VINCE MENDOZA – Sketches (1994) FLAC (image+.cue), lossless

The world premiere of 'Sketches' was the highlight of the JazzFest Berlin 1993. ACT
Tracklist :
1    Pavane (Pour Une Infante Défunte) 9:06
Composed By – Maurice Ravel
Sketches
Composed By – Vince Mendoza
2    Part 1    2:04
3    Part 2    8:12
4    Part 3    10:21
5    Part 4    7:05
6    Part 5    9:27
7    Part 6    5:22
8    Part 7    5:47
9    Part 8    4:43
Credits :
Alto Saxophone – Charlie Mariano
Arranged By, Remix – Vince Mendoza
Artwork [Front Cover] – Georg Baselitz
Bass – Dieter Ilg
Drums – Peter Erskine
Guitar – Nguyên Lê
Orchestra – The WDR Big Band
Soprano Saxophone – Dave Liebman

LARS DANIELSSON — Libera Me (2004) SACD, Hybrid | APE (image+.cue), lossless

This intriguing set features the compositions and bass playing of Lars Danielsson. The music is beautifully recorded, often sparse (à la ECM) and thoughtful. The instrumentation varies from track-to-track even if the mood tends to stay quiet and reflective. Soprano-saxophonist David Liebman is featured on "Libera Me," singer Caecilie Norby has a guest pop vocal on "Newborne Broken," and the Danish Radio Concert Orchestra is heard with their huge string section on a few numbers, sometimes sounding a little sleepy. Other than a few spots for Nils Petter Molvaer's introspective trumpet, most of the other solos are by bassist Danielsson. This melodic set works well as both background music and for close listening although it develops slowly. Scott Yanow
Tracklist :
1    Asta    5:38
Written-By – Lars Danielsson
2    Suffering    6:39
Written-By – Lars Danielsson
3    The Teacher    2:49
Written-By – Lars Danielsson
4    Newborn Broken    5:35
Lyrics By – Cæcilie Norby
Music By – Lars Danielsson
Voice – Cæcilie Norby
5    Libera Me    7:19
Arranged By – Lars Danielsson
Written-By – Gabriel Fauré
6    Shimmering    6:01
Written-By – Lars Danielsson
7    Granada    6:29
Written-By – Lars Danielsson
8    Both Sides Now    3:15
Written-By – Joni Mitchell
9    Forever You    4:03
Written-By – Lars Danielsson
10    Bird Through The Wall    2:13
Written-By – Lars Danielsson
11    Cornelia    6:48
Written-By – Lars Danielsson
– BONUS TRACK –
12    Asnah    7:22
Cello, Sampler – Lars Danielsson
Drums – Jon Christensen
Orchestra – DR Danish Radio Concert Orchestra
Percussion – Xavier Desandre Navarre
Sampler – Jan Bang
Trumpet – Nils Petter Molvær
Voice – Cæcilie Norby
Credits :
Acoustic Bass, Cello, Piano, Producer – Lars Danielsson (tracks: 1, 2, 4, 5)
Conductor – Frans Rasmussen
Cymbal [Cymbals] – Anders Kjellberg (tracks: 2, 4)
Drums – Jon Christensen (tracks: 1, 3, 5, 6, 8 to 10)
Guitar – Carsten Dahl (tracks: 2, 9), Lars Danielsson (tracks: 4)
Orchestra – DR Danish Radio Concert Orchestra
Percussion – Jon Christensen (tracks: 6, 10), Xavier Desandre Navarre (tracks: 1, 2, 4, 5)
Piano – Tobias Sjögren (tracks: 4)
Sampler [Samples] – Jan Bang (tracks: 6)
Saxophone [Soprano] – David Liebman (tracks: 5)
Trumpet – Nils Petter Molvær (tracks: 1, 6, 10)
Vocals – Cæcilie Norby (tracks: 4)

THE KALEIDOSCOPE QUINTET — Dancing On The Edge (2020) FLAC (tracks), lossless

Tracklist :
1    Topsy Turvy 10:10
Composed By – Joe Lovano
2    Day And Night 15:30
Composed By – David Liebman
3    Blackwell's Message 18:02
Composed By – Joe Lovano
4    There Is No Greater Love 8:25
Composed By – Isham Jones
5    Get Me Back To The Apple 10:37
Composed By – David Liebman
Credits :
Bass – Tony Marino
Drums, Liner Notes, Producer [Produced By] – Michael Stephans
Tenor Saxophone, Flute, Producer [Produced By] – Joe Lovano
Tenor Saxophone, Soprano Saxophone, Flute, Producer [Produced By] – David Liebman
Voice, Featuring, Painting [Cover Painting] – Judi Silvano

