REUBEN WILSON — Set Us Free (1971-2008) RM | Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless

Set Us Free, Reuben Wilson's final album for Blue Note, was issued in 1971. Since that time it has become an immortal and much sought classic by beatheads for a single track: "We're in Love." DJ Premier sampled it liberally -- for its Hammond B-3 vamps, backing vocals, and decorative percussion -- for use on rapper Nas' smash "Memory Lane." Hip-hop fans suddenly had to hear more, and as a result not only is Wilson active again on the circuit, but there has also been terrific interest in his catalog. Not only did Blue Note's Michael Cuscuna reissue this all but forgotten nugget for the label's killer Rare Groove series (before August 2008 it had never been available on CD in America), but Chicago's Dusty Groove re-released 1975's funky Cadet burner Got to Get Your Own during the same month. Set Us Free stands almost completely outside the space inhabited by the rest of Wilson's Blue Note titles. Produced by the late George Butler, it's a wildly textured and seamless aural meld of gritty B-3 jams, smooth yet psychedelic soul, rock, pop, and funk. Wilson and Butler employed a killer band for this date that included reedman Jerome Richardson, bassist Richard Davis, guitarist David Spinozza (who also plays some electric sitar on the date), drummer Jimmy Johnson, conguero Ray Armando, percussionist Specs Powell, and Gene Bianco on harp; the entire proceeding was arranged by the great Wade Marcus.

Vocal arranger Jimmy Briggs was brought in to write charts for a female backing chorus on a funky Latinized blues version of "Mr. Big Stuff," the lush psych-soul babymaker "We're in Love," and Marvin Gaye's "Mercy, Mercy, Mercy (The Ecology)." This isn't to say that there aren't slamming organ jams on the set; Marcus' "Right on with This Mess" makes that abundantly clear. That said, even on these back-to-basics numbers, Wilson's B-3 may be up front and slamming, but Richardson's sweet soprano saxophone (which, to be fair, wails in its solo), the warm guitar lines, and the congas add depth and dimension -- even while Johnson's drums are breaking all over the place. The title track, written by Eddie Harris, is smooth instrumental soul at its best -- Richardson's soprano and the hand drums are up front with Davis' slowly rolling bassline and the hand drums. But it cuts loose in places, with Wilson adding textural flourishes in his solo rather than soaring above the mix. The closest thing to the hard bopping blues Wilson's other recording showcased are sections of the closer, "Tom's Thumb," but even here, with its harp adornment, augmented major sevenths by Spinozza, and the shuffling one-two one-two of Johnson, this comes off as exotic -- especially with the wonderful percussion section laying in the cut as he breaks often and true. Wilson is the only one letting it rip. Yet somehow, this ambitious, lushly orchestrated album not only sounds current, but still ahead of its time. Highly recommended.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Set Us Free 5:08
Written-By – Eddie Harris
2 We're In Love 3:27
Written-By – P. Barsella, R. Wilson
3 Sho-Nuff Mellow 4:32
Written-By – Reuben Wilson
4 Mr. Big Stuff 4:37
Written-By – C. Washington, J. Broussard, R. Williams
5 Right On With This Mess 4:38
Written-By – W. Marcus Bey
6 Mercy, Mercy, Me (The Ecology) 3:39
Written-By – Marvin Gaye
7 Tom's Thumb 5:30
Written-By – Reuben Wilson
Credits :
Arranged By – Wade Marcus
Arranged By [Vocals] – Jimmy Briggs (tracks: 2, 4, 6)
Bass – Richard Davis
Congas – Ray Armando
Drums – Jimmy Johnson
Guitar, Sitar – David Spinozza
Harp – Gene Bianco
Organ – Reuben Wilson
Percussion – Gordon (Spec) Powell
Soprano Saxophone, Tenor Saxophone – Jerome Richardson
Vocals [Essence] – Mildred Brown (tracks: 2, 4, 6), Naomi Thomas (tracks: 2, 4, 6), Rosalyn Brown (tracks: 2, 4, 6)

JOHN TROPEA — Tropea (1975) Two Version (1996, Fusion Super 1800 Series) + (2014, RM | Blu-spec CD | FLAC (image+tracks+.cue), lossless

