ELVIN JONES — Brother John (1983-2003) FLAC (tracks), lossless

This out-of-print album is very much a showcase for saxophonist Pat LaBarbera, who doubles on tenor and soprano, for he also contributed five of the eight selections. With drummer Elvin Jones, pianist Kenny Kirkland and bassist Reggie Workman forming a formidable rhythm section, LaBarbera is heard throughout in fine form, playing in a style strongly influenced by (but not derivative of) John Coltrane. Unfortunately, this high-quality hard bop set will be difficult to find. Scott Yanow
Tracklist :
1    Necessary Evil 4:08
Composed By – P. LaBarbera
2    October's Child 5:16
Composed By – P. LaBarbera
3    Harmonique 4:52
Composed By – J. Coltrane
4    Whatever Possessed Me 6:12
Composed By – T. Dameron
5    Familiar Ground 4:24
Composed By – P. LaBarbera
6    Why Try To Change Me Now? 5:55
Composed By – Cy Coleman, J. A. McCarthy
7    Minor Blues 6:18
Composed By – P. LaBarbera
8    Brother John 4:18
Composed By – P. LaBarbera
Credits :
Bass – Reggie Workman
Drums – Elvin Jones
Piano – Kenny Kirkland
Tenor Saxophone, Soprano Saxophone – Pat La Barbera

ANDREW HILL — Grass Roots (1968-2014) RM | SHM-CD | Serie Blue Note Masterworks | FLAC (tracks+.cue), lossless

As the '60s drew to a close, Blue Note spent less time than ever with adventurous music, since it didn't sell as well as soul-jazz or mainstream hard bop. So, it may seem a little strange that the label invited Andrew Hill back to record in 1968, two years after he last cut a session for the label. Hill's work for the label stands among the most challenging cerebral post-bop of the '60s, but there was another side of Hill that wasn't showcased on those records: He also had a knack for groove and melody, as indicated by his composition "The Rumproller," a hard-grooving hard-bop classic made famous by trumpeter Lee Morgan. That was the side that Blue Note wanted to showcase on Grass Roots. Hill and his band were working from the basic template of making a commercial hard-bop album, but nevertheless pushed themselves to challenging territory. Blue Note sat on the session however, and Hill went back to the studio four months later with a new group of musicians: trumpeter Lee Morgan, tenor saxophonist Booker Ervin, bassist Ron Carter, and drummer Freddie Waits. This group was every bit as adventurous as the last, but they laid down a solid groove without compromising the music. The end result may not be as bracing as Hill's earlier works, but it's a pleasure to hear him in such a genial, welcoming mood. Furthermore, the record is hardly insubstantial musically -- the songs have strong melodies, even hooks, to bring casual listeners in, but they give the musicians the freedom to find a distinctive voice in their solos. It's the best of both worlds, actually -- accessible, just like Blue Note wanted, without compromising Hill's integrity. [Blue Note's 2000 CD reissue contains the entire first draft of the album as a bonus.] Stephen Thomas Erlewine
Tracklist :
1. Grass Roots 5:41
 Andrew Hill
2. Venture Inward 4:46
 Andrew Hill
3. Mira 6:20
 Andrew Hill
4. Soul Special 8:22
 Andrew Hill
5. Bayou Red 7:45
 Andrew Hill
- Bonus Tracks -
6. MC 9:11
 Andrew Hill
7. Venture Inward 4:34
 Andrew Hill
8. Soul Special 8:51
 Andrew Hill
9. Bayou Red 5:59
 Andrew Hill
Credits:
Bass – Reggie Workman (tracks: 6 to 10), Ron Carter (tracks: 1 to 5)
Drums – Freddie Waits (tracks: 1 to 5), Idris Muhammad (tracks: 6 to 10)
Guitar – Jimmy Ponder (tracks: 6, 8, 9)
Piano, Composed By – Andrew Hill
Recorded By – Rudy Van Gelder
Tenor Saxophone – Booker Ervin (tracks: 1 to 5), Frank Mitchell (tracks: 6 to 10)
Trumpet – Lee Morgan (tracks: 1 to 5), Woody Shaw (tracks: 6 to 10) 

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

ART BLAKEY & THE JAZZ MESSENGERS — Free For All (1964-2014) RM | Serie Blue Note The Masterworks | SHM-CD | FLAC (tracks+.cue), lossless

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Hardly a free for all at all – as the album's a masterpiece of focus and direction, and a classic set from the sextet lineup of the Jazz Messengers! The album's a real feather in the mid-60s cap of Art Blakey –and features an expanded sound from the quintet era of his group – with a sublime horn lineup that features Wayne Shorter on tenor, Freddie Hubbard on trumpet, and Curtis Fuller on trombone – all gliding along these soaring piano lines from Cedar Walton! Reggie Workman works some real magic on bass, too – and the tracks are all very long – with titles that include "Free For All" and "Hammer Head" – both written by Shorter – plus "The Core", by Hubbard, and a beautiful version of Clare Fischer's "Pensativa".

