NELLIE McKAY — Get Away from Me (2004) 2CD-SET | FLAC (image+.cue), lossless

A striking mix of radical and traditional, raw emotion and literate expression, hip-hop and vocal pop, Nellie McKay's Get Away from Me is the kind of feverishly inventive, sprawling album that only comes from young artists. Though it could've easily fit onto a single CD, it's a double-disc set designed to reclaim the feeling of flipping over a record; the back cover proclaims that McKay "is a proud member of PETA." While McKay's age (21 at the time of the album's release) and sound make comparisons to Fiona Apple, Nelly Furtado, and Norah Jones easy -- she even named her album Get Away from Me as a preemptive strike against it being lumped in with Jones' Come Away with Me -- McKay is a more esoteric and hyperactively creative artist. She seems determined to prove how smart and wide-ranging she is on the album, and for the most part, she carries it off. Juxtaposing songs like the swoony torch song to New York, "Manhattan Avenue," and "Sari," a rap song about everything that gets on McKay's nerves (including McKay herself), certainly demonstrates the extremes of her music. However, these rapid-fire stylistic shifts and the sheer amount of information that McKay puts in her songs sometimes makes the album more dizzying than dazzling. But Get Away from Me succeeds, sometimes in spite of itself, as a musical document of all of the contradictions of a 19-year-old young woman with more than half a brain in her head. Some of McKay's songs deal with fairly typical themes like coming to terms with womanhood, sexuality, and relationships, but McKay attempts to cover as much lyrical ground as she does musical territory, with mixed results. On "Work Song," it sounds like McKay has heard how soul-sucking a nine-to-five can be, but it doesn't have the ring of truth that some of her other songs do. "Ding Dong," on the other hand, deals with depression in a surprisingly sprightly way, and the similarly witty "Clonie" turns human cloning into a story about self-obsession. The traditional feel of McKay's songwriting style and voice and her subversive lyrics often give Get Away from Me the feel of being the soundtrack to some long-lost feminist musical. "It's a Pose" and "Won't U Please B Nice" (sample lyric: "If we part I'll eat your heart") apply McKay's sharp wit to men and love; "I Wanna Get Married" casts a languidly scornful eye on traditional notions of marriage. These songs, along with the equally charming album opener, "David," and closer, "Really," have a lighter touch that avoids the clever-cleverness that drags down some of McKay's work, but is still miles away from the mild-mannered coffee-table jazz she loathes. Get Away from Me is an exciting debut that could become a cult favorite among pissed-off girl-women of McKay's age; if she can focus her creative energy without sacrificing any of the bite of her debut, she'll become an even more impressive talent. Heather Phares
Tracklist 1 :
1.    David    2:47
 Nellie McKay
2.    Manhattan Avenue    3:38
 Nellie McKay
3.    Sari    3:27
 Nellie McKay
4.    Ding Dong    3:11
 Nellie McKay
5.    Baby Watch Your Back    3:28
 Nellie McKay
6.    The Dog Song    3:04
 Nellie McKay
7.    Waiter    4:15
 Nellie McKay
8.    I Wanna Get Married    4:01
 Nellie McKay
9.    Change The World    3:58
 Nellie McKay
Tracklist 2 :
1.    It's A Pose    3:30
 Nellie McKay
2.    Toto Dies    4:02
 Nellie McKay
3.    Won't U Please B Nice    2:09
 Nellie McKay
4.    Inner Peace    2:53
 Nellie McKay
5.    Suitcase Song    2:33
 Nellie McKay
6.    Work Song    4:08
 Nellie McKay
7.    Clonie    1:56
 Nellie McKay
8.    Respectable    4:07
 Nellie McKay
9.    Really    3:56
 Nellie McKay
Credits :
Accordion – Norman Panto
Bass – Corin Stiggall
Cello – Richard Locker
Clarinet, Tenor Saxophone – Andy Snitzer
Concertmaster – Belinda Whitney
Double Bass – Ari Roland
Drums – Billy Kaye
Flute, Alto Saxophone – Charles Pillow
Guitar [Spanish] – Jay Berliner
Guitar, Drums [Jun Jun] – Jade Synstelien
Harp – Emily Mitchell
Orchestrated By – Paul Holderbaum
Trombone – Birch Johnson
Trumpet, Flugelhorn – Jim Hynes
Violin – Andy Stein, Carol Pool, Cenovia Cummins, Joyce Hammann, Patricia Davis, Rob Shaw
Vocals, Piano, Organ, Recorder, Vibraphone, Chimes, Glockenspiel, Xylophone, Synthesizer, Percussion, Arranged By, Written-By – Nellie McKay

ALLAN HOLDSWORTH – All Night Wrong (2002) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks.
A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date. Glenn Astarita  
Tracklist :
1    Lanyard Loop    5:46
 Allan Holdsworth
2    The Things You See    6:53
 Allan Holdsworth
3    Alphrazallan    7:04
 Allan Holdsworth
4    Funnels    5:01
 Allan Holdsworth
5    Zone    9:19
 Allan Holdsworth
6    Water On The Brain Pt. II    5:30
 Allan Holdsworth
7    Above & Below    8:21
 Allan Holdsworth
8    Gas Lamp Blues    7:59
 Allan Holdsworth
Credits :    
Bass – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth

BRANFORD MARSALIS QUARTET — Contemporary Jazz (2000) FLAC (tracks+.cue), lossless

