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

RAHSAAN ROLAND KIRK — Aces Back To Back (1998) 4CD BOX-SET | APE (image+.cue), lossless

Whether or not the four individual albums packaged with in Aces Back to Back are among Rahsaan Roland Kirk's finest is of no consequence. The fact that they have been assembled in a package that offers the listener a sense of Kirk's development and continuity is the issue here. And in this way, Aces Back to Back is a supreme collection. The four albums included -- Left & Right, Rahsaan Rahsaan, Prepare Thyself to Deal With a Miracle, and Other Folks Music -- date from 1969 to 1976 and chart dimensional growth of Kirk's completely original music. There's the outsider wizardry of Left & Right that melds the innovations of John Coltrane and Scott Joplin across an entire range of highly experimental yet wonderfully human music. Guests included Roy Haynes, Alice Coltrane, Julius Watkins, and many others in a band that ranged from a quartet to a full orchestra. Then there are the nine musicians who appear on Rahsaan Rahsaan, among them avant violinist Leroy Jenkins. Here, from the margins comes Kirk's preaching and poetry and also yielded the classics "The Seeker" and "Baby Let Me Shake Your Tree." The fact that they open and close the album, respectively, reveals not only Kirk's diversity, but also his commitment to a universal black music. Prepare Thyself to Deal With a Miracle is Kirk's meditation on orchestral music juxtaposed against folk and R&B forms. Form the opening "Salvation and Reminiscing," where the string section carries a monadic theme into microtonal territory, Kirk uses the "ugliness" to achieve great beauty which is fully realized when he combines a revved-up version of "Balm in Gilead" with a section of Ralph Vaughn Williams' Pastoral Symphony on "Seasons." Finally, with the issue of Others Folks Music, Kirk contributes only one composition, a beautiful meditation entitled "Water for Robeson and Williams." The rest is made up of the music of Charlie Parker ("Donna Lee"), Kirk's then pianist Hilton Ruiz ("Arrival"), Frank Foster ("Simone"), and others. This is a loose, roughneck record where Kirk uses the harmonics of others to transform his own into something that would make the music itself larger than any of its individual parts. In all for the price tag, this is a solid buy, revealing the most misunderstood innovator in the history of jazz.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
All Tracks & Credits :

JIMMY HEATH — Triple Threat (1962-1998) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special. Scott Yanow
Tracklist :
1     Gemini 6'09
Jimmy Heath
2     Bruh Slim 5'16
Jimmy Heath
3     Goodbye 7'04
Gordon Jenkins
4     Dew and Mud 5'01
Jimmy Heath
5     Make Someone Happy 3'41
Betty Comden / Adolph Green / Jule Styne
6     The More I See You 4'18
Mack Gordon / Harry Warren
7     Prospecting 5'40
Jimmy Heath
Credits :
Bass – Percy Heath
Drums – Albert Heath
French Horn – Julius Watkins (pistas: 1 to 4, 7)
Piano – Cedar Walton
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Jimmy Heath
Trumpet – Freddie Hubbard (pistas: 1 to 4, 7)

QUINCY JONES AND HIS ORCHESTRA — Big Band Bossa Nova (1962-2007) RM | SHM-CD | FLAC (image+.cue), lossless

A byproduct of the bossa nova fad that followed the success of "Desafinado" (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flügelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on "Soul Bossa Nova") the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest. Scott Yanow
Tracklist :
1. Soul Bossa Nova (2:48)
 Quincy Jones
2. Boogie Bossa Nova (2:45)
 Charles Mingus
3. Desafinado (2:57)
 Antônio Carlos Jobim / Newton Mendonça
4. Black Orpheus (Manha De Carnaval) (2:58)
 Luiz Bonfá / Antônio Maria
5. Se E Tarde Me Pardoa (Forgive Me If I'm Late) (4:25)
 Ronaldo Bôscoli / Carlos Lyra
6. On The Street Where You Live (2:36)
 Alan Jay Lerner / Frederick Loewe
7. Samba De Uma Nota So (One Note Samba) (2:05)
 Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça
8. Lalo Bossa Nova (3:13)
 Lalo Schifrin
9. Serenata (3:22)
 Leroy Anderson
10. Chega De Saudade (No More Blues) (5:39)
 Antônio Carlos Jobim
Credits :
Bass – Chris White
Drums – Rudy Collins
Flugelhorn – Clark Terry
Flute – Jerome Richardson, Rahsaan Roland Kirk (tracks: 1)
Flute [Alto] – Jerome Richardson
Guitar – Jim Hall (tracks: 3, 8-10)
Percussion – Carlos Gomez, Jack Del Rio, José Paula
Piano – Lalo Schifrin
Producer – Quincy Jones
Saxophone [Alto] – Phil Woods (tracks: 6-9)
Saxophone [Tenor] – Paul Gonsalves (tracks: 2, 4 & 7)
Trumpet – Clark Terry (tracks: 2 & 10)
Woodwind – Jerome Richardson

