STEVE KUHN — Porgy (1989-1998) FLAC (tracks+.cue), lossless

Tracklist :
1    Shoutin' Out    6:07
 Horace Silver
2    Just Squeeze Me    8:13
 Duke Ellington / Lee Gaines
3    Tadd's Delight    4:49
 Tadd Dameron
4    I Loves You Porgy    6:43
 George Gershwin / Ira Gershwin / DuBose Heyward
5    Isotope    3:49
 Joe Henderson / Laura Anne Taylor
6    Where Do You Go?    3:25
 Arnold Sundgaard / Alec Wilder
7    Ladies In Mercedes    4:48
 Steve Swallow
8    Repetition    4:53
 Neal Hefti
9    On Stage    5:13
 Rudolph Stevenson
10    Lullaby    4:25
 Steve Kuhn / Laura Anne Taylor
11    A House Is Not A Home    2:34
 Burt Bacharach / Hal David
Credits :
Double Bass – Buster Williams, Eddie Gomez
Drums – Al Foster
Piano – Steve Kuhn
Vocals – Laura Ann Taylor (tracks: 5, 10)

ELVIN JONES | McCOY TYNER QUINTET — Love & Peace (1982-1994) FLAC (tracks+.cue), lossless

With the exception of one number ("House That Love Built") from 1978 that matches drummer Elvin Jones with the reeds of Frank Foster and Pat LaBarbera, guitarist Roland Prince and bassist Andy McCloud, this CD reissue focuses on an unusual and generally successful reunion session. Drummer Jones and pianist McCoy Tyner have not recorded together that often since leaving John Coltrane's Quartet in late 1965. With Pharoah Sanders (who was part of the reason they departed) on tenor, bassist Richard Davis in the late Jimmy Garrison's spot, and guitarist Jean-Paul Bourelly an added wild card, the musicians avoid Coltrane tunes in favor of newer originals and the standard "Sweet and Lovely." Sanders sounds very much like late-1950s Coltrane; Bourelly is a bit out of place, and Tyner easily takes solo honors. An interesting but not overly memorable outing that was originally cut for the Japanese Trio label and made available in the U.S. by the now-defunct Black-Hawk company. Scott Yanow
Tracklist :
1    Little Rock's Blues    4:35
 Pharoah Sanders
2    Hip Jones    7:27
 Pharoah Sanders
3    Korina    5:35
 Gene Perla
4    For Tomorrow    7:08
 McCoy Tyner
5    Sweet And Lovely    6:52
 Gus Arnheim / Jules LeMare / Harry Tobias
6    Origin    5:05
 Pharoah Sanders
7    House That Love Built    10:27
 Frank Foster
Credits :
Bass – Andy McCloud (tracks: 7), Richard Davis
Drums – Elvin Jones
Electric Guitar – Jean-Paul Bourelly
Guitar – Roland Prince (tracks: 7)
Piano – McCoy Tyner
Soprano Saxophone – Frank Foster (tracks: 7)
Tenor Saxophone – Frank Foster (tracks: 7), Pat LaBarbera (tracks: 7), Pharoah Sanders

