MUHAL RICHARD ABRAMS — Levels And Degrees Of Light (1968-1991) APE (image+.cue), lossless

Levels and Degrees of Light was the first recording under Muhal Richard Abrams' name and was a landmark album that launched the first in a long line of beautiful, musical salvos from the AACM toward the mainstream jazz world. The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. "The Bird Song" begins with a fine, dark poetry recitation by David Moore (oh! for the days when one didn't approach a poem on a jazz album with great trepidation) before evanescing into a whirlwind of percussion, bird whistles, and violin (the latter by Leroy Jenkins in one of his first recorded appearances). When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. The final track offers several unaccompanied solo opportunities, spotlighting Abrams' sumptuous piano and the under-recognized bass abilities of Charles Clark. This is a milestone recording and belongs in the collection of any modern jazz fan. Brian Olewnick
Tracklist :
1    Levels And Degrees Of Light    10:33
2    The Bird Song    23:00
3    My Thoughts Are My Future—Now And Forever    9:43
Credits :
Alto Saxophone – Anthony Braxton (tracks: 2, 3)
Bass – Charles Clark (tracks: 2, 3), Leonard Jones (tracks: 2)
Composed By, Artwork [Cover Art] – Muhal Richard Abrams
Drums – Thurman Barker (tracks: 2, 3), Percussion – (tracks: 1)
Piano – Muhal Richard Abrams (tracks: 3), Piano, Clarinet – (tracks: 2), Clarinet – (tracks: 1)
Tenor Saxophone – Maurice McIntyre (tracks: 3)
Vibraphone [Vibes] – Gordon Emmanuel (tracks: 1, 3)
Violin – Leroy Jenkins (tracks: 2)
Vocals – Penelope Taylor (tracks: 1, 3)
Voice [Poet] – David Moore (tracks: 2)

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 :

ANTHONY BRAXTON - 3 Compositions of New Jazz (1968-1991) FLAC (tracks+.cue), lossless

While it is not as powerful or as revelatory as For Alto, Anthony Braxton's second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richard Abrams on Levels and Degrees of Light, Braxton's compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano (and alto clarinet on one track). All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins' violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. Braxton's 3 Compositions of New Jazz is an essential document of the beginning of the end.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    (840M) / Realize 44M / 44M 20:03
Composed By – Braxton
2    N / M488 / 44M / Z / 12:57
Composed By – Braxton
Piano – Muhal Richard Abrams
3    The Bell 10:31
Composed By – Leo Smith
Piano, Cello, Alto Clarinet – Muhal Richard Abrams
Credits :
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Clarinet, Flute, Musette, Accordion, Bells, Snare, Other [Mixer Etc.] – Anthony Braxton
Trumpet, Mellophone, Xylophone, Percussion [Bottles], Kazoo – Leo Smith
Violin, Viola, Harmonica, Bass Drum, Recorder, Cymbal [Cymbals], Slide Whistle – Leroy Jenkins

ANTHONY BRAXTON - B-X° / NO-I-47ᴬ (1969-2002) FLAC (tracks+.cue), lossless

Anthony Braxton's first recording during his three-year stay in Europe is in some ways a continuation of his initial release, utilizing a similar personnel. The music performed by altoist Anthony Braxton (who also plays soprano, clarinet, contrabass clarinet, flute, "sound machine" and chimes), trumpeter Leo Smith, violinist Leroy Jenkins and drummer Steve McCall is very freely improvised, includes "little instruments" for their variety in sound, and contrast high-energy playing with space. This Affinity Lp will be difficult to find and the music (one composition apiece from Braxton, Smith and Jenkins) is far from accessible but is generally worth the struggle. Scott Yanow
Tracklist :
1    The Light On The Dalta 10:06
Written-By, Arranged By – Leo Smith
2    Simple Like 9:26
Written-By, Arranged By – Leroy Jenkins
3    B-X° / NO-I-47ᴬ
Written-By, Arranged By – Anthony Braxton
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Contrabass Clarinet, Flute, Performer [Sound Machine], Chimes, Liner Notes – Anthony Braxton
Drums, Goblet Drum [Darbouka], Percussion – Steve McCall
Trumpet, Flugelhorn, Horns, Percussion [Logs], Siren – Leo Smith
Violin, Viola, Flute, Organ [Mouth], Organ [Hohner], Harmonica – Leroy Jenkins

