RAHSAAN ROLAND KIRK — Aces Back To Back (1998) 4CD BOX-SET | APE (image+.cue), lossless

Whether or not the four individual albums packaged with in Aces Back to Back are among Rahsaan Roland Kirk's finest is of no consequence. The fact that they have been assembled in a package that offers the listener a sense of Kirk's development and continuity is the issue here. And in this way, Aces Back to Back is a supreme collection. The four albums included -- Left & Right, Rahsaan Rahsaan, Prepare Thyself to Deal With a Miracle, and Other Folks Music -- date from 1969 to 1976 and chart dimensional growth of Kirk's completely original music. There's the outsider wizardry of Left & Right that melds the innovations of John Coltrane and Scott Joplin across an entire range of highly experimental yet wonderfully human music. Guests included Roy Haynes, Alice Coltrane, Julius Watkins, and many others in a band that ranged from a quartet to a full orchestra. Then there are the nine musicians who appear on Rahsaan Rahsaan, among them avant violinist Leroy Jenkins. Here, from the margins comes Kirk's preaching and poetry and also yielded the classics "The Seeker" and "Baby Let Me Shake Your Tree." The fact that they open and close the album, respectively, reveals not only Kirk's diversity, but also his commitment to a universal black music. Prepare Thyself to Deal With a Miracle is Kirk's meditation on orchestral music juxtaposed against folk and R&B forms. Form the opening "Salvation and Reminiscing," where the string section carries a monadic theme into microtonal territory, Kirk uses the "ugliness" to achieve great beauty which is fully realized when he combines a revved-up version of "Balm in Gilead" with a section of Ralph Vaughn Williams' Pastoral Symphony on "Seasons." Finally, with the issue of Others Folks Music, Kirk contributes only one composition, a beautiful meditation entitled "Water for Robeson and Williams." The rest is made up of the music of Charlie Parker ("Donna Lee"), Kirk's then pianist Hilton Ruiz ("Arrival"), Frank Foster ("Simone"), and others. This is a loose, roughneck record where Kirk uses the harmonics of others to transform his own into something that would make the music itself larger than any of its individual parts. In all for the price tag, this is a solid buy, revealing the most misunderstood innovator in the history of jazz.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
All Tracks & Credits :

HANK CRAWFORD — Wildflower (1973-2002) Serie Best Value | FLAC (tracks+.cue), lossless

Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 – one of eight cut between 1971 and 1978 – is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto – check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Corazon 6:02
Written-By – C. King
2    Wildflower 3:54
Written-By – D. Richardson, D. Edwards
3    Mr. Blues 6:05
Written-By – H. Crawford
4    You've Got It Bad Girl 9:34
Written-By – Y. Wright
5    Good Morning Heartache 6:08
Written-By – D. Fisher, E. Drake, I. Higginbothan
Credits :
Alto Saxophone – Hank Crawford
Arranged By, Conductor – Bob James
Backing Vocals – Hilda Harris, Maeretha Stewart, Randy Peyton, Bill Eaton
Bass – Bob Cranshaw
Bass Trombone – Tony Studd
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
French Horn – Brooks Tillotson, Jim Buffington
Guitar – Joe Beck
Percussion – Arthur Jenkins, David Friedman, George Devans, Phil Kraus, Ralph MacDonald, Rubens Bassini
Piano, Organ – Richard Tee
Trombone – Paul Faulise, Wayne Andre
Trumpet – Alan Rubin, Bernie Glow, Marvin Stamm

LALO SCHIFRIN — Towering Toccata (1977-2017) RM | HQC | Serie CTI+RVG Ultimate Remastering Series, CTI PS | FLAC (tracks+.cue), lossless

