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

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

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

DUKE PEARSON — Sweet Honey Bee (1966-1993) FLAC (tracks+.cue) lossless

Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians -- trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader -- are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music. Scott Yanow
Tracklist :
1    Sweet Honey Bee    4:50
 Duke Pearson
2    Sudel    5:40
 Duke Pearson
3    After The Rain    4:25
 Duke Pearson
4    Gaslight    5:50
 Duke Pearson
5    Big Bertha    5:50
 Duke Pearson
6    Empathy    6:00
 Duke Pearson
7    Ready Rudy?    6:10
 Duke Pearson
Credits :
Freddie Hubbard - Trumpet
James Spaulding - Alto Sax & Flute
Joe Henderson - Tenor Sax
Duke Pearson - Piano
Ron Carter - Bass
Mickey Roker - Drums

McCOY TYNER — Tender Moments (1968-1987) Serie Blue Note CD Treasury – CP32-9545 | FLAC (image+.cue), lossless

On this excellent set, McCoy Tyner had the opportunity for the first time to head a larger group. His nonet is an all-star aggregation comprised of trumpeter Lee Morgan, trombonist Julian Priester, altoist James Spaulding, Bennie Maupin on tenor, Bob Northern on French horn, Howard Johnson on tuba, bassist Herbie Lewis, and drummer Joe Chambers in addition to the pianist/leader. Tyner debuted six of his originals, and although none became standards (perhaps the best known are "The High Priest" and "All My Yesterdays"), the music is quite colorful and advanced for the period. Well worth investigating. Scott Yanow
Tracklist :
1    Mode To John    5:40
 McCoy Tyner
2    Man From Tanganyika    6:52
 McCoy Tyner
3    The High Priest    6:05
 McCoy Tyner
4    Utopia    7:35
 McCoy Tyner
5    All My Yesterday    6:03
 McCoy Tyner
6    Lee Plus Three    5:41
 McCoy Tyner
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Herbie Lewis
Drums – Joe Chambers
French Horn – Bob Northern
Piano – McCoy Tyner
Recorded By – Rudy Van Gelder
Tenor Saxophone – Bennie Maupin
Trombone – Julian Priester
Trumpet – Lee Morgan
Tuba – Howard Johnson

DUKE PEARSON – The Right Touch (1967-1994) FLAC (tracks+.cue), lossless

Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of "Los Malos Hombres") played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson's career. Scott Yanow    Tracklist & Credits

ARCHIE SHEPP - Things Have Got to Change (1971-1992) RM | FLAC (tracks), lossless

1    Money Blues    18:25
1.1    a) Part 1    5:54
1.2    b) Part 2    5:47
1.3    c) Part 3    6:41
2    Dr. King, The Peaceful Warrior    2:30
3    Things Have Got To Change    16:59
3.1    a) Part 1    9:07
3.2    b) Part 2    7:51
Credits
Alto Saxophone, Piccolo Flute – James Spaulding (pistas: 1,3)
Backing Vocals – Anita Branham (pistas: 1,3), Anita Shepp (pistas: 1,3), Barbara Parsons (pistas: 1,3), Claudette Brown (pistas: 1,3), Ernestina Parsons (pistas: 1,3), Jody Shayne (pistas: 1,3), Joe Lee Wilson (pistas: 3), Johnny Shepp (pistas: 1,3), Sharon Shepp (pistas: 1,3)
Baritone Saxophone – Howard Johnson (pistas: 1,3)
Bass – Roland Wilson (pistas: 1,3)
Cello – Calo Scott (pistas: 3)
Drums – Beaver Harris (pistas: 1,3)
Electric Piano – Cal Massey (pistas: 2), Dave Burrell (pistas: 1,3)
Engineer – Rudy Van Gelder
Guitar – Billy Butler (pistas: 1), David Spinozza (pistas: 1)
Percussion – Calo Scott (pistas: 1), Hetty 'Bunchy' Fox (pistas: 1,3), Juma Sutan (pistas: 1,3), Ollie Anderson (pistas: 1,3)
Tenor Saxophone, Soprano Saxophone – Archie Shepp
Trombone – Charles Greenlee (pistas: 1,3), Grechan Moncur III (pistas: 1,3)
Trumpet – Roy Burrowes (pistas: 1,3), Ted Daniel (pistas: 1,3)
Violin – Leroy Jenkins (pistas: 3)
Vocals – Joe Lee Wilson (pistas: 1)