By the time guitarist John Tropea had recorded his solo debut on the tiny Marlin imprint in 1976, he had been a session guitarist for nearly a decade. His understated, decidedly non-show-off playing graced records by everyone from Laura Nyro to Deodato (including Prelude and Deodato 2), from Ashford & Simpson to Bo Diddley, from Billy Cobham to Peter Allen, from Roberta Flack and Donny Hathaway to Paul Simon, Van Morrison, Luiz Bonfá, and Ray Bryant. After this he played with everyone from Alice Cooper to Lalo Schifrin and Kurtis Blow and way, way beyond. Tropea's cast of studio players is a who's who of the '70s, '80s, and '90s. The core band on this funky, squeaky clean, keyboard, horn, and guitar driven set are bassist Will Lee, keyboardist Don Grolnick, percussionist Rubens Bassini, and drummers Steve Gadd and Rick Marotta -- one in each channel. Some of the guest appearances are stellar: David Sanborn's trademark emotionally rich saxophone is heard on "Muff," and Bob Mintzer's wonderful flute playing on his "Cisco Disco" (which is truly funk and not disco), and Deodato plays keyboards on the beautiful "Dreams." There is a heavyweight reed section with Mintzer, Sanborn, and Michael Brecker among its members and horns that include Randy Brecker, Sam Burtis, and Dave Taylor, to name a few. Yes, this was the 1970s: there are strings with Gene Orloff among them. The tunes? Hip, funky numbers like "Tambourine," with a restrained but toothy fuzz solo by Tropea, great congas by Bassini, and a well balanced but dynamic horn chart. "7th Heaven" is a smoother workout, with punchy actual and keyboard basslines, with great breakbeat work by both drummers. Despite its mid-tempo jaunt, the thing is deep with enough of an uptown soul chorus to make it a popular stepper with the club crowd. It's tunes like these, as well as Mintzer's and Tropea's "The Jingle," that place records like this more on the CTI side of things than in the hardcore Fuzak realm. These selections are songs, not collections of riffs, vamps, and solos. When solos occur in these tunes, they do so with respect to arrangement and groove. It also sounds more lifelike than a lot of what was coming out of L.A. at the time, because it has a decidedly East Coast sensibility. Tropea's production job is expert and tight, but it's his arrangements and orchestrations that are really impressive. The opportunities for excess here with all these superchopper players are many, but not once does any of this album lapse into mere glossy show and sheen. This is one of the truly great forgotten jazz-funk sets of the '70s.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
 1.  Tambourine - 4:40
Arranged By, Orchestrated By – John Tropea

Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – J. Tropea
2. 7th Heaven - 4:13
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards, Arranged By, Orchestrated By – Don Grolnick
Percussion – Rubens Bassini
Written-By – Don Grolnick
3. The Jingle - 4:39
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Don Payne
Contrabass [Matracca] – C. Conrad
Drums – Alan Schwartzberg
Guitar [Guitars] – John Tropea
Keyboards – Kenny Ascher
Percussion – Nick Remo, Ron Tropea, Rubens Bassini
Written-By – John Tropea
4. Just Blue - 8:17
Alto Saxophone, Soloist – George Young
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Written-By – John Tropea
5. Muff - 5:59
Arranged By – R. Marotta, W. Lee
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Saxophone, Soloist – Dave Sanborn
Written-By – Marotta, Lee
Written-By, Guitar [Guitars] – John Tropea
6. Cisco Disco (Bob Mintzer) - 4:35
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Flute [Flutes] – Bob Mintzer
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – Bob Mintzer
7. Tha Bratt (David Spinozza) - 5:07
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Lead Guitar – John Tropea
Rhythm Guitar, Arranged By, Orchestrated By – David Spinozza
Written-By – David Spinozza
8. Dreams - 4:46
Bass – Richard Davis
Drums – Rick Marotta
Keyboards, Arranged By, Orchestrated By – Eumir Deodato
Percussion – Rubens Bassini
Trombone, Soloist – Sam Burtis
Written-By, Guitar [Guitars] – John Tropea