Free for All is a high point in drummer Art Blakey's enormous catalog. This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history. In the eight minutes of "Free for All," an emotional apex is reached that skirts the edge of free bop without losing Blakey's rhythmic glue. Another Shorter composition, "Hammer Head," is a mid-tempo soul-blues groove, with Shorter, Hubbard, and Fuller taking exceptional solos while Blakey keeps the mid-tempo vigorously swinging. Hubbard's "The Core," dedicated to the Congress of Racial Equality, comes close to capturing the heat of the title cut, as it contains similar fiery interplay. The session's closer, Clare Fischer's "Pensativa" (brought to the Messengers songbook by Hubbard), would remain a favorite with Blakey for years. A passionate Jazz Messengers workout that proves essential. Al Campbell

Tracklist :

1 - Free For All

2 - Hammer Head

3 - The Core

4 - Pensativa

5 - Free For All (alt. take) (bonus track)

Personnel :

Art Blakey - Drums

Cedar Walton - Piano

Wayne Shorter - Tenor saxophone

Freddie Hubbard - Trumpet

Curtis Fuller - Trombone

Reggie Workman - Bass

ARCHIE SHEPP - The Impulse Story (2007) FLAC (image+.cue), lossless

Archie Shepp's volume in The Impulse Story series, with liner notes by Ashley Kahn, author of The House That Trane Built: The Impulse Story, is arguably the best and most representative of any of the editions in it. These ten cuts capture Shepp's many faces. There's his wonderful look inside the music of his mentor John Coltrane ("Naima" from Four for Trane), through to his gaze at the jazz tradition (Duke Ellington's "Sophisticated Lady"), to bossa nova (a very unique read of "Girl from Ipanema") to the weighty concerns of his own compositions that engaged everything from the avant-garde "Les Matin des Noires" to politics ("Malcolm Malcolm -- Semper Malcolm"), to R&B and soul ("Damn If I Know" "Mama Too Tight," and "Attica Blues"). While certain albums are not represented here -- the magnificent Magic of Ju-Ju being one -- the breadth and depth of Shepp's true genius is all here. That said, it is a shame that many of his albums recorded for Impulse (the classic Fire Music and Magic of Ju-Ju just to name two) are currently out of print. Of all the volumes in this fine collection, Shepp's stands, with Alice Coltrane's as the very best in that it gives a true introduction to an artist often misunderstood, but during his tenure for this label, he was creatively unstoppable.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Naima 7'10
(John Coltrane)
Bass – Reggie Workman
Drums – Charles Moffett
Flugelhorn – Alan Shorter
Producer – John Coltrane
Trombone – Roswell Rudd
2     Los Olvidados 8'56
(Archie Shepp)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
3     The Girl from Ipanema 8'35
(Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
4     Malcolm, Malcolm - Semper Malcolm 4'51
(Archie Shepp)
Bass – David Izenzon
Drums – J.C. Moses
Vocals [Recitation] – Archie Shepp
5     Le Matin des Noires 8'00
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson     
6     Scag 3'23
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson
Vocals [Recitation] – Archie Shepp
7     Mama Too Tight 5'25
(Archie Shepp)
Bass – Charlie Haden
Clarinet – Perry Robinson
Drums – Beaver Harris
Trombone – Grachan Moncur III, Roswell Rudd
Trumpet – Tommy Turrentine
Tuba – Howard Johnson
8     Damn If I Know (The Stroller) 6'19
(Walter Davis, Jr.)
Bass – Ron Carter
Drums – Beaver Harris
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
9     Sophisticated Lady 7'10
(Duke Ellington / Irving Mills / Mitchell Parish)
Bass – Ron Carter
Drums – Roy Haynes
Trombone – Grachan Moncur III
Trumpet – Jimmy Owen
10     Attica Blues 4'47
(Beaver Harris / Archie Shepp)
Alto Saxophone – Clarence White, Marion Brown
Backing Vocals – Albertine Robinson, Joshie Armstead
Baritone Saxophone – James Ware
Bass [Fender] – Jerry Jemmott, Roland Wilson
Cello – Calo Scott, Ronald Lipscomb
Cornet – Clifford Thornton
Drums – Beaver Harris
Guitar – Cornell Dupree
Lead Vocals – Henry Hull
Percussion – Juma Sutan*, Nene DeFense, Ollie Anderson
Producer – Ed Michel
Tenor Saxophone – Roland Alexander
Trombone – Charles Greenlee, Charles Stephens, Kiane Zawadi
Trumpet – Charles McGhee, Michael Ridley
Tuba – Hakim Jami
Violin – John Blake, Leroy Jenkins, Shankar

