JACKIE McLEAN — Let Freedom Ring (1961) Two Version (2003, RM | Serie 24 Bit By RVG) + (2003, RM | Serie RVG Edition ) FLAC (tracks+.cue), lossless & APE (image+.cue), lossless

Jackie McLean had always been a highly emotional soloist, so it makes sense that he was one of the first hard bop veterans to find a new voice in the burning intensity of jazz's emerging avant-garde. McLean had previously experimented with Coltrane's angular modes and scales and Ornette's concept of chordal freedom, but Let Freedom Ring was the landmark masterpiece where he put everything together and ushered in the era of the modernists at Blue Note. A number of saxophonists were beginning to explore the ability of the instrument to mimic human cries of passion, and here McLean perfected a long, piercing squeal capable of expressing joy, anguish, fury, and more. The music on Let Freedom Ring remained more rooted in hard bop structure than Coleman's, and McLean was still recognizably himself, but that was precisely what was revolutionary about the album: It validated the avant-garde aesthetic, demonstrating that it had enough value to convert members of the old guard, and wasn't just the province of radical outcasts. There are only four pieces, one of which is the surging Bud Powell ballad "I'll Keep Loving You"; the other three are McLean originals ("Melody for Melonae," "Rene," and "Omega," dedicated to his daughter, son, and mother respectively) that spotlight his tremendous inventiveness on extended material and amaze with a smoldering fire that never lets up. Pianist Walter Davis takes the occasional solo, but the record is McLean's statement of purpose, and he accordingly dominates the proceedings, with the busy, free-flowing dialogues of bassist Herbie Lewis and Ornette drummer Billy Higgins pushing him to even greater heights. The success of Let Freedom Ring paved the way for a bumper crop of other modernist innovators to join the Blue Note roster and, artistically, it still stands with One Step Beyond as McLean's greatest work. Steve Huey
Tracklist :
1    Melody For Melonae    13:17
 Jackie McLean
2    I'll Keep Loving You    6:14
 Bud Powell
3    Rene    9:57
 Jackie McLean
4    Omega    8:30
 Jackie McLean
Credits :
Alto Saxophone – Jackie McLean
Bass – Herbie Lewis
Drums – Billy Higgins
Piano – Walter Davis, Jr.
Recorded By, Remastered By – Rudy Van Gelder

KENNY DORHAM — Trompeta Toccata (1964) Two Version (1995, The BN Works 4100 Series) + (2006, RM | Serie RVG Edition) FLAC (tracks+.cue), lossless

It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy "Mamacita" also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath served as a strong (if premature) ending to Dorham's impressive career as a solo artist. Scott Yanow
Tracklist :
1    Trompeta Toccata 12:28
Written-By – Kenny Dorham
2    Night Watch 5:48
Written-By – Kenny Dorham
3    Mamacita 11:06
Written-By – Joe Henderson
4    The Fox 8:02
Written-By – Kenny Dorham
Credits :
Bass – Richard Davis
Drums – Albert Heath
Piano – Tommy Flanagan
Tenor Saxophone – Joe Henderson
Trumpet – Kenny Dorham

KENNY BURRELL — Midnight Blue (1963) Three Version (1986, Serie Blue Note CD Super 50 – 29) + (1999, RM | Serie RVG Edition) + (2010, RM | SACD, Hybrid, DSD | Serie The Blue Note Reissues | FLAC (image+.cue), lossless & FLAC (tracks+.cue), lossless

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." Scott Yanow
Tracklist :
1 Chitlins con Carne 5:30
Kenny Burrell
2 Mule 6:56
Kenny Burrell / Major Holley
3 Soul Lament 2:43
Kenny Burrell
4 Midnight Blue 4:02
Kenny Burrell
5 Wavy Gravy 5:47
Kenny Burrell
6 Gee Baby, Ain't I Good to You 4:25
Andy Razaf / Don Redman
7 Saturday Night Blues 6:16
Kenny Burrell
8 Kenny's Sound 4:43
Kenny Burrell
9 K Twist 3:37
Kenny Burrell
Credits:
Bass – Major Holley, Jr.
Congas – Ray Barretto
Drums – Bill English
Guitar – Kenny Burrell
Tenor Saxophone – Stanley Turrentine

