CURTIS FULLER — The Complete Blue Note/UA Curtis Fuller Sessions (1996) 3CD BOX-SET | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller, who developed his sound out of the style of J.J. Johnson, recorded prolifically as a leader from 1957-1962. After recording three dates for Prestige and New Jazz within a seven-day period in 1957, Fuller made four albums for Blue Note from 1957-1958, and after three albums for Savoy, he cut a lone session for United Artists in 1959. All of the five Blue Note and United Artists records (plus an alternate take of "Down Home") are on this excellent three-CD limited box set, released in 1996. Fuller is heard with four different quintets that include either tenor saxophonist Hank Mobley, baritonist Tate Houston, trumpeter Art Farmer, or (on a date only previously out in Japan) fellow trombonist Slide Hampton; the rhythm sections consist of either Bobby Timmons or Sonny Clark on piano, Paul Chambers or George Tucker on bass, and Art Taylor, Louis Hayes, or Charlie Persip in the drum slot. In addition, there is a sextet session with Lee Morgan, Mobley, Tommy Flanagan, Chambers, and Elvin Jones that has arrangements by Gigi Gryce and Benny Golson. Throughout, the music is high-quality hard bop with plenty of fine features for the underrated but talented Curtis Fuller. Scott Yanow   Tracklist & Credits :

CURTIS FULLER — Two Bones (1958-2014) RM | SHM-CD | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

THE CURTIS FULLER JAZZTET — The Curtis Fuller Jazztet With Benny Golson (1959-1991) RM | FLAC (tracks+.cue), lossless

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip. Brandon Burke   Tracklist & Credits : 

OLIVER NELSON WITH JOE NEWMAN — Main Stem (1961-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Unlike most of Oliver Nelson's recordings, this one has the feel of a jam session. A Prestige set, Nelson (on tenor and alto) teams up with trumpeter Joe Newman (in exciting form), pianist Hank Jones, bassist George Duvivier, drummer Charlie Persip, and Ray Barretto on congas. There are two superior standards ("Mainstem" and "Tangerine") and four of Nelson's more basic originals. The spirited solos of Nelson and Newman are strong reasons to get this colorful session. Scott Yanow    Tracklist & Credits :

THE GIL EVANS ORCHESTRA — Out of the Cool (1961-1996) RM | FLAC (tracks+.cue), lossless

Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis -- Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo -- drenched in funky blues -- is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.

Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter -- which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun.
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Tracklist & Credits :

THE RED GARLAND TRIO PLUS RAY BARRETTO — Rojo (1961-2014) RM | Prestige Masters Collection 1000 | FLAC (tracks+.cue), lossless

Pianist Red Garland recorded frequently with trios for Prestige during the second half of the 1950s. For this set (reissued on CD), Garland, bassist George Joyner and drummer Charlie Persip are joined by Ray Barretto on congas and the emphasis is on forceful swinging. Garland takes such ballads as "We Kiss in a Shadow" and "You Better Go Now" at faster-than-expected tempos. "Ralph J. Gleason Blues" and the Latin feel of "Rojo" are among the highlights of this enjoyable disc. Scott Yanow
Tracklist & Credits :

THE RED GARLAND TRIO — Bright and Breezy (1961-1995) RM | FLAC (tracks+.cue), lossless

During 1961-1962, following a long series of recordings for Prestige, pianist Red Garland recorded four LPs for the Jazzland label. His style was unchanged from a few years earlier, and this trio set with bassist Sam Jones and drummer Charlie Persip (reissued on CD on the Original Jazz Classics label) is very much up to par. Highlights include Garland's interpretations of "I Ain't Got Nobody," "Blues in the Closet," and "Lil' Darlin'." An enjoyable straight-ahead session. Scott Yanow   Tracklist & Credits :

RED GARLAND — When There Are Grey Skies (1962-1992) RM | FLAC (tracks+.cue), lossless