CURTIS FULLER — Curtis Fuller and Hampton Hawes with French Horns (1957-2000) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

The French horn has rarely been used in jazz as a solo instrument until recent times. Back in the 1950s, jazz's top French horn player was Julius Watkins, with David Amram certainly ranking in the top five. For this 1957 session, trombonist Curtis Fuller and his quintet with altoist Sahib Shihab, pianist Hampton Hawes (Teddy Charles, who contributed three originals, takes his place on one number), bassist Addison Farmer, and drummer Jerry Segal are joined by both Watkins and Amram. On originals by Charles, Amram, and Salvatore Zito, the colorful ensembles and the very adept soloing by the French horns make this a particularly memorable recording. Strange that this album has been obscure for so long. Only the brief playing time keeps this intriguing set from getting a higher rating. Scott Yanow   Tracklist & Credits :

OLIVER NELSON ORCHESTRA — Afro-American Sketches (1961-1993) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Oliver Nelson merged the rhythmic fervor of Africa and Black America with the organizational flair of Europe on this release. The often spectacular work features the orchestra sometimes whooping and clashing in the backdrop and other times giving soulful statements or converging in a blues setting. While Nelson combined Afro-Latin rhythmic support from Ray Barretto with crisp jazz drumming from Ed Shaughnessy, he also contributed his own soaring alto and tenor sax solos and conducted the orchestra. It was a monumental job, and Nelson exceeded it. Ron Wynn   Tracklist & Credits :

GIL EVANS ft. CANNONBALL ADDERLEY — New Bottle, Old Wine (1958-1988) FLAC (tracks+.cue), lossless

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness. Scott Yanow    Tracklist & Credits :

GIL EVANS — The Individualism of Gil Evans (1964-2003) RM | Serie Jazz The Best | FLAC (tracks+.cue), lossless

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era. Scott Yanow
Tracklist :
1 Time Of The Barracudas 7:26
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
2 The Barbara Song 9:59
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Bertolt Brecht, Kurt Weill
3 Las Vegas Tango 6:35
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
Flute Song / Hotel Me (12:29)
4a Flute Song
Bass – Ben Tucker, Paul Chambers, Richard Davis 
Drums – Elvin Jones
Engineer – Phil Ramone
French Horn – Don Corado, Gil Cohen, Julius Watkins
Guitar – Barry Galbraith
Harp – Margret Ross
Reeds, Woodwind – Al Block, Bob Tricarico, Eric Dolphy, Steve Lacy
Trombone – Jimmy Cleveland
Written-By – Gil Evans
4b Hotel Me
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson, Phil Ramone
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
5 El Toreador 3:26
Bass – Milt Hinton, Paul Chambers, Richard Davis 
Drums – Osie Johnson
Engineer – Phil Ramone
French Horn – Jim Buffington, Bob Northern
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Jerome Richardson, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Ernie Royal, Johnny Coles, Louis Mucci
Written-By – Gil Evans
– BONUS TRACKS –
6 Proclamation 3:55
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
7 Nothing Like You 2:36
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Bob Dorough
8 Concorde 7:39
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – John Lewis 
9 Spoonful 13:46
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – Willie Dixon
Credits : Arranged By, Conductor, Piano – Gil Evans

KENNY CLARKE – 1948-1950 | The Chronogical Classics – 1214 (2001) FLAC (tracks+.cue), lossless

