STANLEY JORDAN — Cornucopia (1990) FLAC (image+.cue), lossless

The first half of this CD by the remarkable guitarist Stanley Jordan is so strong that it is a pity that things decline during the latter half. Jordan is quite outstanding on "Impressions" and "Autumn Leaves," emulates B.B. King on "Still Got The Blues", interprets a thoughtful "Willow Weep For Me" and performs a dazzling tour-de-force on the uptempo blues "Fundance"; the latter two are unaccompanied solos that sound like duets or trios. However a couple of funk pieces (including an unimaginative rendition of "What's Going On") and a New Age synthesizer selection are on a lower level. The title cut clocks in at 21:45 and, although it finds Jordan creating "impossible" technical feats on solo guitar, it meanders on indefinitely and gets boring very quickly. This is a frustrating release; get it for the good half if you see it at a budget price. Scott Yanow
Tracklist :
1.    Impressions 7:17
Written-By – John Coltrane
2.    Willow Weep For Me 4:39
Written-By – Anne Ronell
3.    Autumn Leaves 7:55
Written-By – Prevert, Mercer, Kozma
4.    Still Got The Blues 5:07
Written-By – Stanley Jordan
5.    Fundance 6:25
Written-By – Stanley Jordan
6.    What's Goin' On 4:32
Written-By – Al Cleveland, Marvin Gaye
7.    Always Know 4:32
Written-By – Bernard Wright, Yossi Fine
8.    Asteroids 4:44
Written-By – Stanley Jordan
9.    Cornucopia 21:45
Written-By – Stanley Jordan
Credits :
Bass – Charnett Moffett, Yossi Fine
Drums – J.T.Lewis, Jeff Watts, Kenwood Dennard, Michael Flythe
Guitar, Bass, Drum Programming – Stanley Jordan
Keyboards – Bernard Wright
Piano [Acoustic] – Kenny Kirkland
Synthesizer – Robert Zantay

STANLEY JORDAN — Live in New York (1998) FLAC (image+.cue), lossless

This concert was originally intended to be a video release showcasing Stanley Jordan in acoustic, electric and solo settings. His tight rhythm section -- including Jeff "Tain" Watts on drums, Kenny Kirkland on piano and Charnett Moffett on bass -- drives his complex and moving guitar playing through the standout acoustic tracks "Impressions" and "Cousin Mary," both by John Coltrane. But concert highlights are Jordan's two solo pieces, the bluesy "Willow Weep for Me" and classic show tune "Over the Rainbow," where he performs with an exhilarating freedom and virtuosity. Jordan resists the temptation to slip into the then-ubiquitous smooth jazz sound, making this a timeless release. Ryan Randall Goble
Tracklist :
1  Impressions  7:45
 John Coltrane
2  Autumn Leaves  7:52
Joseph Kosma / Johnny Mercer / Jacques Prévert
3  For You  5:43
 Charnett Moffett
4  Cousin Mary  6:12
 John Coltrane
5  Flying Home  5:16
 Stanley Jordan
6  Willow Weep For Me  4:44
 Ann Ronell
7  Over The Rainbow  5:24
 Harold Arlen / E.Y. "Yip" Harburg
8  Still Got The Blues  5:22
 Stanley Jordan
9  The Lady In My Life  7:22
 Rod Temperton
Credits :
Charnett Moffett (tracks: 1-4) - bass
J.T. Lewis (tracks: 8-9), Jeff "Tain" Watts (tracks: 1-4) - Drums
Yossi Fine (tracks: 8-9) - Electric bass
Stanley Jordan - Guitar
Bernard Wright (tracks: 8-9) - Keyboard
Kenny Kirkland (tracks: 1-4) - Piano