PHAROAH SANDERS - Karma (1969-2019) RM | FLAC (tracks+.cue), lossless

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.   

|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|

Tracklist :
1 Creator Has a Master Plan 32:47
(Pharoah Sanders / Leon Thomas)
Bass – Richard Davis
Drums – William Hart
Flute – James Spaulding
Percussion – Nathaniel Bettis
2 Colors 5:36
(Pharoah Sanders / Leon Thomas)
Bass – Ron Carter
Drums – Frederick Waits
Credits :
Bass – Reggie Workman
French Horn – Julius Watkins
Piano – Lonnie L. Smith Jr.
Tenor Saxophone, Music By – Pharoah Sanders
Vocals, Percussion, Lyrics By – Leon Thomas

SAM RIVERS - Dimensions & Extensions (1967-2008) RM | RVG Edition | FLAC (tracks+.cue), lossless

Ambitious, atonal, challenging -- all are accurate descriptions of Dimensions & Extensions, Sam Rivers' fourth album for Blue Note. Rivers remains grounded in hard bop structure, working with a sextet featuring Donald Byrd (trumpet), James Spaulding (alto saxophone, flute), Julian Priester (trombone), Cecil McBee (bass), and Steve Ellington (drums), but he explodes the boundaries of the form with difficult, dissonant compositions. With his unique, mercurial tone and edgy solos, he keeps pushing the sextet in different directions. It's intense, cerebral music, but since it has distinct themes and strong rhythms, the forays into free jazz, dissonant harmonies, and unpredictable tonal textures are actually quite accessible. Rivers simply burns on each track, whether playing tenor, soprano, or flute. Byrd doesn't display the wild imagination of Rivers, yet he keeps the pace with alternately languid and biting solos. Similarly, each of the remaining musicians makes a lasting impression with his individual time in the spotlight. With music as risky at this, it's forgivable that it occasionally meanders (especially on the slower numbers) but, overall, Dimensions & Extensions offers more proof that Sam Rivers was one of the early giants of the avant-garde. Stephen Thomas Erlewine  
Tracklist :
1    Precis    5:18
2    Paean    5:20
3    Effusive Melange    5:45
4    Involution    7:10
5    Afflatus    6:25
6    Helix    5:30
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Cecil McBee
Drums – Steve Ellington
Producer – Alfred Lion
Producer [For Release] – Michael Cuscuna
Recorded By – Rudy Van Gelder
Tenor Saxophone, Soprano Saxophone, Flute, Composed By – Sam Rivers
Trombone – Julian Priester
Trumpet – Donald Byrd

HANK MOBLEY - A Slice of the Top (1966-1995) RM | FLAC (tracks+.cue), lossless

This is one of tenor saxophonist Hank Mobley's more intriguing sessions, for the talented composer had an opportunity to have four of his originals, plus the standard "There's a Lull in My Life," performed by an octet in the cool-toned style of Miles Davis's "Birth of the Cool" nonet, arranged by Duke Pearson. Although recorded in 1966, this date was not released until 1979 (and reissued on CD in 1995). Mobley, who continued to evolve into a more advanced player throughout the 1960s, fits right in with such adventurous players as altoist James Spaulding, trumpeter Lee Morgan (with whom Mobley recorded frequently), pianist McCoy Tyner, bassist Reggie Workman and drummer Billy Higgins. The inclusion of Kiane Zawadi on euphonium and Howard Johnson on tuba adds a lot of color to this memorable outing. Scott Yanow
Tracklist :
1     Hank's Other Bag 7'10
Hank Mobley
2     There's a Lull in My Life 5'23
Mack Gordon / Mark Gordon / Harry Revel    
3     Cute 'N Pretty 7'34
Hank Mobley    
4     A Touch of Blue 8'44
Hank Mobley
5     A Slice of the Top 9'40
Hank Mobley
Notas.
Originally issued as BN LT-995, on which Reggie Workman was mistakenly identified as bassist.
Credits :
Alto Saxophone – James Spaulding
Arranged By – Duke Pearson
Bass – Bob Cranshaw
Drums – Billy Higgins
Engineer [Recording] – Rudy Van Gelder
Euphonium – Kiane Zawadi
Piano – McCoy Tyner
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
Tuba – Howard Johnson

