COLEMAN HAWKINS - Desafinado : Coleman Hawkins Plays Bossa Nova and Jazz Samba (1962-1997) RM | FLAC (tracks+.cue), lossless

That Coleman Hawkins jumped on the jazz/bossa nova bandwagon craze initiated by Stan Getz in 1962 was a bit of a surprise to his fans, but that he was comfortable in the idiom should not be off-putting. Able to adapt to any style over his lengthy career, the legendary tenor saxophonist chose classic standards adapted to Brazilian rhythms, music from masters like Antonio Carlos Jobim and João Gilberto, and a Manny Albam original. Producer Bob Thiele and music director Albam were strong in their resolve directing Hawkins to do this project, and the results are fairly predictable, especially considering that every single track is played in midtempo. The difference is the deployment of two guitarists in Barry Galbraith (lead) and Howard Collins (rhythm) split into separate stereo channels, with bassist Major Holley and no full kit drummer, although Eddie Locke with a minimal and stripped-down setup, Willie Rodriguez, and even Tommy Flanagan play small Latin percussion instruments. Themes derived from nights in Rio such as the beautifully rendered title track and "One Note Samba" are quite typical, but "O Pato" (The Duck) has a component added on from Duke Ellington's "Take the 'A' Train," while the Hawkins original "Stumpy" is adapted into "Stumpy Bossa Nova," derived from Dizzy Gillespie's "Groovin' High" with a taste of "The Man I Love" tacked on at the end. Albam's "Samba Para Bean" is standardized cool with Locke's accents via brushes on closed hi-hat cymbals, while "I Remember You" is a completely unforced, pretty rendition of this well-worn standard. Gilberto's tribute to Luiz Bonfá, "Um Abraco No Bonfa," sports a guitar lead by Galbraith in a stretched-out frame. The curve ball is a somewhat weird crossbred samba take of "I'm Looking Over a Four Leaf Clover," a truly corny song the band tried to make cool, only marginally succeeding. The simplified style of this album overall perfectly suited the amiable, good-natured, and laid-back Hawkins at a time when the world was somewhat in political turmoil regarding Caribbean nations and the role of South America in the emerging so-called Third World. He passed away seven years later, leaving a legacy as the most revered tenor saxophonist in jazz, and this very nice recording in his long discography, unique even unto itself. Michael G. Nastos
Tracklist :
1     Desafinado 5:49
Antônio Carlos Jobim / Newton Mendonça
2     I'm Looking Over a Four Leaf Clover 2:53
Mort Dixon / Harry Woods    
3     Samba Para Bean 5:29
Manny Albam    
4     I Remember You 3:59
Johnny Mercer / Victor Schertzinger
5     One Note Samba 6:01
Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça
6     O Pato 4:12
Jayme Silva / Neuza Teixeira
7     Un Abraco No Bonfa [An Embrace to Bonfa] 4:52
João Gilberto
8     Stumpy Bossa Nova 2:30
Coleman Hawkins
Credits :
Arranged By – Manny Albam
Bass – Major Holley Jr.
Claves – Tommy Flanagan
Drums – Eddie Locke
Engineer – Rudy Van Gelder
Guitar – Barry Galbraith, Howard Collins
Percussion – Willie Rodriguez
Tenor Saxophone – Coleman Hawkins

JOHN LEWIS - Evolution II (2001-2014) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

On May 3, 2000, John Lewis turned 80 -- and almost half a century after the formation of the Modern Jazz Quartet, he could still inspire a variety of reactions. Over the years, Lewis' detractors have insisted that his piano playing is too polite and overly mannered; his admirers, however, have exalted him as the epitome of class and sophistication. To be sure, Lewis' pianism is quite sophisticated, but that doesn't mean that he doesn't swing or that he isn't soulful. Recorded in 2000 and released in early 2001, Evolution II isn't going to convert anyone who isn't already an admirer of the pianist's cool jazz/third stream approach. Anyone who has claimed that Lewis' playing is too polite won't have a change of heart after hearing this CD, but for Lewis' admirers, the rewards are great. Evolution II is the second installment of his Evolution trilogy; while the first Evolution was an unaccompanied solo piano recording, Evolution II finds him leading quartets that include Howard Alden or Howard Collins on guitar, George Mraz or Marc Johnson on upright bass, and Lewis Nash on drums. Except for the standards "Come Rain or Come Shine" and "What Is This Thing Called Love?," all of the songs are Lewis originals (including new compositions as well as familiar pieces like "Django" and "Trieste"). True to form, Lewis is elegant and swinging at the same time -- contrary to what his detractors have claimed, Lewis swings, but he does so on his own terms. For Lewis, there is no reason why jazz cannot be classical-influenced yet maintain the feelings of the blues. Although Evolution II falls short of essential, it is an enjoyable addition to the veteran pianist's catalog and demonstrates that his chops have held up well over the years. by Alex Henderson
Tracklist:
1    The Festivals 4:14   
John Lewis
2    One of Parker's Moods 3:54   
John Lewis
3    December, Remember 6:59
John Lewis
4    That! Afternoon in Paris 6:07    
John Lewis
5    Cain and Abel 6:52
John Lewis
6    Come Rain or Come Shine 5:03
Harold Arlen / Johnny Mercer
7    Trieste 4:17
John Lewis
8    Django 5:24
John Lewis
9    Sammy 4:09
John Lewis / Cole Porter
10    What Is This Thing Called Love? 5:52
Cole Porter
John Lewis feat: Cole Porter
CreditS :
Howard Alden - Guitar
Howard Collins - Guitar
Marc Johnson - Bass, Bass (Acoustic)
John Lewis - Composer, Piano, Producer
George Mraz - Bass, Bass (Acoustic),
Lewis Nash - Drums
Cole Porter - Composer, Performer