WYNTON MARSALIS - Wynton Marsalis (1981) APE (image+.cue), lossless

Trumpeter Wynton Marsalis's debut on Columbia, recorded when he was only 19, made it clear from the start that he was going to be a major force in jazz. At the time Marsalis (who was originally a bit influenced by Freddie Hubbard) was starting to closely emulate Miles Davis of the mid-'60s and his slightly older brother Branford took Wayne Shorter as his role model. The inclusion of Davis's rhythm section from that era (pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams) on four of the seven selections reinforced the image. The three other numbers feature such up-and-coming talents as pianist Kenny Kirkland, Charles Fambrough or Clarence Seay on bass and drummer Jeff "Tain" Watts, helping to launch the rise of the Young Lions. But although not overly original, there is a great deal of outstanding playing on this set, including a definitive version of Tony Williams's "Sister Cheryl" and the long tradeoff between Wynton and Branford on "Hesitation." Scott Yanow
Tracklist :
1     Father Time 8'14
Bass – Clarence Seay
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet, Written-By – W. Marsalis
2     I'll Be There When the Time Is Right 2'33
Bass – Clarence Seay
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – H. Hancock
3     RJ 3'50
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – R. Carter
4     Hesitation 5'42
Bass – Ron Carter
Drums – Tony Williams
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – W. Marsalis
5     Sister Cheryl 7'24
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – T. Williams
6     Who Can I Turn To (When Nobody Needs Me) 4'39
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis
Written-By – A. Newley, L. Bricusse
7     Twilight 8'39
Bass – Charles Fambrough
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – W. Marsalis

WYNTON MARSALIS - Think of One (1983) FLAC (image+.cue), lossless

In his early years after leaving Art Blakey's Jazz Messengers, Wynton Marsalis strode forth with this excellent recording, his second as a leader, done in tandem with brother Branford, also out of Blakey's herd. The combination of the two siblings created quite a buzz in the music community, and this recording, which may stand the test of time as his finest, is one of the more solid mainstream jazz statements from the Young Lions movement of the early '80s. Top to bottom, this music sings, swings, simmers, and cooks with a cool verve that, in retrospect, would turn more overtly intellectual over time. A command of dynamics akin to those of Charles Mingus creates a signature sound, heard clearly in the opener, "Knozz-Moe-King," fueled by supercharged bop; the bold, extroverted, and precise trumpeting of the leader; and Kenny Kirkland's complementary piano comping. It could be the best single track of the entire recording career of Wynton. Ranking close behind is the tick-tock drumming of Jeff Watts, informing the pretty albeit dark musings of the brothers during "Fuchsia," and the sighing horns, samba bass of Phil Bowler, and stop-start modernities of an utterly original "The Bell Ringer." A bouncy treatment of the standard "My Ideal" shows Wynton's singing tone through his horn, a great interpretation of Thelonious Monk's "Think of One" is totally sly and slinky in low-register hues, and triplet phrases that have become a staple of the Marsalis musical identity accent "Later," adapted from a phrase similar to "Surrey with the Fringe on Top." At their unified best, Wynton and Branford shine on the tricky "What Is Happening Here (Now)?," a spillover residual of their time with Blakey. Think of One is a definitive statement for Wynton Marsalis, and though other efforts turned much more elaborate, none have been played better -- with more palpable spark and original ideas -- than this fine studio date. Michael G. Nastos
Tracklist :
1     Knozz-Moe-King 6'00
Wynton Marsalis
2     Fuschia 6'29
K. Kirkland
3     My Ideal 6'19
Newell Chase / Leo Robin / Richard A. Whiting
4     What Is Happening Here (Now) ? 4'06
Ray Drummond
5     Think of One 5'30
Thelonious Monk
Arranged By – Wynton Marsalis
6     The Bell Ringer 9'05
Wynton Marsalis
7     Later 4'09
Wynton Marsalis
8     Melancholia 2'49
Duke Ellington
Credits :
Bass – Phil Bowler, Ray Drummond (pistas: 2, 4, 7, 8)
Drums – Jeffrey Watts
Piano – Kenny Kirkland
Producer, Trumpet – Wynton Marsalis
Soprano Saxophone, Tenor Saxophone – Branford Marsalis