This set was pianist Red Garland's 25th session as a leader since 1956, but it would be eight years before his next record. Garland's influential style had been fully formed since the mid-'50s and his chord voicings were immediately recognizable. With the assistance of bassist Wendell Marshall and drummer Charlie Persip, Garland explores and updates seven veteran songs (including a previously unreleased "My Blue Heaven") dating from the '20s era. This fine LP is highlighted by such unlikely material as "Sonny Boy," "St. James Infirmary," "Baby Won't You Please Come Home," and a 12-minute "Nobody Knows the Trouble I've Seen." Scott Yanow   Tracklist & Credits :

RED GARLAND — Soul Burnin' (1964-1997) RM | FLAC (tracks+.cue), lossless

Soul Burnin' contains material recorded at Red Garland' final two sessions for the Prestige label. Garland is generally in fine form, drawing on his bop and blues influences to produce cleanly coherent solos.
On "If You Could See Me Now" and "On Green Dolphin Street," Garland's trio (with Charlie Persip, drum, and Peck Morrison, bass) is supplemented by the trumpet of Richard Williams and the saxophone of Oliver Nelson. Nelson (known mostly as an arranger/ composer) has an unformed sound and a melodic conception that recalls Coltrane.
The three tunes performed by Garland's other trio (with Sam Jones, bass, and Art Taylor, drums) are solid, if uninspired. Also included as a bonus track is a tune called "A Little Bit of Basie" -- Garland's playing here echoes the elegance, economy, and style of the Count's. Rovi Staff    Tracklist & Credits :

RED GARLAND — Rediscovered Masters, Vol.2 (1992) FLAC (tracks+.cue), lossless

Tracklist & Credits :

RED GARLAND — Red's Blues (1998-2006) RM | MONO | FLAC (image+.cue), lossless

With sights set firmly set upon the blues, this is bedrock Red Garland, aimed squarely down the middle of his most fertile period. Not everything here is a blues, but they might as well be, given the sameness of mood and approach in this selection of small-group blowing sessions. Wherever you go on Red's Blues, you can't miss Garland's distinctive block chords and light-handed right-handed bop patterns recorded in the soft-focused Van Gelder studio manner, all of which jazz fans would hear constantly down the road in the '60s. And not only that, almost all of the tunes are in the keys of B flat or C, which could make this disc useful for background if not extended listening. Nevertheless, the personnel is often stellar; John Coltrane and Donald Byrd turn up on "Birks' Works," and Arnett Cobb saunters through "Black Velvet" (better known as "Don'Cha Go Way Mad"), Coleman Hawkins is in fine funky form on "Red Beans," and Ray Barretto's congas light up one of the few jazz compositions ever named after a critic ("Ralph J. Gleason Blues"). The 75-minute disc, all of whose contents have been issued on CD before, opens with a long, majestic Garland meditation on "See See Rider" -- and that pretty much sets the tone.  Richard S. Ginell   Tracklist & Credits :

HARRY EDISON — Mr. Swing + The Swinger (1999) 2CD | Serie Verve Elite Edition | FLAC (tracks+.cue), lossless

The late Harry "Sweets" Edison was one of the acknowledged masters of swing trumpet; this reissue combines the original LPs The Swinger and Mr. Swing into a two-CD set with the addition of the previously unreleased "How Am I to Know?" and an Edison original, "Blues in the Closet" (no relation to the Oscar Pettiford piece with the same name). Edison and tenor saxophonist Jimmy Forrest work well together, inspiring one another with lyrical lines on the ballads like "The Very Thought of You," and Edison's easygoing blues "Pussy Willow," but also heat up the session with their playing on an up-tempo Basie-like blues in "Nasty." Edison switches to open horn during most of the second CD. Forrest's vibrato-filled solo on "Ill Wind," and Edison's memorable rendition of "Baby, Won't You Please Come Home?," including both open and muted trumpet solos, are second-half highlights. Pianist Jimmy Jones, bassist Joe Benjamin, drummer Charlie Persip, and rhythm guitarist Freddie Greene make up the capable rhythm section. This reissue is a part of the Verve Elite limited-edition series with only 6,500 copies pressed. Ken Dryden
Tracklist 1 :
1 Pussy Willow 7:34
Harry "Sweets" Edison / Duke Ellington
2 The Very Thought of You 6:08   
Peter Gosling / Ray Noble
3 Nasty 5:24
Harry "Sweets" Edison
4 The Strollers 6:58
Harry "Sweets" Edison
5 Sunday 6:58
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
6 Fairground 5:06
Harry "Sweets" Edison
7 How Am I to Know? 7:18
Gordon Jenkins / Jack King
Tracklist 2 :
1 Love Is Here to Stay 9:52   
George Gershwin / Ira Gershwin
2 Short Coat 9:46
Harry "Sweets" Edison
3 Baby, Won't You Please Come Home 5:10
Charles Warfield / Clarence Williams
4 Impressario 8:42
Harry "Sweets" Edison
5 Ill Wind 5:53
Harold Arlen / Ted Koehler
6 Blues in the Closet 9:15
Harry "Sweets" Edison / Oscar Pettiford
Credits :
Bass – Joe Benjamin
Drums, Timpani – Charlie Persip
Guitar – Freddie Green
Piano – Jimmy Jones
Tenor Saxophone – Jimmy Forrest
Trumpet – Harry Edison