DAVID LIEBMAN | MARC COPLAND — Bookends (2002) 2CD | FLAC (tracks+.cue), lossless

The title of this CD might imply that saxophonist Dave Liebman and pianist Marc Copland signify two jazz musicians who share similar visions and musical aspirations. The adage that like minds think along parallel paths serves as an underlying condition for the artists' third collaboration for the Switzerland-based hatOLOGY record label. This time, the instrumentalists work as a duo, performing a few originals amid modern jazz standards. They wittily reconfigure Herbie Hancock's classic "Maiden Voyage," where the duo unassumingly sneaks the primary theme into the grand scheme of things. With this two-CD set, the musicians glide through a sequence of meticulously enacted improvisations amid a delightful and generally probing rendition of Miles Davis' "Blue in Green," among other familiar works. Nonetheless, the artists' synergy seemingly sparks creativity here. Some of these pieces are marked by freely organized tradeoffs, to coincide with wistful melodies and bluesy dreamscapes. Sure, they turn up the heat on occasion, yet it is all about intuitive responses, delicately enacted frameworks, and memorable melodies, as they tend to collapse the history of modern jazz into a uniformly arranged production that most assuredly emanates from the heart. Strongly recommended. Glenn Astarita   Tracklist :
Credits :
Piano – Marc Copland
Soprano Saxophone, Tenor Saxophone – David Liebman

ELVIN JONES — Merry Go Round (1972-2010) RM | Limited Edition | Serie Blue Note Best & More 1100 Encore – 178 | 24bits-192Hz | FLAC (tracks), lossless

Inexcusably, there are no date or personnel listings on this LP from Blue Note's declining years, but the music is generally quite worthwhile, if a bit eclectic. The personnel changes throughout the session, despite all the performances being apparently recorded on the same day. The great drummer Elvin Jones is joined by the reeds of David Liebman, Steve Grossman and Joe Farrell; baritonist Pepper Adams is also on two numbers, keyboardists Chick Corea and Jan Hammer generally alternate (although they both appear on a few tunes together), guitarist Yoshiaki Masuo has guest appearances on two songs, and most selections include bassist Gene Perla and percussionist Don Alias. The group mostly plays concise versions of band originals, including Corea's classic "La Fiesta." An interesting set, but Elvin Jones has recorded many more rewarding albums. Scott Yanow
Tracklist :
1    'Round Town 3:25
Composed By – Gene Perla
Soloist – David Liebman, Steve Grossman
2    Brite Piece 4:46
Composed By – David Liebman
Soloist – David Liebman, Jan Hammer
3    Lungs 2:22
Composed By – Jan Hammer
Soloist – Jan Hammer
4    A Time For Love 4:48
Composed By – Joe Farrell
Soloist – Chick Corea, Joe Farrell
5    Tergiversation 3:26
Composed By – Art Wiggens, Gene Perla
Soloist – Chick Corea, Jan Hammer
6    La Fiesta 6:05
Composed By – Chick Corea
Soloist – Chick Corea, Joe Farrell
7    The Children's Merry-Go-Round March 2:47
Composed By – Keiko Jones
Soloist – Elvin Jones
8    Who's Afraid... 4:21
Composed By – Frank Foster
Credits :
Acoustic Bass, Electric Bass [Fender] – Gene Perla
Alto Clarinet – Frank Foster (tracks: 8)
Baritone Saxophone – Pepper Adams (tracks: 7)
Congas – Don Alias (tracks: 1, 3, 5, 6)
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Flute – Joe Farrell (tracks: 4, 7)
Guitar – Yoshiaki Masuo (tracks: 1, 4)
Piano, Electric Piano – Chick Corea (tracks: 4, 5, 6)
Piano, Electric Piano, Glockenspiel – Jan Hammer (tracks: 1, 2, 3, 5, 7)
Soprano Saxophone, Tenor Saxophone – David Liebman (tracks: 1, 2, 6 to 8), Joe Farrell (tracks: 2, 6, 8)
Tenor Saxophone – Steve Grossman (tracks: 1, 2, 6, 7)

