HERBIE HANCOCK — Future Shock (1983) RM | HDCD | Blu-spec CD | Three Version | FLAC (image+.tracks+.cue), lossless

Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days. He brought in Bill Laswell of Material as producer, along with Grand Mixer D.ST on turntables -- and the immediate result was "Rockit," which makes quite a post-industrial metallic racket. Frankly, the whole record is an enigma; for all of its dehumanized, mechanized textures and rigid rhythms, it has a vitality and sense of humor that make it difficult to turn off. Moreover, Herbie can't help but inject a subversive funk element when he comps along to the techno beat -- and yes, some real, honest-to-goodness jazz licks on a grand piano show up in the middle of "Auto Drive." Richard S. Ginell
Tracklist :
1    Rockit 5:22 

Bass – Bill Laswell
Bata – Daniel Ponce
Drum Machine [DMX], Electronic Drums [Synare], Programmed By [Mini-Moog Programming] – Michael Beinhorn
Synthesizer [Fairlight CMI, Rhodes Chroma, Clavitar, Mini-Moog, Dr. Click Rhythm Controller, E-mu 4060 Digital Keyboard], Vocoder [Sennheiser] – Herbie Hancock
Turntables – Grandmixer D. ST.
2    Future Shock 8:02
Backing Vocals [Background Vocals] – Bernard Fowler
Bass – Bill Laswell
Clavinet, Synthesizer [Memory Moog] – Herbie Hancock
Drums, Bongos – Sly Dunbar
Guitar – Pete Cosey
Lead Vocals – Dwight Jackson Jr.
Synthesizer [Prophet-5, Pro I], Programmed By [Memory Moog Programming] – Michael Beinhorn
3    TFS 5:15
Bass – Bill Laswell
Drum Machine [DMX], Synthesizer [Prophet-5], Electronic Drums [Synare], Programmed By [Memory Moog Programming] – Michael Beinhorn
Piano, Synthesizer [Rhodes Chroma, Emulator, Dr. Click Rhythm Controller] – Herbie Hancock
4    Earth Beat 5:10
Bass – Bill Laswell
Bata – Daniel Ponce
Drum Machine [DMX], Electronic Drums [Synare], Programmed By [Memory Moog Programming] – Michael Beinhorn
Synthesizer [Fairlight CMI, Yamah GS-1, Yamaha CE-20, Dr Click Rhythm Controller] – Herbie Hancock
Turntables – Grandmixer D. ST.
5    Autodrive 6:25
Bass – Bill Laswell
Drum Machine [DMX], Electronic Drums [Synare], Electronics [Shortwave], Programmed By [Mini-Moog Programming] – Michael Beinhorn
Piano, Synthesizer [Rhodes Chroma, Mini-Moog, Yamaha GS-1] – Herbie Hancock
6    Rough 6:57
Backing Vocals [Background Vocals] – Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling
Bass – Bill Laswell
Drums – Sly Dunbar
Lead Vocals [Lead Vocal] – Lamar Wright
Synthesizer [Fairlight CMI, AlphaSyntauri, Emulator] – Herbie Hancock
Synthesizer [Prophet-5] – Michael Beinhorn
Turntables, Voice – Grandmixer D.ST.

MILES DAVIS — Circle in the Round (1979-1991) 2CD | RM | Columbia Jazz Contemporary Masters Series | FLAC (tracks+.cue), lossless