PHAROAH SANDERS — The Impulse Story (2006) FLAC (tracks+.cue), lossless

Like the Archie Shepp and Alice Coltrane volumes in the Impulse Story series, the Pharoah Sanders issue is one of the flawless ones -- despite the fact that it only contains four tracks. Ashley Kahn, author of the book the series is named after, wisely chose tracks with Sanders as a leader rather than as a sideman with John Coltrane (those were documented quite well on the John and Alice volumes). The set begins with "Upper Egypt and Lower Egypt," recorded in 1966 while he was still a member of the Coltrane band. Featuring Sanders on tenor, piccolo, percussion, and vocals, it also contains a who's who of the vanguard: pianist Dave Burrell, guitarist Sonny Sharrock, bassist Henry Grimes, percussionist Nat Bettis, and drummer Roger Blank. Sanders could take a disparate group of players like this one and wind them into his sound world. Burrell is the most automatically sympathetic, and lends a hand in creating a series of call-and-response exchanges with Sanders so Sharrock and Grimes follow suit -- not the other way around. This is also the place where the listener really encounters Sharrock's unique (even iconoclastic) playing -- he performed on Miles Davis' seminal Jack Johnson album but was mixed out. At over 16 minutes, it is barely a hint of what is to come. This cut is followed by Sanders' magnum opus, "The Creator Has a Master Plan." Based on a simple vamp, it unravels into an almost 33-minute textured improvisation that sounds like it could move heaven and earth because it almost literally explodes. Recorded for the Karma album in 1969, "The Creator" also features the late great Leon Thomas on vocals, providing his eerie, deep, and soulful "voice as improvisational instrument" approach that sends the tune soaring. Other sidemen here are bassists Richard Davis and Reggie Workman, James Spaulding, Julius Watkins, pianist Lonnie Liston Smith, Bettis, and drummer Billy Hart. This is where this track belongs, not on the box where it took time and space away from other artists. "Astral Traveling," from the 1970 platter Thembi, follows, with the great violinist Michael White serving as foil to the lyric Pharoah. The last two tracks really chart Sanders' development not just as an improviser and composer but as a bandleader and in his mastery of the soprano saxophone -- only Steve Lacy and Coltrane did it better. The sprawl is tightened -- this cut is less than six minutes long -- but mainly in the way he leads the band with his approach to the saxophone and its dynamics. Cecil McBee plays bass here and Clifford Jarvis is on drums, and Smith uses an electric piano to fantastic effect. The final cut here, "Spiritual Blessing" from the Elevation album in 1973, is widely regarded as another Sanders classic with the man himself on soprano. He is accompanied by a group of percussionists, including Michael Carvin, Jimmy Hopps, John Blue, and Lawrence Killian. Sanders uses the percussionists as a counter to the featured drone instruments (with Joe Bonner on harmonium and Calvin Hill on tamboura). At just under six minutes, it's a song that perfectly fuses Eastern and Western musical improvisational traditions. Listening to this volume of the course of an hour is literally an aurally expansive and spiritually enlightening experience. If you can only have one of the CDs in this series, this may be the one to snag -- along with Alice Coltrane's chapter, this is spiritual jazz at its very best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Upper Egypt And Lower Egypt 16:16
Bass – Henry Grimes
Drums – Roger Blank
Electric Guitar – Sonny Sharrock
Percussion – Nat Bettis
Piano – Dave Burrell
Tenor Saxophone, Piccolo Flute, Percussion, Vocals, Composed By – Pharoah Sanders
2    The Creator Has A Master Plan 32:45
Bass – Richard Davis
Composed By – Leon Thomas, Pharoah Sanders
Drums – Billy Hart
Flute – James Spaulding
French Horn – Julius Watkins
Percussion – Nat Bettis
Piano – Lonnie Liston Smith
Tenor Saxophone – Pharoah Sanders
Vocals, Percussion – Leon Thomas
3    Astral Traveling 5:48
Bass – Cecil McBee
Electric Piano, Composed By – Lonnie Liston Smith
Soprano Saxophone, Percussion – Pharoah Sanders
Violin – Michael White
4    Spiritual Blessing 5:40
Bells [Bell Tree] – Lawrence Killian
Drums – Michael Carvin
Harmonium – Joe Bonner
Percussion – Jimmy Hopps, John Blue
Soprano Saxophone, Composed By – Pharoah Sanders
Tambura – Calvin Hill

ERIC DOLPHY — Muses (2013) MONO | Historical Series | FLAC (tracks+.cue), lossless

This Marshmallow release in its Historical Series features Eric Dolphy's previously unreleased studio recordings from the so-called "Douglas Sessions," supposedly produced by Alan Douglas who was an A&R man for United Artists. Some materials from these sessions have been released over the years from several different labels, including the album Conversations from the FM label and Iron Man from the Douglas label.
Tracks 1 and 3-5 are previously unreleased alternate takes from these sessions, and Track 2 is a newly discovered tune that was supposedly "rejected" and therefore thought to have been erased. The album opens with two stunning duo performances by Dolphy and bassist Richard Davis. Their interplay is intimate and at times telepathetic. "Iron Man" and "Mandrake" are played by a quintet featuring Woody Shaw on trumpet and Bobby Hutcherson on vibraphone. "Love Me" is a searing alto sax solo performance by Dolphy.
Tracklist :
1    Alone Together 12:07
Written-By – A. Schwartz
2    Muses 8:48
Written-By – E. Dolphy
3    Iron Man 8:27
Written-By – E. Dolphy
4    Love Me 3:39
Written-By – V. Young
5    Mandrake 4:18
Written-By – E. Dolphy
Credits :
Alto Saxophone – Eric Dolphy (tracks: 3 to 5)
Bass – Eddie Khan (tracks: 3), Richard Davis (tracks: 1, 2, 5)
Bass Clarinet – Eric Dolphy (tracks: 1, 2)
Drums – J.C. Moses (tracks: 3, 5)
Trumpet – Woody Shaw (tracks: 3, 5)
Vibraphone – Bobby Hutcherson (tracks: 3, 5)
Recorded in New York, July 1st (1,2), July 3rd or 4th, 1963.