ELVIN JONES — Genesis (1971-2014) RM | SHM-CD | Serie Blue Note The Masterworks | FLAC (tracks+.cue), lossless

The graphics are kind of dull on this late-period Blue Note LP, but the music is anything but boring. Elvin Jones' band had expanded during 1969-1971 from a pianoless trio to a three-horn quintet. With Dave Liebman and the returning Joe Farrell on tenor and soprano and Frank Foster contributing some tenor, alto flute, and bass clarinet (bassist Gene Perla completes the group), it would not be an overstatement to call this a powerful unit. On five originals by bandmembers (best known is Jones' "Three Card Molly"), the musicians take long, heated solos that straddle the boundary between hard bop and the avant-garde. Their album has plenty of invigorating music. Scott Yanow

Tracklist :
1    P.P. Phoenix 5:01
Written-By – Gene Perla
2    For All The Other Times 10:06
Written-By – Gene Perla
3    Slumber 5:32
Written-By – Dave Liebman
4    Three Card Molly 8:27
Written-By – Elvin Jones
5    Cecilia Is Love 10:09
Written-By – Frank Foster
Credits :
Alto Flute – Frank Foster (tracks: 1)
Bass – Gene Perla
Drums – Elvin Jones
Recorded By – Rudy Van Gelder
Soprano Saxophone – David Liebman (tracks: 5), Joe Farrell (tracks: 4)
Tenor Saxophone – David Liebman (tracks: 1 to 4), Frank Foster (tracks: 2, 4, 5), Joe Farrell (tracks: 1, 2, 4, 5)

ELVIN JONES — Live At The Lighthouse Vol.1 (1972-2013) RM | Limited Edition | Serie BNLA 999 | FLAC (tracks+.cue), lossless

Drummer Elvin Jones' 45th birthday (September 9, 1972) was a good excuse to record his group of the period. The results were originally released as a double-LP and have been reissued as two CDs with over an hour of new music added. Jones' pianoless quartet features two masterful saxophonists (both doubling on tenor and soprano) who at the time sounded very close to John Coltrane. Dave Liebman and Steve Grossman were among the first young saxophonists not closely associated with Coltane who used his style as a starting point in their search for their own musical identities. Their high-powered and sometimes rowdy flights are consistently stimulating. With Gene Perla's alert, sensitive, and inventive bass holding the unit together, Elvin Jones was able to play as free as he desired. The first volume (taken from three sets at the Lighthouse) has six fiery selections, four of which were previously unreleased. Scott Yanow
Tracklist :
1    Introduction: Bill Chappell / Announcer: Rick Holmes    1:42
2    Fancy Free 21:05
Written-By – Donald Byrd
3    New Breed 12:04
Written-By – David Liebman
4    Small One 7:08
Written-By – David Liebman
5    Sambra 13:10
Written-By – Gene Perla
6    My Ship 8:51
Written-By – I. Gershwin, K. Weill
7    Taurus People 6:15
Written-By – Steve Grossman
8    For All Those Other Times / Announcement 4:43
Written-By – Gene Perla
Credits :
Bass – Gene Perla
Drums – Elvin Jones
Flute – Dave Liebman (tracks: 4, 6)
Soprano Saxophone – Dave Liebman (tracks: 2), Steve Grossman (tracks: 4)
Tenor Saxophone – Dave Liebman (tracks: 3, 5, 7, 8), Steve Grossman (tracks: 2, 3, 5 to 8)

ELVIN JONES — Live At The Lighthouse Vol.2 (1973-2013) RM | Limited Edition | Serie BNLA 999 | FLAC (tracks+.cue), lossless

The second of two CDs featuring music recorded at the Lighthouse during a marathon session is the equal of the first. Greatly expanded from the original two-LP set, this disc has a pair of selections from the two-fer ("Sweet Mama" and "The Children, Save the Children") and three performances ("I'm a Fool to Want You," "Britt Piece," and the 28-and-a-half-minute "Children's Merry-Go-Round") that were previously unreleased at the time of this 1990 package. Dave Liebman (on tenor and soprano) is heard in one of his finest pre-Miles Davis recordings; the young tenor Steve Grossman keeps up with him, and bassist Gene Perla acts as a bridge between the fiery saxophonists and explosive drummer Elvin Jones. Exciting and adventurous music that stretches the boundaries of modal hard bop jazz. Scott Yanow
Tracklist :
1    Introduction / Happy Birthday Greeting 0:52
Written-By – M.J. Hill, P.S. Hill
2    Sweet Mama 15:29
Written-By – Gene Perla
3    I'm A Fool To Want You 11:33
Written-By – F. Sinatra, J. Wolf, J. Herron
4    The Children, Save The Children 7:59
Written-By – Don Garcia
5    Brite Piece 13:17
Written-By – David Liebman
6    The Children's Merry-Go-Round March 28:28
Written-By – Keiko Jones
Credits :
Bass – Gene Perla
Drums – Elvin Jones
Flute – Dave Liebman (tracks: 6)
Soprano Saxophone – Dave Liebman (tracks: 4 to 6), Steve Grossman (tracks: 5)
Tenor Saxophone – Dave Liebman (tracks: 2, 3, 6), Steve Grossman (tracks: 2, 4 to 6)