Bebop thrived on both sides of the Atlantic during the late '40s. While some Americans treated bop as nothing more than affected "hep talk" and a way of dressing up funny, there were profound artistic innovations at the heart of this new music. Kenny Clarke helped to establish bop in Europe, and the recordings he made in Paris document a wonderful flowering of early modern jazz that would have a decisive impact on the next half century of musical evolution worldwide. Trumpeter Howard McGhee was the prime focus of a session that came at the end of a full season of recording activity during the spring of 1948. This was quite an octet in that John Lewis was the pianist, Hubert Fol and Jimmy Heath played alto saxophones, and Jesse Powell -- featured on "I'm in the Mood for Love" -- played tenor sax. Anyone who's fond of bassist Percy Heath should hear him carrying the melodic line on "Out of Nowhere." Six sides waxed for the small-time Century label in New York on January 25, 1949, resound with Milt Jackson's vibraphone -- he also doubled on piano -- and Kenny Dorham's fine trumpeting combined with the unusual tonalities of a French horn played by Julius Watkins. Furthermore, Joe Harris expanded Clarke's percussion section by handling congas and timbale. The results are something like chamber bop, dignified and progressive. "You Go to My Head" features the vibes -- Jackson makes the ballad feel like a blues -- and "Roll 'Em Bags" sounds something like "Billie's Bounce." Back in Paris, Clarke's next recording date involved Hubert Fol and a facile trombonist by the name of Nat Peck. "Iambic Pentameter," a wild feature for the drums, closely resembles "Epistrophy," while famously opinionated jazz critic Hugo Panassie's name is sent up in an adventurous bop study called "Assy Pan Assy." On March 3, 1950, Clarke participated in a remarkable session with the brothers Hubert and Raymond Fol and bassist Pierre Michelot. Their version of "Out of Nowhere" is a gem. The first version of "These Foolish Things" is so bopped up it's hard to recognize. Version number two, a feature for the bassist, is similarly veiled through harmonic reconstruction. "Those Fol-ish Things" at last reveals the melody, played on alto by Hubert Fol. These variations survive as a pleasant example of the quirkiness of the boppers. The CD closes with two excellent tracks from the spring of 1950, with Gerald Wiggins, Nat Peck, and world-class saxophonist James Moody joining the pack. arwulf arwulf       Tracklist + Credits :

OSCAR PETTIFORD – 1954-1955 | The Classics Chronological Series – 1454 (2007) FLAC (tracks+.cue), lossless

During his short, prolific, and equally tempestuous career, bassist Oscar Pettiford made potent modern jazz that stands the test of time, and is equal to or as brilliant as any you can name. These reissues, mainly from Bethlehem label recordings, showcase large ensembles and are a prelude to the orchestra Pettiford would lead before his untimely death in a European bicycle accident in 1960. There is an octet and a nonet from the Bethlehem dates, quite different and very strong. With trumpeters Clark Terry and Joe Wilder, trombonist Jimmy Cleveland, alto saxophonist Dave Schildkraut, clarinetist Jimmy Hamilton, and baritone saxophonist Danny Bank, Pettiford is able to use these members of Duke Ellington's orchestra in a manner much like Duke. There's a jam for Hamilton on Ellington's "Jack the Bear," Pettiford's reverent Jewish-sounding theme "Tamalpais," Terry's hard bopper "Chuckles" with Bank taking the lead, a typical "Mood Indigo" with Pettiford's walking bass up front in the mix, and a darker, moodier "Time on My Hands." The effortlessness of the ensemble is easy to hear, but does not really tell what Pettiford and his big band would do in the not-too-distant future. The next nine tracks, with considerable help from alto saxophonist and arranger Gigi Gryce, give definitive foreshadowing as to the charts that set Pettiford's music in an advanced stance. With trumpeters Donald Byrd and Ernie Royal, trombonist Bob Brookmeyer, multi-instrumentalist Jerome Richardson, and Gryce, a higher bar is set from a harmonic standpoint. "Titoro" is an outstanding merging of post-bop, Latin spice, and emerging progressive modernism, topped off by a scintillating solo from pianist Don Abney. The trend continues on the predatory ambush sounds of "Scorpio," the wild bird flute of Richardson on "Oscalypso," the bluesy "Don't Squawk" (a change of pace and a feature for Richardson again on flute), the happy chart "Kamman's A-Coming," Pettiford's cello feature "Another Seventh Heaven," and the famous bass-led "Bohemia After Dark." All are stellar examples of things to come in the late '50s. There are six quintet tracks with just French horn icon Julius Watkins and tenor saxophonist Charlie Rouse in the front line, ranging from the galloping bop of Gerry Mulligan's "Sextette" to the well-known tuneful melody "Tricotism" with horns comping over Pettiford's lead bassline, and the solid bop of "Cable Car" and "Rides Again," both tunes that should be standards. The CD kicks off with two tracks originally on the Swing label out of France, featuring pianist Henri Renaud and a sextet with Max Roach on drums, guitarist Tal Farlow, tenor saxophonist Al Cohn, and trombonist Kai Winding. These two tunes are from a session documented on the previous Classics Pettiford reissue, 1951-1954: another happy Mulligan bopper ("E Lag") and the Charlie Parker-like "Rhumblues" (similar to "My Little Suede Shoes"). 1954-1955 is a must-have for mainstream jazz fans, and a fully representative document of what Pettiford was capable of as a player and leader. Michael G. Nastos
Tracklist + Credits :

