MARY LOU WILLIAMS — Black Christ of the Andes (1964-2004) FLAC (tracks+.cue), lossless

Complex and brooding suites by jazz artists have often received mixed reviews. Whether hailed as brilliant and visionary or slammed as self-indulgent and trite -- Ellington's Black, Brown and Beige, Charles Mingus' infamous Town Hall Concert, or even Wynton Marsalis' Blood on the Fields all come to mind -- these works are, if nothing else, great risks for the artists involved. At the time of its initial performance, "Black Christ of the Andes" (or "St. Martin de Porres") was called everything from "blues stripped of its accent" to a "hokey prayer," prompting Williams to cut it from her repertoire before the release of the LP in 1964. An unfortunate fate for a very enjoyable and, now, highly regarded piece of music. Williams explained her pioneering concept of pairing jazz with spirituals as an attempt to heal the disparity between the gifted nature of the African-American and his tendency toward the worst kinds of sin. In fact, the original title for this LP was Music for Disturbed Souls. Certainly, by 1962 others had employed the modes and feel of the church into jazz, but Williams' use of the Ray Charles Singers (no relation to the other Ray Charles) added an element that made "St. Martin," an a cappella choral piece, a much more church-oriented affair than, say, John Coltrane's "Spiritual." Williams' vision, like Coltrane's, was at times dark and sobering while at others full of warmth and hope. It would have been completely out of place, however, at the Village Vanguard. This is a piece that belongs, if not in the church, then certainly out of the nightclub circuit. Other tracks on this LP, though, like her sublime rendition of "It Ain't Necessarily So," would have been welcome in their dark and smoky confines. Otherwise, expect a jump blues number, a handful of trio cuts (some featuring Percy Heath), and a smattering of various vocal combinations throughout. A number of styles are represented here and they weave amongst one another with ease and grace. This is a very enjoyable record with some especially rewarding piano solos by Williams. Brandon Burke
Tracklist :
1    St. Martin De Porres 6:32
Lyrics By – Rev. A. S. Woods, S.J.
Music By – M. L. Williams
2    It Ain't Necessarily So 4:41
Written-By – George And Ira Gershwin
3    The Devil 4:00
Lyrics By – Ada Moore
Music By – M. L. Williams
4    Miss D.D. 2:28
Written-By – M. L. Williams
5    Anima Christi 2:48
Written-By – M. L. Williams
6    A Grand Night For Swinging 3:06
Written-By – Billy Taylor
7    My Blue Heaven 3:21
Written-By – George Whiting, Walter Donaldson
8    Dirge Blues 2:57
Written-By – M. L. Williams
9    A Fungus A Mungus 3:21
Written-By – M. L. Williams
10    Koolbonga 3:21
Written-By – M. L. Williams
11    Forty-Five Degree Angle 2:50
Written-By – Denzil Best
12     Nicole 3:37
Written-By – M. L. Williams
13    Chunka Lunka 3:07
Written-By – M. L. Williams
14    Praise The Lord 5:55
Written-By – M. L. Williams
Credits :
Bass – Larry Gales (tracks: 5, 14), Percy Heath (tracks: 6 to 8, 10 to 13), Theodore Cromwell (tracks: 2, 4)
Bass Clarinet – Budd Johnson (tracks: 5)
Choir – The George Gordon Singers (tracks: 5, 14), The Ray Charles Singers (tracks: 1, 3)
Conductor – Howard Roberts (tracks: 1, 3)
Drums – George Chamble (tracks: 2, 4), Percy Brice (tracks: 5, 14), Tim Kennedy (tracks: 6 to 8, 10 to 13)
Guitar – Grant Green (tracks: 5, 14)
Piano – Mary Lou Williams
Tenor Saxophone – Budd Johnson (tracks: 14)
Vocals [Solo] – Jimmy Mitchell (tracks: 5, 14)

ELMO HOPE — Homecoming! (1961-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. Brandon Burke
Tracklist :
1    Elmo Hope Sextet–    Moe, Jr. (Take 4)    5:52
Composed By – Elmo Hope
2    Elmo Hope Sextet–    Moe, Jr. (Take 2)    4:37
Composed By – Elmo Hope
3    Elmo Hope Trio–    La Berthe    3:10
Composed By – Elmo Hope
4    Elmo Hope Sextet–    Eyes So Beautiful As Yours    6:28
Composed By – Elmo Hope
5    Elmo Hope Trio–    Homecoming    5:04
Composed By – Elmo Hope
6    Elmo Hope Trio–    One Mo' Blues    6:44
Composed By – Elmo Hope
7    Elmo Hope Sextet–    A Kiss For My Love (Take 5)    5:29
Composed By – Elmo Hope
8    Elmo Hope Sextet–    A Kiss For My Love (Take 4 - Previously Unissued)    5:35
Composed By – Elmo Hope
9    Elmo Hope Trio–    Imagination 6:39
Composed By – Jimmy Van Heusen And Johnny Burke
Credits :
Bass – Percy Heath
Drums – "Philly" Joe Jones
Piano, Arranged By – Elmo Hope
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Frank Foster (tracks: 1, 2, 4, 7, 8), Jimmy Heath (tracks: 1, 2, 4, 7, 8)
Trumpet – Blue Mitchell (tracks: 1, 2, 4, 7, 8)