ELVIN JONES — Mr. Jones (1973-2013) RM | Serie BNLA 999 Encore | FLAC (tracks+.cue), lossless

Tracklist :
1    One's Native Place 6:17
Written-By – Keiko Jones
2    Gee Gee 5:45
Written-By – Gene Perla
3    Mr. Jones 7:35
Written-By – Keiko Jones
4    What's Up-That's It 5:40
Written-By – Gene Perla
5    Soultrane 6:12
Written-By – Tadd Dameron
6    New Breed 6:55
Written-By – David Liebman
Credits :
Acoustic Bass – Gene Perla (tracks: 1, 4 to 6)
Baritone Saxophone – Pepper Adams (tracks: 3)
Bass – Wilbur Little (tracks: 3)
Congas – Carlos "Patato" Valdes (tracks: 1, 2, 4 to 6)
Drums – Elvin Jones
Electric Bass – Gene Perla (tracks: 2)
Engineer – Rudy Van Gelder
Flugelhorn – Thad Jones (tracks: 1, 2)
Flute – David Liebman (tracks: 1)
Percussion – Candido Camero* (tracks: 3), Frank Ippolito (tracks: 1, 4, 5)
Piano – Jan Hammer (tracks: 1, 2, 4)
Soprano Saxophone – David Liebman (tracks: 4), Steve Grossman (tracks: 1)
Tenor Saxophone – David Liebman (tracks: 2, 6), George Coleman (tracks: 3), Joe Farrell (tracks: 3), Steve Grossman (tracks: 2, 4 to 6)
Timpani – Albert Duffy (tracks: 1, 5)

ELVIN JONES — The Main Force (1976-2019) FLAC (tracks+.cue), lossless

This inconsistent 1976 release from the mighty Elvin Jones is most successful when it draws on the high-energy, advanced hard bop style of the drummer's post-Coltrane period. It's a different story when it comes to the date's superfluous accommodations to fusion. Ryo Kawasaki's squelchy wah-wah guitar serves as the date's chief fusion device. At times, Kawasaki functions usefully in a role somewhat based on John McLaughlin's approach with Miles Davis in the late '60s. Mostly, he comes across as an additional flavor calculated to skew the music's appeal to the rock audience. Still, the opening track, Kawasaki's "Salty Iron," is wonderful, funky, jazz fusion, but it's not a track that calls for Jones' peerless gifts. "Philomene" and "Mini Modes" are in a more hard bop vein, but their potential is undermined by Kawasaki's trendy licks and the tinny chime of Al Dailey's electric piano. The highlight is Gene Perla's "Sweet Mama." Here, guest saxophonist Dave Liebman fires up some tasty, apocalyptic mayhem over a roiling, rhythm-section tempest. There's also a magical solo spot from Jones. This track is helped considerably by Dailey more suitably playing an acoustic piano and bassist Dave Williams setting aside his electric in favor of his upright. As for the 16-plus-minute "Song of Rejoicing," this marathon of collective, percussive noodling, including extensive pad slapping from reed players Pat Labarbera and Frank Foster, is simply an ill-conceived shamble. Jim Todd
Tracklist :
1    Salty Iron 5:15
Written-By – Ryo Kawasaki
2    Sweet Mama 6:22
Written-By – Gene Perla
3    Mini Modes 10:32
Written-By – David Williams
4    Philomene 4:38
Written-By – Ed Bland
5    Song Of Rejoicing After Returning From A Hunt 15:43
Adapted By [From The Djoboko Rhythm Of The Ba-benzele Pygmies] – Elvin Jones
Arranged By – Gene Perla
Credits :
Bass – Dave Williams
Drums – Elvin Jones
Guitar – Ryo Kawasaki
Percussion – Dave Johnson (tracks: 1, 2)
Reeds – Dave Liebman (tracks: 1, 2), Frank Foster (tracks: 3 to 5), Pat LaBarbera, Steve Grossman (tracks: 2 to 5)