ARCHIE SHEPP - Four for Trane (1964-2001) RM | Impulse! Best 50 – 20 | FLAC (tracks+.cue), lossless

From 1964, Archie Shepp's first date as a leader featured -- as one would expect from the title -- four tunes by John Coltrane, his mentor, his major influence, and his bandleader. The fact that this album holds up better than almost any of Shepp's records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane's bassist Reggie Workman, and Ornette Coleman's drummer Charles Moffett. Even in 1964, this was a powerhouse, beginning with a bluesed-out wailing version of "Syeeda's Song Flute." This version is ingenious, with Shepp allowing Rudd to arrange for solos for himself and Tchicai up front and Rudd punching in the blues and gospel in the middle, before giving way to double time by Workman and Moffett. The rawness of the whole thing is so down-home you're ready to tell someone to pass the butter beans when listening. Rudd's arrangement of "Naima" is also stunningly beautiful: He reharmonizes the piece for the mid-register tone of Shepp, who does his best Ben Webster and adds a microtonal tag onto the front and back, dislocating the tune before it begins and after it ends, while keeping it just out of the range of the consonant throughout. Wonderful! The only Shepp original here is "Rufus (Swung, His Face at Last to the Wind, Then His Neck Snapped)." It's not a terribly sophisticated tune, but it works in the context of this band largely because of the soloing prowess of all the members -- particularly Tchicai -- here. There is barely any melody, the key changes are commensurate with tempo shifts, and the harmonics are of the sliding scale variety. Still, there are the blues; no one can dig into them and honk them better than Shepp. When it came to sheer exuberance and expression, he was a force to be reckoned with in his youth, and it shows in each of the tunes recorded here. Four for Trane is a truly fine, original, and lasting album from an under-celebrated musician.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Syeeda's Song Flute 8:28
 John Coltrane
2 Mr. Syms 7:39
 John Coltrane
3 Cousin Mary 7:13
 John Coltrane
4 Naima 7:08
 John Coltrane
5 Rufus (Swung, His Face At Last To The Wind, Then His Neck Snapped) 6:25
Archie Shepp
Credits :
Alto Saxophone – John Tchicai
Bass – Reggie Workman
Drums – Charles Moffett
Engineer – Rudy Van Gelder
Producer – Bob Thiele, John Coltrane
Tenor Saxophone – Archie Shepp
Trombone – Roswell Rudd
Trumpet – Alan Shorter

ARCHIE SHEPP - The Magic Of Ju-Ju (1967-2000) RM | Impulse! Best 50 – 21 | FLAC (tracks+.cue), lossless

On this 1967 Impulse release, tenor saxophonist Archie Shepp unleashed his 18-minute tour de force "The Magic of Ju-Ju," combining free jazz tenor with steady frenetic African drumming. Shepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists -- Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles, and Dennis Charles -- who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. This is one of Shepp's most chaotic yet rhythmically hypnotic pieces. The three remaining tracks, somewhat overshadowed by the title piece, are quick flourishes of free bop on "Shazam," "Sorry Bout That," and the slower, waltz-paced "You're What This Day Is All About." Al Campbell
Tracklist :
1     The Magic of Ju-Ju 18:37
Archie Shepp    
2     You're What This Day Is All About 1:51
Archie Shepp    
3     Shazam! 4:43
Archie Shepp    
4     Sorry 'Bout That 10:07
Archie Shepp    
Credits
Bass – Reggie Workman
Drums – Beaver Harris, Norman Connor
Percussion – Dennis Charles
Percussion [Rhythm Logs] – Eddie Blackwell
Percussion [Talking Drums] – Frank Charles
Producer – Bob Thiele
Tenor Saxophone – Archie Shepp
Trumpet, Flugelhorn – Martin Banks
Trumpet, Trombone – Michael Zwerin

ARCHIE SHEPP - Ballads for Trane (1977-1984) FLAC (image+.cue), lossless

Tracklist :
1    Soul Eyes 6:37
Written-By – Mal Waldron
2    You Don't Know What Love Is 5:38
Written-By – Don Raye, Gene DePaul
3    Wise One 6:58
Written-By – John Coltrane
4    Where Are You? 6:15
Written-By – Jimmy McHugh
5    Darn That Dream 5:59
Written-By – Jimmy Van Heusen
6    Theme For Ernie 6:23
Written-By – Fred Lacey
Credits :
Bass – Reginald Workman
Drums – Charlie Persip
Piano – Albert Dailey
Tenor Saxophone, Soprano Saxophone – Archie Shepp

ROSWELL RUDD | ARCHIE SHEPP - Live in New York (2001) FLAC (tracks+.cue), lossless

