FREDDIE HUBBARD — First Light (1971-2011) RM | Serie CTI Records 40th Anniversary Edition | FLAC (tracks+.cue), lossless

Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor's studio for the third time in 1971 with the express purpose of making a record radically different from anything he'd cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him. The band was also supported by the truly ethereal and adventurous string arrangements of Don Sebesky (a first for Hubbard). The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard's most exciting playing ever. The title track and Hubbard's ingenious read of Paul and Linda McCartney's "Uncle Albert/ Admiral Halsey," as well as Leonard Bernstein's "Lonely Town," are so in the pocket that they bleed soul. Benson's uncharacteristically edgy guitar playing juxtaposed against Hubbard's warm tone, and Hancock's beautifully modal Rhodes lines that are drenched with big, open, minor chord voicings, are simply made more illustrious and graceful by Sebesky's strings. While Red Clay and Straight Life are both fine albums, First Light is the one that connects on all levels -- and it did with the jazz-buying public as well. A masterpiece.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    First Light 11:05
Written-By – Freddie Hubbard
2    Uncle Albert / Admiral Halsey 8:17
Written-By – Paul & Linda McCartney
3    Moment To Moment 5:43
Written-By – Henry Mancini, Johnny Mercer
4    Yesterday's Dreams 3:55
Written-By – Don Sebesky, Norman Martin
5    Lonely Town 7:00
Written-By – Adolph Green, Betty Comden, Leonard Bernstein
6    Fantasy In D (Polar AC) 6:55
Written-By – Cedar Walton
7    First Light (Live) 16:04
Written-By – Freddie Hubbard
Credits :
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Jane Taylor, Wally Kane
Cello – Charles McCracken, Emanuel Vardi
Clarinet – George Marge, Romeo Penque
Drums – Jack DeJohnette
English Horn, Oboe – Romeo Penque
Flute – George Marge, Hubert Laws, Romeo Penque, Wally Kane
French Horn – James Buffington, Ray Alonge
Guitar – Eric Gale (tracks: 7), George Benson
Harp – Margaret Ross
Percussion – Airto Moreira
Piano – Richard Wyands
Trumpet, Flugelhorn – Freddie Hubbard
Vibraphone [Vibes] – Phil Kraus
Viola – Alfred Brown, Emanuel Vardi
Violin – David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Irving Spice, Joe Malin, Matthew Raimondi, Paul Gershman, Tosha Samaroff

DUKE PEARSON — Sweet Honey Bee (1966-1993) FLAC (tracks+.cue) lossless

Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians -- trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader -- are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music. Scott Yanow
Tracklist :
1    Sweet Honey Bee    4:50
 Duke Pearson
2    Sudel    5:40
 Duke Pearson
3    After The Rain    4:25
 Duke Pearson
4    Gaslight    5:50
 Duke Pearson
5    Big Bertha    5:50
 Duke Pearson
6    Empathy    6:00
 Duke Pearson
7    Ready Rudy?    6:10
 Duke Pearson
Credits :
Freddie Hubbard - Trumpet
James Spaulding - Alto Sax & Flute
Joe Henderson - Tenor Sax
Duke Pearson - Piano
Ron Carter - Bass
Mickey Roker - Drums

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

JIMMY HEATH — Triple Threat (1962-1998) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special. Scott Yanow
Tracklist :
1     Gemini 6'09
Jimmy Heath
2     Bruh Slim 5'16
Jimmy Heath
3     Goodbye 7'04
Gordon Jenkins
4     Dew and Mud 5'01
Jimmy Heath
5     Make Someone Happy 3'41
Betty Comden / Adolph Green / Jule Styne
6     The More I See You 4'18
Mack Gordon / Harry Warren
7     Prospecting 5'40
Jimmy Heath
Credits :
Bass – Percy Heath
Drums – Albert Heath
French Horn – Julius Watkins (pistas: 1 to 4, 7)
Piano – Cedar Walton
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Jimmy Heath
Trumpet – Freddie Hubbard (pistas: 1 to 4, 7)

