MUHAL RICHARD ABRAMS — Levels And Degrees Of Light (1968-1991) APE (image+.cue), lossless

Levels and Degrees of Light was the first recording under Muhal Richard Abrams' name and was a landmark album that launched the first in a long line of beautiful, musical salvos from the AACM toward the mainstream jazz world. The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. "The Bird Song" begins with a fine, dark poetry recitation by David Moore (oh! for the days when one didn't approach a poem on a jazz album with great trepidation) before evanescing into a whirlwind of percussion, bird whistles, and violin (the latter by Leroy Jenkins in one of his first recorded appearances). When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. The final track offers several unaccompanied solo opportunities, spotlighting Abrams' sumptuous piano and the under-recognized bass abilities of Charles Clark. This is a milestone recording and belongs in the collection of any modern jazz fan. Brian Olewnick
Tracklist :
1    Levels And Degrees Of Light    10:33
2    The Bird Song    23:00
3    My Thoughts Are My Future—Now And Forever    9:43
Credits :
Alto Saxophone – Anthony Braxton (tracks: 2, 3)
Bass – Charles Clark (tracks: 2, 3), Leonard Jones (tracks: 2)
Composed By, Artwork [Cover Art] – Muhal Richard Abrams
Drums – Thurman Barker (tracks: 2, 3), Percussion – (tracks: 1)
Piano – Muhal Richard Abrams (tracks: 3), Piano, Clarinet – (tracks: 2), Clarinet – (tracks: 1)
Tenor Saxophone – Maurice McIntyre (tracks: 3)
Vibraphone [Vibes] – Gordon Emmanuel (tracks: 1, 3)
Violin – Leroy Jenkins (tracks: 2)
Vocals – Penelope Taylor (tracks: 1, 3)
Voice [Poet] – David Moore (tracks: 2)

ANTHONY BRAXTON - 3 Compositions of New Jazz (1968-1991) FLAC (tracks+.cue), lossless

While it is not as powerful or as revelatory as For Alto, Anthony Braxton's second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richard Abrams on Levels and Degrees of Light, Braxton's compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano (and alto clarinet on one track). All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins' violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. Braxton's 3 Compositions of New Jazz is an essential document of the beginning of the end.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    (840M) / Realize 44M / 44M 20:03
Composed By – Braxton
2    N / M488 / 44M / Z / 12:57
Composed By – Braxton
Piano – Muhal Richard Abrams
3    The Bell 10:31
Composed By – Leo Smith
Piano, Cello, Alto Clarinet – Muhal Richard Abrams
Credits :
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Clarinet, Flute, Musette, Accordion, Bells, Snare, Other [Mixer Etc.] – Anthony Braxton
Trumpet, Mellophone, Xylophone, Percussion [Bottles], Kazoo – Leo Smith
Violin, Viola, Harmonica, Bass Drum, Recorder, Cymbal [Cymbals], Slide Whistle – Leroy Jenkins