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. Donald A. Guarisco  
Tracklist :
1 Towering Toccata 5:02
Soloist, Flute – Jeremy Steig
2 Frances' Theme 4:19
Flute – Jeremy Steig
3 Macumba 6:31
Drums [Dahka-de-bello] – Steve Gadd
Flute – Jeremy Steig
Soloist, Guitar – Eric Gale
4 Eagles In Love 2:49
Lalo Schifrin
5 Theme From King Kong 4:12
Soloist, Guitar – Eric Gale, John Tropea
6 Most Wanted Theme 2:42
Bass – Will Lee
Soloist, Violin [Vitar] – John Blair
7 Midnight Woman 6:09
Bass – Will Lee
Soloist, Flute – Joe Farrell
Soloist, Piano – Lalo Schifrin
8 Roller Coaster 4:48
Drums – Andrew Smith
Credits:
Alto Saxophone – Gerry Niewood
Baritone Saxophone – Ronnie Cuber
Bass – Anthony Jackson
Cello – Alan Shulman, Charles McCracken
Conductor, Arranged By  – Lalo Schifrin
Drums – Steve Gadd
Flute – Dave Tofani, Lou Marini
Keyboards – Clark Spangler
Percussion – Don Armando Bonilla, Ralph MacDonald, Sue Evans
Producer – Creed Taylor
Saxophone – Dave Tofani
Tenor Saxophone – Lou Marini
Trombone – Urbie Green
Trumpet – Burt Collins, John Frosk, John Gatchell
Viola – Manny Vardi, Lamar Alsop
Violin – Charles Libove, David Nadien, Emanuel Green, Marvin Morgenstern, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman

Grover Washington, Jr. — Winelight (1980-2014) RM | Serie Fusion Best Collection 1000 | FLAC (tracks+.cue), lossless

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz. Scott Yanow

Tracklist  :
1    Winelight 7:32
Written-By – William Eaton
2    Let It Flow (For "Dr. J") 5:52
Written-By – Grover Washington, Jr.
3    In The Name Of Love 5:26
Written-By – Ralph MacDonald, William Salter
4    Take Me There 6:16
Written-By – Grover Washington, Jr.
5    Just The Two Of Us 7:23
Written-By – Bill Withers, Ralph MacDonald, William Salter
6    Make Me A Memory (Sad Samba) 6:32
Written-By – Grover Washington, Jr.
Credits :
Backing Vocals – Hilda Harris, Ullanda McCullough, Yvonne Lewis
Bass – Marcus Miller
Clavinet – Paul Griffin (tracks: 1), Raymond Chew (tracks: 1)
Congas, Percussion, Electronic Drums [Syndrums] – Ralph MacDonald
Drums – Steve Gadd
Electric Piano [Fender Rhodes] – Paul Griffin (tracks: 2, 4), Richard Tee (tracks: 1, 3, 5, 6)
Guitar – Eric Gale
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Grover Washington, Jr.
Steel Drums – Robert Greenidge
Synthesizer [Oberheim 8-Voice] – Ed Walsh
Synthesizer [Oberheim] – Bill Eaton (tracks: 5)
Technician [Steel Drums Tuned By] – Rudolph Charles
Vocals – Bill Withers (tracks: 5)

GROVER WASHINGTON , Jr. — All the King's Horses (1972) Two Version (1993, MCA Records – MCD 10930) + (2008, RM | Serie Verve Originals) FLAC (tracks+image+.cue), lossless

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

BILL EVANS – Symbiosis (1974-1994) RM | FLAC (tracks+.cue), lossless

Legendary jazz pianist Bill Evans is most often thought of as a "trio" player, as most of his albums have been piano/bass/drums, with the occasional solo or duo album. But he did record a select few albums with orchestras, and that's what makes SYMBIOSIS a special and unique entry in Evans' hugh catalog. Recorded in 1974, it was released in 1994 on CD for the first time. Further, this albums contains no standards or Evans originals--the title piece is a multi-part suite composed, arranged and conducted by Claus Ogerman (who also collaborated with Stan Getz and Frank Sinatra, among many others).

The album runs the stylistic gamut: there are moments of Philip Glass-like minimalism (!), samba-flavored big-band passages, echoes of the early 20th century Russian composers, Third Stream jazz, lush yet slightly ominous string arrangements and '70s film music. Throughout, Evans, alternating between acoustic and electric pianos, shimmers and entrances with his inventively lyrical solos. Not your "typical" Bill Evans album--but that's what makes SYMBIOSIS such a fine, gently challenging listen. AllMusic
Tracklist  :
1st Movement (Moderato, Various Tempi)
1. (a) (7:55)
2. (b) (5:18)
3. (c) (11:55)
2nd Movement (Largo, Andante, Maestoso, Largo)
4. (a) (9:14)
5. (b) (6:47)

The Bill Evans Trio
Bill Evans - Steinway grand piano, Fender Rhodes electric piano
Eddie Gomez - Bass
Marty Morell - Drums