CURTIS FULLER — The Boss of the Soul-Stream Trombone (1960-1996) FLAC (tracks+.cue), lossless

 An obscure set by trombonist Curtis Fuller that was originally put out by the Warwick label, this otherwise unremarkable set is sparked by the inclusion of the young trumpeter Freddie Hubbard (recently arrived from Indianapolis) and tenor saxophonist Yusef Lateef. With veteran bebopper Walter Bishop on piano and two players from Quincy Jones' big band (bassist Buddy Catlett and drummer Stu Martin), Fuller performs four originals and three standards (including "If I Were a Bell"). Hubbard's fiery statements often steal the show. Scott Yanow   Tracklist & Credits :

CURTIS FULLER — Soul Trombone + Cabin in the Sky (2011) RM | Serie Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

This budget two-fer in Impulse's 2011 reissue series offers trombonist Curtis Fuller's first two releases for the label, both recorded in 1961; they are his 18th and 19th overall. The first, Soul Trombone, recorded in November, is aptly titled and places Fuller as the leader of a stellar band that includes pianist Cedar Walton, trumpeter Freddie Hubbard, tenor saxophonist Jimmy Heath, Granville T. Hogan on drums, and either Jimmy Cobb or Jymie Merritt on bass. Of the six track on the set, three are originals, and they include the stellar hard bop offering "The Clan," the swinging "Newdles," and the breezy "Ladies Night." Two standard ballads here, "In the Wee Small Hours of the Morning," and Stan Getz's arrangement of "Dear Old Stockholm," are also beautifully delivered. On this date, Fuller allowed all of his sidemen to stretch out and engage with one another generously. Cabin in the Sky is an entirely different kind of outing, and almost experimental -- though not in the avant-garde sense -- with Fuller leading a pair of different large bands that include a full string section arranged by Harry Lookofsky and conducted by Manny Albam. This date relies heavily (but not exclusively) on the tunes of Vernon Duke and John Latouche. The emphasis here is on texture, color, and harmony, but as a result, some of Fuller's authority is overshadowed by the elaborate and restrictive arrangements. That said, this set is far from uninteresting, and given the price tag, irresistible. Some of the players on this date include Bob Brookmeyer, Kai Winding, Hank Jones, Milt Hinton, and Osie Johnson. Standouts include non string-arranged tracks such as "Honey in the Honeycomb" and "Savannah."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

BILL EVANS – The Complete Interplay Sessions (2014) RM | 2CD | FLAC (tracks+.cue), lossless

Interplay stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist & Credits :

OLIVER NELSON — The Blues and the Abstract Truth (1961-2010) RM | SACD, Hybrid | FLAC (tracks+.cue), lossless

As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. A must buy for all jazz fans, and a Top Ten or Top Fifty favorite for many. Michael G. Nastos  
Tracklist :
1 Stolen Moments 8:47
Oliver Nelson 
2 Hoe-Down 4:44
Oliver Nelson 
3 Cascades 5:32
Oliver Nelson 
4 Yearnin' 6:24
Oliver Nelson 
5 Butch and Butch 4:37
Oliver Nelson 
6 Teenie's Blues 6:34
Oliver Nelson 
Credits :
Alto Saxophone, Flute – Eric Dolphy
Alto Saxophone, Tenor Saxophone, Written-By – Oliver Nelson
Baritone Saxophone – George Barrow
Bass – Paul Chambers
Drums – Roy Haynes
Piano – Bill Evans
Producer – Creed Taylor
Trumpet – Freddie Hubbard

ART BLAKEY & THE JAZZ MESSENGERS — Free For All (1964-2014) RM | Serie Blue Note The Masterworks | SHM-CD | FLAC (tracks+.cue), lossless