Recorded live at New York's Jazz Standard in 2000, this generally excellent CD marks the reunion of two avant-garde improvisers who were separated for way too long: tenor man Archie Shepp and trombonist Roswell Rudd. The jazzmen played together a lot during the turbulent 1960s but, regrettably, they didn't record together at all in the 1970s, 1980s, or 1990s. After more than 30 years apart, was that old chemistry still there? Absolutely. A 63-year-old Shepp (who doubles on piano) and a 65-year-old Rudd have no problem bringing out the best in one another whether they are embracing pieces from the 1960s (including Shepp's remorseful "Steam") or turning their attention to songs they wrote in the 1980s or 1990s such as Rudd's "Bamako" and Shepp's "Hope No. 2." Some people might wish that the veteran jazzmen paid more attention to their 1960s work, but Live in New York isn't meant to be an exercise in nostalgia. Shepp and Rudd (who are joined by trombonist Grachan Moncur III, bassist Reggie Workman, and drummer Andrew Cyrille) aren't trying to recreate the past -- nor should they. But that doesn't mean that they aren't excited about being reunited; they bring a wealth of enthusiasm to their post-bop and avant-garde performances -- none of which are as extreme as some of the blistering free jazz that Shepp provided in the 1960s. Shepp's "Déjà-Vu," in fact, is a hauntingly pretty torch ballad that finds the saxman singing. Although Shepp's singing isn't in a class with his tenor playing, he still manages to get his points across on "Déjà-Vu" -- which is an ironic song title for an album that avoids being nostalgic. Shepp and Rudd keep things unpredictable on this inspired reunion. Alex Henderson
Tracklist :
1    Keep Your Heart Right    2:13
 Roswell Rudd
2    Acute Motelitis    8:23
 Roswell Rudd
3    Steam    7:33
 Archie Shepp
4    Pazuzu    8:27
 Roswell Rudd
5    We Are The Blues    5:46
 Amiri Baraka
6    Ujamma    9:16
 Archie Shepp
7    Bamako    5:46
 Roswell Rudd
8    Slide By Slide    11:57
 Roswell Rudd
9    Deja Vu    3:59
 Archie Shepp
10        Hope No 2    10:38
 Archie Shepp
Credits :
Bass – Reggie Workman
Drums – Andrew Cyrille
Piano, Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III, Roswell Rudd

GARY BARTZ - Libra + Another Earth (1998) RM | FLAC (tracks+.cue), lossless

Altoist Gary Bartz's first two recordings as a leader are reissued in full (except for one selection, "Disjunction," left off due to lack of space) on this 1998 CD. 1967's Libra matches Bartz (then 26) with trumpeter Jimmy Owens, pianist Albert Dailey, bassist Richard Davis, and drummer Billy Higgins for four diverse originals including "Eastern Blues," a lyrical "Cabin in the Sky," the old hymn "Deep River," and Charlie Parker's "Bloomdido." Another Earth features Bartz dueting with bassist Reggie Workman on "Lost in the Stars," performing three trio quartet numbers with Workman, pianist Stanley Cowell, and drummer Freddie Waits, and welcoming trumpeter Charles Tolliver and tenor saxophonist Pharoah Sanders (who is a little more restrained than usual) to the 23-and-a-half-minute, three-part "Another Earth." The music is advanced but not avant-garde, essentially falling into the genre of modern mainstream for the period. Even at this early stage, Bartz had a fairly distinctive sound and a strong musical style. Scott Yanow
Libra (1967)
1 Eastern Blues  3:59
Gary Bartz
2 Cabin in the Sky  3:59
Vernon Duke
3 Air and Fire  5:53
Gary Bartz
4 Libra  6:22
Gary Bartz
5 Bloomdido 4:46
Charlie Parker
6 Deep River  4:51
Gary Bartz
7 Freedom One Day  5:08
Another Earth (1968)
8 Another Earth  23:46
Gary Bartz
9 Dark Nebula  5:04
Gary Bartz
10 UFO  4:49
Gary Bartz
11 Lost in the Stars  4:04
Kurt Weill
12 Perihelion and Aphelion  3:47
Gary Bartz
Credits 1-7
Bass – Richard Davis
Alto Saxophone – Gary Bartz
Drums – Billy Higgins
Piano – Albert Dailey
Trumpet – Jimmy Owens (tracks: 4, 7)
Libra (originally Milestone 9006): 1967
Credits 8-12
Alto Saxophone – Gary Bartz
Bass – Reggie Workman  
Drums – Freddie Waits
Piano – Stanley Cowell
Tenor Saxophone – Pharoah Sanders (tracks: 8)
Trumpet – Charles Tolliver (tracks: 8)
Another Earth (originally Milestone 9018): 1968

PHAROAH SANDERS - Karma (1969-2019) RM | FLAC (tracks+.cue), lossless

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.   

