HANK CRAWFORD — Wildflower (1973-2002) Serie Best Value | FLAC (tracks+.cue), lossless

Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 – one of eight cut between 1971 and 1978 – is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto – check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Corazon 6:02
Written-By – C. King
2    Wildflower 3:54
Written-By – D. Richardson, D. Edwards
3    Mr. Blues 6:05
Written-By – H. Crawford
4    You've Got It Bad Girl 9:34
Written-By – Y. Wright
5    Good Morning Heartache 6:08
Written-By – D. Fisher, E. Drake, I. Higginbothan
Credits :
Alto Saxophone – Hank Crawford
Arranged By, Conductor – Bob James
Backing Vocals – Hilda Harris, Maeretha Stewart, Randy Peyton, Bill Eaton
Bass – Bob Cranshaw
Bass Trombone – Tony Studd
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
French Horn – Brooks Tillotson, Jim Buffington
Guitar – Joe Beck
Percussion – Arthur Jenkins, David Friedman, George Devans, Phil Kraus, Ralph MacDonald, Rubens Bassini
Piano, Organ – Richard Tee
Trombone – Paul Faulise, Wayne Andre
Trumpet – Alan Rubin, Bernie Glow, Marvin Stamm

ANDREW HILL — Grass Roots (1968-2014) RM | SHM-CD | Serie Blue Note Masterworks | FLAC (tracks+.cue), lossless

As the '60s drew to a close, Blue Note spent less time than ever with adventurous music, since it didn't sell as well as soul-jazz or mainstream hard bop. So, it may seem a little strange that the label invited Andrew Hill back to record in 1968, two years after he last cut a session for the label. Hill's work for the label stands among the most challenging cerebral post-bop of the '60s, but there was another side of Hill that wasn't showcased on those records: He also had a knack for groove and melody, as indicated by his composition "The Rumproller," a hard-grooving hard-bop classic made famous by trumpeter Lee Morgan. That was the side that Blue Note wanted to showcase on Grass Roots. Hill and his band were working from the basic template of making a commercial hard-bop album, but nevertheless pushed themselves to challenging territory. Blue Note sat on the session however, and Hill went back to the studio four months later with a new group of musicians: trumpeter Lee Morgan, tenor saxophonist Booker Ervin, bassist Ron Carter, and drummer Freddie Waits. This group was every bit as adventurous as the last, but they laid down a solid groove without compromising the music. The end result may not be as bracing as Hill's earlier works, but it's a pleasure to hear him in such a genial, welcoming mood. Furthermore, the record is hardly insubstantial musically -- the songs have strong melodies, even hooks, to bring casual listeners in, but they give the musicians the freedom to find a distinctive voice in their solos. It's the best of both worlds, actually -- accessible, just like Blue Note wanted, without compromising Hill's integrity. [Blue Note's 2000 CD reissue contains the entire first draft of the album as a bonus.] Stephen Thomas Erlewine
Tracklist :
1. Grass Roots 5:41
 Andrew Hill
2. Venture Inward 4:46
 Andrew Hill
3. Mira 6:20
 Andrew Hill
4. Soul Special 8:22
 Andrew Hill
5. Bayou Red 7:45
 Andrew Hill
- Bonus Tracks -
6. MC 9:11
 Andrew Hill
7. Venture Inward 4:34
 Andrew Hill
8. Soul Special 8:51
 Andrew Hill
9. Bayou Red 5:59
 Andrew Hill
Credits:
Bass – Reggie Workman (tracks: 6 to 10), Ron Carter (tracks: 1 to 5)
Drums – Freddie Waits (tracks: 1 to 5), Idris Muhammad (tracks: 6 to 10)
Guitar – Jimmy Ponder (tracks: 6, 8, 9)
Piano, Composed By – Andrew Hill
Recorded By – Rudy Van Gelder
Tenor Saxophone – Booker Ervin (tracks: 1 to 5), Frank Mitchell (tracks: 6 to 10)
Trumpet – Lee Morgan (tracks: 1 to 5), Woody Shaw (tracks: 6 to 10) 

STEFON HARRIS | JACKY TERRASSON — Kindred (2001) FLAC (tracks+.cue), lossless

Tracklist & Credits :