PAUL BLEY — Hands On (1997) FLAC (tracks+.cue), lossless

Besides Paul Bley's usual philosophizing in the liner notes (this time with Down Beat writer Kirby Dean) -- or should I say illustrating his sophistry philosophically -- this solo piano set, played on a Bösendorfer Imperial piano, is one of Bley's most intimate and moving in the last 20 years. Playing a program consisting entirely of his own material, the pianist shows listeners how it's done without repeating himself. There are few others -- among the living -- who practice the art of jazz pianistically who can make this claim: Cecil Taylor, Andrew Hill, Ran Blake, Misha Mengelberg, Marilyn Crispell, Matthew Shipp, and Irène Schweizer are the only ones who come to mind besides Bley. Many of his styles are present here, and some new methodologies he's brought to light in the last few years, but his most unsettling trademark, the one that makes each of his solo compositions and improvisations into works of art, is his use of space. The first three tracks here, "Remembering," "Points," and "Rain Dance," are all meditations on space and harmonic reductions -- how to reduce any melodic idea, no matter how elaborate, by using newly shaped or architecturally altered chords created only from scalar essences. Bley then uses the spatial relationships between these elementals in a melody to create a harmonic bridge that opens up the music from the inside in order to allow more space to flow not only between chords, where tonal possibilities assert themselves as melodic touchstones, but right hand runs that emphasize contrapuntal melodic ideas. Another Bley trademark is his use of understatement that creates dynamics within an improvisation. This is displayed elegantly in "Three Fifth," where thirds and fifths alternate with one another in shifting meters and time signatures. The layered triadic chords and languid attendant trills and single-note runs that flow into one another do so without force until halfway through the piece's 12-and-a-half minutes, where a glissandi set of fifths takes on a near operatic drama and the ensuing right-handed solo moves through eighths and sixteenths like water pouring from a glass, with the emotional resonance of romantic afterglow. There is no ice here, only blue fire. Hands On reveals Paul Bley as an archetype -- an improvising jazz pianist who serves the larger model of an artist who meditates upon his work actively, restlessly, and relentlessly, seeking its core, until that work exhausts itself and gives way to become, finally, a work of art, original and unrepeatable.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

RAY BROWN TRIO — Black Orpheus (1994) RM | FLAC (tracks+.cue), lossless

Whether accompanying or leading a band, bassist Ray Brown was long among jazz's greatest players. These cuts, mostly from 1989 escept for two numbers done in 1991, feature Brown backing soulful pianist Gene Harris and steady drummer Jeff Hamilton on a program combining Afro-Latin material with standards from Johnny Mercer, Fats Waller and others, as well as an excellent rendition of Percy Mayfield's blues/R&B standard "Please Send Me Someone to Love." The songs are long enough to display each musician's skills, but not so lengthy that they become repetitious. It's a well-played, delightful example of the kind of high-powered material that was Ray Brown's stock-in-trade. Ron Wynn   Tracklist & Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. I (1980-1994) FLAC (tracks+.cue), lossless

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections. Scott Yanow    Tracklist + Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. II (1980-1994) FLAC (tracks+.cue), lossless

The second of two Gil Evans LPs originally recorded for the Japanese Trio label and put out in the United States on the now-defunct Black-Hawk company features the veteran arranger leading a 14-piece group at a pair of 1980 concerts. The five selections (which include Jimi Hendrix's "Stone Free," Charles Mingus' "Orange Was the Color of Her Dress" and Evans's "Zee Zee") are given colorful treatment by the unique band, which consists of three keyboardists, a rhythm section propelled by drummer Billy Cobham, three trumpets (Lew Soloff, Jon Faddis and Hannibal Marvin Peterson), two trombones (including George Lewis), John Clark on French horn, baritone saxophonist Hamiet Bluiett and altoist Arthur Blythe. Although the end results do not quite live up to the potential of this unique ensemble, there are plenty of colorful moments. Scott Yanow
Tracklist + Credits :

GIL EVANS & THE MONDAY NIGHT ORCHESTRA — Live at Sweet Basil (1985-1992) FLAC (tracks+.cue), lossless

Gil Evans ran into his share of would-be defenders of his "tradition" when he began experimenting with rock songs and electronic instruments in the '70s and '80s. One of jazz's greatest arrangers was suddenly viewed as a charlatan in certain circles, and a band loaded with great players was now being dismissed as a crew of frauds. This second volume of songs done live during the band's long run as Sweet Basil's regular Monday night attraction proves decisively that neither Evans nor his band lost anything. The versions of Shorter's "Parabola" and Hancock's "Prince of Darkness" are multi-faceted and compare favorably with almost anything done by any previous Evans aggregation. It may not have been "cool," but it was most assuredly great jazz. Ron Wynn    Tracklist & Credits :