|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|

Tracklist :
1 Creator Has a Master Plan 32:47
(Pharoah Sanders / Leon Thomas)
Bass – Richard Davis
Drums – William Hart
Flute – James Spaulding
Percussion – Nathaniel Bettis
2 Colors 5:36
(Pharoah Sanders / Leon Thomas)
Bass – Ron Carter
Drums – Frederick Waits
Credits :
Bass – Reggie Workman
French Horn – Julius Watkins
Piano – Lonnie L. Smith Jr.
Tenor Saxophone, Music By – Pharoah Sanders
Vocals, Percussion, Lyrics By – Leon Thomas

HANK MOBLEY - A Slice of the Top (1966-1995) RM | FLAC (tracks+.cue), lossless

This is one of tenor saxophonist Hank Mobley's more intriguing sessions, for the talented composer had an opportunity to have four of his originals, plus the standard "There's a Lull in My Life," performed by an octet in the cool-toned style of Miles Davis's "Birth of the Cool" nonet, arranged by Duke Pearson. Although recorded in 1966, this date was not released until 1979 (and reissued on CD in 1995). Mobley, who continued to evolve into a more advanced player throughout the 1960s, fits right in with such adventurous players as altoist James Spaulding, trumpeter Lee Morgan (with whom Mobley recorded frequently), pianist McCoy Tyner, bassist Reggie Workman and drummer Billy Higgins. The inclusion of Kiane Zawadi on euphonium and Howard Johnson on tuba adds a lot of color to this memorable outing. Scott Yanow
Tracklist :
1     Hank's Other Bag 7'10
Hank Mobley
2     There's a Lull in My Life 5'23
Mack Gordon / Mark Gordon / Harry Revel    
3     Cute 'N Pretty 7'34
Hank Mobley    
4     A Touch of Blue 8'44
Hank Mobley
5     A Slice of the Top 9'40
Hank Mobley
Notas.
Originally issued as BN LT-995, on which Reggie Workman was mistakenly identified as bassist.
Credits :
Alto Saxophone – James Spaulding
Arranged By – Duke Pearson
Bass – Bob Cranshaw
Drums – Billy Higgins
Engineer [Recording] – Rudy Van Gelder
Euphonium – Kiane Zawadi
Piano – McCoy Tyner
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
Tuba – Howard Johnson

ART FARMER & TOMMY FLANAGAN'S SUPER JAZZ TRIO - Stablemates (1979-2009) WV (image+.cue), lossless

Tracklist :
1     Au Privave 6'34
Charlie Parker    
2     Blame It on My Youth 7'40
Le Vant, G.
3     My Heart Skips a Beat 6'07
Duke Jordan
4     Here's That Rainy Day 6'00
James Van Heusen
5     Stablemates 6'24
Benny Golson
6     It Might as Well Be Spring 9'47
Oscar Hammerstein II / Richard Rodgers
7    From Dream to Dream 6'48
Benny Golson
8     Autumn Leaves 5'41
Jacques Prévert
9     Walk Soft 7'14
Jim Hall
10     Indian Summer 6'38
Herbert / Dubin
Credits :
Bass – Reggie Workman
Drums – Joe Chambers
Flugelhorn – Art Farmer
Piano – Tommy Flanagan

THE ROSCOE MITCHEL QUARTET - In Walked Buckner (1999) FLAC (image+.cue), lossless

Roscoe Mitchell once fronted perhaps his most daringly different trio with multi-instrumentalist Gerald Oshita and vocalist Thomas Buckner. This recording, dedicated to Buckner, captures the singing characteristics of Buckner in a purely instrumental way, and quite beautifully. Timbres are rare and off-kilter, free flowing, static, or flat-out swinging. In the middle is Mitchell, carrying the torch that has kept him a vital, adventurous American musician for three decades. Armed with a raft of woodwind instruments, Mitchell, with yeoman's help from bassist Reggie Workman, the judicious pianistics of Jodie Christian and the masterful drumming of Al Heath, makes the quartet, when they play together, unstoppable. Substantive solo space is distributed, especially for the leader. Check out his saxophone on the self-explanatory "Squeaky." Smaller combinations are fashioned with a no-time policy. Improvisations are stark and real. Spiritual evocations are evident. The bulk of the remainder of the eight-cut program, from the ethereally nautical "Off Shore," the lilting "Le Dreher Suite," and the haunting "Opposite Sides" emphatically showcase Mitchell's otherworldly flute work. They are convincing exhibits of Mitchell's position as perhaps the premier and essential improvised musical voice in the avant-garde of them all. In spirit, execution, and intent, Mitchell succeeds on all levels, except perhaps as a hitmaker. Surely his fans like it that way. Highly recommended to appreciators of this style. by Michael G. Nastos  
Tracklist :
1     Off Shore 11:04
Roscoe Mitchell
2     In Walked Buckner 5:56
Roscoe Mitchell
3     Squeaky 7:40
Roscoe Mitchell
4     The Le Dreher Suite 8:58
Roscoe Mitchell
5     Three Sides of the Story 7:24
Roscoe Mitchell
6     Till Autumn 4:04
Roscoe Mitchell
7     Fly Over 11:15
Roscoe Mitchell
8     Opposite Sides 8:25
Roscoe Mitchell
Credits :
Bass, Percussion [Small], Whistle – Reggie Workman
Drums, Flute [Egyptian], Didgeridoo, Percussion [Small] – Albert "Tootie" Heath
Piano, Bells [Small] – Jodie Christian
Piccolo Flute, Flute [Baroque], Recorder [Bass], Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Bells [Small], Whistle [Whistles] – Roscoe Mitchell