This album was much anticipated, for it would be Branford Marsalis's first since the death of his longtime pianist Kenny Kirkland. Happily, it is a knockout. While no one can entirely recreate the famed chemistry that existed between Kirkland and Marsalis, pianist Joey Calderazzo does a marvelous job handling the extraordinary complexity, energy, and beauty of Marsalis's music. Bassist Eric Revis and drummer Jeff "Tain" Watts, both of whom played on 1999's Requiem (which wound up being the last recording of Kirkland's life), carry on here in the spirit of their departed friend, fleshing out Marsalis's increasingly challenging ensemble concepts and -- most importantly -- swinging like men possessed."In the Crease" and "Tain Mutiny," with their unpredictable twists and turns, are indicative of the gravitas of Marsalis's work ever since he left his post at The Tonight Show. But the album's high point is a lengthy take of "Elysium," a tune that appeared on Requiem as a trio piece, an aesthetic choice necessitated by the sudden death of Kirkland who never had a chance to play on the track. Here the full quartet weighs in, deftly executing a dizzying series of tempo shifts and subtle cues, all seamlessly worked into a fabric of extended, burning improvisation. Finally, "Sleepy Hollow," a slow blues tucked away at the end of the program as a hidden track, sounds as though the band just let the tape roll as they warmed down from the session. It's a delightfully unrehearsed moment, perhaps a closing homage to Kirkland, drawn from deep down in the tradition. David R. Adler  
Tracklist :
1.    In The Crease    6:46
Written-By – Branford Marsalis
2.    Requiem    10:24
Written-By – Branford Marsalis
3.    Elysium    15:58
Written-By – Branford Marsalis
4.    Cheek To Cheek    8:46
Written-By – I. Berlin
5.    Tain Mutiny    8:21
Written-By – Branford Marsalis
6.    Ayanna    6:01
Written-By – Eric. Revis 
7    Countronious Rex    8:54
Written-By – Jeff Watts
Credits :
Bass – Eric Revis
Drums – Jeff "Tain" Watts
Piano – Joey Calderazzo
Saxophone – Branford Marsalis

HERBIE HANCOCK — Future Shock (1983) RM | HDCD | Blu-spec CD | Three Version | FLAC (image+.tracks+.cue), lossless

Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days. He brought in Bill Laswell of Material as producer, along with Grand Mixer D.ST on turntables -- and the immediate result was "Rockit," which makes quite a post-industrial metallic racket. Frankly, the whole record is an enigma; for all of its dehumanized, mechanized textures and rigid rhythms, it has a vitality and sense of humor that make it difficult to turn off. Moreover, Herbie can't help but inject a subversive funk element when he comps along to the techno beat -- and yes, some real, honest-to-goodness jazz licks on a grand piano show up in the middle of "Auto Drive." Richard S. Ginell
Tracklist :
1    Rockit 5:22 

Bass – Bill Laswell
Bata – Daniel Ponce
Drum Machine [DMX], Electronic Drums [Synare], Programmed By [Mini-Moog Programming] – Michael Beinhorn
Synthesizer [Fairlight CMI, Rhodes Chroma, Clavitar, Mini-Moog, Dr. Click Rhythm Controller, E-mu 4060 Digital Keyboard], Vocoder [Sennheiser] – Herbie Hancock
Turntables – Grandmixer D. ST.
2    Future Shock 8:02
Backing Vocals [Background Vocals] – Bernard Fowler
Bass – Bill Laswell
Clavinet, Synthesizer [Memory Moog] – Herbie Hancock
Drums, Bongos – Sly Dunbar
Guitar – Pete Cosey
Lead Vocals – Dwight Jackson Jr.
Synthesizer [Prophet-5, Pro I], Programmed By [Memory Moog Programming] – Michael Beinhorn
3    TFS 5:15
Bass – Bill Laswell
Drum Machine [DMX], Synthesizer [Prophet-5], Electronic Drums [Synare], Programmed By [Memory Moog Programming] – Michael Beinhorn
Piano, Synthesizer [Rhodes Chroma, Emulator, Dr. Click Rhythm Controller] – Herbie Hancock
4    Earth Beat 5:10
Bass – Bill Laswell
Bata – Daniel Ponce
Drum Machine [DMX], Electronic Drums [Synare], Programmed By [Memory Moog Programming] – Michael Beinhorn
Synthesizer [Fairlight CMI, Yamah GS-1, Yamaha CE-20, Dr Click Rhythm Controller] – Herbie Hancock
Turntables – Grandmixer D. ST.
5    Autodrive 6:25
Bass – Bill Laswell
Drum Machine [DMX], Electronic Drums [Synare], Electronics [Shortwave], Programmed By [Mini-Moog Programming] – Michael Beinhorn
Piano, Synthesizer [Rhodes Chroma, Mini-Moog, Yamaha GS-1] – Herbie Hancock
6    Rough 6:57
Backing Vocals [Background Vocals] – Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling
Bass – Bill Laswell
Drums – Sly Dunbar
Lead Vocals [Lead Vocal] – Lamar Wright
Synthesizer [Fairlight CMI, AlphaSyntauri, Emulator] – Herbie Hancock
Synthesizer [Prophet-5] – Michael Beinhorn
Turntables, Voice – Grandmixer D.ST.

DUKE ELLINGTON AND HIS ORCHESTRA — Such Sweet Thunder (1957) Two Version | Jazz Originals Series | MONO | Columbia Jazz, Duke 100 Years | FLAC (tracks+.cue), lossless