CREATIVE CONSTRUCTION COMPANY - Creative Construction Company Vols. 1 & 2 (2021) FLAC (tracks+.cue), lossless

In the early '70s, musicians from Chicago with origins in the AACM began to slowly migrate to New York City, sometimes with an intermediary stop in Europe. The Creative Construction Company, which consisted of violinist Leroy Jenkins, multi-reedist Anthony Braxton, trumpeter Leo Smith, and percussionist Steve McCall, had been based in Paris for several years and this concert signaled their U.S. return in a stunning sextet augmented by AACM co-founder Muhal Richard Abrams and legendary bassist Richard Davis. The two album-length compositions are both by Jenkins and showcase two of the "opposite" sides exemplified in the music of AACM outgrowth bands like the Art Ensemble of Chicago. "Muhal" is one of Jenkins' gorgeously heart-rending and plaintive ballad lines with an evocatively longing quality and deep romanticism, and Davis' bass counterpoint is a thing of singular beauty. It serves as a strong framework for some remarkable improvisations, especially that of the composer in rare pyrotechnic mode. But here, as on its companion piece, the emphasis is never on individual soloing but on group interaction; the underlying matrix is always kept full and busy by the use of various "little instruments" beloved by AACM alumni. The second piece, "No More White Gloves," lives up to its title. A furious, churning work, it encapsulates the high energy end of the spectrum as practiced by the late-'60s avant-garde and, among other highlights, features a tumultuous, screaming alto solo by Braxton that ranks with his best work. This live concert, happily captured on tape, provides a wonderful glimpse into what each of these musicians would go on to achieve in ensuing decades, but is also simply a stellar event in and of itself. Very highly recommended. Brian Olewnick  
Tracklist :
1    Muhal (Part I)    19:20
2    Muhal (Part II) (Live Spiral)    17:22
3    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part I)    17:31
4    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part II)    16:59
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Contrabass Clarinet, Chimes – Anthony Braxton
Bass – Richard Davis
Drums, Percussion – Steve McCall
Piano, Cello, Clarinet – Muhal Richard Abrams
Trumpet, Flugelhorn, French Horn – Wadada Leo Smith
Violin, Viola – Leroy Jenkins

ANTHONY BRAXTON - New York, Fall 1974 (1975) lp | FLAC (tracks), lossless

Anthony Braxton, who switches here between alto, flute, clarinet, sopranino and contrabass clarinet, is heard interpreting six of his originals in a wide variety of settings. Most accessible are his three performances with a quartet also including trumpeter Kenny Wheeler, bassist Dave Holland and drummer Jerome Cooper. Braxton also adds violinist Leroy Jenkins to the group on one piece and has a duet with Richard Teitelbaum's moog synthesizer. However, the most historic performance is by an unaccompanied saxophone quartet consisting of Braxton, Julius Hemphill, Oliver Lake and Hamiet Bluiett; this band (with David Murray in Braxton's place) would soon emerge as The World Saxophone Quartet. The wide amount of variety on this set makes this album a perfect introduction to Anthony Braxton's potentially forbidding but logical music. Scott Yanow
Tracklist :
A1    Cut One 8:50
Alto Saxophone – Anthony Braxton
Trumpet, Flugelhorn – Kenny Wheeler
A2    Cut Two 3:07
Flute – Anthony Braxton
Trumpet [Muted] – Kenny Wheeler
A3    Cut Three 7:03
Alto Saxophone – Anthony Braxton
Trumpet – Kenny Wheeler
B1    Cut One 6:33
Clarinet – Anthony Braxton
Synthesizer [Moog] – Richard Teitelbaum
B2    Cut Two 8:18
Alto Saxophone – Julius Hemphill
Baritone Saxophone – Hamiet Bluiett
Sopranino Saxophone – Anthony Braxton
Tenor Saxophone – Oliver Lake
B3    Cut Three 5:29
Contrabass Clarinet – Anthony Braxton
Percussion – Jerome Cooper
Trumpet [Muted] – Kenny Wheeler
Violin – Leroy Jenkins

