MAARTEN ALTENA OCTECT - Rif (1990) FLAC (image+.cue), lossless

When Rif was first issued on LP in 1987, it marked the first of numerous turning points for Dutch composer and bassist Maarten Altena. The ensemble for this date came from vastly different musical worlds such as pop, theater, improvisation, and post-bop jazz, among others. This assemblage, and this term is used in the sense of visual art, was for the express purpose of looking at what could be done within the limits of the octet structure. How big could you make it without overdubbing? How much could you throw at the wall and still make it stick? How many layers could be piled on top of one another before they all collapsed? Altena decided on a set that juxtaposed fixed compositions such as the noir-ish jazz of "Boa," with the minimal melodic framework of "Rondo," which then opened onto a vast improvisational field. Harmonic ranges were articulated on charts and time frames, other than that, only a skeletal, monody (all musicians playing along the same line contributing whatever they feel is necessary) was imposed. Otherwise, there are no rules. Altena also included the compositions of bandmates, pianist Guus Janssen's and violinist Maartje ten Hoorn's in his mix along with the closing piece, "Re-Mix" (nearly a game) by classical composer Steve Maartland for dimension. Musically we cross over all genre lines, so much so that they cease to matter. What is left -- and it is plenty -- is the process of "music-making," the business of how to play together and still be true to the improvisational spirit a piece calls for. For an example of this, note the juxtaposition of the microtonal study of the ballad in "Ruis," and the conjecture that soling instruments need not have structural, timbral, or intervallic priorities in "Rif." The dynamics are radically different in each work as is their approach to restraint, but it is in the freedom of the latter that makes the discipline of the former possible. Tonality and its dissonances are only part and parcel of the individual voices that are "consonant" with one another in both pre-composed and improvised works. That consonance or, unified willingness of purpose, creates the almost limitless possibilities for tonal and harmonic exploration. The elegance and playfulness of Rif is startling, given what Altena had accomplished on his previous recordings. If anything, Rif is what firmly established him not only as a composer but also as a bandleader, as later recordings would attest.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Boa 5:57
Written-By – Maarten Altena
2    Rondo 7:09
Written-By – Guus Janssen
3    Ruis 6:44
Written-By – Maarten Altena
4    Rif 11:26
Written-By – Maarten Altena
5    De Yup 5:16
Written-By – Maartje Ten Hoorn
6    Marre 7:36
Written-By – Maarten Altena
7    Dek 3:52
Written-By – Maarten Altena
8    Re-Mix 4:28
Written-By – Steve Martland
Credits :
Alto Saxophone, Clarinet, Bass Clarinet – Michael Moore
Bass – Maarten Altena
Percussion – Michael Vatcher
Piano, Synthesizer – Guus Janssen
Tenor Saxophone, Bass Clarinet – Peter van Bergen
Trombone – Wolter Wierbos
Trumpet, Horn [Alto] – Marc Charig
Violin – Maartje Ten Hoorn

THE GIL EVANS ORCHESTRA — Plays the Music of Jimi Hendrix (1974-2002) RM | Serie Bluebird First Editions | FLAC (tracks+.cue), lossless

This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz. [This album was re-released in 2002 on the Bluebird label with four bonus tracks from the same sessions] Scott Yanow
Tracklist :
1. ANGEL 4:09
Arranged By – Tom Malone
Soloist, Alto Saxophone – David Sanborn
2. CROSSTOWN TRAFFIC / LITTLE MISS LOVER 6:34
Arranged By – Tom Malone
Vocals – "Hannibal" Marvin Peterson
3. MEDLEY: CASTLES MADE OF SAND / FOXY LADY 11:30
Arranged By – Gil Evans, Warren Smith
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
4. UP FROM THE SKIES 10:39
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
5. 1983 – A MERMAN I SHOULD TURN TO BE 7:29
Arranged By – David Horowitz
Electric Guitar – Keith Loving
Flugelhorn – Lew Soloff
6. VOODOO CHILE 5:03
Arranged By, Tuba – Howard Johnson
7. GYPSY EYES 3:44
Arranged By, Soprano Saxophone – Trevor Koehler
8. LITTLE WING 6:34
Alto Saxophone – David Sanborn
Arranged By – Gil Evans
Electric Bass – Herb Bushler
Vocals – "Hannibal" Marvin Peterson
– Alternate And Unused Takes –
9. ANGEL (ALTERNATE TAKE) 4:07
Alto Saxophone – David Sanborn
Arranged By – Tom Malone
10. CASTLES MADE OF SAND (ALTERNATE TAKE) 5:04
Arranged By – Gil Evans
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
11. UP FROM THE SKIES (ALTERNATE TAKE) 10:02
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
Trumpet – "Hannibal" Marvin Peterson
12. GYPSY EYES (ALTERNATE TAKE) 3:23
Arranged By, Soprano Saxophone – Trevor Koehler
Personnel :
Gil Evans - Piano, Electric Piano, Arranger, Conductor
Hannibal Marvin Peterson - Trumpet, Vocals
Lew Soloff - Trumpet, Flugelhorn, Piccolo Trumpet
Peter Gordon - French Horn
Pete Levin - French Horn, Synthesizer
Tom Malone - Trombone, Bass Trombone, Flute, Synthesizer, Arranger
Howard Johnson - Tuba, Bass Clarinet, Electric Bass, Arranger
David Sanborn - Alto Saxophone, Soprano Saxophone, Flute
Billy Harper - Tenor Saxophone, Flute
Trevor Koehler - Tenor Saxophone, Alto Saxophone, Flute, Baritone Saxophone, Soprano Saxophone, Arranger
John Abercrombie, Ryo Kawasaki - Electric Guitar
Keith Loving - Guitar
Don Pate - Bass
Michael Moore - Electric Bass, Acoustic Bass
Bruce Ditmas - Drums
Warren Smith - Vibraphone, Marimba, Chimes, Latin Percussion
Sue Evans - Drums, Congas, Percussion

