LARRY WILLIS | HAMIET BLUIETT — If Trees Could Talk (1999) FLAC (image+.cue) lossless

If Trees Could Talk is a 1993 duo session with Mapleshade house pianist Larry Willis and Hamiet Bluiett, the pre-eminent baritone saxophonist of his generation (percussionist Asante sits in on the opening track). Judging from the producer's liner notes, he appeared quite wary of Bluiett's reputation as some kind of roaring, screeching avant-garde monster, but he really needn't have worried. At this point in his career, Bluiett had become essentially a mainstream player. Sure, he spends an inordinate amount of time in the extreme upper register of his instrument and can squawk and honk with the best of them, but his basic conceptual approach is bluesy and down to earth, and the "experimental" conceits he occasionally offers had been in common parlance since at least the mid-'60s. Willis is a capable if somewhat florid pianist and does little to spur Bluiett into any potentially uncomfortable areas as might have occurred at the hands of, say, Don Pullen. Brian Olewnick
Tracklist :
1. The African 2:11
 Hamiet Bluiett
2. Straight Ahead—A Day On The Plantation 6:52
 Hamiet Bluiett
3. Uncle Adolf, Uncle Aaron 2:05
 Hamiet Bluiett
4.Ask Me Now 5:44
 Thelonious Monk
5.Whenever We Could 3:15
 Hamiet Bluiett
6.Ballad For E.K. 2:26
 Larry Willis
7.Cherry Pink, Apple Blossom White 4:22
 J.Richardson Jr.
8.Ballad For Frederick 3:08
 Larry Willis
9.If Trees Could Talk 8:42
 H.Bluiett / L.Willis
10.Bro' Blue 4:46
 J.Ware
11.Nightfall 4:09
 Larry Willis
12.Some Other (Schizophrenic) Blues 4:23
 John Coltrane
13.Aunt Hallie 3:38
 Hamiet Bluiett
14.Runaway  2:33
 Hamiet Bluiett
Credits :
Baritone Saxophone – Hamiet Bluiett
Piano – Larry Willis

World Saxophone Quartet — The Complete Remastered Recordings on Black Saint and Soul Note (2012) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Probably the first of several saxophone-only ensembles that proliferated in jazz after 1975, the WSQ was unquestionably the most commercially (and, arguably, the most creatively) successful. Of course, commercial success is a relative thing in jazz, especially when one is speaking of an avant-garde group. But unlike most free jazz artists, the WSQ managed to attract an audience of significant size, large enough to have garnered a major-label record deal in the '80s, an almost unheard-of occurrence in that retro-jazz decade. The band did it on merit, too, with only a hint of compromise (manifested mainly by albums of R&B and Duke Ellington covers). By the time their first record on Elektra/Musician came out in 1986, the band had evolved from its fire-breathing, free-improvising, ad-hoc beginnings into a smooth-playing, compositionally minded, well-rehearsed band. At its creative peak, the group melded jazz-based, harmonically adventurous improvisation with sophisticated composition. All of the group's original members (Julius Hemphill, alto; Oliver Lake, alto; David Murray, tenor; and Hamiet Bluiett, baritone) were estimable composers as well as improvisers. Each complemented the whole, making them even greater than the considerable sum of their parts. As a composer, Hemphill drew on European techniques (though his tunes were not without an unalloyed jazz component), while Bluiett was steeped in blues and funk. Lake and Murray fell somewhere in between. As soloists and writers, the early WSQ covered all the bases. Chris Kelsey
Tracklist :
World Saxophone Quartet - Steppin' With The World Saxophone Quartet
World Saxophone Quartet - W.S.Q.
World Saxophone Quartet - Revue
World Saxophone Quartet - Live In Zurich
World Saxophone Quartet - Live At Brooklyn Academy Of Music
World Saxophone Quartet - Moving Right Along
All Credits :

CHARLES MINGUS — Mingus at Carnegie Hall (1974-2006) RM | Serie Atlantic 60th | FLAC (tracks+.cue) lossless

Atlantic Records, somewhat perversely, chose to release two performances from this concert that had the strongest aura of "jam session" about them. But the show included a solid opening set by the working band of the time, as well as a freer finale, all of which remains unissued. This is a fun 45 minutes, particularly for the jovial interplay between saxophonists Kirk and Adams, but in its released form, only hints at the strength of The Jazz Workshop in 1974. Stuart Kremsky
Tracklist :
1    C Jam Blues 24:40
Written-By – Duke Ellington
2    Perdido 21:57
Written-By – Ervin Drake, Hans Lengsfelder, Juan Tizol
Credits :
Alto Saxophone – Charles McPherson
Alto Saxophone, Tenor Saxophone – John Handy
Baritone Saxophone – Hamiet Bluiett
Bass – Charles Mingus
Drums – Dannie Richmond
Piano – Don Pullen
Tenor Saxophone – George Adams
Tenor Saxophone, Saxophone [Stritch] – Rahsaan Roland Kirk
Trumpet – Jon Faddis