ANTHONY BRAXTON - The Complete Arista Recordings Of Anthony Braxton (2008) 8xCD BOX-SET | FLAC (tracks+.cue), lossless

Since he released the completely solo For Alto in 1968, the accepted image of Anthony Braxton has been that he is more a theoretician and art music composer than a jazz musician. Therefore, it might seem strange that Mosaic Records is giving his Complete Arista Recordings one of their fabled box set treatments. But Braxton is both -- and much more. This set -- as well as the original Arista recordings -- were produced by Michael Cuscuna, Mosaic/Blue Note label head. The sheer scope of these recordings is staggering. What we get in this amazingly detailed collection is the weightiest argument yet for Braxton's range and depth of field as a musical thinker and his role as a pillar of modern jazz. The individual albums -- New York, Fall 1974; Five Pieces, 1975; Creative Orchestra Music, 1976; Duets, 1976; For Trio; The Montreux/Berlin Concerts; Alto Saxophone Improvisations, 1979; For Four Orchestras; For Two Pianos -- showcase him in a rainbow of settings, from quintets and duets, to trios, quartets, and solo; as the leader of a big band, and as a playing conductor. The players are a who's who of the vanguard in both America and Europe: Muhal Richard Abrams, Leroy Jenkins, Kenny Wheeler, Dave Holland, Jerome Cooper, Leo Smith, Cecil Bridgewater, Roscoe Mitchell, George Lewis, Karl Berger, Ursula Oppens, Frederic Rzewski, Phillip Wilson, Henry Threadgill, and many more.

Given the wide variations in track times, sequencing this set to make it even remotely affordable must have been somewhat frustrating. Comparing the track list to the discographical notes, the full context of this is realized. The box is impeccably organized album by album to be sure, but not necessarily in the chronological order of release. An example: on discs one and two, the albums New York, Fall 1974, and its successor, Five Pieces, 1975 are successive, but then Duets, 1976 (with Abrams) was released after Creative Orchestra Music 1976. This is followed by the first four tracks from Alto Saxophone Improvisations, 1979, which continues and is completed on disc three, etc. That said, there is wonderful aesthetic and principled logic involved in the sound and dynamic of the organization of these discs. In other words, even if an original album is split by disc, it makes complete sense. For instance, while some records are split over various CDs, the decision to give For Four Orchestras its own disc (the final one) was a wise one. The package itself is typical Mosaic: high class presentation with an amazing track by track essay by Braxton's student and collaborator Mike Heffley, a brief reminiscence by Cuscuna, a boatload of killer session photographs, and exhaustive discographical and personnel information. The sound is literally pristine and full of warmth. One can hear no flaws from the source material even when A-B'ed against the original LPs; this is even true of the live Montreux/Berlin Concerts.