Orchestra conducted by Claus Ogerman
Phil Woods, Jerry Dodgion, Walt Levinsky, Harvey Estrin - Alto Saxophone
Bill Slapin, Don Hammond, Hubert Laws - Flute
George Marge, Phil Bodner - Oboe
Danny Bank, Ron Janelly - Clarinet, Bass Clarinet
Wally Kane - Bassoon
Don MacCourt - Contra Bassoon
Brooks Tillotson, James Buffington, Earl Chapin, Ray Alonge, Al Richmond, Pete Gordon - French Horn
Marvin Stamm, John Frosk, Bernie Glow, Marky Markowitz, Victor Paz, Mel Davis - Trumpet
Urbie Green - Tenor Trombone
Paul Faulise, Tommy Mitchell - Bass Trombone
Don Butterfield - Tuba
George Devens, Dave Carey, Doug Allen - Percussion
Ralph McDonald - Congas
David Nadien - Concertmaster

RON CARTER — Blues Farm (1973-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album. Nathan Bush
Tracklist :
1    Blues Farm    8:06
 Ron Carter
2    A Small Ballad    5:40
 Ron Carter
3    Django    5:31
 John Lewis
4    A Hymn For Him    8:12
 Ron Carter
5    Two-Beat Johnson    2:50
 Ron Carter
6    R2, M1    6:08
 Ron Carter
Credits :
Ron Carter - Bass, Arranger, Conductor
Hubert Laws - Flute (tracks 1, 5 & 6)
Richard Tee - Electric Piano, Piano (tracks 1, 4 & 5)
Bob James - Piano (tracks 2, 3 & 6)
Gene Bertoncini (track 5), Sam Brown (track 3) - Guitar
Billy Cobham - Drums
Ralph MacDonald - Percussion (tracks 1 & 4-6)

RON CARTER — Spanish Blue (1975-1988) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | APE (image+.cue), lossless

 Interesting concept with good solos by Carter and Hubert Laws (fl). Ron Wynn
Tracklist :
1    El Noche Sol 5:56
Written-By – Ron Carter
2    So What 11:24
Written-By – Miles Davis
3    Sabado Sombrero 6:14
Written-By – Ron Carter
4    Arkansas 10:33
Written-By – Ron Carter
Credits :
Ron Carter - Bass
Hubert Laws - Flute
Roland Hanna - Electric Piano, Piano (tracks 1-3)
Leon Pendarvis - Electric Piano (track 4)
Jay Berliner - Guitar (track 3)
Billy Cobham - Drums, Field Drum
Ralph MacDonald - Percussion

RON CARTER — Yellow And Green (1976-1987) RM | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | APE (image+.cue), lossless

A low point for bassist Ron Carter, this aimless set suffers from the malaise that hit the jazz scene after the fusion boom of the late '60s and early '70s. Somewhere about the time of this 1976 release, fusion's creative energies were being overtaken by a new drive to blend jazz with pop music. The theory was this would expand the jazz audience. The reality was music that only alienated jazz fans and held limited appeal to pop audiences. Yellow and Green is a representative product of this era. For the most part, it's a hollow, pointless exercise, afflicted by the stylistic tug of war inherent in the jazz-pop hybrids of the late '70s. The writing is directionless and the playing mainly indifferent. The LP chiefly serves as a showcase for Carter's overdubbed piccolo and acoustic basses. Unfortunately, the performances are too often a clutter of busy fingers, with the bassist's overly enthusiastic virtuosity getting in the way of any chance for musical dialogue between his instruments. Not surprisingly, the best tracks -- the respectable ballad "Opus 1.5" and a jaunty version of Thelonious Monk's "Epistrophy" -- are the most straight-ahead, done without overdubbing and with some decent piano from Kenny Barron. Elsewhere, Don Grolnick chimes blandly on electric piano and Hugh McCracken contributes wispy guitar accompaniment that serves no purpose, while drummer Billy Cobham tries to keep from being overwhelmed by the dullness of it all. An episode best forgotten. Jim Todd
Tracklist :
1    Tenaj 7:44
Composed By – Ron Carter
2    Receipt, Please 7:05
Composed By – Ron Carter
3    Willow Weep For Me 2:39
Composed By – Ann Ronell
4    Yellow & Green 6:13
Composed By – Ron Carter
Electric Bass – Ron Carter
Harmonica – Hugh McCracken
5    Opus 1.5 6:54
Composed By – Ron Carter
6    Epistrophy 6:08
Composed By – Kenny Clarke, Thelonious Monk
Drums – Ben Riley
– BONUS TRACK – (Alternate Takes)    
7    Receipt, Please 5:25
Composed By – R. Carter
8    Yellow & Green 5:03
Composed By – R. Carter
Credits :
Acoustic Bass – Ron Carter (tracks: 1, 2, 4 to 8)
Arranged By – Ron Carter
Bass [Piccolo Bass] – Ron Carter (tracks: 2 to 4)
Cowbell, Tambourine – Ron Carter (tracks: 2, 4)
Drums – Billy Cobham (tracks: 1, 2, 4, 5), Steve Gadd (tracks: 7, 8)
Electric Piano – Don Grolnick (tracks: 2, 4), Richard Tee (tracks: 7, 8)
Engineer – Rudy Van Gelder
Flute – Hubert Laws (tracks: 7, 8)
Guitar – Eric Gale (tracks: 7, 8), Hugh McCracken (tracks: 1, 2, 4, 5)
Percussion – Arthur Jenkins (tracks: 7, 8), Dom Um Romao (tracks: 2, 5), George Devens (tracks: 7, 8), Ralph MacDonald (tracks: 7, 8)
Piano – Don Grolnick (tracks: 2), Kenny Barron (tracks: 1, 5, 6)
Producer – Creed Taylor
Saxophone – Dave Sanborn (tracks: 7, 8), Mike Brecker (tracks: 7, 8), Phil Woods (tracks: 7, 8)
Trumpet, Flugelhorn – Alan Rubin (tracks: 7, 8), Randy Brecker (tracks: 7, 8)