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Hardly a free for all at all – as the album's a masterpiece of focus and direction, and a classic set from the sextet lineup of the Jazz Messengers! The album's a real feather in the mid-60s cap of Art Blakey –and features an expanded sound from the quintet era of his group – with a sublime horn lineup that features Wayne Shorter on tenor, Freddie Hubbard on trumpet, and Curtis Fuller on trombone – all gliding along these soaring piano lines from Cedar Walton! Reggie Workman works some real magic on bass, too – and the tracks are all very long – with titles that include "Free For All" and "Hammer Head" – both written by Shorter – plus "The Core", by Hubbard, and a beautiful version of Clare Fischer's "Pensativa".

Free for All is a high point in drummer Art Blakey's enormous catalog. This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history. In the eight minutes of "Free for All," an emotional apex is reached that skirts the edge of free bop without losing Blakey's rhythmic glue. Another Shorter composition, "Hammer Head," is a mid-tempo soul-blues groove, with Shorter, Hubbard, and Fuller taking exceptional solos while Blakey keeps the mid-tempo vigorously swinging. Hubbard's "The Core," dedicated to the Congress of Racial Equality, comes close to capturing the heat of the title cut, as it contains similar fiery interplay. The session's closer, Clare Fischer's "Pensativa" (brought to the Messengers songbook by Hubbard), would remain a favorite with Blakey for years. A passionate Jazz Messengers workout that proves essential. Al Campbell

Tracklist :

1 - Free For All

2 - Hammer Head

3 - The Core

4 - Pensativa

5 - Free For All (alt. take) (bonus track)

Personnel :

Art Blakey - Drums

Cedar Walton - Piano

Wayne Shorter - Tenor saxophone

Freddie Hubbard - Trumpet

Curtis Fuller - Trombone

Reggie Workman - Bass

ERIC DOLPHY — Out to Lunch (1964) Two Version (1986, Blue Note CD Super 50 – 11 + 1999, RVG Edition | FLAC & APE (image+.cue), lossless

 Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. Steve Huey 
Tracklist :
1 Hat And Beard 8:24
2 Something Sweet, Something Tender 6:02
3 Gazzelloni 7:22
4 Out To Lunch 12:06
5 Straight Up And Down 8:19
Credits
Alto Saxophone, Flute, Bass Clarinet, Composed By – Eric Dolphy
Bass – Richard Davis
Drums – Tony Williams
Recorded By [Recording] – Rudy Van Gelder
Trumpet – Freddie Hubbard
Vibraphone [Vibes] – Bobby Hutcherson

ORNETTE COLEMAN - Beauty Is a Rare Thing : The Complete Atlantic Recordings (1993) RM | Atlantic Jazz Gallery | 6CD | FLAC (tracks+.cue), lossless

While it's true this set has been given the highest rating AMG awards, it comes with a qualifier: the rating is for the music and the package, not necessarily the presentation. Presentation is a compiler's nightmare in the case of artists like John Coltrane and Ornette Coleman, who recorded often and at different times and had most of their recordings issued from the wealth of material available at the time a record was needed rather than culling an album from a particular session. Why is this a problem? It's twofold: First is that listeners got acquainted with recordings such as The Shape of Jazz to Come, This Is Our Music, Change of the Century, Twins, or any of the other four records Ornette Coleman released on Atlantic during that period. The other is one of economics; for those collectors who believe in the integrity of the original albums, they need to own both those recordings and this set, since the box features one album that was only issued in Japan as well as six unreleased tunes and the three Coleman compositions that appeared on Gunther Schuller's Jazz Abstractions record. Politically what's interesting about this box is that though the folks at Rhino and Atlantic essentially created a completely different document here, putting Coleman's music in a very different context than the way in which it was originally presented, his royalty rate was unchanged -- he refused to do any publicity for this set when it was issued as a result. As for the plus side of such a collection, there is a certain satisfaction at hearing complete sessions in context. That cannot be argued -- what is at stake is at what price to the original recorded presentations. Enough complaining. As for the music, as mentioned, the original eight albums Coleman recorded for Atlantic are here, in one form or another, in their entirety: Shape of Jazz to Come, Change of the Century, The Art of the Improvisers, Twins, This Is Our Music, Free Jazz, Ornette, and Ornette on Tenor, plus To Whom Keeps a Record, comprised of recordings dating from 1959 to 1960. In fact all of the material here was recorded between 1959 and 1961. Given that there is a total of six completely unreleased compositions as well as alternate takes and masters, this is a formidable mountain of material recorded with not only the classic quartet of Coleman, Don Cherry, Charlie Haden, and Billy Higgins, but also the large double quartet who produced the two-sided improvisation that is Free Jazz with personalities as diverse as Eric Dolphy, Freddie Hubbard, and Scott LaFaro, as well as Coleman, Cherry, Haden, and Ed Blackwell, who had replaced Higgins on the music for To Whom Keeps a Record and This Is Our Music -- though Higgins does play on Free Jazz.