WYNTON MARSALIS - Hot House Flowers (1984-1997) FLAC (image+.cue), lossless

Wynton Marsalis, very much in his Miles Davis period, plays quite melodically throughout this ballad-dominated outing with strings. Branford Marsalis (on tenor and soprano), flutist Kent Jordan, pianist Kenny Kirkland, bassist Ron Carter, and drummer Jeff Watts are strong assets but it is Wynton's subtle creativity on such songs as "Stardust," "When You Wish Upon a Star," Duke Ellington's "Melancholia," and "I'm Confessin'" that makes this recording special. The arrangements by Robert Freedman generally keep the strings from sounding too sticky and Wynton's tone is consistently. Scott Yanow
Tracklist :
1     Stardust 4'07
Hoagy Carmichael / Mitchell Parish
2     Lazy Afternoon 5'03
John Latouche / Jürg Morgenthaler / Jerome Moross
3     For All We Know 6'15
J. Fred Coots / Sam M. Lewis
4     When You Wish Upon a Star 4'40
Leigh Harline / Ned Washington
5     Django 4'52
John Lewis
6     Melancholia 5'09
Duke Ellington
7     Hot House Flowers 5'46
Wynton Marsalis
8     I'm Confessin' (That I Love You) 5'41
Doc Daugherty / Al J. Neiburg / Ellis Reynolds
Credits :
Acoustic Bass – Ron Carter
Drums – Jeff "Tain" Watts
Flute [Alto] – Kent Jordan
Piano – Kenny Kirkland
Saxophone [Tenor], Saxophone [Soprano] – Branford Marsalis
Trumpet – Wynton Marsalis

WYNTON MARSALIS - Black Codes (From the Underground) (1985) APE (image+.cue), lossless

This is probably the best Wynton Marsalis recording from his Miles Davis period. With his brother Branford (who doubles here on tenor and soprano) often closely emulating Wayne Shorter and the rhythm section (pianist Kenny Kirkland, bassist Charnett Moffett, and drummer Jeff Watts) sounding a bit like the famous Herbie Hancock-Ron Carter-Tony Williams trio, Wynton is heard at the head of what was essentially an updated version of the mid- to late-'60s Miles Davis Quintet (despite Stanley Crouch's pronouncements in his typically absurd liner notes about Marsalis' individuality). The music is brilliantly played and displays what the "Young Lions" movement was really about: young musicians choosing to explore acoustic jazz and to extend the innovations of the pre-fusion modern mainstream style. Marsalis would develop his own sound a few years later, but even at age 23 he had few close competitors. Scott Yanow
Tracklist
1 Black Codes 9:27
2 For Wee Folks 9:05
3 Delfeayo's Dilemma 6:46
4 Phryzzinian Man 6:44
5 Aural Oasis 5:32
6 Chambers Of Tain 7:37
7 Blues 5:24
Credits
Bass – Charnett Moffett (tracks: 1, 2, 3, 4, 6, 7), Ron Carter (tracks: 5)
Drums – Jeff "Tain" Watts
Piano – Kenny Kirkland
Trumpet – Wynton Marsalis

WYNTON MARSALIS - J Moods (1986) APE (image+.cue), lossless

Wynton Marsalis pared his band down to a mere quartet for these sessions, which express a "J" mood that is alternately filled with melancholy or fired up with dogged determination. Either way, the passion of jazz and the individuality of Marsalis are present on this, one of his finest efforts. Pianist Marcus Roberts plays with an originality that goes beyond his more recognized interpretive style, while bassist Bob Hurst and drummer Jeff Watts are locked in tight and never let loose, no matter the tempo. The recording starts with the slow, pensive, and bluesy swing of the title track and "Presence That Lament Brings." The pretty ballad "Melodique" is one of the more beautiful muted trumpet constructs of Wynton's early career, while the lugubriously slow "After" is more difficult to play than most would suspect. The opposite end of the spectrum brings burners like the wild "Insane Asylum," featuring a positively charged and inspired Watts; the spirited signature Marsalis modal neo-bopper "Skain's Domain," which has Roberts and Hurst joined at the hip; and Watts on brushes exclusively stoking the fire of the hard bopper "Much Later." As heard on this solid recording from top to bottom, with a stance that expresses no middle range (it's either all or nothing), this group, with no other front-line horn and no brother Branford Marsalis, may have offered the then-young trumpeter one of the more bold challenges developing his individual voice. Michael G. Nastos
Tracklist :
1     J Mood 8'35
Wynton Marsalis
2     Presence That Lament Brings 5'53
Wynton Marsalis / Marcus Roberts
3     Insane Asylum 6'34
D. Brown / Wynton Marsalis
4     Skain's Domain 6'30
Wynton Marsalis
5     Melodique 4'32
Wynton Marsalis
6     After 6'10
Ellis Marsalis / Wynton Marsalis
7     Much Later 4'36
Wynton Marsalis
Credits :
Bass – Robert Leslie Hurst III
Drums – Jeff "Tain" Watts
Piano – Marcus Roberts
Trumpet – Wynton Marsalis