ARCHIE SHEPP - Something to Live For (1997) FLAC (tracks), lossless

This highly anticipated vocal album does not quite make it. Unfortunately, either the saxophonist was having an off night (or nights), or he simply lost his ability to sing gracefully by the mid-'90s. The choice of tunes is perfect: "A Flower Is a Lonesome Thing," "Strange Fruit," "Hello, Young Lovers," and "Georgia on My Mind," among others. So is the band, which includes trumpeter Eddie Henderson, pianist John Hicks, bassist George Mraz, and drummer Iris Muhammad (with Steve McCracken substituting on one track). Shepp speaks and shouts the lyrics more than he sings them, seemingly agonizing over each syllable. His tenor performance is subpar, too. He sounds almost as though he is playing with marbles in his mouth. Hicks explores some nice, if familiar ground, on piano, where he adds pleasant and stimulating lines both in support and as a soloist. Shepp's career as a vocalist appears short-lived, as he again focused on his saxophones after this one was recorded. Steve Loewy
Tracklist :
1    A Flower Is A Lovesome Thing 6:00
Composed By – Billy Strayhorn
2    My Foolish Heart 5:52
Composed By – Ned Washington, Victor Young
3    Strange Fruit 4:35
Composed By – Lewis Allan
4    You're Blasé 8:41
Composed By – Bruce Sievier, Ord Hamilton
5    Something To Live For 5:31
Composed By – Billy Strayhorn, Duke Ellington
6    Georgia On My Mind 7:00
Composed By – Hoagy Carmichael, Stuart Gorrell
7    Hello, Young Lovers 10:35
Composed By – Oscar Hammerstein II, Richard Rodgers
8    California Blues 8:01
Composed By – Archie Shepp
Credits :
Bass – George Mraz
Drums – Idris Muhammad (pistas: 1 to 7), Steve McCraven (pistas: 8)
Piano – John Hicks
Tenor Saxophone, Vocals – Archie Shepp
Trumpet, Flugelhorn – Eddie Henderson

ARCHIE SHEPP QUARTET - True Ballads (2000) 32bits-44.1hz | FLAC (tracks+.cue), lossless

This 1996 set features tenor saxophonist Archie Shepp with pianist John Hicks, bassist George Mraz, and drummer Idris Muhammad playing an inspired set of ballads. And while it's true that this is what Shepp seems to have done since 1990, giving plenty of credence to the critical notion that the fire has gone out of his playing, it's more a question of perspective than lack. As evidenced here on the opening number alone, a smoky, steamy rendition of "The Thrill Is Gone" that could have ended up in anybody's film noir, Shepp's fire may not burn angrily, but it burns low, deep, and hot just the same. The tenor player once said that you could hear every minute of every hour a musician put into practice when he played a ballad. That's certainly true here, and the answer is more than you could ever imagine. The inflection of Shepp's horn that moves somewhere between the deep, robust speech of John Coltrane and the shimmering soulful whisper of Ben Webster. If you check he and Hick's wandering around each other in the middle of "Nature Boy," or on Johnny Mandel's "The Shadow of Your Smile," you get a picture of a pair so intent on listening to the nuances in a change or harmonic syllable, that they know exactly how to aurally illustrate the bigger picture to a listener. With Muhammad on drums there is a certain laid-back groove that's organic in every number, and in Mraz, without his slim tone but silvery fingers, there's a polished elegance that makes the entire package Shepp's finest ballad date ever.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    The Thrill Is Gone 7'00
Written By – Ray Henderson
2    The Shadow Of Your Smile 9'46
Written By – Johnny Mandel
3    Everything Must Change 8'33
Written By – Bernard Ighner
4    Here's That Rainy Day 9:58
Written By – Jimmy Van Heusen
5    La Rosita 8:05
Written By – Paul Dupont
6    Nature Boy 5:55
Written By – Eden Ahbez
7    Yesterdays 9:35
Written By – Jerome Kern
8    Violets For Your Furs 9:48
Written By – Matt Dennis
Credits :
Bass – George Mraz
Drums – Idris Muhammad
Piano – John Hicks
Tenor Saxophone – Archie Shepp