ANTHONY BRAXTON - For Alto (1969-2000) FLAC (tracks+.cue), lossless

After issuing Anthony Braxton's Three Compositions of New Jazz in 1968, Chicago's Delmark Records took an enormous chance by issuing the first lengthy solo saxophone improvisation record in 1969 -- and as a double LP no less! And while it's true that hindsight is 20/20, For Alto is still, over 30 years later, a record that is ahead of its time. There is nothing tame or nostalgic about these blasts of jazz futurism from the young Braxton, who sounds here like he's trying to blow his way out of Chicago. Most of the pieces on this set are over nine minutes, and all are dedicated to various influences and friends in the saxophonist's circle. Perhaps the most frightening -- and enlightening -- improvisation here is "To Composer John Cage." Braxton attempts to literally change the entire tonal terrain on which the saxophone plays solo. His skittering skeins of cascading runs are interspersed with huge shouts and screeches all played at lightning speed with a deftness and angularity of approach that is far superior to most of his peers at the time, Messrs. Mitchell and Jarman included. Braxton was introducing tonal possibilities and deconstructions on this record; a solid listen to "Dedicated to Multi-Instrumentalist Leroy Jenkins," with its deep color palette and textural shifts and shapes, is enough to disorient one still. Also, the use of trills as interval markers in "To Artist Murray De Pillars" is remarkable -- especially now, as no one would follow this logic for such an extended period anymore. The reinvention of blues theory on this piece that becomes a kind of muted expressionism is truly remarkable. Many of the recordings from the magical period of the '60s and early-'70s creative movement sound dated now, quaint and diffuse from their original power. For Alto is not one of those records; it still has the literacy and vision to teach us about concentration, vision, emotional aesthetics, and even spiritual possibilities in the world of sound and how that world, that universe, interacts and dovetails with our lives. For Alto is one of the greatest solo saxophone records ever made, and maybe one of the greatest recordings ever issued, period.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Dedicated To Multi-Instrumentalist Jack Gell (8a)    0:37
2    To Composer John Cage (8f)    9:26
3    To Artist Murray De Pillars (8h)    4:12
4    To Pianist Cecil Taylor (8a/b)    5:13
5    Dedicated To Ann And Peter Allen (8d)    12:49
6    Dedicated To Susan Axelrod (8c)    10:19
7    To My Friend Kenny McKenny (8g)    10:01
8    Dedicated To Multi-Instrumentalist Leroy Jenkins (8b)    19:46
Credits :
Alto Saxophone, Composed By – Anthony Braxton
Notas.
Reissue of a double LP originally released in 1969.
Recorded during the summer of 1969.
The distortion and other recorded imperfections are on the original master tapes. All has been done to offer the best sound quality possible.
The reference numbers in parenthesis refer to the listings from the Anthony Braxton Catalog of Works.

JOSEPH JARMAN | ANTHONY BRAXTON - Together Alone (1971-1994) FLAC (tracks+.cue), lossless

Together Alone
Composed By – Joseph Jarman
1    Together Alone    5:39
2    Dawn Dance One    13:46
3    Morning (Including Circles)    2:18
4    CK7 (GN) 436 6:10
Composed By – Anthony Braxton
5    SBN-A-1 66K 14:53
Composed By – Anthony Braxton
Credits :
Contrabass Clarinet, Alto Saxophone, Piano, Flute, Voice – Anthony Braxton (pistas: 1 to 3)
Contrabass Clarinet, Mixed By – Anthony Braxton (pistas: 4, 5)
Soprano Saxophone – Joseph Jarman (pistas: 4, 5)
Supervised By [Supervision] – Anthony Braxton, Joseph Jarman
Synthesizer, Flute, Soprano Saxophone, Sopranino Saxophone, Alto Saxophone, Bells, Voice, Mixed By – Joseph Jarman (pistas: 1 to 3)

ANTHONY BRAXTON - Four Compositions (GTM) 2000 (2003) FLAC (tracks+.cue), lossless

In a sense, Four Compositions (GTM) 2000 is a homecoming for Anthony Braxton. This 2003 release reunites the avant-garde reedman with Delmark Records, where he recorded his first album, 3 Compositions of New Jazz, in 1968. Braxton was only 22 at the time, and he turned 57 in 2002. Some musicians mellow with time, but not Braxton; after all these years, the Chicago native is as uncompromising as ever. Like so much of his previous work, Four Compositions (GTM) 2000 has to be accepted own its own terms -- and those terms certainly aren't terms of the conservative "bop police." This is complex, abstract, dissonant, highly cerebral music that never goes out of its way to be accessible -- the sort of music that appeals to intellectuals in Sweden. That isn't to say that only Swedes listen to Braxton, who has a small following in the United States -- only that albums this left-of-center are a hard sell in the U.S. and that intellectuals in Sweden and other European countries have been consistent supporters of Braxton. Four Compositions (GTM) 2000 won't be a pop hit, but those who are daring enough to go along for the ride will find that Braxton is in excellent form on four extended pieces (one of which lasts 20 minutes). This time, he plays several instruments (including flute and various saxophones) and leads a cohesive quartet that includes pianist Kevin Uehlinger, bassist Keith Witty, and percussionist Noah Schatz. Many non-avant-garde musicians have had difficulty comprehending Braxton's work, but these sideman obviously understand where he is coming from and serve him well on this inspired addition to his sizable catalog. Alex Henderson  
Tracklist :
1    Composition 242    20:24
2    Composition 243    13:40
3    Composition 244    18:42
4    Composition 245    16:26
Credits :
Double Bass [String] – Keith Witty
Flute, Soprano Saxophone [B♭ & E♭], Alto Saxophone, Saxophone [F], Baritone Saxophone, Bass Saxophone, Contrabass Saxophone, Composed By – Anthony Braxton
Percussion – Noam Schatz
Piano, Melodica – Kevin Uehlinger

