FREDDIE HUBBARD — First Light (1971-2011) RM | Serie CTI Records 40th Anniversary Edition | FLAC (tracks+.cue), lossless

Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor's studio for the third time in 1971 with the express purpose of making a record radically different from anything he'd cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him. The band was also supported by the truly ethereal and adventurous string arrangements of Don Sebesky (a first for Hubbard). The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard's most exciting playing ever. The title track and Hubbard's ingenious read of Paul and Linda McCartney's "Uncle Albert/ Admiral Halsey," as well as Leonard Bernstein's "Lonely Town," are so in the pocket that they bleed soul. Benson's uncharacteristically edgy guitar playing juxtaposed against Hubbard's warm tone, and Hancock's beautifully modal Rhodes lines that are drenched with big, open, minor chord voicings, are simply made more illustrious and graceful by Sebesky's strings. While Red Clay and Straight Life are both fine albums, First Light is the one that connects on all levels -- and it did with the jazz-buying public as well. A masterpiece.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    First Light 11:05
Written-By – Freddie Hubbard
2    Uncle Albert / Admiral Halsey 8:17
Written-By – Paul & Linda McCartney
3    Moment To Moment 5:43
Written-By – Henry Mancini, Johnny Mercer
4    Yesterday's Dreams 3:55
Written-By – Don Sebesky, Norman Martin
5    Lonely Town 7:00
Written-By – Adolph Green, Betty Comden, Leonard Bernstein
6    Fantasy In D (Polar AC) 6:55
Written-By – Cedar Walton
7    First Light (Live) 16:04
Written-By – Freddie Hubbard
Credits :
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Jane Taylor, Wally Kane
Cello – Charles McCracken, Emanuel Vardi
Clarinet – George Marge, Romeo Penque
Drums – Jack DeJohnette
English Horn, Oboe – Romeo Penque
Flute – George Marge, Hubert Laws, Romeo Penque, Wally Kane
French Horn – James Buffington, Ray Alonge
Guitar – Eric Gale (tracks: 7), George Benson
Harp – Margaret Ross
Percussion – Airto Moreira
Piano – Richard Wyands
Trumpet, Flugelhorn – Freddie Hubbard
Vibraphone [Vibes] – Phil Kraus
Viola – Alfred Brown, Emanuel Vardi
Violin – David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Irving Spice, Joe Malin, Matthew Raimondi, Paul Gershman, Tosha Samaroff

DEODATO — Deodato 2 (1973-1988) RM | Bonus Tracks | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (tracks+.cue), lossless

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Super Strut 9:29
2. Rhapsody In Blue 8:43
3. Nights In White Satin 6:01
4. Pavane For A Dead Princess 4:24
5. Skyscrapers 7:00
6. Latin Flute 4:19
– BONUS TRACKS –
7. Venus 3:28
8. Do It Again 5:30
Credits :
Eumir Deodato - keyboards
Stanley Clarke, John Giulino - Bass
Billy Cobham, Rick Marotta - Drums
Rubens Bassini, Gilmore Degap - Percussion, Congas
John Tropea - Guitar
Hubert Laws, Jerry Gordon, Romeo Penque, George Marge - Flute
Jon Faddis, Burt Collins, Victor Paz, Alan Rubin, Marvin Stamm - Trumpet, Flugelhorn
Garnet Brown, Wayne Andre - Trombone
Tony Studd - Bass Trombone
Jim Buffington - French Horn
Joe Temperley - Baritone Sax
String Section - Violins, Violas, Cellos

OLIVER NELSON — The Argo, Verve And Impulse Big Band Studio Sessions (2006) RM | 6xCD BOX-SET | FLAC (tracks+.cue), lossless

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. 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 :

OLIVER NELSON & FRIENDS – Happenings + Soulful Brass (2011) RM | Serie Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

This Impulse two-fer revives a pair of LPs by arranger, composer, and saxophonist Oliver Nelson, Happenings and Soulful Brass, released in 1966 and 1968, respectively. Happenings, a date with pianist Hank Jones, is the better album, unlike Soulful Brass, which was co-led with comedian/pianist Steve Allen. Unfortunately, both pianists are featured mainly on harpsichord, which tends to dominate, and at times overwhelm, the compositions. Unless you're a die-hard collector, best to skip this two-fer and pick up the Impulse releases, The Blues & the Abstract Truth and More Blues & the Abstract Truth. Al Campbell  Tracklist & Credits :