BOOKER ERVIN / DEXTER GORDON - Setting the Pace (1965-1993) RM / FLAC (tracks+.cue), lossless

This CD reissue has the complete contents of two former LPs, both recorded at the same session. With very stimulating playing by pianist Jaki Byard, bassist Reggie Workman and drummer Alan Dawson, tenors Booker Ervin and Dexter Gordon battle it out on marathon (19 and 22 1/2 minute) versions of "Setting the Pace" and "Dexter's Deck." Although Gordon is in good form, Ervin (who sometimes takes the music outside) wins honors. The other two selections ("The Trance" and "Speak Low") are by the same group without Dexter, and these long (19 1/2- and 15-minute) showcases also find Booker in top form, sounding quite distinctive and completely original playing inside/outside music. An exciting set. by Scott Yanow
Tracklist :
1     Setting the Pace 19:07
Dexter Gordon
2     Dexter's Deck 22:47
Dexter Gordon
3     The Trance 19:36
Booker Ervin
4     Speak Low 15:07
Ogden Nash / Kurt Weill
Credits :
Bass – Reggie Workman
Drums – Alan Dawson
Piano – Jaki Byard
Tenor Saxophone – Booker Ervin, Dexter Gordon (# 1 and 2 only)

BOOKER ERVIN - The Trance (1965-1997) RM / FLAC (tracks+.cue), lossless

Recorded in Munich, Germany, in 1965, the three tracks that make up The Trance come from the same session that produced the invigorating Booker Ervin/Dexter Gordon tenor battles, Settin' the Pace. These remaining tracks feature Ervin's sole tenor on two of his compositions, the blues "Groovin at the Jamboree" and the haunting 19-minute title track, dedicated to the late bassist George Tucker. Also included is the standard "Speak Low," also clocking in at 19 minutes. Admittedly, tracks that long can get tiresome quickly in the wrong hands. Fortunately, Ervin's inspired exploratory tenor flights are consistently stirring, punctuated with piercing blues. The Trance delivers further documentation of Ervin's endless tenor inventiveness. The concrete rhythm section of Jaki Byard on piano and Alan Dawson on drums had worked with Ervin off and on for a number of years, while bassist Reggie Workman could comfortably switch between straight bop and outside playing, easily fitting in with this aggregation. by Al Campbell
Tracklist :
1     The Trance 19:39
Booker Ervin
2     Speak Low 15:09
Ogden Nash / Kurt Weill
3     Groovin' at the Jamboree 6:38
Booker Ervin
Credits :
Bass – Reggie Workman
Drums – Alan Dawson
Piano – Jaki Byard
Tenor Saxophone – Booker Ervin

HERBIE MANN - Our Mann Flute + Impressions of the Middle East (2001) FLAC (tracks), lossless

This two-fer from Collectables features a pair of out of print Herbie Mann LPs: Our Mann Flute and Impressions of the Middle East. Originally issued in 1966 and 1967, respectively, these 21 jazz-pop tracks include "Frere Jacques," "Down by the Riverside," and "Skip to My Lou." This is an enjoyable reissue from Mann's massive catalog on Atlantic Records, but most listeners would be better served with one of the many compilations in print. by Al Campbell
Tracklist :
Our Mann Flute (1966)    
1    Scratch    2:34
Wayne Henderson
2    Philly Dog    2:28
Rufus Thomas
3    Happy Brass    2:10
Herbie Mann
4    Good Lovin'    2:51
Rudy Clark / Arthur Resnick
5    Theme From "This Is My Beloved"    5:07
Herbie Mann
6    Frere Jacques 2:15
Traditional
7    Our Man Flint    2:44
Jerry Goldsmith
8    Fiddler On The Roof    2:22
Jerry Bock / Sheldon Harnick
9    Theme From "Malamondo"    2:18
Ennio Morricone
10    Down By The Riverside    2:34
Paul Barnes / Traditional
11    Monday, Monday    2:58
John Phillips
12    Skip To My Lou    2:22
Traditional
Credits :
Arranged By, Conductor – Arif Mardin (faixas: 7), Herbie Mann (faixas: 3, 10), Jimmy Wisner (faixas: 1, 2, 4, 11), Oliver Nelson (faixas: 5), Richard Wess (faixas: 6, 8, 9, 12)
Impressions Of The Middle East (1967)    
1    Turkish Coffee    5:01
Herbie Mann -flute; Chick Ganimian -oud; Roy Ayers -vibes;Reggie Workman -bass;
Bruno Carr -drums; Carlos"Patato"Valdes -conga drums; Hachig Thomas Kazarian &
Geraldine Swee -percussion
2    Incense    7:19
Herbie Mann -alto flute; Chick Ganimian -oud; Roy Ayers -vibes;Reggie Workman -bass;
Bruno Carr -drums; Carlos"Patato"Valdes -conga drums; Hachig Thomas Kazarian &
Geraldine Swee -percussion
3    Odalisque    7:43
Herbie Mann -flute; Chick Ganimian -oud; Roy Ayers -vibes;Reggie Workman -bass;
Bruno Carr -drums; Carlos"Patato"Valdes -conga drums; Hachig Thomas Kazarian &
Geraldine Swee -percussion
4    Do Wah Diddy Diddy    2:39
Herbie Mann -flute; Chick Ganimian -oud; Jimmy Owens -trumpet; Julian Priester &
Joe Orange -trombone; Hachig Thomas Kazarian -clarinet; Reggie Workman -bass;
Mohamed Elakkad -zither; Atilla Zoller -guitar; Bruno Carr -drums; Moulay Ali Hafid,
Robert Marashlian & Carlos"Patato"Valdes -percussion
5    Uskudar    3:39
Herbie Mann -flute; Chick Ganimian -oud; Jimmy Owens -trumpet & fluegelhorn;
Hachig Thomas Kazarian -clarinet; Mohamed Elakkad -zither; Reggie Workman -bass;
Bruno Carr -drums; Robert Marashlian & Moulay Ali Hafid -percussion
6    The Oud And The Pussycat    5:04
Herbie Mann -flute; Chick Ganimian -oud; Jimmy Owens -trumpet; Julian Priester &
Joe Orange -trombone; Hachig Thomas Kazarian -clarinet; Reggie Workman -bass;
Mohamed Elakkad -zither; Atilla Zoller -guitar; Bruno Carr -drums; Moulay Ali Hafid,
Robert Marashlian & Carlos"Patato"Valdes -percussion
7    Yavuz    4:38
Herbie Mann -flute; Chick Ganimian -oud; Jimmy Owens -trumpet & fluegelhorn;
Hachig Thomas Kazarian -clarinet; Mohamed Elakkad -zither; Reggie Workman -bass;
Bruno Carr -drums; Robert Marashlian & Moulay Ali Hafid -percussion
8    Dance Of The Semites    4:29
Herbie Mann -flute; Chick Ganimian -oud; Jimmy Owens -trumpet & fluegelhorn;
Hachig Thomas Kazarian -clarinet; Mohamed Elakkad -zither; Reggie Workman -bass;
Bruno Carr -drums; Robert Marashlian & Moulay Ali Hafid -percussion
9    Eli Eli    3:57
Herbie Mann -flute; Richard Davis -bass; Gloria Agostino -harp; David Nadien,
Anahid Adjemian'Al Brown, Bernard Eichen, Leo Cahn, Leo Kruczek, Charles Libove,
Dave Mankowitz, Charles McCracken, Marvin Morgenstern, George Ockner, Raoul Poliakin,
Max Pollikoff,George Ricci, Aaron Rosand, Tosha Samaroff, Al Schulman, Sylvan Schulman,
Karen Tuttle, Emanuel Vardi & Jack Zayde -strings

ART BLAKEY AND THE JAZZ MESSENGERS - Play Selections from the New Musical Golden Boy (1963-2010) RM / EMI Music Japan Inc. 50th Anniversary / FLAC (tracks+.cue), lossless

Originally released in 1964, Golden Boy features drummer Art Blakey and his Jazz Messengers performing songs from the Lee Adams and Charles Strouse Broadway musical for which the album is titled. Based off the play, written by Clifford Odets and William Gibson, Golden Boy was a socially conscious musical about a Harlem prize-fighter trying to escape his working class roots. A somewhat obscure Blakey release, Golden Boy nonetheless features plenty of improvisatory, hard bop firepower. by Matt Collar
Tracklist:
1 Theme From Golden Boy 5:36
2 Yes I Can 5:27
3 Lorna's Here 5:09
4 This Is The Life 5:57
5 There's A Party 5:00
6 I Want To Be With You 4:03
Credits:
Alto Saxophone – James Spaulding
Arranged By – Cedar Walton, Curtis Fuller, Wayne Shorter
Baritone Saxophone – Charlie Davis
Bass – Reggie Workman
Drums – Art Blakey
French Horn – Julius Watkins
Piano – Cedar Walton
Tenor Saxophone – Wayne Shorter
Trombone – Curtis Fuller
Trumpet – Freddie Hubbard, Lee Morgan
Tuba – Bill Barber
Written-By – C. Strouse, L. Adams