Such Sweet Thunder is the 1957 album by Duke Ellington. This is taken from the 1999 Legacy edition released by Sony on 27 April, 1999 and features different takes during these sessions, including alternate, preferred, and different outtakes.
The 1999 reissue of this album marks a total reconstruction and rethinking of the original LP, and such a complete break from the original album that its story could fill a book. Such Sweet Thunder was originally announced as a stereo and mono release, but only showed up in mono thanks to the technical problems inherent in early stereo, in creating a concert-like ambience in which the performance seemed continuous. The reissue presents the original album as it was intended, using alternate takes from the original sessions, plus the stereo masters of the takes used on the original album, all rounded out with a mono outtake or two. The music itself counts among Ellington's most well-realized "concept projects," all inspired by Shakespeare's work and filled with memorable melodies and ample opportunities for solos by Cat Anderson, Johnny Hodges, Paul Gonsalves, and Quentin Jackson. The Ellington-Strayhorn compositions treat their soloists like actors doing scenes and, in effect, playing parts, even quoting lines after a fashion – Clark Terry "plays" Puck in "Up and Down, Up and Down (I Will Lead Them Up and Down)," and Johnny Hodges turns in one of the most sensuous performances of his career for "Half the Fun," from Antony and Cleopatra. These moments more than justify the cost of the CD, and the bonus tracks, many of which are different takes and others are simply material that came from the same sessions, more than double the length of the original LP. The extended notes by Phil Schaap deserve some kind of award for detail and clarity. Bruce Eder
Tracklist :
 1 - Such Sweet Thunder 3:22
  Duke Ellington / Billy Strayhorn 
2 - Sonnet For Caesar 3:00
  Duke Ellington / Billy Strayhorn 
3 - Sonnet To Hank Cinq 1:24
 Duke Ellington / Billy Strayhorn 
4 - Lady Mac 3:41
 Duke Ellington / Billy Strayhorn 
5 - Sonnet In Search Of A Moor 2:22
 Duke Ellington / Billy Strayhorn 
6 - The Telecasters 3:05
 Duke Ellington / Billy Strayhorn 
7 - Up And Down, Up And Down (I Will Lead Them Up & Down) 3:09
 Duke Ellington / Billy Strayhorn 
8 - Sonnet For Sister Kate 2:24
 Duke Ellington / Billy Strayhorn 
9 - The Star-Crossed Lovers (aka Pretty Girl) 4:00
 Duke Ellington / Billy Strayhorn 
10 - Madness In Great Ones (Hamlet) 3:26
 Duke Ellington / Billy Strayhorn 
11 - Half The Fun (aka Lately) 4:19
 Duke Ellington / Billy Strayhorn 
12 - Circle Of Fourths 1:45
 Duke Ellington / Billy Strayhorn 
13 - The Star-Crossed Lovers (aka Pretty Girl) 4:15
  Duke Ellington / Billy Strayhorn 
14 - Circle Of Fourths [stereo LP master] 1:47
 Duke Ellington / Billy Strayhorn 
15 - Suburban Beauty [master take] 2:56
 Duke Ellington
16 - A Flat Minor [preferred take] 2:33
 Duke Ellington 
17 - Cafe Au Lait [preferred take] 2:49
 Duke Ellington / Billy Strayhorn 
18 - Half The Fun (aka Lately) [alternate take] 4:08
 Duke Ellington / Billy Strayhorn 
19 - Suburban Beauty [alternate take] 2:56
 Duke Ellington  
20 - A Flat Minor [outtakes] 3:49
 Duke Ellington 
21 - Cafe Au Lait [outtakes - mono] 6:21
 Duke Ellington / Billy Strayhorn 
22 - Pretty Girl (aka The Star-Crossed Lovers) [first recording] 8:54
 Duke Ellington / Billy Strayhorn 
23 - [end]
Credits :
Duke Ellington - Piano
Russell Procope - Alto Saxophone, Clarinet
Johnny Hodges - Alto Saxophone
Jimmy Hamilton - Tenor Saxophone, Clarinet
Paul Gonsalves - Tenor Saxophone
Harry Carney - Baritone Saxophone
"Cat" Anderson, Ray Nance, Clark Terry, Willie Cook - Trumpet
John Sanders, Britt Woodman, Quentin Jackson - Trombone
Jimmy Woode - Bass
Sam Woodyard - Drums 

MILES DAVIS — Circle in the Round (1979-1991) 2CD | RM | Columbia Jazz Contemporary Masters Series | FLAC (tracks+.cue), lossless

Although this two-disc set is a compilation -- primarily consisting of extended outtakes -- Circle in the Round features the true colors of jazz chameleon Miles Davis (trumpet) during a 15-year (1955-1970) span from eight different recording sessions. Whether it was serendipity or astute coordination that gathered these sides together, Davis enthusiasts will undoubtedly find plenty to enjoy from his prolific and seemingly perpetual metamorphosis. The sessions are presented chronologically for the most part, beginning with a composite of "Two Bass Hit." This version is from an October 1955 Kind of Blue session featuring John Coltrane (tenor sax) and a band Davis refers to as "the trio": Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums). From the May 1958 recording date comes another major session featuring an all-star lineup: Julian "Cannonball" Adderley (alto sax), Coltrane (tenor sax), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). Their single take on Cole Porter's "Love for Sale" is an amazing performance that allows for some intensely cool solos from Miles and Adderley in particular. Listen as well for some tasty piano fills from Evans, as this is the sort of interaction that he'd become synonymous with. Although "Blues No. 2" is taken from the final session at which Davis and Coltrane would record together, studio documentation reveals that Coltrane did not perform on this piece. The title track appears in an unedited form on the Miles Davis Quintet, 1965-68: The Complete Columbia Studio box set. It is a heavily Eastern-influenced freebop work featuring Davis -- who is also credited with performing on chimes during this session -- with his famous late-'60s quintet, featuring Wayne Shorter (tenor sax), Herbie Hancock (celeste), Ron Carter (bass), and Tony Williams (drums), as well as Joe Beck (guitar). Two early-1968 sessions featuring George Benson (guitar) with the previously mentioned quintet make up the bulk of the second disc. These tracks are fusion incarnate. The delicate interplay between Benson and Hancock is inspiring on both versions of "Side Car" -- although the second reading seems more focused. From a January 1970 Bitches Brew session is a jaw-dropping reading of David Crosby's "Guinnevere," a complete version of which is available on the highly recommended Complete Bitches Brew Sessions (August 1969-February 1970) box set. Although seemingly hodgepodge in arrangement, Circle in the Round is a brilliant examination of the depth of scope and range possessed by Miles Davis. Lindsay Planer   
Tracklist :
1-1 Two Bass Hit 3:42
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Red Garland
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Dizzy Gillespie, John Lewis 
1-2 Love For Sale 11:49
Alto Saxophone – Cannonball Adderley
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Jimmy Cobb
Piano [Acoustic] – Bill Evans
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Cole Porter
1-3 Blues No. 2 6:48
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Wynton Kelly
Tenor Saxophone – Hank Mobley
Trumpet – Miles Davis
Written-By – Miles Davis
1-4 Circle In The Round 26:15
Celesta – Herbie Hancock
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – Joe Beck
Tenor Saxophone – Wayne Shorter
Trumpet, Chimes, Bells – Miles Davis
Written-By – Miles Davis
2-1 Teo's Bag 5:55
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-2 Side Car I 4:58
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-3 Side Car II 3:34
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-4 Splash 8:30
Double Bass [Acoustic Bass] – Dave Holland
Drums – Tony Williams
Electric Piano – Chick Corea, Herbie Hancock
Piano [Acoustic] – Joe Zawinul
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-5 Sanctuary 8:48
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Wayne Shorter
2-6 Guinnevere 18:06
Bass Clarinet – Bennie Maupin
Celesta, Piano, Electric Piano – Herbie Hancock
Double Bass [Acoustic Bass] – Dave Holland
Drums – Billy Cobham, Jack DeJohnette
Electric Bass – Harvey Brooks
Keyboards – Chick Corea, Joe Zawinul
Percussion – Airto Moreira
Sitar – Khalil Balakrishna
Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – David Crosby