NAT ADDERLEY — Work Song (1960-2004) SACD, Hybrid | FLAC (tracks+.cue), lossless

Work Song is a near-classic by cornetist Nat Adderley. Adderley utilizes a cornet-cello-guitar front line with Sam Jones and Wes Montgomery, along with a top-notch rhythm section pianist including Bobby Timmons, Percy Heath, or Keter Betts on bass and drummer Louis Hayes. First up is a fine early performance of his greatest hit, "Work Song." He also helps introduce Cannonball Adderley's "Sack O' Woe." Four songs use a smaller group, with Timmons absent on "My Heart Stood Still," which finds Keter Betts on cello and Jones on bass; "Mean to Me" featuring Nat backed by Montgomery, Betts, and Hayes; and two ballads ("I've Got a Crush on You" and "Violets for Your Furs") interpreted by the Adderley-Montgomery-Jones trio. No matter the setting, Nat Adderley is heard throughout in peak form, playing quite lyrically. Highly recommended. Scott Yanow
Tracklist :
1    Work Song 4:12
Written-By – Nat Adderley
2    Pretty Memory 3:50
Written-By – Bobby Timmons
3    I've Got A Crush On You 2:53
Written-By – Gershwin-Gershwin
4    Mean To Me 4:59
Written-By – Ahlert, Turk
5    Fallout 4:51
Written-By – N. Adderley
6    Sack Of Woe 4:24
Written-By – Julian Adderley
7    My Heart Stood Still 6:24
Written-By – Rodgers-Hart
8    Violets For Your Furs 3:47
Written-By – Dennis, Adair
9    Scrambled Eggs 3:20
Written-By – Sam Jones
Credits :
Bass – Keter Betts (tracks: 2, 4, 5), Percy Heath (tracks: 1, 6, 9), Sam Jones (tracks: 3, 7, 8)
Cello – Keter Betts (tracks: 7), Sam Jones (tracks: 1, 2, 5, 6, 9)
Cornet – Nat Adderley
Drums – Louis Hayes (tracks: 1, 2, 4 to 7, 9)
Guitar – Wes Montgomery
Piano – Bobby Timmons (tracks: 1, 2, 5, 6, 9)
Producer, Liner Notes – Orrin Keepnews

THE MODERN JAZZ QUARTET — The Complete Modern Jazz Quartet Prestige & Pablo Recordings (2003) 4CD BOX-SET | FLAC (image+.cue), lossless|

In typical Fantasy Records aplomb, this four-CD set collects the eight albums which the Modern Jazz Quartet either mentored or collaborated on during their tenure at the commencement and nadir of their reign as jazz's premier chamber ensemble. Beginning with the 1952 issue of Modern Jazz Quartet/Milt Jackson Quintet recording (the earlier Milt Jackson Quartet sides are not here for obvious reasons, as the band did not commence its fully developed form on them) featuring original drummer Kenny Clarke before Connie Kay replaced him, and ending with This One's For Basie in 1985; the association the MJQ had with Prestige was a monumental one. Signified on the band's first full-length outing included here, Django, were the quiet power and majesty the group would later showcase on its Atlantic recordings, MJQ, Fontessa, and the soundtrack for No Sun In Venice. More importantly, the band's run on Prestige showcased not only the roots of the chamber jazz sound, but a harder-edged swing than was displayed on the more expansive recordings on Atlantic. From the almost novel and humorous asides of "The Queen's Fancy," to the funkier, grittier side of the band displayed with Sonny Rollins as a guest on "No Moe," MJQ were always about swing and blues. Discs One and Two showcase the early days of the band on their debut, Django, with Sonny Rollins and Concorde recordings. Concorde is a pinnacle, and reveals John Lewis' writing and arranging to have opened up and embraced all of classical music's dynamic spectrum, while keeping the restraint of swing and the expressionism of the blues in full view. The more regal sound is the one that informed virtually all of the group's Atlantic sides in the years to come. But Concorde and Django are simply two of the first recordings that the label issued during the early 1950s. Discs Three and Four represent four Pablo albums: The Reunion at Budokan in 1981, Together Again at Montreux Jazz in 1982, Echoes from 1984, and finally, This One's For Basie. These sides offer a much more mannered and ritualistic side of MJQ, one that had its critics but nonetheless swung hard and took chances, particularly in their live encounters. There is a caveat, however, as has become typical of the Fantasy boxed sets: Perhaps they should be titled the complete "released" recordings, since there is only one unreleased track in the bunch, the deep sixed 16th alternate take of "Rockin' In Rhythm," from Topsy: This One's For Basie. Really, what is the label waiting for? Fans, no doubt, have most if not all of this material anyway, and there needs to be -- besides an excellent package, sets of liner notes by Eugene Holley and Chris Sheridan -- a definitive edition that includes the process-takes this band recorded to get to the final version: MJQ were nothing if not perfectionists. Still, it's a somewhat small complaint to have all of this material in one place and juxtaposed so brilliantly between the young jazz rebels and the celebrated masters.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1 All The Things You Are 3:15
 Kern, Hammerstein
2 La Ronde 3:08
 John Lewis
3 Vendome 3:12
 John Lewis
4 Rose Of The Rio Grande 2:12
 Leslie, Warren, Gorman
5 The Queen's Fancy 3:12
 John Lewis
6 Delaunay's Dilemma 3:57
 John Lewis
7 Autumn In New York 3:38
 Vernon Duke
8 But Not For Me 3:44
 Gershwin Gershwin
9 In A Sentimental Mood 3:16
 Duke Ellington
10 The Stopper 2:55
 Sonny Rollins
11 Almost Like Being In Love 3:21
 Lerner Loewe
12 No Moe 3:27
 Sonny Rollins
13 Django 7:03
 John Lewis
14 One Bass Hit 2:59
 Gillespie, Fuller, Brown
15 Milano 4:21
 John Lewis
16 La Ronde Suite 9:25
 John Lewis
17 Ralph's New Blues 7:09
 Milt Jackson
18 All Of You 4:26
 Cole Porter
Tracklist 2 :
1 I'll Remember April 5:07
 Raye, De Paul, Johnston
2 Gershwin Medley (Soon/For You, For Me, For Evermore/Love Walked In/love Is Here To Stay) 7:55
 Gershwin Gershwin
3 Concorde 3:38
 John Lewis
4 Softly, As In A Morning Sunrise 7:57
 Hammerstein, Romberg
5 Softly, As In A Morning Sunrise 5:53
 Hammerstein, Romberg
6 The Cylinder 5:01
 Milt Jackson
7 Really True Blues 5:19
 Milt Jackson
8 The Golden Striker 5:47
 John Lewis
9 Odds Against Tomorrow 8:29
 John Lewis
10 The Jasmine Tree 3:29
 John Lewis
11 Bags' Groove 5:19
 Milt Jackson
12 Django 5:12
 John Lewis
13 Django 5:25
 John Lewis
Tracklist 3 :
1 The Jasmine Tree 4:42
 John Lewis
2 Odds Against Tomorrow 8:53
 John Lewis
3 The Cylinder 5:12
 Milt Jackson
4 The Martyr 8:43
 Milt Jackson
5 Really True Blues 5:39
 Milt Jackson
6 Monterey Mist 4:05
 Milt Jackson
7 Bags' New Groove 4:15
 Milt Jackson
8 Woody'n You 3:47
 Dizzy Gillespie
9 Echoes 7:08
 Milt Jackson
10 The Watergate Blues 6:04
 Percy Heath
11 The Hornpipe 8:16
 John Lewis
12 Connie's Blues 7:21
 Milt Jackson
Tracklist 4 :
1 Sacha's March 7:54
 John Lewis
2 That Slavic Smile 8:00
 John Lewis
3 Reunion Blues 4:09
 Milt Jackson / John Lewis
4 D And E (Take 5) 9:43
 John Lewis
5 Rockin' In Rhythm (Take 16) 7:30
 Ellington, Carney, Mills
6 Valeria 6:46
 John Lewis
7 Le Cannet 8:16
 John Lewis
8 Nature Boy 5:03
 Eden Ahbez
9 Milano 5:50
 John Lewis
10 Topsy 4:40
 Durham, Battle
11 D And E (Re-take 1) 8:27
 John Lewis
Credits :
Bass – Percy Heath
Drums – Connie Kay (tracks: 1-17 to 4-11), Kenny Clarke (tracks: 1-01 to 1-16)
Piano – John Lewis
Tenor Saxophone – Sonny Rollins (tracks: 1-09 to 1-12)
Vibraphone – Milt Jackson

KING PLEASURE | ANNIE ROSS — King Pleasure Sings | Annie Ross Sings (1958-1987) APE (image+.cue), lossless

The brief life span of classic jazz vocalese singing found its first inspiration in these King Pleasure sides. Pleasure vocalized many bebop solos by the likes of James Moody, Charlie Parker, and Lester Young, often adding his own hip and witty lyrics to the mix. Initially issued on his debut, Moody's Mood for Love, the first eight sides here include solid senders like "Parker's Mood," "Red Top" (based on a Gene Ammons solo and featuring singer Betty Carter), and "Jumpin' With Symphony Sid" (Lester Young). Balancing out the boppish fare, Pleasure also delivers ballads like "This Is Always" (featuring the Dave Lambert Singers) and his own composition, "Don't Be Scared" (up-and-coming vocalese star Jon Hendriks guests). Future Hendriks cohort Annie Ross co-headlines this LP, matching Pleasure's best with hits like "Twisted" (Wardell Gray) and "Farmer's Market" (Art Farmer). Her wordless scat feature, "Annie's Lament," is a highlight as well. A must for bop and vocal jazz fans. Stephen Cook 
Tracklist :
King Pleasure Sings
King Pleasure - Red Top 3:12
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
Vocals – Betty Carter
King Pleasure - Jumpin' With Symphony Sid 2:34
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
King Pleasure - Sometimes I'm Happy 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - This Is Always 3:12
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - What Can I Say Dear 3:09
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - Don't Get Scared 3:18
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Joe Harris 
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, Jon Hendricks
King Pleasure - Parker's Mood 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - I'm Gone 3:27
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Kenny Clarke
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, The Three Riffs
Annie Ross Sings
Annie Ross - Twisted 2:37
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - Farmer's Market 2:43
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - The Time Was Right 3:16
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington
Annie Ross - Annie's Lament 2:58
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington

PAUL DESMOND — Easy Living ft. JIM HALL (1966-2000) RM | Serie RCA Victor Gold Series | FLAC (image+.cue), lossless

As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however -- indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." [Some reissues add a pair of outtakes, plus "Rude Old Man."] Richard S. Ginell
Tracklist :
1    When Joanna Loved Me 5:45
Written-By – J. Segal, R. Wells
2    That Old Feeling 5:44
Written-By – L. Brown, S.Fain
3    Polka Dots And Moonbeams 5:49
Written-By – J. V. Heusen, J. Burke
4    Here's That Rainy Day 5:42
Written-By – J. V. Heusen, J. Burke
5    Easy Living 7:05
Written-By – L. Robin, R. Rainger
6    I've Grown Accustomed To Her Face 4:15
Written-By – A. J. Lerner, F. Loewe
7    Bewitched 6:22
Written-By – R. Rogers - L. Hart
8    Blues For Fun 6:22
Written-By – P. Desmond
9    Rude Old Man 5:39
Written-By – E.Wright
10    Polka Dots And Moonbeams (Alternate Take) 6:09
Written-By – J. V. Heusen, J. Burke
11    Bewitched (Alternate Take) 7:46
Written-By – R. Rogers - L. Hart
Credits :
Paul Desmond - Alto Sax
Jim Hall - Guitar
Eugene Wright - Bass (1, 2, 6, 11)
Eugene Cherico - Bass (3, 4, 10)
Percy Heath - Bass (5, 7, 8, 9)
Connie Kay - Drums

WES MONTGOMERY — The Incredible Jazz Guitar (1967-1999) RM | Serie Jazz紙ジャケ十八番 | FLAC (image+.cue), lossless

The incredible Wes Montgomery of 1960 was more discernible and distinctive than the guitarist who would emerge a few years later as a pop stylist and precursor to George Benson in the '70s. On this landmark recording, Montgomery veered away from his home Indianapolis-based organ combo with Melvin Rhyne, the California-based Montgomery Brothers band, and other studio sidemen he had been placed with briefly. Off to New York City and a date with Tommy Flanagan's trio, Montgomery seems in his post- to hard bop element, swinging fluently with purpose, drive, and vigor not heard in an electric guitarist since bop progenitor Charlie Christian. Setting him apart from the rest, this recording established Montgomery as the most formidable modern guitarist of the era, and eventually its most influential. There's some classic material here, including the cat-quick but perhaps a trifle anxious version of the Sonny Rollins bop evergreen "Airegin," the famous repeated modal progressive and hard bop jam "Four on Six," and Montgomery's immortal soul waltz "West Coast Blues," effortlessly rendered with its memorable melody and flowing, elegant chiffon-like lines. Flanagan, at a time shortly after leaving his native Detroit, is the perfect pianist for this session. He plays forcefully but never overtly so on the bop tracks, offering up his trademark delicacy on the laid-back "Polka Dots and Moonbeams" and easy-as-pie "Gone with the Wind." With the dynamic Philadelphia rhythm section of brothers Percy Heath on bass and drummer Albert Heath, they play a healthy Latin beat on the choppy and dramatic melody of
Montgomery's original "Mr. Walker." Montgomery is clearly talented beyond convention, consistently brilliant, and indeed incredible in the company of his sidemen, and this recording -- an essential addition to every jazz guitarist fan's collection -- put him on the map. Michael G. Nastos

Tracklist :
1.    Airegin (Sonny Rollins) – 4:26
2.    D-Natural Blues (Wes Montgomery) – 5:23
3.    Polka Dots and Moonbeams (Jimmy Van Heusen) – 4:44
4.    Four on Six (Montgomery) – 6:15
5.    West Coast Blues (Montgomery) – 7:26
6.    In Your Own Sweet Way (Dave Brubeck) – 4:53
7.    Mr. Walker (Montgomery) – 4:33
8.    Gone With the Wind (Allie Wrubel) – 6:24
Credits :
Wes Montgomery- Electric Guitar
Tommy Flanagan - Piano
Percy Heath - Bass
Albert Heath - Drums

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 1 (1956-2001) RM | MONO | RVG Edition Series | FLAC (tracks+.cue), lossless

The CD reissue of the two volumes titled The Eminent Jay Jay Johnson straighten out his three Blue Note sessions of 1953-55 and add alternate takes. This particular CD concentrates exclusively on the trombonist's 1953 sextet date with the great trumpeter Clifford Brown, Jimmy Heath (who doubles on tenor and baritone), pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six titles (plus three alternates) are highlighted by "It Could Happen to You," "Turnpike" and a classic rendition of "Get Happy." Although Johnson has a couple of features, Clifford Brown largely steals the show. This CD is well worth getting by listeners who do not have the music on Brownie's own Complete Blue Note set. Scott Yanow   Tracklist & Credits :

BILL EVANS – The Complete Interplay Sessions (2014) RM | 2CD | FLAC (tracks+.cue), lossless

Interplay stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist & Credits :

CANNOBALL ADDERLEY WITH MILT JACKSON — Things Are Getting Better (1958-2013) RM | MONO | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] Lindsay Planer 
Tracklist :
1 Blues Oriental 5:01
Written-By – Milt Jackson
2 A Few Words 0:44 *
3 Things Are Getting Better 7:14
Written-By – Adderley, Langdon
4 Serves Me Right (Take 5) 4:50
Written-By – Buddy Johnson
5 Groovin' High 5:22
Written-By – Dizzy Gillespie
6 The Sidewalks Of New York (Take 5) 7:00
Arranged By – J. Adderley
Written-By – Lawlor, Blake
7 Sounds For Sid 6:27
Written-By – Julian Adderley
8 Just One Of Those Things 6:48
Written-By – Cole Porter
9 Serves Me Right (Take 4) 4:38 *
Written-By – Buddy Johnson
10 The Sidewalks Of New York (Take 4) 5:15 *
* – BONUS TRACKS –
Not on original lp (mono)
Credits :
Alto Saxophone – Cannonball Adderley
Bass – Percy Heath
Drums – Art Blakey
Piano – Wynton Kelly
Vibraphone – Milt Jackson

MILT JACKSON — Ballads & Blues (1956-2012) RM | Jazz Best Collection 1000 Series | MONO | FLAC (image+.cue), lossless

Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
The small group settings for these performances allow the players – some of the very best in jazz and all in top form – to be heard to full advantage. The guitarists are particularly effective, the crisp, cool tones of Skeeter Best, Barry Galbraith, Barney Kessel, and Kenny Burrell complementing the rich, ringing cascade from Jackson's vibes. Of note from 1956's Ballads and Blues are two performances with tenor saxophonist Lucky Thompson. These will be appreciated by anyone who has enjoyed Jackson's work with Thompson on the Savoy label. The 1956 date also has three Ralph Burns arrangements that augment the players with a woodwind quintet. While neither overly lush or cloying, the oboes, etc., still don't add a lot to what the core group has to say.
Tracklist :
1    So In Love 3:11

Written-By – Cole Porter
2    These Foolish Things 4:26
Written-By – Harry Link, Holt Marvell
3    Solitude 4:39
Written-By – Duke Ellington, Eddie de Lange, Irving Mills
4    The Song Is Ended 4:39
Written-By – Irving Berlin
5    They Didn't Believe Me 3:44
Written-By – Jerome Kern, M. E. Rourke
6    How High The Moon 6:12
Written-By – M. Lewis, Nancy Hamilton
7    Gerry's Blues 5:00
Written-By – Milt Jackson
8    Hello 3:44
Written-By – Milt Jackson
9    Bright Blues 6:11
Written-By – Milt Jackson
Personnel :
Milt Jackson – Vibes
Lucky Thompson - Tenor Saxophone (tracks 6, 8 & 9)
John Lewis - Piano (tracks 1, 3, 5, 6, 8 & 9)
Skeeter Best (tracks 6, 8 & 9), Barry Galbraith (tracks 1, 3 & 5), Barney Kessel (tracks 2, 4 & 7) – Guitar
Percy Heath (tracks 2, 4 & 7), Oscar Pettiford (tracks 1, 3, 5, 6, 8 & 9) - Bass
Kenny Clarke (tracks 1, 3, 5, 6, 8 & 9), Lawrence Marable (tracks 2, 4 & 7) – Drums

CLIFFORD BROWN – Memorial Album (1956-1989) RM | MONO | FLAC (tracks+.cue), lossless

Like swing guitarist Charlie Christian, Clifford Brown was incredibly influential for someone who died so young. The Fats Navarro-minded trumpeter was only 25 when a car accident claimed his life in 1956, but his influence remained long after his death -- Freddie Hubbard, Lee Morgan, Woody Shaw, Donald Byrd, and Carmell Jones were among the many trumpet titans who were heavily influenced by Brown. In the early to mid-'50s, Brown kept getting more and more exciting; those who found him impressive in 1952 found even more reason to be impressed in 1955. That means that when it comes to Brown's dates, excellent doesn't necessarily mean essential. Recorded in 1953, the material here isn't quite as essential as some of Brown's work with drummer Max Roach in 1954 and 1955, but it's still superb. The trumpet icon is heard at two different sessions, the first with saxmen Gigi Gryce and Charlie Rouse, pianist John Lewis, bassist Percy Heath, and drummer Art Blakey. The other includes Heath, alto saxman Lou Donaldson, pianist Elmo Hope, and drummer Philly Joe Jones (who in 1953 was two years away from joining Miles Davis' quintet). Brown's solos are consistently expressive; he swings unapologetically hard on up-tempo fare like "Carvin' the Rock," "Cherokee," and Quincy Jones' "Wail Bait," but is quite lyrical on the ballads "You Go to My Head" and "Easy Living." One thing all of the performances have in common is a strong Fats Navarro influence; Navarro was Brown's primary inspiration, although Brown became quite distinctive himself at an early age. Casual listeners would be better off starting out with some of Brown's recordings with Max Roach; nonetheless, seasoned fans will find this to be a treasure chest. Alex Henderson   Tracklist + Credits :