JOHN COLTRANE - Olé Coltrane (1961-2000) RM / FLAC (tracks+.cue), lossless

The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. [Some reissues include an extra track cut during the same sessions, "To Her Ladyship."] by Lindsay Planer  

Tracklist:

1 Olé 18:13
Written-By – John Coltrane
2 Dahomey Dance 10:49
Written-By – John Coltrane
3 Aisha 7:37
Written-By – McCoy Tyner
- Bonus Track -
4 Original Untitled Ballad (To Her Ladyship) 8:58
Written-By – Billy Frazier 
Credits:
Alto Saxophone – George Lane (tracks: 2)
Bass – Art Davis (tracks: 1, 3, 4), Reggie Workman
Drums – Elvin Jones
Flute – Eric Dolphy (tracks: 4), George Lane
Piano – McCoy Tyner
Soprano Saxophone – John Coltrane
Tenor Saxophone – John Coltrane (tracks: 2)
Trumpet – Freddie Hubbard

THE JOHN COLTRANE QUARTET - The Complete Africa / Brass Sessions (1961-1995) 2xCD / APE (image+.cue), lossless

This two-disc collection gathers the results of two recording sessions from April and May 1961 with the John Coltrane Orchestra. As the title indicates, The Complete Africa/Brass Sessions includes both volumes of the work and relocates "The Damned Don't Cry" -- originally issued on the Trane's Modes compilation -- to this more chronologically sound release. On this collection, these recordings replicate the sequence in which they were documented. After a successful string of albums on Atlantic Records, Coltrane signed to the burgeoning and jazz-intensive Impulse! label -- a relationship which would be kept for the remainder of his career. Shortly after reprising his role in the Miles Davis Sextet on "Teo" as well as the title track for Davis' Someday My Prince Will Come long-player, Coltrane assembled a 17-piece orchestra and began recording what would become known as Africa/Brass. Among the jazz luminaries contributing to these landmark sessions are: Booker Little (trumpet), Freddie Hubbard (trumpet), Julian Priester (trombone), Eric Dolphy (alto sax/bass clarinet), McCoy Tyner (piano), Paul Chambers (bass), and Elvin Jones (drums). Coltrane manipulates their power into masterful contrasts between the syncopated rhythms of "Greensleeves" or the full-out bop onslaught of "Songs of the Underground Railroad." The amazing virtuosity in Coltrane's solos has begun to show signs of the future direction his later avant-garde sides would take. The interaction with Tyner on "Songs of the Underground Railroad" is impeccable. Coltrane allows room for Elvin Jones and Reggie Workman to likewise engage Tyner for some high-spirited improvisation. This is a key work in understanding the path John Coltrane's music took in its final phases. The Complete Africa/Brass Sessions brilliantly documents this pivotal era in Coltrane's music. by Lindsay Planer  
Tracklist 1 :
1 Greensleeves 9:57
Traditional
2 Song Of The Underground Railroad 6:44
Traditional
3 Greensleeves (Alternate Take) 10:53
Traditional
4 The Damned Don't Cry 7:34
Arranged By, Conductor – Romulus Franceschini
Written-By – Cal Massey
5 Africa (First Version) 14:08
Bass – Paul Chambers 
Written-By – John Coltrane
Tracklist 2 :

1 Blues Minor 7:20

Written-By – John Coltrane
2 Africa (Alternate Take) 16:08
Bass – Art Davis
Written-By – John Coltrane
3 Africa 16:29
Bass – Art Davis 
Written-By – John Coltrane
Credits:
Alto Saxophone, Flute, Bass Clarinet – Eric Dolphy
Arranged By – John Coltrane (tracks: 1-1 to 1-3, 1-5 to 2-3), McCoy Tyner (tracks: 1-1 to 1-3, 1-5 to 2-3)
Baritone Saxophone – Pat Patrick
Bass – Reggie Workman
Conductor, Orchestrated By – Eric Dolphy (tracks: 1-1 to 1-3, 1-5 to 2-3)
Drums – Elvin Jones
Engineer [Recording] – Rudy Van Gelder
Euphonium – Carl Bowman (tracks: 2-1 to 2-3), Charles Greenlee (tracks: 1-1 to 1-5), Julian Priester (tracks: 1-1 to 1-5)
French Horn – Donald Corrado, Jimmy Buffington (tracks: 1-1 to 1-5), Julius Watkins, Bob Northern, Robert Swisshelm
Piano – McCoy Tyner
Piccolo Flute, Reeds – Garvin Bushell (tracks: 1-1 to 1-5)
Soprano Saxophone – John Coltrane (tracks: 1-1 to 1-5)
Tenor Saxophone – John Coltrane
Trombone – Britt Woodman (tracks: 2-1 to 2-3)
Trumpet – Booker Little, Freddie Hubbard (tracks: 1-1 to 1-5)
Tuba – Bill Barber