ARCHIE SHEPP QUARTET - Blue Ballads (1996) FLAC (tracks+.cue), lossless

Recorded in November 1995, saxophonist Archie Shepp's Blue Ballads is a counterpart to True Ballads and Something to Live For, which date from the same period. All three albums feature pianist John Hicks, bassist George Mraz, and drummer Idris Muhammad. These intimate studies in shared introspection, along with Black Ballads and True Blue, document Shepp's astute exploration of the ballad form during the 1990s. On Blue Ballads Shepp mingled time-honored standards such as Rodgers & Hart's "Little Girl Blue," Arthur Schwartz's "Alone Together," and Vincent Youmans' "More Than You Know" with the Miles Davis-Bill Evans masterpiece "Blue in Green" and "Blue and Sentimental," which had served as the feature number for Count Basie's star tenor saxophonist Herschel Evans some 60 years earlier. Once again and in all the best ways, Shepp shines in parallel with his contemporary Pharoah Sanders. Both are skilled balladeers as well as free spirits who simply cannot be bottled or pigeonholed. arwulf arwulf
Tracklist :
1    Little Girl Blue    6:03
2    More Than You Know    7:18
3    Blue In Green    7:56
4    Blue And Sentimental    5:12
5    Cry Me A River    7:54
6    If I Should Lose You    7:32
7    Alone Together    10:53
Credits
Bass – George Mraz
Drums – Idris Muhammad
Piano – John Hicks
Tenor Saxophone, Soprano Saxophone, Vocals – Archie Shepp

PHAROAH SANDERS - Meditation (Pharoah Sanders Selections Take 1 & 2) 2xCD (2003) FLAC (tracks+.cue), lossless

Although Pharoah Sanders first made his name in the free jazz scene of early-'60s New York and then by playing with John Coltrane in his most radical lineup, the saxophonist has never been merely a harsh, aggressive player. Meditation: Pharoah Sanders Selections, Take 1 does Sanders a great service by introducing the uninitiated to his work through music that is accessible and at times downright pretty without watering down his often-astonishing melodic freedom. 1970's "Thembi" marries an African rhythm to Sanders' graceful soprano sax and a fluid lead violin line by Michael White. "Morning Prayer," from the same sessions, has a hypnotic feel rooted in its polyrhythmic hand percussion (courtesy of Lonnie Liston Smith and a four-man team of African percussionists) and features an outstanding set of solos by Sanders on alto flute. "Colors" suffers a bit from being taken out of its original context as the becalmed coda to 1969's epic "The Creator Has a Master Plan," but Leon Thomas' incantatory vocal still has an eerie power. Finally, the epic 15-minute "Hum-Allah-Hum-Allah-Hum-Allah" has the ecstatic frenzy of a classic Sun Ra Arkestra side and the cockeyed grace of Rahsaan Roland Kirk's best work, blended with perhaps Thomas' finest vocal ever, mixing the staid cadences of a four-square preacher with some defiantly outside ululations. Besides the album's four other tracks (which include 1971's rare "Mansion Worlds," a fairly traditional piece of modal jazz making its CD debut), these tracks alone are evidence of Sanders' abiding spirituality and restless creative spirit, making Meditation: Pharoah Sanders Selections, Take 1 a perfect introduction to the man and his work. Stewart Mason  
Meditation - Pharoah Sanders Selections Take 1 -
1.    Greeting To Saud 4'06
Percussion – Jimmy Hopps, Kenneth Nash, Lawrence Killian, Michael Carvin, Pharoah Sanders
Piano – Joe Bonner
Tambora – Calvin Hill
Violin – Michael White
Vocals – Sedatrius Brown
2.    Hum-Allah-Hum-Allah-Hum Allah 05'05
Drums – Roy Haynes
Drums, Percussion – Idris Muhammad
Flute, Thumb Piano, Percussion – Lonnie Liston Smith
Percussion – Cecil McBee
Tenor Saxophone, Contrabass Clarinet, Flute, Thumb Piano, Chimes, Percussion – Pharoah Sanders
Vocals, Percussion – Leon Thomas
3.    Mansion Worlds 9'14
Bass – Cecil McBee, Stanley Clarke
Drums – Norman Connors
Flute – Art Webb
Piano – Joe Bonner
Soprano Saxophone, Vocals, Percussion – Pharoah Sanders
4.    The Gathering 13'53
Bass – Calvin Hill
Congas, Bell Tree – Lawrence Killian
Drums – Michael Carvin
Percussion – John Blue
Piano, Flute, Horn, Vocals, Percussion – Joe Bonner
Sopranino Saxophone, Tenor Saxophone, Vocals, Percussion – Pharoah Sanders
5.    Morning Prayer 9'12
Bass, Effects – Cecil McBee
Percussion – Anthony Wiles, Chief Bey, Majid Shabazz, Nat Bettis
Piano, Finger Cymbals, Thumb Piano – Lonnie Liston Smith
Tenor Saxophone, Alto Flute, Handbell, Thumb Piano, Maracas, Fife – Pharoah Sanders
6.    Thembi 7'02
Bass, Finger Cymbals, Percussion – Cecil McBee
Drums, Maracas, Bells, Percussion – Clifford Jarvis
Finger Cymbals – James Jordan
Piano, Electric Piano, Claves, Percussion – Lonnie Liston Smith
Soprano Saxophone, Tenor Saxophone, Bells, Percussion – Pharoah Sanders
Violin, Percussion – Michael White
7.    Memories Of Lee Morgan 5'37
Bass – Cecil McBee, Stanley Clarke
Congas, Percussion – Lawrence Killian
Drums – Norman Connors
Percussion – Hannibal (Marvin Peterson)
Piano, Flute, Percussion – Joe Bonner
Sopranino Saxophone, Vocals, Percussion, Bells – Pharoah Sanders
8.    Colors 5'38
Bass – Reggie Workman, Ron Carter
Drums – Freddie Waits
French Horn – Julius Watkins
Piano – Lonnie Liston Smith
Tenor Saxophone – Pharoah Sanders
Vocals, Percussion – Leon Thomas
Meditation - Pharoah Sanders Selections Take 2 -
1    Shukuru 5'49
2    Rejoice 12'45
3    Pharomba 4'35
4    Origin 5'44
5    Naima 7'31
6    Sun Song 6'05
7    Think About The One 4'18
8    Midnight At Yoshi's 6'00
9    You Got To Have Freedom 6'51
10    Heart Is A Melody Of Time 7'34
11    Light At The Edge Of The World 5'09

