PHAROAH SANDERS — The Impulse Story (2006) FLAC (tracks+.cue), lossless

Like the Archie Shepp and Alice Coltrane volumes in the Impulse Story series, the Pharoah Sanders issue is one of the flawless ones -- despite the fact that it only contains four tracks. Ashley Kahn, author of the book the series is named after, wisely chose tracks with Sanders as a leader rather than as a sideman with John Coltrane (those were documented quite well on the John and Alice volumes). The set begins with "Upper Egypt and Lower Egypt," recorded in 1966 while he was still a member of the Coltrane band. Featuring Sanders on tenor, piccolo, percussion, and vocals, it also contains a who's who of the vanguard: pianist Dave Burrell, guitarist Sonny Sharrock, bassist Henry Grimes, percussionist Nat Bettis, and drummer Roger Blank. Sanders could take a disparate group of players like this one and wind them into his sound world. Burrell is the most automatically sympathetic, and lends a hand in creating a series of call-and-response exchanges with Sanders so Sharrock and Grimes follow suit -- not the other way around. This is also the place where the listener really encounters Sharrock's unique (even iconoclastic) playing -- he performed on Miles Davis' seminal Jack Johnson album but was mixed out. At over 16 minutes, it is barely a hint of what is to come. This cut is followed by Sanders' magnum opus, "The Creator Has a Master Plan." Based on a simple vamp, it unravels into an almost 33-minute textured improvisation that sounds like it could move heaven and earth because it almost literally explodes. Recorded for the Karma album in 1969, "The Creator" also features the late great Leon Thomas on vocals, providing his eerie, deep, and soulful "voice as improvisational instrument" approach that sends the tune soaring. Other sidemen here are bassists Richard Davis and Reggie Workman, James Spaulding, Julius Watkins, pianist Lonnie Liston Smith, Bettis, and drummer Billy Hart. This is where this track belongs, not on the box where it took time and space away from other artists. "Astral Traveling," from the 1970 platter Thembi, follows, with the great violinist Michael White serving as foil to the lyric Pharoah. The last two tracks really chart Sanders' development not just as an improviser and composer but as a bandleader and in his mastery of the soprano saxophone -- only Steve Lacy and Coltrane did it better. The sprawl is tightened -- this cut is less than six minutes long -- but mainly in the way he leads the band with his approach to the saxophone and its dynamics. Cecil McBee plays bass here and Clifford Jarvis is on drums, and Smith uses an electric piano to fantastic effect. The final cut here, "Spiritual Blessing" from the Elevation album in 1973, is widely regarded as another Sanders classic with the man himself on soprano. He is accompanied by a group of percussionists, including Michael Carvin, Jimmy Hopps, John Blue, and Lawrence Killian. Sanders uses the percussionists as a counter to the featured drone instruments (with Joe Bonner on harmonium and Calvin Hill on tamboura). At just under six minutes, it's a song that perfectly fuses Eastern and Western musical improvisational traditions. Listening to this volume of the course of an hour is literally an aurally expansive and spiritually enlightening experience. If you can only have one of the CDs in this series, this may be the one to snag -- along with Alice Coltrane's chapter, this is spiritual jazz at its very best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Upper Egypt And Lower Egypt 16:16
Bass – Henry Grimes
Drums – Roger Blank
Electric Guitar – Sonny Sharrock
Percussion – Nat Bettis
Piano – Dave Burrell
Tenor Saxophone, Piccolo Flute, Percussion, Vocals, Composed By – Pharoah Sanders
2    The Creator Has A Master Plan 32:45
Bass – Richard Davis
Composed By – Leon Thomas, Pharoah Sanders
Drums – Billy Hart
Flute – James Spaulding
French Horn – Julius Watkins
Percussion – Nat Bettis
Piano – Lonnie Liston Smith
Tenor Saxophone – Pharoah Sanders
Vocals, Percussion – Leon Thomas
3    Astral Traveling 5:48
Bass – Cecil McBee
Electric Piano, Composed By – Lonnie Liston Smith
Soprano Saxophone, Percussion – Pharoah Sanders
Violin – Michael White
4    Spiritual Blessing 5:40
Bells [Bell Tree] – Lawrence Killian
Drums – Michael Carvin
Harmonium – Joe Bonner
Percussion – Jimmy Hopps, John Blue
Soprano Saxophone, Composed By – Pharoah Sanders
Tambura – Calvin Hill