ROLAND KIRK - Left & Right (1969-2002) FLAC (tracks+.cue), lossless

The title of this album, Left and Right, no doubt refers to the sides of Rahsaan Roland Kirk's brain, which were both heavily taxed in the composing, arranging, conducting, and playing of this recording. For starters, the band is huge -- 17 players plus a 16-piece string section, all of it arranged and conducted by Kirk, a blind man. None of this would matter a damn if this weren't such a badass platter. Along with Kirk's usual crew of Ron Burton, Julius Watkins, Dick Griffin, Jimmy Hopps, and Gerald Brown, there are luminaries in the crowd including Alice Coltrane on harp, Pepper Adams on baritone saxophone, and no less than Roy Haynes helping out on the skins. What it all means is this: The man who surprised and outraged everybody on the scene -- as well as blew most away -- was at it again here in "Expansions," his wildly ambitious and swinging post-Coltrane suite, which has "Black Mystery Has Been Revealed" as its prelude. While there are other tracks on this record, this suite is its centerpiece and masterpiece -- despite killer readings of Billy Strayhorn's "A Flower Is a Lovesome Thing" and "Quintessence." "Expansions" has Kirk putting his entire harmonic range on display, and all of the timbral extensions he used in his own playing are charted for a string section to articulate. There are subtleties, of course, which come off as merely tonal variations in extant harmony with the other instruments, but when they are juxtaposed against a portrayal of the entire history of jazz -- from Jelly Roll Morton to the present day -- then they become something else: the storytellers, the timbres, and the chromatic extensions that point in the right direction and get listeners to stop in the right places. This is an extreme for Rahsaan -- extremely brilliant and thoroughly accessible.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Black Mystery Has Been Revealed 1:16
Written-By – Roland Kirk
2    Expansions: (A) Kirkquest, (B) Kingus Mingus, (C) Celestialness, (D) A Dream Of Beauty Reincarnated, (E) Frisco Vibrations, (F) Classical Jazzical, (G) Ellington Psalms, (H) Haynes' Brain's Sayin's, (I) What's Next-Overture 19:35
Written-By – Roland Kirk
3    Lady's Blues 3:44
Written-By – Roland Kirk
4    IX Love 3:38          
Written-By – Charles Mingus
5    Hot Cha 3:21
Written-By – Willie Woods
6    Quintessence 4:10
Written-By – Quincy Jones
7    I Waited For You 2:52
Written-By – Dizzy Gillespie, Gil Fuller
8    A Flower Is A Lovesome Thing 3:56
Written-By – Billy Strayhorn
Credits :
Arranged By [String Section] – Gilbert Fuller (pistas: 3 to 8)
Baritone Saxophone – Pepper Adams (pistas: 2)
Bass – Vernon Martin (pistas: 2 to 8)
Bass Trombone – Benny Powell (pistas: 2)
Bassoon – Daniel Jones (pistas: 2)
Celesta, Thumb Piano, Instruments [Small Instruments] – Roland Kirk (pistas: 2)
Clarinet, Organ, Narrator – Roland Kirk (pistas: 1)
Drums – Jimmy Hopps (pistas: 2), Roy Haynes (pistas: 3 to 8)
Flute – Roland Kirk (pistas: 2, 3)
French Horn – James Buffington (pistas: 3 to 8), Julius Watkins (pistas: 3 to 8)
Harp – Alice Coltrane (pistas: 2)
Horns [Manzello] – Roland Kirk (pistas: 2, 5, 6)
Horns [Stritch] – Roland Kirk (pistas: 2, 8)
Percussion – Gerald Brown (pistas: 2), Warren Smith (pistas: 2 to 8)
Piano – Ron Burton (pistas: 2 to 8)
Strings – Alfred Brown (pistas: 1, 3 to 8), Anthony Sophos (pistas: 1, 3 to 8), Charles McCracken (pistas: 1, 3 to 8), Gene Orloff (pistas: 1, 3 to 8), George Ockner (pistas: 1, 3 to 8), Harold Furmansky (pistas: 1, 3 to 8), James Buffington* (pistas: 1, 3 to 8), Joseph Malignaggi (pistas: 1, 3 to 8), Julien Barber (pistas: 1, 3 to 8), Leo Kruczek (pistas: 1, 3 to 8), Matthew Raimondi (pistas: 1, 3 to 8), Noel Dacosta (pistas: 1, 3 to 8), Richard Elias (pistas: 1, 3 to 8), Sanford Allen (pistas: 1, 3 to 8), Selwart Clarke (pistas: 1, 3 to 8), Winston Collymore (pistas: 1, 3 to 8)
Tenor Saxophone – Roland Kirk (pistas: 2, 4, 5, 7)
Trombone – Dick Griffin (pistas: 2)
Trumpet – Richard Williams (pistas: 2)
Vibraphone [Vibes], Percussion – Warren Smith (pistas: 3 to 8)
Woodwind – Frank Wess (pistas: 3 to 8)