Although this two-disc set is a compilation -- primarily consisting of extended outtakes -- Circle in the Round features the true colors of jazz chameleon Miles Davis (trumpet) during a 15-year (1955-1970) span from eight different recording sessions. Whether it was serendipity or astute coordination that gathered these sides together, Davis enthusiasts will undoubtedly find plenty to enjoy from his prolific and seemingly perpetual metamorphosis. The sessions are presented chronologically for the most part, beginning with a composite of "Two Bass Hit." This version is from an October 1955 Kind of Blue session featuring John Coltrane (tenor sax) and a band Davis refers to as "the trio": Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums). From the May 1958 recording date comes another major session featuring an all-star lineup: Julian "Cannonball" Adderley (alto sax), Coltrane (tenor sax), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). Their single take on Cole Porter's "Love for Sale" is an amazing performance that allows for some intensely cool solos from Miles and Adderley in particular. Listen as well for some tasty piano fills from Evans, as this is the sort of interaction that he'd become synonymous with. Although "Blues No. 2" is taken from the final session at which Davis and Coltrane would record together, studio documentation reveals that Coltrane did not perform on this piece. The title track appears in an unedited form on the Miles Davis Quintet, 1965-68: The Complete Columbia Studio box set. It is a heavily Eastern-influenced freebop work featuring Davis -- who is also credited with performing on chimes during this session -- with his famous late-'60s quintet, featuring Wayne Shorter (tenor sax), Herbie Hancock (celeste), Ron Carter (bass), and Tony Williams (drums), as well as Joe Beck (guitar). Two early-1968 sessions featuring George Benson (guitar) with the previously mentioned quintet make up the bulk of the second disc. These tracks are fusion incarnate. The delicate interplay between Benson and Hancock is inspiring on both versions of "Side Car" -- although the second reading seems more focused. From a January 1970 Bitches Brew session is a jaw-dropping reading of David Crosby's "Guinnevere," a complete version of which is available on the highly recommended Complete Bitches Brew Sessions (August 1969-February 1970) box set. Although seemingly hodgepodge in arrangement, Circle in the Round is a brilliant examination of the depth of scope and range possessed by Miles Davis. Lindsay Planer   
Tracklist :
1-1 Two Bass Hit 3:42
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Red Garland
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Dizzy Gillespie, John Lewis 
1-2 Love For Sale 11:49
Alto Saxophone – Cannonball Adderley
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Jimmy Cobb
Piano [Acoustic] – Bill Evans
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Cole Porter
1-3 Blues No. 2 6:48
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Wynton Kelly
Tenor Saxophone – Hank Mobley
Trumpet – Miles Davis
Written-By – Miles Davis
1-4 Circle In The Round 26:15
Celesta – Herbie Hancock
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – Joe Beck
Tenor Saxophone – Wayne Shorter
Trumpet, Chimes, Bells – Miles Davis
Written-By – Miles Davis
2-1 Teo's Bag 5:55
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-2 Side Car I 4:58
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-3 Side Car II 3:34
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-4 Splash 8:30
Double Bass [Acoustic Bass] – Dave Holland
Drums – Tony Williams
Electric Piano – Chick Corea, Herbie Hancock
Piano [Acoustic] – Joe Zawinul
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-5 Sanctuary 8:48
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Wayne Shorter
2-6 Guinnevere 18:06
Bass Clarinet – Bennie Maupin
Celesta, Piano, Electric Piano – Herbie Hancock
Double Bass [Acoustic Bass] – Dave Holland
Drums – Billy Cobham, Jack DeJohnette
Electric Bass – Harvey Brooks
Keyboards – Chick Corea, Joe Zawinul
Percussion – Airto Moreira
Sitar – Khalil Balakrishna
Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – David Crosby

LENNY WHITE — Big City (1977-2006) FLAC (tracks+.cue), lossless

On his second solo album, Big City, Return to Forever drummer Lenny White leads an all-star cast on a jaunt through the diverse worlds of jazz fusion. The title track is a groove-oriented monster that unites the Brian Auger Oblivion Express with the Tower of Power horn section. While "Sweet Dreamer" is a soft ballad that features the singing of Linda Tillery, and "Rapid Transit" is a study in funk built around the bass playing of Verdine White, both songs benefit from the presence of Herbie Hancock on electric piano. Not to be forgotten, Lenny White shows off his penchant for sharp and accelerated drum cadences on interludes titled "Egypt" and "Ritmo Loco." Yet his leanings towards rock are taken a bit too far with Ray Gomez and Neal Schon trading epic guitar solos on "Dreams Come and Go Away" as well as "And We Meet Again." Fortunately the gap between sonic freak-outs is bridged by the exceptional "Enchanted Pool Suite," which features Miroslav Vitous on acoustic bass, Jerry Goodman on violin, and Jan Hammer on Minimoog. Robert Gabriel
Tracklist  :
1. Big City 5:22
Arranged By – Lenny White
Arranged By [Horns] – Lenny White, Weldon Irvine
Baritone Saxophone – Steve Kupka
Bass – Clive Chaman
Congas – Lennox Langton
Drums, Synthesizer [Eµ Synthesizer, Micro-minimoog], Other [Wallet] – Lenny White
Guitar – Alex Ligertwood
Lead Guitar, Soloist – Jack Mills
Organ, Electric Piano – Brian Auger
Tenor Saxophone – Emilio Castillo
Tenor Saxophone, Lyricon, Soloist [Lyricon solo] – Lenny Pickett
Trumpet – Greg Adams
Trumpet, Trombone – Mic Gillette
Written-By – Alex Ligertwood, Jack Mills, Lenny White
2. Sweet Dreamer 4:39
Arranged By – Lenny White
Bass – Paul Jackson (2)
Electric Piano [Yamaha Grand] – Herbie Hancock
Guitar [Guitars] – Ray Gomez
Lyrics By – Weldon Irvine
Music By – Lenny White
Synthesizer [Eµ Synthesizer] – Pat Gleeson
Synthesizer [Oberheim Polyphonic, Arp String Ensemble] – Lenny White
Vocals – Linda Tillery
3. Egypt 1:01
Written-By, Arranged By – Lenny White
Drums, Piano [Acoustic] – Lenny White
Bass [Weird Bass] – Marcus Miller
4. Nocturne 1:18
 Written-By – Lenny White, Don Blackman
Arranged By – Lenny White
Orchestrated By – Michael Gibbs
5. Rapid Transit 3:58
Arranged By – Lenny White, Ray Gomez
Bass [Very Funky Bass] – Verdine White
Electric Piano, Electric Piano [Yamaha Grand] – Herbie Hancock
Guitar – Ray Gomez
Synthesizer [Arp String Ensemble] – Pat Gleeson
Synthesizer [Oberheim Polyphonic] – Lenny White
Written-By – Ray Gomez
6. Ritmo Loco 1:18
Drums, Congas, Timbales, Tom Tom [Roto Toms], Electronic Drums [Moog Drum], Other [Cheese Enchiladas] – Lenny White
Written-By – Lenny White
7. Dreams Come And Go Away 3:33
Arranged By – Lenny White, Michael Gibbs
Bass – Alex Blake (2)
Drums – Lenny White
Electric Guitar, Soloist [1st Solo], Acoustic Guitar – Ray Gomez
Electric Guitar, Soloist [2nd Solo] – Neal Schon
Piano [Acoustic Piano] – Onaje Allan Gumbs
Written-By – Alex Blake
8. Enchanted Pool Suite(Part I-II) 9:28
Orchestrated By – Michael Gibbs
Written-By, Arranged By – Lenny White
9. And We Meet Again 7:06
Bass – Alex Blake
Drums, Voice [Announcement] – Lenny White
Guitar [Left] – Neal Schon
Guitar [Right] – Ray Gomez
Organ, Electric Piano, Piano [Acoustic Piano] – Brian Auger
Sopranino Saxophone – Bennie Maupin
Written-By, Arranged By – Lenny White

HERBIE HANCOCK · MICHAEL BRECKER · ROY HARGROVE — Directions in Music : Live at Massey Hall (2002) Two Version | APE + FLAC (image+.tracks+.cue), lossless

A double-milestone year for jazz, 2001 marked the 75th anniversary of the births of both Miles Davis and John Coltrane. With that in mind, Herbie Hancock went on tour with a quintet modeled after his V.S.O.P. bands of the '70s and '80s and the Tribute to Miles band of the '90s, which in turn were modeled after the 1965-1968 Miles Davis Quintet. The question this disc proposes: Can you go home yet again? Hancock preferred to dodge that one, saying that he was attempting to push the music onward in the Davis/Coltrane spirit of adventure rather than play for nostalgia. But essentially, despite the often unblinkingly hard-nosed soloing and the sometimes radical reworking of the old tunes, the conception of this idiom is that of Miles, and Michael Brecker's often brilliant, searching tenor sax work owes its soul to the example of Trane. Although the quintet's Los Angeles gig on October 11, 2001, was rather disappointing, the Toronto concert recorded here was a big improvement, with two weeks of roadwork evidently having the desired tightening effect. Though Hancock's piano gradually became more abstract and disconnected with its surroundings over the years, here he is in touch with his colleagues. Brecker provides the most fervent individual statement with an unaccompanied rendition of "Naima" that amounts to a virtual encyclopedia of tenor saxophone technique. Roy Hargrove does a serviceable job on trumpet and flügelhorn, trying to fill some heavy shoes, and as accomplished as the rhythm team of John Patitucci (bass) and Brian Blade (drums) is, you miss the irreplaceable combustion of Ron Carter and especially the late Tony Williams (compare the original Davis recording of "The Sorcerer" with this inward, less dynamic, less driving version). The most strikingly reworked cover tune is a slow, drawn-out, mournful take on "Impressions," almost an elegy for Coltrane, and Brecker delivers the eulogy with fire in the belly. There is new material from Hargrove ("The Poet"), Brecker ("D Trane"), and the three headliners ("Misstery"), none of which expands much beyond the parameters of the Davis and Coltrane models. While this quintet does not kick over old boundaries, it does make good, uncompromisingly intelligent music. Richard S. Ginell  
Tracklist :
1 The Sorcerer 8:54
Herbie Hancock
2 The Poet 6:35
Roy Hargrove
3 So What/Impressions 12:51
John Coltrane / Miles Davis
4 Misstery 8:16
Michael Brecker / Herbie Hancock / Roy Hargrove
5 Naima 7:29
John Coltrane
6 Transition 10:26
John Coltrane
7 My Ship 8:40
Ira Gershwin / Kurt Weill
8 D Trane 15:11
Michael Brecker
Credits :
Bass – John Patitucci
Drums – Brian Blade
Piano, Executive Producer – Herbie Hancock
Tenor Saxophone, Producer – Michael Brecker
Trumpet, Flugelhorn (tracks: 2, 7) – Roy Hargrove

CHRISTIAN McBRIDGE BAND — Sci-Fi (2000) FLAC (image+.cue), lossless

On a large scale, there is no denying that music can move masses of people to assert themselves and establish a particular vision that will benefit many for years to come. With the release of Sci-Fi, the highly acclaimed bassist Christian McBride has established another great realm of music for his fans to explore. Accompanied by the dynamic Ron Blake on tenor and soprano sax, Shedrick Mitchell on piano and Fender Rhodes, the great Herbie Hancock on piano, Rodney Green on drums, David Gilmore on electric and acoustic guitar, Dianne Reeves giving great vocalese on "Lullaby for a Ladybug," James Carter on bass clarinet, and the exciting Toots Thielemans on harmonica, listeners will soon discover that the jazz galaxy will never be the same. The acoustic fusion and thematic sound concept for the CD settled in after McBride wrote "Science Fiction" and discovered it made a great nucleus for the CD. Featured selections include McBride's brilliant arrangements of masterworks by Stanley Clarke, Sting, Jaco Pastorius, and Steely Dan as well as seven original compositions by the versatile leader. Flawless piano grace from Herbie Hancock on "Xerxes" and "Lullaby for a Ladybug" and McBride's Fender Rhodes work throughout is a listen to behold. Particularly, the conversation between McBride's double bass and Carter's bass clarinet on "Walking on the Moon" shouldn't be missed. Sci-Fi is a seminal work by seminal artists and may very well be considered one of the most essential jazz recordings of the 21st century. Paula Edelstein
Tracklist :
 1. Aja (Fagan, Becker) 6:46
2. Uhura's Moment Returned (McBride) 6:18
3. Xerxes (McBride) 7:56
4. Lullaby For a Ladybug (McBride) 7:28
5. Science Fiction (McBride) 6:50
6. Walking On The Moon (Sting) 6:43
7. Havona (Jaco Pastorius) 7:12
8. I'll Guess i'll Have To Forget (McBride) 6:10
9. Butterfly Dreams (Stanley Clarke) 6:43
10. Via Mwandishi (McBride) 8:02
11. The Sci-fi Outro (McBride) 1:13
Credits :
Christian McBride – Bass (Upright, Electric), Keyboards
Ron Blake - Sax (Tenor, Soprano)
Shedrick Mitchell – Piano, Electric Piano
Rodney Green – Drums
Herbie Hancock – Piano (on "Xerxes" and "Lullaby For a Ladybug")
Dianne Reeves – Vocalese (on "Lullaby For a Ladybug")
Toots Thielemans – Harmonica
James Carter – Bass Clarinet
David Gilmore – Guitar (Acoustic, Electric)

TERRI LYNE CARRINGTON — The ACT Years (2015) FLAC (tracks+.cue), lossless

"Oh man, she's got it! She's good, man! This little girl can play!" What Dizzy Gillespie recognized early on is now undisputed: Terri Lyne Carrington, born in 1965 in Medford, Massachusetts, is today regarded as "the most famous female jazz drummer in the world" (Spiegel Online). For almost 25 years, she has not only been at the forefront of the jazz world as a drummer but also as a composer, arranger, producer, and educator. She has played with jazz world stars including Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, and Dianne Reeves. Her Grammy-winning career began with ACT. "The ACT Years" looks back on this time with 12 tracks and showcases the versatility of this fascinating drummer. ACT
Tracklist :
1    Jazz Is A Spirit 3:39
Terri Lyne Carrington
2    Manic Depression 5:26
Jimi Hendrix
3    Ethiopia 6:19
Joni Mitchell
4    Journey Of Now 4:15
Terri Lyne Carrington / Bob Hurst
5    Voodoo Child (Slight Return) 6:41
Jimi Hendrix
6    Omega 5:22
Jimmy Haslip
7    Burning Of The Midnight Lamp 3:41
Jimi Hendrix
8    Purple Haze 5:19
Jimi Hendrix
9    Mindful Intent 5:34
Terri Lyne Carrington
10    Middle Way 6:57
Terri Lyne Carrington
11    Samsara 7:23
Terri Lyne Carrington
12    If 6 Was 9 4:06
Jimi Hendrix
Credits :
Herbie Hancock - Piano
Nguyên Lê - Guitar
Greg Osby - Alto Saxophone
Adam Rogers - Guitar
Jimmy Haslip - Bass
Terence Blanchard - Trumpet
and many more

TERRI LYNE CRRINGTON — Jazz is a Spirit (2002) FLAC (tracks+.cue), lossless

In the male-dominated jazz genre, this veteran drummer has been happily accepted as one of the guys and has forged a strong touring career (Al Jarreau, David Sanborn) as she has, on her solo projects, pushed the improvisational and conceptual boundaries. This free-spirited recording emerges from the fun of bebop and traditional jazz balladry into the more challenging realm of tribal rhythms and global-mindedness -- a wacky journey to be sure, but true to her heart of wanderlust and her contention that, indeed, jazz can only be defined as a spirit. She opens with a weird, mystical ambience behind Cosby Show kid Malcolm Jamal Warner's spoken-word definition, then jams in a live setting with longtime associates like Herbie Hancock, Terence Blanchard, and Paul Bollenback (guitar) on tunes that range from the avant-garde ("Little Jump") to the smoky and romantic ("Samsara," a thoughtful tribute to Wayne Shorter). Throwing off the shackles, she does a long tribal drum roll piece and opens the door for a "Journey East From West" with Kevin Eubanks. "Journey of Now" combines the best of all worlds, with Wallace Roney's traditional trumpet, Jeff Richman's fusion guitar edges, and an irrepressible percussive tribalism. The remaining tracks are a balance between measured craziness and gentle tradition, with a bit of advice offered to Terri Lyne Carrington as she plays before the spoken words of Papa Jo Jones on "Mr Jo Jones." Innovative yet sometimes maddening, this is above all else her truest heart. Jonathan Widran
Tracklist :
1    Jazz Is    2:28
Written-By – Terri Lyne Carrington
2    Little Jump 7:30
Performer [Introduction] – Wren T. Brown
Written-By – Lars Danielsson
3    The Corner    7:02
Written-By – Terri Lyne Carrington
4    Lost Star    4:11
Written-By – Terri Lyne Carrington
5    Samsara (For Wayne)    7:23
Written-By – Terri Lyne Carrington
6    Journey Agent    1:31
Written-By – Terri Lyne Carrington
7    Journey East From West    0:49
Written-By – Terri Lyne Carrington
8    Journey Of Now 4:13
Written-By – Bob Hurst, Terri Lyne Carrington
9    Giggles    6:12
Written-By – Terri Lyne Carrington
10    Middle Way    6:55
Written-By – Terri Lyne Carrington
11    Princess 5:30
Written-By – Niels Lan Doky, Terri Lyne Carrington
12    Witch Hunt 3:09
Written-By – Wayne Shorter
13    Mr. Jo Jones 2:25
Speech [Speaking To Terri Lyne In 1984] – Papa Jo Jones
14    Jazz Is A Spirit    3:47
Written-By – Terri Lyne Carrington
Credits :
Bass – Bob Hurst (tracks: 2 to 5, 7 to 12)
Bass, Speech [Spoken Word] – Malcolm-Jamal Warner (tracks: 1, 14)
Drums – Terri Lyne Carrington
Flute – Gary Thomas (tracks: 3)
Guitar – Danny Robinson (tracks: 1, 14), Jeff Richman (tracks: 8, 12), Kevin Eubanks (tracks: 5, 7), Paul Bollenback (tracks: 2 to 4, 9, 11)
Keyboards – Greg Kurstin (tracks: 1, 3, 7, 12, 14)
Percussion – Ed Barguiarena (tracks: 1, 7, 14), Darryl "Munyungo”"Jackson (tracks: 3, 8, 14)
Piano – Greg Kurstin (tracks: 3, 4, 7 to 9), Herbie Hancock (tracks: 2, 5, 10)
Soprano Saxophone – Katisse Buckingham (tracks: 3)
Tenor Saxophone – Gary Thomas (tracks: 2 to 5, 9 to 12)
Trumpet – Terence Blanchard (tracks: 10), Wallace Roney (tracks: 2, 7, 8, 14)

MILES DAVIS QUINTET — Miles Smiles (1966) Three Version (1998, RM | Serie Columbia Jazz) + (2006, RM | Serie The Original Jacket Collection) + (2018, RM | SACD, Hybrid, | Ultradisc UHR, Original Master Recording 24-48.1Hz) FLAC (tracks+.cue), lossless

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. Stephen Thomas Erlewine
Tracklist :
1    Orbits    4:35
 Wayne Shorter
2    Circle    5:52
 Miles Davis
3    Footprints    9:44
 Wayne Shorter
4    Dolores    6:20
 Wayne Shorter
5    Freedom Jazz Dance    7:11
 Eddie Harris
6    Ginger Bread Boy    7:40
 Jimmy Heath
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Tenor Saxophone [Tenor Sax] – Wayne Shorter
Trumpet – Miles Davis

HERBIE HANCOCK | CHICK COREA — An Evening with Herbie Hancock & Chick Corea In Concert (1978-1998) RM | Serie Columbia Jazz | 2CD | FLAC (tracks+.cue), lossless

Since Chick Corea and Herbie Hancock had by 1978 spent several years mostly playing electric keyboards, their acoustic duet tour surprised many listeners who thought that they would always specialize in fusion. This double album contains many fine performances including lengthy versions of "Maiden Voyage" and "La Fiesta" but it is the striding by Corea and Hancock on "Liza" that is most unique. Scott Yanow
Tracklist 1 :
1    Someday My Prince Will Come    12:39
 Frank Churchill / Larry Morey
2    Liza (All The Clouds'll Roll Away)    9:00
 George Gershwin / Ira Gershwin / Gus Kahn
3    Button Up    17:37
 Chick Corea / Herbie Hancock
Tracklist 2 :
1    Introduction Of Herbie Hancock By Chick Corea    0:41
2    February Moment    15:47
 Herbie Hancock
3    Maiden Voyage    13:31
 Herbie Hancock
4    La Fiesta    22:02
 Chick Corea
Credits :
Grand Piano – Chick Corea, Herbie Hancock

HERBIE HANCOCK – Quartet (1982) FLAC (image+.cue) lossless

This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1983, fanning the flames even more.  Richard S. Ginell
Tracklist :
1    Well You Needn't 6:26
Written-By – T. Monk
2    'Round Midnight 6:38
Written-By – B. Hanighen, C. Williams, T. Monk
3    Clear Ways 5:01
Written-By – T. Williams
4    A Quick Sketch 16:24
Written-By – R. Carter
5    The Eye Of The Hurricane 8:03
Written-By – H. Hancock
6    Parade 7:56
Written-By – R. Carter
7    The Sorcerer 7:18
Written-By – H. Hancock
8    Pee Wee 4:32
Written-By – T. Williams
9    I Fall In Love Too Easily 5:53
Written-By – J. Styne-S. Cahn
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis

WAYNE SHORTER — Adam's Apple (1966-2003) RM | RVG Edition Series | FLAC (tracks+.cue), lossless

With the possible exception of its song, "Footprints," which would become a jazz standard, Adam's Apple received quite a bit less attention upon its release than some of the preceding albums in Wayne Shorter's catalog. That is a shame because it really does rank with the best of his output from this incredibly fertile period. From the first moments when Shorter's sax soars out in the eponymous opening track, with its warmth and roundness and power, it is hard not to like this album. It might not be turning as sharp of a corner stylistically as some of his earlier works, like Speak No Evil, but its impact is only dulled by the fact that Shorter has already arrived at the peak of his powers. Taken in isolation, this is one of the great works of mid-'60s jazz, but when Shorter has already achieved a unique performance style, compositional excellence, and a perfectly balanced relationship with his sidemen, it is hard to be impressed by the fact that he manages to continue to do these things album after album. But Shorter does shine here, while allowing strong players like Herbie Hancock to also have their place in the sun. Especially hypnotic are two very different songs, the ballad "Teru" and Shorter's tribute to John Coltrane, "Chief Crazy Horse," both of which also allow Hancock a chance to show what he could do. Stacia Proefrock
Tracklist :
1    Adam's Apple    6:47
Wayne Shorter
2    502 Blues (Drinkin' And Drivin')    6:32
Jimmy Rowles
3    El Gaucho    6:28
Wayne Shorter
4    Footprints    7:27
Wayne Shorter
5    Teru    6:10
Wayne Shorter
6    Chief Crazy Horse    7:32
Wayne Shorter
7    The Collector    6:54
Herbie Hancock
Credits :
Bass – Reggie Workman
Drums – Joe Chambers
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By, Remastered By [2003] – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter

HEBIE HANCOCK — Fat Albert Rotunda (1969-2001) RM | Warner Bros. Masters Series | FLAC (image+.cue), lossless

Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk -- and his last until Head Hunters -- making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- have a rhythm and feeling that tell you exactly how this music saunters and swaggers along -- just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks. Richard S. Ginell  

Tracklist :

1 Wiggle-Waggle 5:51

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler, Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

2 Fat Mama 3:49

3 Tell Me A Bedtime Story 5:03

4 Oh! Oh! Here He Comes 4:08

5 Jessica 4:12

6 Fat Albert Rotunda 6:28

7 Lil' Brother 4:25

Alto Saxophone [Uncredited], Tenor Saxophone [Uncredited] – Joe Farrell

Baritone Saxophone [Uncredited] – Arthur Clarke

Drums [Uncredited] – Bernard Purdie

Electric Bass [Uncredited] – Jerry Jemmott

French Horn [Uncredited] – Ray Alonge

Guitar [Uncredited] – Billy Butler (3), Eric Gale

Percussion [Uncredited] – George Devens

Trombone [Uncredited] – Benny Powell

Trumpet [Uncredited] – Ernie Royal, Joe Newman

Credits :
Acoustic Bass, Electric Bass, Soloist – Buster Williams (tracks: 2, 3, 4, 5, 6)
Drums, Soloist – Tootie Heath (tracks: 2, 3, 4, 5, 6)
Engineer – Rudy Van Gelder
Flute [Alto], Tenor Saxophone, Soloist – Joe Henderson
Piano, Electric Piano, Producer, Written-By, Arranged By, Conductor, Soloist – Herbie Hancock
Trombone, Soloist – Garnet Brown
Trumpet, Flugelhorn [Fluegel Horn], Soloist – Johnny Coles

