galbraith
6    Warmeland 4:41
Guitar – Barry Galbraith
7    Two Lyric Pieces 10:38
Guitar – Jim Hall
Credits:
Piano – John Lewis

 

JOHN LEWIS - Improvised Meditations & Excursions (1959-2012) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

The emphasis on this fine LP is on John Lewis' piano playing. Taking time off from the Modern Jazz Quartet and his orchestral writing, Lewis performs five standards plus two of his originals ("Delaunay's Dilemma" and "Love Me") in a trio with drummer Connie Kay and either George Duvivier or Percy Heath on bass. A master at playing blues, Lewis' versatility and solid sense of swing can be heard on such songs as his two originals as well as "Now's the Time," "Yesterdays," and "September Song." by Scott Yanow
Tracklist:
1    Now's the Time 3:48
George Gershwin / Ira Gershwin
2    Smoke Gets in Your Eyes 4:53   
Otto Harbach / Jerome Kern
3    Delaunay's Dilemma 4:28
John Lewis
4    Love Me 5:04    
Charlie Parker
5    Yesterdays 6:20   
John Lewis
6    How Long Has This Been Going On? 5:50   
Otto Harbach / Jerome Kern
7    September Song 6:12
Maxwell Anderson / Kurt Weill
Credits:
Bass – George Duvivier (tracks: 1 to 3, 7), Percy Heath (tracks: 4 to 6)
Drums – Connie Kay
Piano – John Lewis

JOHN LEWIS - The Golden Striker (1960-2013) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

 One of the less interesting John Lewis "third-stream" projects, this LP features Lewis' "Music for Brass." Six of his originals (four songs from his ballet "The Comedy," "Odds Against Tomorrow" and "The Golden Striker") plus four brief "Fanfares" are performed by four trumpets, two trombones, four French horns, a tuba and Lewis' trio. Although the pianist takes a few solos, the music is mostly written out and frankly rather dull. This set has been long out-of-print. by Scott Yanow
Tracklist:
1    Fanfare I    0:38
Composed By – John Lewis
2    Piazza Navona    6:28
Composed By – John Lewis
3    Odds Against Tomorrow    7:45 
Composed By – John Lewis
4    Fanfare Il    0:33
Composed By – John Lewis 
5    Pulcinella    4:15
Composed By – John Lewis
6    Fanfare Il    0:23
Composed By – John Lewis
7    The Golden Striker    4:55
Composed By – John Lewis
8    Piazza Di Spagna    4:33
Composed By – John Lewis
9    Fanfare I    0:38
Composed By – John Lewis
10    La Cantatrice    5:03
Composed By – John Lewis
Credits:
Bass – George Duvivier
Drums – Connie Kay
French Horn – Albert Richman, Gunther Schuller, John Barrows, Ray Alonge
Piano, Conductor, Composed By – John Lewis
Trombone – David Baker, Dick Hixson
Trumpet – Alan Kiger, Bernie Glow, Joe Wilder, Melvyn Broiles
Tuba – Harvey Phillips (tracks: 1, 2, 4 to 10), Jay McAllister (tracks: 3, 10)

JOHN LEWIS - The Wonderful World Of Jazz (1961-2012) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

This is one of pianist John Lewis' most rewarding albums outside of his work with the Modern Jazz Quartet. Three numbers (including a remake of "Two Degrees East, Three Degrees West") showcase his piano in a quartet with guitarist Jim Hall, bassist George Duvivier, and drummer Connie Kay. A 15-and-a-half-minute rendition of "Body and Soul" has one of tenor saxophonist Paul Gonsalves' finest solos, while "Afternoon in Paris" features a diverse cast with trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenor man Benny Golson, baritonist Jimmy Giuffre, and guitarist Jim Hall; altoist Eric Dolphy cuts everyone. by Scott Yanow
Tracklist:
1    Body and Soul 15:24
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
2    I Should Care 04:50    
Sammy Cahn / Axel Stordahl / Paul Weston
3    Two Degrees East, Three Degrees West 5:35
John Lewis
4    Afternoon in Paris 9:55
John Lewis
5    I Remember Clifford     3:25
Benny Golson
6    The Stranger 5:39    
Arif Mardin
7    If You Could See Me Now 10:21
Tadd Dameron / Carl Sigman
Credits:
Alto Saxophone – Eric Dolphy (tracks: 4, 6)
Baritone Saxophone – James Rivers (tracks: 4, 6)
Bass – George Duvivier
Drums – Connie Kay
French Horn – Gunther Schuller (tracks: 4, 6)
Guitar – Jim Hall
Piano, Arranged By – John Lewis
Tenor Saxophone – Benny Golson (tracks: 4, 6), Paul Gonsalves (tracks: 1)
Trumpet – Herb Pomeroy (tracks: 1, 4, 6)