The progression of the recording sessions musically is one of dynamics, color, and, with the addition of Blackwell, firepower. As the listener moves from the first session that would become most of The Shape of Jazz to Come, listeners can hear how the interplay between Cherry and Coleman works lyrically not so much as a system, but as system of the creation of melody from dead fragments of harmony, thereby creating a harmonic sensibility that cares not for changes and chord progressions, but for the progression of music itself in the context of a quartet. From the sharp edges on "Focus on Sanity," through "Peace" and "Congeniality," through "Lonely Woman," Coleman's approach to harmony was one of disparate yet wholly compatible elements. This is the story as the sessions unfold, one kind of lyricism evolving into itself more fully and completely with time. On Change of the Century, Twins, and This Is Our Music, Coleman shifts his emphasis slightly, adding depth and dimension and the creation of melody that comes out of the blues as direct and simply stated as possible. By the time LaFaro enters the picture on Free Jazz and Art of the Improvisers, melody has multiplied and divided itself into essence, and essence becomes an exponential force in the creation of a new musical syntax. The recordings from 1960 and 1961, along with the unreleased masters and alternates, all show Coleman fully in possession of his muse. The trek of musicians through the band -- like Jimmy Garrison and Eric Dolphy, as well as people like Jim Hall and Bill Evans where Coleman appeared in Gunther Schuller's experiments -- all reveal that from The Shape of Jazz to Come through Ornette on Tenor, Coleman was trying to put across the fully developed picture of his musical theory of the time. And unlike most, he completely succeeded. Even on the unreleased compositions, such as the flyaway storm of "Revolving Doors" or "PROOF Readers" or the slippery blues of "The Tribes of New York," Coleman took the open-door approach and let everything in -- he didn't necessarily let it all out. The package itself is, as are all Rhino boxes, handsome and original; there are three double-CD sleeves that all slip into a half box, which slips, reversed, into the whole box. There is a 68-page booklet with a ton of photographs, complete session notes, and liners by Coleman (disappointingly brief, but he was pissed off at the label), a fantastic essay by the late Robert Palmer, recollections by all the musicians, and quotes from Coleman from interviews given through the decades. The sound is wonderful and the mastering job superb. In all -- aside from the breach of pop culture's own historical context, which is at least an alternate reality -- this is, along with John Coltrane's Atlantic set and the Miles & Coltrane box, one of the most essential jazz CD purchases.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
All Tracks & Credits :
Notas.
This six-CD set contains the entirely of Ornette Coleman's recorded output for the Atlantic label, including the contents of the following albums:
The Shape Of Jazz To Come
Change Of The Century
This Is Our Music
Free Jazz
Ornette!
Ornette On Tenor
The Art Of The Improvisers
Twins
To Whom Who Keeps A Record
Also included are six previously unreleased compositions (2-7, 2-9, 2-10, 2-12, 3-2, 5-1) and two selections from (composer) Gunther Schuller's Jazz Abstractions featuring Ornette Coleman on alto saxophone.

