RAVI COLTRANE — Blending Times (2009) Two Version | WV + FLAC (tracks+.cue), lossless

Ravi Coltrane's second CD as a leader for the Savoy label (his fifth overall) is balanced between improvisation based on spontaneous themes and compositions that have a certain direction, both concepts blessed with a purpose and vision. Blending Times, as its title implies, signifies his coming of age, his dedication to finding his own voice on the tenor saxophone, and his use of a free-form approach much like his famous parents, John Coltrane and Alice Coltrane, in their later years. Armed with a skilled band of pianist Luis Perdomo, bassist Drew Gress, and drummer E.J. Strickland, Ravi Coltrane is quite able to utilize his dual stylistic persona in ways that work in terms of accessibility and freshness, blending the roots of his heritage and bloodlines into his own hard-fought and compelling mannerisms. Perdomo, who has worked with the saxophonist for a number of years, is particularly brilliant and close to amazing, wending his way in and out of stated short phrases or motifs on the improvisations and contributing the opener, "Shine," a saintly spiritual tune gliding -- although free of a time signature -- beyond beauty. Ralph Alessi's "One Wheeler Will" is the singular piece cemented in distinguishable phrases -- albeit in a choppy and kinetic 13/8 ostinato -- rooted in the N.Y.C. neo-bop that defined contemporary jazz in the 1980s. The nine-minute "For Turiya" was written many years ago by Charlie Haden for Alice Coltrane, and here it is revised, with Brandee Younger on harp, Haden on his ever stoic and soulful bass, and Ravi Coltrane's somber and remorseful tenor sax echoing an ultimate elegy epilogue prayer. The band stretches Thelonious Monk's "Epistrophy" via a quick, cleverly executed waltz in a 4/4 framework with a lopped-off beat at the end of each completed phrase, further emphasized by Perdomo's picture-perfect swaths and swipes. Five of the free-form pieces are credited as improvisations conceived and directed by Ravi Coltrane, and all have a similar but non-threatening quality of patience, virtue, and sharing, merging from various duo settings to the full band eventually joining in. "First Circuit" is a free bop jam, while "A Still Life" has a two-note bass call from the ever present Gress merging into currents and torrents à la John Coltrane's sheets of sound concept. "Amalgams" is another floating/spiritual combine, "Narcined" is an unforced funky butt dance, and "Before with After" is a somber prelude to "For Turiya." Where Ravi Coltrane's sound may not be immediately identifiable, he has for sure made his craft a viable and attractive sound in a marketplace where there are many players who closely imitate his legendary father. This is a very fine effort, understated overall, and one that can easily be recommended to all modern jazz lovers who find room for unconventional music not branded by academia, the so-called tradition, or overt commercial considerations. Michael G. Nastos
Tracklist :
1.    Shine 5:50
Written-By – Luis Perdomo
2.    First Circuit    3:47
Written-By – Ravi Coltrane
3.    A Still Life 6:57
Written-By – Ravi Coltrane
4.    Epistrophy 7:48
Written-By – Kenny Clarke, Thelonious Monk
5.    Amalgame    4:18
Written-By – Ravi Coltrane
6.    Narcined    4:49
Written-By – Ravi Coltrane
7.    One Wheeler Will 7:30
Written-By – Ralph Alessi
8.    The Last Circuit    4:20
Written-By – Ravi Coltrane
9.    Before With After    2:46
Written-By – Ravi Coltrane
10.    For Turiya 9:06
Double Bass [Acoustic Bass], Written-By – Charlie Haden
Harp – Brandee Younger
Credits :
Double Bass [Acoustic Bass] – Drew Gress (tracks: 1 to 9)
Drums – EJ Strickland (tracks: 1 to 9)
Harp – Brandee Younger (tracks: 10)
Piano – Luis Perdomo (tracks: 1 to 9)
Tenor Saxophone, Producer – Ravi Coltrane