HANK MOBLEY - Third Season (1967-1998) RM | FLAC (tracks+.cue), lossless

Tenor saxophonist Hank Mobley recorded frequently for Blue Note in the 1960s (six albums from 1967-1970) and, although overshadowed by the flashier and more avant-garde players, Mobley's output was consistently rewarding. For this overlooked session, which was not issued until 1980 and then finally reissued on CD in 1988, a regular contingent of top Blue Note artists (Mobley, trumpeter Lee Morgan, altoist James Spaulding, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins) are joined by a wild card, guitarist Sonny Greenwich. The music is mostly in the hard bop vein, with hints of modality and the gospel-ish piece "Give Me That Feelin'," but Greenwich's three solos are a bonus and the performances of five Mobley originals and one by Morgan are up to the usual caliber of Blue Note's releases. Pity that this one has been lost in the shuffle. Scott Yanow
Tracklist :
1     An Aperitif 6'52
Hank Mobley    
2     Don't Cry, Just Sigh 6'51
Hank Mobley    
3     The Steppin' Stone 5'36
Lee Morgan    
4     Third Season 6'44
Hank Mobley    
5     Boss Bossa 5'11
Hank Mobley    
6     Give Me That Feelin' 6'33
Hank Mobley
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Walter Booker
Drums – Billy Higgins
Engineer [Recording] – Rudy Van Gelder
Guitar – Sonny Greenwich
Piano – Cedar Walton
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan

BOBBY HUTCHERSON - Components (1965-1994) APE (image+.cue), lossless

Perhaps the single album that best sums up Bobby Hutcherson's early musical personality, Components is appropriately split into two very distinct halves. The first features four Hutcherson originals in a melodic but still advanced hard bop style, while the latter half has four free-leaning avant-garde pieces by drummer Joe Chambers. Hutcherson allots himself more solo space than on Dialogue, but that's no knock on the excellent supporting cast, which includes Herbie Hancock on piano, James Spaulding on alto sax and flute, Freddie Hubbard on trumpet, and Ron Carter on bass. It's just more Hutcherson's date, and he helps unite the disparate halves with a cool-toned control that's apparent regardless of whether the material is way outside or more conventionally swinging. In the latter case, Hutcherson's originals are fairly diverse, encompassing rhythmically complex hard bop (the title track), pensive balladry ("Tranquillity," which features a lovely solo by Hancock), down-and-dirty swing ("West 22nd Street Theme"), and the gaily innocent "Little B's Poem," which went on to become one of Hutcherson's signature tunes and contains some lyrical flute work from Spaulding. The Chambers pieces tend to be deliberate explorations that emphasize texture and group interaction in the manner of Dialogue, except that there's even more freedom in terms of both structure and tonal center. (The exception is the brief but beautiful closing number, "Pastoral," an accurate title if ever there was one.) Components illustrated that Hutcherson was not only the most adventurous vibes player on the scene, but that he was also capable of playing more straightforward music with intelligence and feeling. by Steve Huey  
Tracklist :
1    Components    6:23
Bobby Hutcherson
2    Tranquillity    5:01
Bobby Hutcherson
3    Little B's Poem    5:08
Bobby Hutcherson
4    West 22nd Street Theme    4:42
Bobby Hutcherson
5    Movement    7:29
Joe Chambers
6    Juba Dance    5:21
Joe Chambers
7    Air    4:45
Joe Chambers
8    Pastoral    2:02
Joe Chambers
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Ron Carter
Drums – Joe Chambers
Piano – Herbie Hancock
Trumpet – Freddie Hubbard
Vibraphone [Vibes], Marimba – Bobby Hutcherson

ART BLAKEY AND THE JAZZ MESSENGERS - Play Selections from the New Musical Golden Boy (1963-2010) RM / EMI Music Japan Inc. 50th Anniversary / FLAC (tracks+.cue), lossless

Originally released in 1964, Golden Boy features drummer Art Blakey and his Jazz Messengers performing songs from the Lee Adams and Charles Strouse Broadway musical for which the album is titled. Based off the play, written by Clifford Odets and William Gibson, Golden Boy was a socially conscious musical about a Harlem prize-fighter trying to escape his working class roots. A somewhat obscure Blakey release, Golden Boy nonetheless features plenty of improvisatory, hard bop firepower. by Matt Collar
Tracklist:
1 Theme From Golden Boy 5:36
2 Yes I Can 5:27
3 Lorna's Here 5:09
4 This Is The Life 5:57
5 There's A Party 5:00
6 I Want To Be With You 4:03
Credits:
Alto Saxophone – James Spaulding
Arranged By – Cedar Walton, Curtis Fuller, Wayne Shorter
Baritone Saxophone – Charlie Davis
Bass – Reggie Workman
Drums – Art Blakey
French Horn – Julius Watkins
Piano – Cedar Walton
Tenor Saxophone – Wayne Shorter
Trombone – Curtis Fuller
Trumpet – Freddie Hubbard, Lee Morgan
Tuba – Bill Barber
Written-By – C. Strouse, L. Adams