WAYNE SHORTER — Adam's Apple (1966-2003) RM | RVG Edition Series | FLAC (tracks+.cue), lossless

With the possible exception of its song, "Footprints," which would become a jazz standard, Adam's Apple received quite a bit less attention upon its release than some of the preceding albums in Wayne Shorter's catalog. That is a shame because it really does rank with the best of his output from this incredibly fertile period. From the first moments when Shorter's sax soars out in the eponymous opening track, with its warmth and roundness and power, it is hard not to like this album. It might not be turning as sharp of a corner stylistically as some of his earlier works, like Speak No Evil, but its impact is only dulled by the fact that Shorter has already arrived at the peak of his powers. Taken in isolation, this is one of the great works of mid-'60s jazz, but when Shorter has already achieved a unique performance style, compositional excellence, and a perfectly balanced relationship with his sidemen, it is hard to be impressed by the fact that he manages to continue to do these things album after album. But Shorter does shine here, while allowing strong players like Herbie Hancock to also have their place in the sun. Especially hypnotic are two very different songs, the ballad "Teru" and Shorter's tribute to John Coltrane, "Chief Crazy Horse," both of which also allow Hancock a chance to show what he could do. Stacia Proefrock
Tracklist :
1    Adam's Apple    6:47
Wayne Shorter
2    502 Blues (Drinkin' And Drivin')    6:32
Jimmy Rowles
3    El Gaucho    6:28
Wayne Shorter
4    Footprints    7:27
Wayne Shorter
5    Teru    6:10
Wayne Shorter
6    Chief Crazy Horse    7:32
Wayne Shorter
7    The Collector    6:54
Herbie Hancock
Credits :
Bass – Reggie Workman
Drums – Joe Chambers
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By, Remastered By [2003] – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter

McCOY TYNER — The Real McCoy (1967-1999) RM | RVG Edition | FLAC (tracks+.cue), lossless

Two and a half years after his last recording as a leader for Impulse, pianist McCoy Tyner emerged to start a period on Blue Note that would result in seven albums. Having left John Coltrane's Quartet in late 1965, Tyner was entering a period of struggle, although artistically his playing grew quite a bit in the late '60s. For this release, the pianist is teamed with tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones for five of his originals. Highlights of the easily recommended album include "Passion Dance," "Four by Five," and "Blues on the Corner." Scott Yanow
Tracklist :
1 Passion Dance 8:44
McCoy Tyner
2 Contemplation 9:10
McCoy Tyner
3 Four by Five 6:33 
McCoy Tyner
4 Search for Peace 6:27
McCoy Tyner
5 Blues on the Corner 5:58
McCoy Tyner
Credits
Bass – Ron Carter
Drums – Elvin Jones
Piano – McCoy Tyner
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Joe Henderson

DON CHERRY — Symphony for Improvisers (1967-2005) RM | RVG Edition Series | APE (image+.cue), lossless

For his second album, Symphony for Improvisers, Don Cherry expanded his Complete Communion quartet -- tenor saxophonist Gato Barbieri, bassist Henry Grimes, and drummer Ed Blackwell -- to a septet, adding vibraphonist Karl Berger, bassist Jean François Jenny-Clark, and tenor saxophonist Pharoah Sanders (who frequently plays piccolo here). The lineup has a real international flavor, since Barbieri was from Argentina, Berger from Germany, and Jenny-Clark from France; Cherry had gigged regularly with all three during his 1964-1965 sojourn in Europe, and brought them to New York to record. With all the added firepower, it's remarkable that Symphony for Improvisers has the same sense of shared space and controlled intelligence as its predecessor, even when things are at their most heated. Once again, Cherry sets up the album as two continuous medleys that fuse four compositions apiece, which allows the group's improvisational energy and momentum to carry straight through the entire program. The "Symphony for Improvisers" suite is the most raucous part of Cherry's Blue Note repertoire, and the "Manhattan Cry" suite pulls off the widest mood shifts Cherry had yet attempted in that format. Even though the album is full of passionate fireworks, there's also a great deal of subtlety -- the flavors added to the ensemble by Berger's vibes and Sanders' piccolo, for example, or the way other instrumental voices often support and complement a solo statement. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note. Steve Huey   
Tracklist
 1 Symphony for Improvisers:
 Symphony for Improvisers/Nu Creative Love 19:43
Don Cherry
2 Manhattan Cry: Manhattan Cry/Lunatic/Sparkle Plenty/Om Nu 19:17
Don Cherry
Credits
Bass – Henry Grimes, Jean-François Jenny-Clark
Cornet, Composed By – Don Cherry
Drums – Edward Blackwell
Tenor Saxophone – Gato Barbieri
Tenor Saxophone, Piccolo Flute – Pharoah Sanders
Vibraphone, Piano – Karl Berger

