SONNY CLARK — Cool Struttin' (1958-1997) RM | The BN Works 1500 Series | FLAC (tracks+.cue), lossless

Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader's chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band. The set begins with one of the preeminent "swinging medium blues" pieces in jazz history: the title track with its leveraged fours and eights shoved smoothly up against the walking bass of Chambers and the backbeat shuffle of Jones. Clark's solo, with its grouped fifths and sevenths, is a wonder of both understatement and groove, while Chambers' arco solo turns the blues in on itself. While there isn't a weak note on this record, there are some other tracks that stand out, most notably Miles' "Sippin' at Bells," with its loping Latin rhythm. When McLean takes his solo against a handful of Clark's shaded minor chords, he sounds as if he may blow it -- he comes out a little quick -- but he recovers nicely and reaches for a handful of Broadway show tunes to counter the minor mood of the piece. He shifts to both Ben Webster and Lester Young before moving through Bird, and finally to McLean himself, riding the margin of the changes to slip just outside enough to add some depth in the middle register. The LP closes with Henderson and Vallée's "Deep Night," the only number in the batch not rooted in the blues. It's a classic hard bop jamming tune and features wonderful solos by Farmer, who plays weird flatted notes all over the horn against the changes, and McLean, who thinks he's playing a kind of snake charmer blues in swing tune. This set deserves its reputation for its soul appeal alone. [Some reissues include two bonus tracks: "Royal Flush" and "Lover."]
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Cool Struttin' 9:22

Written-By – Sonny Clark
2    Blue Minor 10:18
Written-By – Clark
3    Sippin' At Bells 8:17
Written-By – Miles Davis
4    Deep Night 9:33
Written-By – Henderson, Vallee
Credits :
Alto Saxophone – Jackie McLean
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Piano – Sonny Clark
Recorded By – Rudy Van Gelder
Trumpet – Art Farmer

BOBBY HUTCHERSON — Four Seasons (1983-2015) RM | Serie Timeless Jazz Master Collection – 24 | FLAC (tracks+.cue), lossless

This set by vibraphonist Bobby Hutcherson is a bit unusual in that, rather than playing complex originals, he interprets seven jazz standards. With the assistance of pianist George Cables, bassist Herbie Lewis and drummer Philly Joe Jones, Hutcherson sounds in top form on such numbers as Thelonious Monk's "I Mean You," "Star Eyes" and "If I Were A Bell." Scott Yanow
Tracklist :
1    I Mean You 5:49
Composed By – T. Monk
2    All Of You 5:54
Composed By – Cole Porter
3    Spring Is Here 7:03
Composed By – Rodgers/Hart
4    Star Eyes 7:47
Composed By – Raye, De Paul
5    If I Were A Bell 5:37
Composed By – Loesser
6    Summertime 6:50
Composed By – Heyward, Gershwin
7    Autumn Leaves 6:36
Composed By – Prevert
Credits :
Bass – Herbie Lewis
Drums – Philly Joe Jones
Piano – George Cables
Vibraphone [Vibes] – Bobby Hutcherson

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)

PAUL CHAMBERS SEXTET — Whims of Chambers (1956-2010) RM | SACD Hybrid | Serie The Blue Note Reissues | FLAC (tracks+.cue), lossless

Of the seven songs on this Blue Note date, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers," and "Tale of the Fingers" is a showcase for Chambers' bowed bass. This is a fine effort and would be worth picking up by straight-ahead jazz fans even if John Coltrane had not participated. Scott Yanow
Tracklist :
1    Omicron 7:17
Written-By – Donald Byrd
2    Whims Of Chambers 4:05
Written-By – Paul Chambers
3    Nita 6:31
Written-By – John Coltrane
4    We Six 7:40
Written-By – Donald Byrd
5    Dear Ann 4:19
Written-By – Paul Chambers
6    Tale Of The Fingers 4:42
Written-By – Paul Chambers
7    Just For The Love 3:41
Written-By – John Coltrane
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Guitar – Kenny Burrell
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd

GIL EVANS — Columbia Jazz Profiles (2008) FLAC (tracks+.cue), lossless

Tracklist & Credits :

RED GARLAND — The P.C. Blues (1957-1996) RM | MONO | FLAC (tracks+.cue), lossless