DIZZY GILLESPIE | SONNY STITT | SONNY ROLLINS — Sonny Side Up (1959-1997) RM | Verve Master Edition | FLAC (tracks+.cue), lossless

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. In the midst of the rivalry (certainly some torch was being passed, since Rollins was soon to become the top tenor saxophonist in jazz), an embarrassment of solo riches comes tumbling out of both these men's horns. Gillespie adds his own split commentary on the proceedings with a casual solo on "After Hours" and a competitively blistering statement on "I Know That You Know." With an at ease rendition of "On the Sunny Side of the Street" rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session. Stephen Cook   Tracklist + Credits :

DIZZY GILLESPIE WITH SONNY ROLLINS AND SONNY STITT — Duets (1957-1988) RM | FLAC (tracks+.cue), lossless

The product of a day's worth of recording at Nola Studios in 1957, this album is essentially the same as a much older release of the same on Verve, but the master tapes had been found and remastered into stereo along with the addition of a couple of tracks previously left off the album. Presumably, these are the same sessions that spawned the Sonny Side Up album. Here, Dizzy works separately with each of the Sonnys for a couple of tracks. "Wheatleigh Hall" is something of a tour de force for both Rollins and Gillespie, and the "Con Alma" tracks are certainly worthwhile listens for a glimpse of Stitt's prowess. Finally, the album ends with "Haute Mon'," a themeless blues in G minor. Before that, however, is the addition of a newly discovered yet unlabeled track from the same sessions, which was belatedly titled "Anythin', Ha Ha" by Gillespie prior to the release of this album. Overall, the highlights are many, and one would probably be better off with this album than the original release (in mono, no less). On a related note, however, one would probably be better off with the Sonny Side Up album instead of this one (given only one choice), due to the simultaneous collaboration with both sax players (and for no other reason than the sheer beauty of "Eternal Triangle"). Adam Greenberg   Tracklist + Credits :

DIZZY GILLESPIE — At Newport (1957-1992) RM | FLAC (image+.cue), lossless

This CD features Dizzy Gillespie's second great big band at the peak of its powers. On the rapid "Dizzy's Blues" and a truly blazing "Cool Breeze," the orchestra really roars; the latter performance features extraordinary solos by Gillespie, trombonist Al Grey, and tenor saxophonist Billy Mitchell. In addition to fine renditions of "Manteca" and Benny Golson's then-recent composition "I Remember Clifford," the humorous "Doodlin'" is given a definitive treatment, there is a fresh version of "A Night in Tunisia," and pianist Mary Lou Williams sits in for a lengthy medley of selections from her "Zodiac Suite." This brilliant CD captures one of the high points of Dizzy Gillespie's remarkable career and is highly recommended. Scott Yanow
Tracklist :
1    Dizzy's Blues    11:51
2    School Days 5:47
Vocals – Dizzy Gillespie
3    Doodlin'    7:52
4    Manteca Theme    7:11
5    I Remember Clifford    4:47
6    Cool Breeze    10:30
7    Selections From Zodiac Suite (Virgo/Libra/Aries)    10:28
8    Carioca    3:42
9    A Night In Tunisia    10:00
Credits :
Alto Saxophone – Ernie Henry, Jimmy Powell
Baritone Saxophone – Pee Wee Moore
Bass – Paul West
Drums – Charlie Persip
Piano – Mary Lou Williams (tracks: 7, 8), Wynton Kelly (tracks: 1 to 6, 9)
Tenor Saxophone – Benny Golson, Billy Mitchell
Trombone – Al Grey, Chuck Connors, Melba Liston