DIZZY GILLESPIE | MILT JACKSON | JOE CARROLL — School Days (1957-2000) RM | FLAC (tracks+.cue), lossless

An old recording from 1951, this album has been re-released on Columbia from the old Savoy/Regent recordings. The blowing is insane in spots -- in "Pop's Confessin," Dizzy tries to hit the loudest, highest, longest note possible (à la Roy Eldridge). Joe Carroll provides some humor in his vocal work (often performing in duet with Dizzy). Milt Jackson actually goes without his vibes here, singing and playing piano. A young John Coltrane solos on “We Love to Boogie,” which was one of his first appearances on record. According to the original liner notes, other performers on the album are "probably" Bill Graham on baritone sax, Wynton Kelly on piano, Percy Heath on bass, and Al Jones, Kansas Fields, or Joe Hanes on drums. The interplay among trumpet, piano, and Joe Carroll's vocals is some of the best you'll hear from this time period (it gets even better in a couple years, but this is still outstanding). "Lady Be Good" is a tour de force for Carroll, and "School Days" starts to sound a lot like the blues-shouting R&B of the day. For any fan of Dizzy, and the bop of the day, this is a worthwhile investment in listening pleasure. The trumpet is good, the vocals are good, the humor is good. You can barely miss with this one. Adam Greenberg 
Tracklist :
1 Lady Be Good 2:39
Written-By – G&I. Gershwin 
2 Pop's Confessin 3:31
Written-By – Neiburg, Daugherty, Reynolds
3 Nobody Knows The Trouble 2:36
Written-By – K. Clarke
4 Bopsie's Blues 2:33
Written-By – D. Gillespie
5 I Couldn't Beat The Rap 2:57
Written-By – D. Gillespie
6 School Days 3:07
Written-By – D. Gillespie
7 I'm In A Mess 2:10
Written-By – A. White, P. White
8 Umbrella Man 2:23
Written-By – Cavanaugh, Rose, Stock
9 Love Me, Pretty Baby 3:00
Written-By – K. Clarke
10 We Love To Boogie 2:50
Written-By – D. Gillespie
Credits
Alto Saxophone, Baritone Saxophone – Bill Graham (tracks: 2 to 8)
Alto Saxophone, Tenor Saxophone – John Coltrane (tracks: 10)
Bass – Bernie Griggs (tracks: 2, 8), Percy Heath (tracks: 1, 3 to 7, 9,10)
Drums – Al Jones (tracks: 2 to 8), Art Blakey (tracks: 1, 9), Kansas Fields (tracks: 10)
Guitar – Kenny Burrell (tracks: 10)
Organ, Vocals – Milt Jackson (tracks: 3)
Piano – Milt Jackson (tracks: 1,3 to 7, 9, 10), Wynton Kelly (tracks: 2, 8)
Tenor Saxophone – Budd Johnson (tracks: 1, 9)
Trombone – Jay Jay Johnson (tracks: 1, 9)
Trumpet – Dizzy Gillespie (tracks: 1 to 10)
Vibraphone – Milt Jackson (tracks: 1, 3 to 7, 9)
Violin – Stuff Smith (tracks: 3)
Vocals – Dizzy Gillespie (tracks: 2, 4, 7, 8), Freddy Strong (tracks: 10),
Joe Carroll (tracks: 1 to 9), Melvin Moore (tracks: 1, 4 to 8, 9)

DIZZY GILLESPIE – The Champ (1956-2003) RM | Savoy Jazz Classic Masters | FLAC (tracks+.cue), lossless