GIL EVANS & THE MONDAY NIGHT ORCHESTRA — Bud And Bird (1987-1992) FLAC (tracks+.cue), lossless

Gil Evans celebrated his 75th birthday shortly before this session was issued in Japan. He was not looking back, judging from the progressive, animated quality of these numbers. They included some extensive, rollicking numbers, songs with multiple movements, and energized solos from John Clark on French horn, trumpeter Lew Soloff, bass trombonist Dave Tucker, and bassist Mark Egan. Special guest Johnny Coles chimed in on "Half Man, Half Cookie." Some critics rapped Evans' '80s orchestras for their almost chaotic sound and loose feel. But Evans wanted a sprawling sensibility, and although his bands often seemed disorganized, they always maintained discipline in the midst of what others thought sounded like musical anarchy. Ron Wynn    Tracklist & Credits :

LEE KONITZ - Rhapsody (1995) FLAC (tracks+.cue), lossless

Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano, and tenor), Joe Lovano (switching between tenor, alto clarinet, and soprano), guitarist Bill Frisell, and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie," and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern, but a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by an overlong (19-minute) exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley, and bassist Gary Peacock; their different approaches never really mesh together, and this selection is a bit of a bore. The final performance, an extroverted duet by Konitz (on soprano) and flügelhornist Clark Terry (titled "Flyin': Mumbles and Jumbles") adds some badly needed humor to the set. While one can admire Lee Konitz for still challenging himself after all this time, some of the dryer material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. Scott Yanow  
Tracklist :
1     I Hear a Rhapsody 4:31
Jack Baker / George Fragos / Dick Gasparre
Alto Saxophone – Lee Konitz
Piano – Peggy Stern
Vocals – Helen Merrill
2     Lo-Ko-Mo-And Frizz 12:05
Bill Frisell / Lee Konitz / Joe Lovano / Paul Motian
Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Lee Konitz
Drums – Paul Motian
Guitar – Bill Frisell
Tenor Saxophone, Alto Clarinet, Soprano Saxophone – Joe Lovano
3     The Aerie 7:11
Peggy Stern
Alto Saxophone – Lee Konitz
Bass – Ben Allison
Drums – Jeff Williams
Piano – Peggy Stern
Vocals – Jay Clayton
4     Trio, No. 1 8:52
Lee Konitz / Gerry Mulligan / Peggy Stern
Baritone Saxophone – Gerry Mulligan
Piano – Peggy Stern
Soprano Saxophone – Lee Konitz
5     All the Things You Are 5:07
Oscar Hammerstein II / Jerome Kern
Guitar – Jean François Prins
Soprano Saxophone – Lee Konitz
Vocals – Judy Niemack
6     Exposition 19:00
Paul Bely / Paul Bley / Jimmy Giuffre / Lee Konitz / Gary Peacock
Bass – Gary Peacock
Clarinet – Jimmy Giuffre
Piano – Paul Bley
Soprano Saxophone, Alto Saxophone – Lee Konitz
7     Flyin': Mumbles and Jumbles 5:55
Lee Konitz / Clark Terry
Flugelhorn, Scat – Clark Terry
Soprano Saxophone, Scat – Lee Konitz