ORNETTE COLEMAN - "Free Jazz" (1996) FLAC (tracks), lossless

Tracklist :
1    Little Symphony    5:14
Ornette Coleman
2    Rise And Shine    6:12
Ornette Coleman
3    Kaleidoscope    6:34
Ornette Coleman
4    Revolving Doors    4:26
Ornette Coleman
5    The Legend Of Bebop    7:16
Ornette Coleman
6    Embraceable You 4:55
Composed By – G. Gershwin, I. Gershwin
7    Folk Tale    4:48
Ornette Coleman
8    Free Jazz    37:04
Ornette Coleman
Credits :
1-7
Alto Saxophone – Ornette Coleman
Trumpet [Pocket] – Don Cherry
Bass – Charlie Haden
Drums – Ed Blackwell
New York City, July 19, 26, August 2, 1960
1-8
The Ornette Coleman Double Quartet
Left Channel
Alto Saxophone – Ornette Coleman
Trumpet [Pocket] – Don Cherry
Drums – Billy Higgins
Bass – Scott LaFaro
Right Channel
Bass Clarinet – Eric Dolphy
Trumpet – Freddie Hubbard
Bass – Charlie Haden
Drums – Ed Blackwell
New York City, December 21, 1960

ORNETTE COLEMAN DOUBLE QUARTET - Free Jazz (1961-2003) RM | Atlantic Masters | FLAC (tracks+.cue), lossless

As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, right on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the right. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the "soloists" are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player's lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn't quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement. Steve Huey
Tracklist :
1     Free Jazz 37:03
Ornette Coleman   
2     First Take 17:06
Ornette Coleman   
Credits :
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden, Scott LaFaro
Bass Clarinet – Eric Dolphy
Drums – Billy Higgins, Ed Blackwell
Trumpet – Freddie Hubbard
Trumpet [Pocket] – Don Cherry

SAM RIVERS — Contours (1965-2004) RM | Blue Note Connoisseur Series | FLAC (tracks+.cue), lossless

On Contours, his second Blue Note album, tenor saxophonist Sam Rivers fully embraced the avant-garde, but presented his music in a way that wouldn't be upsetting or confusing to hard bop loyalists. Rivers leads a quintet featuring trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Joe Chambers through a set of originals that walk a fine line between probing, contemplative post-bop and densely dissonant avant-jazz. Each musician is able to play the extremes equally well while remaining sensitive to the compositional subtleties. Rarely is Contours anything less than enthralling, and it remains one of the high watermarks of the mid-'60s avant-garde movement. Stephen Thomas Erlewine
Tracklist :
1    Point Of Many Returns    9:24
2    Dance Of The Tripedal    10:10
3    Euterpe    11:46
4    Mellifluous Cacophony    9:01
5    Mellifluous Cacophony [Alternative Take]    9:05
Credits :    
Bass – Ron Carter
Drums – Joe Chambers
Piano – Herbie Hancock
Recorded By – Rudy Van Gelder
Tenor Saxophone, Soprano Saxophone, Flute, Composed By – Sam Rivers
Trumpet – Freddie Hubbard

LOU DONALDSON - Lush Life (1967-2007) RM | RVG Edition | FLAC (image+.cue), lossless