An early LP on Savoy that gathers Dizzy Gillespie's small-group recordings from 1951-52, The Champ has a lot to recommend it -- songs, sidemen, and performances. With just one exception, each of the selections are drawn from quintet or sextet dates, boasting work by Art Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in addition to an early appearance from John Coltrane (he made his debut with Diz, though not here). On the title track, a six-minute jam released as a two-part single, Gillespie plays furiously and tenor Budd Johnson contributes a great squawking solo. "Birk's Works," one of Dizzy's finest compositions, gets its first commercial recording, while Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it needs to lift it above competing versions. Diz and Joe Carroll trade vocals on "On the Sunny Side of the Street," and bop culture meets gospel for "Swing Low, Sweet Cadillac."  John Bush
 Tracklist :
1 The Champ 05:43
 Dizzy Gillespie
2 Birk's Works 03:09
Dizzy Gillespie
3 Caravan 02:56
Duke Ellington / Irving Mills / Juan Tizol
4 Time On My Hands 02:26
Harold Adamson / Mack Gordon / Vincent Youmans
5 On the Sunny Side of the Street 03:09
Dorothy Fields / Jimmy McHugh
6 Tin Tin Deo 02:43
Gil Fuller / Dizzy Gillespie / Chano Pozo
7 Stardust 03:07
Hoagy Carmichael / Mitchell Parish
8 They Can't Take That Away from Me 03:46
George Gershwin / Ira Gershwin
9 The Bluest Blues 02:57
Dizzy Gillespie / Gary McFarland / Sir Charles Thompson
10 Swing Low, Sweet Cadillac 03:10
 Dizzy Gillespie
11 Ooh-Shoo-Be-Doo-Bee 03:21
Joe Carroll / Dizzy Gillespie / Bill Graham
Credits :
Alto Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11), John Coltrane (tracks: 2, 6)
Baritone Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11)
Bass – Bernie Griggs (tracks: 8, 11), Percy Heath (tracks: 1 to 7, 9, 10)
Drums – Al Jones (tracks: 3 to 5, 7 to 11), Art Blakey (tracks: 1), Kansas Fields (tracks: 2 to 6)
Guitar – Kenny Burrell (tracks: 2, 6)
Organ – Milt Jackson (tracks: 3 to 5, 7 to 9)
Piano – Milt Jackson (tracks: 2, 6, 10), Wynton Kelly (tracks: 8, 11)
Tenor Saxophone – Budd Johnson (tracks: 1), John Coltrane (tracks: 2, 6)
Trombone – J.J. Johnson
Trumpet – Dizzy Gillespie
Vibraphone – Milt Jackson (tracks: 2, 6, 10)
Violin – Stuff Smith (tracks: 3 to 5, 7, 9)
Vocals – Dizzy Gillespie (tracks: 10), Joe Carroll (tracks: 1, 3 to 5, 7 to 11), Melvin Moore (tracks: 1, 10), Milt Jackson (tracks: 3 to 5, 7 to 9)

STAN GETZ – 1946-1949 | The Classics Chronological Series – 1126 (2000) FLAC (image+.cue), lossless

These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax. The same rhythm section backs trumpeter Norman Faye and a tenor sax quartet of Getz, Zoot Sims, Allen Eager, and Al Epstein. Garnished with a bit of primitive vibrato, this record has a strange but not unpleasant quality. The Stan Getz Tenor All Stars put down four sides for the New Jazz label in April 1949, lining up Al Cohn, Allen Eager, Brew Moore, and Zoot Sims in a smooth bop experiment landing somewhere between Woody Herman's Herd and Coleman Hawkins' Keynote Sax Ensemble. Walter Bishop laid a lot of block chords while sax after sax took a shot at running the changes, and Getz even blew baritone on "Five Brothers." A Savoy session from just a few weeks later placed trombonist Earl Swope amid Getz, Cohn, and Sims, with Duke Jordan on piano. Both of these octets came across as cool and well-organized. The Stan Getz Quartet, with Al Haig, Gene Ramey, and Stan Levey, made five excellent sides for the Prestige and New Jazz labels on June 21, 1949. Their rendition of Victor Herbert's "Indian Summer" is superbly mellow. It is easy to draw a line directly from this whimsical record directly to the cool bossa novas that would make Stan Getz so famous years later, even among a record-buying public who never heard any of these marvelous early recordings by this suede-toned tenor man. arwulf arwulf     Tracklist + Credits :

STAN GETZ – 1950 | The Classics Chronological Series – 1172 (2001) FLAC (tracks), lossless

After a pair of taffy ballads sung in imitation Billy Eckstine baby talk by Junior Parker -- not the Memphis blues singer but a pseudonym for Arthur Daniels -- the 21 tracks that follow demonstrate exactly why Stan Getz went over so well with the listening public. His soft tone and gently inventive phraseology, a direct outgrowth of the Lester Young archetype, make each of these performances an ideal choice for relaxation. Getz regularly recorded with exceptional musicians. The rhythm sections of Al Haig, Tommy Potter, and Roy Haynes or Tony Aless, Percy Heath, and Don Lamond were perfectly suited to his softly searching essays in cool improvisation. On December 10, 1950, Horace Silver, Joe Calloway, and Walter Bolden kindled a hotter fire under the saxophonist, resulting in music of elevated intensity. At this point in his career, Getz sometimes engaged in bubbly noodling, which in its wilder moments sounds like a premonition of Lee Konitz as heard on his fabulous Motion sessions of 1961. This equation would also lead to Warne Marsh and Anthony Braxton, if you want to go there. As for material choices, the 1950 Getz repertoire is full of delightful surprises, from an almost calypso "The Lady in Red" to "Sweetie Pie," a cheerful number barbecued by Fats Waller & His Rhythm back in 1934. Anyone familiar with Waller's version will most likely thrill at hearing this brisk modern expansion of the old Tin Pan Alley come-on. Excellent music, good for the nerves and stimulating for the imagination. arwulf arwulf         Tracklist + Credits :