THELONIOUS MONK – Underground (1968) Three Version | RM | Jazz Originals Series + Vinyl LP Best Jazz Collection 24-96Hz | FLAC (tracks+.cue), lossless

This release has long been considered Thelonious Monk's acknowledgement to the flourishing youth-oriented subculture from whence the collection takes its name. Certainly the Grammy-winning cover art -- which depicts Monk as a World War II French revolutionary toting an automatic weapon -- gave the establishment more than the brilliant swinging sounds in the grooves to consider. Underground became Monk's penultimate studio album, as well as the final release to feature the '60s quartet: Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass) behind Monk (piano). One of the motifs running throughout Monk's recording career is the revisitation of titles from his voluminous back catalog. The tradition continues with the autobiographical leadoff track, "Thelonious." The instantly recognizable stride piano lines are delivered with the same urgency and precision that they possessed over two decades earlier when he first recorded the track for Blue Note. The presence of Charlie Rouse throughout the album is certainly worth noting. "Ugly Beauty" best captures the sacred space and musical rapport that he and Monk shared. Each musician functions as an extension of the other, creating solos that weave synchronically as if performed by the same pair of hands. Newer material, such as the playful "Green Chimneys" -- named after the school Monk's daughter attended -- as well as the unbalanced hypnotism of "Raise Four," asserts the timelessness and relevance of Monk's brand of bop. The disc ends as it begins with a new twist on an old favorite. Jon Hendricks -- who provides lyrics and vocals on "In Walked Bud" -- recalls the hustle and bustle of the real and spontaneous underground Harlem jam sessions of the late '40s. It is likewise an apt bookend to this chapter in the professional life of Thelonious Monk. Lindsay Planer
Tracklist :
1.    Thelonious 3:15
Written-By – T. Monk
2.    Ugly Beauty 7:19
Written-By – T. Monk
3.    Raise Four 5:49
Written-By – T. Monk
4.    Boo Boo's Birthday 5:54
Written-By – T. Monk
5.    Easy Street 5:55
Written-By – A.R. Jones
6.    Green Chimneys 9:01
Written-By – T. Monk
7.    In Walked Bud 4:18
Vocals – Jon Hendricks
Written-By – J. Hendricks, T. Monk
Credits :
 Bass – Larry Gales
 Design [Cover] – John Berg, Dick Mantel
 Drums – Ben Riley
 Piano – Thelonious Monk
Tenor Saxophone – Charlie Rouse

PAUL DESMOND · GERRY MULLIGAN — Two Of A Mind (1962) RM | Two Version | Original Columbia Jazz Classics Series | FLAC (image+.tracks+.cue), lossless

Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically. Here the two masterful reed players are featured in pianoless quartets that also include Wendell Marshall, Joe Benjamin or John Beal on bass, and Connie Kay or Mel Lewis on drums. The songs all utilize common chord changes, including the two "originals" ("Two of a Mind" and "Blight of the Fumble Bee"), and the interplay between Desmond and Mulligan is consistently delightful. Highly recommended. [Some reissues add five bonus tracks: two alternate takes of album tracks, a laid-back take of "Easy Living" that shows off Mulligan's way with a ballad, and two takes of "Untitled Blues Waltz" that feature Jim Hall on guitar and a very squeaky drum pedal.] Scott Yanow
Tracklist :
1    All The Things You Are 5:48
Written-By – Jerome Kern, Oscar Hammerstein II
2    Stardust 8:20
Written-By – Hoagy Carmichael, Mitchell Parish
3    Two Of A Mind 5:45
Written-By – Paul Desmond
4    Blight Of The Fumble Bee 6:33
Written-By – Gerry Mulligan
5    The Way You Look Tonight 7:19
Written-By – Dorothy Fields, Jerome Kern
6    Out Of Nowhere 6:42
Written-By – Edward Heyman, Johnny Green
Credits :
Alto Saxophone – Paul Desmond
Baritone Saxophone – Gerry Mulligan
Bass – Joe Benjamin (tracks: 3, 5, 6), John Beal (tracks: 4), Wendell Marshall (tracks: 1, 2)
Drums – Connie Kay (tracks: 1, 2, 4), Mel Lewis (tracks: 3, 5, 6)

MARGE DODSON — In The Still Of The Night (1959) Vynil LP | MONO | FLAC (tracks) 24-48Hz