GIL EVANS — Columbia Jazz Profiles (2008) FLAC (tracks+.cue), lossless

Tracklist & Credits :

LOUIS ARMSTRONG – 1952-1953 | The Classics Chronological Series – 1352 (2004) FLAC (tracks+.cue), lossless

This 21st chapter in the Classics Louis Armstrong chronology documents the great jazz trumpeter's steady development into a mainstream pop vocalist with recordings made for the Decca label between September 22, 1952, and October 22, 1953. The first four titles are among the most heavily sugared he ever recorded; although Pops could make even "White Christmas" and "Winter Wonderland" sound good, the Gordon Jenkins Orchestra & Chorus had a way of drenching everything in Karo syrup. It's a pity the voices were used on "Listen to the Mockingbird," as Louis sounds marvelous intoning the words to this old-fashioned melody, originally published in 1855 by a Philadelphian Afro-American music instructor named Septimus Winner. On February 23, 1953, Armstrong was in Detroit making records with an orchestra using arrangements by Sy Oliver; his performance of "Your Cheatin' Heart" was waxed only weeks after the sudden death of Hank Williams. During the spring and summer of 1953 Armstrong was able to record with a reasonable number of solid jazz players -- most importantly clarinetist Barney Bigard, trombonist Trummy Young, tenor saxophonist Sam Taylor, pianists Joe Bushkin and Marty Napoleon, bassist Arvell Shaw, and drummer Cozy Cole. Two extra-long performances, "Basin Street Blues" and "Otchi-Tchor-Ni-Ya," were recorded in Los Angeles during June of 1953 for intended inclusion in The Glenn Miller Story, a Universal motion picture starring Jimmy Stewart and June Allyson. Both tracks perk up halfway through with pyrotechnic drumming by Gene Krupa. Although Bigard, Young, Shaw, and Cole were with Armstrong on the session that took place on July 16, 1953, they had to contend with relatively corny material and square arrangements foisted upon the world by the Jack Pleis Orchestra. The following session, featuring a big band billed as Louis Armstrong & the Commanders, resulted in two more Christmas tunes and three perfectly reasonable big-band ballads, the best of which was Armstrong's own composition "Someday You'll Be Sorry." This itinerary is a good illustration of Armstrong's career as it stood in the early '50s, represented by a little bit of jazz surrounded by a whole lot of pop, some of it rather overbearing. While "Someday" is a record of which Armstrong was justifiably proud, "'Zat You, Santa Claus?" typifies the kitschy excesses of the U.S. entertainment industry during the Truman/Eisenhower era. arwulf arwulf       Tracklist + Credits :

BUDDY RICH AND HIS ORCHESTRA – 1946-1948 | The Chronogical Classics – 1099 (1999) FLAC (tracks+.cue), lossless

This is the first CD from the French Classics reissue series showcasing drummer Buddy Rich as a big-band leader. These 22 titles were recorded between 1946 and 1948 with several of them being V-discs. The tight arrangements of Tadd Dameron, Neil Hefti, Eddie Finckel, Bill Channon, and Turk Van Lake are strict yet thoroughly swinging ensemble playing. Even though Rich led this big band, he does not take center stage over the entire outcome. His Frank Sinatra-influenced vocals are heard here along with those of Dorothy Reid and Linda Larkin. During this three-year period his bands included the likes of Johnny Mandel, Red Rodney, Hal McKusick, Jimmy Giuffre, Warne Marsh, and Allen Eager. With the proven talent heard here it's a shame Rich couldn't sustain his ensembles, but finding gigs as the big-band era was drawing to a close made it economically unfeasible. Rich would not attempt to lead another big band until 1966. Al Campbell  
Tracklist + Credits :

RAHSAAN ROLAND KIRK - The Return of the 5000 Lb. Man (1976) lp | 24bits-96hz | FLAC (tracks), lossless