ARCHIE SHEPP MEETS KAHIL EL'ZABAR'S RITUAL TRIO - Conversations (1999) FLAC (tracks+.cue), lossless

In a dedication to the late bassist Fred Hopkins, Shepp returns to the recording studio armed with his no-compromise, no-nonsense way of playing the tenor saxophone. It's still as cutting-edge dour as ever, supported by the beautiful underpinnings of the trio, with Ari Brown mostly on piano instead of saxophone as he is more widely heard, the peerless bassist Malachi Favors Maghostut, and Afrocentric drummer/percussionist/leader Kahil El'Zabar. As dictated by the art of improvisors, much ground is covered, and a track-by-track rundown is warranted. The introductory "Conversations" is based on a floating piano, free-time excursion rife for Shepp's tenor to express itself. "Kari" is a rambling swinger with Brown back to his tenor sax and Shepp on piano, the latter embellishing the melody with some Erroll Garner-like flourishes. "Whenever I Think of You" is a drop-dead gorgeous, mid-tempo meditative piece, sans Shepp, showcasing Brown's piano stylings. The 7/4 chant "Brother Malcolm," with Brown on tenor sax plus bass and conga, has the collective group vocally echoing Harlem nocturnes about Malcolm X, and the closer "Revelations" is a definitive workout for Shepp, a robust swinger where his more melodic but still pungent sax sound revels in its own free-spirited, outspoken glory. To say Shepp is back would be shortsighted; he's always been around, especially as a teacher at the University of Massachusetts-Amherst. This is a resolute affirmation of his powers, punctuating that he's still a vital force in the new music, as are his backup constituents on this very fine CD, a perfect introduction for the uninitiated and a must-buy for longtime fans. Michael G. Nastos.
Tracklist :
1    Conversations 1; The Introduction    8:11
Composed By – Kahil El'Zabar
2    Big Fred    8:21
Composed By – Kahil El'Zabar
3    Kari    8:31
Composed By – Kahil El'Zabar
4    Whenever I Think Of You    9:27
Composed By – Ari Brown
5    Conversations 2; The Dialogue    10:12
Composed By – Kahil El'Zabar
6    Brother Malcolm    8:18
Composed By – Kahil El'Zabar
7    Revelations    7:42
Composed By – Kahil El'Zabar
Credits :
Bass – Malachi Favors
Drums – Kahil El'Zabar
Piano – Archie Shepp (pistas: 3), Ari Brown
Producer – Kahil El'Zabar
Tenor Saxophone – Archie Shepp, Ari Brown (pistas: 3, 6)