In the Still of the Night is Marge Dodson's initial effort for Columbia and neither she nor the label's A&R man, the indefatigable Mitch Miller, were taking no chances. All the tunes on the program are major entries in the Great American Songbook, with a full half of them from the pens of the Gershwin brothers or the team of Richard Rodgers and Lorenz Hart. Dodson delivers them all competently with a pleasant, clear voice with good diction, medium range and virtually no vibrato, sounding like a blend of Dinah Shore and June Christy. But she brings nothing distinctive to the vocal table on this album, except for an unusual rendition of "Little Girl Blue." Here she uses a quirky beat pattern giving a different interpretation than one usually hears. To her credit, she also does a respectable, mid-tempo version of "But Not for Me." She is accompanied on all but one of the tracks by an assortment of small groups led by Michael Colicchio. On "Little Girl Blue," her husband Coleridge Perkinson does the honors. However, there is one constant on each track, her principal support is supplied by a bass player, never identified. The other instruments play subsidiary roles. Dodson was to cut another album for Columbia and one for Decca then seems to have disappeared not even remembered by a footnote in any of the standard works on vocal jazz.  Dave Nathan 
Tracklist :
1. Sand in My Shoes 3:30  
Frank Loesser / Victor Schertzinger
2. Someone to Watch over Me 3:20 
George Gershwin / Ira Gershwin
3. Spring Is Here 3:00 
Lorenz Hart / Richard Rodgers
4. But Not for Me 3:13 
George Gershwin / Ira Gershwin
5. The End of a Love Affair 3:00 
Edward Redding
6. Looking for a Boy 2:55 
George Gershwin / Ira Gershwin
7. Little Girl Blue  4:22
Lorenz Hart / Richard Rodgers
8. When Your Lover Has Gone 2:20 
Einar A. Swan
9. These Foolish Things 3:25 
Harry Link / Holt Marvell / Jack Strachey
10. The Man I Love 2:45 
George Gershwin / Ira Gershwin
11. I Cover the Waterfront 3:26 
Johnny Green / Edward Heyman
12. In the Still of the Night 1:50
Cole Porter
Credits :
Vocals - Marge Dodson
Accompanied By - Michael Colicchio (tracks: 1 to 6, 8, 12), Coleridge Perkinson (tracks: 7)

LAMBERT, HENDRICKS & ROSS — Everybody's Boppin (1989) RM | Columbia Jazz Masterpieces Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

Lambert, Hendricks and Ross made their debut on Columbia in 1959, and this CD contains not only all of the music from their first CBS album, but five titles from two later records. This set has many memorable classics from the great singers Dave Lambert, Jon Hendricks (the top vocalese lyricist) and Annie Ross. Highlights include the upbeat "Charleston Alley," a remake of Ross' "Twisted," the heated "Cloudburst," Hendricks' humorous "Gimme That Wine," "Summertime" (a recreation of Miles Davis' version with Gil Evans), and "Come on Home." Although Lambert, Hendricks and Ross only lasted a few years, their influence on other vocal groups was enormous. This set is a perfect place for collectors to begin to explore their vocal magic. Scott Yanow
Tracklist :
1. Charleston Alley 3:18
 Horace Henderson / Jon Hendricks / Leroy Kirkland 
2. Moanin' 2:34
 Bobby Timmons 
3. Twisted 2:15
 Wardell Gray / Annie Ross 
4. Bijou 3:16
 Ralph Burns / Jon Hendricks 
5. Cloudburst 2:15
 Jimmy Harris / Leroy Kirkland 
6. Centerpiece 2:26
 Harry "Sweets" Edison / Jon Hendricks 
7. Gimme That Wine 2:58
 Jon Hendricks 
8; Sermonette 3:47
 Cannonball Adderley / Jon Hendricks 
9. Summertime 1:43
 George Gershwin / Ira Gershwin / DuBose Heyward 
10. Everybody's Boppin' 4:11
 Jon Hendricks 
11. Home Cookin' 4:25
 Horace Silver 
12. Blue 3:48
 Gildo Mahones 
13. Come On Home 5:26
 Horace Silver 
14. Cottontail 2:55
 Duke Ellington 
15. Midnight Indigo 2:33
 Duke Ellington 
Credits :
Bass – Charles "Ike" Isaacs
Drums – Jimmy Wormworth (tracks: 4, 7 to 15), Walter Lee Bolden (tracks: 1 to 3, 5, 6)
Performer – The Ike Isaacs Trio (tracks: 11 to 14)
Piano – Gildo Mahones
Trumpet – Harry 'Sweets' Edison (tracks: 1 to 10)
Vocals – Annie Ross, Dave Lambert, Jon Hendricks

MILES DAVIS — Porgy And Bess (1959) Six Version | RM | SACD | FLAC (image+.tracks+.cue), lossless

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian "Cannonball" Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on "Prayer (Oh Doctor Jesus)," "I Loves You, Porgy," and "There's a Boat That's Leaving Soon for New York" are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on "Fishermen, Strawberry and Devil Crab." Or the emotive bass and tuba duet that runs throughout "Buzzard Song." The impeccable digital remastering and subsequent reissue -- which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set -- only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker's dozen. No observation or collection of American jazz can be deemed complete without this recording. Lindsay Planer

(1983, CBS/Sony – 35DP 61) +
(1987, RM | CBS Jazz Masterpieces Series) +
(1997, RM | Columbia Jazz Series) +
(2000, RM | Master Sound Series) +
(2006, RM | The Original Jacket Collection Series) +
(2019, SHM-CD | Ultradisc UHR, Original Master Recording Series) 

Tracklist :
1    The Buzzard Song 4:07
2    Bess, You Is My Woman Now 5:12

3    Gone    3:38
4    Gone, Gone, Gone 2:05
5    Summertime 3:20
6    Bess, Oh Where's My Bess    4:31
7    Prayer (Oh Doctor Jesus)    4:40
8    Fishermen, Strawberry And Devil Crab 4:06
9    My Man's Gone Now    6:13
10    It Ain't Necessarily So 4:23
11    Here Come De Honey Man    1:18
12    I Loves You, Porgy 3:38
13    There's A Boat That's Leaving Soon For New York 3:26
Credits :
Alto Saxophone – Cannonball Adderley
Arranged By, Conductor – Gil Evans
Bass – Paul Chambers
Drums – Philly Joe Jones (tracks: 3, 4, 9, 15), Jimmy Cobb (tracks: 1, 2, 5 to 8, 10 to 14)
Flugelhorn – Miles Davis
Flute [Alto Flute], Bass Clarinet – Danny Bank
Flute, Flute [Alto Flute], Clarinet – Jerome Richardson (tracks: 1, 5 to 7, 12 to 14), Phil Bodner (tracks: 2 to 4, 8 to 11, 15), Romeo Penque
French Horn – Gunther Schuller, Julius Watkins, Willie Ruff
Trombone – Frank Rehak, Jimmy Cleveland, Joe Bennett, Dick Hixon
Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci
Trumpet [Lead] – Miles Davis (tracks: 2, 8, 10, 11)
Tuba – Bill Barber