Most importantly, however, is that this music from Braxton sounds and feels so on time in the 21st century. This is not only true in its scope and vision, but also in what is realized in its execution. Where John Coltrane, and Ornette Coleman expanded the possibilities for new colors and sounds in jazz, less (or no) credit is given to West Coast players like Jimmy Giuffre and Warne Marsh, except in Braxton's sound worlds. His investigations in using the jazz tradition in order to unmake it in terms of tonality, sound, and texture, while preserving its sense of inventive rhythm, melody, harmonic structures, and even swing (check Creative Orchestra Music, 1976), do not feel remotely academic all these decades later. One can hear humor and warmth in the deep paradoxes of a brilliant mind wrestling with the issues of jazz and new music, challenging his own and accepted notions of their accepted places in the world of sonic architecture. Also, in his most direct exercises, there lies the deep expressiveness of his incessant effort to assimilate his discoveries into an ever-expanding organizational system of sound. This is heard, whether it's in his playing of jazz standards or his original compositions. It's there in the process of conception as well as technical articulation. Nothing here feels quaint or nostalgic. Instead, it's revelatory and engaging, inviting and still provocative. The historic reissue of this material adds yet another level if we wish to deepen our understanding of the myriad ways Braxton has enhanced and expanded each of the traditions he's involved himself with.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
New York, Fall 1974    
1-1    Opus 23B    8:51
1-2    Opus 23C    3:11
1-3    Opus 23D    7:04
1-4    Opus 38A    6:27
1-5    Opus 37    8:17
1-6    Opus 23A    5:29
Five Pieces 1975    
1-7    Opus 23H    4:40
1-8    Opus 23G    8:13
1-9    Opus 23E    17:17
1-10    Opus 40M    3:23
2-1    You Stepped Out Of A Dream 7:11
Written-By – G. Khan, M. H. Brown
Duets 1976    
2-2    Miss Ann 4:09
Written-By – Eric Dolphy
2-3    Opus 60    9:19
2-4    Opus 40P    7:02
2-5    Maple Leaf Rag 3:37
Written-By – Scott Joplin
2-6    Opus 62    13:04
2-7    Nickie 3:15
Written-By – A. Braxton, M. R. Abrams
Alto Saxophone Improvisations 1979    
2-8    Opus 77A    7:35
2-9    Opus 77C    6:30
2-10    Red Top 6:15
Written-By – B. Kynard, L. Hampton
2-11    Opus 77D    7:25
3-1    Opus 77E    4:26
3-2    Opus 26F    6:22
3-3    Opus 77F    6:20
3-4    Opus 26B    6:58
3-5    Along Came Betty 8:00
Written-By – Benny Golson
3-6    Opus 77G    5:17
3-7    Opus 26E    6:17
3-8    Giant Steps 6:22
Written-By – John Coltrane
3-9    Opus 77H    7:05
For Trio    
3-10    Opus 76 (Version One) 20:10
Engineer – Jim Dolan
4-1    Opus 76 (Version Two) 21:28
Engineer – Jim Dolan
For Two Pianos    
4-2    Opus 95 For Two Pianos 49:28
Engineer – Carlo Martenet
Creative Orchestra Music 1976    
5-1    Opus 51    5:11
5-2    Opus 56    7:33
5-3    Opus 58    6:44
5-4    Opus 57    6:25
5-5    Opus 55    7:19
5-6    Opus 59    6:41
The Montreux / Berlin Concerts    
5-7    Opus 63    23:32
6-1    Opus 40N    7:48
6-2    Opus 23J    13:59
6-3    Opus 40    7:35
6-4    Opus 6F    8:17
6-5    Opus 40K    15:32
6-6    Opus 6C    10:00
For Four Orchestras    
7-1    Opus 82, Part One    54:04
8-1    Opus 82, Part Two    58:26
All Credits 