MILTON NASCIMENTO — Angelus (1993) FLAC (image+.cue), lossless

The list of prominent North American and British fans of Milton Nascimento continues to grow almost exponentially -- and as a result, his first album for Warner Bros, recorded in Rio, New York, Pittsburgh and L.A., has a longer guest list than ever before. On the jazz side, Wayne Shorter reunites with his Brazilian soulmate on two tracks, his beam-of-light soprano soaring brightly, and a quintet containing Pat Metheny, Herbie Hancock, Ron Carter, Jack DeJohnette, and Robertinho Silva sails magnificently through two early Nascimento classics: "Vera Cruz" and "Novena" (his first song ever). On the rock side, Nascimento pays homage to the Beatles -- who are as powerful an influence on his album conceptions and sound as anyone -- with a drawn-out, orchestrally backed "Hello Goodbye," and Peter Gabriel lends his voice to the lovely "Qualquer Coisa a Haver Com o Paraiso." Another worthwhile experiment is the convincing transformation of James Taylor's "Only a Dream in Rio," with Taylor's distinctive voice on hand with both English and Portuguese lyrics. But the state of Nascimento's songwriting imagination remains in a moderate slump, made glaringly evident by the inclusion of so much superior early music. Having made his mark as a great songwriter, Nascimento had evolved into a gifted, meticulous record maker, and alas, we have a far, far greater quantity of the latter than the former these days. Richard S. Ginell
Tracklist :
1. Seis Horas da Tarde (Nascimento) 4:12
Saxophone [Tenor] – Wayne Shorter
2. Estrelada (Borges, Nascimento) 5:01
Vocals – Jon Anderson
3. De Um Modo Geral... (Lopes, Nascimento) 5:37
Saxophone [Tenor] – Wayne Shorter
4. Angelus (Nascimento) 2:35
Percussion – Naná Vasconcelos
5. Coisas de Minas (Lopes, Nascimento) 5:27
6. Hello Goodbye (Lennon, McCartney) 4:30
7. Sofro Calado (Faria, Nascimento) 1:11
Arranged By – Robertinho Silva
8. Clube da Esquina, No. 2 (Borges, Borges, Nascimento) 5:51
9. Meu Veneno (Gullar, Nascimento) 3:45
Percussion – Naná Vasconcelos
10. Only a Dream in Rio (Taylor) 6:30
Percussion – Naná Vasconcelos
Vocals, Guitar – James Taylor
11. Qualquer Coisa a Haver Com O Paraiso (Nascimento, Venturini) 6:59
Vocals – Peter Gabriel
12. Vera Cruz (Borges, Nascimento) 6:34
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
13. Novena (Borges, Nascimento) 5:03
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
14. Amor Amigo (Brant, Nascimento) 4:19
Guitar – Pat Metheny
Piano – Herbie Hancock
15. Sofro Calado (Faria, Nascimento) 2:25
Piano – Milton Nascimento

JOE FARRELL— Penny Arcade (1974-2011) FLAC (tracks+.cue), lossless

Joe Farrell gained his greatest fame with his popular string of CTI recordings. For this set, he performs three of his originals (none of which caught on), guitarist Joe Beck's "Penny Arcade," and a 13-minute version of Stevie Wonder's "Too High." Farrell (heard on tenor, soprano, flute and piccolo) is in excellent form, as are keyboardist Herbie Hancock, Beck, bassist Herb Bushler, drummer Steve Gadd and Don Alias on conga. As is true of his other CTI sets, this Joe Farrell effort expertly mixes together some slightly commercial elements and superior recording quality with strong solos. Scott Yanow
Tracklist :
1. Penny Arcade (Joe Beck) – 4:45
2. Too High (Stevie Wonder) – 13:15
3. Hurricane Jane (Joe Farrell) – 4:25
4. Cloud Cream (Joe Farrell) – 6:15
5. Geo Blue (Joe Farrell) – 7:30
Credits :
Joe Farrell – Tenor and Soprano Sax, Flute, Piccolo
Herbie Hancock – Piano
Joe Beck – Guitar
Steve Gadd- Drums
Herb Bushler – Bass
Don Alias – Conga