RAHSAAN ROLAND KIRK - Prepare Thyself To Deal With a Miracle (1973-2002) FLAC (tracks+.cue), lossless

Recorded in 1973, this is yet another criminally underappreciated Rahsaan Roland Kirk recording from the last phase of a remarkable career. This is perhaps Kirk's most experimental recording in that it involves his most involved performing on multiple horns and flutes -- including his infamous and wonderful nose flute -- and working with drones on a more surface level. Given Kirk's system of playing three horns at once, the drone horn was always a part of his sonic architecture. The difference here is that the melodic and improvisational lines take a back seat on tunes such as the opening "Salvation and Reminiscing," where he makes fantastic use of a baby E-flat saxophone, and on "Celestial Bliss," on which he is accompanied on his "black mystery pipes" only by percussion. On the medley "Seasons: One Mind Winter/Summer/Ninth Ghost," Kirk begins with the nose flutes, playing a part of "Balm in Gilead," before bringing in a six-piece string orchestra to play behind him as he improvises on all the melodies and modes. And this improvisation is not just a series of out arpeggios playing legato and running through and over the changes, but intricately nuanced, gentle, and architecturally sophisticated wanderings. Despite the beauty of the album's first three tracks, it is on the closer, the 21-and-a-half-minute "Saxophone Concerto," where Kirk most leaves his mark as a composer and innovator on the jazz world. Kirk comes out blowing literally like a train and weaves in, with vocalists Jeanne Lee and Dee Dee Bridgewater, a series of muted horn lines and rhythm figures. The band is 16 pieces total, and the concerto is structured in movements from an intro in which the purpose is stated: "time for America to discover some of its true Black miracles," wherein bebop and hard bop shimmy up against free modes and articulations by the rhythm section and the other horns. Kirk may solo on top with his tenor, but he holds close to the rhythm section's articulation of mutated blues. From here, Latin and faux classical chromatics are shaded into the whole as the pace becomes more and more frenetic, and just as the piece becomes perhaps circus-like, Kirk and company strip it all back and out, into a free universe washed by improvising vocalists, crashing cymbals, droning brass, and rumbling tom-toms before it's all a hush of unidentifiable sounds except for those of breaking glass. There are numerous metaphors and metonyms here, but they will not come to the listener until later, when she or he regains the conscious notion of breathing.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Salvation And Reminiscing 5:14
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Clarinet – Rahsaan Roland Kirk
Conductor – Dick Griffin
Seasons (10:32)
Nose Flute, Flute – Rahsaan Roland Kirk
2a    One Mind Winter/Summer    
2b    Ninth Ghost    
3    Celestial Bliss 5:47
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Performer [Black Mystery Pipes], Saxophone [Baby E Flat] – Rahsaan Roland Kirk
Saxophone Concerto (21:31)
Backing Vocals – Jeanne Lee
Tenor Saxophone – Rahsaan Roland Kirk
4a    Saxophone Miracle    
4b    One Breath Beyond    
4c    Dance Of Revolution
Credits :
Arranged By [Strings] – Rahsaan Roland Kirk
Bass – Henry Pearson
Cello – Kermit Moore
Drums – Robert Shy
English Horn, Oboe – Harry Smiles
Percussion – Ralph MacDonald, Sonny Brown
Piano – Ron Burton
Trombone – Dick Griffin
Trumpet – Charles McGhee
Viola – Al Brown
Violin – Gayle Dixon, Julien Barber, Sanford Allen, Selwart Clarke
Written-By – Rahsaan Roland Kirk