LEE KONITZ - Tenorlee (1978-2002) FLAC (tracks+.cue), lossless

Tenorlee is a bit unusual in that altoist Lee Konitz exclusively plays tenor. Featured in an intimate trio with pianist Jimmy Rowles and bassist Michael Moore, Konitz explores ten superior standards from the swing era plus a brief unaccompanied workout on "Tenorlee." On "Lady Be Good," both Konitz and Rowles quote liberally from the famous 1936 recording by Lester Young and Count Basie. The relaxed, often lyrical, and slightly unpredictable interpretations are quite enjoyable. Scott Yanow
Tracklist :
1     I Remember You 6:33
Johnny Mercer / Victor Schertzinger     
2     Skylark 3:35
Hoagy Carmichael / Johnny Mercer
3     Thanks for the Memory 4:11
Ralph Rainger / Leo Robin
4     You Are Too Beautiful 4:26
Lorenz Hart / Richard Rodgers
5     Handful of Stars 5:20
Jack Lawrence / Ted Shapiro
6     Autumn Nocturne 3:28
Kim Gannon / Josef Myrow
7     Tangerine 3:54
Johnny Mercer / Victor Schertzinger
8     Tenorlee/Oh, Lady Be Good 8:12
George Gershwin / Ira Gershwin / Lee Konitz
9     The Gypsy 3:22
Billy Reid
10     'Tis Autumn 3:58
Henry Nemo
Credits :    
Bass – Michael Moore
Piano – Jimmy Rowles
Tenor Saxophone – Lee Konitz

ZOOT SIMS - Passion Flower : Zoot Sims Plays Duke Ellington (1980-1997) RM | WAV (tracks), lossless

Benny Carter provided the arrangements for the 16-piece band that accompanies the great tenor Zoot Sims on this set of Duke Ellington songs. The album is highlighted by "In a Mellow Tone," "I Got It Bad," "Passion Flower" and "Bojangles," but all nine selections are enjoyable and Sims is in top form. In fact it can easily be argued that Zoot Sims never made an indifferent or unswinging album, so it is not much of a surprise that this date is quite successful and should greatly appeal to straightahead jazz fans. Scott Yanow
Tracklist :
1     It Don't Mean a Thing (If It Ain't Got That Swing) 5:02
Duke Ellington / Irving Mills
2     In a Mellow Tone 2:58
Duke Ellington / Milt Gabler    
3     I Got It Bad (And That Ain't Good) 4:47
Duke Ellington / Paul Francis Webster    
4     I Let a Song Go Out of My Heart 2:58
Duke Ellington / Irving Mills / Henry Nemo / John Redmond
5     Black Butterfly 3:51
Duke Ellington / Irving Mills
6     Do Nothin' Till You Hear from Me 6:46
Duke Ellington / Bob Russell    
7     Your Love Has Faded 4:45
Duke Ellington / Billy Strayhorn    
8     Bojangles 4:46
Duke Ellington / Jerome Kern    
9     Passion Flower 4:11
Milt Raskin / Billy Strayhorn
Credits :
Alto Saxophone – Marshall Royal
Alto Saxophone, Flute – Frank Wess
Bass – Andy Simpkins, John Heard, Michael Moore
Conductor, Arranged By – Benny Carter
Drums – Grady Tate, John Clay, Shelly Manne
Guitar – John Collins
Leader – Zoot Sims
Piano – Jimmy Rowles
Producer – Norman Granz
Tenor Saxophone – Buddy Collette, Plas Johnson
Trombone – Benny Powell, Britt Woodman, Grover Mitchell, J.J. Johnson
Trumpet – Al Aarons, Bobby Bryant, Earl Gardner, Oscar Brashear