ARCHIE SHEPP - Black Gipsy (1970-2004) RM | FLAC (tracks+.cue), lossless

Black Gipsy is an interesting album, not just because it's one of the very few dates where Archie Shepp plays soprano exclusively, but because the album also features a harmonica player, Leroy Jenkins on viola, and a vocalist named Chicago Beauchamp (aka Chicago Beau), who also performed with the Art Ensemble of Chicago and Jimmy Dawkins. This is in addition to Clifford Thornton, Noah Howard, Sunny Murray, and the great Dave Burrell on piano. On "Black Gipsy," after an intro by Jenkins, Murray and bassist Earl Freeman set up a powerful martial groove, pushed by Burrell's low-end piano work. The horns and harmonica use this as a launching point, while Chicago Beauchamp sporadically spouts his street poetry. "Epitaph of a Small Winner" is something of a travelogue suite, starting in Rio de Janeiro with a light, upbeat melody. Casablanca is next, where the proceedings become a bit mellower and mysterious, then it's on to a near bluesy romp for the last stop in Chicago. "Pitchin' Can" closes the album with more ensemble playing over another upbeat theme based on a simple ostinato. This music gets intense, but melody is always at its core: this is not just a free blowing session. The rhythm section keeps things well grounded, aided greatly by Burrell's marvelous comping while the horns and harmonica take the melodies and run with them. Good stuff. Sean Westergaard
Tracklist :
1    Damn If I Know (The Stroller) 6'12
Written-By – Walter Davis Jr.
2    Frankenstein 13'50
Written-By – Grachan Moncur III
3    Fiesta 9'54
Written-By – Archie Shepp
4    Sophisticated Lady 7'08
Written-By – Duke Ellington
5    New Africa 12'55
Written-By – Grachan Moncur III
6    Bakai 10'04
Written-By – Cal Massey
Credits
Alto Saxophone – Noah Howard
Double Bass – Earl Freeman
Drums – Sonny Murray
Harmonica – Julio Finn
Piano – Dave Burrell
Soprano Saxophone – Archie Shepp
Trumpet – Clifford Thornton
Viola – Leroy Jenkins
Vocals – Chicago Beauchamp

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)

ARCHIE SHEPP - Attica Blues (1972-2003) RM | Serie: LP Reproduction | FLAC (tracks+.cue), lossless

Refining his large-ensemble experiments of 1971, Attica Blues is one of Archie Shepp's most significant post-'60s statements, recorded just several months after authorities ended the Attica prison uprising by massacring 43 inmates and hostages. Perhaps because Shepp's musical interests were changing, Attica Blues isn't the all-out blast of rage one might expect; instead, it's a richly arranged album of mournful, quietly agonized blues and Ellingtonian swing, mixed with a couple of storming funk burners. Of course, Shepp doesn't quite play it straight, bringing his avant-garde sensibilities to both vintage big band and contemporary funk, with little regard for the boundaries separating them all. His soloing on tenor and soprano is typically sharp-edged and modal, and his nasal, slicing tone on soprano is featured quite heavily. The stylishness of the slow numbers is undercut with quivering, faintly unsettling dissonances, and the up-tempo funk cuts recall the way Sly Stone's arrangements ping-ponged many different elements off each other in a gleeful organized chaos. That's especially true on the gospel-inflected title song, a monster of a groove that later became a hit on the acid jazz revival circuit (and stands up to anything recorded by straight-up funk bands of the era). In the same vein, "Blues for Brother George Jackson" sounds like an edgier Isaac Hayes-style blaxploitation soundtrack cut. Vocal ballads are plentiful, and Joe Lee Wilson ("Steam," a song Shepp would return to often) and Carl Hall (aka Henry Hull) both acquit themselves well; more debatable are the poetic recitations and the choice of flügelhornist/composer Cal Massey's young daughter Waheeda to sing "Quiet Dawn" (although Waheeda's almost-there intonation is effectively creepy). Still, in the end, Attica Blues is one of Shepp's most successful large-group projects, because his skillful handling of so many different styles of black music produces such tremendously groovy results. Steve Huey
Tracklist :
1     Attica Blues 4'47
(W.G. Harris / Archie Shepp)    
Alto Saxophone – Marion Brownburr
Backing Vocals – Albertine Robinson, Joshie Armstead
Bass [Fender] – Jerry Jemmott
Lead Vocals – Henry Hull
2     Invocation: Attica Blues 0'19
(W.G. Harris)    
Narrator – William Kunstler
3     Steam, Pt. 1 5'07
(Archie Shepp)
Electric Piano – Dave Burrell
Flute [Bamboo] – Marion Brown
Lyrics By – Archie Shepp
Vocals – Joe Lee Wilson    