JOHN COLRANE — Interstellar Space (1967-1990) RM | Serie Impulse! CD Collection II | FLAC (tracks+.cue), lossless

Not released for the first time until 1974 but now available in expanded form as a CD, this set of duets by tenor saxophonist John Coltrane and drummer Rashied Ali are full of fire, emotion and constant abstract invention. The original four pieces ("Mars," "Venus," "Jupiter" and "Saturn") are joined by "Leo" and "Jupiter Variation." Coltrane alternates quiet moments with sections of great intensity, showing off his phenominal technique and ability to improvise without the need for chordal instruments. Rousing if somewhat inaccessible music. Scott Yanow
Tracklist :
1    Mars    10:41
 Written-By – John Coltrane
2    Venus    8:17
 Written-By – John Coltrane
3    Jupiter    5:21
 Written-By – John Coltrane
4    Saturn    11:35
 Written-By – John Coltrane
5    Jupiter (Variation)    6:45
 Written-By – John Coltrane
6    Leo    11:04
 Written-By – John Coltrane
Credits :
Drums – Rashied Ali
Producer – Alice Coltrane, Ed Michel
Recorded By – Rudy Van Gelder
Producer [Recording], Tenor Saxophone, Bells – John Coltrane

YUSEF LATEEF — The Golden Flute (1966-2004) RM | Serie LP Reproduction | APE (image+.cue), lossless

 This is one of the most obscure of all Yusef Lateef recordings, one that has even been left out of some discographies. Lateef mostly sticks to tenor (playing only flute on one song and making one appearance on the double-reed arghul) and is featured with his Detroit All-Stars, a quintet also including the up-and-coming trombonist Curtis Fuller, pianist Hugh Lawson, bassist Ernie Farrow and drummer Louis Hayes. Overall, the set is more bop-oriented than normal, with versions of "Pike's Peak" (based on "What Is This Thing Called Love"), Charlie Parker's "Constellation" and the blues "Chang, Chang, Chang" showing how strong and original Lateef could be even playing conventional straight-ahead material. Some of the other pieces look toward the future and/or the East, and all eight selections have their memorable moments, with the passionate yet thoughtful ballad "Love Is Eternal" being among the high points. Recommended. Scott Yanow
Tracklist :
1    Road Runner 4:44
Written-By – Lateef
2    Straighten Up And Fly Right 3:26
Written-By – Mills, Cole
3    Oasis 4:23
Written-By – Lateef
4    I Don't Stand A Ghost Of A Chance With You 4:03
Written-By – Crosby, Washington, Young
5    Exactly Like You 2:54
Written-By – McHugh/Fields
6    The Golden Flute 3:54
Written-By – Lateef
7    Rosetta 3:51
Written-By – Hines, Woode
8    Head Hunters 4:33
Written-By – Harris, Lawson
9    The Smart Set 7:31
Written-By – Brooks
Credits
Bass – Herman Wright
Drums – Roy Brooks, Jr.
Flute, Tenor Saxophone, Oboe – Yusef Lateef
Piano – Hugh Lawson

CHICO HAMILTON Introducing LARRY CORYELL — The Dealer (1967) Two Version (1990, MCA Records – MCAD-39137) + (1999, RM | Serie Impulse! Master Sessions) FLAC (tracks+.cue), lossless