RAHSAAN ROLAND KIRK - The Case of the 3 Sided Dream in Audio Color (1975-2004) Atlantic Masters | FLAC (tracks+.cue), lossless

Perhaps I am an apologist for Rahsaan Roland Kirk, I don't know. If I am then I should be smacked, because he needed no one to make apologies for him. The Case of the 3-Sided Dream in Audio Color is a case in point. The namby-pamby jazz critics, those "serious" guys who look for every note to be in order before they'll say anything positive, can shove it on this one. They panned the hell out of it in 1975, claiming it was "indulgent." Okay. Which Kirk record wasn't? Excess was always the name of the game for Kirk, but so was the groove, and here on this three-sided double LP, groove is at the heart of everything. Surrounding himself with players like Cornell Dupree, Hugh McCracken, Richard Tee, Hilton Ruiz (whose playing on "Echoes of Primitive Ohio and Chili Dogs" is so greasy, so deliciously dirty it's enthralling), Steve Gadd, and others from that soul-jazz scene, it's obvious what you're gonna get, right? Nope. From his imitations of Miles Davis and John Coltrane on "Bye, Bye, Blackbird" to his screaming, funky read on "High Heel Sneakers" to his Delta-to-New-Orleans version of "The Entertainer," Kirk is deep in the groove. But the groove he moves through is one that is so large, so universal, deep, and serene, that it transcends all notions of commercialism versus innovation. Bottom line, even with the charming tape-recorded ramblings of his between tunes, this was his concept and it works like a voodoo charm. Here's one for the revisionists: This record jams.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Conversation    0:57
2    Bye Bye Blackbird 2:37
Written-By – Mort Dixon, Ray Henderson
3    Horses (Monogram/Republic)    0:19
4    High Heel Sneakers 4:48
Written-By – Robert Higginbotham
5    Dream    0:52
6    Echoes Of Primitive Ohio And Chili Dogs 6:52
Written-By – Rahsaan Roland Kirk
7    The Entertainer (Done In The Style Of The Blues) 6:00
Written-By – Scott Joplin
8    Freaks For The Festival 4:00
Written-By – Rahsaan Roland Kirk
9    Dream    1:31
10    Portrait Of Those Beautiful Ladies 6:22
Written-By – Rahsaan Roland Kirk
11    Dream    0:59
12    The Entertainer 6:12
Written-By – Scott Joplin
13    Dream    1:05
14    Dream    0:24
15    Portrait Of Those Beautiful Ladies 7:53
Written-By – Rahsaan Roland Kirk
16    Dream    0:50
17    Freaks For The Festival 5:34
Written-By – Rahsaan Roland Kirk
18    Horses    0:19
19    Bye Bye Blackbird 2:37
Written-By – Mort Dixon, Ray Henderson
20    Conversation    0:53
21    Telephone Conversation    12:40
Credits :
Arranged By – Rahsaan Roland Kirk (pistas: 1 to 3, 5, 6, 9, 11 to 14, 16, 18, 20, 21)
Arranged By, Conductor – Arthur Jenkins (pistas: 4, 10, 15), William Eaton (pistas: 7, 8, 17)
Baritone Saxophone – Pat Patrick
Bass – Francisco Centeno, Metathias Pearson, Bill Salter
Congas – Lawrence Killian
Congas, Percussion – Ralph MacDonald
Drums – John Goldsmith, Sonny Brown, Steve Gadd
Guitar – Cornell Dupree, Hugh McCracken, Keith Loving
Keyboards – Arthur Jenkins, Hilton Ruiz, Richard Tee
Tenor Saxophone, Bass Saxophone, Flute, Trumpet, Saxophone [Manzello], Arranged By – Rahsaan Roland Kirk