 

JOHN LEWIS - Evolution II (2001-2014) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

On May 3, 2000, John Lewis turned 80 -- and almost half a century after the formation of the Modern Jazz Quartet, he could still inspire a variety of reactions. Over the years, Lewis' detractors have insisted that his piano playing is too polite and overly mannered; his admirers, however, have exalted him as the epitome of class and sophistication. To be sure, Lewis' pianism is quite sophisticated, but that doesn't mean that he doesn't swing or that he isn't soulful. Recorded in 2000 and released in early 2001, Evolution II isn't going to convert anyone who isn't already an admirer of the pianist's cool jazz/third stream approach. Anyone who has claimed that Lewis' playing is too polite won't have a change of heart after hearing this CD, but for Lewis' admirers, the rewards are great. Evolution II is the second installment of his Evolution trilogy; while the first Evolution was an unaccompanied solo piano recording, Evolution II finds him leading quartets that include Howard Alden or Howard Collins on guitar, George Mraz or Marc Johnson on upright bass, and Lewis Nash on drums. Except for the standards "Come Rain or Come Shine" and "What Is This Thing Called Love?," all of the songs are Lewis originals (including new compositions as well as familiar pieces like "Django" and "Trieste"). True to form, Lewis is elegant and swinging at the same time -- contrary to what his detractors have claimed, Lewis swings, but he does so on his own terms. For Lewis, there is no reason why jazz cannot be classical-influenced yet maintain the feelings of the blues. Although Evolution II falls short of essential, it is an enjoyable addition to the veteran pianist's catalog and demonstrates that his chops have held up well over the years. by Alex Henderson
Tracklist:
1    The Festivals 4:14   
John Lewis
2    One of Parker's Moods 3:54   
John Lewis
3    December, Remember 6:59
John Lewis
4    That! Afternoon in Paris 6:07    
John Lewis
5    Cain and Abel 6:52
John Lewis
6    Come Rain or Come Shine 5:03
Harold Arlen / Johnny Mercer
7    Trieste 4:17
John Lewis
8    Django 5:24
John Lewis
9    Sammy 4:09
John Lewis / Cole Porter
10    What Is This Thing Called Love? 5:52
Cole Porter
John Lewis feat: Cole Porter
CreditS :
Howard Alden - Guitar
Howard Collins - Guitar
Marc Johnson - Bass, Bass (Acoustic)
John Lewis - Composer, Piano, Producer
George Mraz - Bass, Bass (Acoustic),
Lewis Nash - Drums
Cole Porter - Composer, Performer