RAVI COLTRANE — Spirit Fiction (2012) FLAC (tracks+.cue), lossless

Despite the metaphysical suggestion in Spirit Fiction's title, this is Ravi Coltrane's most cerebral, process-oriented recording to date. This does not mean, however, that his debut offering for Blue Note Records is dry or academic. There is an abundance of emotion and sensual detail, most of it expressed gently, with the confidence -- and authority -- of a veteran bandleader. Coltrane employs two lineups on the date. First is his longstanding quartet with pianist Luis Perdomo, bassist Drew Gress, and drummer E.J. Strickland. The other is the quintet that appeared on 2000's Round Box: trumpeter Ralph Alessi, pianist Geri Allen, bassist James Genus, and drummer Eric Harland. Coltrane composed six pieces for this session and Alessi, three. There are also readings of Ornette Coleman's "Check Out Time" and Paul Motian's "Fantasm." Spirit Fiction was produced by saxophonist Joe Lovano, who appears on cover tunes. Coltrane's vision of process gets a bold workup here on three tunes. "Roads Cross" is jarring at first, head-to-head knotty, yet it jells about two minutes in. Here and on the seventh cut, conversely named "Cross Roads," the feel is similar. This is because the quartet was recorded as two separate duos playing the tune simultaneously and then mixing them together. The title track offers a further exploration of this technique, but this time, the duos recorded the piece separately and were dubbed on top of one another. In each case, Coltrane's process theory -- using the studio as a fifth member -- actually creates additional strategic possibilities not only of color and texture, but for improvisation. Other highlights are more organic in approach, the gorgeous original ballad "The Change, My Girl" provides a delicate, intricate Coltrane solo full of grace and elegance. Alessi's "Klepto" is a solid, swinging, post-bop groover. On the trumpeter's "Yellow Cat," Coltrane displays his exceptionally well-developed skills as an accompanist. The interplay between Lovano and Coltrane on "Check Out Time" is instinctive, full of delightful dialogue, and a fine contrast in harmonic ideas with stellar playing by Allen. On closer "Marilyn & Tammy," Coltrane's soprano reveals his father's influence in the building of arpeggios, yet the sense of compositional mapmaking is his own. Spirit Fiction is a confident next step for the saxophonist; its execution and ambition offer a glance at where he's been, but more importantly, a solid look at where he's going.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Roads Cross 5:04
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
2    Klepto 7:30
Written-By – Ralph Alessi
3    Spirit Fiction 2:28
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
4    The Change, My Girl 6:46
Written-By – Ravi Coltrane
5    Who Wants Ice Cream 6:32
Written-By – Ralph Alessi
6    Spring & Hudson 2:21
Written-By – Ravi Coltrane
7    Cross Roads 4:03
Written-By – Drew Gress, E.J. Strickland, Luis Perdomo, Ravi Coltrane
8    Yellow Cat 6:50
Written-By – Ralph Alessi
9    Check Out Time 7:26
Written-By – Ornette Coleman
10    Fantasm 4:08
Written-By – Paul Motian
11    Marilyn & Tammy 5:42
Written-By – Ravi Coltrane
Credits :
Bass – Drew Gress (tracks: 1, 3, 4, 7, 11), James Genus (tracks: 2, 5, 8, 9)
Drums – E.J. Strickland (tracks: 1, 3, 4, 6, 7, 11), Eric Harland (tracks: 2, 5, 8, 9)
Piano – Geri Allen (tracks: 2, 5, 8 to 10), Luis Perdomo (tracks: 1, 3, 4, 7, 11)
Tenor Saxophone – Joe Lovano (tracks: 9, 10)
Tenor Saxophone, Soprano Saxophone – Ravi Coltrane
Trumpet – Ralph Alessi (tracks: 2, 5, 8, 9)

FRANKLIN KIERMYER | PHAROAH SANDERS - Solomon's Daughter (1994) FLAC (tracks+.cue), lossless

As Kevin Whitehead's liner notes to this release reflect, Sanders "pays explicit tribute to his late mentor John Coltrane -- as this set's Coltrane-oriented sound makes unashamedly clear." Actually, Coltrane penned only one of the eight tunes, while Sanders wrote six, but the spirit of the master looms heavily throughout. Sanders displays an uncanny resemblance to Trane's unique way of over-blowing and his special ability to get inside a ballad. Pianist John Hicks is in perfect form and contributes mightily to the success of the session. Most will probably prefer the original Coltrane to Sanders' imitations, but Africa is nonetheless a joyous and worthy tribute to one of the giants of jazz. This album marked somewhat of a backtrack for the saxophonist, as he had frequently become identified with much more traditional playing. Steve Loewy
Tracklist :
1    If I Die Before I Wake    15:00
2    Three Jewels    13:55
3    Akdemus 7:37
Flugelhorn – Chris Gekker
4    Peace On Earth    5:50
5    Solomon's Daughter    9:25
6    Birds Of The Nile    7:18
Credits :
Acoustic Bass – Drew Gress
Drums, Composed By, Producer – Franklin Kiermyer
Piano – John Esposito
Tenor Saxophone – Pharoah Sanders

JOHN ABERCROMBIE QUARTET - Up and Coming (2017) FLAC (tracks+.cue), lossless

When pianist Marc Copland formally joined the John Abercrombie Quartet for 2013's wonderful 39 Steps, he brought with him the fruit of the musical relationship between himself and the guitarist that had been established some four decades earlier with Chico Hamilton, and in the fusion band Dreams. Their evolution continued the guitarist's participation on several of the pianist's albums, and as sidemen playing in the same bands with Kenny Wheeler and David Liebman. Bassist Drew Gress, who has worked with both men separately over the years, is a further link in the chain, while drummer Joey Baron has played with the guitarist often enough to be intimately familiar with his compositional and improvisational processes.
Abercrombie wrote five of these eight tunes, Copland contributed a pair, and the group offers a startling read of Miles Davis' nugget "Nardis." It's in the reinvention of the latter number where this band showcases its greatest strengths. While they remain faithful to the song's harmony and spirit, they open up its inner space a moment at a time, almost imperceptibly at first. Abercrombie parses his phrases, albeit fluidly, to reveal the hidden magic in Davis' nuances, as Copland follows through and around them to crystallize its striking chorus. There's a great deal of magic in the originals as well. Opener "Joy" commences with a poignant minor-lyric statement, picked up by Copland before the pair stagger the melody and begin a gradual yet emotive and inquisitive interplay. Gress accents the changes while Baron adds dimension and texture with his whispering cymbal work. The pianist's solo highlights each melodic fragment with canny lyricism. The guitarist's "Flipside" is brief, but its swinging tempo and tight changes spotlight the band breezing through post-bop with zest, humor, and chops to spare. A more complex side of that nature is expounded upon in Copland's "Silver Circle," providing an opportunity for Abercrombie to underscore the edges in a rounded yet knotty solo. The pianist's "Tears," with its processional yet lithe chord voicings, hushed cymbals, and muted tom-toms, is initially so gentle and tender, it momentarily distracts from the darkness within. Abercrombie's break caresses the melody's haunting frame; Gress picks apart its elements and exposes its spine reinforced subtly by Baron, and Copland opens the seam to expose drama, vulnerability, and loss. The set concludes with the guitarist's "Jumbles," a jocular, midtempo workout that juxtaposes angles and breezy harmony with a varying rhythmic palette. Up and Coming clocks in at under 50 minutes. Its compositional and improvisational economy is countered by the quartet's disciplined ability to colorfully and authoritatively illustrate an abundance of creative ideas without hinting at compromise.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Joy 4:12
John Abercrombie
2     Flipside 2:53
John Abercrombie
3     Sunday School 7:18
John Abercrombie
4     Up and Coming 5:50
John Abercrombie
5     Tears 7:34
Marc Copland
6     Silver Circle 7:06
Marc Copland
7     Nardis 6:21
Miles Davis
8     Jumbles 5:57
John Abercrombie
Credits :
Double Bass – Drew Gress
Drums – Joey Baron
Guitar – John Abercrombie
Piano – Marc Copland

JOHN ABERCROMBIE QUARTET — 39 Steps (2013) FLAC (image+.cue), lossless

There is an easy familiarity among the participants on the John Abercrombie Quartet's 39 Steps. Each of its members -- guitarist, pianist Marc Copland, bassist Drew Gress, and drummer Joey Baron -- have played together in various situations for decades. In the case of Abercrombie and Copland, their association goes back some 40 years to Chico Hamilton's touring group and the fusion band Dreams. Both Baron and Gress have played with the guitarist and pianist on and off since the '90s. The predominate mood here is linear post-bop and lyric balladry, though there is an overarching group meditation on the pieces titled for Alfred Hitchock's films: Abercrombie composed six pieces here (including "Vertigo" and the title track); Copland two (including "Spellbound"), and there's a group improvisation called "Shadow of a Doubt." The pianist's "LST" is a midtempo number with an elaborate melody and a gorgeous solo by the composer showcasing motivic invention in the upper register accompanied by gorgeous chord voicings from Abercrombie. The lush, melodic invention in the guitarist's "Bacharach" offers the pianist a platform to build a multi-hued timbral spectrum, while Abercrombie slips along its underside in an understated yet intricate solo, Gress punctuates his lines with rich wooden tones and Baron whispers along on snare and cymbals. Copland's "Spellbound" is as mysterious as its title implies. Abercrombie's dual string intro is followed by Gress's, which is darkly illumined by the pianist's middle-register chordal inventions and Baron's slippery shuffle. The guitarist's solo follows a scalar line, purposely syncopating his movements and creating a gentle swing. The title track is one of the loveliest ballads Abercrombie has composed. It makes full use of both the piano's and guitar's possibilities as chord instruments, but its solos all move fluidly along subtle yet intensely lyrical lines. The set closes on the most unusual version of "Melancholy Baby" ever committed to tape, though even in its angular rhythmic thrust and contrapuntal individual statements, exhibits a keen sense of listening and melodic counterpoint. Abercrombie's 39 Steps offers the sound of a veteran quartet playing at the height of its individual members' intuitive and collective abilities.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Vertigo 6:23
Composed By – John Abercrombie
2 LST 6:51
Composed By – Marc Copland
3 Bacharach 7:21
Composed By – John Abercrombie
4 Greenstreet 6:15
Composed By – John Abercrombie
5 As It Stands 4:08
Composed By – John Abercrombie
6 Spellbound 6:53
Composed By – Marc Copland
7 Another Ralph's 5:22
Composed By – John Abercrombie
8 Shadow Of A Doubt 3:12
Composed By – Drew Gress, Joey Baron, John Abercrombie, Marc Copland
9 39 Steps 8:36
Composed By – John Abercrombie
10 Melancholy Baby 4:37
Composed By – Ernie Burnett, George A. Norton
Credits :
Double Bass – Drew Gress
Drums – Joey Baron
Guitar – John Abercrombie
Piano – Marc Copland
Producer – Manfred Eicher