JAMES CARTER — JC on the Set (1994) WV (image+.cue), lossless

Twenty-five at the time of this CD, James Carter had already absorbed much of the tradition. His debut as a leader includes compositions by the classic tenors Don Byas and John Hardee, Duke Ellington's "Sophisticated Lady" and even a Sun Ra ballad. He also shows that he has the courage to play completely outside whenever it seems logical to him; in fact on the title cut Carter moves from Gene Ammons and Illinois Jacquet to outbursts a la David Murray in the stratosphere. But most importantly, at this early stage James Carter already had his own sound. He switches between the tenor (his main ax) to alto and baritone, shows self-restraint on the ballads and fills his improvisations with continual surprises. Joined by the supportive pianist Craig Taborn, bassist Jaribu Shahid and drummer Tani Tabbal, James Carter puts on quite a tour-de-force throughout this very impressive set. Scott Yanow
Tracklist :
1 JC On The Set  6:25
Written-By – J. Carter
2 Baby Girl Blues  7:47
Written-By – J. Carter
3 Worried And Blue 8:07
Written-By – D. Byas
4 Blues For A Nomadic Princess  13:50
Written-By – J. Carter
5 Caravan  9:43
Written-By – D. Ellington, I. Mills, J. Tizol
6 Hour Of Parting  8:18
Written-By – Sun Ra
7 Lunatic  4:18
Written-By – J. Hardee
8 Sophisticated Lady  6:41
Written-By – D. Ellington, I. Mills, M. Parrish
Credits :
Alto Saxophone, Tenor Saxophone, Baritone Saxophone – James Carter
Bass – Jaribu Shahid
Drums – Tani Tabbal
Piano – Craig Taborn

JOHN TROPEA — Tropea (1975) Two Version (1996, Fusion Super 1800 Series) + (2014, RM | Blu-spec CD | FLAC (image+tracks+.cue), lossless

By the time guitarist John Tropea had recorded his solo debut on the tiny Marlin imprint in 1976, he had been a session guitarist for nearly a decade. His understated, decidedly non-show-off playing graced records by everyone from Laura Nyro to Deodato (including Prelude and Deodato 2), from Ashford & Simpson to Bo Diddley, from Billy Cobham to Peter Allen, from Roberta Flack and Donny Hathaway to Paul Simon, Van Morrison, Luiz Bonfá, and Ray Bryant. After this he played with everyone from Alice Cooper to Lalo Schifrin and Kurtis Blow and way, way beyond. Tropea's cast of studio players is a who's who of the '70s, '80s, and '90s. The core band on this funky, squeaky clean, keyboard, horn, and guitar driven set are bassist Will Lee, keyboardist Don Grolnick, percussionist Rubens Bassini, and drummers Steve Gadd and Rick Marotta -- one in each channel. Some of the guest appearances are stellar: David Sanborn's trademark emotionally rich saxophone is heard on "Muff," and Bob Mintzer's wonderful flute playing on his "Cisco Disco" (which is truly funk and not disco), and Deodato plays keyboards on the beautiful "Dreams." There is a heavyweight reed section with Mintzer, Sanborn, and Michael Brecker among its members and horns that include Randy Brecker, Sam Burtis, and Dave Taylor, to name a few. Yes, this was the 1970s: there are strings with Gene Orloff among them. The tunes? Hip, funky numbers like "Tambourine," with a restrained but toothy fuzz solo by Tropea, great congas by Bassini, and a well balanced but dynamic horn chart. "7th Heaven" is a smoother workout, with punchy actual and keyboard basslines, with great breakbeat work by both drummers. Despite its mid-tempo jaunt, the thing is deep with enough of an uptown soul chorus to make it a popular stepper with the club crowd. It's tunes like these, as well as Mintzer's and Tropea's "The Jingle," that place records like this more on the CTI side of things than in the hardcore Fuzak realm. These selections are songs, not collections of riffs, vamps, and solos. When solos occur in these tunes, they do so with respect to arrangement and groove. It also sounds more lifelike than a lot of what was coming out of L.A. at the time, because it has a decidedly East Coast sensibility. Tropea's production job is expert and tight, but it's his arrangements and orchestrations that are really impressive. The opportunities for excess here with all these superchopper players are many, but not once does any of this album lapse into mere glossy show and sheen. This is one of the truly great forgotten jazz-funk sets of the '70s.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
 1.  Tambourine - 4:40
Arranged By, Orchestrated By – John Tropea

Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – J. Tropea
2. 7th Heaven - 4:13
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards, Arranged By, Orchestrated By – Don Grolnick
Percussion – Rubens Bassini
Written-By – Don Grolnick
3. The Jingle - 4:39
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Don Payne
Contrabass [Matracca] – C. Conrad
Drums – Alan Schwartzberg
Guitar [Guitars] – John Tropea
Keyboards – Kenny Ascher
Percussion – Nick Remo, Ron Tropea, Rubens Bassini
Written-By – John Tropea
4. Just Blue - 8:17
Alto Saxophone, Soloist – George Young
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Written-By – John Tropea
5. Muff - 5:59
Arranged By – R. Marotta, W. Lee
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Saxophone, Soloist – Dave Sanborn
Written-By – Marotta, Lee
Written-By, Guitar [Guitars] – John Tropea
6. Cisco Disco (Bob Mintzer) - 4:35
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Flute [Flutes] – Bob Mintzer
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – Bob Mintzer
7. Tha Bratt (David Spinozza) - 5:07
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Lead Guitar – John Tropea
Rhythm Guitar, Arranged By, Orchestrated By – David Spinozza
Written-By – David Spinozza
8. Dreams - 4:46
Bass – Richard Davis
Drums – Rick Marotta
Keyboards, Arranged By, Orchestrated By – Eumir Deodato
Percussion – Rubens Bassini
Trombone, Soloist – Sam Burtis
Written-By, Guitar [Guitars] – John Tropea

JO STAFFORD — Swingin' Down Broadway (1958) Vinyl LP | Mono | FLAC (tracks) 24-96Hz