Drummer Chico Hamilton introduced many top young players during his years as a bandleader, but few probably realize that Larry Coryell made his recording debut with Chico a year before joining Gary Burton's quartet. The Dealer marks Coryell's initial appearance on record, and at times he sounded oddly like Chuck Berry (especially on "The Dealer"). Also heard on this set are altoist Arnie Lawrence, bassist Richard Davis, organist Ernie Hayes (on two numbers), and, on his spirited boogaloo "For Mods Only," Archie Shepp making a rare appearance on piano. Most of the performances still sound surprisingly fresh, especially the explorative "A Trip," making this an underrated but worthy release. Scott Yanow
Tracklist :
1. The Dealer 6:20
 Jimmy Cheatham / Chico Hamilton
2. For Mods Only 4:24
 Archie Shepp
3. A Trip 6:35
 Jimmy Cheatham / Chico Hamilton
4. Baby, You Know 3:55
 Jimmy Cheatham / Chico Hamilton
5. Larry Of Arabia 5:08
 Larry Coryell
6. Thoughts 6:28
 Chico Hamilton
7. Jim-Jeannie 5:45
 Chico Hamilton
– CD-BONUS TRACK –
8    Chic Chic Chico 2:49
 Manny Albam
9    Big Noise From Winnetka 2:49
 Bob Crosby, Bob Haggart, Gil Rodin, Ray Bauduc
10    The Second Time Around 3:12
Written-By – Jimmy Van Heusen, Sammy Cahn
11    El Toro    3:12
Credits :
Alto Saxophone – Arnie Lawrence (tracks: 1 to 4, 6, 7)
Arranged By – Jimmy Cheatham (tracks: 1, 4)
Bass – Albert Stinson (tracks: 8, 10, 11), Richard Davis (tracks: 1 to 7)
Cowbell – Willie Bobo (tracks: 9)
Drums, Percussion – Chico Hamilton
Flute – Charles Lloyd (tracks: 8, 11)
Guitar – Gabor Szabo (tracks: 8, 10, 11), Larry Coryell (tracks: 1 to 7)
Maracas – Willie Bobo (tracks: 8)
Organ – Ernie Hayes (tracks: 4, 5)
Percussion – George Bohanon (tracks: 11)
Percussion, Tambourine – Unknown Artist (tracks: 7)
Piano – Archie Shepp (tracks: 2)
Tenor Saxophone – Charles Lloyd (tracks: 10), Jimmy Woods (tracks: 8)
Trombone – George Bohanon (tracks: 10)
Vocals – Albert Stinson (tracks: 8), Chico Hamilton (tracks: 6)

ELVIN JONES | JIMMY GARRISON SEXTET ft. McCOY TYNER — Illumination! (1965-2017) RM | Serie Impulse! Master Sessions | FLAC (tracks+.cue), lossless

The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument -- the tenor sax -- that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist. Bassist Richard Davis rounds out this truly brilliant ensemble of burgeoning mid-'60s jazz stars, who play an enticing collection of standards, bop, compositions of Bob Hammer, and originals from several modern sources. A stone cold bebopper and Charlie Parker devotee at the time of this recording. Mariano is the standout performer. He swings easily but mightily on the title track paralleling Coltrane's "Milestones," stretches the Charles Mingus evergreen "Reincarnation of a Lovebird" (titled here as "Love Bird"), and pulls out all the stops with Hank Jones during an only slightly flawed (they miss two notes) version of the tricky "Anthropology." They tack a calypso beat onto Duke Ellington's "Fantazm" in a playful, modern dress, and stroll on the quirky Hammer composition "That Five-Four Bag" as an offshoot retort to Dave Brubeck's "Take Five." The three tracks sans piano include a walking version of "Everything Happens to Me"; the ballad "Smoke Rings," where the band excepting Mariano is relaxed; and Frank Sinatra's "This Love of Mine," where the emotive saxophonist dips into humor, even a bit ribald. The variety from cut to cut is engaging, and there's nothing over the top, even the drumming of Elvin Jones. With the musicality at a high level, Dear John C. needs revisiting by drumming students and jazz fans to note how teamwork, shared values, and held-in-check dynamics benefit the overall quality of music. It seems this recording is underrated when over time it should never be. Dear John C. is deserving of an excellent rating. Michael G. Nastos
Tracklist :
1    Nuttin' Out Jones    5:32
 Prince Lasha
2    Oriental Flower    3:45
 McCoy Tyner
3    Half And Half    6:21
 Charles Davis
4    Aborigine Dance In Scotland    4:09
 Sonny Simmons
5    Gettin' On Way    5:12
 Jimmy Garrison
6    Just Us Blues    5:54
 Charles Davis
Credits :
Alto Saxophone, English Horn – Sonny Simmons
Baritone Saxophone – Charles Davis
Bass – Jimmy Garrison
Clarinet, Flute – Prince Lasha
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – McCoy Tyner