The Return of the 5000 Lb. Man was Rahsaan Roland Kirk's first album for Warner Brothers, recorded before the stroke that impaired him. Kirk is at full creative and musical strength. These seven tracks are an utter astonishment. Kirk's playing of saxophones, harmonica, flutes, and euphonium is deep, soulful, and even profound in places. "Theme for the Eulipions" (which opens the album), "Giant Steps," and "There Will Never Be Another You" features an all-star band that includes Charlie Persip, a young Hilton Ruiz, bassist Buster Williams, Romeo Perique on baritone saxophone, and Howard Johnson on tuba. The version of "Sweet Georgia Brown," with its wacky percussion and whistling, is so utterly joyful and funky it's perhaps the definitive jazz version of the tune. But it's the readings of Minnie Riperton's "Loving You" and Charles Mingus' "Goodbye Porkpie Hat" that take the album to an entirely new place. They are, though very different from one another, so utterly moving and aesthetically beautiful, they elevate music to the level of poetry. This is one that's utterly necessary for fans, and a very fitting intro for the novice.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
SIDE A
1    Theme For The Eulipions 9:22
Music By – Rahsaan Roland Kirk
Solo Vocal – Maeretha Stewart
Words By, Speech – Betty Neals
2    Sweet Georgia Brown 5:07
Written-By – Ben Bernie, Kenny Casey, Maceo Pinkard
3    I'll Be Seeing You
Written-By – Irving Kahal, Sammy Fain
SIDE B
1    Loving You 4:42
Written-By – Minnie Riperton, Richard Rudolph
2    Goodbye Pork Pie Hat 6:17
Music By – Charles Mingus
Words By – Rahsaan Roland Kirk
3    There Will Never Be Another You 5:08
Written-By – Harry Warren, Mac Gordon
4    Giant Steps 6:11
Music By – John Coltrane
Words By – Betty Neals
Credits :
Arranged By – Frank Foster (pistas: A1, B3, B4), Rahsaan Roland Kirk (pistas: A2, A3, B1 to B3)
Backing Vocals – Adrienne Albert (pistas: A1, B3, B4), Arthur Williams (pistas: A1, B3, B4), Francine Carroll (pistas: A1, B3, B4), Hilda Harris (pistas: A1, B3, B4), Maeretha Stewart (pistas: A1, B3, B4), Milton Grayson (pistas: A1, B3, B4), Randy Peyton (pistas: A1, B3, B4)
Baritone Saxophone – Romeo Penque (pistas: A1, B3, B4)
Bass – Charles 'Buster' Williams (pistas: A1, B3, B4), Mattathias Pearson (pistas: B1, B2), Milton Hinton (pistas: A2)
Celesta – Hilton Ruiz (pistas: B4)
Drums – Bill Carney (pistas: A3), Charlie Persip (pistas: A1, B3, B4), Jerry Griffin (pistas: B1, B2)
Guitar – William Butler (pistas: A3, B1, B2)
Harmonica, Saxophone [Stritchaphone], Tenor Saxophone, Vocals, Producer – Rahsaan Roland Kirk
Keyboards – Arthur Jenkins (pistas: B1, B2)
Organ – Trudy Pitts (pistas: A3)
Percussion – Habao Texidor (pistas: A1, B1 to B4), Warren Smith (pistas: B1, B2)
Piano – Hank Jones (pistas: A2), Hilton Ruiz (pistas: A1, B1 to B3)
Tuba – Howard Johnson (pistas: A1, B3, B4)
Whistling – William Eaton (pistas: A2)

COLEMAN HAWKINS | MANNY ALBAM AND HIS ORCHESTRA - The Hawk in Paris (1957-1993) FLAC (tracks+.cue), lossless

This CD is a major surprise. Hawkins had always wanted to record with a large string section and he received his wish on the majority of these 12 romantic melodies, all of which have some association with Paris. The surprise is that he plays with a great deal of fire (his doubletiming on "My Man" is wondrous), and that Manny Albam's arrangements mostly avoid being muzaky and quite often are creative and witty. What could have been a novelty or an insipid affair is actually one of Coleman Hawkins's more memorable albums. Scott Yanow
Tracklist :
1     April in Paris 3:53
Vernon Duke / E.Y. "Yip" Harburg
2     Mon Homme (My Man) 3:19
Francis Salabert / Maurice Yain        
3     Under Paris Skies 2:46     
Jean Dréjac / Kim Gannon / Hubert Giraud
4     Mimi 3:08
Lorenz Hart / Richard Rodgers
5    La Chnouf 3:07
Marc Lanjean
6     La Vie en Rose 2:37
Mack David / Louis Louiguy / Marcel Louiguy / Édith Piaf
7     La Mer (Beyond the Sea) 3:33
Albert Lasry / Charles Trénet        
8     Paris in the Spring 3:15
Mack Gordon / Harry Revel        
9     I Love Paris 3:31
Cole Porter
10     Mademoiselle de Paris 3:19
Henri Contet / Paul Durand / Eric Maschwitz / Mitchell Parish
11     Chiens Perdus Sans Collier (The Little Lost Dog) 2:58
Edmond Bacri / Paul Misraki        
12     Tu N' Peux T' Figurer (Dawn over Paris) 3:22
Paul Misraki
Recorded at Webster Hall in New York City, on July 9 (3, 4, 9 & 10), 11 (1, 2, 6 & 7) and 13 (5, 8, 11 & 12), 1956
Credits :
Arranged By, Conductor – Manny Albam, Orchestra – Manny Albam And His Orchestra
Bass – Arnold Fishkin
Drums – Osie Johnson
Guitar – Barry Gailbreath
Harp – Janet Putnam
Percussion – Marity Wilson
Piano – Hank Jones
Reeds – Al Young, Ray Beckenstein, Romeo Penque
Tenor Saxophone – Coleman Hawkins
Tenor Saxophone, Alto Saxophone – Romeo Penque
Trombone – Urbie Green
Trumpet – Chauncey Welsch, Nick Travis

CHET BAKER - She Was Too Good To Me (1974-2010) CTI Records 40th Anniversary / FLAC (tracks+.cue), lossless

Baker began his comeback after five years of musical inactivity with this excellent CTI date. Highlights include "Autumn Leaves," "Tangerine," and "With a Song in My Heart." Altoist Paul Desmond is a major asset on two songs and the occasional strings give variety to this fine session. by Scott Yanow
Tracklist :
1. Autumn Leaves  7:02
Written-By – Johnny Mercer, Joseph Kosma
2. She Was Too Good to Me 4:40
Written-By – Rodgers & Hart
3. Funk in Deep Freeze 6:06
Written-By – Hank Mobley
4. Tangerine 5:27
Written-By – Johnny Mercer, Victor Schertzinger
5. With a Song in My Heart 4:04
Written-By – Rodgers & Hart
6. What'll I Do? 3:55
Written-By – Irving Berlin
7. It's You or No One 4:28
Written-By – Jule Styne, Sammy Cahn
8. My Future Just Passed 4:46
Credits :
Alto Saxophone – Paul Desmond
Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Cello – George Ricci, Jesse Levy, Warren Lash
Drums – Jack DeJohnette (faixas: 5, 6, 7), Steve Gadd (faixas: 1 to 4, 8)
Electric Piano – Bob James
Engineer – Rudy Van Gelder
Flute [Alto], Oboe [D'amore] – George Marge
Flute, Clarinet – Romeo Penque
Flute, Flute [Alto] – Hubert Laws
Producer – Creed Taylor
Trumpet, Vocals – Chet Baker
Vibraphone – Dave Friedman
Violin – Barry Finclair, David Nadien, Emanuel Green, Harold Kohon, Harry Glickman, Herbert Sorkin, Lewis Eley, Max Ellen, Paul Gershman

LEE WILEY - West of the Moon (1956-2007) RM / FLAC (image+.cue), lossless

Lee Wiley was still in prime form during the 1950s, although she was disappointed that she did not become a major commercial success. On this LP (all but two cuts have since been reissued on CD), Wiley is joined by three different orchestras arranged by Ralph Burns. Her renditions of "You're a Sweetheart," "Who Can I Turn to Now," "Can't Get Out of This Mood," "East of the Sun," and "Moonstruck" are particularly memorable. Despite the passing of time, Wiley's voice was still sensuous and haunting, lightly swinging and full of subtlety. With trumpeter Nick Travis, trombonist Urbie Green, trumpeter Billy Butterfield, trombonist Lou McGarity, and clarinetist Peanuts Hucko helping out with a few short solos, Wiley sounds inspired throughout this memorable set. by Scott Yanow
Tracklist :
1     You're a Sweetheart    2:57
Harold Adamson / Jimmy McHugh
2     This Is New    2:59
Ira Gershwin / Kurt Weill
3     You Must Have Been a Beautiful Baby    3:02
Johnny Mercer / Harry Warren
4     Who Can I Turn to Now?    3:56
William Engvick / Alec Wilder
5     My Ideal    3:26
Newell Chase / Leo Robin / Richard A. Whiting / Alec Wilder
6     Can't Get out of This Mood    3:16
Frank Loesser / Jimmy McHugh
7     East of the Sun    3:34
Brooks Bowman
8     I Left My Sugar Standing in the Rain    3:48
Sammy Fain / Irving Kahal
9     Moonstruck    3:43
Sam Coslow / Arthur Johnston
10     Limehouse Blues    3:06
Philip Braham / Douglas Furber
11     As Time Goes By    3:16
Herman Hupfeld
12     Keepin' out of Mischief Now    2:45
Andy Razaf / Fats Waller
- Bonus Tracks -
13     Stars Fell On Alabama    4:05
 Written-By – F. Perkins, M. Parish
14     Do You Know What It Means To Miss New Orleans?    4:06
Written-By – DeLange, Alter
Credits :
Arranged By – Deane Kincaide (tracks: 13, 14), Ralph Burns (tracks: 1 To 12)
Baritone Saxophone – Danny Bank (tracks: 2, 6, 9, 10), Deane Kincaide (tracks: 13, 14)
Bass – Bob Haggart (tracks: 13, 14), Milt Hinton (tracks: 1 To 12)
Clarinet – Peanuts Hucko (tracks: 1, 3, 8, 12, 13, 14)
Drums – Cliff Leeman (tracks: 13, 14), Don Lamond (tracks: 1 To 12)
Flute, Clarinet, Alto Saxophone – Ray Beckenstein (tracks: 4, 5, 7, 11)
Flute, Oboe, English Horn – Romeo Penque (tracks: 4, 5, 7, 11)
Guitar – Barry Galbraith
Harp – Jane Putnam (tracks: 4, 5, 7, 11)
Piano – Lou Stein (tracks: 13, 14), Moe Wechsler (tracks: 1 To 12)
Reeds – Ray Beckenstein (tracks: 2, 6, 9, 10), Romeo Penque (tracks: 2, 6, 9, 10)
Tenor Saxophone – Al Epstein (tracks: 2, 6, 9, 10), Al Klink (tracks: 1, 3, 8, 12)
Trombone – Cutty Cutshall (tracks: 13, 14), Lou McGarity (tracks: 1, 3, 8, 12), Bob Alexander (tracks: 2, 6, 9, 10), Urbie Green (tracks: 2, 6, 9, 10)
Trumpet – Bernie Glow (tracks: 2, 6, 9, 10), Billy Butterfield (tracks: 1, 3, 8, 12, 13, 14), Nick Travis (tracks: 2, 6, 9, 10)
Viola – Dave Schwartz (tracks: 4, 5, 7, 11)
Violin – Leo Kruczek (tracks: 4, 5, 7, 11), Paul Winter (tracks: 4, 5, 7, 11)
Vocals – Lee Wiley 

JIMMY SMITH - Got My Mojo Workin' + Hoochie Cooche Man (2000) FLAC (image+.cue), lossless