4     Invocation to Mr. Parker 3'16
(Bart Gray / Archie Shepp)    
Flute – Marion Brown
Narrator, Other [Text] – Bartholomew Gray
5     Steam, Pt. 2 5'10
(Archie Shepp)    
Electric Piano – Dave Burrell
Flute [Bamboo] – Marion Brown
Lyrics By – Archie Shepp
Vocals – Joe Lee Wilson
6     Blues for Brother George Jackson 4'00
(Archie Shepp)    
Alto Saxophone – Marion Brown
7     Invocation: Ballad for a Child 0'29
(W.G. Harris)    
Narrator – William Kunstler
8     Ballad for a Child 3'36
(W.G. Harris / Archie Shepp)    
Vocals – Henry Hull
9     Goodbye Sweet Pops 4'22
(Cal Massey)
Conductor – Romulus Franceschini
Drums – Billy Higgins
Music By – Cal Massey
10     Quiet Dawn 6'12
(Cal Massey)
Conductor – Romulus Franceschini
Drums – Billy Higgins
Flugelhorn, Music By, Lyrics By – Cal Massey
Vocals – Waheeda Massey
Credits
Alto Saxophone – Clarence White (pistas: 1, 6, 9, 10)
Baritone Saxophone – James Ware (pistas: 1, 6, 9, 10)
Bass – Jimmy Garrison (pistas: 3, 4, 5, 9, 10)
Bass [Fender] – Roland Wilson (pistas: 1, 3, 5, 6, 8)
Cello – Calo Scott (pistas: 1, 3, 5, 8, 9, 10), Ronald Lipscomb (pistas: 1, 3, 5, 8, 9, 10)
Cornet – Clifford Thornton (pistas: 1, 6, 9, 10)
Drums – Beaver Harris (pistas: 1, 3, 5, 6, 8)
Euphonium – Hakim Jami (pistas: 1, 6, 9, 10)
Guitar – Cornell Dupree (pistas: 1, 3, 5, 8)
Lyrics By – William G. Harris (pistas: 1 to 8)
Music By – Archie Shepp (pistas: 1 to 8)
Percussion – Juma Sutan (pistas: 1, 6, 10), Marion Brown (pistas: 3, 4, 5), Nene DeFense (pistas: 1, 6, 10), Ollie Anderson (pistas: 1, 6, 10)
Piano – Walter Davis Jr. (pistas: 6, 8, 9, 10)
Soprano Saxophone – Archie Shepp (pistas: 3, 5, 9)
Tenor Saxophone – Archie Shepp (pistas: 1, 6, 8, 10), Billy Robinson (pistas: 1, 6, 9, 10), Roland Alexander (pistas: 1, 6, 9, 10)
Trombone – Charles Greenlee (pistas: 1, 6, 9, 10), Charles Stephens (pistas: 1, 6, 9, 10), Kiane Zawadi (pistas: 1, 6, 9, 10)
Trumpet – Charles McGhee (pistas: 1, 6, 9, 10), Michael Ridley (pistas: 1, 6, 9, 10), Roy Burrowes (pistas: 1, 6, 9, 10)
Violin – John Blake (pistas: 1, 3, 5, 8, 9, 10), Leroy Jenkins (pistas: 1, 3, 5, 8, 9, 10), Shankar (pistas: 1, 3, 5, 8, 9, 10)

ARCHIE SHEPP - The Cry Of My People (1973-2004) RM | FLAC (tracks+.cue), lossless