DIZZY GILLESPIE – 1953-1954 | The Classics Chronological Series – 1424 (2006) FLAC (image+.cue), lossless

Volume ten in the Classics Dizzy Gillespie chronology documents this trumpeter's recording activities from December 9, 1953 to June 8, 1954. As one of producer Norman Granz's many star players, Diz was able to organize both hard bop and Cuban-styled bop bands comprised of able improvisers. The opening track, "Impromptu," is a nearly-eight-minute jam taken at 75mph by the "Dizzy Gillespie-Stan Getz Sextet" with lightning-fingered pianist Oscar Peterson, guitarist Herb Ellis (heard here in an unusually rambunctious mood); bassist Ray Brown, and drummer Max Roach. The 20-piece big band assembled on May 24, 1954 recorded a piquant 16-and-a-half-minute "Manteca" suite in five movements using arrangements by Chico O'Farrill. The personnel listing is extraordinary, with J.J. Johnson, Ernie Royal and Quincy Jones in the brass section with Diz; Hilton Jefferson, Hank Mobley, Lucky Thompson and Danny Bank in the reed department, as well as two bassists and four expert Latin American percussionists augmenting the kit drumming of Charlie Persip. On the following day, four members of this mammoth ensemble returned to form a quintet; in addition to pianist Wade Legge and bassist Lou Hackney, Hank Mobley was the designated saxophonist for this assignment, a relaxed blowing session with two vocals by the leader. Gillespie put together an octet for the next date, which took place on June 3, 1954, using flautist Gilbert Valdez and a lively Latino rhythm section including conga master Candido Camero. Four titles cut on June 8, 1954 by the Dizzy Gillespie Sextet featured trombonist Jimmy Cleveland in addition to the five men who comprised the Quintet from two weeks earlier. (Although a note in the enclosed discography claims that Cleveland is omitted on "Rumbola," he is clearly audible throughout). This last session, and indeed this entire segment of Gillespie's career, resulted in substantial music of great passion and depth. "Blue Mood" is particularly satisfying because Gillespie, like Charlie Parker, was an adept bluesman. arwulf arwulf    Tracklist :

ROLAND KIRK - "Rahsaan" The Complete Mercury Recordings of Roland Kirk (1990) 11xCD BOX-SET | FLAC (tracks+.cue), lossless

Rahsaan Roland Kirk's nearly one-dozen long-players on the Mercury Records family of labels -- including the Smash and Limelight subsidiaries -- are gathered on this massive ten-disc compilation. Actually, it is 11 discs if you count the surprise bonus CD. Additionally, Rahsaan: The Complete Mercury Recordings of Roland Kirk lives up to its name by augmenting those albums with more than two-dozen previously unissued sides. Kirk's thoroughly innovative multi-instrumental reed work caught the attention of legendary producer Quincy Jones, then the vice-president of Mercury Records, who signed Kirk and would later arrange and conduct orchestrations for several of his memorable sessions. Perhaps the most recognizable among them is "Soul Bossa Nova" which is heavily featured in the Austin Powers franchise. Kirk's ability to perform several reed instruments -- including the tenor, flute, clarinet, manzello, and stritch -- simultaneously allowed him a musical autonomy few instrumentalists are afforded. His youthful embrace of the R&B, soul, pop, and eventually rock genres produced swinging interpretations of "And I Love Her" and "Walk on By," among others. Regardless of the genre, however, Kirk's ability to Swing -- with a capitol "S" -- is imprinted upon every piece he performed. Although Kirk continued his prolific output on Atlantic records in the late '60s and '70s, arguably his most profound sides are included here. We Free Kings, Domino, Reeds and Deeds, Gifts and Messages, I Talk with the Spirits and Rip, Rig & Panic are offered in their entirety. Undoubtedly the centerpiece of Kirk's work for the label is the live Kirk in Copenhagen, which features some wicked harp blowing from blues legend "Sonny Boy" Williamson, aka Big Skol. It is only fitting that this album benefits so greatly from inclusion on this set. The original six sides have been supplemented with an additional ten to present the entire October '63 performance, now complete at an hour and 45 minutes. Rahsaan: The Complete Mercury Recordings if Roland Kirk is complimented visually with a 56-page information packed booklet that includes: complete discographical and recording session logs, as well individual essays for each disc. Although not for the light of funds, this is truly the best way to become immersed in these early works of Rahsaan Roland Kirk. Lindsay Planer
All Tracks & Credits