JOE ZAWINUL — Zawinul (1971-1994) FLAC (tracks+.cue), lossless

Conceptually, sonically, this is really the first Weather Report album in all but name, confirming that Joe Zawinul was the primary creative engine behind the group from the beginning. It is also the link between WR and Miles Davis' keyboard-laden experiments on In a Silent Way; indeed, the tune "In a Silent Way" is redone in the more complex form in which Zawinul envisioned it, and Miles even contributes a brief, generous tribute to Zawinul on the liner. Two keyboardists -- Zawinul and the formidable Herbie Hancock -- form the underpinning of this stately, probing album, garnishing their work with the galactic sound effects of the Echoplex and ring modulator. Earl Turbinton provides the Wayne Shorter-like beams of light on the soprano sax, spelled by Wayne himself on "Double Image." The third founder of WR, Miroslav Vitous, checks in on bass, and hard-bopping trumpeter Woody Shaw proves to be perfectly adept at the jazz-rock game. Two short-lived standards of the jazz-rock era, the aforementioned "Double Image" and "Doctor Honoris Causa," are introduced here, yet it is mood pieces like "His Last Journey" and "Arrival in New York" that with the help of tape-speed manipulation, establish the lasting, murky, reflective ambience of this CD. Richard S. Ginell      Tracklist & Credits :

JOE ZAWINUL — Concerto Retitled (1976-2007) FLAC (tracks+.cue), lossless

As Joe Zawinul's electric band Weather Report gathered momentum in the '70s, Atlantic put together a single-LP anthology of Zawinul's earlier two albums for Atlantic and one for Vortex. The irony, of course, is that the Zawinul of most of these tracks basically did not exist as of 1976, nor has this compulsively forward-looking musician returned to his acoustic jazz roots since. Fully half of the tracks - the Tatumesque solo number, "My One and Only Love," the straight-ahead "Riverbed," and trio numbers "Del Sasser" and "Sharon's Waltz" (with Cannonball Adderley's rhythm section, Sam Jones and Louis Hayes) come from the Money in the Pocket album. "From Vienna with Love" and "Concerto Retitled" (both from The Rise and Fall of the Third Stream) are backed by William Fischer's brooding neo-classical arrangements for cello and three violas. From these relatively conventional pursuits, it is a jolt to hear two hauntingly spiritual tracks - the electronically slowed-down "His Most Journey" and "In a Silent Way - " from the Zawinul album, the prelude to Weather Report. Though all of this stuff is out on CD in complete form, this is still useful as a quick trip through Zawinul's extraordinary changes over a short span of time. Richard S. Ginell    Tracklist & Credits :  

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

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 - No Room for Squares (1964-2000) RM | RVG Edition | FLAC (tracks+.cue), lossless

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back." Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.                                 
|This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'|
Tracklist :
1     Three Way Split 7'49
Hank Mobley    
2     Carolyn 5'30
Lee Morgan    
3     Up a Step 8'31
Hank Mobley    
4     No Room for Squares 6'57
Hank Mobley    
5     Me 'N You 7'17
Lee Morgan    
6     Old World Imports 6'08
Hank Mobley    
7     Carolyn (Alternate Take) 5'35
Lee Morgan    
8     No Room for Squares 6'45
Hank Mobley
Credits :
Bass – Butch Warren (tracks: 3, 6), John Ore (tracks: 1, 2, 4, 5)
Drums – Philly Joe Jones
Piano – Andrew Hill (tracks: 1, 2, 4, 5), Herbie Hancock (tracks: 3, 6)
Recorded By [Recording By], Remastered By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 3, 6), Lee Morgan (tracks: 1, 2, 4, 5)

JIMMY HEATH AND BRASS — Swamp Seed (1963-1997) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

This is a delightful if underrated set that was reissued on CD in 1997. The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos; he also contributed three of the seven pieces and arranged all of them for a group also including trumpeter Donald Byrd, two French horns, Don Butterfield's tuba and a rhythm section that has bassist Percy Heath and (on three numbers) drummer Albert "Tootie" Heath. The music is straight-ahead but contains some unpredictable moments. Highlights include Heath's versions of Thelonious Monk's "Nutty" and "More Than You Know." Scott Yanow
Tracklist :
1. Six Steps 4'49
Jimmy Heath
2. Nutty 4'05
Thelonious Monk
3. More Than You Know 5'09
Edward Eliscu / Billy Rose / Vincent Youmans
4. Swamp Seed 5'19
Percy Heath
5. D. Waltz 6'33
Jimmy Heath
6. Just In Time 5'28
Betty Comden / Adolph Green / Jule Styne
7. Wall To Wall 5'27
Jimmy Heath
Credits
Jimmy Heath - Tenor Saxophone
Donald Byrd - |Trumpet
Julius Watkins - French Horn
Jim Buffington - French Horn
Don Butterfield - Tuba
Harold Maybern - Piano (tracks 1, 2, 4)
Herbie Hancock - Piano
Percy Heath - Bass
Albert "Toothie" Heath - Drums (tracks 1, 2, 4)
Connie Kay - Drums