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

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

JIMMY HEATH - The Quota (1965-1995) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks), lossless

Jimmy Heath's considerable talents are very evident on this fine hard bop title. His supple, Dexter Gordon-inspired tenor work shines throughout the album's seven tracks, which range from the challenging yet fleet originals "Funny Time" and "The Quota" to attractive covers like "When Sunny Gets Blue" and Milt Jackson's "Bells and Horns." Heath also mixes it up stylistically with elements of both East Coast jazz (Philly native, vigorous ensemble work) and West Coast jazz (spry, vaporous arrangements), showing his flexibility amidst the music's healthy, bi-coastal rivalry of the late-'50s and early-'60s California stars Art Pepper and Chet Baker would cover several Heath numbers on their excellent 1956 collaboration Playboys. The Quota also benefits from stellar solo contributions by trumpeter Freddie Hubbard, French horn player Julius Watkins, and pianist Cedar Walton; brothers Percy and Albert Heath handle the bass and drums chores admirably, and they make a family reunion of it. The Quota's strong material, tight arrangements, and thoughtful solos help make this Heath title one of the better hard bop releases available and a must for any jazz collection. Stephen Cook  
Tracklist :
1     The Quota 5'08
Jimmy Heath
2     Lowland Lullaby 4'38
Jimmy Heath
3     Thinking of You 5'08
Bert Kalmar / Harry Ruby
4     Bells and Horns 4'55
Milt Jackson / Milton Jackson, Jr.
5     Down Shift 5'47
Jimmy Heath
6     When Sunny Gets Blue 6'29
Marvin Fisher / Jack Segal
7     Funny Time 6'23
Jimmy Heath
Credits :
Bass – Percy Heath
Drums – Albert "Tootie" Heath
French Horn – Julius Watkins
Piano – Cedar Walton
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone, Arranged By – Jimmy Heath
Trumpet – Freddie Hubbard   

JIMMY HEATH AND BRASS — Swamp Seed (1963-1997) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

This is a delightful if underrated set that was reissued on CD in 1997. The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos; he also contributed three of the seven pieces and arranged all of them for a group also including trumpeter Donald Byrd, two French horns, Don Butterfield's tuba and a rhythm section that has bassist Percy Heath and (on three numbers) drummer Albert "Tootie" Heath. The music is straight-ahead but contains some unpredictable moments. Highlights include Heath's versions of Thelonious Monk's "Nutty" and "More Than You Know." Scott Yanow
Tracklist :
1. Six Steps 4'49
Jimmy Heath
2. Nutty 4'05
Thelonious Monk
3. More Than You Know 5'09
Edward Eliscu / Billy Rose / Vincent Youmans
4. Swamp Seed 5'19
Percy Heath
5. D. Waltz 6'33
Jimmy Heath
6. Just In Time 5'28
Betty Comden / Adolph Green / Jule Styne
7. Wall To Wall 5'27
Jimmy Heath
Credits
Jimmy Heath - Tenor Saxophone
Donald Byrd - |Trumpet
Julius Watkins - French Horn
Jim Buffington - French Horn
Don Butterfield - Tuba
Harold Maybern - Piano (tracks 1, 2, 4)
Herbie Hancock - Piano
Percy Heath - Bass
Albert "Toothie" Heath - Drums (tracks 1, 2, 4)
Connie Kay - Drums