KENNY DORHAM — The Complete 'Round About Midnight at the Cafe Bohemia (1956-2002) 2CD | RM | MONO | Serie RVG Edition | FLAC (tracks+.cue), lossless

During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham's group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder and remastered by him in 2001, Blue Note's 2002 double-disc "Complete" Dorham Café Bohemia edition combines every usable track taped during this exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham's band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham's jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day. arwulf arwulf   Tracklist & Credits

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 :

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 2 (1956-2001) RM | Modern Jazz Series, RVG Edition | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

CURTIS FULLER — Bone & Bari (1957-2003) RM | Serie 24 Bit By RVG | FLAC (tracks+.cue), lossless

Curtis Fuller emerged during the 1950s as a leading hard bop trombonist. A native of Detroit, Fuller was initially inspired by hearing J.J. Johnson, who became a mentor for the young musician. This recording was completed only weeks before Fuller went into the studio to record John Coltrane's Blue Trane. The session is unique in its pairing of trombone with the baritone sax of Tate Houston. The resultant front line sound is thick and rotund. The rhythm section of Sonny Clark, Paul Chambers and Art Taylor had a lovely rapport; individually and collectively, these three made many important recordings in the late 1950s, especially for the Blue Note label. Highlights of Bone & Bari include the title tune, penned by Fuller, and the group's rendering of the standard "Heart and Soul." Lee Bloom

Tracklist 
1 Algonquin 5:02
Written-By – Curtis Fuller
2 Nita's Waltz 6:55
Written-By – Curtis Fuller
3 Bone & Bari 6:18
Written-By – Curtis Fuller
4 Heart And Soul 4:48
Written-By – Frank Loesser, Hoagy Carmichael
5 Again 7:18
Written-By – Dorcas Cochran, Lionel Newman
6 Pickup 5:46
Written-By – Curtis Fuller
Credits :
Baritone Saxophone – Tate Houston
Bass – Paul Chambers
Drums – Art Taylor
Piano – Sonny Clark
Trombone – Curtis Fuller

CURTIS FULLER — The Opener (1957) Two Version (1996, RM | MONOAURAL | The BN Works 1500 Series) + (1999, RM | Serie 24 Bit By RVG) FLAC (tracks+.cue), lossless

The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards -- "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" -- two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show. In all, The Opener, along with his three earlier sessions for Prestige and New Jazz, establishes Fuller as one of the most distinctive and original hard bop trombonists of the late '50s. Stephen Thomas Erlewine

Tracklist :
1 A Lovely Way To Spend An Evening 6:50
Written-By – H. Adamson, J. McHugh
2 Hugore 6:41
Written-By – Curtis Fuller
3 Oscalypso 5:37
Written-By – Oscar Pettiford
4 Here's To My Lady 6:40
Written-By – J. Mercer, R. Bloom
5 Lizzy's Bounce 5:21
Written-By – Curtis Fuller
6 Soon 5:35
Written-By – G. Gershwin-I. Gershwin
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Bobby Timmons
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller

CURTIS FULLER — Volume 3 (1957-1999) RM | Serie 24 Bit By RVG | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller settled in New York in April of 1957, after working for several years in his native Detroit. Volume 3 pairs him with trumpeter Art Farmer, along with a buoyant rhythm section comprising Sonny Clark (who also relocated to N.Y.C. in April '57), George Tucker and Louis Hayes. This third solo recording for Fuller on the Blue Note label is stronger than its predecessors, especially in showcasing the trombonist's writing talents. The five original tunes and one standard feature some fine ensemble playing and cover a broad range from Afro-Cuban to medium swing to ballad. Fuller's composition "Carvon" is exceptional; the main theme is played on trombone accompanied only by bowed bass. This recording firmly established Curtis Fuller as a serious, mature voice on his instrument. Lee Bloom Tracklist & Credits