HUBERT LAWS - The Chicago Theme (1974-2017) CTI+RVG / UHQ / FLAC (tracks+.cue), lossless

Hubert Laws made his finest recordings playing arrangements by Don Sebesky. Unfortunately, starting with this project, Bob James began to take over the writing chores, and the flutist's recordings became much more commercial. Rather than performing with a small group, as he did on his best sessions, Laws is joined by strings and funky rhythm sections playing now-dated commercial grooves. The six selections (which include James' forgettable "Chicago Theme," "Midnight at the Oasis" and Dvorák's "Going Home") are listenable, but nothing special. The only reason to acquire this out of print LP is for Laws' still-superb flute playing. by Scott Yanow
Tracklist :
1    The Chicago Theme 5:37
Alto Saxophone [Solo] – David Sanborn
Arranged By – Bob James
Bass – Doug Bascomb
Guitar – Joe Beck, Phil Upchurch
Written-By – Bob James
2    Midnight At The Oasis 5:28
Arranged By – Bob James
Bass – Doug Bascomb
Guitar [Solo] – George Benson
Written-By – David Nichtern
3    You Make Me Feel Brand New 5:50
Arranged By – Bob James
Bass – Ron Carter
Guitar [Solo] – Eric Gale
Written-By – Linda Creed, Thom Bell
4    Going Home 5:04
Adapted, Arranged By – Bob James
Bass – Ron Carter
Guitar – Richie Resnicoff
Written-By – Dvorak
5    I Had A Dream 6:00
Arranged By – Hubert Laws
Bass – Doug Bascomb
Clavinet – Bob James
Piano [Solo] – Bob James
Written-By – Hubert Laws
6    Inflation Chaser 6:00
Arranged By – Hubert Laws
Bass – Stanley Clarke
Drums – Andrew Smith
Tenor Saxophone [Solo] – Mike Brecker
Written-By – Hubert Laws
Credits :
Cello – Alan Shulman, George Ricci
Drums – Steve Gadd
Flute – Hubert Laws
Keyboards – Don Grolnick
Percussion – Ralph MacDonald
Producer, Reissue Producer – Creed Taylor
Recorded By, Mixed By, Remastered by – Rudy Van Gelder
Trumpet – Randy Brecker
Viola – Al Brown, Manny Vardi
Violin – Charles Libove, David Nadien, Emanuel Green, Gayle Dixon, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Paul Gershman

HUBERT LAWS - Romeo & Juli|et (1976) APE (image+.cue), lossless

Light jazz (with strings, keyboards, voices, etc.) and a classical/Eastern flavor. by Michael Erlewine
Tracklist :
1     Undecided 6:07
Sydney Robin / Charlie Shavers
2     Tryin' to Get the Feeling Again 8:17
David Pomeranz
3     Forlane 4:11
Maurice Ravel
4     Romeo and Juliet 7:41
Pyotr Il'yich Tchaikovsky
Arranged By, Adapted By – Bob James, Hubert Laws
5     What Are We Gonna Do? 5:33
Hubert Laws
6     Guatemala Connection 5:44
Hubert Laws
Credits :
Acoustic Guitar – Barry Finnerty (faixas: 2), Richie Resnicoff (faixas: 5)
Arranged By [Voice] – Stanley Stroman
Bass – Gary King
Clavinet – Mark Gray (faixas: 6)
Producer, Clavinet, Electric Piano [Fender Rhodes] – Bob James
Drums – Andy Newmark (faixas: 2, 3, 4, 5, 6), Steve Gadd (faixas: 1)
Electric Guitar – Barry Finnerty (faixas: 3, 6), Eric Gale (faixas: 1, 2, 5, 6), Richie Resnicoff (faixas: 6)
Electric Guitar, Acoustic Guitar – Steve Khan (faixas: 4)
Flute, Piccolo Flute, Alto Flute, Flute [Bass] – Hubert Laws
Illustration – Pencil Pushers
Percussion – Ralph MacDonald
Strings – Alan Shulman, Alfred Brown, Barry Sinclair, Charles McCracken, David Nadien, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab
Trombone – Alan Raph, David Taylor, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Bernie Glow, Jon Faddis, Marvin Stamm, Randy Brecker
Voice – Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson