ANTHONY BRAXTON - The Complete Remastered Recordings on Black Saint & Soul Note (2011) RM | 8CD BOX SET | FLAC (tracks+.cue), lossless

 Cam Jazz's Complete Remastered Recordings on Black Saint & Soul Note series rolls on with this set by Anthony Braxton, who cut eight full-lengths for then owner Giovanni Bondarini. The first of these is an excellent studio duet with Max Roach, entitled Rebirth, recorded in 1978; the final album in this box is a curiosity piece composed for a multimedia performance entitled Braxton: Compostion No. 173, recorded in 1996. While the bookends are compelling for Braxton's devotees, the real attraction to this budget-priced box lies in his quartet recordings. There are two with Marilyn Crispell, Gerry Hemingway, and Mark Dresser: Four Compositions (Quartet) 1983 and Six Compositions (Quartet) 1984. On Five Compositions (Quartet) 1986, David Rosenboom replaced Crispell. Six Monk Compositions 1987 is an entirely new band with Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne holding the greatest appeal. The other two recordings are Ensemble Compositions 1992 (with Guy Klucevsek, Don Byron, and Marty Ehrlich as part of a larger group), and Eugene 1989 (where Braxton conducted the Northwest Creative Orchestra). It's easy to claim that anyone who would buy an Anthony Braxton box is a hardcore fan anyway, but in his case there are levels of that distinction. That said, this set is almost worth the purchase price just to have remastered versions of the two albums with the Crispell/Hemingway/Dresser group; these are standouts even in Braxton's vast catalog.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
CD1    Birth And Rebirth
CD2    Four Compositions (Quartet) 1983
CD3    Six Compositions (Quartet) 1984
CD4    Five Compositions (Quartet) 1986
CD5    Six Monk's Compositions (1987)
CD6    4 (Ensemble) Compositions 1992
CD7    Eugene (1989)
CD8    Composition No- 173 For 4 Actors, 14 Instrumentalists Constructed Environment And Video Projections    
All Tracks & Credits

ANTHONY BRAXTON - Six Monk's Compositions (1987) (1988) FLAC (tracks+.cue), lossless

The band Anthony Braxton assembled for this unique exploration of the compositions of Thelonious Monk is one of the wonders of the composer's retinue. Braxton, pianist Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne use six Monk tunes and go hunting for harmonic invention; in order, they are "Brilliant Corners," "Reflections," "Played Twice," "Four in One," "Ask Me Now," and "Skippy." From the jump, the listener can tell this is no ordinary Monk tribute. The music is fast, skittering along at a dervish's pace on "Brilliant Corners," and Braxton's horn -- an alto on this album -- moves right for that street where interval meets modulation and sticks his solo in the center, careening over the arrangement -- which is what the tune is in essence, an arrangement rather than a "song" -- and slipping just behind the beat to allow Waldron's brittle, almost angular percussive sonority to define the melody enough to move around the harmonic framework. And this is only the beginning. The other five compositions here are treated in a similar fashion, in that they are radically reinterpreted, played and executed with a degree of musicianship seldom found on any tribute. Braxton's intent was to get at the knotty -- even nutty -- harmonic and rhythmic idiosyncrasies that make Monk's music connect so deeply and widely yet remain difficult to interpret correctly. If all you get is a listen to "Four in One" or "Skippy," just listen to how completely each of these musicians reinvents himself to approach the material. On alternating tunes, Braxton and Waldron provide the catalyst, but all four become changelings in light of this intense and addictive harmonic conception.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Composition No. 131    7:09
2    Composition No. 88 (+108C)    5:56
3    Composition No. 124 (+108D+96)    9:07
4    Composition No. 122 (+108+96)    9:33
5    Composition No. 101 (+31+86+30)    11:31
Credits :
Alto Saxophone – Anthony Braxton
Bass – Buell Neidlinger
Composed By – Thelonious Monk
Drums – Bill Osborne
Piano – Mal Waldron

CARMEN LUNDY - Self Portrait (1996) FLAC (tracks+.cue), lossless

Jazz singers have a great deal of difficulty in building a fresh repertoire because so many pop songs are not really transferable to creative music. Carmen Lundy solves the problem on this CD by writing six of her own songs, both lyrics and music. Her talents in that area are impressive and it would not be surprising if a few future standards came out of her repertoire. Lundy's memorable, deep voice, which has a wide range, can go very low (as heard on Jobim's "Triste") and on "Firefly" she overdubs a second part, making the performance sound like a male-female duet. A tasteful string section is used on some selections, but most songs utilize the core of a strong rhythm section (pianist Cedar Walton, John Clayton, or Nathan East on bass and drummer Ralph Penland) plus occasional guests Ernie Watts and Gary Herbig on reeds. Whether interpreting ballads, singing more heated pieces, or floating over a funky vamp, Carmen Lundy pays close attention to the lyrics and mood of each song but feels free to improvise spontaneously. This is one of her strongest recordings, with the high points including "Spring Can Really Hang You up the Most," "Firefly," "Forgive Me," and "My Ship." by Scott Yanow  
Tracklist :
1    Spring Can Really Hang You Up The Most 7:06
Arranged By, Conductor – Jeremy Lubbock
Lyrics By, Music By – Fran Landesman, Tommy Wolf
2    Better Days 4:00
Lyrics By, Music By – Carmen Lundy
3    My Favorite Things 4:43
Lyrics By, Music By – Oscar Hammerstein, Richard Rogers
4    Firefly 5:28
Lyrics By, Music By – Carmen Lundy
5    Forgive Me 6:27
Arranged By, Conductor – Jeremy Lubbock
Lyrics By, Music By – Carmen Lundy
6    These Things You Are To Me 5:27
Lyrics By, Music By – Carmen Lundy
7    Triste 4:08
Arranged By – John Clayton, Jr.
Lyrics By, Music By – Antonio Carlos Jobim
8    I Don't Want To Love Without You 5:00
Lyrics By, Music By – Carmen Lundy, Julie Raynor
9    Old Friend 6:17
Lyrics By, Music By – Carmen Lundy
10    Here's To You 4:05
Lyrics By, Music By – Carmen Lundy
11    My Ship 4:19
Lyrics By, Music By – Ira Gershwin, Kurt Weil
12    'Round Midnight 5:57
Arranged By, Conductor – Jeremy Lubbock
Lyrics By, Music By – Bernie Hanighen, Cootie Williams, Thelonious Monk
Oboe – Earle Dumler
Credits :
Arranged By – Carmen Lundy (faixas: 2 to 4, 6, 8 to 11)
Bass – John Clayton Jr. (faixas: 1, 2, 5 to 7, 9 to 11)
Bass [String] – Buell Neidlinger, Margaret Storer, Norman Ludwin
Cello – Ernie Ehrhardt, Fred Seykora, Larry Corbett, Margaret Edmondson, Ray Kelley, Suzie Katayama
Clarinet – Gary Herbig (faixas: 7)
Concertmaster – Assa Drori
Contractor [String] – Jules Chaikin
Creative Director – Sam Gay
Drums – Ralph Penland (faixas: 1 to 11)
Electric Bass – Nathan East (faixas: 3, 4, 8)
Flute – Gary Herbig (faixas: 3, 7)
Piano – Cedar Walton (faixas: 1 to 11)
Soprano Saxophone – Gary Herbig (faixas: 6)
Tenor Saxophone – Ernie Watts (faixas: 3, 4, 8)
Viola – James Ross, Keiko Elegino, Kenneth Burward-Hoy, Marilyn Baker
Violin – Assa Drori, Brian Leonard, Don Palmer, Elizabeth Wilson, Gordon Marron, Henry Ferber, Israel Baker, Jay Rosen, Joel Derouin, Marc Sazer, Mari Tsumura, Pip Clarke, Ruth Johnson, Shari Zippert
Vocals – Carmen Lundy