P.C. Blues is a trio album from 1957 that features pianist Red Garland with bassist Paul Chambers (the "P.C." in the title), and drummer Art Taylor. In addition to the four original titles (which are highlighted by a sensitive version of "Lost April" and the lengthy "Tweedle Dee Dee"), Garland's feature on a 1956 Miles Davis record, "Ahmad's Blues" (which features him with Chambers and drummer Philly Joe Jones), adds to the value of this thoughtful but swinging release. Scott Yanow
Tracklist :
1 Ahmad's Blues 7:29
Ahmad Jamal
2 Lost April 6:26
Emil Newman / Hubert Spencer
3 Why Was I Born 5:49
Oscar Hammerstein II / Jerome Kern
4 Tweedle Dee Dee 13:18
Winfield Scott
5 The P.C. Blues 9:53
Red Garland
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones (tracks: 1), Art Taylor (tracks: 2 to 4)
Piano – Red Garland

RED GARLAND QUINTET — Red's Good Groove (1963-2001) RM | FLAC (tracks+.cue), lossless

Although this is a one time studio blowing session, things obviously gelled quickly for everyone as they got underway on this 1962 recording by Red Garland, which features both Blue Mitchell and Pepper Adams in prominent supporting roles. The pianist gets things off on the right foot with his relaxed blues "Red's Good Groove," while Mitchell, who had already recorded a number of dates as a leader himself, delivers a confident yet understated trumpet solo. Baritone saxophonist Pepper Adams contributed the oddly named "Excerent!" (a title which somewhat puzzled the original liner note writer Peter Drew but likely refers to the tendency of some Orientals to substitute the letter "r" for "l," long before such humor would be considered politically incorrect, it's a hard bop tune that isn't the least bit reminiscent of the Far East. The core of the date consists of several standards, concluding with a driving take of "Falling in Love with Love." Bassist Sam Jones and drummer Philly Joe Jones supply the fluid rhythm that powers the quintet throughout this very enjoyable session. Ken Dryden  Tracklist & Credits :

RED GARLAND • RON CARTER • PHILLY JOE JONES — Crossings (1978-1990) RM | FLAC (tracks+.cue), lossless

Amazingly enough, this set (reissued on CD) was the first time that pianist Red Garland and drummer Philly Joe Jones recorded together in a trio setting, even though they had both been a part of Miles Davis' first classic quintet. With bassist Ron Carter completing the group, they perform five standards and the bassist's "Railoroad Crossing." This is one of Garland's best later dates (Philly Joe often pushes him), and the highlights include "Solar," "Oleo" and "Love for Sale." Scott Yanow   Tracklist & Credits :

RED GARLAND — Red's Blues (1998-2006) RM | MONO | FLAC (image+.cue), lossless

With sights set firmly set upon the blues, this is bedrock Red Garland, aimed squarely down the middle of his most fertile period. Not everything here is a blues, but they might as well be, given the sameness of mood and approach in this selection of small-group blowing sessions. Wherever you go on Red's Blues, you can't miss Garland's distinctive block chords and light-handed right-handed bop patterns recorded in the soft-focused Van Gelder studio manner, all of which jazz fans would hear constantly down the road in the '60s. And not only that, almost all of the tunes are in the keys of B flat or C, which could make this disc useful for background if not extended listening. Nevertheless, the personnel is often stellar; John Coltrane and Donald Byrd turn up on "Birks' Works," and Arnett Cobb saunters through "Black Velvet" (better known as "Don'Cha Go Way Mad"), Coleman Hawkins is in fine funky form on "Red Beans," and Ray Barretto's congas light up one of the few jazz compositions ever named after a critic ("Ralph J. Gleason Blues"). The 75-minute disc, all of whose contents have been issued on CD before, opens with a long, majestic Garland meditation on "See See Rider" -- and that pretty much sets the tone.  Richard S. Ginell   Tracklist & Credits :

ART PEPPER — Art Pepper Meets The Rhythm Section (1957-2010) RM | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