THE RED GARLAND QUINTET WITH JOHN COLTRANE — Dig It! (1958-2009) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland's straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John Coltrane in Garland's quartet apart from their association with Miles Davis, and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland's strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos. Because of the lack of extra material or alternate takes, one might buy this just for the good music, but also the Rudy Van Gelder remastering factor that allows you to hear these genius mmusicians cleaner and brighter. Michael G. Nastos

Tracklist :
1 Billie's Bounce 9:24
Charlie Parker
2 Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer
3 C.T.A. 4:42
Jimmy Heath
4 Lazy Mae 16:06
Red Garland
Credits
Bass – George Joyner (tracks: 1, 4), Paul Chambers (tracks: 2, 3)
Drums – Arthur Taylor
Piano – Red Garland
Tenor Saxophone – John Coltrane (tracks: 1, 3, 4)
Trumpet – Donald Byrd (tracks: 1, 4)

RED GARLAND WITH PAUL CHAMBERS AND ART TAYLOR — Red Garland's Piano (1957-2006) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

Red Garland's third session as a leader finds the distinctive pianist investigating eight standards (including "Please Send Me Someone to Love," "Stompin' at the Savoy," "If I Were a Bell," and "Almost Like Being in Love") with his distinctive chord voicings, melodic but creative ideas, and solid sense of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual consistent level, making this an easily recommended disc for straight-ahead fans. Scott Yanow    Tracklist & Credits :

JUTTA HIPP — Jutta Hipp at the Hickory House, Vol. 1 (1956-2007) RM | MONO | Serie Blue Note RVG Edition | FLAC (image+.cue), lossless

At the Hickory House is a thoroughly appealing collection of lightly swinging small-combo jazz that draws equally from hard bop and soul-jazz. There's a soulful lilt to Jutta Hipp's playing that keeps it engaging and enjoyable. The rhythm section of Peter Ind (bass) and Ed Thigpen (drums) largely stay out of the way, letting Hipp dictate the tempo and mood of the pieces, and she has a knack for creating infectious, swinging interpretations of jazz and pop standards that are enjoyable and easy to listen to. Vol. 1 contains such staples as "Dear Old Stockholm," "Billie's Bounce," "Mad About the Boy," "Ain't Misbehavin'" and "These Foolish Things," all of which are performed with verve and style, making the record a wonderful little gem. Stephen Thomas Erlewine
Tracklist :
1 Take Me In Your Arms 4:38
Written-By – Markush
2 Dear Old Stockholm 4:38
Traditional
3 Billie's Bounce 4:02
Written-By – Charlie Parker
4 I'll Remember April 3:47
Written-By – Raye, De Paul
5 Lady Bird 3:50
Written-By – Tadd Dameron
6 Mad About The Boy 3:40
Written-By – Noel Coward
7 Ain't Misbehavin' 4:59
Written-By – Razaf, Waller, Brooks
8 These Foolish Things 3:58
Written-By – Marvell, Strachey
9 Jeepers Creepers 3:48
Written-By – Warren, Mercer
10 The Moon Was Yellow 4:54
Written-By – Leslie, Ahlert
Credits :
Bass – Peter Ind
Drums – Ed Thigpen
Piano – Jutta Hipp
Recorded By [Recording By], Remastered By – Rudy Van Gelder

JUTTA HIPP — Jutta Hipp at the Hickory House, Vol. 2 (1956-2007) RM | MONO | Serie Blue Note RVG Edition | FLAC (image+.cue), lossless