HOWARD McGHEE – 1948 | The Classics Chronological Series – 1058 (1999) FLAC (tracks+.cue), lossless

This excellent album of vintage bop opens with seven tracks recorded in Chicago during February 1948, using members of the band that Howard McGhee was leading at Chicago's Argyle Lounge at the time. Milt Jackson and Percy Heath are heard on the first three tunes, along with an unnamed baritone saxophonist. For the second session McGhee used an entirely different band, with a tenor player who is believed to have been Kenny Mann and a rhythm section of Hank Jones, Ray Brown, and the great J.C. Heard. Billy Eckstine, who by this time had dissolved his own band and was busily pulling in an unprecedented amount of cash by making vocal pop records for MGM, blows his valve trombone alongside McGhee on this date. No vocalist is mentioned in the enclosed discography, even though someone scats up a storm from time to time. Whoever it was, he didn't sound like Eckstine. McGhee's next recording dates as a leader took place in Paris, where 13 sides were cut for the Vogue and Blue Star labels on May 15th and 18th. This band really cooked, with Jimmy Heath and Jesse Powell joining the trumpeter's front line and a rhythm section of Vernon Biddle, Percy Heath, and Specs Wright. The upbeat numbers are exceptionally well-crafted studies in modern jazz. "Denise" and "Etoile," slow and reflective, sound like the poetically charged "Portrait" studies that young Charles Mingus was already beginning to formulate on his own. The closing selections, recorded for Blue Note in New York on October 11, 1948, pair McGhee with Fats Navarro alongside alto saxophonist Ernie Henry and Milt Jackson playing both vibes and piano. Curly Russell and Kenny Clarke round off this amazing six-piece Howard McGhee Boptet. arwulf arwulf          Tracklist + Credits :

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 :

LEE KONITZ - At Storyville (1988) FLAC (tracks+.cue), lossless

This excellent set gives one a definitive look at altoist Lee Konitz at a period of time when he was breaking away from being a sideman and a student of Lennie Tristano and asserting himself as a leader. With pianist Ronnie Ball, bassist Percy Heath, and drummer Alan Levitt, Konitz explores a variety of his favorite chord changes, some of which were disguised by newer melodies such as "Hi Beck," "Subconscious Lee," and "Sound Lee." Among the other high points of this well-recorded set are "Foolin' Myself" and a lengthy exploration of "If I Had You." Scott Yanow
Tracklist :
1     Introduction by John McLelland 0:52
2     Hi Beck 7:38
Lee Konitz
3     If I Had You 11:19
Jimmy Campbell / Reginald Connelly / Ted Shapiro
4     Subconscious Lee 5:34
Lee Konitz
5     Sound Lee 6:39
Lee Konitz
6     Foolin' Myself 6:01
Jack Lawrence / Glenn Tinturin / Peter Tinturin
7     Introduction by John McLelland 0:45     
8     Ablution 4:43
Lee Konitz
9     These Foolish Things 4:09
Harry Link / Holt Marvell / Jack Strachey
10     End Announcement by John McLelland 0:39
Credits :    
Alto Saxophone – Lee Konitz
Bass – Percy Heath
Drums – Alan Levitt
Piano – Ronnie Ball
Notas.
Recorded at the Storyville Club in the Copley Square Hotel, Boston, 5th January 1954.

ORNETTE COLEMAN - Tomorrow Is the Question! (1959-1988) FLAC (tracks+.cue), lossless

On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette's tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style. The odd-syncopation style of the front line on numbers such as "Tears Inside," which comes out of the box wailing and then simmers down into a moody, swinging blues, was a rough transition for the rhythm section. And the more Ornette and Cherry try to open it up into something more free and less attached to the tune's form, the more Manne and especially bassist Percy Heath hang on. Still, there are great moments here: for example, the celebratory freedom of "Giggin'," with its wonderful trumpet solo, and "Rejoicing," which has become one of Coleman's classics for its elongated melody line and simple obbligato phrasing, which become part of a wonderfully complex solo that keeps the blues firmly intact. The final track, "Endless," is pure magic. After Manne carries it in 6/8, Coleman uses a nursery rhyme to move to the solo terrain and, when he does, the solo itself becomes a part of that rhyme as even Don Cherry feels his way through it in his break. And, if anything, this is one of the things that came to define Ornette -- his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman's musical system -- although worked out in detail -- always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman's system would head into next?
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Tomorrow Is The Question!    3:09
2    Tears Inside    5:00
3    Mind And Time    3:08
4    Compassion    4:37
5    Giggin'    3:19
6    Rejoicing    4:01
7    Lorraine    5:55
8    Turnaround    7:55
9    Endless    5:18
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – Percy Heath (pistas: 1 to 6), Red Mitchell (pistas: 7 to 9)
Drums – Shelly Manne
Trumpet – Don Cherry