RAHSAAN ROLAND KIRK - We Free Kings (1961-1990) RM | FLAC (tracks+.cue), lossless

We Free Kings, Roland Kirk's third long-player, is among the most consistent of his early efforts. The assembled quartet provides an ample balance of bop and soul compliments to Kirk's decidedly individual polyphonic performance style. His inimitable writing and arranging techniques develop into some great originals, as well as personalize the chosen cover tunes. With a nod to the contemporary performance style of John Coltrane, as well as a measure of his influences -- most notably Clifford Brown and Sidney Bechet -- Kirk maneuvers into and out of some inspiring situations. His decidedly 'Trane-esque solos on "My Delight" are supported with a high degree of flexibility by one-time Charles Mingus' pianist Richard Wyands and Dizzy Gillespie percussionist Charlie Persip. The album's title track is a Kirk original, based on the melody of the Christmas hymn "We Three Kings." Incorporating recognizable melodies into Kirk's oft times unorthodox musical settings would prove to be a motif throughout his career. An example is the highly touted cover of Charlie Parker's "Blues for Alice." This is an ideal avenue for the quartet to explore one of Kirk's specialties -- the blues. The almost irreverent manner in which he fuses blues and soul music into the otherwise bop-driven arrangements is striking. "A Sack Full of Soul" is a funky number with a walking-blues backbeat that perfectly supports Kirk's swinging solos. The stop time syncopation is reminiscent of Ray Charles' "What'd I Say." The 1987 CD version also includes an alternate take of "Blues for Alice." One additional track -- a cover of the Frank Loesser standard "Spring Will Be a Little Late This Year" -- was also recorded at these sessions and remained unissued until its inclusion on the ten-disc Rahsaan: The Complete Mercury Recordings of Roland Kirk box set. Lindsay Planer  

Tracklist  
1 Three For The Festival 3:07
Rahsaan Roland Kirk
2 Moon Song 4:20
Written-By – Arthur Johnston, Sam Coslow
3 A Sack Full Of Soul 4:37
Rahsaan Roland Kirk
4 The Haunted Melody 3:37
Rahsaan Roland Kirk
5 Blues For Alice (Alt. Take) 5:11
Written-By – Charlie Parker
6 Blues For Alice (Master Take) 4:06
Written-By – Charlie Parker
7 We Free Kings 4:44
Rahsaan Roland Kirk
8 You Dit It, You Did It 2:27
Rahsaan Roland Kirk
9 Some Kind Of Love 6:09
Rahsaan Roland Kirk
10 My Delight 4:28
Rahsaan Roland Kirk
Credits
Bass – Art Davis (tracks: 3 to 6, 10), Wendell Marshall (tracks: 1, 2, 7 to 9)
Composed By – Roland Kirk (tracks: 1, 3, 4, 7 to 10)
Drums – Charlie Persip
Flute – Roland Kirk
Piano – Hank Jones (tracks: 1, 2, 7 to 9), Richard Wyands (tracks: 3 to 6, 10)
Saxophone [Manzello, Stritch] – Roland Kirk
Siren – Roland Kirk
Tenor Saxophone – Roland Kirk

RAHSAAN ROLAND KIRK - The Return of the 5000 Lb. Man (1976) lp | 24bits-96hz | FLAC (tracks), lossless