THE LUCKY THOMPSON QUARTET — Lucky Strikes (1964-1987) RM | FLAC (tracks+.cue), lossless

This CD reissue serves as a perfect introduction to the talents of the underrated saxophonist Lucky Thompson. Heard on four songs apiece on tenor and soprano (he was one of the first bop-oriented soprano players), Thompson plays two standards and six originals in a quartet with pianist Hank Jones, bassist Richard Davis, and drummer Connie Kay. The playing time on this straight reissue of an earlier LP is a bit brief (just over 38 minutes), but the quality is quite high. Thompson's soprano solos in particular are quite memorable. Scott Yanow
Tracklist :
1 In a Sentimental Mood 5:49
Duke Ellington / Manny Kurtz / Irving Mills
2 Fly With the Wind 4:01
Lucky Thompson
3 Mid-Nite Oil 5:08
Lucky Thompson
4 Reminiscent 4:04
Lucky Thompson
5 Mumba Neua 4:47
Lucky Thompson
6 I Forgot to Remember 6:36
Lucky Thompson
7 Prey-Loot 4:05
Lucky Thompson
8 Invitation 4:55
Bronislaw Kaper
Credits :
Bass – Richard Davis
Drums – Connie Kay
Piano – Hank Jones
Soprano Saxophone, Tenor Saxophone – Lucky Thompson

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

CHICO HAMILTON Introducing LARRY CORYELL — The Dealer (1967) Two Version (1990, MCA Records – MCAD-39137) + (1999, RM | Serie Impulse! Master Sessions) FLAC (tracks+.cue), lossless

Drummer Chico Hamilton introduced many top young players during his years as a bandleader, but few probably realize that Larry Coryell made his recording debut with Chico a year before joining Gary Burton's quartet. The Dealer marks Coryell's initial appearance on record, and at times he sounded oddly like Chuck Berry (especially on "The Dealer"). Also heard on this set are altoist Arnie Lawrence, bassist Richard Davis, organist Ernie Hayes (on two numbers), and, on his spirited boogaloo "For Mods Only," Archie Shepp making a rare appearance on piano. Most of the performances still sound surprisingly fresh, especially the explorative "A Trip," making this an underrated but worthy release. Scott Yanow
Tracklist :
1. The Dealer 6:20
 Jimmy Cheatham / Chico Hamilton
2. For Mods Only 4:24
 Archie Shepp
3. A Trip 6:35
 Jimmy Cheatham / Chico Hamilton
4. Baby, You Know 3:55
 Jimmy Cheatham / Chico Hamilton
5. Larry Of Arabia 5:08
 Larry Coryell
6. Thoughts 6:28
 Chico Hamilton
7. Jim-Jeannie 5:45
 Chico Hamilton
– CD-BONUS TRACK –
8    Chic Chic Chico 2:49
 Manny Albam
9    Big Noise From Winnetka 2:49
 Bob Crosby, Bob Haggart, Gil Rodin, Ray Bauduc
10    The Second Time Around 3:12
Written-By – Jimmy Van Heusen, Sammy Cahn
11    El Toro    3:12
Credits :
Alto Saxophone – Arnie Lawrence (tracks: 1 to 4, 6, 7)
Arranged By – Jimmy Cheatham (tracks: 1, 4)
Bass – Albert Stinson (tracks: 8, 10, 11), Richard Davis (tracks: 1 to 7)
Cowbell – Willie Bobo (tracks: 9)
Drums, Percussion – Chico Hamilton
Flute – Charles Lloyd (tracks: 8, 11)
Guitar – Gabor Szabo (tracks: 8, 10, 11), Larry Coryell (tracks: 1 to 7)
Maracas – Willie Bobo (tracks: 8)
Organ – Ernie Hayes (tracks: 4, 5)
Percussion – George Bohanon (tracks: 11)
Percussion, Tambourine – Unknown Artist (tracks: 7)
Piano – Archie Shepp (tracks: 2)
Tenor Saxophone – Charles Lloyd (tracks: 10), Jimmy Woods (tracks: 8)
Trombone – George Bohanon (tracks: 10)
Vocals – Albert Stinson (tracks: 8), Chico Hamilton (tracks: 6)