After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop -- only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant -- it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide. Nonets are unwieldy, to be certain, but Duke Pearson's arrangements are clean, sparkling, and attractive, and the superstar band -- Wayne Shorter (tenor sax), Jerry Dodgion (alto sax, flute), Pepper Adams (bari sax), Freddie Hubbard (trumpet), Garnett Brown (trombone), McCoy Tyner (piano), Ron Carter (bass), Al Harewood (drums) -- knows enough to provide sympathetic support and not steal the show. When they do take solos, it enhances Donaldson's original statements, and helps make Lush Life the singularly enchanting record it is. Stephen Thomas Erlewine
Tracklist :
1    Sweet Slumber 5'56
Lucky Millinder / Al J. Neiburg / Henri Woode
2     You've Changed 4'23
Bill Carey / Carl Fischer    
3     The Good Life 4'53
Jean Broussole / Sacha Distel    
4     Star Dust 3'40
Hoagy Carmichael    
5     What Will I Tell My Heart 4'25
Irving Gordon / Jack Lawrence / Peter Tinturin
6     It Might as Well Be Spring 5'58
Oscar Hammerstein II / Richard Rodgers
7     Sweet and Lovely 5'58
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
Credits :
Alto Saxophone – Lou Donaldson
Alto Saxophone, Flute – Jerry Dodgion
Arranged By – Duke Pearson
Baritone Saxophone – Pepper Adams
Bass – Ron Carter
Drums – Al Harewood
Piano – McCoy Tyner
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trombone – Garnett Brown
Trumpet – Freddie Hubbard

HANK MOBLEY - Music For Lovers (2006) FLAC (image+.cue), lossless

These nine ballads were recorded by Hank Mobley between 1955 and 1967. Apart from being a genuinely wonderful set of romantic tunes, Music for Lovers showcases a different side of the great hard bop tenor's playing. Mobley's approach to ballads was reverent, but it was loose, too. Mobley brought a big helping of soul to his readings of standards such as "Darn That Dream," "I Should Care," and even the ethereal "Deep in a Dream." However, as this small collection illustrates, it is in his own tunes that Mobley shines brightest. First, there's the beautiful "No More Goodbyes," recorded with Bob Cranshaw, Billy Higgins, and John Hicks from a late date in 1967. His solo touches on Ben Webster's breathy tone for a moment, and then winds out gently with blues accents in each chorus. But perhaps the finest moment here is on his "My Sin," recorded in 1965 with Freddie Hubbard (a wonderful match for Mobley on the front line), bassist Paul Chambers, Barry Harris, and Higgins once again. Here is where Mobley actually sings though his horn, as Hubbard and Harris prod him to go deeper. For the price, this is a solid little comp that achieves its objective and then some.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    The Good Life    5:09
2    Darn That Dream    6:09
3    I Should Care    7:45
4    I See Your Face Before Me    5:29
5    No More Goodbyes    5:37
6    Deep In A Dream    5:59
7    My Sin    6:54
8    Fin De L'Affaire    6:35
9    Alone Together     4:15

HANK MOBLEY - The Best of Hank Mobley : The Blue Note Years (1996) FLAC (tracks+.cue), lossless

Part of Blue Note's quality series of artist samplers, The Best of Hank Mobley surveys the great tenor saxophonist's prime stretch from 1955-1965. Originally overshadowed by the likes of Joe Henderson, Wayne Shorter, and, of course, Coltrane, Mobley nevertheless gained the respect of his peers, thanks to his richly fluid phrasing and smooth, caramel tone -- in lieu of trying to impress you, he seduced you slowly from afar. And while one is advised to dive in directly with any one of his Blue Note discs -- especially Soul Station, No Room for Squares, and A Slice of the Top -- this ten-track overview still works well as a launching pad. Backed by a stellar array of "Blue Note" regulars like Lee Morgan, Curtis Fuller, Billy Higgins, Freddie Hubbard, and Horace Silver, Mobley ranges effortlessly from early hard bop favorites ("Funk in a Deep Freeze") to mature, solo-rich material from the mid-'60s ("The Turnaround"). In between, there are two stunning originals from his banner year of 1960 ("This I Dig of You," "Take Your Pick") and one of the best of his several bossa nova numbers ("Recado Bossa Nova"). For listeners who just want a taste, this best-of collection will do the trick just fine. Stephen Cook
Tracklist :
1     Avila and Tequila 4:29
Hank Mobley    
2     Funk in Deep Freeze 6:45
Hank Mobley    
3     Fin de l'Affaire 6:35     
Hank Mobley    
4     Take Your Pick 5:20
Hank Mobley    
5     This I Dig of You 6:22
Hank Mobley    
6     Smokin' 7:28
Hank Mobley / Tom Scholz    
7     Recado Bossa Nova 8:11
Luiz Antonio / Djalma Ferreira
8     No Room for Squares 6:55
Hank Mobley    
9     The Turnaround 8:16
Hank Mobley    
10     3rd Time Around 6:10
Hank Mobley