COLEMAN HAWKINS - Rainbow Mist (1992) MONO | FLAC (tracks+.cue), lossless

Hawkins was always an open-minded musician. A very advanced player even when he first emerged with Fletcher Henderson's orchestra in the '20s, by the '40s he may have been technically middle-aged but remained a young thinker. For his recording session of February 16, 1944, the great tenor invited some of the most promising younger players (including trumpeter Dizzy Gillespie, bassist Oscar Pettiford, and drummer Max Roach) and the result was the very first bebop on records. During their two sessions, the large ensemble recorded six selections, including Gillespie's "Woody'n You," Hawk's "Disorder at the Border," and a new treatment of "Body and Soul" by the tenorman that he retitled "Rainbow Mist." Also on this highly recommended CD are four titles matching together the tenors of Hawkins, Ben Webster, and Georgie Auld (with trumpeter Charlie Shavers included as a bonus) and a session from Auld's big band, highlighted by Sonny Berman's trumpet solo on "Taps Miller."
Scott Yanow
Tracklist :
1    Coleman Hawkins And His Orchestra–    Rainbow Mist    2:59
2    Coleman Hawkins And His Orchestra–    Woody 'n You    3:02
3    Coleman Hawkins And His Orchestra–    Bu Dee Daht    3:14
4    Coleman Hawkins And His Orchestra–    Disorder At The Border    2:58
5    Coleman Hawkins And His Orchestra–    Yesterdays    2:58
6    Coleman Hawkins And His Orchestra–    Feeling Zero    2:59
7    Auld/Hawkins/Webster Saxtet–    Salt Peanuts    2:57
8    Auld/Hawkins/Webster Saxtet–    Uptown Lullaby    3:22
9    Auld/Hawkins/Webster Saxtet–    Pick-Up Boys    3:03
10    Auld/Hawkins/Webster Saxtet–    Porgy    3:05
11    Georgie Auld And His Orchestra–    Concerto For Tenor    3:16
12    Georgie Auld And His Orchestra–    Taps Miller    3:12
13    Georgie Auld And His Orchestra–    I Can't Get Started    4:35
14    Georgie Auld And His Orchestra–    Sweet & Lovely    3:09
All Credits :

ROSCOE MITCHELL - Hey Donald (1994) FLAC (image+.cue), lossless

Since Roscoe Mitchell (who on this set made his return to the Delmark label after 28 years) is best known as a free jazz pioneer and a longtime member of the Art Ensemble of Chicago, the straightahead nature of a few of the selections will surprise some of his followers. "Walking in the Moonlight" is a sly and witty strut, "Jeremy" a melodic ballad for the leader's flute and "Hey Donald" could have come from the Sonny Rollins songbook. But Mitchell has not forsaken his innovative style. On "Dragons" his soprano playing (with its circular breathing) sounds very African, there are four free duets with bassist Malachi Favors and the blowouts on "Song for Rwanda" and "See You at the Fair" are pretty adventurous. In general Mitchell (who is joined by a versatile rhythm section comprised of pianist Jodie Christian, bassist Favors and drummer Tootie Heath) saves the more boppish pieces for his tenor while on soprano his intense sound creates a drone effect reminiscent a bit of bagpipes. All in all his release for Delmark should keep listeners guessing. by Scott Yanow
Tracklist :
1     Walking in the Moonlight 6:55
Roscoe Mitchell
2     Dragons 6:48
Roscoe Mitchell
3     Jeremy 1:54
Jodie Christian
4     El 2:51
Roscoe Mitchell
5     Hey Donald 7:45
Roscoe Mitchell
6     Keep on Keeping On 2:44
Malachi Favors
7     The Band Room 2:27
Roscoe Mitchell
8     Englewood High School 4:06
Roscoe Mitchell
9     Zero 4:29
Lester Bowie
10     Song for Rwanda 6:23
Roscoe Mitchell
11     58th Street 4:33
Roscoe Mitchell
12     See You at the Fair 5:26
Roscoe Mitchell
Credits :
Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Sopranino Saxophone, Flute – Roscoe Mitchell
Bass – Malachi Favors
Drums, Percussion – Albert 'Tootie' Heath
Piano – Jodie Christian

THE ROSCOE MITCHEL QUARTET - In Walked Buckner (1999) FLAC (image+.cue), lossless