ELVIN JONES — Dear John C. (1965) Two Version (1990, RM | Serie Impulse! CD Collection II) + (2011, SACD Hybrid | Serie Impulse! Reissues) FLAC (tracks+.cue), lossless

The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument -- the tenor sax -- that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist. Bassist Richard Davis rounds out this truly brilliant ensemble of burgeoning mid-'60s jazz stars, who play an enticing collection of standards, bop, compositions of Bob Hammer, and originals from several modern sources. A stone cold bebopper and Charlie Parker devotee at the time of this recording. Mariano is the standout performer. He swings easily but mightily on the title track paralleling Coltrane's "Milestones," stretches the Charles Mingus evergreen "Reincarnation of a Lovebird" (titled here as "Love Bird"), and pulls out all the stops with Hank Jones during an only slightly flawed (they miss two notes) version of the tricky "Anthropology." They tack a calypso beat onto Duke Ellington's "Fantazm" in a playful, modern dress, and stroll on the quirky Hammer composition "That Five-Four Bag" as an offshoot retort to Dave Brubeck's "Take Five." The three tracks sans piano include a walking version of "Everything Happens to Me"; the ballad "Smoke Rings," where the band excepting Mariano is relaxed; and Frank Sinatra's "This Love of Mine," where the emotive saxophonist dips into humor, even a bit ribald. The variety from cut to cut is engaging, and there's nothing over the top, even the drumming of Elvin Jones. With the musicality at a high level, Dear John C. needs revisiting by drumming students and jazz fans to note how teamwork, shared values, and held-in-check dynamics benefit the overall quality of music. It seems this recording is underrated when over time it should never be. Dear John C. is deserving of an excellent rating. Michael G. Nastos
Tracklist :
1    Dear John C. 3:54
Composed By – Bob Hammer, Bob Thiele
2    Smoke Rings 3:39
Composed By – H. Eugene Gifford, Ned Washington
3    Love Bird 3:46
Composed By – Charles Mingus
4    Feeling Good 4:04
Composed By – Anthony Newley, Leslie Bricusse
5    Anthropology 4:10
Composed By – Charlie Parker, Dizzy Gillespie
6    This Love Of Mine 4:20
Composed By – Frank Sinatra, Hank Sanicola, Sol Parker
7    Fantazm 3:55
Composed By – Duke Ellington
8    Ballade 5:17
Composed By – Bob Hammer
9    Everything Happens To Me 5:48
Composed By – Matt Dennis, Tom Adair
Credits :
Alto Saxophone – Charlie Mariano
Bass – Richard Davis
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – Hank Jones, Roland Hanna

ELVIN JONES AND RICHARD DAVIS — Heavy Sounds (1968-1999) RM | Serie Impulse! Master Sessions | FLAC (tracks+.cue), lossless

This Impulse! session co-led by drummer Elvin Jones and bassist Richard Davis finds the pair joined by tenor saxophonist Frank Foster and pianist Billy Green. The quartet performs an erratic but generally interesting set of music including "Shiny Stockings," Foster's funky "Raunchy Rita," and "Elvin's Guitar Blues"; the latter briefly features Jones making his first and only appearance on guitar. The music is essentially advanced hard bop but is not all that essential. Scott Yanow
Tracklist :
1    Raunchy Rita    11:32
 Frank Foster
2    Shiny Stockings    5:10
 Frank Foster
3    M. E.    2:37
 Billy Green / Billy Greene
4    Summertime 11:35
Composed By – Dubose & Dorothy Heyward, George Gershwin, Ira Gershwin
5    Elvin's Guitar Blues 3:25
 Elvin Jones
Guitar [Intro] – Elvin Jones
6    Here's That Rainy Day 7:02
Composed By – Jimmy Van Heusen And Johnny Burke
Credits :
Bass – Richard Davis
Drums – Elvin Jones
Piano – Billy Greene (tracks: 1 to 3, 5, 6)
Tenor Saxophone – Frank Foster (tracks: 1 to 3, 5, 6)