Recorded in 1972 with a core band of Leroy Jenkins, Cornell Dupree (!), Jimmy Garrison, and Charles McGhee, Shepp supplemented these proceedings in much the same way he did with the cast of Attica Blues, with gospel singers, big bands, quintets, sextets, and chamber orchestras, with guests that included Harold Mabern on piano, Bernard "Pretty" Purdie on drums, and Ron Carter on electric bass! Recorded during a period in which Shepp was reaching out of the jazz idiom to include all of what he perceived to be "trans-African" music at the time, there is gutbucket R&B here, as well as the sweetly soul gospel of "Rest Enough." The charts' arrangements are a combination of Ellington's more pastoral moods -- usually expressed in his suites -- and the more darkly complex modal stylings of George Russell. Unlike some of Shepp's dates from this period, the vocals do not detract from the mix employed here. This is an urban record that showcases Shepp's ability, at this time in his career, to literally take on any project, combine as many sources as he was permitted by his financial resources, and come up with something compelling, provocative, and soulful. All extremes are subsumed by the whole: The avant-garde free jazz of the period is covered in the large-ensemble playing, which is covered by the gospel and R&B stylings that are accented by the free jazz players. Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on The Cry of My People. Given that the remastered version -- with excellent liner notes, superb sound, and a gorgeous package -- is being issued during an election year in the United States, its poignancy and urgency couldn't be more timely.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Rest Enough (Song to Mother) 4:41
Backing Vocals – Andre Franklin, Patterson Singers
Lead Vocals – Peggy Blue
Written-By – Archie Shepp
2     A Prayer 6:29
Arranged By, Conductor – Romulus Franceschini
Written-By, Arranged By – Cal Massey    
3     All God's Children Got a Home in the Universe 2:58
Written-By – Archie Shepp
4     The Lady 5:31 Arranged By – Romulus Franceschini
Arranged By, Conductor – Cal Massey
Vocals – Joe Lee Wilson
Written-By – Bob Ford
5     The Cry of My People 5:45
Arranged By – Romulus Franceschini
Written-By, Arranged By, Conductor – Cal Massey    
6     African Drum Suite, Pt. 1-2 0:35
Vocals – Joe Lee Wilson
Written-By – William G. Harris
7     African Drum Suite, Pt. 2 7:34 Arranged By, Conductor – Dave Burrell
Berimbau, Percussion [Brazilian] – Guilherme Franco
Bongos, Congas – Nene DeFense
Tambourine, Congas – Terry Quaye
Written-By – William G. Harris
8     Come Sunday 9:30
Arranged By, Conductor – Charles Greenlee
Backing Vocals – Patterson Singers
Lead Vocals – Joe Lee Wilson
Written-By – Duke Ellington
Credits
Bass – Jimmy Garrison (pistas: 2, 4 to 8)
Bass [Fender] – Ron Carter (pistas: 1, 3, 5)
Cello – Esther Mellon (pistas: 2, 4, 5, 7, 8), Pat Dixon (pistas: 2, 4, 5, 7, 8)
Drums – Beaver Harris (pistas: 3 to 5), Bernard Purdie (pistas: 1, 2)
Guitar – Cornell Dupree (pistas: 1, 3)
Percussion – Nene DeFense (pistas: 2, 4, 5, 8)
Piano – Dave Burrell (pistas: 6. 7), Harold Mabern (pistas: 1 to 5, 8)
Soprano Saxophone – Archie Shepp (pistas: 2, 4, 7)
Tambourine – Nene DeFense (pistas: 1, 3)
Tenor Saxophone – Archie Shepp (pistas: 3, 4, 5, 8)
Trombone – Charles Greenlee (pistas: 2 to 7), Charles Stephens (pistas: 2 to 5, 8)
Trumpet – Charles McGhee (pistas: 2 to 5, 7, 8)
Violin – Gayle Dixon (pistas: 2, 4, 5, 7, 8), Jerry Little (pistas: 4, 7, 8), John Blake (pistas: 2, 5), Leroy Jenkins (pistas: 2, 4, 5, 7, 8), Lois Siessinger (pistas: 2, 5), Noel DaCosta (pistas: 4, 7, 8)

DEWEY REDMAN - The Ear of the Behearer (1973-1998) RM | FLAC (tracks+.cue), lossless