TOOTS THIELEMANS - One More for the Road (2006) FLAC (tracks+.cue), lossless

These sessions by harmonica virtuoso Toots Thielemans are a mixed bag of vocal and instrumental interpretations of works by Harold Arlen. Unfortunately, the project comes across as more of a crossover date, featuring several vocalists who will be of little interest to many jazz fans, while conductor Jurre Haanstra's orchestrations are rather bland and sometimes a bit syrupy. Thielemans' own solos tend to be fairly short, while his regular pianist, Kenny Werner (switching to Fender Rhodes on a few tracks), isn't utilized enough as a soloist. The best selections include "This Time the Dream's on Me," which features Till Brönner on both trumpet and vocals in a warm and unpretentious setting, a campy treatment of "Between the Devil and the Deep Blue Sea" by Madeleine Peyroux, along with Trijntje Oosterhuis' warm rendition of the nearly forgotten "I Wonder What Became of Me." But several tracks don't make the cut, including Jamie Cullum's pop-infused "One for My Baby (And One More for the Road)," Beth Hart's dreadful "I Gotta Right to Sing the Blues," and urban contemporary singer Oleta Adams' lackluster version of "Stormy Weather." This CD falls short of being an essential Toots Thielemans release. by Ken Dryden  
Tracklist:
1    Come Rain Or Come Shine 4:41
Acoustic Guitar, Slide Guitar – Bert Meulendijk
Trumpet – Ruud Breuls
Vocals – Lizz Wright
2    Between The Devil And The Deep Blue Sea 2:40
Engineer [Protools] – Jay van den Berg
Vocals – Madeleine Peyroux
3    Last Night When We Were Young 5:14
Bass – Ruud Jacobs
Piano – Hans Vroomans
Vocals – Silje Nergaard
Written-By – E.Y. Harburg
4    Ill Wind    3:55
Written-By – Harold Arlen / Ted Koehler
5    One For My Baby (And One More For The Road) 5:09
Vocals – Jamie Cullum
6    I Gotta Right To Sing The Blues 3:05
Vocals – Beth Hart
7    I Wonder What Became Of Me 4:04
Bass – Ruud Jacobs
Piano – Hans Vroomans
Vocals – Trijntje Oosterhuis
8    That Old Black Magic    4:18
Written-By – Harold Arlen / Johnny Mercer
9    This Time The Dream's On Me 4:47
Electric Guitar – Bert Meulendijk
Electric Piano – Jurre Haanstra
Rhythm Guitar – Martijn van Iterson
Vocals, Trumpet – Till Brönner
10    Stormy Weather 5:33
Acoustic Guitar, Electric Guitar – Bert Meulendijk
Electric Piano – Jurre Haanstra
Vocals – Oleta Adams
11    It's Only A Paper Moon 3:46
Vocals – Laura Fygi
12    Over The Rainbow 5:49
Bass – Stefan Lievestro
Drums – Hans Van Oosterhout
Keyboards, Piano – Mike del Ferro
Written-By – E.Y. Harburg
Credits:
Arranged By, Conductor – Jurre Haanstra
Bass – Aram Kersbergen (tracks: 1, 2, 4 to 6, 8 to 11)
Drums – Marcel Serierse (tracks: 1, 2, 4 to 11)
Electric Piano [Fender Rhodes] – Kenny Werner (tracks: 1, 4, 8, 11)
Guitar – Martijn van Iterson (tracks: 2, 4, 5, 6, 8, 11)
Harmonica – Toots Thielemans
Keyboards – Jurre Haanstra (tracks: 1, 4, 10)
Percussion – Eddy Conard (tracks: 4, 8, to 10)
Piano – Kenny Werner (tracks: 2, 5, 6)
Vibraphone – Frits Landesbergen (tracks: 1, 4, 11)
Written-By – Harold Arlen, Johnny Mercer (tracks: 1, 5, 7 to 9, 11), Ted Koehler (tracks: 2, 4, 6, 10)

KEN PEPLOWSKI QUARTET - Memories of You (2007) FLAC (tracks+.cue), lossless)

Ken Peplowski is among the top clarinetists and tenor saxophonists of his generation. After a long, fruitful period recording as a leader for Concord, Peplowski started getting a number of offers to record for overseas labels. He alternates between the two instruments during these 2006 sessions, well accompanied by pianist Ted Rosenthal, bassist Gary Mazzaroppi (long Marian McPartland's bassist of choice), and drummer Jeff Brillinger, all veterans like the leader. Peplowski's lush tenor in the first interpretation of "Memories of You" recalls Ben Webster with his soft, breathy vibrato and lyrical style. He also caresses Roland Kirk's infrequently heard ballad "Bright Moments" and renders an elegant "Dream Dancing" as well. On clarinet, Peplowski's magical treatment of "In a Sentimental Mood" (backed solely by bass at first) suggests a bird's song. The cream of the crop is his warm interpretation of Billy Strayhorn's "Lotus Blossom." This set is perfect for late-night listening. by Ken Dryden
Tracklist:
1    Memories Of You    5:36
2    I'll Be Seeing You    3:53
3    Bright Moments    5:11
4    In A Sentimental Mood    6:55
5    Dream Dancing    8:24
6    Last Night When We Were Young    4:46
7    It Might As Well Be Spring    7:53
8    Lotus Blossom    5:10
9    But Not For Me    7:36
10    Poor Butterfly    6:31
11    Memories Of You Il    6:52
Credits:
Bass – Gary Mazzaroppi
Clarinet – Ken Peplowski
Drums – Jeff Brillinger
Piano – Ted Rosenthal
Tenor Saxophone – Ken Peplowski

 

ART BLAKEY AND THE JAZZ MESSENGERS - Play Selections from the New Musical Golden Boy (1963-2010) RM / EMI Music Japan Inc. 50th Anniversary / FLAC (tracks+.cue), lossless

Originally released in 1964, Golden Boy features drummer Art Blakey and his Jazz Messengers performing songs from the Lee Adams and Charles Strouse Broadway musical for which the album is titled. Based off the play, written by Clifford Odets and William Gibson, Golden Boy was a socially conscious musical about a Harlem prize-fighter trying to escape his working class roots. A somewhat obscure Blakey release, Golden Boy nonetheless features plenty of improvisatory, hard bop firepower. by Matt Collar
Tracklist:
1 Theme From Golden Boy 5:36
2 Yes I Can 5:27
3 Lorna's Here 5:09
4 This Is The Life 5:57
5 There's A Party 5:00
6 I Want To Be With You 4:03
Credits:
Alto Saxophone – James Spaulding
Arranged By – Cedar Walton, Curtis Fuller, Wayne Shorter
Baritone Saxophone – Charlie Davis
Bass – Reggie Workman
Drums – Art Blakey
French Horn – Julius Watkins
Piano – Cedar Walton
Tenor Saxophone – Wayne Shorter
Trombone – Curtis Fuller
Trumpet – Freddie Hubbard, Lee Morgan
Tuba – Bill Barber
Written-By – C. Strouse, L. Adams