ELVIN JONES ft. DAVID LIEBMAN — Earth Jones (1982-2003) FLAC (tracks+.cue), lossless

On this interesting but unfortunately out of print LP, the immortal drummer Elvin Jones teams up with four advanced but very different improvisers: Dave Liebman (doubling on soprano and flute), cornetist Terumasa Hino, pianist Kenny Kirkland and bassist George Mraz. Other than a lyrical version of "Never Let Me Go," the songs were contributed by either Jones ("Three Card Molly") or Liebman, whose "Day and Night" is not surprisingly based on the chord changes of "Night and Day." The solos are unpredictable but logical, and the blend between the lyrical Hino and Liebman is appealing. Scott Yanow
Tracklist :
1    Three Card Molly 8:04
Written-By – Elvin Jones
2    Is Seeing Believing? 7:58
Written-By – Elvin Jones
3    The Top Of The Middle 3:56
Written-By – David Liebman
4    Earth Jones 7:07
Written-By – David Liebman
5    Never Let Me Go 7:27
Written-By – Raymond Evans/Jay Livingston
6    Day And Night 7:46
Written-By – David Liebman
Credits :
Bass – George Mraz
Cornet – Terumasa Hino
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – Kenny Kirkland
Soprano Saxophone, Flute, Producer [Associate] – David Liebman

LEE KONITZ | DAVE LIEBMAN | RICHIE BEIRACH - KnowingLee (2011) FLAC (tracks+.cue), lossless

Lee Konitz has been one of the most distinctive stylists on alto sax, blending his lessons with Lennie Tristano and the influence of Charlie Parker into a sound that can't be mistaken for anyone else. His meeting with saxophonist Dave Liebman and pianist Richie Beirach, both of whom also studied with Tristano as young men, is full of surprises, whether they're exploring standards or Konitz's time-tested reworkings of them, or creating brand-new compositions on the spot in the studio. Beirach provides a strong foundation for the two soloists, whose adventurous, inspired solos are anything but predictable. Konitz is primarily heard on alto, with his dry yet swinging tone beautifully complemented by Liebman's poignant soprano sax, especially in the delightful take of "In Your Own Sweet Way." Konitz's familiar "Thingin'" is combined in a medley with its inspiration, "All the Things You Are," with Konitz taking the solo for the first tune and Liebman (on soprano) for the second, as Beirach skillfully accompanies each man. Konitz switches to soprano for several numbers, including the bittersweet ballad "Universal Lament" (co-written with Beirach) and "Migration," an unusual free jazz soprano sax duo improvisation with Liebman, along with a wild soprano sax duet of "Body and Soul" that takes this oft-recorded warhorse into new territory. All three men had long since proven themselves by the time of this 2010 session, which should be considered a highlight of each artist's respective, considerable discographies. Ken Dryden 
Tracklist :
1     In Your Own Sweet Way 8:38
Dave Brubeck
2     Don't Tell Me What Key 5:43
Richie Beirach / Lee Konitz / David Liebman
3     Universal Lament 6:27
Richie Beirach / Lee Konitz
4     Alone Together 8:18     
Howard Dietz / Arthur Schwartz
5     Knowinglee 5:03
Richie Beirach / David Liebman
6     Solar 10:04
Miles Davis        
7     Migration 4:25
Lee Konitz / David Liebman
8     Thingin'/All the Things That... 7:50
Lee Konitz / David Liebman
9     Trinity 2:07     
Richie Beirach / Lee Konitz / David Liebman
10     Body and Soul 6:03
Johnny Green
11     Hi Beck 3:57
Lee Konitz
12     What Is This Thing Called Love 7:06
Cole Porter
Credits :
Alto Saxophone – Lee Konitz (pistas: 1, 2, 4 to 6, 8, 9, 11, 12)
Piano – Richie Beirach
Soprano Saxophone – Lee Konitz (pistas: 3, 7, 10)
Soprano Saxophone, Tenor Saxophone – Dave Liebman