ELVIN JONES | McCOY TYNER QUINTET — Love & Peace (1982-1994) FLAC (tracks+.cue), lossless

With the exception of one number ("House That Love Built") from 1978 that matches drummer Elvin Jones with the reeds of Frank Foster and Pat LaBarbera, guitarist Roland Prince and bassist Andy McCloud, this CD reissue focuses on an unusual and generally successful reunion session. Drummer Jones and pianist McCoy Tyner have not recorded together that often since leaving John Coltrane's Quartet in late 1965. With Pharoah Sanders (who was part of the reason they departed) on tenor, bassist Richard Davis in the late Jimmy Garrison's spot, and guitarist Jean-Paul Bourelly an added wild card, the musicians avoid Coltrane tunes in favor of newer originals and the standard "Sweet and Lovely." Sanders sounds very much like late-1950s Coltrane; Bourelly is a bit out of place, and Tyner easily takes solo honors. An interesting but not overly memorable outing that was originally cut for the Japanese Trio label and made available in the U.S. by the now-defunct Black-Hawk company. Scott Yanow
Tracklist :
1    Little Rock's Blues    4:35
 Pharoah Sanders
2    Hip Jones    7:27
 Pharoah Sanders
3    Korina    5:35
 Gene Perla
4    For Tomorrow    7:08
 McCoy Tyner
5    Sweet And Lovely    6:52
 Gus Arnheim / Jules LeMare / Harry Tobias
6    Origin    5:05
 Pharoah Sanders
7    House That Love Built    10:27
 Frank Foster
Credits :
Bass – Andy McCloud (tracks: 7), Richard Davis
Drums – Elvin Jones
Electric Guitar – Jean-Paul Bourelly
Guitar – Roland Prince (tracks: 7)
Piano – McCoy Tyner
Soprano Saxophone – Frank Foster (tracks: 7)
Tenor Saxophone – Frank Foster (tracks: 7), Pat LaBarbera (tracks: 7), Pharoah Sanders

TONY SCOTT — Tony Scott (1967-2004) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

 Tony Scott's 1967 self-titled album for Verve is a good example of what makes him such an interesting but frustrating artist. After branching out from mainstream jazz in the 1950s, clarinetist Scott began exploring ethnic and folk music. Here listeners find him switching between straight-ahead standards and avant-garde, Eastern-influenced melodies. The result is utterly schizophrenic and ultimately makes for a frustrating listen. That said, Scott is a phenomenal musician and -- when he sticks to the experimental stuff -- is quite compelling. Matt Collar   Tracklist & Credits :

JOE ZAWINUL — The Rise & Fall Of The Third Stream + Money In The Pocket (1994) RM | Serie Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

Two of keyboardist Joe Zawinul's finest recordings as a leader were reissued on this single CD. The Money in the Pocket album from 1965 features Zawinul on acoustic piano in a sextet with trumpeter Blue Mitchell, tenor saxophonist Joe Henderson, and baritone saxophonist Pepper Adams playing superior hard bop, highlighted by the funky title cut, "If," and "My One and Only Love." The other session utilizes a string quartet, trumpeter Jimmy Owens, and the tenor and arrangements of William Fischer. Its diverse music hints at fusion (Zawinul doubles on electric piano) and has many colorful moments. This gem of a CD is highly recommended. Scott Yanow   Tracklist & Credits :

JOE ZAWINUL — Concerto Retitled (1976-2007) FLAC (tracks+.cue), lossless

As Joe Zawinul's electric band Weather Report gathered momentum in the '70s, Atlantic put together a single-LP anthology of Zawinul's earlier two albums for Atlantic and one for Vortex. The irony, of course, is that the Zawinul of most of these tracks basically did not exist as of 1976, nor has this compulsively forward-looking musician returned to his acoustic jazz roots since. Fully half of the tracks - the Tatumesque solo number, "My One and Only Love," the straight-ahead "Riverbed," and trio numbers "Del Sasser" and "Sharon's Waltz" (with Cannonball Adderley's rhythm section, Sam Jones and Louis Hayes) come from the Money in the Pocket album. "From Vienna with Love" and "Concerto Retitled" (both from The Rise and Fall of the Third Stream) are backed by William Fischer's brooding neo-classical arrangements for cello and three violas. From these relatively conventional pursuits, it is a jolt to hear two hauntingly spiritual tracks - the electronically slowed-down "His Most Journey" and "In a Silent Way - " from the Zawinul album, the prelude to Weather Report. Though all of this stuff is out on CD in complete form, this is still useful as a quick trip through Zawinul's extraordinary changes over a short span of time. Richard S. Ginell    Tracklist & Credits :  