ART BLAKEY AND THE JAZZ MESSENGERS - Oh-By the Way (1989-2015) RM / Timeless Jazz Master Collection / FLAC (tracks+.cue), lossless

When the Marsalis Brothers left The Jazz Messengers in early 1982, Wynton suggested that Art Blakey take a close listen to trumpeter Terence Blanchard (then 19) and 21-year old altoist Donald Harrison. The drummer took his advice, and after also adding young pianist Johnny O'Neal, Blakey soon had an exciting new version of The Jazz Messengers. Tenor saxophonist Bill Pierce and bassist Charles Fambrough were still present from the older band for this excellent LP. In the Blakey tradition, this set has five new compositions from bandmembers in addition to Wayne Shorter's "One by One" and the standard "My Funny Valentine"; the music is a fine example of high-quality hard bop. by Scott Yanow
Tracklist:

1 Oh, By the Way 6:29

Terence Blanchard
2 Duck Soup 6:00
Donald Harrison
3 Tropical Breeze 4:54
Johnny O'Neal
4 One by One 5:22
Wayne Shorter
5 Sudan Blue 7:09
Bill Pierce
6 My Funny Valentine 8:15
Lorenz Hart / Richard Rodgers
7 Alicia 5:54
Charles Fambrough
Credits:
Alto Saxophone – Donald Harrison
Bass – Charles Fambrough
Drums – Art Blakey
Piano – Johnny O'Neal
Tenor Saxophone – Billy Pierce
Trumpet – Terence Blanchard

SONNY ROLLINS - Sonny Rollins, Vol. 2 (1957-2010) RM / MONO / SACD / FLAC (tracks+.cue), lossless

Sonny Rollins, Vol. 2, recorded for Blue Note, is a timeless session and a milestone in jazz history that gathered together some of the founding fathers of the post-bop era. Joining Rollins are Jazz Messengers Art Blakey on drums and Horace Silver on piano, Miles Davis' favorite bassist Paul Chambers, the quintessential trombonist J.J. Johnson, and even Thelonious Monk himself. The tour de force in swing begins with a bang and doesn't let up until the last note has faded away. Rollins' own uptempo "Why Don't I" kicks off the session with a rhythmic jolt before his big tenor launches into a classic swinging solo followed by turns from Johnson and Silver and some heated exchanges with Blakey. The aptly titled "Wail March" begins deceptively with a street-beat groove before careening into several blistering solo choruses. Monk sits in for his own "Misterioso" and "Reflections," two quintessential works from this eccentric master that are given excellent readings here. The bouncing "You Stepped Out of a Dream" provides some tasty interaction between Rollins and Johnson. Finally, the lilting "Poor Butterfly" is a nice bluesy ending to this all-star session. AllMusic 
Tracklist:
1 Why Don't I 5:42
Sonny Rollins
2 Wail March 6:09
Sonny Rollins
3 Misterioso 9:22
Thelonious Monk
4 Reflections 7:01
Thelonious Monk
5 You Stepped Out of a Dream 6:22
Nacio Herb Brown / Gus Kahn
6 Poor Butterfly 6:05
John Golden / Raymond Hubbell
Credits:
Bass – Paul Chambers
Drums – Art Blakey
Piano – Horace Silver, Thelonious Monk
Recorded By – Rudy Van Gelder
Tenor Saxophone – Sonny Rollins
Trombone – Jay Jay Johnson

SONNY ROLLINS - Freedom Suite (1958-2008) RM / KEEPNEWS COLLECTION / FLAC (tracks+.cue), lossless

