ARCHIE SHEPP - The Magic Of Ju-Ju (1967-2000) RM | Impulse! Best 50 – 21 | FLAC (tracks+.cue), lossless

On this 1967 Impulse release, tenor saxophonist Archie Shepp unleashed his 18-minute tour de force "The Magic of Ju-Ju," combining free jazz tenor with steady frenetic African drumming. Shepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists -- Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles, and Dennis Charles -- who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. This is one of Shepp's most chaotic yet rhythmically hypnotic pieces. The three remaining tracks, somewhat overshadowed by the title piece, are quick flourishes of free bop on "Shazam," "Sorry Bout That," and the slower, waltz-paced "You're What This Day Is All About." Al Campbell
Tracklist :
1     The Magic of Ju-Ju 18:37
Archie Shepp    
2     You're What This Day Is All About 1:51
Archie Shepp    
3     Shazam! 4:43
Archie Shepp    
4     Sorry 'Bout That 10:07
Archie Shepp    
Credits
Bass – Reggie Workman
Drums – Beaver Harris, Norman Connor
Percussion – Dennis Charles
Percussion [Rhythm Logs] – Eddie Blackwell
Percussion [Talking Drums] – Frank Charles
Producer – Bob Thiele
Tenor Saxophone – Archie Shepp
Trumpet, Flugelhorn – Martin Banks
Trumpet, Trombone – Michael Zwerin

PHAROAH SANDERS - Meditation (Pharoah Sanders Selections Take 1 & 2) 2xCD (2003) FLAC (tracks+.cue), lossless

Although Pharoah Sanders first made his name in the free jazz scene of early-'60s New York and then by playing with John Coltrane in his most radical lineup, the saxophonist has never been merely a harsh, aggressive player. Meditation: Pharoah Sanders Selections, Take 1 does Sanders a great service by introducing the uninitiated to his work through music that is accessible and at times downright pretty without watering down his often-astonishing melodic freedom. 1970's "Thembi" marries an African rhythm to Sanders' graceful soprano sax and a fluid lead violin line by Michael White. "Morning Prayer," from the same sessions, has a hypnotic feel rooted in its polyrhythmic hand percussion (courtesy of Lonnie Liston Smith and a four-man team of African percussionists) and features an outstanding set of solos by Sanders on alto flute. "Colors" suffers a bit from being taken out of its original context as the becalmed coda to 1969's epic "The Creator Has a Master Plan," but Leon Thomas' incantatory vocal still has an eerie power. Finally, the epic 15-minute "Hum-Allah-Hum-Allah-Hum-Allah" has the ecstatic frenzy of a classic Sun Ra Arkestra side and the cockeyed grace of Rahsaan Roland Kirk's best work, blended with perhaps Thomas' finest vocal ever, mixing the staid cadences of a four-square preacher with some defiantly outside ululations. Besides the album's four other tracks (which include 1971's rare "Mansion Worlds," a fairly traditional piece of modal jazz making its CD debut), these tracks alone are evidence of Sanders' abiding spirituality and restless creative spirit, making Meditation: Pharoah Sanders Selections, Take 1 a perfect introduction to the man and his work. Stewart Mason  
Meditation - Pharoah Sanders Selections Take 1 -
1.    Greeting To Saud 4'06
Percussion – Jimmy Hopps, Kenneth Nash, Lawrence Killian, Michael Carvin, Pharoah Sanders
Piano – Joe Bonner
Tambora – Calvin Hill
Violin – Michael White
Vocals – Sedatrius Brown
2.    Hum-Allah-Hum-Allah-Hum Allah 05'05
Drums – Roy Haynes
Drums, Percussion – Idris Muhammad
Flute, Thumb Piano, Percussion – Lonnie Liston Smith
Percussion – Cecil McBee
Tenor Saxophone, Contrabass Clarinet, Flute, Thumb Piano, Chimes, Percussion – Pharoah Sanders
Vocals, Percussion – Leon Thomas
3.    Mansion Worlds 9'14
Bass – Cecil McBee, Stanley Clarke
Drums – Norman Connors
Flute – Art Webb
Piano – Joe Bonner
Soprano Saxophone, Vocals, Percussion – Pharoah Sanders
4.    The Gathering 13'53
Bass – Calvin Hill
Congas, Bell Tree – Lawrence Killian
Drums – Michael Carvin
Percussion – John Blue
Piano, Flute, Horn, Vocals, Percussion – Joe Bonner
Sopranino Saxophone, Tenor Saxophone, Vocals, Percussion – Pharoah Sanders
5.    Morning Prayer 9'12
Bass, Effects – Cecil McBee
Percussion – Anthony Wiles, Chief Bey, Majid Shabazz, Nat Bettis
Piano, Finger Cymbals, Thumb Piano – Lonnie Liston Smith
Tenor Saxophone, Alto Flute, Handbell, Thumb Piano, Maracas, Fife – Pharoah Sanders
6.    Thembi 7'02
Bass, Finger Cymbals, Percussion – Cecil McBee
Drums, Maracas, Bells, Percussion – Clifford Jarvis
Finger Cymbals – James Jordan
Piano, Electric Piano, Claves, Percussion – Lonnie Liston Smith
Soprano Saxophone, Tenor Saxophone, Bells, Percussion – Pharoah Sanders
Violin, Percussion – Michael White
7.    Memories Of Lee Morgan 5'37
Bass – Cecil McBee, Stanley Clarke
Congas, Percussion – Lawrence Killian
Drums – Norman Connors
Percussion – Hannibal (Marvin Peterson)
Piano, Flute, Percussion – Joe Bonner
Sopranino Saxophone, Vocals, Percussion, Bells – Pharoah Sanders
8.    Colors 5'38
Bass – Reggie Workman, Ron Carter
Drums – Freddie Waits
French Horn – Julius Watkins
Piano – Lonnie Liston Smith
Tenor Saxophone – Pharoah Sanders
Vocals, Percussion – Leon Thomas
Meditation - Pharoah Sanders Selections Take 2 -
1    Shukuru 5'49
2    Rejoice 12'45
3    Pharomba 4'35
4    Origin 5'44
5    Naima 7'31
6    Sun Song 6'05
7    Think About The One 4'18
8    Midnight At Yoshi's 6'00
9    You Got To Have Freedom 6'51
10    Heart Is A Melody Of Time 7'34
11    Light At The Edge Of The World 5'09