OLIVER NELSON — More Blues and the Abstract Truth (1964-2015) RM | Serie Impulse! Classics 50 – 25 | APE (tracks+.cue), lossless

Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.  Scott Yanow   Tracklist & Credits :

OLIVER NELSON — Oliver Nelson Plays Michelle (1966) LP, Vinyl | MONOAURAL | FLAC (tracks), lossless

This is an album of short, often corny tunes and brief, likable solos. Nelson features one of his first uses of guitar here via Barry Galbraith and, more prominently, Billy Butler. Nelson's originals, "Jazz Bug" and "Do You See What I See?" are worth a listen. Douglas Payne   Tracklist & Credits :

ANDREW HILL — Black Fire (1964) Two Version | 1994, The BN Works 4100 Series + 2004, RM | BONUS TRACK | RVG Edition | FLAC (image+tracks.cue), lossless

Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise, along with the nimble, unpredictable rhythm section, help make Black Fire a modern jazz classic. Stephen Thomas Erlewine
Tracklist :
1 Pumpkin 5:24
Andrew Hill  
2 Subterfuge 8:04
Andrew Hill  
3 Black Fire 6:56
Andrew Hill  
4 Cantarnos 5:42
Andrew Hill  
5 Tired Trade 5:51
Andrew Hill  
6 McNeil Island 2:58
Andrew Hill  
7 Land of Nod 5:48
Andrew Hill  
– BONUS TRACKS –
8 Pumpkin 5:17
(Alternate Take)
9 Black Fire 5:47
(Alternate Take)
Credits :
Bass – Richard Davis
Drums – Roy Haynes
Piano – Andrew Hill
Tenor Saxophone – Joe Henderson

CLIFFORD JORDAN — Clifford Jordan In The World (1972-2006) RM | FLAC (tracks+.cue), lossless

Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath, and trumpeter Don Cherry. Jordan's pensive "Vienna" is given an extended workout, with Cherry's somewhat abstract playing fitting in rather well. The second piece, Jordan's "Doug's Prelude," is also a bit brooding, showcasing the leader, Priester, and Kelly. Ken Dryden
Tracklist :
1 Vienna 17:10
Clifford Jordan
2 Doug's Prelude 4:47
Clifford Jordan
3 Ouagoudougou 11:00
Clifford Jordan
4 872 7:14
Clifford Jordan
Credits :
Bass – Richard Davis, Wilbur Ware
Drums – Al Heath (tracks: 1, 2), Ed Blackwell (tracks: 3, 4), Roy Haynes (tracks: 3, 4)
Piano – Wynton Kelly
Tenor Saxophone – Clifford Jordan
Trombone – Julian Preister
Trumpet – Don Cherry (tracks: 1, 2), Kenny Dorham (tracks: 3, 4)

ERIC DOLPHY — Out to Lunch (1964) Two Version (1986, Blue Note CD Super 50 – 11 + 1999, RVG Edition | FLAC & APE (image+.cue), lossless

 Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. Steve Huey 
Tracklist :
1 Hat And Beard 8:24
2 Something Sweet, Something Tender 6:02
3 Gazzelloni 7:22
4 Out To Lunch 12:06
5 Straight Up And Down 8:19
Credits
Alto Saxophone, Flute, Bass Clarinet, Composed By – Eric Dolphy
Bass – Richard Davis
Drums – Tony Williams
Recorded By [Recording] – Rudy Van Gelder
Trumpet – Freddie Hubbard
Vibraphone [Vibes] – Bobby Hutcherson

ROLAND KIRK - "Rahsaan" The Complete Mercury Recordings of Roland Kirk (1990) 11xCD BOX-SET | FLAC (tracks+.cue), lossless