LEE KONITZ - Rhapsody II (1996) FLAC (tracks+.cue), lossless

This follow-up to Rhapsody is another eclectic mix, with 19 tracks featuring the veteran alto saxophonist in various small group settings. Baritone sax great Gerry Mulligan and the leader flesh out an inspired duet of "Lover Man" and pianist Peggy Stern joins them for the spacy, extemporaneous "Trio #2." The brilliant flugelhornist Clark Terry is only featured on three very brief improvisations based on "Indiana," which is wasting a great talent. Konitz switches to soprano sax for a moody version of "You Don't Know What Love Is" with vocalist Sheila Jordan and bassist Harvie Swartz. This is an interesting but not essential CD that falls short of its namesake predecessor and The Lee Konitz Duets (Original Jazz Classics). Ken Dryden
Tracklist :
1     Body and Soul 8:07
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
2     Short Cut, No. 2 1:10
Mark Feldman / Yuko Fujiyama / Lee Konitz
3     Another View 4:37
Lee Konitz / John Scofield
4     Lover Man 4:08
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
5     Short Cut, No. 2 1:00
Mark Feldman / Yuko Fujiyama / Lee Konitz
6     Kary's Trance 5:46
Lee Konitz
7     Trio, No. 2 3:40
Lee Konitz / Gerry Mulligan / Peggy Stren
8     Indiana Jones, No. 1 0:58
Lee Konitz / Clark Terry
9     You Don't Know What Love Is 6:48
Gene DePaul / Don Raye
10     Variation, No. 1 2:09
Ben Allison / Lee Konitz / Peggy Stern / Jeff Williams
11     Variation, No. 2 5:45
Ben Allison / Lee Konitz / Peggy Stern / Jeff Williams
12     Some Blues 7:52
Lee Konitz / John Scofield
13     Short Cut, No. 3 1:16
Mark Feldman / Yuko Fujiyama / Lee Konitz
14     Indiana Jones, No. 2 1:29
Lee Konitz / Clark Terry
15     Round and Round and Round 3:32
Lee Konitz / Judy Niemack
16     Sittin' In 4:29
Lee Konitz / Kenny Werner / Frank Wunsch
17     Indiana Jones, No. 3 1:31
Lee Konitz / Clark Terry
18     Body and Soul/Finale 6:03
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
Credits :
Alto Saxophone – Lee Konitz (pistas: 1 to 4, 6 to 8, 11, 12, 14, 15, 17, 18)
Baritone Saxophone – Gerry Mulligan (pistas: 4, 7)
Bass – Ben Allison (pistas: 6, 11), Harvie Swartz (pistas: 9)
Drums – Jeff Williams (pistas: 6, 11)
Flugelhorn – Clark Terry (pistas: 8, 14, 17)
Guitar – Jean François Prins (pistas: 15), John Scofield (pistas: 3, 12)
Harmonica – Toots Thielemans (pistas: 1, 18)
Piano – Frank Wunsch (pistas: 16), Kenny Werner (pistas: 1, 18), Peggy Stern (pistas: 6, 7, 10, 11), Yuko Fujiyama (pistas: 5, 13)
Soprano Saxophone – Lee Konitz (pistas: 5, 9, 13, 16)
Synthesizer – Kenny Werner (pistas: 1, 16, 18)
Tenor Saxophone – Lee Konitz (pistas: 11)
Violin – Mark Feldman (pistas: 2, 13)
Vocals [Vocal] – Judy Niemack (pistas: 15), Sheila Jordan (pistas: 9)
Notas.
Recorded June-September 1993 at The Studio, N.Y.C.

DEWEY REDMAN ft. JOSHUA REDMAN - African Venus (1994) FLAC (tracks+.cue), lossless

By the time African Venus was recorded in 1992, Dewey Redman was combining the fire of his earlier playing with a gentler, melodic approach. On "Satin Doll," "Mr. Sandman," and "Take the 'A' Train," Redman glides along in a more traditional bop vein, while the title track and Ornette Coleman's "Turnaround" sound more like the fiery Redman of Look for the Black Star or Tarik. Joining Redman on this date are Charles Eubanks (piano), Anthony Cox (bass), Carl Allen (drums), Danny Sadownick (percussion), and Joshua Redman (tenor saxophone), on three tracks. Not an essential disc, but far from a throwaway. Al Campbell
Tracklist :
1    African Venus 9:27
Composed By – Dewey Redman
2    Venus And Mars 7:48
Composed By – Dewey Redman
3    Mr. Sandman 6:54
Composed By – Francis Drake Ballard
4    Echo Prayers 5:53
Composed By – Dewey Redman
5    Satin Doll 8:23
Composed By – Billy Strayhorn, Duke Ellington
6    Take The "A" Train 7:41
Composed By – Billy Strayhorn
7    Turnaround 6:25
Composed By – Ornette Coleman
Credits :
Bass – Anthony Cox
Drums – Carl Allen
Percussion – Danny Sadownick
Piano – Charles Eubanks
Tenor Saxophone [Tenor Sax] – Joshua Redman (pistas: 2, 3, 5)
Tenor Saxophone [Tenor Sax], Alto Saxophone [Alto Sax], Suona [Musette] – Dewey Redman