PHAROAH SANDERS - Black Unity (1971-1997) RM | FLAC (tracks+.cue), lossless

By 1971, Pharoah Sanders had taken the free thing as far as he could and still live with himself. He was investigating new ways to use rhythm -- always his primary concern -- inside his music and more tonally strident ways of involving the front line in extrapolating tonal and harmonic diversions from the melodic framework of his music. To that end, he entered into a more groove-laden arrangement with himself and employed some funkier players to articulate his muse. Along with Cecil McBee and Billy Hart, who were frequent Sanders sidemen, a young Stanley Clarke fills the second bass chair, and Norman Connors fills out the second drum seat. Carlos Garnett accompanies Sanders on tenor, Joe Bonner on piano, and Hannibal Peterson on trumpet. Sanders also added a full-time percussionist in Lawrence Killian. The only cut on the album is "Black Unity," over 37 minutes of pure Afro-blue investigation into the black sounds of Latin music, African music, aborigine music, and Native American music, with a groove that was written into the standard three-chord vamp Sanders used, opening up a world of melodic and tonal possibilities while also bringing a couple of stellar talents to the fore -- Garnett being one of them and Connors being another. The heavy, hypnotic groove and a double-time tempo are controlled by dynamics and the groupings of instruments, signaled by Bonner with his stacked fifths, sevenths, and ninths. This is a solid, moving piece of work that seals the cracks in Sanders' vocabulary. His arrangement and the staggering of solos into the whole are magnificent. Here was Sanders as he saw himself in the mirror, a mass of contradictions, and the embodiments of the full fury and glory of music in one man.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1     Black Unity 37:21
Pharoah Sanders    
Credits :
Bass – Cecil McBee, Stanley Clarke
Congas, Talking Drum, Balafon [Balophone] – Lawrence Killian
Drums – William Hart, Norman Connors
Piano – Joe Bonner
Tenor Saxophone – Carlos Garnett
Tenor Saxophone, Balafon [Balophone] – Pharoah Sanders
Trumpet – Marvin Peterson

PHAROAH SANDERS - Live At The East (1971-2007) RM | FLAC (tracks+.cue), lossless

By 1971 Pharoah Sanders' playing essentially alternated between two moods: ferocious and peaceful. This live record gives one a good example of how the passionate tenor sounded in clubs during the early '70s. Sanders is joined by an impressive group of players: trumpeter Marvin "Hannibal" Peterson, flutist Carlos Garnett, Harold Vick on tenor, pianist Joe Bonner, the basses of Stanley Clarke and Cecil McBee, drummers Norman Connors and Billy Hart, and percussionist Lawrence Killian. On the 20-minute "Healing Song," the lengthy "Memories of J.W. Coltrane," and the two-part "Lumkili," Sanders is heard in top form. Scott Yanow
Tracklist :
1    Healing Song 21'46
Written-By – J. Bonner, F. Sanders
2    Memories Of J. W. Coltrane 12'52
Written-By – F. Sanders
3    Lumkili 8'35
Written-By – F. Sanders
Credits :
Bass – Cecil McBee, Stanley Clarke
Congas, Marimba [Bailophone] – Lawrence Killian
Drums – William Hart, Norman Connors
Flute, Voice – Carlos Garnett
Piano, Harmonium – Joseph Bonner
Saxophone – Pharoah Sanders
Tenor Vocals – Harold Vic
Trumpet – Marvin Peterson

PHAROAH SANDERS - Love In Us All (1974-2007) RM | Japan Mini LP | FLAC (tracks+.cue), lossless

Recorded near the end of Pharoah Sanders' tenure at Impulse, Love in Us All consists of two extended compositions. Together, they serve as an aural representation of the way Sanders' music polarized the jazz world at the time. Like many of his "New Thing" peers, the saxophonist sought the sound world beyond the constraints of conventional harmony. This often translated into music played at the grating, far reaches of his instrument. "To John" finds Sanders in this territory. His solo begins with Coltrane-isms of short motive development before stretching out into a more personal sound. Finding himself engulfed by a rising musical tide, he plays like he's fighting desperately to stay above it. Soon his saxophone takes on a sorrowful tone as if admitting inevitable defeat. With little optimism apparent, it ultimately communicates a sense of emptiness. However, the often one-dimensional criticism of Sanders as an angry, confrontational musician fails to take in the ragged beauty of a work like "Love Is Everywhere." The song offers little explanation as to what the furor was all about. It begins with an exquisite bass vamp that the song builds from. "Love is everywhere" is repeatedly and passionately shouted as the music escalates into a disorienting swirl of sound. Sanders enters midway through with a surprisingly restrained and lyrical solo on soprano. These two songs hardly seem to belong on the same album and are best approached separately. Many of the players who took musical and philosophical inspiration from John Coltrane failed to translate it into resonant works of their own. Sanders' unsuccessful attempt on "To John" falls in this category. Yet, in a way, Coltrane himself never created a work as emotionally direct as "Love Is Everywhere." Nathan Bush
Tracklist :
1    Love Is Everywhere    19:52
2    To John    20:42
Credits :
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, James Mtume, Lawrence Killian
Piano – Joe Bonner
Tenor Saxophone, Soprano Saxophone, Flute – Pharoah Sanders

PHAROAH SANDERS - Village of the Pharoahs + Wisdom Through Music (2011) RM | Serie : Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

The albums packaged in this Impulse two-fer -- Village of the Pharoahs and Wisdom Through Music -- were both released in 1973, but only the latter was recorded as an album. They share the same basic personnel -- pianist Joe Bonner, bassist Cecil McBee, drummer Norman Connors, and percussionist Lawrence Killian -- while Village, because it was recorded at three different sessions over three years, also contains numerous other players, including vocalist Sedatrius Brown, bassists Stanley Clarke, Jimmy Hopps, and Calvin Hill, percussionists Hannibal Peterson and Kenneth Nash, and flutist Art Webb. Wisdom Through Music simply adds Mtume and Badal Roy to the percussion section, with Killian and flutist James "Plunky" Branch (founder of spiritual jazz-funk pioneers Oneness of Juju). Historically, Village of the Pharoahs has gotten a bad rap because of its wide range of musical approaches. The largest part of the former album is taken up with the three-part title track on which Sanders plays only soprano saxophone, percussion instruments, and sings. It's a cosmic, sprawling jam that seems to lead everywhere through Middle Eastern modalities, but is wonderfully accessible. Other highlights include "Memories of Lee Morgan," with gorgeous flute playing by Webb matching Sanders' soprano, and a wonderfully elliptical piano line by Bonner, and the closing "Went Like It Came," where Sanders pulls out his mighty tenor and makes his brand of vanguard jazz swing like mad. Wisdom Through Music, with its smaller lineup, consists of five tracks. Most notable is "High Life," on which Sanders emulates the West African style of music with roiling, celebratory drumming and singing, and killer flute playing. "Love Is Everywhere" is a shorter version of what is now a Sanders performance standard; it appeared in full on Love in Us All released in 1974. Its rawness and soulfulness simply burst from the musical frame with celebration before Bonner and the ensemble take over and rip it up. The title track is a slow, meditative, drone-like piece with abundant percussion by Roy and gorgeous arco work from McBee. Bonner's "The Golden Lamp" is driven by McBee, Branch, and an uncredited instrument rreminiscent of kora and/or an oud. It closes with the nearly 11-minute "Selflessness," a jam that begins as a sung chant and sprawls out into another Sanders orgy of celebration with excellent tenor blowing, as well as spirited interplay with Bonner and the percussionists. These two recordings belong together, and create a compelling whole, revealing a compelling chapter in Sanders recorded history.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Village Of The Pharoahs (1971)
Bass – Calvin Hill
Congas – Lawrence Killian
Drums – Jimmy Hopps
Drums [Sakara And Murdunom], Percussion – Kenneth Nash
Piano, Flute, Percussion, Shakuhachi – Joe Bonner
Soprano Saxophone, Vocals, Percussion – Pharoah Sanders
Tambura, Percussion – Kylo Kylo
Vocals, Percussion – Sedatrius Brown
1    Part One    7:14
2    Part Two    4:58
3    Part Three    4:51
4    Myth 1:47
Bass – Calvin Hill
Percussion, Whistle – Kenneth Nash
Vocals, Percussion – Joe Bonner, Lawrence Killian, Pharoah Sanders, Sedatrius Brown
5    Mansion Worlds 9:15
Bass – Cecil McBee, Stanley Clark
Congas, Percussion – Lawrence Killian
Drums – Norman Connors
Percussion – Marvin Peterson
Piano – Joe Bonner
Soprano Saxophone, Bells – Pharoah Sanders
6    Memories Of Lee Morgan 5:38
Bass – Cecil McBee, Stanley Clark
Drums – Norman Connors
Flute – Arthur Webb
Piano – Joe Bonner
Soprano Saxophone, Bells – Pharoah Sanders
7    Went Like It Came 5:09
Bass – Calvin Hill
Congas – Lawrence Killian
Drums – Jimmy Hopps
Percussion – Kenneth Nash, Kylo Kylo
Piano – Joe Bonner
Tenor Saxophone, Vocals, Percussion – Pharoah Sanders
Vocals, Percussion – Sedatrius Brown
Wisdom Through Music (1972)   
8    High Life 4:23
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, Mtume, Lawrence Killian
Piano – Joe Bonner
Soprano Saxophone, Tenor Saxophone, Flute – Pharoah Sanders
9    Love Is Everywhere 5:21
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, Mtume*, Lawrence Killian
Piano – Joe Bonner
Soprano Saxophone, Tenor Saxophone, Flute – Pharoah Sanders
10    Wisdom Through Music 5:46
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, Mtume, Lawrence Killian
Piano – Joe Bonner
Soprano Saxophone, Tenor Saxophone, Flute – Pharoah Sanders
11    The Golden Lamp 4:47
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, Mtume, Lawrence Killian
Piano – Joe Bonner
Soprano Saxophone, Tenor Saxophone, Flute – Pharoah Sanders
Written-By – Joseph Bonner
12    Selflessness 10:56
Bass – Cecil McBee
Drums – Norman Connors
Flute – James Branch
Percussion – Badal Roy, Mtume, Lawrence Killian
Piano – Joe Bonner
Soprano Saxophone, Tenor Saxophone, Flute – Pharoah Sanders