JOHNNY GRIFFIN - Change Of Pace (1961-1999) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Tracklist :
1     Soft and Furry 3'43
Johnny Griffin
2     In the Still of the Night 3'29
Cole Porter
3     The Last of the Fat Pants 4'20
Johnny Griffin
4     Same to You 4'25
Johnny Griffin
5     Connie's Bounce 4'01
Consuela Lee
6     Situation 3'56
Julius Watkins
7     Nocturne 5'27
Bill Lee
8     Why Not? 5'02
David Freel / Johnny Griffin
9     As We All Know 4'46
Bill Lee
Credits :
Bass – Bill Lee, Larry Gales
Drums – Ben Riley
French Horn – Julius Watkins (pistas: 2, 3, 5, 6, 8)
Producer – Orrin Keepnews
Tenor Saxophone – Johnny Griffin

CLARK TERRY ft... YUSEF LATEEF - Color Changes (1961-2000) RM | FLAC (tracks+.cue), lossless

This is one of flügelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians (C.T., trombonist Jimmy Knepper, Julius Watkins on French horn, Yusef Lateef on tenor, flute, oboe, and English horn, Seldon Powell doubling on tenor and flute, pianist Tommy Flanagan, bassist Joe Benjamin, and drummer Ed Shaughnessy) lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing. Highly recommended. Scott Yanow
Tracklist :
1     Blue Waltz (La Valse Bleue) 6:37
Chester Conn
2     Brother Terry 3:54
Yusef Lateef
3     Flutin' and Fluglin' 6:46
Clark Terry
4     No Problem 5:49
Duke Jordan
5     La Rive Gauche 5:28
Clark Terry
6     Nahstye Blues
Clark Terry    
7     Chat Qui Peche (A Cat That Fishes) 7:32
Clark Terry
Credits :    
Bass – Joe Benjamin
Drums – Ed Shaughnessy
French Horn – Julius Watkins
Piano – Budd Johnson (tracks: 6), Tommy Flanagan
Tenor Saxophone, Flute – Seldon Powell
Tenor Saxophone, Flute, English Horn, Oboe – Yusef Lateef
Trombone – Jimmy Knepper
Trumpet, Flugelhorn – Clark Terry

BEVERLY KENNEY - Come Swing with Me (1956-2003) RM / FLAC (tracks+.cue), lossless

Though a singer of uncommon emotional depth, Beverly Kenney could also cut loose with the best of them, and Come Swing with Me captures an effervescence and playfulness often absent from her later, more renowned sessions. Paired with arranger Ralph Burns, who likewise sidesteps his usual subtle refinement for a lighter, more lively approach, Kenney retains the thoughtful phrasing and sultry demeanor that are her signatures, but it's a pleasure to hear her tackle material like "You Make Me Feel So Young" and "You Go to My Head". by Jason Ankeny
Tracklist :
1    Give Me The Simple Life 2:19
Written By – Bloom-Ruby
2    I Guess I'll Hang My Tears Out To Dry 2:58
Written By – Cahn-Styne
3    The Trolley Song 1:52
Written By – Martin-Blane
4    Violets For My Furs 2:53
Written By – Adair-Dennis
5    This Can't Be Love 1:46
Written By – Rodgers-Hart
6    Scarlet Ribbons 1:57
Written By – Segal-Danzig
7    If I Were A Bell 2:07
Written By – F.Loesser
8    Why Try To Change Me Now 3:33
Written By – Coleman-McCarthy
9    Swinging On A Star 3:00
Written By – Burke-Van Heusen
10    You Go To My Head 2:37
Written By – Gillespie-Coots
11    It Ain't Necessarily So 1:31
Written By – I.Gershwin-G.Gershwin
12    You Make Me Feel So Young 2:09
Written By – Gordon-Myrow
Credits :
Bass – Milt Hinton
Clarinet – Al Epstein
Drums – Don Lamond, Teddy Sommer
French Horn – Julius Watkins
Guitar – Barry Galbraith, Billy Bauer
Harp – Janet Putnam
Piano – Moe Wechsler
Saxophone – Danny Banks, George Berg, Sam Marowitz
Trombone – Urbie Green
Trumpet – Nick Travis

