GATO BARBIERI with LONNIE LISTON SMITH — Bolivia (1973-2001) JAZZ! Series | FLAC (tracks+.cue), lossless

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1 Merceditas 9:04
Composed By – Gato Barbieri
2 Eclypse / Michellina 6:21
 – Traditional
Composed By [Michellina] – Gato Barbieri
3 Bolivia 7:43
Composed By – Gato Barbieri
4 Ninos 7:11
Composed By – Gato Barbieri
5 Vidala Triste 5:30
Composed By – Gato Barbieri, Michelle Barbieri
Credits :
Acoustic Guitar – John Abercrombie (tracks: 4 to 6)
Bass – J.-F. Jenny-Clark (tracks: 1 to 3), Stanley Clarke (tracks: 2 to 4, 5, 6)
Drums – Pretty Purdie (tracks: 1)
Electric Guitar – John Abercrombie (tracks: 1)
Percussion – Airto Moreira, Gene Golden (tracks: 2), James M'tume (tracks: 1, 3 to 6), Moulay "Ali" Hafid (tracks: 5)
Piano, Electric Piano [Rhodes] – Lonnie Liston Smith
Tenor Saxophone, Flute, Vocals – Gato Barbieri

RAPHAEL RABELLO — Todos Os Tons (1992) FLAC (tracks), lossless

 Important solo album by the late Brazilian virtuoso, dedicated to Tom Jobim's compositions, Todos Os Tons opens with a very uncommon rendition of the broadly familiar Jobim tune "Samba Do Avião" ("Plane Samba"). Abandoning the bossa nova beat, Rabelo embraces the flamenco tradition, very dear to him, and, joined by his guest Paco de Lucia, echoes the gitano expression in a Brazilian setting, in which Bahian berimbau interventions interact with overall samba backing by the percussion. "Samba de Uma Nota Só" ("One Note Samba") also gives up the bossa tradition and attacks with a heavily syncopated samba rhythm for Rabello's virtuosic soloing. Enigmatic "Passarim receives an elaborated transcription for violão trio. "Retrato Em Preto E Branco" ("Portrait in Black and White") is sensitively interpreted by Rabello in a dialogue with guest soloists Jacques Morelenbaum (cello) and Luiz Avelar (piano). "Modinha" is performed solo in ad-lib tempo. "Garota de Ipanema" ("Girl From Ipanema") has a more powerful samba rhythm approach in which the bass contributes for a contemporary feel, and the introduction/interlude brings a new way of listening to this classic. The sensitive "Anos Dourados" is romantically exposed by Rabello with the help of Luiz Avelar emulating a string orchestra always carefully avoiding the clichés. "Garoto," an energetic tribute in moderate tempo to the great violonista has Tom Jobim himself at the piano. "Pois É" surprises in a flamenco-based introduction renewed by guest alto Paulo Moura improvising over a bossa nova beat, soon replaced by a doleful violão. "Luíza" receives a romantic and longing solo violão treatment that includes a tremolo ending directly reminiscent of classic tradition. The album is an opportunity for catching classic bossa nova themes reread through the unconventional yet creative and always competent lenses of an exceptional Brazilian virtuoso, unfortunately so young deceased. Alvaro Neder 
Tracklist :
1 Samba Do Avião 5:20 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Paulinho Braga (d), Dininho (b) Paco de Lucía (Violão Hermanos Conde) Marçalzinho (perc.)
2 Samba De Uma Nota Só 2:00 
(Antônio Carlos Jobim / Newton Mendonça)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Dininho (b), Mamão (d)
3 Passarim 4:41 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Dininho (b), Mamão (d)
4 Retrato Em Branco E Preto 3:55 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Luiz Avellar (p), Paulo Jobim (arr.) Jaques Morelenbaum (cello)
5 Mondinha 3:29 
Antônio Carlos Jobim / Vinícius de Moraes
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1986)
6 Garota De Ipanema 4:46 
Antônio Carlos Jobim / Vinícius de Moraes
Arranged By – Raphael Rabello (Violões Ramirez 1969/88) feat. Luizão Maia (b), Wilson das Neves (d)
7 Anos Dourados 3:56 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Luiz Avellar (p), Dininho (b)
8 Garoto 2:34 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1991) feat: Wilson Das Neves (d), Leo Gandelman (s,s), Antônio Carlos Jobim (p), Paulo Jobim (arr.)
9      Pois É 6:41 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violões Ramirez 1969/88) feat: Paulo Moura (a.s), Nico Assumpção (b)
10 Luiza 2:24
Antônio Carlos Jobim
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1991)  