HANK MOBLEY - Roll Call (1961-2002) RM | RVG Edition | FLAC (tracks+.cue), lossless

From the first moment when Art Blakey comes crashing in to establish a kinetic Latin groove on the eponymous opening song, Hank Mobley's Roll Call explodes with energy. The first horn heard here is actually Freddie Hubbard's trumpet, foreshadowing the prominent role that he would have in the sound of this album. The quintet all work together flawlessly here, but Hubbard particularly shines as he plays off of Mobley's fluid riffs and carries more than a few lines himself, sounding particularly athletic and effortless on the closing track, "The Breakdown." Mobley's performance throughout the recording is stylish without being restrained, and the strength of his songwriting shines on five of the album's six songs. A warm, laid-back, sweet version of "The More I See You" is also included, with a muted Hubbard sounding very much like Miles Davis. It is a nice complement to this collection of originals, which has often been overshadowed by Mobley's other late-'50s and early-'60s work but is definitely deserving of some attention of its own. Stacia Proefrock
Tracklist :
1     Roll Call 10:35
Hank Mobley    
2     My Groove, Your Move 6:07
Hank Mobley    
3     Take Your Pick 5:29
Hank Mobley    
4     A Baptist Beat 8:54
Hank Mobley    
5     The More I See You 6:47
Mack Gordon / Harry Warren    
6     The Breakdown 4:57
Hank Mobley
Credits :
Bass – Paul Chambers
Drums – Art Blakey
Piano – Wynton Kelly
Recorded By, Remastered By [2002] – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Freddie Hubbard

HANK MOBLEY - The Turnaround ! (1965-2000) RM | RVG Edition | FLAC (tracks+.cue), lossless

 The Hank Mobley of the Turnaround album was a markedly different one from a few years earlier. This session issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced "East of the Village," possibly the greatest example of Mobley's "round tone" on record, and the other was "The Good Life," a ballad. The rest was recorded nearly two years later in February of 1965. The title cut was produced here -- an Alfred Lion answer to Lee Morgan's "Sidewinder," which was burning up the charts -- as well as the beautiful "Pat 'n' Chat," with "Straight Ahead" and "My Sin" rounding out the program. On the earlier material, Donald Byrd, Herbie Hancock, Butch Warren, and Philly Jo Jones helped Mobley out, and on the latter it was Freddie Hubbard, Barry Harris, Paul Chambers, and Billy Higgins. In each case, there were alumnus members of the Miles band Mobley had played in. The main thing about "East of the Village" is the striking difference between the gorgeous melding of Latin and post-bop, straight-ahead rhythms, and the easy, loping blues feel that is cheered on by Jones. This track contains one of Mobley's most memorable solos. On the title track and "Pat 'n' Chat," there are elongated blues structures; in the former -- it is an unusual 18 bar figure -- and in the latter, there is the major 44 bar pattern that sounds like a blues with a bridge when the AABA pattern is invoked. Here is the evolution of Mobley's tone in full flower, all but gone is the rounded, warm sound, and in its place is a shorter, declarative, bluesier tone with real bite that is perfect for pianists like Harris, who were used to the deeper funk of the Detroit sound. In all this is a solid date, despite its time lapse, and one that gives us a solid picture of the two Mobleys.
|This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'|
Tracklist :
1     The Turnaround 8:15
Hank Mobley    
2     East of the Village 6:44
Hank Mobley    
3     The Good Life 5:08
Sacha Distel / Jack Reardon    
4     Straight Ahead 7:02
Hank Mobley    
5     My Sin 6:53
Hank Mobley    
6     Pat 'n' Chat 6:27    
Hank Mobley
Credits :
Bass – Butch Warren (tracks: 2, 3), Paul Chambers (tracks: 1, 4 to 6)
Drums – Philly Joe Jones (tracks: 2, 3), Billy Higgins (tracks: 1, 4 to 6)
Piano – Barry Harris (tracks: 1, 4 to 6), Herbie Hancock (tracks: 2, 3)
Recorded By, Remastered By [2000] – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 2, 3), Freddie Hubbard (tracks: 1, 4 to 6)