By February of 1958, when Sonny Rollins recorded Freedom Suite, his political consciousness had risen to match the poetic scope of his music. In addressing his place as a creative artist and an African-American, Rollins recognized that both aspects of his being existed under second-class circumstances, and that it was time for this country to review these inequities. In recording with bassist Oscar Pettiford and drummer Max Roach, Rollins aligned himself with the modern jazz innovators who best exemplified his righteous brand of freedom. Pettiford is particularly inspired on trio and duo versions of "Till There Was You," where he displays an uncanny knack for enunciating lyrical syncopations without losing the flow of the beat or a sense of harmonic structure. His ringing half notes on the head to "Will You Still Be Mine?" set up a vibrant series of Rollins/Roach exchanges, while his charming solo distills the melody into its most swinging components. But it's "Freedom Suite," with its stunning stops and starts, extended variations, thematic interludes, and exhilarating denouement, that invites the most superlatives. Rollins' sense of sustained melodic invention is remarkable, as is his cyclical formal structure. The opening theme, with its affectionate parody of a formal overture, sets the band in motion, as if motifs and contrasting themes criss-cross and collide in a swinging trialogue. A waltz figure and dramatic, extended cadenza introduces one of Rollins' most touching ballads, richly tinted in smoky shades of blue, with some joyous buck and wing by Pettiford and Roach. Finally, a reprise of the waltz theme gives way to a climactic chase, inspiring some of Roach's most fervent, singing breaks, before a return to the opening theme ties it all up. by Rovi Staff  
Tracklist:
1 The Freedom Suite 19:17
Sonny Rollins
2 Someday I'll Find You 4:35
Noël Coward
3 Will You Still Be Mine? 2:54
Tom Adair / Matt Dennis
4 Till There Was You (Take 4) 4:54
Meredith Willson
5 Shadow Waltz 4:08
Al Dubin / Harry Warren
- Bonus Track -
6 Till There Was You (Take 1) 4:20
7 Till There Was You (Take 3) 4:59
8 There Will Never Be Another You 5:48
Credits:
Bass – Oscar Pettiford
Drums – Max Roach
Reissue Producer, Liner Notes [Reissue Annotated] – Orrin Keepnews
Tenor Saxophone – Sonny Rollins (tracks: 1 To 7)

PAUL GONSALVES / ROY ELDRIDGE - Mexican Bandit Meets Pittsburgh Pirate (1973-1992) FLAC (image+.cue), lossless

This album teams tenor saxophonist Paul Gonsalves and trumpeter Roy Eldridge quite late in their careers. Gonsalves would pass away within a year and Eldridge would only be able to play for about five more. Actually, Eldridge is in generally good (and typically combative) form on tunes such as his "5400 North" and "C Jam Blues." The ailing Gonsalves is tentative and streaky in spots and just average throughout despite his best efforts. The rhythm section (pianist Cliff Smalls, bassist Sam Jones and drummer Eddie Locke) is perfectly up to the task and has "It's the Talk of the Town" as its feature. It's an interesting historical album although the leader has sounded much better elsewhere.
 by Scott Yanow
Tracklist:
1 5400 North 6:50
Roy Eldridge
2 I Cover the Waterfront 8:21
Johnny Green / Edward Heyman
3 C Jam Blues 5:50
Barney Bigard / Duke Ellington
4 Body and Soul 7:28
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 It's the Talk of the Town 7:00
Jerry Livingston / Al J. Neiburg / Marty Symes
6 Somebody Loves Me 4:52
Buddy DeSylva / George Gershwin / Ira Gershwin / Ballard MacDonald
- Bonus Track -
7 Satin Doll 5:43
Duke Ellington / Johnny Mercer / Billy Strayhorn
Credits:
Bass – Sam Jones
Drums – Eddie Locke
Piano – Cliff Smalls
Tenor Saxophone – Paul Gonsalves
Trumpet, Vocals – Roy Eldridge

AL HAIG / JIMMY RANEY - Strings Attached (1975-2007) FLAC (tracks+.cue), lossless

Pianist Al Haig, a veteran of the bebop era, plays pretty modern on this quartet date which is co-led by guitarist Jimmy Raney. With backing by bassist Jamil Nasser and drummer Frank Gant, Haig and Raney interpret two bop standards and such later material as Herbie Hancock's "Dolphin Dance" and Eddie Harris' "Freedom Jazz Dance." Haig and Raney inspire each other to stretch out, including on an 11-minute version of "'Round Midnight." Thought-provoking music well worth hearing several times. by Scott Yanow
Tracklist:
1 Dolphin Dance 7:27
Herbie Hancock
2 Enigma 4:48
J.J. Johnson
3 Invitation 9:17
Bronislaw Kaper
4 Out of Nowhere 6:35
Johnny Green / Edward Heyman
5 Freedom Jazz Dance 4:40
Eddie Harris
6 'Round Midnight 11:00
Bernie Hanighen / Thelonious Monk / Cootie Williams
Credits:
Bass – Jamil Nasser
Drums – Frank Gant
Guitar – Jimmy Raney
Piano – Al Haig