ANN-MARGRET — On the Way Up (1962-2007) RM | RCA Female Vocal 1000 Series | FLAC (tracks), lossless

Ann-Margret's RCA Victor debut album, And Here She Is..., didn't get much attention in 1961, but she did better with her bluesy single "I Just Don't Understand," which peaked in the Top 20 in September. That set up this, her second solo LP, which featured "I Just Don't Understand," and like it was recorded partially in Nashville under the aegis of Chet Atkins and Dick Pierce. The two naturally brought a slight country feel to some of the tracks, notably the remakes of Don Gibson's 1958 hit "Oh, Lonesome Me" and the 1960-1961 hit "My Last Date (With You)" (aka "Last Date"). But the closest approximation of the sound was the kind of country-inflected pop/rock being pursued by Elvis Presley around the same time, which made a rendition of Presley's first major hit, "Heartbreak Hotel," an appropriate choice. At 20, Ann-Margret was an effective singer, if something of a chameleon, seeming to adopt a different persona for each number. She was at her most seductive singing Otis Blackwell's "Slowly," and she came on like a Latin fireball on "Fever," but was demure on the singles-chart entry "What Am I Supposed to Do" and ingenuously winning on "Moon River." RCA Victor appears to have been hoping it had found a distaff Presley, and it's possible Ann-Margret might have justified such a hope if her film acting career hadn't quickly outpaced her recording career; by the time this album was released, her movie debut, Pocketful of Miracles, had been out for several months and State Fair, which would establish her as a redheaded bombshell, was just getting into theaters. (She was still a mousy brunette on the album cover.) On the Way Up was an appropriate title, but records would soon take a back seat to other career goals. William Ruhlmann 
Tracklist :
 1 Oh, Lonesome Me 2:37
Don Gibson
2 Slowly 2:07
Otis Blackwell
 3 Fever 2:52
Eddie Cooley / John Davenport
 4 What Do You Want From Me 2:32
Mike Cain
 5 Heartbreak Hotel 2:28
Mae Boren Axton / Tommy Durden / Elvis Presley
 6 I Just Don't Understand 2:40
Kent Westberry / Marijohn Wilkin
 7 His Ring 2:23
William Katz / Ruth Roberts
 8 Could It Be?  2:13
Patti Ferguson / Barry De Vorzon
9 What Am I Supposed to Do 2:48  
Helen Carter
 10 Let Me Go, Lover! 3:00
Jenny Carson / Al Hill
 11 Moon River 2:30
Henry Mancini / Johnny Mercer
 12 My Last Date (with You) 2:37
Boudleaux Bryant / Floyd Cramer / Skeeter Davis
Credits :
Joe Reisman Arranger, Orchestra Director
Ann-Margret - Vocals

NINA SIMONE — The Complete RCA Albums Collection (2011) 9xCD BOX-SET | FLAC (image+.cue), lossless