PHAROAH SANDERS - Jewels of Thought (1969-2007) RM | FLAC (tracks+.cue), lossless

In 1969, Pharoah Sanders was incredibly active, recording no less than four albums and releasing three. The band on Jewels of Thought is largely the same as on Deaf Dumb Blind and Karma, with a few changes. Idris Muhammad has, with the exception of "Hum-Allah-Hum-Allah Hum Allah," replaced Roy Haynes, and Richard Davis has permanently replaced Reggie Workman and Ron Carter, though Cecil McBee is still present for the extra bottom sound. Leon Thomas and his trademark holy warble are in the house, as is Lonnie Liston Smith. Comprised of two long cuts, the aforementioned and "Sun in Aquarius," Jewels of Thought sees Sanders moving out from his signature tenor for the first time and delving deeply into reed flutes and bass clarinet. The plethora of percussion instruments utilized by everyone is, as expected, part of the mix. "Hum-Allah" begins with a two-chord piano vamp by Smith and Thomas singing and yodeling his way into the band's improvisational space. For 12 minutes, Sanders and company mix it up -- especially the drummers -- whipping it first quietly down into the most pure melodic essences of Smith's solo and then taking the tension and building to ecstatic heights with all manner of blowing and intervallic interaction between the various elements until it just explodes, before coming down in pieces and settling into a hush of melodic frames and the same two-chord vamp. On "Sun in Aquarius," African thumb pianos, reed flutes, sundry percussion, and orchestra chimes are employed to dislocate all notions of Western music. Things get very quiet (though there is constant motion); the innards of the piano are brushed and hammered quietly before Sanders comes roaring out of the tense silence with his bass clarinet, and then the tenor and bass share an intertwined solo and Smith starts kicking ass with impossibly large chords. It moves into another two-chord vamp at the end of 27 minutes, to be taken out as a closed prayer. It's more like a finished exorcism, actually, but it is one of the most astonishing pieces by Sanders ever.  
 |> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1 Hum-Allah-Hum-Allah-Hum Allah 15:04
Drums – Roy Haynes
Lyrics By – Amos Leon Thomas
2 Sun In Aquarius 27:51
Bass, Percussion – Richard Davis 
Credits
Bass, Percussion – Cecil McBee
Bells [Orchestra Chimes], Contrabass Clarinet, Tenor Saxophone, Flute [Reed], Percussion, Thumb Piano [African] – Pharoah Sanders
Composed By – Lonnie L. Smith, Jr., Pharoah Sanders
Drums, Percussion – Idris Muhammad
Percussion, Piano, Thumb Piano [African], Flute [African] – Lonnie Liston Smith
Vocals, Percussion – Leon Thomas