WYNTON MARSALIS - Thick in the South : Soul Gestures in Southern Bles, Vol.1 (1988) FLAC (image+.cue), lossless

Wynton Marsalis' three-part Soul Gestures in Southern Blue (of which this CD is the final section) is a disappointment. None of the themes are particularly memorable and, although the individual solos are fine, not much really happens; overall it is a rather weird tribute to the blues. Actually, the main significance to this particular set is that the trumpeter had for the first time put together the nucleus to his septet. Although there was no trombonist yet, altoist Wessell Anderson, tenor saxophonist Todd Williams, bassist Reginald Veal, and drummer Herlin Riley were already in place while pianist Marcus Roberts was still a part of Marsalis' group. But musically this trilogy can be bypassed; get his more. Scott Yanow
Tracklist :
1     Harriet Tubman
Wynton Marsalis
2     Elveen 12'13
Wynton Marsalis
3     Thick in the South 10'15
Wynton Marsalis
4     So This Is Jazz, Huh? 12'26
Wynton Marsalis
5     L.C. on the Cut 13'28
Wynton Marsalis
Credits :
Bass – Bob Hurst
Drums – Elvin Jones (pistas: 2, 5), Jeff Watts
Piano – Marcus Roberts
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis

BETTY CARTER - It's Not About The Melody (1992) FLAC (image+.cue), lossless

A song's melody is simply a reference point and a beginning for Carter; she takes words and inverts, probes and extends them, embellishes themes, changes moods and alters rhythms. She's a vocal improviser in a manner few have equaled, and if her voice lacks the clarity and timbre of the all-time greats, she's more than compensated with incredible timing, flexibility and power. Throughout this 11-track effort, Carter's vocals direct and steer the responses of pianist Cyrus Chestnut, bassist Ariel J. Roland and drummer Lewis Nash. It was yet another memorable outing for Betty Carter, an all-time great. by Ron Wynn
Tracklist :
1     Naima's Love Song 8:25
Betty Carter / John Hicks
2     Stay as Sweet as You Are 7:11
Mack Gordon / Harry Revel
3     Make Him Believe 5:10
Betty Carter
4     I Should Care 3:26
Sammy Cahn / Axel Stordahl / Paul Weston
5     Once upon a Summertime 5:58
Eddie Barclay / Michel Legrand / Eddy Marnay / Johnny Mercer
6     You Go to My Head 5:35
J. Fred Coots / Haven Gillespie
7     In the Still of the Night 4:07
Cole Porter
8     When It's Sleepy Time Down South 7:45
Clarence Muse / Otis Rene / Leon René
9     The Love We Had Yesterday 7:17
Pat Watson
10     Dip Bag 8:57
Betty Carter
11     You're Mine, You 7:16
Johnny Green / Edward Heyman
Credits :
Bass – Ariel J. Roland (faixas: 1,3,4,6,7,10,11), Christian McBride (faixas: 2,5,8), Walter Booker (faixas: 9)
Drums – Clarence Penn (faixas: 3,4,10,11), Jeff "Tain" Watts (faixas: 1,9), Lewis Nash (faixas: 2,5-8)
Piano – Cyrus Chestnut (faixas: 3,4,6,7,10,11), John Hicks (faixas: 1,9), Mulgrew Miller (faixas: 2,5,8)
Tenor Saxophone – Craig Handy (faixas: 1,9)
Vocals – Betty Carter