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 :

SAM RIVERS' RIVBEA ALL-STAR ORCHESTRA - Inspiration (1999) FLAC (tracks+.cue), lossless

Prior to Inspiration, Sam Rivers hadn't recorded for a major label in nearly 20 years, and he hadn't cut a studio session in two decades. That doesn't mean he was inactive; he was teaching, playing, and giving concerts but never recording. Aware that many of Rivers' big-band compositions -- not only his recent material, but some earlier works as well -- had never been given the proper treatment, saxophonist Steve Coleman helped arrange a recording contract with BMG, with the end result being the astonishing Inspiration album. The compositions on Inspiration are as old as 1968's "Beatrice" and as new as 1995's "Solace" (incidentally, both of those pieces are tributes to his wife Beatrice, who also provides half of the name of the featured big band, the Rivbea All-Star Orchestra). Remarkably, all of the compositions not only sound fresh, they sound visionary -- still ahead of their time. It's not only because the stellar musicians give vibrant, unpredictable performances, although that undeniably helps; Rivers' writing is the real key. His writing for big band is utterly original, blending big-band, bop, and avant-garde traditions together in unique, surprising ways. The dissonance never sounds irritating -- it sounds melodic -- and the complex themes are strangely inviting. Similarly, Rivers' playing is robust, swinging between intense bursts of sound and beautiful lyricism, and sometimes combining it all at once. His 16 colleagues -- including such luminaries as Steve Coleman, Greg Osby, Chico Freeman, and Ray Anderson -- follow suit, delivering wonderfully shaded, invigorating performances. Inspiration truly is a revelation, proving not only that Rivers retains all his creative power at the age of 75, but that avant-garde jazz can be as inviting as any other style without sacrificing any of its depth or daring. Stephen Thomas Erlewine
Tracklist :
1    Vines    13:36
2    Nebula    11:18
3    Beatrice    10:36
4    Inspiration    9:41
5    Solace    11:01
6    Whirlwind    5:43
7    Rejuvenation    8:32
Credits :
Alto Saxophone – Greg Osby, Steve Coleman
Baritone Horn – Joseph Daley
Baritone Saxophone – Hamiet Bluiett
Bass – Doug Mathews
Drums – Anthony Cole
Producer – Steve Coleman
Soprano Saxophone, Tenor Saxophone, Flute, Written-By – Sam Rivers
Tenor Saxophone – Chico Freeman, Gary Thomas
Trombone – Art Baron, Joseph Bowie, Ray Anderson
Trumpet – Baikida Carroll, James Zollar, Ralph Alessi, Ravi Best
Tuba – Bob Stewart

SAM RIVERS' RIVBEA ALL-STAR ORCHESTRA - Culmination (1999) FLAC (tracks+.cue), lossless

Sam Rivers' second recording with his Rivbea All-Star Orchestra for RCA is similar to his first one in that he uses an impressive 17-piece band full of top avant-gardists to interpret the dense arrangements of his originals. The music, which is frequently atonal, has so much going on at times that it will take several listens to comprehend everything; it certainly does not lose one's interest! The only fault to this stimulating set is that the soloists are not identified. Although one may recognize the various saxophonists (Steve Coleman, Greg Osby, Chico Freeman, Gary Thomas, and Hamiet Blueitt) and trombonist Ray Anderson, most of the brass players will be more difficult to determine. This very adventurous music is remarkable in ways and well worth acquiring by free jazz collectors. Scott Yanow
Tracklist :
1    Spectrum    7:22
2    Bubbles    8:27
3    Revelation    10:36
4    Culmination    8:12
5    Ripples    13:38
6    Neptune    5:53
7    Riffin'    6:26
Credits :
Alto Saxophone – Greg Osby, Steve Coleman
Baritone Horn – Joseph Daley
Baritone Saxophone – Hamiet Bluiett
Bass – Doug Mathews
Drums – Anthony Cole
Painting – Scramble Campbell
Soprano Saxophone, Tenor Saxophone, Flute, Written-By – Sam Rivers
Tenor Saxophone – Chico Freeman, Gary Thomas
Trombone – Art Baron, Joseph Bowie, Ray Anderson
Trumpet – Baikida Carroll, James Zollar, Ralph Alessi, Ravi Best
Tuba – Bob Stewart