MILES DAVIS - Dark Magus (1977-1997) 2CD / RM / FLAC (tracks+.cue), lossless

Dark Magus is a live recording of a very specific 1974 Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. While drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, and guitarists Pete Cosey and Reggie Lucas were all present, the key element of Sonny Fortune was not yet in the band. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont, with his Jimi Hendrix-styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour. Featuring four titles, all of them Swahili names for the numbers one through four, Dark Magus is a jam record. By this point, Miles was no longer really rehearsing his bands; they showed up and caught a whiff of what he wanted and went with it. Rhythms, colors, keys -- all of them would shift and change at Davis' whim. There were no melodies outside of a three-note vamp on "Wili" and a few riff-oriented melodics on "Tatu" -- the rest is all deep rhythm-based funk and dark groove. Greasy, mysterious, and full of menacing energy, Dark Magus shows a band at the end of its rope, desperate to change because the story has torn itself out of the book, but not knowing where to go and turning in on itself instead. These dynamics have the feel of unresolved, boiling tension. Gaumont's effects-laden guitar playing overshadows the real guitarists in the band: Cosey and his partner, the rhythmically inventive Lucas. Gaumont doesn't fit naturally, so he tries to dazzle his way in -- check the way Miles cuts his solos off so abruptly while letting the others dovetail and segue. Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history, but the front lines, while captivating, are too loose and uneven to sustain the listener for the entire ride. by Thom Jurek  
Tracklist 1:
1 Moja (Part 1) 12:28
2 Moja (Part 2) 12:40
3 Wili (Part 1) 14:20
4 Wili (Part 2) 10:44
Tracklist 2:
1 Tatu (Part 1) 18:47
2 Tatu (Part 2) ("Calypso Frelimo") 6:29
3 Nne (Part 1) ("Ife") 15:19
4 Nne (Part 2) 10:11
Credits:
Drums – Al Foster
Electric Bass – Michael Henderson
Guitar – Dominique Gaumont, Pete Cosey, Reggie Lucas
Percussion – Mtume
Tenor Saxophone – Azar Lawrence
Tenor Saxophone, Soprano Saxophone, Flute – Dave Liebman
Trumpet, Organ, Written-By – Miles Davis

MAHAVISHNU JOHN MCLAUGHLIN - My Goals Beyond (1970-1987) APE (image+.cue), lossless

The startling thing about My Goal's Beyond is that it points the way toward two directions McLaughlin would take in the future -- exploring Indian music and the acoustic guitar -- and this while he was in the thick of the burgeoning electronic jazz-rock movement. The first half is a John McLaughlin acoustic guitar tour de force, where he thwacks away with his energetic, single-minded intensity on three jazz standards and five originals (including one genuine self-penned classic, "Follow Your Heart") and adds a few percussion effects via overdubbing. The second half is devoted to a pair of marvelously intricate fusions of Indian rhythms and drones called "Peace One" and "Peace Two," with jazz flights from flutist/soprano saxophonist Dave Liebman, a simpatico encounter with future Mahavishnu cohorts Billy Cobham on drums and Jerry Goodman on violin, and Airto blending his sounds seamlessly with the Indian tambura and tabla. Throughout, McLaughlin's acoustic lines faultlessly straddle the line between the subcontinent and jazz, and the ethereal results still hold up beautifully. by Richard S. Ginell
Tracklist:
1 Goodby Pork-Pie Hat 3:15
Composed By – Charles Mingus
2 Something Spiritual 3:28
Composed By – Dave Herman
3 Hearts And Flowers 2:08
Composed By – .D. Bob Cornford
4 Phillip Lane 2:35
Composed By – John McLaughlin
5 Waltz For Bill Evans 2:01
Composed By – Chick Corea
6 Follow Your Heart 3:15
Composed By – John McLaughlin
7 Song For My Mother 2:31
Composed By – John McLaughlin
8 Blue In Green 2:37
Composed By – Miles Davis
9 Peace One 7:12
Composed By – John McLaughlin
10 Peace Two 12:10
Composed By – John McLaughlin
Credits:
Bass – Charlie Haden
Drums – Billy Cobham
Flute, Soprano Saxophone – David Liebman
Guitar, Producer – Manavishnu John McLaughlin
Percussion – Airto Moreira
Tabla – Badal Roy
Tambura – Mahalakshmi
Violin – Jerry Goodman

ESTHER PHILLIPS - From a Whisper to a Scream (1972-2007) FLAC (image+.cue), lossless

One of Esther Phillips finest '70s releases, From a Whisper to a Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where the Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (Its meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From a Whisper to a Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album. by Andy Kellman   