SAM RIVERS – The Complete Blue Note Sam Rivers Sessions (1999) 3xCD | FLAC (tracks+.cue), lossless

From the time of his first Blue Note recording in 1964 to his final session for the label in 1967, Sam Rivers made stunning progress as an avant-garde innovator. Starting with an inside/outside hard bop foundation, Rivers quickly took his music as far out as he could while maintaining a recognizable structure; his work fearlessly explored wildly dissonant harmonies and atonality, dense group interaction, cerebral rumination, and passionately intense, free-leaning solos. The Complete Blue Note Sam Rivers Sessions traces that development chronologically (and flawlessly) over the course of three discs, including the entirety of his four albums as a leader: the relatively straightforward Fuschia Swing Song [sic], the avant-bop masterpiece Contours, the radical standards album A New Conception, and the galvanizing, brilliant avant-garde classic Dimensions and Extensions (which also comprised Rivers' half of the split double-LP Involution with Andrew Hill). Five alternate takes are also added to the program, including three of "Downstairs Blues Upstairs." What amazes just as much as Rivers' imaginative originality is how consistently rewarding all three discs are. Rivers may not be quite as much a household name as some of his equally forward-thinking peers, but any jazz fan remotely interested in the avant-garde should know that this set constitutes some of the finest avant-garde jazz Blue Note ever released -- the music here should be considered a cornerstone of any self-respecting avant-garde collection. [As of early 2002, the set was very close to going out of print, a real shame since at the time it was the only form in which any of Rivers' Blue Note recordings were available.] Steve Huey  

♫♪♫♪♫♪♫♪♫♪♫♪♫♪

1-1 Fuschia Swing Song 6:00
1-2 Cyclic Episode 6:55
1-3 Luminous Monolith 6:28
1-4 Luminous Monolith (Alt Tk) 6:36
1-5 Ellipsis 7:39
1-6 Downstairs Blues Upstairs (Alt Tk 1) 8:06
1-7 Downstairs Blues Upstairs (Alt Tk 2) 7:44
1-8 Downstairs Blues Upstairs (Alt Tk 3) 7:46
1-9 Downstairs Blues Upstairs 5:31
1-10 Beatrice 6:10

♫♪♫♪♫♪♫♪♫♪♫♪

2-1 Point Of Many Returns 9:18
2-2 Dance Of The Tripedal 10:06
2-3 Mellifluous Cacophony 8:57
2-4 Euterpe 11:42
2-5 Mellifluous Cacophony (Alt Tk) 9:00
2-6 I'll Never Smile Again 5:55
2-7 That's All 5:37
2-8 When I Fall In Love 5:48

♫♪♫♪♫♪♫♪♫♪♫♪

3-1 What A Difference A Day Makes 6:17
3-2 Detour Ahead 5:08
3-3 Temptation 7:36
3-4 Secret Love 7:31
3-5 Paean 5:21
3-6 Precis 5:18
3-7 Helix 5:29
3-8 Effusive Melange 5:47
3-9 Involution 7:10
3-10 Afflatus 6:25

♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫♪♫♪

Alto Saxophone, Flute 

– James Spaulding (tracks: 3-5 to 3-10)

Bass – Cecil McBee (tracks: 3-5 to 3-10), 

Herbie Lewis (tracks: 2-6 to 3-4), 

Ron Carter (tracks: 1-1 to 2-5)

Drums – Anthony Williams (tracks: 1-1 to 1-10), 

Joe Chambers (tracks: 2-1 to 2-5), 

Steve Ellington (tracks: 2-6 to 3-10)

Piano – Hal Galper (tracks: 2-6 to 3-4), 

Herbie Hancock (tracks: 2-1 to 2-5), 

Jaki Byard (tracks: 1-1 to 1-10)

Soprano Saxophone, Flute 

– Sam Rivers (tracks: 2-1 to 3-10)

Tenor Saxophone – Sam Rivers

Trombone – Julian Priester (tracks: 3-5 to 3-10)

Trumpet – Donald Byrd (tracks: 3-5 to 3-10), 

Freddie Hubbard (tracks: 2-1 to 2-5)