ELVIN JONES — Dear John C. (1965) Two Version (1990, RM | Serie Impulse! CD Collection II) + (2011, SACD Hybrid | Serie Impulse! Reissues) FLAC (tracks+.cue), lossless

The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument -- the tenor sax -- that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist. Bassist Richard Davis rounds out this truly brilliant ensemble of burgeoning mid-'60s jazz stars, who play an enticing collection of standards, bop, compositions of Bob Hammer, and originals from several modern sources. A stone cold bebopper and Charlie Parker devotee at the time of this recording. Mariano is the standout performer. He swings easily but mightily on the title track paralleling Coltrane's "Milestones," stretches the Charles Mingus evergreen "Reincarnation of a Lovebird" (titled here as "Love Bird"), and pulls out all the stops with Hank Jones during an only slightly flawed (they miss two notes) version of the tricky "Anthropology." They tack a calypso beat onto Duke Ellington's "Fantazm" in a playful, modern dress, and stroll on the quirky Hammer composition "That Five-Four Bag" as an offshoot retort to Dave Brubeck's "Take Five." The three tracks sans piano include a walking version of "Everything Happens to Me"; the ballad "Smoke Rings," where the band excepting Mariano is relaxed; and Frank Sinatra's "This Love of Mine," where the emotive saxophonist dips into humor, even a bit ribald. The variety from cut to cut is engaging, and there's nothing over the top, even the drumming of Elvin Jones. With the musicality at a high level, Dear John C. needs revisiting by drumming students and jazz fans to note how teamwork, shared values, and held-in-check dynamics benefit the overall quality of music. It seems this recording is underrated when over time it should never be. Dear John C. is deserving of an excellent rating. Michael G. Nastos
Tracklist :
1    Dear John C. 3:54
Composed By – Bob Hammer, Bob Thiele
2    Smoke Rings 3:39
Composed By – H. Eugene Gifford, Ned Washington
3    Love Bird 3:46
Composed By – Charles Mingus
4    Feeling Good 4:04
Composed By – Anthony Newley, Leslie Bricusse
5    Anthropology 4:10
Composed By – Charlie Parker, Dizzy Gillespie
6    This Love Of Mine 4:20
Composed By – Frank Sinatra, Hank Sanicola, Sol Parker
7    Fantazm 3:55
Composed By – Duke Ellington
8    Ballade 5:17
Composed By – Bob Hammer
9    Everything Happens To Me 5:48
Composed By – Matt Dennis, Tom Adair
Credits :
Alto Saxophone – Charlie Mariano
Bass – Richard Davis
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – Hank Jones, Roland Hanna

ELVIN JONES AND RICHARD DAVIS — Heavy Sounds (1968-1999) RM | Serie Impulse! Master Sessions | FLAC (tracks+.cue), lossless

This Impulse! session co-led by drummer Elvin Jones and bassist Richard Davis finds the pair joined by tenor saxophonist Frank Foster and pianist Billy Green. The quartet performs an erratic but generally interesting set of music including "Shiny Stockings," Foster's funky "Raunchy Rita," and "Elvin's Guitar Blues"; the latter briefly features Jones making his first and only appearance on guitar. The music is essentially advanced hard bop but is not all that essential. Scott Yanow
Tracklist :
1    Raunchy Rita    11:32
 Frank Foster
2    Shiny Stockings    5:10
 Frank Foster
3    M. E.    2:37
 Billy Green / Billy Greene
4    Summertime 11:35
Composed By – Dubose & Dorothy Heyward, George Gershwin, Ira Gershwin
5    Elvin's Guitar Blues 3:25
 Elvin Jones
Guitar [Intro] – Elvin Jones
6    Here's That Rainy Day 7:02
Composed By – Jimmy Van Heusen And Johnny Burke
Credits :
Bass – Richard Davis
Drums – Elvin Jones
Piano – Billy Greene (tracks: 1 to 3, 5, 6)
Tenor Saxophone – Frank Foster (tracks: 1 to 3, 5, 6)