The Return of the 5000 Lb. Man was Rahsaan Roland Kirk's first album for Warner Brothers, recorded before the stroke that impaired him. Kirk is at full creative and musical strength. These seven tracks are an utter astonishment. Kirk's playing of saxophones, harmonica, flutes, and euphonium is deep, soulful, and even profound in places. "Theme for the Eulipions" (which opens the album), "Giant Steps," and "There Will Never Be Another You" features an all-star band that includes Charlie Persip, a young Hilton Ruiz, bassist Buster Williams, Romeo Perique on baritone saxophone, and Howard Johnson on tuba. The version of "Sweet Georgia Brown," with its wacky percussion and whistling, is so utterly joyful and funky it's perhaps the definitive jazz version of the tune. But it's the readings of Minnie Riperton's "Loving You" and Charles Mingus' "Goodbye Porkpie Hat" that take the album to an entirely new place. They are, though very different from one another, so utterly moving and aesthetically beautiful, they elevate music to the level of poetry. This is one that's utterly necessary for fans, and a very fitting intro for the novice.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
SIDE A
1    Theme For The Eulipions 9:22
Music By – Rahsaan Roland Kirk
Solo Vocal – Maeretha Stewart
Words By, Speech – Betty Neals
2    Sweet Georgia Brown 5:07
Written-By – Ben Bernie, Kenny Casey, Maceo Pinkard
3    I'll Be Seeing You
Written-By – Irving Kahal, Sammy Fain
SIDE B
1    Loving You 4:42
Written-By – Minnie Riperton, Richard Rudolph
2    Goodbye Pork Pie Hat 6:17
Music By – Charles Mingus
Words By – Rahsaan Roland Kirk
3    There Will Never Be Another You 5:08
Written-By – Harry Warren, Mac Gordon
4    Giant Steps 6:11
Music By – John Coltrane
Words By – Betty Neals
Credits :
Arranged By – Frank Foster (pistas: A1, B3, B4), Rahsaan Roland Kirk (pistas: A2, A3, B1 to B3)
Backing Vocals – Adrienne Albert (pistas: A1, B3, B4), Arthur Williams (pistas: A1, B3, B4), Francine Carroll (pistas: A1, B3, B4), Hilda Harris (pistas: A1, B3, B4), Maeretha Stewart (pistas: A1, B3, B4), Milton Grayson (pistas: A1, B3, B4), Randy Peyton (pistas: A1, B3, B4)
Baritone Saxophone – Romeo Penque (pistas: A1, B3, B4)
Bass – Charles 'Buster' Williams (pistas: A1, B3, B4), Mattathias Pearson (pistas: B1, B2), Milton Hinton (pistas: A2)
Celesta – Hilton Ruiz (pistas: B4)
Drums – Bill Carney (pistas: A3), Charlie Persip (pistas: A1, B3, B4), Jerry Griffin (pistas: B1, B2)
Guitar – William Butler (pistas: A3, B1, B2)
Harmonica, Saxophone [Stritchaphone], Tenor Saxophone, Vocals, Producer – Rahsaan Roland Kirk
Keyboards – Arthur Jenkins (pistas: B1, B2)
Organ – Trudy Pitts (pistas: A3)
Percussion – Habao Texidor (pistas: A1, B1 to B4), Warren Smith (pistas: B1, B2)
Piano – Hank Jones (pistas: A2), Hilton Ruiz (pistas: A1, B1 to B3)
Tuba – Howard Johnson (pistas: A1, B3, B4)
Whistling – William Eaton (pistas: A2)

ARCHIE SHEPP - Ballads for Trane (1977-1984) FLAC (image+.cue), lossless

Tracklist :
1    Soul Eyes 6:37
Written-By – Mal Waldron
2    You Don't Know What Love Is 5:38
Written-By – Don Raye, Gene DePaul
3    Wise One 6:58
Written-By – John Coltrane
4    Where Are You? 6:15
Written-By – Jimmy McHugh
5    Darn That Dream 5:59
Written-By – Jimmy Van Heusen
6    Theme For Ernie 6:23
Written-By – Fred Lacey
Credits :
Bass – Reginald Workman
Drums – Charlie Persip
Piano – Albert Dailey
Tenor Saxophone, Soprano Saxophone – Archie Shepp