This 1998 CD reissues Dewey Redman's entire The Ear of the Behearer album (although it leaves out an alternate take of "Interconnection" that was released on a different set), plus four of the seven selections from his Coincide record of a year later. Some of the music is quite adventurous and free, while other tracks include some freebop, a struttin' blues ("Boody"), and quieter ballads. Redman, a distinctive tenor saxophonist, actually plays alto on five of the first six selections; he is less memorable (although no less exploratory) on the smaller horn. Redman is joined on most cuts by trumpeter Ted Daniel, throughout the Behearer date by cellist Jane Robertson, and on the full set by bassist Sirone and drummer Eddie Moore; violinist Leroy Jenkins and percussionist Danny Johnson also make guest appearances. These two albums were Redman's only sets as a leader for Impulse. Intriguing music. Scott Yanow
Tracklist
1    Innerconnection    4:53
 Dewey Redman
2    Imani    7:07
 Dewey Redman
3    Walls-Bridges    4:06
 Dewey Redman
4    PS    5:36
 Dewey Redman
5    Boody    12:05
 Dewey Redman
6    Sunlanding    2:25
 Dewey Redman
7    Image (In Disguise)    6:32
 Dewey Redman
8    Seeds And Deeds    4:50
 Dewey Redman
9    Joie De Vivre    3:19
 Dewey Redman
10    Funcitydues    3:15
 Dewey Redman
11    QOW    10:17
 Dewey Redman
Credits
Alto Saxophone – Dewey Redman (tracks: 1 to 4, 6)
Bagpipes [Musette] – Dewey Redman (tracks: 7)
Bass – Sirone
Bugle [Morrocan] – Ted Daniel (tracks: 7)
Cello – Jane Robertson (tracks: 1 to 7)
Drums – Eddie Moore (tracks: 1 to 3, 5 to 11) Gong (tracks: 2)
Percussion – Danny Johnson (tracks: 2, 4, 6)
Saw – Eddie Moore (tracks: 4)
Tenor Saxophone – Dewey Redman (tracks: 2, 3, 5, 8 to 11)
Timpani – Eddie Moore (tracks: 4)
Trumpet – Ted Daniel (tracks: 1 to 6, 8)
Violin – Leroy Jenkins (tracks: 8)

THE CECIL TAYLOR UNIT - Live In Bologna (1988) FLAC (tracks+.cue), lossless

Having suffered the passing of longtime musical partner Jimmy Lyons just a year prior, pianist Cecil Taylor enlisted alto saxophonist and flute player Carlos Ward as a replacement for a series of European dates in 1987. Filling out the group were percussionist Thurman Barker and violinist Leroy Jenkins (both veterans of Chicago's trailblazing AACM free jazz collective), as well as bassist William Parker. The new group members proved to be up to Taylor's capricious and galvanizing ways on this Bologna concert recording, not only providing sympathetic support for the pianist's expansive explorations, but also creating uniquely improvised statements of their own. They maintain a high standard throughout the 90-minute concert (the CD version has been edited down for time limitations), shifting from frenetic, full-ensemble runs to slow, primordial stretches of music-making. Barker particularly stands out, adding a multitude of textures and colors on marimba and a variety of other percussion instruments, while Jenkins also impresses with violin work that matches Taylor's own protean playing. For his part, Ward might not be up to the incisive work Lyons produced during his 20-year tenure with Taylor, but he turns in enough engaging statements to blend in nicely with the others. Although this is a great Taylor release, certainly essential for fans, Live in Bologna might not be the best disc for newcomers. Curious listeners should start with either of Taylor's mid-'60s Blue Note discs (Unit Structures and Conquistador), or check out later titles like 1986's live solo piano recording For Olim and his A&M trio date In Floresence. by Stephen Cook  
Tracklist :
1     Live in Bologna 1:09:53
Cecil Taylor
Credits :
Bass – William Parker
Marimba, Drums – Thurman Barker
Piano, Lyrics By [Poetry], Music By – Cecil Taylor
Reeds – Carlos Ward
Violin – Leroy Jenkins