Tracklist :
A1          Anything Goes  2:44
   Written By – Cole Porter
A2          The Gentleman Is A Dope  2:53
   Written By – Richard Rodgers / Oscar Hammerstein II
A3        I Got It Bad (And That Ain't Good)  2:57
   Written By – Duke Ellington / Paul Francis Webster
A4          Old Devil Moon  2:34
   Written By – Burton Lane / E.Y. Harburg
A5          Any Place I Hang My Hat Is Home  3:39
   Written By – Harold Arlen / Johnny Mercer
A6          Tomorrow Mountain  2:45
   Written By – Duke Ellington / John Latouche
B1          Love For Sale  3:50
   Written By – Cole Porter
B2        Happiness Is A Thing Called Joe  2:44
   Written By – Harold Arlen / E.Y. Harburg
B3        How High The Moon  3:03
   Written By – Morgan Lewis / Nancy Hamilton
B4        Speak Low  2:14
   Written By – Kurt Weill / Ogden Nash
B5    It Never Entered My Mind  2:37
   Written By – Richard Rodgers / Lorenz Hart
B6      Taking A Chance On Love  2:55         
   Written By – Vernon Duke / John Latouche / Ted Fetter
Personnel:
– Jo Stafford- Vocals
with Paul Weston and his Orchestra

ANITA BRYANT — Kisses Sweeter Than Wine (1961) Vinyl, LP | Mono | FLAC (image+.cue) 24-96Hz

Tracklist :
A1 True Love 2:49
Written-By – Cole Porter
A2 My Heart Cries For You 2:47
Written-By – C. Sigman, P. Faith
A3 Unchained Melody 3:30
Written-By – A. North, H. Zaret
A4 Have I Told You Lately That I Love You? 3:06
Written-By – S. Wiseman
A5 In The Chapel In The Moonlight 3:05
Written-By – B. Hill
A6 I Can Dream, Can't I? 3:02
Written-By – I. Kahal, S. Fain
B1 Kisses Sweeter Than Wine 2:46
Written-By – J. Newman, P. Campbell
B2 Vaya Con Dios 3:55
Written-By – B. Pepper, I. James, L. Russell
B3 Please Help Me, I'm Falling 2:48
Written-By – D. Robertson, H. Blair
B4 Love Me Tender 2:40
Written-By – E. Presley, V. Matson
B5 The Twelfth Of Never 2:44
Written-By – J. Livingston, P. F. Webster
B6 May You Always 3:15
Written-By – D. Charles, L. Markes
Credits:
Backing Vocals – The Anita Kerr Singers, The Jordanaires
Guitar – Hank Garland
Music Director – Grady Martin
Producer – Don Law
Vocals – Anita Bryant

ADA MOORE | BUCK CLAYTON AND HIS ORCHESTRA | JIMMY RUSHING — Cat Meets Chick A Story In Jazz (1955) Vinyl, LP | Mono | FLAC (tracks), lossless

As the common format for LPs became 12" rather than 10" in the mid-'50s, record companies and artists struggled to come up with ideas for sustained musical performances lasting 30 to 45 minutes. In 1955, Columbia Records producer Irving Townsend put together a selection of pop songs with the singers Felicia Sanders, Peggy King, and Jerry Vale to come up with Girl Meets Boy, and he had a similar concept in the jazz realm for Cat Meets Chick. Borrowing Jimmy Rushing from Vanguard Records and hiring young Ada Moore, who had recently made her Broadway debut in the musical House of Flowers, he put them in front of an orchestra led by Buck Clayton and had them perform a series of songs in which the story line was that Clayton (through the medium of his trumpet) and Rushing were vying for Moore's attention. For example, Moore would say, "Buck, if I choose you, what are you gonna give me?," which would be a cue for Clayton to launch into "I Can't Give You Anything But Love." "Nothin' but love?" Moore would say, "Uh-huh, you got the wrong girl," after which Clayton would play "The Blues." The concept, of course, was just an excuse to have Rushing and Moore sing a bunch of old favorites before Clayton's band, and that was fine, especially because Moore, sporting a Sarah Vaughan-like alto, held her own against the great blues shouter. Of course, the ruling presence, even in his absence, was Count Basie, who had previously employed both Rushing and Clayton for extended periods. The music had much of the verve and swing of the Basie band, even without the leader being on the date. The story might be silly, but the music was not. William Ruhlmann
Tracklist :
Opening - Any Place I Hang My Hat Is Home    0:42
A1a    Unknown Artist–    Opening
A1b    Ada Moore–    Any Place I Hang My Hat Is Home
Written-By – Mercer-Arlen
A2    Jimmy Rushing–    Pretty Little Baby 1:32
Written-By – Bernie, P. Baker, S. Silvers
A3    Ada Moore–    I've Got A Feeling I'm Falling 2:26
Written-By – B. Rose, Waller, Link
A4    Jimmy Rushing And Ada Moore–    If I Could Be With You (One Hour Tonight) 2:44
Written-By – Creamer, J. Johnson
A5    Buck Clayton–    Ain't She Sweet 2:39
Written-By – Yellen, Ager
A6    Ada Moore–    Any Place I Hang My Hat Is Home 2:17
Written-By – Mercer-Arlen
A7    Buck Clayton And Ada Moore–    You're My Thrill 3:38
Written-By – Gorney, Clare
B1    Ada Moore–    Between The Devil And The Deep Blue Sea 2:41
Written-By – Arlen, Koehler
B2    Jimmy Rushing–    Gee, Baby, Ain't I Good To You 2:36
Written-By – Razaf, Redman
B3    Jimmy Rushing–    Cool Breeze, Woman 2:28
Written-By – Rushing
B4    Buck Clayton–    I Can't Give You Anything But Love 2:02
Written-By – Fields-McHugh
B5    Buck Clayton–    The Blues    1:20
Any Place I Hang My Hat Is Home - After You've Gone - Conclusion    4:42
B6a    Ada Moore–    Any Place I Hang My Hat Is Home
Written-By – Mercer-Arlen
B6b    Jimmy Rushing And Buck Clayton–    After You've Gone
Written-By – Creamer, Layton
B6c    Unknown Artist–    Conclusion
Credits :
Arranged By – Buck Clayton
Bass – Aaron Bell, Milt Hinton
Drums – Jo Jones, James Osie Johnson
Guitar – Steve Jordan
Piano – Ken Kersey, Sir Charles Thompson
Saxophone – Bud Johnson, Eddy Barefield, Willard Brown
Trombone – Dicky Wells
Trumpet – Buck Clayton, Emmett Berry
Vocals – Ada Moore, Jimmy Rushing