Jutta Hipp at the Hickory House, Vol. 2 has the same infectious spirit and sense of fun as the first volume. Taken from the same date, this ten-track album features such standards as "Moonlight in Vermont," "After Hours," "If I Had You" and "My Heart Stood Still," all of which are given swinging, spirited interpretations by Hipp and her rhythm section of bassist Peter Ind and drummer Ed Thigpen. As with the first volume of At the Hickory House, Vol. 2 is another thoroughly enjoyable set of swinging soul-jazz and should appeal to fans of Horace Silver and the Three Sounds. Stephen Thomas Erlewine
Tracklist :
1     Gone With the Wind    4:50
Herbert Magidson / Allie Wrubel
2     After Hours    4:40
Erskine Hawkins / Avery Parrish
3     The Squirrel    3:46
Tadd Dameron
4     We'll Be Together Again    3:15
Carl Fischer / Frankie Laine
5     Horacio    3:20
Jutta Hipp
6     I Married an Angel    4:24
Lorenz Hart / Richard Rodgers
7     Moonlight in Vermont    3:24
 John Blackburn / Karl Suessdorf
8     Star Eyes/If I Had You/My Heart Stood Still    4:01
Gene DePaul / Don Raye
9     If I Had You    3:54
Jimmy Campbell / Reginald Connelly / Ted Shapiro
10     My Heart Stood Still    4:21
Lorenz Hart / Richard Rodgers
Credits :
Bass – Peter Ind
Drums – Ed Thigpen
Piano – Jutta Hipp
Remastered By, Recorded By – Rudy Van Gelder

CLIFFORD BROWN – Jazz Immortal (1960-2001) RVG Edition, Pacific Jazz Series | MONO | FLAC (tracks+.cue), lossless

Sextet. This album includes some takes and Brown material unavailable elsewhere. Ron Wynn  Tracklist + Credits :

THE ORNETTE COLEMAN TRIO - At The "Golden Circle" Stockholm, Volume Two (1965-2002) RM | RVG Edition | FLAC (tracks+.cue), lossless

The second night of Ornette Coleman's two-week stand in Sweden was even fierier than the first, if the recorded documents are to be believed. For starters, December 4 was the night that Coleman brought out the violin and the trumpet on the first tune; "Snowflakes and Sunshine" must have taken club-goers by surprise. Those first notes skitter across the neck as the bow goes "scree" in the middle registers and bassist David Izenzon moves to create an atonal bed of rock for Coleman, while Charles Moffett plays in the triple time to a cipher of a time signature. And just as the violin starts to create a tension that is difficult for the other two members of his trio to endure musically, Coleman switches to trumpet and hauls it back inside, or at least to the ledge's edge before returning to the violin a few minutes later. The rhythm sect tries to rein him in, but he careens off Izenzon's arco playing and into an entirely new harmonic language. For the rest of the gig, it's back to the alto, with Coleman even going as far as to goof on Gershwin's "Rhapsody in Blue" on the opening bars of "Morning Song" before playing a ballad every bit as tender and angularly beautiful as one of his. "Riddles" is one of Coleman's Eastern screamers, played modally with the same kind of breathy acrobatics Coltrane used on the music that made it onto the posthumous Sunship. There are several drone modes created by Izenzon, with off-measure rhythmic figures cut by Moffett. Coleman plays the alto as one would a Tibetan oboe or a thighbone trumpet, reaching deep into the lower register to touch the drone and then sail off into scalar abandon. There is more than enough fire, but the astonishing thing is the color and texture Coleman gets from the horn. The set closes with a lovely, knotty piece called "Antiques," in which Izenzon and Coleman match modes for an interesting meeting of the minds in a dramatic wash of color and mood. This is the stronger of the two evenings, but they are both fine records by an under-recognized band in Coleman's development.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Snowflakes And Sunshine    10:42
2    Morning Song    10:41
3    The Riddle    9:54
4    Antiques    12:35
5    Morning Song (Alternate Take)    8:16
6    The Riddle (Alternate Take)    12:39
7    Antiques (Alternate Take)    13:00
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
Remastered By [2001] – Rudy Van Gelder

ROLAND KIRK with JACK McDUFF - Kirk's Work (1961-2007) RM | RVG Remasters | FLAC (tracks+.cue), lossless

Kirk's Work, Rahsaan Roland Kirk's third long-player, teams him up with organist "Brother" Jack McDuff for Kirk's most soulful post-bop set to date. His unorthodox performance style incorporates the polyphonies of a tenor sax, flute, manzello, and stritch. (The latter instrument is Kirk's own modification of a second-generation B-flat soprano sax.) This contributes to the unique sonic textures and overtones Kirk creates when playing two -- and often three -- of those lead instruments simultaneously. The loose and soulful nature of McDuff's Hammond organ lends itself to the swinging R&B vibe pervasive throughout the album. Completing the quartet is Joe Benjamin (bass) and Art Taylor (drums), both veteran jazzmen in their own right. They lend their expertise as well as innate sense of rhythm to the up-tempo "revival meetin'" rendition of Sammy Kahn's "Makin' Whoopee" as well as the ominous swing of the title track. This is also an ideal showcase for Benjamin and Taylor's running counterpoint that glides throughout -- supporting soloists Kirk and McDuff. Of the four original Kirk compositions, "Doin' the Sixty-Eight" is arguably the strongest. The percussive rhythms weave a hypnotic Latin groove over which Kirk and McDuff both snake some highly cerebral solos. The stellar interpretation of "Skater's Waltz" combines a well-known traditional melody with some of the most aggressive interaction from the quartet. The tune is put through its paces and the tenor sax/Hammond organ leads bounce around like a game of sonic ping pong. The more aggressive performance style that Kirk would later incorporate definitely shows signs of development on Kirk's Work. While certainly not the best in his catalog, it is a touchstone album that captures the early soulful Rahsaan Roland Kirk. Lindsay Planer  
Tracklist :
1     Three for Dizzy 5'11
Rahsaan Roland Kirk
2     Makin' Whoopee 5'09
Walter Donaldson / Gus Kahn
3     Funk Underneath 6'17
Rahsaan Roland Kirk
4     Kirk's Work 3'56
Rahsaan Roland Kirk
5     Doin' the Sixty-Eight 4'22
Rahsaan Roland Kirk
6     Too Late Now 3'54
Burton Lane / Alan Jay Lerner
7     Skater's Waltz 4'24
Emile Waldteufel
Credits :
Bass – Joe Benjamin
Drums – Arthur Taylor
Organ – Jack McDuff
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Tenor Saxophone, Flute, Reeds [Manzello, Strich], Siren – Roland Kirk

SAM RIVERS - Dimensions & Extensions (1967-2008) RM | RVG Edition | FLAC (tracks+.cue), lossless

Ambitious, atonal, challenging -- all are accurate descriptions of Dimensions & Extensions, Sam Rivers' fourth album for Blue Note. Rivers remains grounded in hard bop structure, working with a sextet featuring Donald Byrd (trumpet), James Spaulding (alto saxophone, flute), Julian Priester (trombone), Cecil McBee (bass), and Steve Ellington (drums), but he explodes the boundaries of the form with difficult, dissonant compositions. With his unique, mercurial tone and edgy solos, he keeps pushing the sextet in different directions. It's intense, cerebral music, but since it has distinct themes and strong rhythms, the forays into free jazz, dissonant harmonies, and unpredictable tonal textures are actually quite accessible. Rivers simply burns on each track, whether playing tenor, soprano, or flute. Byrd doesn't display the wild imagination of Rivers, yet he keeps the pace with alternately languid and biting solos. Similarly, each of the remaining musicians makes a lasting impression with his individual time in the spotlight. With music as risky at this, it's forgivable that it occasionally meanders (especially on the slower numbers) but, overall, Dimensions & Extensions offers more proof that Sam Rivers was one of the early giants of the avant-garde. Stephen Thomas Erlewine  
Tracklist :
1    Precis    5:18
2    Paean    5:20
3    Effusive Melange    5:45
4    Involution    7:10
5    Afflatus    6:25
6    Helix    5:30
Credits :
Alto Saxophone, Flute – James Spaulding
Bass – Cecil McBee
Drums – Steve Ellington
Producer – Alfred Lion
Producer [For Release] – Michael Cuscuna
Recorded By – Rudy Van Gelder
Tenor Saxophone, Soprano Saxophone, Flute, Composed By – Sam Rivers
Trombone – Julian Priester
Trumpet – Donald Byrd