HANK MOBLEY - Straight No Filter (1986-2001) FLAC (tracks+.cue), lossless

Straight No Filter finds tenor Hank Mobley in several settings from the mid-'60s, each of them excellent. The overall roster is quite impressive, starting with the first set which features trumpeter Lee Morgan, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins. The upbeat title cut is given a loose, post-bop feel by Tyner's comping, but things are brought back to earth by Mobley's emotional playing. A number of exchanges between Morgan and Mobley's horns give the piece an effective ending. "Chain Reaction" gives this group nearly 11 minutes to stretch things out, while "Soft Impressions" features a heavy blues groove. A couple of other standouts on this album -- "This Feelin's Good" and "Yes Indeed" -- feature trumpeter Donald Byrd, pianist Herbie Hancock, bassist Butch Warren, and drummer Philly Joe Jones. Hancock provides a distinctive backdrop for Mobley and Morgan's solos while turning in some fine work himself. Mobley shines on Sy Oliver's "Yes Indeed," delivering a soulful solo, shot through with the blues. His playing throughout Straight No Filter is warm, accessible, and inventive, and it is instructive to have these sessions side by side, giving the listener a chance to compare Mobley's work in different settings. It should be mentioned that he penned eight out of the nine of these fine compositions. Bob Blumenthal's liner notes are helpful, breaking down the individual sessions and providing a good overview of Mobley's career. Straight No Filter will be welcomed by Mobley's fans and lovers of hard bop. It shouldn't be missed. Ronnie D. Lankford, Jr.
Tracklist :
1     Straight No Filter 5:56
Hank Mobley    
2     Chain Reaction 11:00 crans
Hank Mobley    
3     Soft Impressions 4:46
Hank Mobley    
4     Third Time Around 6:23
Hank Mobley    
5     Hank's Waltz 7:41
Hank Mobley    
6     Syrup and Biscuits 5:34
Hank Mobley    
7     Comin' Back 6:24
Hank Mobley    
8     The Feelin's Good 5:38
Hank Mobley    
9     Yes Indeed 5:34
Sy Oliver
Notas.
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 17, 1966 (#1-3), February 4, 1965 (#4-5), October 2, 1963 (#6-7) and March 7, 1963 (#8-9).
Credits :
Bass – Bob Cranshaw (pistas: 1 to 3), Butch Warren (pistas: 8, 9), John Ore (pistas: 6, 7), Paul Chambers (pistas: 4, 5)
Drums – Philly Joe Jones (pistas: 6 to 9), Billy Higgins (pistas: 1 to 5)
Engineer [Recording Engineer] – Rudy Van Gelder
Mastered By [Using 24-bit Super Bit Mapping] – Ron McMaster
Piano – Andrew Hill (pistas: 6, 7), Barry Harris (pistas: 4, 5), Herbie Hancock (pistas: 8, 9), McCoy Tyner (pistas: 1 to 3)
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (pistas: 8, 9), Freddie Hubbard (pistas: 4, 5), Lee Morgan (pistas: 1 to 3, 6, 7)