ART FARMER AND JIM HALL - Big Blues (1978-2006) RM | CTI Timeless Collection | FLAC (image+.cue), lossless

Flügelhornist Art Farmer and guitarist Jim Hall had a regular group for a time in the mid-'60s but (with one exception) didn't play together again until this 1978 LP. It's an unusual effort for CTI in that it is a quintet set without added horns, strings, or keyboards. Farmer and Hall are joined by vibraphonist Mike Mainieri, bassist Michael Moore, and drummer Steve Gadd for two standards, the title cut, and a jazz adaptation of a piece by Ravel. Since Farmer and Hall have long had very complementary styles (both being lyrical, harmonically advanced, and thoughtful in their improvisations), it is little surprise that this set is a complete success. Scott Yanow
Tracklist :
1     Whisper Not 8:44
Benny Golson
2     A Child Is Born 7:40
Thad Jones
3     Big Blues 7:23
Jim Hall
4     Pavane for a Dead Princess 10:50
Maurice Ravel
Credits :
Arranged By – David Matthews
Bass – Mike Moore
Drums – Steve Gadd
Flugelhorn – Art Farmer
Guitar – Jim Hall
Vibraphone – Mike Mainieri

TERRIE RICHARDS ALDEN AND THE WARREN VACHÉ QUARTET - Voice with Heart [1999]

With a light, airy voice à la Mildred Bailey and Blossom Dearie, although not as breathy as dear Blossom's, Terrie Richards Alden has put together a program designed to show her voice to its best advantage. With Warren Vache playing hot cornet, a swinging rendition of the first tune on the session, "Please Don't Talk About Me When I'm Gone," promises more than an hour of great music delivered by a very talented group of professionals who deliver on the promise. Warren Vache, sharing top of the bill on this session, is well-known to those who like their music to jump. His roots are in the traditionalist genre, having studied with Pee Wee Erwin and gaining early experience performing with Benny Goodman, Vic Dickenson, and Bob Wilber. He has been a leader since the mid-'70s. With Scott Hamilton, Vache was in the forefront of a revival of small swing jazz. Out of the Ruby Braff mold, Mr. Vache's cornet has a clear, bell-like tone which becomes a perfect counterpoint to Alden's voice. Hear their collaboration on "Just One of Those Things." His satiny playing behind Richards Alden's on "Gee Baby, Ain't I Good to You" recalls the lyrical, muted trumpet of Harry "Sweets" Edison playing behind Ella Fitzgerald, Billie Holiday, and others. Vache vocalizes on "Talk to Me Baby," a cut where the whole cast has a lot of fun. The husband end of the team and, for this session, a member of the Vache quartet, Howard Alden does some significant soloing on several of the cuts. He and Terrie have a lot of fun with "Makin' Whoopee," where she takes some liberties with the words to discourage any husband thinking of straying, even a little. The guy on the bench is referred to as "some old judge who 'she' calls 'honey'." Prior to this album, Terrie Richards Alden has appeared in a supporting role on albums by Rex Allen, Butch Miles, and Harry Allen. Judging by the results on this, her first solo album, it could have been subtitled "It's About Time."  by Dave Nathan  
Tracklist
1 Please Don't Talk About Me When I'm Gone 3:56
Sidney Clare / Sam H. Stept 
2 Comes Love 3:47
Lew Brown / Charles Tobias 
3 Sweet Substitute 5:01
Jelly Roll Morton 
4 Makin' Whoopee 4:28 
Walter Donaldson / Gus Kahn 
5 Just One of Those Things 5:39
Cole Porter 
6 Gee Baby, Ain't I Good to You 3:53
Andy Razaf / Don Redman 
7 Talk to Me 4:56
8 Dindi 5:05
Ray Gilbert / Antônio Carlos Jobim 
9 Ill Wind 5:25
Harold Arlen / Ted Koehler 
10 It's All Right With Me 6:14
Cole Porter 
11 The Very Thought of You 5:48
Ray Noble 
12 Am I Blue 5:37
Harry Akst / Grant Clarke 
13 Is You Is or Is You Ain't My Baby? 5:38
Bill Austin / Louis Jordan 
14 His Eye Is on the Sparrow 2:35
Terrie Richards Alden 
Credits 
Bass – Michael Moore
Cornet, Flugelhorn, Vocals – Warren Vaché
Drums – Jackie Williams
Guitar – Howard Alden
Vocals – Terrie Richards Alden

 Terrie Richards Alden and The Warren Vaché Quartet - Voice with Heart

[1999] Nagel Heyer / CBR320 / scans

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