PHAROAH SANDERS - Live ... (1981-2003) FLAC (tracks+.cue), lossless

This album features Pharoah Sanders playing some no-nonsense tenor in a quartet with pianist John Hicks, bassist Walter Booker, and drummer Idris Muhammad. Sanders performs "It's Easy to Remember" (in a style very reminiscent of early-'60s John Coltrane), an original blues, and two of his compositions, including the passionate "You've Got to Have Freedom." The musicianship is at a high level and, although Sanders does not shriek as much as one might hope (the Trane-ish influence was particularly strong during this relatively mellow period), he is in fine form. Scott Yanow
Tracklist :
1     You've Got to Have Freedom 14'17
Pharoah Sanders    
2     Easy to Remember 6'51
Lorenz Hart / Richard Rodgers    
3     Blues for Santa Cruz 8'39
Pharoah Sanders    
4     Pharomba 13'26
Pharoah Sanders    
5     Doktor Pitt 21'34
Pharoah Sanders
Credits :
Bass – Walter Booker
Drums – Idris Muhammad
Piano – John Hicks
Tenor Saxophone, Producer By – Pharoah Sanders

PHAROAH SANDERS - Journey To The One (1980-1994) FLAC (tracks+.cue), lossless

A two-LP set on Theresa, Rejoice features Pharoah Sanders in excellent form in 1981. Sanders sounds much more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane, particularly on "When Lights Are Low," "Moments Notice," and "Central Park West." The personnel changes on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre, trumpeter Danny Moore, a harpist, and (on "Origin" and "Central Park West") five vocalists. The music always holds one's interest, making this one of Sanders' better later recordings. Scott Yanow
Tracklist :
1    Greetings To Idris 7'28
Composed By, Arranged By – Pharoah Sanders
Guitar – Carl Lockett
2    Doktor Pitt 12'13
Composed By, Arranged By – Pharoah Sanders
Flugelhorn – Eddie Henderson
3    Kazuko (Peace Child) 8'07
Composed By, Arranged By – Pharoah Sanders
Harmonium, Wind Chimes [Wind-Chimes] – Paul Arslanian
Koto – Yoko Ito Gates
4    After The Rain 5'36
Composed By – John Coltrane
Piano – Joe Bonner
5    Soledad 4'56
Composed By, Arranged By – Pharoah Sanders
Harmonium – Bedria Sanders
Sitar – James Pomerantz
Tabla – Phil Ford
6    You've Got To Have Freedom 6'48
Composed By, Arranged By – Pharoah Sanders
Flugelhorn – Eddie Henderson
Vocals – Bobby McFerrin, Donna Dickerson, Ngoh Spencer, Vicki Randle
7    Yemenja 5'35
Composed By, Arranged By – John Hicks
Guitar – Carl Lockett
8    Easy To Remember 6'32
Written-By – Lorenz Hart, Richard Rogers
9    Think About The One 4'15
Bass – Joy Julks
Bells [Sleigh Bells] – Pharoah Sanders
Composed By, Arranged By – Pharoah Sanders
Drums – Randy Merritt
Guitar – Carl Lockett
Lead Vocals – Claudette Allen
Piano [Acoustic], Electric Piano – Joe Bonner
Shekere, Congas – Babatunde Olatunji
Synthesizer [Oberheim] – Mark Isham
Vocals – Bobby McFerrin, Donna Dickerson, Ngoh Spencer, Vicki Randle
10    Bedria 10'30
Composed By, Arranged By – Pharoah Sanders
Guitar – Chris Hayes
Credits :
Bass – Ray Drummond (pistas: 1, 2, 6 to 8, 10)
Drums – Idris Muhammad (pistas: 1, 2, 6 to 8, 10)
Illustration [Cover] – Daniel Ziegler
Piano – John Hicks (pistas: 1, 2, 6 to 8, 10)
Producer, Tenor Saxophone – Pharoah Sanders