STEVE KUHN — The Early 70's (1971-2007) FLAC (tracks+.cue), lossless

This is the almost more about the other Jazz side of Steve Khun the vocalist, not the Pianist. When he plays piano, it is within the language of avant garde classical, and the presence of a string quartet affirms that soundscape, yet the Jeckyll to the Hyde of that is the singing is mellifluous, accompanied by gentle Electric piano. It is in the spirit of Michael Franks, and a delight in being so. In a long and distinguished career with some of jazz' s greats, this is his oddity. Yet for the most part, the unusual experiment works, I think for the most part that there is a nostalgia for early fusion, and this is the sleeper in that format. The best instrumental tracks on the lp are comparable with the Return to Forever tracks with no guitarist on them. The later Kuhn ECM albums embrace that early hard to post bop language and have him back in the piano seat without the vocal mike. Mark Harrington
Tracklist :
1    The Zoo (a.k.a. Pearlie's Swine)    5:29
Written-By – Steve Kuhn
2    Silver    4:38
Written-By – Steve Kuhn
3    Tomorrow's Son (a.k.a. Time To Go)    3:23
Written-By – Steve Kuhn
4    The Heat Of The Moment    1:56
Written-By – Steve Kuhn
5    Saharan (a.k.a. The Baby)    4:46
Written-By – Steve Kuhn
6    The Drinking Song (a.k.a. Hold Out Your Hand)    3:12
Written-By – Steve Kuhn
7    The Meaning Of Love    2:54
Written-By – Steve Kuhn
8    Remembering Tomorrow (a.k.a. Ulla)    4:22
Written-By – Steve Kuhn
9    A Change Of Face    3:34
Written-By – Steve Kuhn
10    Day Dreaming 2:59
Written-By – Aretha Franklin
11    Something Everywhere    4:47
Written-By – Steve Kuhn
12    Trance    4:41
Written-By – Steve Kuhn
13    Last Tango In Paris 2:37
Written-By – Gato Barbieri
14    Life's Backward Glance    3:06
Written-By – Steve Kuhn
Credits :
Acoustic Bass, Electric Bass – Ron Carter (tracks: 1 to 8)
Arranged By – Gary McFarland (tracks: 1 to 8), Steve Kuhn (tracks: 1 to 8)
Conductor – Gary McFarland (tracks: 1 to 8)
Drums – Billy Cobham (tracks: 1 to 8), Bruce Ditmas (tracks: 9 to 14)
Electric Bass – Steve Swallow (tracks: 9 to 14)
Electric Piano – Steve Kuhn
Percussion – Susan Evans (tracks: 9 to 14)
Percussion [Latin] – Airto Moreira (tracks: 1 to 8)
Piano – Steve Kuhn (tracks: 1 to 8)
Vocals – Steve Kuhn (tracks: 1 to 8, 14)

THE MILLS BROTHERS — Four Boys And A Guitar : The Essential Mills Brothers (1995) MONO | Serie Art Deco | FLAC (tracks+.cue), lossless

The Essential Mills Brothers: Four Boys and a Guitar is a 20-track collection of the vocal group's takes on pop standards like "Bugle Call Rag" and "Dinah, " but not many of their biggest hits. Stephen Thomas Erlewine
Tracklist :
1    Dinah     3:00
 Harry Akst / Sam M. Lewis / Joe Young
2    Shine    3:19
 Lew Brown / Ford Dabney / Cecil Mack
3    I Heard     2:27
 Don Redman
4    How'm I Doin', Hey-Hey     2:29
 Lem Fowler / Don Redman
5    Rockin' Chair     3:12
 Hoagy Carmichael
6    Chinatown, My Chinatown     2:37
 William Jerome / Jean Schwartz
7    Sweet Sue, Just You     2:59
 Will J. Harris / Victor Young
8    St. Louis Blues     2:22
 W.C. Handy
9    Bugle Call Rag     2:01
 Billy Meyers / Jack Pettis / Elmer Schoebel
10    Dirt Dishing Daisy     3:16
 Larry Klein
11    Diga, Diga Doo     3:08
 Dorothy Fields / Jimmy McHugh
12    Doin' The New Low Down     3:10
 Dorothy Fields / Jimmy McHugh
13    Fiddlin' Joe     2:25
 James Cavanaugh / Irving Mills
14    Swing It, Sister     2:34
 Harold Adamson / Burton Lane
15    Jungle Fever     3:10
 Walter Donaldson
16    Put On Your Old Grey Bonnet     2:39
 Stanley Murphy / Percy Wenrich
17    Sleepy Head     3:03
 Walter Donaldson / Gus Kahn
18    My Little Grass Shack In Kealkekua, Hawaii     2:35
 Bill Cogswell / Tommy Harrison / Johnny Noble
All Credits :

MILES DAVIS QUINTET — Miles Smiles (1966) Three Version (1998, RM | Serie Columbia Jazz) + (2006, RM | Serie The Original Jacket Collection) + (2018, RM | SACD, Hybrid, | Ultradisc UHR, Original Master Recording 24-48.1Hz) FLAC (tracks+.cue), lossless

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. Stephen Thomas Erlewine
Tracklist :
1    Orbits    4:35
 Wayne Shorter
2    Circle    5:52
 Miles Davis
3    Footprints    9:44
 Wayne Shorter
4    Dolores    6:20
 Wayne Shorter
5    Freedom Jazz Dance    7:11
 Eddie Harris
6    Ginger Bread Boy    7:40
 Jimmy Heath
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Tenor Saxophone [Tenor Sax] – Wayne Shorter
Trumpet – Miles Davis