Rahsaan Roland Kirk's nearly one-dozen long-players on the Mercury Records family of labels -- including the Smash and Limelight subsidiaries -- are gathered on this massive ten-disc compilation. Actually, it is 11 discs if you count the surprise bonus CD. Additionally, Rahsaan: The Complete Mercury Recordings of Roland Kirk lives up to its name by augmenting those albums with more than two-dozen previously unissued sides. Kirk's thoroughly innovative multi-instrumental reed work caught the attention of legendary producer Quincy Jones, then the vice-president of Mercury Records, who signed Kirk and would later arrange and conduct orchestrations for several of his memorable sessions. Perhaps the most recognizable among them is "Soul Bossa Nova" which is heavily featured in the Austin Powers franchise. Kirk's ability to perform several reed instruments -- including the tenor, flute, clarinet, manzello, and stritch -- simultaneously allowed him a musical autonomy few instrumentalists are afforded. His youthful embrace of the R&B, soul, pop, and eventually rock genres produced swinging interpretations of "And I Love Her" and "Walk on By," among others. Regardless of the genre, however, Kirk's ability to Swing -- with a capitol "S" -- is imprinted upon every piece he performed. Although Kirk continued his prolific output on Atlantic records in the late '60s and '70s, arguably his most profound sides are included here. We Free Kings, Domino, Reeds and Deeds, Gifts and Messages, I Talk with the Spirits and Rip, Rig & Panic are offered in their entirety. Undoubtedly the centerpiece of Kirk's work for the label is the live Kirk in Copenhagen, which features some wicked harp blowing from blues legend "Sonny Boy" Williamson, aka Big Skol. It is only fitting that this album benefits so greatly from inclusion on this set. The original six sides have been supplemented with an additional ten to present the entire October '63 performance, now complete at an hour and 45 minutes. Rahsaan: The Complete Mercury Recordings if Roland Kirk is complimented visually with a 56-page information packed booklet that includes: complete discographical and recording session logs, as well individual essays for each disc. Although not for the light of funds, this is truly the best way to become immersed in these early works of Rahsaan Roland Kirk. Lindsay Planer
All Tracks & Credits

ROLAND KIRK - Rip Rig and Panic + Now Please Don't You Cry Beautiful Edith (1990) RM | FLAC (image+.cue), lossless

Combining the short yet solid 1965 release, Rip, Rig and Panic with Rahsaan Roland Kirk's 1967 release Now Please Don't You Cry, Beautiful Edith, this two-fer presents a perfect portrait of Kirk's mid-'60s sound. While the albums are very different stylistically, Now Please Don't You Cry, Beautiful Edith's mix of avant-garde and groove sounds seems like a logical next step to Rip, Rig and Panic's solid hard bop. Either of these albums would be great acquisitions on their own; getting them together is pure gravy. Stacia Proefrock
Rip, Rig & Panic (1965)    
1    The Roland Kirk Quartet ft. Elvin Jones–    No Tonic Press    4:30
Written-By – R. Kirk
2    The Roland Kirk Quartet ft. Elvin Jones–    Once In A While 3:58
Written-By – B. Green, M. Edwards
3    The Roland Kirk Quartet ft. Elvin Jones–    From Bechet, Byas, And Fats    6:28
Written-By – R. Kirk
4    The Roland Kirk Quartet ft. Elvin Jones–    Mystical Dream    2:36
Written-By – R. Kirk
5    The Roland Kirk Quartet ft. Elvin Jones–    Rip, Rig, And Panic    6:55
Written-By – R. Kirk
6    The Roland Kirk Quartet ft. Elvin Jones–    Black Diamond 5:20
Written-By – M. Sealey
7    The Roland Kirk Quartet ft. Elvin Jones–    Slippery, Hippery, Flippery    4:58
Written-By – R. Kirk
Now Please Don't You Cry, Beautiful Edith (1967)    
8    The Roland Kirk Quartet–    Blue Rol    6:09
Written-By – R. Kirk
9    The Roland Kirk Quartet–    Alfie 2:52
Written-By – Bacharach/David
10    The Roland Kirk Quartet–    Why Don't They Know    2:54
Written-By – R. Kirk
11    The Roland Kirk Quartet–    Silverlization    4:57
Written-By – R. Kirk
12    The Roland Kirk Quartet–    Fallout    3:01
Written-By – R. Kirk
13    The Roland Kirk Quartet–    Now Please Don't You Cry, Beautiful Edith    4:23
Written-By – R. Kirk
14    The Roland Kirk Quartet–    Stompin' Grounds    4:46
Written-By – R. Kirk
15    The Roland Kirk Quartet–    It's A Grand Night For Swinging 3:10
Written-By – B. Taylor
Credits :
Bass – Richard Davis (pistas: 1 to 7), Ronald Boykins (pistas: 8 to 15)
Castanets, Siren – Roland Kirk (pistas: 1 to 7)
Drums – Elvin Jones (pistas: 1 to 7), Grady Tate (pistas: 8 to 15)
Engineer – Rudy Van Gelder
Flute – Roland Kirk (pistas: 8 to 15)
Piano – Jaki Byard (pistas: 1 to 7), Lonnie Liston Smith (pistas: 8 to 15)
Tenor Saxophone, Saxophone [Stritch], Saxophone [Manzello] – Roland Kirk