PETER ERSKINE • MARTY KRYSTALL • BUELL NEIDLINGER – Aurora (1989) FLAC (tracks+.cue), lossless

This trio outing signifies a little-known gem that stands among the top modern jazz releases of 1989, as well-traveled drummer Peter Erskine wields his mighty chops while also serving as the traffic director for bassist Buell Neidlinger and saxophonist Marty Krystall. The opening number, "Daddy Trane & Cousin Wayne," is a wondrous piece, marked by Krystall's tunefully melodic choruses atop the rhythm section's slowly enacted jazz waltz pulse. Here and throughout, the band infuses soul-drenched modern jazz motifs with airy and somewhat open-ended three-way dialogues. They incorporate a few well-placed twists and turns into the grand mix, featuring effervescent swing vamps and subtle tonal contrasts amid their stringent attention to detail. The trio's clever outlook is starkly evident during its calypso-soul-blues yet predominantly free jazz rendition of Albert Ayler's "Ghosts," while they mesh a quaint Texas roadhouse blues motif with modern jazz-type dialogue on the piece titled "Like Latin." A super fine outing indeed, and strongly recommended. Glenn Astarita
Tracklist :
1    Daddy Trane & Cousin Wayne    7:24
Buell Neidlinger
2    Buejerk    5:26
Marty Krystall / Buell Neidlinger
3    The Music Of My People    4:09
Peter Erskine
4    Ghosts    6:37
Albert Ayler
5    Two Hats    2:43
Peter Erskine
6    Like Latin    5:40
Marty Krystall
7    Buell St. Blues    5:04
Buell Neidlinger
8    Round Midnight    5:20
Bernie Hanighen / Thelonious Monk / Cootie Williams
9    I Go(rs) Blue(s)    7:21
Marty Krystall / Buell Neidlinger
10    Pete's Boogie    5:51
Buell Neidlinger
11    El A    2:59
Marty Krystall / Buell Neidlinger
Credits :
Acoustic Bass – Buell Neidlinger
Drums, Percussion – Peter Erskine
Synthesizer, Guest – Don Preston
Tenor Saxophone, Bass Clarinet – Marty Krystall

CECIL TAYLOR - The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger (1989) 4CD / FLAC (tracks+.cue), lossless

The sessions that comprise the four discs on this first-rate Mosaic boxed set were done in 1960 and 1961 for the short-lived Candid label. Taylor's concept had not yet evolved into a finished package; he wasn't always sure where he was going. There are solos that begin in one direction, break in the middle, and conclude in another. Tenor saxophonist Archie Shepp often sounds unsure about what to play and whether to try and interact or establish his own direction. At the same time, there is plenty of exceptional playing from Taylor, Shepp, and the drum/bass combination of Buell Neidlinger and Dennis Charles. You cannot honestly say everything works on these four discs, but there is never a dull moment. It won't please everyone, but listeners ready for a challenge should step right up. by Ron Wynn
Tracklist
1-1 Air (Take 5) 10:31
1-2 Number One (Take 1) 12:29
1-3 Number One (Take 3) 8:35
1-4 This Nearly Was Mine (Take 2) 10:47
1-5 Air (Take 9) 17:30
2-1 E.B. (Take 2) 9:55
2-2 Lazy Afternoon (Take 1) 14:46
2-3 Air (Take 21) 11:25
2-4 Air (Take 28) 8:45
2-5 Air (Take 29) 10:20
2-6 Port Of Call (Take 2) 4:15
2-7 Port Of Call (Take 3) 4:21
3-1 Davis (Take 1) 3:07
3-2 Davis (Take 3) 5:13
3-3 O.P. (Take 1) 7:25
3-4 Cell Walk For Celeste (Take 1) 11:24
3-5 Cell Walk For Celeste (Take 3) 9:43
3-6 Cell Walk For Celeste (Take 8) 11:38
3-7 I Forgot (Take 1) 8:28
3-8 Section C (Take 1) 10:14
4-1 Jumpin' Punkins (Take 4) 8:10
4-2 Things Ain't What They Used To Be (Take 1) 10:04
4-3 Things Ain't What They Used To Be (Take 3) 8:53
4-4 Jumpin' Punkins (Take 6) 8:10
4-5 Cindy's Main Mood (Take 1) 5:08
4-6 O.P. (Take 2) 9:09
Credits
Baritone Saxophone – Charles Davis (tracks: 4-1 to 4-4)
Bass – Buell Neidlinger
Drums – Billy Higgins (tracks: 4-1 to 4-6), Dennis Charles (tracks: 1-1, 1-4 to 2-7, 3-3 to 3-8), Sunny Murray (tracks: 1-2, 1-3)
Piano – Cecil Taylor (tracks: 1-1 to 2-7, 3-3 to 4-6)
Soprano Saxophone – Steve Lacy (tracks: 4-1 to 4-4)
Tenor Saxophone – Archie Shepp (tracks: 1-1, 1-5, 2-2 to 2-5, 3-1, 3-2, 3-4 to 4-4)
Timpani – Billy Higgins (tracks: 4-5, 4-6)
Trombone – Roswell Rudd (tracks: 4-1 to 4-4)
Trumpet – Clark Terry (tracks: 4-1 to 4-4)

CECIL TAYLOR - Complete Candid Recordings with Buell Neidlinger 

(1989) Mosaic / 4CD / FLAC (tracks+.cue), lossless

O Púbis da Rosa

THE GIGI GRYCE-DONALD BYRD JAZZ LABORATORY & THE CECIL TAYLOR QUARTET – At Newport (1957-2002) RM | Serie : LP Reproduction | FLAC (tracks+.cue), lossless

At Newport is the 1957 album by two groups: The Gigi Gryce, Donald Byrd Jazz Laboratory & The Cecil Taylor Quartet. Each group has three songs each. Originally released on Verve, this was released by Verve Music Group on 20 August, 2002.

At first combining a set by Cecil Taylor with another by the Gigi Gryce-Donald Byrd Jazz Laboratory seems like an odd pairing, but it ends up working rather well. These live recordings, which come from the 1957 Newport Jazz Festival, have stood the test of time rather well. Taylor's style of piano playing is not that far removed from Thelonious Monk in his interpretation of Billy Strayhorn's "Johnny Come Lately," though his dissonant, angular approach is a bit busier; Steve Lacy's nasal-toned soprano sax and solid rhythmic support from bassist Buell Neidlinger and drummer Denis Charles fuel Taylor's fiery playing. Both Taylor's "Nona's Blues" and "Tune 2" are fairly accessible in comparison to his works in the decade which followed. The Gigi Gryce-Donald Byrd Jazz Laboratory – with pianist Hank Jones, bassist Wendell Marshall, and drummer Osie Johnson – is firmly rooted in hard bop. Oddly enough, none of the three pieces were written by either Gryce or Byrd, though they were both already budding composers at this point in their respective careers. But their brief program – which includes Ray Bryant's "Splittin' (Ray's Way)," the blues "Batland," and a rousing rendition of "Love for Sale" – is a good representation of this unfortunately short-lived and under-recorded group. Reissued as a part of Verve's limited-edition series in the summer of 2002, this valuable CD will be available until the summer of 2005. Ken Dryden

Cecil Taylor Quartet

1. Johnny Come Lately

2. Nona's Blues

3. Tune 2

The Gigi Gryce-Donald Byrd Jazz Laboratory

4. Splittin'

5. Batland

6. Love For Sale

Cecil Taylor Quartet

Cecil Taylor-piano

Steve Lacy-soprano saxophone

Buell Neidlinger-bass

Denis Charles-drums

The Gigi Gryce-Donald Byrd Jazz Laboratory

Gigi Gryce-alto saxophone

Donald Byrd-trumpet

Hank Jones-piano

Wendell Marshall-bass

Osie Johnson-drums

Recorded live at the Newport Jazz Festival, Newport, Rhode Island in July 1957