PHAROAH SANDERS - Heart Is a Melody (1982-1993) FLAC (tracks+.cue), lossless

This Evidence CD is a reissue of a Theresa LP, adding two songs ("Naima" and "Rise 'n' Shine") to the original program. Pharoah Sanders is heard at his best on a 22-minute version of "Olé," where the tenor really gets a chance to stretch out. His "vocal" on "Goin' to Africa" is spirited, but otherwise most of his solos are very much in the tradition of John Coltrane. There are some fiery moments but few surprises on this date chiefly recommended to Sanders fans. Scott Yanow
Tracklist :
1     Olé 2:13
John Coltrane    
2     On a Misty Night 7:00
Tadd Dameron    
3     Heart Is a Melody of Time (Hiroko's Song) 7:32
William S. Fischer / Pharoah Sanders
Vocals – Andy Bey, Cort Cheek, Debra McGriffe, Flame Braithwaite, Jes Muir, Kris Wyn, Mira Hadar
4     Goin' to Africa (Highlife) 3:49
Pharoah Sanders    
Bells – Paul Arslanian
Vocals – Pharoah Sanders, Audience
- BONUS TRACKS -
5     Naima 7:28
John Coltrane    
6     Rise 'n' Shine 15:07
Stephen Ballantine / Buddy DeSylva / Vincent Youmans
Credits :
Bass – John Heard
Drums – Idris Muhammad
Liner Notes – Dave Holland
Piano – William Henderson
Producer, Tenor Saxophone – Pharoah Sanders

PHAROAH SANDERS - A Prayer Before Dawn (1987-1993) FLAC (tracks), lossless

Recorded in 1987, A Prayer Before Dawn is one of Pharoah Sanders' gentle, reflective dates. Some jazz fans may cringe at his versions of "Christmas Song" and Whitney Houston's "The Greatest Love of All," but the music displays a heartfelt spirituality as opposed to financial slickness. It is the opposite of Sanders' characteristic fire-breathing tenor of his Impulse days, but there is nobility in taking this tranquil direction; Sanders refuses to repeat himself. He demands you listen with open ears, dropping preconceived notions. For instance, unlike the adult contemporary direction taken by one-time free jazz tenor titan Gato Barbieri, this date doesn't sound like a polished commercial venture as much as a quiet, meditative one. The use of tabla, sarod, and chandrasarang adds to the session's spiritual nature. Al Campbell
Tracklist :
1    The Light At The Edge Of The World 5:08
Written-By – P. Piccioni
2    Dedication To James W. Clark 5:15
Written-By – P. Sanders
3    Softy For Shyla 5:21
Written-By – W. Henderson
4    The Greatest Love Of All 8:23
Written-By – Creed, Masser
5    Midnight At Yoshi's
Written-By – P. Sanders
6    Living Space 4:32
Written-By – J. Coltrane
7    After The Rain 6:34
Written-By – J. Coltrane
8    In Your Own Sweet Way 7:08
Written-By – D. Brubeck
9    Christmas Song 7:25
Written-By – Torme, Wells
Credits :
Drums – Alvin Queen
Piano [Acoustic] – John Hicks
Piano [Acoustic], Synthesizer [Kurzweil] – William Henderson
Sarod, Sarangi [Chandrasarang] – Lyn Taussig
Tabla – Brian McLaughlin
Tenor Saxophone, Instruments [Miscellaneous Instruments] – Pharoah Sanders

ED KELLY & PHAROAH SANDERS - Ed Kelly & Pharoah Sanders (1979-1993) FLAC (tracks), lossless