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

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

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

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

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

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

PHAROAH SANDERS ft. LEON THOMAS - Shukuru (1985) FLAC (tracks+.cue), lossless

Pharoah Sanders and singer Leon Thomas had a reunion on this Theresa recording on two of the numbers (most notably "Sun Song") and, although the magic of "The Creator Has a Master Plan" is not recaptured, the music is still enjoyable. The other four numbers are instrumentals featuring Sanders' tenor with keyboardist William Henderson, bassist Ray Drummond and drummer Idris Muhammad. Sanders does a close impression of late-'50s John Coltrane on "Body and Soul" and "Too Young to Go Steady" and shows a bit more heat on the other two numbers. But fans of his most passionate dates are advised to get a sampling of the earlier Impulse recordings instead. Scott Yanow
Tracklist :
1     Shukuru 5'44
Pharoah Sanders    
2     Body and Soul 7'33
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
3     Mas in Brooklyn (Highlife) 3'41
Linger Francisco    
4     Sun Song 6'04
Leon Thomas    
5     Too Young to Go Steady 5'21
Harold Adamson / Jimmy McHugh    
6     Jitu 5'43
Pharoah Sanders    
7    For Big George 7'59
Pharoah Sanders / Leon Thomas
Credits :
Bass – Ray Drummond
Drums – Idris Muhammad
Synthesizer [Kurzweil 520] – William Henderson
Tenor Saxophone – Pharoah Sanders
Vocals – Leon Thomas (pistas: 3, 4), Pharoah Sanders (pistas: 1, 3)

PHAROAH SANDERS - Africa (1987-2015) RM | Timeless Jazz Master Collection 11 | FLAC (tracks+.cue), lossless

As Kevin Whitehead's liner notes to this release reflect, Sanders "pays explicit tribute to his late mentor John Coltrane -- as this set's Coltrane-oriented sound makes unashamedly clear." Actually, Coltrane penned only one of the eight tunes, while Sanders wrote six, but the spirit of the master looms heavily throughout. Sanders displays an uncanny resemblance to Trane's unique way of over-blowing and his special ability to get inside a ballad. Pianist John Hicks is in perfect form and contributes mightily to the success of the session. Most will probably prefer the original Coltrane to Sanders' imitations, but Africa is nonetheless a joyous and worthy tribute to one of the giants of jazz. This album marked somewhat of a backtrack for the saxophonist, as he had frequently become identified with much more traditional playing. Steve Loewy
Tracklist :
1     You've Got to Have Freedom 10'01
Pharoah Sanders    
2     Naima 5'26
John Coltrane
3     Origin 6'50
Pharoah Sanders
4     Speak Low 8'04
Ogden Nash / Kurt Weill    
5     After the Morning 6'29
John Hicks
6     Africa 8'20
Pharoah Sanders
7     Heart to Heart 7'17
Pharoah Sanders    
8     Duo 4'32
Pharoah Sanders
Credits :
Bass – Curtis Lundy
Drums – Idris Muhammed
Piano – John Hicks
Tenor Saxophone – Pharoah Sanders

LOU DONALDSON - The Scorpion (Live At The Cadillac Club) (1970-1995) Blue Note Rare Groove Series | FLAC (image+.cue), lossless

This previously unreleased live set, which has been issued on Blue Note's Rare Groove Series, will bore anyone who listens closely. The repertoire is dominated by lengthy funk grooves that are quite danceable but never develop beyond the obvious. Altoist Lou Donaldson was using a baritone horn at the time that gave him a generic and unappealing tone, the obscure trumpeter Fred Ballard does his best to no avail and the enthusiastic rhythm section (guitarist Melvin Sparks, organist Leon Spencer, Jr., and drummer Idris Muhammad) keeps the grooves repetitious. Bob Porter's liner notes (which colorfully give readers the history of Newark jazz of the past 30 years) are superlative but, even with the inclusion of a fast blues, musically nothing much happens. Scott Yanow
Tracklist :
1     The Scorpion 10:47
Leon Spencer    
2     Laura 5:55
Johnny Mercer / David Raksin
3     Alligator Boogaloo 13:15
Lou Donaldson
4     The Masquerade Is Over 4:15
Herbert Magidson / Allie Wrubel    
5     Peepin' 5:30     
Dr. Lonnie Smith    
6     Footpattin' Time 6:50
Lou Donaldson
Credits :
Alto Saxophone – Lou Donaldson
Drums – Idris Muhammad
Guitar – Melvin Sparks
Organ – Leon Spencer Jr.
Recorded By – Rudy Van Gelder
Trumpet – Fred Ballard