THE NORRBOTTEN BIG BAND - The Avatar Sessions : The Music of Tim Hagans (2009) FLAC (tracks+.cue), lossless

There are remarkably few progressive big bands of note, though one that merits entry into their ranks is the Norrbotten Big Band. Trumpeter Tim Hagans, an American who serves as its artistic director, contributed the originals for this date, while he recruited a number of star soloists from the U.S. for these sessions. He envisioned "Buckeyes" after being inspired by a conversation between Ornette Coleman and Joe Lovano; though there are rapid-fire free jazz portions played by the orchestra, with the leader and tenor saxophonist George Garzone playing the role of Lovano, the results are anything but a train wreck. The hip boogaloo "Boo" features the sassy trumpet of Randy Brecker, with guitarist Vic Juris added to the rhythm section. The lush ballad "Here with Me" showcases David Liebman's magical soprano sax, backed by Hagans' superb scoring of the reeds and brass. "Palt Seanuts" is a breezy bop vehicle that Hagans claims is based on a Viking sea song, though he may be engaging in a Dizzy Gillespie-like put-on in his notes. The sauntering "Rufus at Gilly's" casts the spotlight on veteran bassist Rufus Reid, who demonstrates why he is one of the most in-demand players with his inventive, bluesy solo technique. Highly recommended! by Ken Dryden 
Tracklist :
1    Buckeyes 10'15
Drums – Peter Erskine
Tenor Saxophone – George Garzone
Trumpet – Tim Hagans
2    Boo 8'40
Trumpet – Randy Brecker, Tim Hagans
3    Box Of Cannoli 13'16
Bass Clarinet – Jan Thelin
Drums – Peter Erskine
Piano – Daniel Tilling
Trumpet – Tim Hagans
4    Here With Me 5'58
Soprano Saxophone – David Liebman
5    Palt Seanuts 9'32
Alto Saxophone – Håkan Broström
Drums – Peter Erskine
Tenor Saxophone – Karl-Martin Almqvist
Trombone – Peter Dahlgren
Trumpet – Tim Hagans
6    Rufus At Gilly's 8'42
Bass – Rufus Reid
7    Song For Mirka 7'13
Composed By – Dan Johansson, Tim Hagans
Flugelhorn – Dan Johansson 

DAVID LIEBMAN - Colors [2003] FLAC

Dave Liebman excels at concept albums; in a sense, they form his niche, and he revels in exploiting the medium. This one is strictly about colors, as each piece is a free improvisation loosely related to a particular color. Or is it? This is not the first album to interpret the visual spectrum, with paintings the usual objects of inspiration. Strictly speaking, the association is always suspect -- not that the musician does not earnestly interpret the representation, but rarely could the association be made in reverse. It would be nearly impossible, for example, to assign colors to Liebman's improvisations without knowing in advance which ones they apply to. Does "green" have a special sound? How about "blue"? Perhaps they do, subjectively. Which probably begs the question: What is important is not whether Liebman fairly translates the essence of "brown" into notes, which is, frankly, a silly exercise, but whether, as is mostly the case here, he uses the color as a source to create something of value. Each of these short (all but one under five minutes) explorations stands on its own, and represents Liebman's response, at the moment, to the color. Liebman's hefty discography and experience have taken him on a wealth of trips, through Miles Davis and beyond, much of which he pours into these fascinating vignettes, which go far beyond showmanship. Liebman is too experienced to be snared by the temptation of lesser performers to pack in all his technique on each solo to show the listener what he can do. Each improvisation stands on its own, and whether it is a color or another source of inspiration, the point is that it is inspired. Which, frankly, is one of the biggest obstacles to overcome in any solo horn album. Liebman enjoys the solo recording; unlike some of his other ventures, he sticks strictly to one horn and does not engage in any manipulations of sound.   by Steve Loewy   
Tracklist
1 Red 1 4:13
2 Black 1 4:46
3 White 1 4:37
4 Gray 1 5:48
5 Blue 1 4:40
6 Yellow 1 4:55
7 Red 2 3:40
8 Black 2 3:56
9 White 2 3:39
10 Gray 2 4:43
11 Blue 2 3:14
12 Yellow 2 3:24
Credits
Tenor Saxophone, Producer – David Liebman

DAVID LIEBMAN - Colors 

[2003] hatOLOGY / FLAC / scans

O Púbis da Rosa