Nina Simone was a singular artist, and she went where she pleased, leaving behind a recorded legacy that is passionate, political, defiant, and delicate by turns, no matter what strain of folk, blues, jazz, or gospel she was dipping into, and she did it all with dignity, grace, and intelligence. This set collects all nine of her albums for RCA Records (released between 1967 and 1974), and thus includes some of her greatest recordings. Signature songs like "I Loves You, Porgy," "I Want a Little Sugar in My Bowl" (in a couple of versions), and "Mississippi Goddam" (a Simone original -- one wishes she had written more than she did) are all here, along with powerful versions of songs by Bob Dylan, Leonard Cohen, Willie Dixon, the Beatles, and Randy Newman, among others. Simone didn't just sing a song. She made it hers. Steve Leggett

CD1: Nina Simone Sings The Blues (1967)
CD2: Silk & Soul (1967)
CD3: 'Nuff Said! (1968)
CD4: Nina Simone And Piano! (1969)
CD5: To Love Somebody (1969)
CD6: Black Gold (1969)
CD7: Here Comes The Sun (1971)
CD8: Emergency Ward! (1972)
CD9: It Is Finished (1974)

ABBE LANE WITH SID RAMIN'S ORCHESTRA — The Lady In Red (1958) Vinyl LP | FLAC (tracks) 24-96Hz

The Lady in Red pairs Abbe Lane with arranger Sid Ramin, whose orchestrations are as voluptuous as Lane herself. The album oozes sex appeal from every pore, delivered with a confidence and self-awareness that ultimately transcend cheesecake altogether. Lane is no great singer in any conventional sense, but her sheer braggadocio and jazz-inspired phrasing give her a distinct edge over rival pinups like Julie London -- even better, she tackles chauvinist fluff like "Femininity" with good humor and grace. No less important, Ramin's bold, lively arrangements boast a cinematic flair that calls to mind any number of romantic comedy scores, couching Lane's curves like a velvet chaise lounge. Jason Ankeny
Tracklist :
1    In a Little Spanish Town 2:47
Sam M. Lewis / Mabel Wayne / Joe Young
2    Do It Again 3:01
Buddy DeSylva / George Gershwin
3    No Good to Me 2:38
Jack Brooks / Sid Ramin
4    The Lady in Red 3:21
Mort Dixon / Allie Wrubel
5    Ain't Misbehavin' 3:31
Harry Brooks / Andy Razaf / Fats Waller
6    Breezin' Along with the Breeze 2:17
Haven Gillespie / Seymour Simons / Richard A. Whiting
7    You're Driving Me Crazy (What Did I Do?) 4:01
Walter Donaldson
8    Femininity 2:58
Ray Evans / Jay Livingston
9    All of Me 4:26
Gerald Marks / Seymour Simons
10    I Get a Kick Out of You 3:54
Cole Porter
11    It's Been a Long, Long Time 2:52
Sammy Cahn / Jule Styne
12    We're Not Children 2:27
Ray Evans / Jay Livingston
Credits :
Orchestrated By, Arranged By – Sid Ramin
Vocals – Abbe Lane

LEE WILEY WITH BILLY BUTTERFIELD AND HIS ORCHESTRA — A Touch of the Blues (1958-2002) RM | Mono | RCA 100 Years Of Music Series | FLAC (tracks), lossless

The stellar A Touch of the Blues pairs Lee Wiley with an exceptional band led by trumpeter Billy Butterfield, whose warm, beautiful tone proves a sympathetic counterpoint to Al Cohn and Bill Finegan's otherwise dark, melancholy arrangements. While a title like A Touch of the Blues guarantees the listener few surprises, the album consistently avoids the familiar bluesy clichés -- Wiley's sensuality and sophistication suggest emotional depths to make such gestures redundant anyway. And like her more celebrated songbook sessions, the material here is expertly selected, complementing Wiley's inherent strengths while affording her the latitude to stretch out in new directions. Jason Ankeny
Tracklist :
1        The Memphis Blues 3:30
W.C. Handy / George Norton
2    From the Land of the Sky Blue Water 2:47

Charles Wakefield Cadman / Nelle Richmond Eberhart
3    The Ace in the Hole 3:03
James Dempsey / George Mitchell
4    Someday You'll Be Sorry 4:13
Louis Armstrong
5    My Melancholy Baby 3:15
Ernie Burnett / George Norton
6    A Hundred Years from Today 3:12
Ned Washington / Joseph Young / Victor Young
7    Blues in My Heart 3:03
Benny Carter / Irving Mills
8    Maybe You'll Be There 3:17
Rube Bloom / Sammy Gallop
9    Between the Devil and the Deep Blue Sea 3:00
Harold Arlen / Ted Koehler
10    I Don't Want to Walk Without You 2:46
Frank Loesser / Jule Styne
11    Make Believe 3:19
Oscar Hammerstein II / Jerome Kern
12    A Touch of the Blues 4:13
Don George / Ed Wilcox
Credits :
Arranged By – Bill Finegan
Arranged By, Saxophone – Al Cohn
Bass – Milt Hinton
Guitar – Mundell Lowe, Barry Galbraith
Lead Vocals – Lee Wiley
Piano – Moe Wechsler
Saxophone – Gene Allen
Trumpet, Leader – Billy Butterfield

EVELYN GLENNIE — Her Greatest Hits (1997) 2CD | APE (image+.cue) lossless

Her Greatest Hits is a double-disc collection that contains highlights from Evelyn Glennie's recordings for BMG Classics. Not only are her original compositions and interpretations of contemporary classical numbers featured, but so are her versions of pop songs, as well as "Osygen" and "My Spine," her two collaborations with Björk. The result is an excellent summation of Glennie's career and startling technique. Stephen Thomas Erlewine
Tracklist 1 :
1    Entrances    0:11
2    Halasana 6:50
Piano – Philip Smith
Written-By – Louis Cauberghs
3    Sorbet No.1 0:54
Written-By – Evelyn Glennie
4    Rhythm Song 8:57
Written-By – Paul Smadbeck
5    My Spine 2:38
Featuring [With] – Björk
Written-By – Björk, Evelyn Glennie
6    Slaughter On 10th Avenue 5:51
Conductor – Barry Wordsworth
Featuring [With] – The National Philharmonic Orchestra
Orchestrated By – Gordon Langford
Written-By – Richard Rogers
7    Sorbet No.5 2:12
Written-By – Evelyn Glennie
8    A Little Prayer 4:52
Written-By – Evelyn Glennie
9    Eldorado 4:04
Written-By – Ney Rosauro
10    Sorbet No.7 2:02
Written-By – Evelyn Glennie
11    Black Key Study 1:41
Arranged By [Solo Part Arr.] – Evelyn Glennie
Conductor – Barry Wordsworth
Featuring [With] – The National Philharmonic Orchestra
Orchestrated By, Arranged By – Christopher Palmer
Written-By – Frédéric Chopin
12    Divertimento 12:30
Alto Saxophone – John Harle
Written-By – Akira Yuyama
13    Taps In Tempo 2:10
Written-By – Jan Berenska
14    Born To Be Wild 2:20
Arranged By – David Lang
Written-By – Mars Bonfire
15    Michi 15:03
Written-By – Keiko Abe
Written-By [Improvisation] – Evelyn Glennie
Tracklist 2 :
1    Sorbet No.4 0:35
Written-By – Evelyn Glennie
2    Light In Darkness 4:54
Written-By – Evelyn Glennie
3    The Anvil Chorus 8:02
Written-By – David Lang
4    Rhapsody 9:44
Clarinet – Roy Jowitt
Double Bass – Chris Lawrence
Drums – Ralph Salmins
Flute – Edward Beckett
Written-By – Takayoshi Yoshioka
5    The Swan 2:58
Arranged By, Orchestrated By – Gordon Langford
Written-By – Camille Saint-Saëns
6    Sorbet No.3 1:58
Written-By – Evelyn Glennie
7    Concerto For Solo Percussion And Chamber Orchestra 1st Movement 7:44
Conductor – Paul Daniel
Featuring [With] – Scottish Chamber Orchestra
Written-By – Richard Rodney Bennett
8    The Flight Of The Bumble Bee 1:21
Arranged By – Christopher Palmer
Conductor – Barry Wordsworth
Featuring [With] – The National Philharmonic Orchestra
Written-By – Nikolai Rimsky-Korsakov
9    Sorbet No.6 2:12
Written-By – Evelyn Glennie
10    Marimba Spiritual (Excerpt) 9:01
Percussion – Gary Kettel, Greg Knowles, Stephen Henderson
Written-By – Minoru Miki
11    Hejre Kati 6:11
Arranged By – Evelyn Glennie
Arranged By, Orchestrated By – Gordon Langford
Conductor – Barry Wordsworth
Featuring [With] – The National Philharmonic Orchestra
Written-By – Jenö Hubay
12    Maple Leaf Rag 2:17
Arranged By, Conductor – Ray Russell
Featuring [With] – The National Philharmonic Orchestra
Written-By – Scott Joplin
13    Matre's Dance 9:25
Piano – Philip Smith
Written-By – John Psathas
14    Czardas 5:16
Arranged By [Solo Part Arr.] – Evelyn Glennie
Conductor – Barry Wordsworth
Featuring [With] – The National Philharmonic Orchestra
Orchestrated By, Arranged By – Christopher Palmer
Written-By – Vittorio Monti
15    Oxygen 3:52
Featuring [With] – Björk
Written-By – Björk, Evelyn Glennie

PAGANINI : 24 caprices (Mayuko Kamio) (2009) FLAC (image+.cue) lossless

Of all the virtuoso composers to emerge from the 19th century, the devilish image of Niccolò Paganini may be the most enduring. Not only did he single-handedly change audience perceptions as to the appeal of virtuosity for the sake of virtuosity, but inspired a generation of subsequent composer-performers and pushed forward technical demands of the violin. Of all his compositions, the 24 Caprices, Op. 1, remain as some of the most difficult works in the literature and test the mettle of violinists to this day. Despite their difficulty, there is no shortage of recordings available ranging in quality from the sublime to the completely abysmal. The challenge is not only to produce a technically brilliant performance (which is a must), but to also make real music out of what could be seen as little more than technical exercises. Violinist Mayuko Kamio, with her second album on the RCA/Sony label, seeks to do just that. Her performance of the caprices has all the technical superiority as Midori's youthful attempt. Though not quite as startlingly fast as Midori, Kamio adds something that some violinists fall short on when recording the Caprices: right arm control that matches the left hand. Kamio rarely crunches chords, buzzes strings, or pushes her violin (a Stradivarius once owned by Joseph Joachim) past its limits. This, coupled with her warm, focused sound even in the stratospheric ranges of her instrument, makes this recording one worthy of most any collection. RCA's liner notes are brief but informative, yet curiously lack a biography of their gifted artist. Mike D. Brownell
Tracklist & Credits :

SONNY ROLLINS — The Quartets Featuring Jim Hall (1962-1986) RM | APE (image+.cue) lossless

This double LP contains the six songs originally on The Bridge (his comeback album after three years of retirement) plus seven additional items from 1962 and 1964 that co-star guitarist Jim Hall. At first when Rollins reappeared his style was virtually unchanged from 1959 but gradually it loosened up and became freer. This attractive two-fer, which is highlighted by "Without a Song," "Don't Stop the Carnival" and "If Ever I Would Leave You," has important music that is essential for all Sonny Rollins collectors. Scott Yanow
Tracklist :
1    God Bless The Child    7:24
 Billie Holiday / Arthur Herzog, Jr.
2    John S.    7:31
 Sonny Rollins
3    You Do Something To Me    6:47
 Cole Porter
4    Where Are You    5:07
 Harold Adamson / Jimmy McHugh
5    Without A Song    7:24
 Edward Eliscu / Billy Rose / Vincent Youmans
6    The Bridge    5:55
 Sonny Rollins
7    If Ever I Would Leave You    11:59
 Alan Jay Lerner / Frederick Loewe
8    The Night Has A Thousand Eyes    9:07
 Buddy Bernier / Jerry Brainin
Credits :
Bass – Bob Cranshaw
Drums – Ben Riley (tracks: 2 to 8)
Guitar – Jim Hall
Performer – Mickey Roker
Tenor Saxophone – Sonny Rollins

PHIL WOODS | MICHEL LEGRAND AND ORCHESTRA — Images (1975- 2014) RM | Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

For this orchestra date, Phil Woods is backed by strings, brass, woodwinds and a rhythm section arranged and conducted by Michel Legrand (who also contributed three pieces). Altoist Woods is showcased throughout on some then-current pop tunes (including "The Windmills of Your Mind," "A Song for You" and a nice version of "We've Only Just Begun"), plus Debussy's "Clair de Lune" and Legrand's lengthy "Images." The overall results are not as essential as Woods' typical combo dates, but the altoist's tone does sound quite passionate at times. Scott Yanow
Tracklist :
1    The Windmills Of Your Mind 4:15
Written-By – M. & A. Bergman, Legrand
2    A Song For You 4:01
Written-By – Russell
3    Nicole 3:30
Written-By – Woods
4    The Summer Knows 2:57
Written-By – M. & A. Bergman, Legrand
5    We've Only Just Begun 2:48
Written-By – Williams, Nichols
6    I Was Born In Love With You 3:23
Written-By – M. & A. Bergman, Legrand
7    Clair De Lune 4:47
Arranged By – Michel Legrand
Written-By – Debussy
8    Images 14:46
Written-By – Legrand
Credits :
Alto Saxophone, Liner Notes – Phil Woods
Arranged By, Conductor, Piano – Michel Legrand
Bass – Ron Mathewson
Bass Saxophone – Armand Migiani
Concertmaster – Jack Rothstein
Contractor [Orchestra Assembled By] – Nat Peck
Drums – Kenny Clarke
Lead Guitar – Jud Proctor
Trombone [Lead] – Don Lusher
Trumpet [Lead] – Derek Watkins
Woodwind [Principal Woodwinds] – Roy Willox

FREDDIE GREEN — Mr. Rhythm (1955-2007) RM | MONO | BMG Prime Jazz Series | FLAC (tracks+.cue), lossless

Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie. He adds small flourishes to the rhythm of pieces like "Easy Does It," and only a scattering of tastefully chosen notes on his solo. Coker and Cohn deliver nice solos on "When You Wish Upon a Star," with the trombone's lovely tone and the tenor's deep, mellow pitch complimenting the romanticism of the piece. Newman offers a concise, discerning solos on "Free and Easy" and "Learnin' the Blues." He uses a mute for both solos, perfectly capturing a calm, bluesy mood. Of course Green doesn't solo, and while his guitar is often barely audible, his presence is always felt. This album shows him to be a fine leader who is happy to remain in his role as rhythm guitarist. For fans of Green, and for those who enjoy swinging jazz with great soloists, Mr. Rhythm is a fine release. Ronnie D. Lankford, Jr.
Tracklist :
1    Up In The Blues    2:34
 Freddie Green
2    Down For Double    3:58
 Freddie Green
3    Back And Forth    2:17
 Freddie Green
4    Free And Easy    3:25
 Freddie Green
5    Learnin The Blues    3:28
 Freddie Green / Delores Vicki Silvers
6    Feed Bag    2:58
 Freddie Green
7    Something's Gotta Give    2:51
 Freddie Green
8    Easy Does It    3:42
 Freddie Green / Sy Oliver / Trummy Young
9    Little Red    2:08
 Freddie Green
10    Swinging Back     3:21
 Freddie Green
11    A Date With Ray    4:52
 Freddie Green
12    When You Wish Upon A Star    2:38
 Freddie Green / Leigh Harline
Credits
Bass – Milt Hinton
Drums – Jo Jones, Osie Johnson
Guitar – Freddie Green
Piano – Nat Pierce
Tenor Saxophone, Clarinet – Al Cohn
Trombone – Henry Coker
Trumpet – Joe Newman

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

BARNEY KESSEL — Kessel's Kit (1969-2015) RM | Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

Tracklist  :
1. B.J.'s Samba (Kessel) - 4:032. Meu Irmao (Pes) - 4:51
3. Malibu (Trovajoli) - 5:32

4. On the Riviera (Kessel) - 3:57
5. Lison (Pes) - 3:48
6. Freeway (Capuano-Capuano) - 2:58
7. From My Heart (Kessel) - 5:09
8. Swing Samba (Kessel) - 3:41
9. Amelia (De Natale-Coggio) - 3:20
Credits :
Drums – Vincenzo Restuccia
Electric Bass – Giovanni Tommaso
Electric Guitar – Carlo Pes
Electric Organ – Antonello Vannucchi
Percussion – Ciro Cicco

DELLA REESE — Swing, Slow & Cha Cha Cha (2001) RM | FLAC (tracks+.cue), lossless

This two-fer from BMG International features a pair of out of print Della Reese LPs: Swing Slow and Della Della Cha-Cha-Cha. Originally issued on RCA Victor in the early '60s, these 26 traditional pop songs include "Someday (You'll Want Me to Want You)," "Come on-A-My House," "Tea for Two," and "Diamonds Are a Girl's Best Friend." This is a nice sampler of familiar items that should satisfy the needs of casual fans. Al Campbell
Tracklist :
1     Come on-A-My House 2:51    
Ross Bagdasarian / William Saroyan
2     Why Don't You Do Right? 2:48
Kansas Joe McCoy
3     Diamonds Are a Girl's Best Friend 2:55
Leo Robin / Jule Styne
4     When a Woman Loves a Man 3:06
Bernie Hanighen / Gordon Jenkins / Johnny Mercer
5     Baby Won't You Please Come Home 3:09    
Charles Warfield / Clarence Williams
6     You're Driving Me Crazy 2:30 
Walter Donaldson
7     I'm Beginning to See the Light 2:25
Duke Ellington / Don George / Johnny Hodges / Harry James
8     You're Nobody 'Till Somebody Loves You 3:49
James Cavanaugh / Russ Morgan / Larry Stock
9     It's So Nice to Have a Man Around the House 2:40
Harold Spina
10     Tea for Two 2:12
Irving Caesar / Vincent Youmans
11     Call Me 2:46
Belford Hendricks / Clyde Otis
12     I Get the Blues When It Rains 3:22    
Bruce Klauber / Harry Stoddard
13     There's Nothing Like a Boy 2:05        
14     Whatever Lola Wants 3:16
Richard Adler / Jerry Ross
15     Three O'Clock in the Morning 3:06
Julián Robledo
16     Daddy (Hey Daddy) 2:42    
17     I'm Just a Lucky So and So 2:42
Mack David / Duke Ellington
18     Let's Get Away from It All 2:27
Tom Adair / Matt Dennis
19     I'll Get By (As Long as I Have You) 2:37
Fred E. Ahlert / Roy Turk
20     And Nown 2:40    
Luigi Creatore
21     How Did He Look? 4:23    
Gladys Shelley / Abner Silver
22     Someday (You'll Want Me to Want You) 5:16
Jimmie Hodges
23     Won' Cha Come Home, Bill Bailey 3:10
Della Reese
24     The Most Beautiful Words 2:42
Stanley Lebowsky
25     Don't You Know 2:35
Bobby Worth
26     Not One Minute More 2:38
Hal Blair / Lucille "Lou" Dinning / Don Robertson

LEON THOMAS WITH OLIVER NELSON — Live in Berlin (1971-2002) RCA Victor Gold Series | FLAC (tracks+.cue), lossless

Leon Thomas makes a soaring, impressive vocal contribution. Nelson's alto sax solos sizzle. Ron Wynn   Tracklist & Credits :

OLIVER NELSON — Skull Session (1975-2002) RM | RCA Victor Gold Series | FLAC (tracks+.cue), lossless

Skull Session is hardly up to snuff for the talented and overworked Nelson, who was busy scoring TV shows at the time. The title track is a fun little dabble in electronic funk, but the rest seems beneath Nelson's abilities, as it takes his signature sounds, adds disco, dumbs down the themes, and finishes it off with pedestrian solos from L.A. studio musicians. Douglas Payne  Tracklist & Credits :

GIL EVANS AND HIS ORCHESTRA – There Comes a Time (1976-2014) Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

 This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets. [This is the original issue without the bonus tracks.] Scott Yanow    Tracklist & Credits :

DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

LEE KONITZ - Stereokonitz (1969-2014) RM | Jazz Collection 1000 Columbia-RCA Series | FLAC (tracks), lossless

Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea (with whom Konitz worked on a number of Philology CDs decades later), trumpeter Enrico Rava and drummer Gegé Munari. Tommaso's charts delve into bop and cool, with Konitz primarily playing the Varitone (a form of electronic saxophone that was experimented with briefly and abandoned by reed players in the late '60s), though he does play some alto sax and also makes a rare appearance on flute (doubling on it in "Take Seven"). While the music from this 1968 session is enjoyable, even though the sound quality of the Varitone pales when compared to a regular saxophone, this remains one of Lee Konitz's more obscure recordings from the '60s, even if this European LP was finally reissued on CD (again, only in Europe) three decades later. Ken Dryden  
Tracklist :
1    A Minor Blues    4:37
2    Five, Four And Three    3:32
3    Kominia    4:44
4    Midnight Mood    3:49
5    Terre Lontane    5:25
6    Take Seven    3:13
7    Giovanni D'Oggi    4:20
8    Tune Down    4:51
Credits :    
Alto Saxophone [Sax alto], Electronic Wind Instrument [Varitone], Flute [Flauto] – Lee Konitz
Contrabass [C. basso], Arranged By [Arrangiamenti di], Written-By – Giovanni Tommaso
Drums [Batteria] – Gegè Munari
Piano – Franco D'Andrea
Trumpet [Tromba] – Enrico Rava

ORNETTE COLEMAN - Friends and Neighbors : Ornette Live at Prince Street (1970-2001) RM | FLAC (tracks+.cue), lossless

This disc contains one of Ornette Coleman's lesser-known sessions. In addition to his own alto (and occasional trumpet and violin), Coleman is joined by Dewey Redman on tenor, bassist Charlie Haden, drummer Ed Blackwell, and (on one of the two versions of "Friends and Neighbors") a variety of friends who sing along as best they can. Actually, the most notable tracks are the two extended pieces, "Long Time No See" and "Tomorrow." The music is typically adventurous, melodic in its own way, yet still pretty futuristic, even if (compared with his other releases) the set as a whole is not all that essential. Scott Yanow
Tracklist :
1    Friends And Neighbors (Vocal)    4:13
2    Friends And Neighbors (Instrumental)    2:55
3    Long Time No See    10:53
4    Let's Play    3:23
5    Forgotten Songs    4:24
6    Tomorrow    12:07
Credits :
Performer [Personnel], Alto Saxophone, Trumpet, Violin – Ornette Coleman
Performer [Personnel], Bass – Charlie Haden
Performer [Personnel], Drums – Ed Blackwell
Performer [Personnel], Tenor Saxophone – Dewey Redman
Producer [Original Album Produced By], Written-By – Ornette Coleman