LOU DONALDSON - Everything I Play Is Funky (1970-1995) Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless

Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. Steve Huey
Tracklist :
1. Everything I Do Gonna Be Funky (From Now On) 5'15
Allen Toussaint
2. Hamp's Hump 6'35
P. Hampton / Paul Hampton
3. Over The Rainbow 7'05
Harold Arlen / E.Y. "Yip" Harburg
4. Donkey Walk 6'32
Lou Donaldson
5. West Indian Daddy 6'22
Lou Donaldson
6. Minor Bash 6'08
Lou Donaldson
Credits :
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet (tracks 1-3, 6)
Eddie Williams - Trumpet (tracks 4,5)
Idris Muhammad - Drums
Melvin Sparks - Guitar
Jimmy Lewis - Bass Guitar
Charles Earland - Organ (tracks 4,5)
Lonnie Smith - Organ (tracka 1-3, 6)

LOU DONALDSON - Pretty Things (1970-1993) FLAC (tracks+.cue), lossless

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. Scott Yanow
Tracklist :
1     Tennessee Waltz 6:39
Pee Wee King / Redd Stewart    
2     Curtis' Song 5:48
L. Spencer Jr.    
3     Sassie Lassie 6:35    
H. Ousley
4     Just For a Thrill 5:28
Lil Hardin Armstrong / Don Raye    
5     Pot Belly 8:12
Lou Donaldson    
6     Love 6:04
Milt Gabler / Bert Kaempfert
Credits :
Alto Saxophone – Lou Donaldson
Drums – Idris Muhammad
Electric Bass – Jimmy Lewis
Guitar – Melvin Sparks, Ted Dunbar
Organ – Leon Spencer, Jr., Lonnie Smith
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell

LOU DONALDSON - Cosmos (1971-2014) RM | BLUE NOTE MASTERWORKS | FLAC (tracks+.cue), lossless

Tracklist:
1    The Caterpillar 6:50
Written-By – A. Ajhkeong, L. Donaldson
2    Make It With You 4:57
Written-By – D. Gates
3    If There's Hell Below (We're All Going To Go) 9:03
Written-By – C. Mayfield
4    Caracas 8:24
Written-By – L. Donaldson
5    I'll Be There 5:24
Written-By – B. Gordy, Jr., B. West, H. Davis, W. Hutch
6    When You're Smiling - The Whole World Smiles With You 5:18
Written-By – J. Goodwin, L. Shay, M. Fisher
Credits:
Arranged By [Vocals] – Jimmy Briggs
Bass [Electric] – Jerry Jemmott
Congas – Ray Armando
Drums – Idris Muhammad
Guitar – Melvin Sparks
Organ, Bass [Electric] – Leon Spencer
Recorded By – Rudy Van Gelder
Saxophone [Alto] – Lou Donaldson
Trumpet – Ed Williams
Vocals – Essence, Mildred Brown, Naomi Thomas, Rosalyn Brown

 