When Pharoah Sanders initially recorded with Theresa in 1979, he was still under contract to Arista. Arista refused to let Sanders be pictured on the cover or mentioned in the title, resulting in the album being issued as Ed Kelly & Friend, although anyone with even a passing knowledge of Sanders' style immediately recognized his playing. The reissue corrects the title situation and adds five 1992 bonus selections by pianist Kelly to fill out the disc. The first six tunes comprise the original session, and they established a pattern that Sanders faithfully followed throughout his Theresa tenure. They included curious remakes of Sam Cooke's "You Send Me" and "Pippin" from the Broadway show of the same name, the anguished, wailing "You've Got to Have Freedom," which became a Sanders signature song for the '80s, and mellow, atmospheric ballads. The other selections feature Kelly, who is a pleasant but not overwhelming stylist. Ron Wynn
Tracklist :
1    Rainbow Song    4:19
 Ed Kelly
2    Newborn    4:23
 Pharoah Sanders
3    You Send Me    8:50
 Sam Cooke / Clarence Paul / Ed Townsend
4    Pippin    4:34
 Ed Kelly
5    Answer Me My Love    4:42
 Fred Rauch / Carl Sigman / Gerhard Winkler
6    You've Got To Have Freedom    7:27
 Pharoah Sanders
7    Song For The Street People    5:16
 Ed Kelly
8    West Oakland Strut    4:38
 Ed Kelly
9    Lift Every Voice    3:54
Traditional
10    Just The Two Of Us    3:29
 Ralph MacDonald / William Salter / Bill Withers
11    Well You Needn't    3:43
 Thelonious Monk
Credits :
Bass – Harley White (pistas: 7, 8), Peter Barshay (pistas: 1 to 6)
Drums – Eddie Marshall (pistas: 1 to 6), Mark Lignell (pistas: 7, 8)
Piano – Ed Kelly
Tenor Saxophone – Robert Stewart (pistas: 7, 8)
Tenor Saxophone, Soprano Saxophone – Pharoah Sanders (pistas: 1 to 6)
Trumpet – A.J. Johnson (pistas: 7, 8)

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

BILL CONNORS — Assembler (1987-1994) RM | FLAC (tracks+.cue), lossless

Jazz fusion guitar fans will recognize Connors as that blazingly explosive and technically precise legato guitarist in Return to Forever who left after one release to pursue a quieter acoustic guitar path. Connors has always been ranked in the upper echelons of fine fusion axe-men. Yet the guitar releases from Connors have come slowly and been severely underappreciated. After leaving Return to Forever, Connors released three excellent acoustic albums in the '70s, did some work with Stanley Clarke on Clarke's solo releases, and played with the Jan Garbarek Group. Connors then returned to releasing hard-hitting yet elegantly soulful electric fusion guitar albums in the '80s. They comprised a shorter, LP -length format, offering sonic snippets of Connors' electric visions. Comparisons can easily be made between this release's guitar stylings and those of Allan Holdsworth. This is not surprising, as Holdsworth has always sought that horn sound and flow of John Coltrane, and Connors, too, idolizes Coltrane. Convergent evolution perhaps? Connors has more of a rocking and visceral, edgy attack than Holdsworth. His legato phrasing is totally different, as well as his guitar voicings. Connors also has a lean funky, syncopated groove going on in his compositions; he demonstrates he is a guitarists' guitarist with evident passion for his instrument. Assembler marked the final electrified release of this fusion CD offering of the '80s. Assembler saw an initial 1987 release and then this 1994 re-release on the Evidence label. John W. Patterson  
Tracklist :
1 Crunchy  3:29
Bill Connors
2 Sea Coy 5:39
Bill Connors
3 Get It to Go 5:10
Bill Connors
4 Assembler 5:07
Bill Connors
5 Add Eleven 6:12
Bill Connors
6 Tell It to the Boss 7:02
Bill Connors
7 It Be FM 5:39
Bill Connors
Credits:

Guitar, Composed By – Bill Connors
Drums – Kim Plainfield
Electric Bass – Tom Kennedy