BRANFORD MARSALIS QUARTET - Eternal (2004) FLAC (tracks+.cue), lossless

 Eternal finds saxophonist Branford Marsalis in a contemplative mood performing a mix of original and standard ballads with his usual quartet of pianist Joey Calderazzo, bassist Eric Revis, and drummer Jeff "Tain" Watts. The title track, written for his wife Nicole, is a hushed and cerebral affair, but never feels anything but warm. Similarly, the lead-off track, "The Ruby and the Pearl," contains the faint blush of Ellington-ian exoticism and "Gloomy Sunday" brings to mind the rumbling and atmospheric late-'60s work of longtime Marsalis touchstone John Coltrane. The album, his second solo outing for his Marsalis Music label, is dedicated in memory to a list of people one can only assume were as influential musically on Marsalis as emotionally. Among them are bassist Malachi Favors, drummer Elvin Jones, saxophonist Steve Lacy, and the one and only Ray Charles. Their spirits are palpable here as Marsalis and his band have clearly documented a handful of quietly beautiful and deeply moving performances. by Matt Collar
Tracklist:
1    The Ruby And The Pearl 8:53
Written-By – Livingston & Evans
2    Reika's Loss 7:51
Written-By – Jeff "Tain" Watts
3    Gloomy Sunday 12:43
Lyrics By – Sam Lewis
Written-By – Laszlo Javor, Rezső Seress
4    The Lonely Swan 9:04
Written-By – Joey Calderazzo
5    Dinner For One Please, James 8:00
Written-By – Michael Carr
6    Muldoon 4:13
Written-By – Eric Revis
7    Eternal 17:41
Written-By – Branford Marsalis
8    Body And Soul ( Bonus Track) 5:09
Credits:
Bass – Eric Revis
Drums – Jeff "Tain" Watts
Piano – Joey Calderazzo
Recorded By, Mixed By – Rob "Wacko" Hunter
Saxophone, Producer – Branford Marsalis

MICHAEL BRECKER - Two Blocks from the Edge (1997) APE (image+.cue), lossless

Although Michael Brecker made his initial reputation as a greatly in-demand studio player able to play quite credibly in commercial settings, his recordings for Impulse! have all been strictly straight-ahead. Displaying his roots in John Coltrane and Ernie Watts, Brecker has developed his own approach to sheets-of-sound playing while not being shy about playing quite lyrically. From the opening medium-tempo blues "Madame Toulouse" and the catchy "Bye George" (which could almost have been written by Horace Silver) to the funky and slyly humorous closer, "Delta City Blues," this is a particularly strong outing. With pianist Joey Calderazzo (often emulating McCoy Tyner to at least a small degree) and an alert and intuitive rhythm section (bassist James Genus, drummer Jeff "Tain" Watts, and percussionist Don Alias), Brecker often creates fiery solos that linger to their optimum length before the mood changes. Recommended. by Scott Yanow

MICHAEL BRECKER - Time Is Of The Essence (1999) FLAC (tracks), lossless

Michael Brecker introduced a couple of new wrinkles to his sound on his sixth album, in the form of two new sidemen. Larry Goldings' organ makes for an unusual quartet -- also including Brecker on tenor sax, frequent guest Pat Metheny on guitar, and one of three different drummers -- in that there is no bass. As a result, Metheny often fills in that role when he isn' t soloing. Goldings' touch is light, in contrast to the more intense playing of Brecker and Metheny. But it is the second new sideman who makes a difference: Elvin Jones guests on drums on three tracks. Brecker had never shied away from announcing his influences, and with Jones behind the traps, especially on the opening track, "Arc of the Pendulum," and the closer, "Outrance" (both Brecker originals), he indulges his affection for John Coltrane, playing freely and aggressively across the rhythm. Jones, who gets a showcase solo in "Outrance," is unmistakable, and his support often makes Brecker sound like Coltrane. With Bill Stewart behind the drums, the group performs "Renaissance Man," a tribute to another major Brecker influence, Eddie Harris, and Brecker unabashedly recalls Harris there. The tunes, five by Brecker, two by Metheny, and one each by Goldings and producer George Whitty, are loosely structured and run from six to ten minutes each, so that the disc runs 70 minutes. Clearly, they could have gone longer: Several of them fade out, sometimes during a Brecker or Metheny solo, an oddity on a jazz album. by William Ruhlmann 