LOU DONALDSON - Blue Breakbeats (1998) APE (image+.cue), lossless

Back in 1998, Blue Note came out with a series of little 35- to 45-minute "Breakbeats" samplers taken from the thick, rich catalogs of Bobbi Humphrey, Grant Green, Reuben Wilson, Lee Morgan, Donald Byrd, and Lou Donaldson. What you get on this particular volume are six very enjoyable examples of Lou Donaldson's best jazz-funk grooves harvested from the golden formative years of this well-loved style (1963-1970). The collective personnel is pretty wicked, and includes Blue Mitchell, Melvin Sparks, Grant Green, Charles Earland, and Idris Muhammad. As usual, the background for the music is way bigger and runs much deeper than many folks realize. Anyone who has gone back and assessed Donaldson's entire career knows that he was one of the few alto players who didn't switch to tenor in the shadow of Charlie Parker during the 1950s. Donaldson's chops were always as formidable as Bird's or Earl Bostic's, James Moody's or Cannonball Adderley's. His recorded legacy is a lot more diverse than you would imagine if all you went by were the funky tracks that have since been lucratively "legitimated" by the recording industry in response to the sampling habits of a whole generation of DJ mixologists. Not to complain -- it's very cool that Lou Donaldson's funk-jazz is getting reissued and is being enjoyed by people young enough to be his great-grandchildren. It's just that it would be awfully nice if more people were aware of the considerable stylistic range of his music. The root system of these "Breakbeats" exists in the amazing and to some extent overlooked records that Lou Donaldson made between 1952 and 1963. For maximum enjoyment and fulfillment, get some context for the funk and you'll enjoy it like never before. arwulf arwulf  
Tracklist :
1     Turtle Walk 7:54
Lou Donaldson
Drums - Idris Muhammad   
Trumpet – Ed Williams
Organ – Charles Earland
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
2     Brother Soul 8:13
Lou Donaldson / Leon Spencer
Drums - Idris Muhammad   
Trumpet – Blue Mitchell
Organ – Charles Earland
Alto Saxophone – Lou Donaldson
Guitar – Jimmy Ponder
3     Minor Bash 6:08
Lou Donaldson   
Organ – Dr. Lonnie Smith
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
4     Pot Belly 8:05
Lou Donaldson   
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Organ – Leon Spencer, Jr.
Alto Saxophone – Lou Donaldson
Guitar – Ted Dunbar
5     One Cylinder 6:45
Freddie McCoy
Drums - Idris Muhammad   
Alto Saxophone – Lou Donaldson
Guitar – George Benson
Trumpet – Melvin Lastie
Organ – Dr. Lonnie Smith
6     Caracas 7:19
Lou Donaldson
Drums – Ben Dixon
Organ – John Patton
Alto Saxophone – Lou Donaldson
Guitar – Grant Green

JOHNNY GRIFFIN - To the Ladies (1982) lp | FLAC (tracks), lossless

Using the same trio that had joined him on NYC Underground (pianist Ron Mathews, bassist Ray Drummond and drummer Idris Muhammad), tenor saxophonist Johnny Griffin sticks exclusively to group originals on this interesting but not essential (and unfortunately out-of-print) LP. Griffin is in excellent form, as usual, but none of the tunes (by the leader, Drummond, and Mathews) caught on; the best is "Soft and Furry," which is taken in three parts. Scott Yanow
A1    Miriam    4:45
Written-By – Johnny Griffin
A2    Susanita    7:46
Written-By – Ray Drummond
A3    Jean Marie    8:07
Written-By – Ron Mathews
B1    Soft And Furry, Part 1    6:51
Written-By – Johnny Griffin
B2    Soft And Furry, Part 2    4:54
Written-By – Johnny Griffin
B3    Soft And Furry, Part 3    3:57
Written-By – Johnny Griffin
B4    Honey Bucket    7:00
Written-By – Johnny Griffin
Credits :
Bass – Ray Drummond
Drums – Idris Muhammed
Piano – Ron Mathews
Tenor Saxophone – Johnny Griffin

ETTA JONES - My Mother's Eyes (1977-2003) FLAC (tracks+.cue), lossless

Although by the mid-1970s she had already been a professional singer for 30 years, Etta Jones was in reality just entering her musical prime. Having developed her individuality gradually through the years, she was heard at her very best during her long string of Muse recordings. On this fine date, Jones is joined by her husband (tenor saxophonist Houston Person) and an oversized rhythm section that features keyboardist Sonny Phillips and guitarist Jimmy Ponder. Among the highlights are "The Way You Look Tonight," "Don't Misunderstand," "You Do Something to Me" and "This Girl's In Love With Me." by Scott Yanow
Tracklist :
1     The Way You Look Tonight 4:50
Dorothy Fields / Jerome Kern
2     Don't Misunderstand 6:12
Gordon Parks
3     Be My Love 5:50
Nicholas Brodszky / Sammy Kahn
4     You Do Something to Me 4:44
Cole Porter
5     My Mother's Eyes 5:49
Abel Baer / Louis Wolfe Gilbert
6     This Girl's in Love With You 3:59
Burt Bacharach / Hal David
7     Gloomy Sunday 4:38
László Jávor / Rezsö Seress
Credits :
Bass – Rufus Reid
Congas, Percussion – Lawrence Killian
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
Guitar – Jimmy Ponder
Keyboards – Sonny Phillips
Producer, Tenor Saxophone – Houston Person
Vibraphone – George Devens
Vocals – Etta Jones