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

STAN KENTON - Cuban Fire! (1960-1991) MONO / FLAC (tracks+.cue), lossless

This CD contains one of the classic Stan Kenton albums, a six-part suite composed and arranged by Johnny Richards. The Kenton orchestra was expanded to 27 pieces for these dates including six percussionists, two French horns and six trumpets. With such soloists as tenor-great Lucky Thompson (on "Fuego Cubano,") trombonist Carl Fontana, altoist Lennie Niehaus, Bill Perkins on tenor and trumpeters Sam Noto and Vinnie Tanno, and plenty of raging ensembles, this is one of Stan Kenton's more memorable concept albums of the 1950s. by Scott Yanow
Tracklist:
1 Fuego Cubano (Cuban Fire) 6:02
Johnny Richards
2 El Congo Valiente (Valiant Congo) 5:53
Johnny Richards
3 Recuerdos (Reminiscences) 5:01
Johnny Richards
4 Quien Sabe (Who Knows) 4:49
Johnny Richards
5 Guera Baila (The Fair One Dances) 5:09
Johnny Richards
6 La Suerte de los Tontos (Fortune of Fools) 4:20
Johnny Richards
7 Tres Corarones (Three Hearts) 2:59
Johnny Richards
8 Maliba Moonlight 3:51
Johnny Richards
9 El Dangon 4:34
Johnny Richards
10 Carnival 5:21
Gene Roland
11 Wagon 3:05
Johnny Richards
12 Early Hours (Lady Luck) 2:56
Gene Roland
Credits:
Alto Saxophone – Gabe Baltazar (tracks: 8 to 12), Lennie Niehaus (tracks: 1 to 7)
Baritone Saxophone – Billy Root (tracks: 1 to 7), Marvin Holladay (tracks: 8 to 12), Wayne Dunston (tracks: 8 to 12)
Bass – Curtis Counce (tracks: 1 to 7), Pete Chivily (tracks: 8 to 12)
Bass Saxophone – Wayne Dunston (tracks: 8 to 12)
Bass Trombone – Bob Knight (tracks: 8 to 12), Jim Amlotte (tracks: 8 to 12)
Bongos – Willie Rodriguez (tracks: 1 to 7)
Claves – Roger Mozian (tracks: 1 to 7)
Congas – George Acevedo (tracks: 8 to 12), Tommy Lopez (tracks: 1 to 7)
Drums – Art Anton (tracks: 8 to 12), Mel Lewis (tracks: 1 to 7)
Flugelhorn – Vinnie Tano (tracks: 1 to 7)
French Horn – Irving Rosenthal (tracks: 1 to 7x), Julius Watkins (tracks: 1 to 7)
Guitar – Ralph Blaze (tracks: 1 to 7)
Maracas – Mario Alvarez (tracks: 1 to 7)
Mellophone – Bill Horan (tracks: 8 to 12), Dwight Carver (tracks: 8 to 12), Gene Rolland (tracks: 8 to 12), Joe Burnett (tracks: 8 to 12), Tom Wirtel (tracks: 8 to 12)
Piano – Stan Kenton
Tenor Saxophone – Bill Perkins (tracks: 1 to 7), Lucky Thompson (tracks: 1 to 7), Paul Renzi (tracks: 8 to 12), Sam Donahue (tracks: 8 to 12)
Timbales – George Laguna (tracks: 1 to 7)
Timpani – George Gaber (tracks: 1 to 7), Saul Gubin (tracks: 1 to 7)
Trombone – Bob Fitzpatrick (tracks: 1 to 7), Carl Fontana (tracks: 1 to 7), Dick Hyde (tracks: 8 to 12), Don Kelly (tracks: 1 to 7), Kent Larsen (tracks: 1 to 7), Ray Sikora (tracks: 8 to 12)
Trumpet – Al Mattaliano (tracks: 1 to 7), Bob Rolfe (tracks: 8 to 12), Bud Brisbois (tracks: 8 to 12), Dalton Smith (tracks: 8 to 12), Ed Leddy (tracks: 1 to 7), John Audino (tracks: 8 to 12), Lee Katzman (tracks: 1 to 7), Phil Gilbert (tracks: 1 to 7), Sam Noto, Steve Hoffsteter (tracks: 8 to 12), Vinnie Tano (tracks: 1 to 7)
Tuba – Albert Pollan (tracks: 8 to 12), Jay McAllister (tracks: 1 to 7)

STAN KENTON - Cuban Fire! (1960) 

(1991)  Capitol / FLAC (tracks+.cue), lossless

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