Tracklist:

1. Arc Of The Pendulum

2. Sound Off

3. Half Past Late

4. Timeline

5. The Morning Of This Night

6. Renaissance Man

7. Dr. Slate

8. As I Am

9. Outrance.

Credits:

Michael Brecker - tenor saxophone

Pat Metheny - guitar

Larry Goldings - organ

Elvin Jones, A. Stewart, Jeff "Tain" Watts, Bill Stewart – drums.

ALICE COLTRANE — Translinear Light (2004) FLAC (tracks+.cue), lossless

 Translinear Light marks Alice Coltrane's return to recording after a 26-year hiatus. Her last outing, the live and marvelous Transfiguration, was issued by Warner Bros. in 1978. Coltrane's son, saxophonist and composer Ravi, produced the disc; he plays saxophones on five of the set's 11 cuts and contributes percussion to two others. Other musicians here include Charlie Haden, James Genus, Jeff Watts, Jack DeJohnette, and son Oran who plays alto in duet with her on one selection Translinear Light opens with a reprise of Alice's "Sita Ram," originally recorded for 1971's Universal Consciousness. Ms. Coltrane plays her signature style on the Wurlitzer organ with DeJohnette playing a synth drum and Ravi contributing organic percussion. Her long lines of individually played notes are set against a droning chorded backdrop, and are instantly recognizable. There is no speculation in her playing; an authoritative, deeply Eastern melodic sensibility saturates her improvisation. The shimmering piano intro of the traditional "Walk With Me," with its deep gospel roots set against a modal framework, brings the ancient hymn into the modern world and traces the artist's steps from her Detroit roots in the church to playing blues to the edge of the jazz vanguard without slipping into dissonance. It strolls back into a gently swinging lyric that almost literally sings atop the rhythm section of Watts and Genus before moving back to the open minor mode. The title cut is a ballad with Ravi on soprano and Haden and DeJohnette in support. The interplay betweenAlice and Ravi from the tune's slowly evolving head into the knotty modal chords and single-note runs that spark the dialogue, is simply breathtaking. The pair wind around and through one another as the rhythm section offers an insistent chromatic foundation. Though she has recorded them before, there are new readings of her late husband's "Crescent" and "Leo"; both offer new harmonic dimensions and emotional interpretations on the originals. She doesn't revisit them so much as recontextualize them musically. Ms. Coltrane plays piano on the former and a driven, fiery Wurlitzer on the latter, making the track a blistering maelstrom of activity. DeJohnette's drumming on these cuts is wildly incisive and canny. Ravi's soloing and accompaniment here -- and indeed throughout the album -- make this his most inspired performance on record. "Triloka," a duet with Haden, is sublime; a deeply meditative and lyrical work, it is especially poignant after the workout of "Leo." Ultimately, Translinear Light offers a poetic, well-rounded, and utterly convincing portrait of the artist's return to the public eye, at the top of her game. Translinear Light is a major entry in Coltrane's catalog. It is a defining, aesthetically brilliant statement from a master composer, improviser, and player. If ever there were a candidate for jazz album of 2004, Translinear Light is it.
 -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1    Sita Ram    6:06
Traditional
Electronic Drums [Synth Drum] – Jack DeJohnette
Organ [Wurlitzer] – Alice Coltrane
Percussion – Ravi Coltrane
Arranged By – Alice Coltrane
2    Walk With Me    7:48
Traditional
Bass – James Genus
Drums – Jeff "Tain" Watts
Piano, Arranged By – Alice Coltrane
3    Translinear Light    9:50
 Written By – Alice Coltrane
Bass – Charlie Haden
Drums – Jack DeJohnette
Piano – Alice Coltrane
Soprano Saxophone, Percussion – Ravi Coltrane
4    Jagadishwar    5:46
 Written By – Alice Coltrane
Bass – James Genus
Drums – Jeff "Tain" Watts
Synthesizer – Alice Coltrane
Tenor Saxophone – Ravi Coltrane
5    This Train    6:07
 Traditional
Bass – Charlie Haden
Drums – Jack DeJohnette
Organ [Wurlitzer] – Alice Coltrane
 Arranged By – Alice Coltrane
6    The Hymn    3:05
 Written By – Alice Coltrane
Alto Saxophone – Oran Coltrane
Synthesizer – Alice Coltrane
7    Blue Nile    8:05
 Written By – Alice Coltrane
Bass – James Genus
Drums – Jeff "Tain" Watts
Piano – Alice Coltrane
Tenor Saxophone – Ravi Coltrane
8    Crescent    6:22
 Written By – John Coltrane
Bass – Charlie Haden
Drums – Jack DeJohnette
Piano – Alice Coltrane
Tenor Saxophone – Ravi Coltrane
9    Leo    9:41
 Written By – John Coltrane
Drums – Jack DeJohnette
Organ [Wurlitzer] – Alice Coltrane
Tenor Saxophone, Bells [Sleigh] – Ravi Coltrane
10    Triloka    5:05
 Written By – Alice Coltrane
Bass – Charlie Haden
Piano – Alice Coltrane
11    Satya Sai Isha    5:40
Traditional
Organ [Wurlitzer] – Alice Coltrane
Vocals – The Sai Anantam Ashram Singers
Arranged By – Alice Coltrane