STANLEY CLARKE | BIRÉLI LAGRÈNE | JEAN-LUC PONTY — D-Stringz (2015) FLAC (tracks+.cue), lossless

The occasion for this trio to work together was a 2010 concert that celebrated violinist Jean-Luc Ponty's 50th anniversary as a recording artist. Both the violinist and Stanley Clarke had collaborated before (a previous electric trio set with Al Di Meola, The Rite of Strings was issued in 1995), but neither had collaborated with French jazz guitarist Biréli Lagrène prior to that evening. In playing for a mere 20 minutes, they created the impetus for D-Stringz -- though it took two years for them to clear their schedules and get into a Brussels studio. These ten tunes are an assortment of standards and originals. The album is an acoustic, straight-ahead date that employs flawless swinging bop and post-bop, as well as 21st century takes on gypsy and soul-jazz and funk. John Coltrane's "Blue Train" is offered in cut time. Ponty covers the horn lines while Lagrène plays choppy, meaty chords and Clarke redefines the bass' role in a walking 12-bar blues. Ponty's solo offers the right amount of flash and punch, touching on both gypsy and modal jazz traditions. Lagrène syncopates his butt off in the changes. The reading of Joe Zawinul's Cannonball Adderley vehicle, "Mercy Mercy Mercy," is a showcase for Lagrène's gorgeous chord voicings. Ponty's solo nearly sings, and further, a call-and-response exchange between Clarke and the guitarist -- before the latter's slippery solo -- is gritty and tight. In another Coltrane reference, the reading of Jimmy McHugh's and Harold Adamson's "Too Old to Go Steady" (that the saxophonist rendered so beaut-fully on Ballads in 1963) offers a lovely conversation between the guitarist and violinist, but it's Clarke's counterpoint that steals the show. Given the trio's collective love of Django Reinhardt, it makes sense they would cover his iconic "Nuages." Ponty moves it along the ledge by rendering it contemporary; he provides a simmering bossa lilt in the melody. The bassist's "Bit of Burd" is fleet, driving bebop; everyone is on fire, but Lagrène's arpeggios are on stun. The guitarist's "Strech" binds progressive jazz, modernism, post-bop, and gypsy swing. Ponty's "To and Fro," built on a four-note riff, allows the trio to really stretch out and get their funk on. In the latter, Clarke's bassline is fat, woody, and hard-grooving. The closer, "One Take," is built on a simple two-chord vamp. Loping violin and guitar lines twist, turn, and soar, creating a lithe, breezy, funky feel but Clarke whomps down hard, binding them to the tune's groove. The sound on D-Stringz is warm and bright, but so pristine, it lends an intimate living room feel to the proceedings. All the playing is relaxed, inquisitive and inventive. D-Stringz is the sound of musical invention and delight put on offer directly. It is a thoroughly enjoyable listening experience.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist:
1 Stretch 3:30
Composed By – Biréli Lagrène
2 To And Fro 6:15
Composed By – Jean-Luc Ponty
3 Too Young To Go Steady 7:30
Composed By – Jimmy McHugh
Lyrics By – Harold Adamson
4 Bit Of Burd 3:29
Composed By – Stanley Clarke
5 Nuages 5:16
Composed By – Django Reinhardt
6 Childhood Memories (Souvenirs D'Enfance) 5:39
Composed By – Jean-Luc Ponty
7 Blue Train 6:17
Composed By – John Coltrane
8 Paradigm Shift 6:14
Composed By – Stanley Clarke
9 Mercy, Mercy, Mercy 6:31
Composed By – Joe Zawinul
10 One Take 4:03
Credits:
Acoustic Guitar – Biréli Lagrène
Double Bass – Stanley Clarke
Percussion – Steve Shehan (tracks: 8)
Violin – Jean-Luc Ponty