PHAROAH SANDERS - Love Will Find A Way (1978-2005) FLAC (tracks+.cue), lossless

Pharoah Sanders album for the India Navigation label was known alternately as Pharoah or Harvest Time, sees his vision of the jazz group -- a sonic melange approximating nirvana -- beginning to drift into watery new age muzak. Obviously, the playing is excellent (especially Steve Neil on bass), but the 20-minute title track goes nowhere in its search for bluesy riffs, Sanders' vocal on "Love Will Find a Way" sounds quite out of place, and "Memories of Edith Johnson" is five minutes of a boringly repetitive organ line. Clearly, Pharoah Sanders was losing his way a full ten years after the death of John Coltrane. John Bush
Tracklist :
1    Love Will Find A Way 5:12
Composed By – Bedria Sanders
2    Pharomba
Arranged By – McKinley Jackson, Norman Connors
Music By – Pharoah Sanders
Music By [Vocal Colorings] – Norman Connors, Pharoah Sanders
Percussion [Solo] – Kenny Nash
Vocals – Norman Connors
3    Love Is Here 4:43
Lyrics By – Norman Connors, Pharoah Sanders
Music By – Pharoah Sanders
Vocals [Featured Vocalist] – Phyllis Hyman
4    Got To Give It Up 6:29
Arranged By [Strings & Horns] – McKinley Jackson
Composed By – Marvin Gaye
5    As You Are 5:08
Music By – Norman Connors, Paul Smith
Vocals [Featured Vocalist] – Phyllis Hyman
6    Answer Me My Love 6:42
Arranged By [Rhythms] – Paul Riser
Bass – Eddie Watson
Music By – Sigmon, Rauch, Winkler
7    Everything I Have Is Good 6:00
Lyrics By – Pam McDonald
Music By – Pharoah Sanders
Vocals [Featured Vocalist] – Norman Connors, Phyllis Hyman
Credits :
Arranged By [Rhythms] – McKinley Jackson (pistas: 1 to 5, 7)
Arranged By [Strings & Horns] – Paul Riser (pistas: 1 to 3, 5 to 7)
Arranged By, Conductor – McKinley Jackson, Paul Riser
Backing Vocals – The Water Family
Bass – Alex Blake (pistas: 1, 3), Donny Beck (pistas: 1, 4, 5, 7)
Concertmaster [Strings] – Sidney Sharp
Congas, Bongos, Cymbal [Paiste Cymbals], Gong [Gongs], Percussion [Miscellaneous] – Kenneth Nash
Drums – James Gadson (pistas: 1, 4, 7), Lenny White (pistas: 2, 3), Raymond Pounds (pistas: 5, 7)
Electric Guitar – David T. Walker, Wah Wah Watson
French Horn – Sidney Muldrow, Vincent De Rosa
Keyboards – Hubert Eaves, Khalid Moss
Keyboards [Keyboard Solos] – Bobby Lyle
Reeds – Ernest Watts
Saxophone – Terry Harrington, William Green
Soprano Saxophone, Tenor Saxophone, Percussion – Pharoah Sanders
Timpani, Drums, Percussion, Gong [Gongs] – Norman Connors
Trombone – George Bohanon, Lew McCreary
Trumpet – Charles Findley, Oscar Brashear
Vocals – Phyllis Hyman

PHAROAH SANDERS & NORMAN CONNORS - Beyond a Dream (1981-2016) RM | Crossover & Fusion Collection 1000 | FLAC (tracks+.cue), lossless

Tracklist :
1     Babylon 8:47
Billy McCoy    
2     Beyond a Dream 10:33
Kenny Cox / Maria Kathleen Martin    
3     Montreux Overture 4:40
Pharoah Sanders    
4     The End of the Beginning 4:58
Bobby Lyle    
5     Casino Latino 15:29
Pharoah Sanders
Credits :
Congas, Percussion – Lawrence Killian
Drums, Timpani, Percussion – Norman Connors
Electric Bass – Alex Blake
Guitar – Greg Hill
Keyboards – Jacques Burvick
Percussion, Congas – Petro Bass
Piano – Bobby Lyle (pistas: 3 to 5)
Piano, Keyboards – Billy McCoy
Tenor Saxophone – Pharoah Sanders (pistas: 3 to 5)
Tenor Saxophone, Soprano Saxophone, Flute – Buzzy Jones
Trumpet – Duke Jones