BRANFORD MARSALIS - Contemporary Jazz [2000] COLUMBIA / FLAC

 This album was much anticipated, for it would be Branford Marsalis's first since the death of his longtime pianist Kenny Kirkland. Happily, it is a knockout. While no one can entirely recreate the famed chemistry that existed between Kirkland and Marsalis, pianist Joey Calderazzo does a marvelous job handling the extraordinary complexity, energy, and beauty of Marsalis's music. Bassist Eric Revis and drummer Jeff "Tain" Watts, both of whom played on 1999's Requiem (which wound up being the last recording of Kirkland's life), carry on here in the spirit of their departed friend, fleshing out Marsalis's increasingly challenging ensemble concepts and -- most importantly -- swinging like men possessed."In the Crease" and "Tain Mutiny," with their unpredictable twists and turns, are indicative of the gravitas of Marsalis's work ever since he left his post at The Tonight Show. But the album's high point is a lengthy take of "Elysium," a tune that appeared on Requiem as a trio piece, an aesthetic choice necessitated by the sudden death of Kirkland who never had a chance to play on the track. Here the full quartet weighs in, deftly executing a dizzying series of tempo shifts and subtle cues, all seamlessly worked into a fabric of extended, burning improvisation. Finally, "Sleepy Hollow," a slow blues tucked away at the end of the program as a hidden track, sounds as though the band just let the tape roll as they warmed down from the session. It's a delightfully unrehearsed moment, perhaps a closing homage to Kirkland, drawn from deep down in the tradition. by David R. Adler  
Tracklist
1 In The Crease 6:46
2 Requiem 10:24
3 Elysium 15:58
4 Cheek To Cheek 8:46
5 Tain Mutiny 8:21
6 Ayanna 6:01
7 Countronious Rex 8:54
Credits
Bass – Eric Revis
Drums – Jeff "Tain" Watts
Piano – Joey Calderazzo
Saxophone – Branford Marsalis
Written-By – B. Marsalis (tracks: 1, 2, 3, 5), E. Revis (tracks: 6), I. Berlin (tracks: 4), J. Watts (tracks: 7)

 BRANFORD MARSALIS - Contemporary Jazz 

Columbia 2000 / FLAC / scan

O Púbis da Rosa