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

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

OLIVER NELSON — The Argo, Verve And Impulse Big Band Studio Sessions (2006) RM | 6xCD BOX-SET | FLAC (tracks+.cue), lossless

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. Scott Yanow   Tracklist & Credits :

OLIVER NELSON — More Blues and the Abstract Truth (1964-2015) RM | Serie Impulse! Classics 50 – 25 | APE (tracks+.cue), lossless

Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.  Scott Yanow   Tracklist & Credits :

OLIVER NELSON — Sound Pieces (1966-1991) RM | GRP Presents The Legendary Masters Of Jazz | FLAC (image+.cue), lossless

Sound Pieces features Oliver Nelson in two very different settings. Although best-known as an altoist and a tenor saxophonist, Nelson sticks exclusively to soprano throughout the set. He leads a 20-piece big band on three of his compositions which, although interesting, are not overly memorable. Best are five other numbers (two of which were originally issued on the record Three Dimensions) that showcase Nelson's soprano playing with a quartet that includes pianist Steve Kuhn, bassist Ron Carter, and drummer Grady Tate. Although one would not think of Nelson as a soprano stylist, his strong playing actually put him near the top of his field on such numbers as "The Shadow of Your Smile," "Straight No Chaser," and his own "Patterns."  Scott Yanow
Tracklist & Credits :

OLIVER NELSON — Oliver Nelson Plays Michelle (1966) LP, Vinyl | MONOAURAL | FLAC (tracks), lossless

This is an album of short, often corny tunes and brief, likable solos. Nelson features one of his first uses of guitar here via Barry Galbraith and, more prominently, Billy Butler. Nelson's originals, "Jazz Bug" and "Do You See What I See?" are worth a listen. Douglas Payne   Tracklist & Credits :

OLIVER NELSON AND HIS ORCHESTRA — The Kennedy Dream : A Musical Tribute To John Fitzgerald Kennedy (1967-2006) RM | Serie Impulse! Originals | FLAC (tracks), lossless

When the late President John F. Kennedy was assassinated on November 22, 1963, the world lost not only a prominent politician, but one who truly championed the arts and civil rights. In February of 1967, Oliver Nelson recognized Kennedy's contributions and assembled a big band to play music in his honor, with taped segments of his speeches as preludes. The result is a heartfelt yet eerie combination, perhaps a bit off-putting, but absolutely relevant decades later. The music is reflective of the changing times as identified by Nelson, ranging from commercial movie score-type music, to soulful or straight-ahead jazz, bop, and the modern big-band sound that the leader, composer, and orchestrator owned. Kennedy's most famous speech about fellow Americans, asking what they can do for their country, is folded into the last track "John Kennedy Memory Waltz" with a string quartet and the regret-tinged alto sax of Phil Woods. The 34th President's oratorios on human rights act as prelude to the soft clarion horns, 7/8 beat, flutes, and vibes, giving way to the modal and serene passages of "Let the Word Go Forth," or the cinematic, military, harpsichord-shaded, plucked-guitar-and-streaming-oboe-accented "The Rights of All," which is also reflective of the immortal spiritual song "Wade in the Water." Where "Tolerance" has a similar verbal tone, the mood is much more ethereal between the flutes, oboe, and strings, while the two-minute etude for the first lady and widow, "Jacqueline," has a loping stride. "A Genuine Peace" is an anthem for all times in a soul-jazz mode that parallels Aaron Copland's Americana moods, while "Day in Dallas" is the expectant, ominous, foreboding calm before the chaos. Nelson's straight-ahead jazz exercise is "The Artists' Rightful Place," a spoken word tonic for musical troops in a bop framework that has the horn section jumping for joy. As always, Nelson surrounds himself with the very best musicians -- Woods and Phil Bodner in the reed section, tuba player Don Butterfield, bassist George Duvivier, and pianist Hank Jones -- and all produced by Bob Thiele. Michael G. Nastos   Tracklist & Credits :

OLIVER NELSON & FRIENDS – Happenings + Soulful Brass (2011) RM | Serie Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