SAM RIVERS - Streams (1973-1989) FLAC (tracks+.cue), lossless

Since his final Blue Note session in 1967, Sam Rivers' music got freer and freer, as audiences were able to hear when he signed to Impulse at the beginning of the '70s. Streams was the recorded apex of his early-'70s move into full-fledged free jazz, a continuous 50-minute trio improvisation recorded live at the 1973 Montreux Jazz Festival. The music is pure stream-of-consciousness -- no discernible pre-set themes, just free-flowing ideas and interaction among the musicians (who also include bassist Cecil McBee and drummer Norman Connors). What's truly amazing about the set is that Rivers' streams of consciousness are more like, well, rivers. He draws from a seemingly inexhaustible supply of fresh soloing ideas -- on four different instruments -- and his playing is busy and nearly continuous throughout, stopping only to switch instruments or punctuate his lines with an excited shout. The album's title refers to the way the different sections of Rivers' improvisation connect and flow into one another, but more impressive is the fact that there are so many sections in the first place. Rivers' tenor sax playing opens the album, and it's as potent a blend of the visceral and intellectual as usual. His rhythmically and harmonically adventurous flute work follows, then a section of angular piano somewhat indebted to Cecil Taylor; things wrap up with a high-energy soprano sax dialogue that features some fantastically driving, muscular work by McBee. He and Connors color in between Rivers' stunning overflow of ideas very effectively, pushing the leader wherever possible. It's a shame there aren't more documents of this phase in Rivers' career, though that could be said of pretty much all of his phases. If it's Rivers the free improviser you're looking for, Streams is a tour de force and one of the highlights of his extremely distinguished career. Steve Huey
Streams    (49:30)
1.1    Spoken Introduction    1:18
1.2    Tenor Saxophone Section, Beginning Of Flute Section    23:12
1.3    Conclusion Of Flute Section, Piano Section, Soprano Saxophone Section    25:14
Credits :    
Bass – Cecil McBee
Drums – Norman Connors
Tenor Saxophone, Soprano Saxophone, Flute, Piano, Written-By – Sam Rivers

SAM RIVERS - Hues (1973) lp | FLAC (tracks), lossless

All ten selections on Hues are titled by a particular color. Four of the ten trio performances are studio and six are live performances. Rivers is accompanied by drummer Norman Conners and bassist Cecil McBee on "Amber"; Connors' skin work is noteworthy, and Rivers's tenor sax cries and whines like a hungry newborn. Rivers switches to flute on "Turquoise," where he's pushed by Connors' impressionistic drum rolls. The piano is Rivers's instrument of choice on "Rose"; the melody and tempo changes enhance the beauty of the superbly executed, intricate arrangement. "Chartreuse" is mysterious, strange, and mid-Eastern-ish, and Rivers plays the mind-stretching piece on soprano sax. "Mauve" and "Indigo" were both recorded in performance, and Rivers's sidekicks are Richard Davis (bass) and Warren Smith (drums & percussion). The former is as haunting as anything here; Rivers' tenor sax seems to be exploring the brain, while Davis keeps a low profile, and Smith does percussion tricks. Staying with tenor on "Indigo," he delivers his most straightforward performance. The final four cuts were also recorded live. Avld Anderson playing bass and Barry Altschul handling drums and percussion complement Rivers on imaginative selections like "Onyx," with its mixed styles and African chants. It segues into "Topaz" without missing a beat, and Rivers' flute work is full of vigor then mellows a bit before energizing and racing with Anderson and Altschul to end the track. On "Ivory Black," Rivers tickles the ivories like he's playing a soundtrack cut for a mystery; his counterparts provide a sound canvas for Rivers's stringent playing. "Violet" sounds like the esoteric sounds John Coltrane became acclaimed for. Hues is thoroughly enjoyable and should be reissued. Andrew Hamilton 

Sessions :

A. - tracks 1, 2, 3 - Recorded in performance at The Jazz Workshop, Boston, 13 Feb 1971.

Sam Rivers - tenor sax, flute
Cecil McBee - bass
Norman Connors - drums & percussion

B. - track 4 - Recorded in performance at The Jazz Workshop, Boston, 14 Feb 1971.

Sam Rivers - soprano sax
Cecil McBee - bass
Norman Connors - drums & percussion

C. - tracks 5, 6 - Recorded in performance at Oakland University, Rochester, Michigan, 27 Oct 1972.

Sam Rivers - tenor sax
Richard Davis - bass
Warren Smith - drums & percussion

D. - tracks 7, 8 - Recorded in performance at Molde Jazz Festival, Norway, 3 Aug 1973.

Sam Rivers - soprano sax, flute
Avild Andersen - bass
Barry Altschul - drums & percussion

E. - tracks 9, 10 - Recorded in performance at Battel Chapel, Yale University, US, 10 Nov 1973.

Sam Rivers - soprano sax, flute
Cecil McBee - bass
Barry Altschul - drums & percussion

SAM RIVERS TRIO ft. CECIL McBEE and NORMAN CONNORS - Emanation (1971-2019) RM | FLAC (tracks+.cue), lossless

Tracklist :
1    Emanation Part I    31:09
2    Emanation Part I    45:32
Credits :
Bass – Cecil McBee
Drums – Norman Connors
Tenor Saxophone, Soprano Saxophone, Flute, Piano, Composed By [All Compositions By] – Sam Rivers
Notas.
Recorded 3rd June, 1971 at the Jazz Workshop, Boston