Roscoe Mitchell once fronted perhaps his most daringly different trio with multi-instrumentalist Gerald Oshita and vocalist Thomas Buckner. This recording, dedicated to Buckner, captures the singing characteristics of Buckner in a purely instrumental way, and quite beautifully. Timbres are rare and off-kilter, free flowing, static, or flat-out swinging. In the middle is Mitchell, carrying the torch that has kept him a vital, adventurous American musician for three decades. Armed with a raft of woodwind instruments, Mitchell, with yeoman's help from bassist Reggie Workman, the judicious pianistics of Jodie Christian and the masterful drumming of Al Heath, makes the quartet, when they play together, unstoppable. Substantive solo space is distributed, especially for the leader. Check out his saxophone on the self-explanatory "Squeaky." Smaller combinations are fashioned with a no-time policy. Improvisations are stark and real. Spiritual evocations are evident. The bulk of the remainder of the eight-cut program, from the ethereally nautical "Off Shore," the lilting "Le Dreher Suite," and the haunting "Opposite Sides" emphatically showcase Mitchell's otherworldly flute work. They are convincing exhibits of Mitchell's position as perhaps the premier and essential improvised musical voice in the avant-garde of them all. In spirit, execution, and intent, Mitchell succeeds on all levels, except perhaps as a hitmaker. Surely his fans like it that way. Highly recommended to appreciators of this style. by Michael G. Nastos  
Tracklist :
1     Off Shore 11:04
Roscoe Mitchell
2     In Walked Buckner 5:56
Roscoe Mitchell
3     Squeaky 7:40
Roscoe Mitchell
4     The Le Dreher Suite 8:58
Roscoe Mitchell
5     Three Sides of the Story 7:24
Roscoe Mitchell
6     Till Autumn 4:04
Roscoe Mitchell
7     Fly Over 11:15
Roscoe Mitchell
8     Opposite Sides 8:25
Roscoe Mitchell
Credits :
Bass, Percussion [Small], Whistle – Reggie Workman
Drums, Flute [Egyptian], Didgeridoo, Percussion [Small] – Albert "Tootie" Heath
Piano, Bells [Small] – Jodie Christian
Piccolo Flute, Flute [Baroque], Recorder [Bass], Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Bells [Small], Whistle [Whistles] – Roscoe Mitchell

JIMMY FORREST - Black Forrest (1959-1991) FLAC (tracks+.cue), lossless

This 1972 LP, a complement to All the Gin Is Gone, released the remainder of tenor saxophonist Jimmy Forrest's two Delmark sessions, including four alternate takes and five other songs. Forrest sounds fine, guitarist Grant Green was making his debut on record, and the rhythm section (pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones) plays up to par. Get All the Gin Is Gone first, and then, if one wants to hear the rest of the story, this set. by Scott Yanow
Tracklist:
1 Black Forrest 5:20
Jimmy Forrest
2 Dog It 4:46
Jimmy Forrest
3 These Foolish Things 6:07
Harry Link / Holt Marvell / Jack Strachey
4 Sunkenfoal 5:54
Jimmy Forrest
5 You Go to My Head 4:43
J. Fred Coots / Haven Gillespie
6 Black Forrest 2:28
Jimmy Forrest
7 What's New? 2:11
Johnny Burke / Bob Haggart
8 But Beautiful 4:19
Johnny Burke / James Van Heusen
9 All the Gin Is Gone 4:48
Public Domain
10 These Foolish Things 4:13
Harry Link / Holt Marvell / Jack Strachey
Credits:
 Bass – Gene Ramey
Drums – Elvin Jones
Guitar – Grant Green
Piano – Harold Mabern
Tenor Saxophone – Jimmy Forrest

JIMMY FORREST - All the Gin Is Gone (1959-1997) FLAC (tracks+.cue), lossless

This was the first album that tenor saxophonist Jimmy Forrest made after his R&B phase ended. Particularly notable is that the set served as the recording debut of guitarist Grant Green; completing the band are pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones. The top-notch group performs two ballads, "Caravan" and three basic Forrest originals, including the title cut. The music is essentially melodic and blues-based hard bop that looks toward soul-jazz. Everyone sounds in fine form. by Scott Yanow
Tracklist :
1     All the Gin Is Gone 4:46
Public Domain / Jimmy Forrest
2     Laura 6:41
Johnny Mercer / David Raksin
3     You Go to My Head 6:31
J. Fred Coots / Haven Gillespie
4     Myra 5:30
Jimmy Forrest
5     Caravan 9:23
Duke Ellington / Irving Mills / Juan Tizol
6     What's New? 2:57
Johnny Burke / Bob Haggart
7     Sunkenfoal 5:18
Jimmy Forrest
Credits :
Bass – Gene Ramey
Drums – Elvin Jones
Guitar – Grant Green
Piano – Harold Mabern
Tenor Saxophone – Jimmy Forrest