This Impulse two-fer revives a pair of LPs by arranger, composer, and saxophonist Oliver Nelson, Happenings and Soulful Brass, released in 1966 and 1968, respectively. Happenings, a date with pianist Hank Jones, is the better album, unlike Soulful Brass, which was co-led with comedian/pianist Steve Allen. Unfortunately, both pianists are featured mainly on harpsichord, which tends to dominate, and at times overwhelm, the compositions. Unless you're a die-hard collector, best to skip this two-fer and pick up the Impulse releases, The Blues & the Abstract Truth and More Blues & the Abstract Truth. Al Campbell  Tracklist & Credits :

OLIVER NELSON'S BIG BAND — Live from Los Angeles (1968-2005) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Oliver Nelson's live recordings don't seem as sharp as his studio stuff. Good playing, though, from a good group of West Coasters, but nothing exciting happens. Douglas Payne   Tracklist & Credits :

THE GIL EVANS ORCHESTRA — Out of the Cool (1961-1996) RM | FLAC (tracks+.cue), lossless

Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis -- Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo -- drenched in funky blues -- is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.

Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter -- which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

THE GIL EVANS ORCHESTRA — Into the Hot (1962-1988) FLAC (image+.cue), lossless

Although this album (reissued on CD) proudly states that it is by the Gil Evans Orchestra and has Evans' picture on the cover, the arranger actually had nothing to do with the music. Three songs have the nucleus of his big band performing numbers composed, arranged, and conducted by John Carisi (who also plays one of the trumpets). Those selections by the composer of "Israel" are disappointingly forgettable. The other three performances are even further away from Evans for they are actually selections by avant-garde pianist Cecil Taylor's septet! Taylor's music features trumpeter Ted Curson, trombonist Roswell Rudd, altoist Jimmy Lyons, tenor saxophonist Archie Shepp, bassist Henry Grimes, and drummer Sunny Murray and is quite adventurous and exciting, the main reason to acquire this somewhat misleading set. Scott Yanow    Tracklist & Credits :

CHARLIE HADEN — Liberation Music Orchestra (1970) Two Version | 1996, RM | BONUS TRACK | Impulse! – IMP 11882 + 2001, RM | Impulse! Best 50 – 38 | FLAC (tracks+.cue), lossless

A fascinating reissue that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Reissue producer Michael Cuscuna has done his best with the mastering here, but listeners will note a roughness to the sound -- one that is in keeping with the album's tone and attitude. Steven McDonald 
Tracklist :
1  The Introduction 1:15
Carla Bley 
2  Song of the United Front 1:52
Bertolt Brecht / Hanns Eisler 
3  El Quinto Regimiento (The Fifth Regiment)/Los Cuatro Generales (The Four G 20:58
Carla Bley / Traditional 
4  The Ending to the First Side 2:07
Carla Bley 
5  Song for Ché 9:29
Charlie Haden 
6  War Orphans 6:42
Ornette Coleman 
7  The Interlude (Drinking Music) 1:24
Carla Bley 
8  Circus '68 '69 6:10
Charlie Haden 
9  We Shall Overcome 1:19
Guy Carawan / Frank Hamilton / Zilphia Horton / Pete Seeger / Traditional 
Credits :
Bass, Producer – Charlie Haden
Clarinet – Perry Robinson
Cornet, Flute [Indian Wood Flute, Bamboo Flute] – Don Cherry (tracks: 3, 5) 
French Horn, Wood Block [Hand Wood Blocks], Bells, Reeds [Crow Call], Whistle [Military Whistle] – Bob Northern
Guitar, Kalimba [Thumb Piano] – Sam Brown (tracks: 1, 3 to 7) 
Percussion – Andrew Cyrille (tracks: 8), Paul Motian
Tambourine, Arranged By – Carla Bley
Tenor Saxophone, Alto Saxophone – Dewey Redman
Tenor Saxophone, Clarinet – Gato Barbieri
Trombone – Roswell Rudd
Trumpet – Michael Mantler
Tuba – Howard Johnson

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

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