By the time of this, Art Pepper's tenth recording as a leader, he was making his individual voice on the alto saxophone leave the cozy confines of his heroes Charlie Parker and Lee Konitz. Joining the Miles Davis rhythm section of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones made the transformation all that more illuminating. It's a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, 1957. A bit of a flip, loosened but precise interpretation of the melody on "You'd Be So Nice to Come Home To" gets the ball rolling, followed by a "Bags Groove" parallel with "Red Pepper Blues," and a delicate, atypical treatment of "Imagination." A compositional collaboration of Pepper and Chambers on the quick "Waltz Me Blues" and hard-edged, running-as-fast-as-he-can take of "Straight Life" really sets the gears whirring. Philly Joe Jones is a great bop drummer, no doubt, one of the all-time greats with Kenny Clarke and Max Roach. His crisp Latin-to-swing pace for "Tin Tin Deo" deserves notice, masterful in its creation and seamlessness. Pepper makes a typical "Star Eyes" brighter, and he goes into a lower octave tone, more like a tenor, for "Birks Works" and the bonus track "The Man I Love." It's clear he has heard his share of Stan Getz in this era. Though Art Pepper played with many a potent trio, this one inspires him to the maximum, and certainly makes for one of his most substantive recordings after his initial incarcerations, and before his second major slip into the deep abyss of drug addiction. Michael G. Nastos 
Tracklist :
1 You'd Be So Nice To Come Home To 5:30
Composed By – Cole Porter
2 Red Pepper Blues 3:39
Composed By – Red Garland
3 Imagination 5:56
Composed By – Jimmy Van Heusen, Johnny Burke
4 Waltz Me Blues 2:58
Composed By – Art Pepper, Paul Chambers 
5 Straight Life 4:02
Composed By – Art Pepper
6 Jazz Me Blues 4:50
Composed By – Tom Delaney
7 Tin Tin Deo 7:42
Composed By – Chano Pozo, Gil Fuller
8 Star Eyes 5:12
Composed By – Don Raye, Gene De Paul
9 Birks' Works 4:15
Composed By – Dizzy Gillespie
- BONUS TRACK -
10 The Man I Love 6:36
Composed By – George Gershwin, Ira Gershwin
Credits :
Alto Saxophone – Art Pepper
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Piano – Red Garland
Producer – Lester Koenig

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 :

WYNTON KELLY — Piano (1958-1998) RM | Serie XRCD² | FLAC (tracks+.cue), lossless

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, Kelly had only cut one date as a leader prior to this -- and that had been seven years earlier. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in the conventional piano trio setting -- with only bass and drums -- a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. Lee Bloom 

Tracklist :

1  Whisper Not 7:12 

Benny Golson 

2  Action 7:12 

Wynton Kelly 

3  Dark Eyes 5:59 

Traditional 

4  Strong Man 5:17 

Oscar Brown, Jr. 

5  Ill Wind 4:25 

Harold Arlen / Ted Koehler 

6  Don't Explain 5:36 

Billie Holiday / Arthur Herzog, Jr. 

7  You Can't Get Away 6:24 

Wynton Kelly 

8  Dark Eyes 5:19 

Traditional 

Credits :

Bass – Paul Chambers 

Drums – Philly Joe Jones 

Guitar – Kenny Burrell (tracks: 1 to 3, 8) 

Piano – Wynton Kelly

CLIFFORD BROWN – The Complete Blue Note And Pacific Jazz Recordings (1995) 4xCD BOX-SET | FLAC (tracks+.cue), lossless

This four-CD set has the exact same music as an earlier Mosaic five-LP box, but is highly recommended to those listeners not already possessing the limited-edition set. Trumpeter Clifford Brown is heard on the most significant recordings from the first half of his tragically brief career. Whether co-leading a date with altoist Lou Donaldson, playing as a sideman with trombonist J.J. Johnson, interacting with an all-star group of West Coast players, or jamming with the first (although unofficial) edition of Art Blakey's Jazz Messengers (a two-disc live performance with a quintet that also includes the drummer/leader, Donaldson and pianist Horace Silver), Brown is the main star. Highlights are many, including versions of "Brownie Speaks," Elmo Hope's "De-Dah," "Cherokee," "Get Happy," "Daahoud" and "Joy Spring." The attractive packaging, with its 40 pages of text and many rare pictures, is an added bonus. Scott Yanow    Tracklist + Credits :

CLIFFORD BROWN – Memorial Album (1956-1987) RM | FLAC (tracks+.cue), lossless

Trumpeter Clifford Brown is heard here in two unusual and unrelated sessions. On four selections, Brown is featured with arranger/pianist Tadd Dameron's Orchestra; other soloists include Benny Golson on tenor and altoist Gigi Gryce. The other date was recorded in Sweden while Brown was touring with Lionel Hampton & His Orchestra. Clifford Brown and fellow trumpeter Art Farmer play four Dameron arrangements with a Swedish group that includes altoist Arne Domnerus, baritonist Lars Gullin, and pianist Bengt Hallberg. Oscar Hammerstein II & Sigmund Romberg's "Lover Come Back to Me" really cooks and Brown and Farmer get to trade off in exciting fashion during Quincy Jones' "'Scuse These Blues." Scott Yanow    Tracklist + Credits :

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 :

ARCHIE SHEPP - Poem for Malcolm (1969-2004) RM | FLAC (tracks+.cue), lossless

This LP from the English Affinity LP is a mixed bag. Best is "Rain Forrest" on which tenor saxophonist Archie Shepp, in a collaboration with trombonist Grachan Moncur III, pianist Vince Benedetti, bassist Malachi Favors, and drummer Philly Joe Jones, perform some stirring free jazz; the interplay between Shepp and Jones is particularly exciting. On a four-and-a-half minute "Oleo," Shepp "battles" some bebop with fellow tenor Hank Mobley, but the other two tracks, a workout for the leader's erratic soprano on "Mamarose," and his emotional recitation on "Poem for Malcolm," are much less interesting, making this a less than essential release despite "Rain Forrest." Scott Yanow
Tracklist :
1     Mama Rose/Poem for Malcolm 13'13
(Archie Shepp)
Bass – Malachi Favors
Drums – Philly Joe Jones
Piano [Oleo] – Vince Benedetti
Tenor Saxophone [Oleo] – Hank Mobley
Tenor Saxophone, Piano, Written-By [Rain Forest] – Archie Shepp
Trombone [Oleo] – Grachan Moncur III
2     Rain Forrest/Oleo 19'21
(Miles Davis / Archie Shepp)
Bass – Alan Silva
Drums – Philly Joe Jones, Claude Delcloo
Piano – Burton Greene
Soprano Saxophone, Voice [Recitation] – Archie Shepp

ARCHIE SHEPP - Blasé + Live At The Pan-African Festival (2001) 2CD | FLAC (tracks+.cue), lossless

As the '60s drew to a close in a hail of blood and lead, jazz gradually began to close its doors. What had blossomed in the '50s and '60s as young men struggled to raise a music out of the whorehouses of New Orleans and into the concert halls turned into something less and more than it had been. Musicians like Archie Shepp no longer looked to the future or to what they might borrow from classical forms. Instead, they looked back to the cotton fields, the slave market, and the slum to find their voice. The music took an angry turn, emphatically stating, "This is our music." Stunned by the assassinations of Martin and Malcolm, many young musicians turned from a country and a culture they thought had betrayed them. Archie Shepp went to Paris. There, in the summer of 1969, he cut these albums, each a classic in its own right, each a milestone in an under-appreciated career. Blasé looks back to the blues, soaked in harmonica and the brooding duet of Shepp's throaty tenor and Jeanne Lee's magnificent, pensive voice. The mood is dark, but proud and unyielding. This is the sound of those who have been wounded, those who will rise yet again. The overall effect is like some wonderful, alternate version of Porgy & Bess, an expression of hope and dignity where few would bother to look. The live record that closes the set finds Shepp reaching deeper into the music's past, going all the way to Algiers to play in the streets with whoever wants to lend a hand. The metaphoric value of that union is profoundly moving. The sound of the music is a joy, and one that will reward repeated listening. The '60s weren't a lot of fun for black musicians, regardless of what happened to flower power. This set is proof that for all the abuse that was heaped on them by their nation, for all the disappointments they endured, men and women could somehow emerge with their dignity intact. Rob Ferrier
Blasé (1969)   
1-1    My Angel    10:08
 Archie Shepp
1-2    Blasé    10:25
 Archie Shepp
1-3    There Is A Balm In Gilead 5:57
 Archie Shepp
Trumpet, Flugelhorn – Lester Bowie
1-4    Sophisticated Lady    5:11
 Duke Ellington / Irving Mills / Mitchell Parish
1-5    Touareg    9:15
 Archie Shepp
Live At The Pan-African Festival (1969)
2-1    Brotherhood At Ketchaoua 15:55
 Archie Shepp
Performer – Algerian Musicians
2-2    We Have Come Back
 Archie Shepp
Bass – Alan Silva 31:19
Drums – Sunny Murray
Performer – Algerian Musicians, Tuareg Musicians
Credits
Bass – Malachi Favors (pistas: 1-1 to 1-5)
Cornet – Clifford Thornton (pistas: 2-1, 2-2)
Drums – Philly Joe Jones (pistas: 1-1 to 1-5)
Harmonica – Chicago Beau (pistas: 1-1, 1-2), Julio Finn (pistas: 1-1, 1-2)
Piano – Dave Burrell (pistas: 1-1 to 1-4, 2-2)
Tenor Saxophone, Arranged By – Archie Shepp
Trombone – Grachan Moncur III (pistas: 2-1, 2-2)
Vocals – Jeanne Lee (pistas: 1-1 to 1-4)

ARCHIE SHEPP - Yasmina, A Black Woman (1969-1996) FLAC (image+.cue), lossless

There is some intriguing music on this 1969 recording. Tenor saxophonist Archie Shepp met up with members of the Chicago avant-garde school for the first time, including Art Ensemble of Chicago members Lester Bowie, Roscoe Mitchell and Malachi Favors, on the lengthy "Yasmina," a track that also includes drummers Philly Joe Jones, Art Taylor, and Sunny Murray. On "Sonny's Back," there is an unlikely tenor tradeoff between Shepp and Hank Mobley, while "Body and Soul" gives Shepp a showcase opportunity. Although this set is not essential, it is unique enough to be recommended to avant-garde collectors. Scott Yanow
Tracklist :
1    Yasmina 20:08
Alto Saxophone – Arthur Jones
Bass – Earl Freeman
Bass Saxophone – Roscoe Mitchell
Composed By – Archie Shepp
Drums – Sunny Murray
Percussion [Rhythm Logs] – Art Taylor
Trumpet – Lester Bowie
Xylophone [Balafon] – Laurence Devereaux
2    Sonny's Back 14:03
Composed By – Grachan Moncur III
Tenor Saxophone – Hank Mobley
3    Body And Soul 6:22
Composed By – Heyman, Green, Sour
Credits
Bass – Malachi Favors
Drums – Philly Joe Jones
Piano – Dave Burrell
Tenor Saxophone, Voice, Arranged By – Archie Shepp

ARCHIE SHEPP - Day Dream (1977-1989) FLAC (tracks+.cue), lossless

Tracklist :
1    Don't You Know I Care 7:06
Composed By – Duke Ellington
2    Caravan 5:52
Composed By – Duke Ellington, Irving Mills, Juan Tizol
3    Day Dream 5:42
Composed By – Billy Strayhorn, Duke Ellington
4    Satin Doll 5:19
Composed By – Duke Ellington
5    I Got It Bad And That Ain't Good 7:30
Composed By – Duke Ellington
6    Prelude To A Kiss 5:27
Composed By – Duke Ellington
Credits :
Bass – Earl May
Drums – Philly Joe Jones
Piano – Walter Davis
Tenor Saxophone, Soprano Saxophone – Archie Shepp

LOU DONALDSON | CLIFFORD BROWN - New Faces-New Sounds (1953-2014) FLAC (tracks), lossless

New Faces New Sounds is a 1953 date featuring saxophonist Lou Donaldson and trumpeter Clifford Brown leading a quartet. The tracks were also issued on 1956's Memorial Album after Brown's death. Backing them here are pianist Elmo Hope, bassist Percy Heath, and drummer Philly Joe Jones. This is superb, highly influential hard bop jazz. Matt Collar
Tracklist :
1     Carving the Rock 3'57
Elmo Hope / Sonny Rollins
2     You Go to My Head 4'21
J. Fred Coots / Dizzy Gillespie        
3     De-Dah 4'51
Elmo Hope    
4     Brownie Speaks 3'47
Clifford Brown    
5     Cookin' 3'14
Lou Donaldson    
6     Bellarosa 4'14
Elmo Hope
Credits :
Alto Saxophone – Lou Donaldson
Bass – Percy Heath
Drums – "Philly" Joe Jones
Piano – Elmo Hope
Trumpet – Clifford Brown