After leading a series of notable jam sessions for Blue Note, organist Jimmy Smith signed a lucrative contract with Verve in 1962. Throughout the remainder of the decade, he recorded songs that ranged from treasures to trash, turning most of the music into bluesy vamps. On this CD, a reissue of the LPs Got My Mojo Workin' and Hoochie Cooche Man, Smith's repertoire ranges from Billy Strayhorn's "Johnny Come Lately" and Oliver Nelson's "Blues and the Abstract Truth" to "I'm Your Hoochie Coochie Man" and "I Can't Get No Satisfaction." In most cases, Smith's versions bear little resemblance to the original recordings. The earlier set has Smith featured with both a quartet and an octet arranged by Oliver Nelson. The remainder of the CD is a big band with Nelson's charts making the orchestra as exuberant as Smith's solos. Overall, the CD is not as essential as Jimmy Smith's better Blue Note dates, but is a worthwhile acquisition for fans of the jazz organ due to his enthusiasm and his ability to uplift the material. by Scott Yanow
Tracklist :
Got My Mojo Workin' (1965)
1     Hi-Heel Sneakers 5:14
Robert Higginbotham   
2     (I Can't Get No) Satisfaction 4:24
Mick Jagger / Keith Richards
3     1-2-3 4:20
Leonard Borisoff / Lamont Dozier / Eddie Holland / John Madara / David White
4     Mustard Greens 5:37
Jimmy Smith
5     Got My Mojo Working 8:00
Preston Foster
6     Johnny Come Lately 3:58
Billy Strayhorn
7     C Jam Blues 3:49
Barney Bigard / Duke Ellington
8     Hobson's Hop 4:28
Jimmy Smith
Hoochie Cooche Man (1966)
9     (I'm Your) Hoochie Coochie Man 5:57
Willie Dixon
10     One Mint Julep 5:28
Rudy Toombs
11     Ain't That Just Like a Woman 5:41
Claude Demetrius / Fleecie Moore
12     Boom Boom 6:14
John Lee Hooker
13     Blues and the Abstract Truth 5:25
Oliver Nelson
14     TNT 5:24
Grady Tate / Ben Tucker
Previously Unissued Alternate Take
15     (I Can't Get No) Satisfaction 4:40
Mick Jagger / Keith Richards
Credits :
Alto Saxophone – Phil Woods (faixas: 5 to 8)
Arranged By, Conductor – Oliver Nelson (faixas: 5 to 14)
Baritone Saxophone – Jerome Richardson (faixas: 5 to 8)
Bass – Ben Tucker (faixas: 1 to 4, 15), Bob Cranshaw (faixas: 9 to 14), George Duvivier (faixas: 5 to 8), Richard Davis (2) (faixas: 9 to 14), Ron Carter (faixas: 1 to 4, 15)
Bongos, Percussion – Bobby Rosengarden (faixas: 9 to 14)
Drums – Grady Tate (faixas: 1 to 15)
French Horn – Donald Corrado (faixas: 9 to 14), Willie Ruff (faixas: 9 to 14)
Guitar – Barry Galbraith (faixas: 9 to 14), Bill Suyker (faixas: 9 to 14), Billy Butler (3) (faixas: 9 to 14), Kenny Burrell (faixas: 1 to 15)
Harmonica – Buddy Lucas (faixas: 9, 11, 12)
Orchestra – Oliver Nelson's Orchestra
Organ – Jimmy Smith (faixas: 1 to 15)
Reeds – Jack Agee (faixas: 9 to 14), Jerome Richardson (faixas: 9 to 14), Jerry Dodgion (faixas: 9 to 14), Phil Woods (faixas: 9 to 14), Bob Ashton (faixas: 9 to 14)
Tenor Saxophone, Flute – Romeo Penque (faixas: 5 to 8)
Trombone – Britt Woodman (faixas: 9 to 14), Melba Liston (faixas: 9 to 14), Quentin Jackson (faixas: 9 to 14), Tom McIntosh (faixas: 9 to 14)
Trumpet – Ernie Royal (faixas: 5 to 14), Snooky Young (faixas: 9 to 14), Joe Newman (faixas: 9 to 14), Richard Williams (faixas: 9 to 14)
Tuba – Don Butterfield (faixas: 9 to 14)
Vocals – Jimmy Smith (faixas: 1 to 8, 15)
 

ANTONIO CARLOS JOBIM - Jobim (1973-2000) RM / FLAC (image+.cue), lossless

Though this is one of the more obscure Jobim albums, it did introduce what some believe is Jobim's masterpiece, the hypnotically revolving song "Aguas de Marco" (heard here in Portuguese and English versions). Mostly, however, the record lets listeners in on another side of Jobim, the Debussy/Villa-Lobos-inspired creator of moody instrumental tone poems for films and whatnot, with the instrumental colors filled in by Jobim's old cohort, Claus Ogerman. This was supposed to be a breakthrough for Jobim, bursting out of the bossa nova idiom into uncharted territory, yet a lot of this often undeniably beautiful music merely treads over ground that Villa-Lobos explored long before ("Train to Cordisburgo" especially). In any case, Jobim would explore his serious muse with greater success later on. by Richard S. Ginell
Tracklist:
1    Águas de Março (Waters of March) 3:58
Antônio Carlos Jobim
2    Ana Luiza 5:28
Antônio Carlos Jobim
3    Matita Perê 7:12
Antônio Carlos Jobim
4    Tempo Do Mar 5:14
Antônio Carlos Jobim
5    Mantiqueira Range 3:33
Antônio Carlos Jobim
6    Themes from the Film Cronica da Casa Assassinada / Trem Para Cordisburgo 10:01
Antônio Carlos Jobim
7    Um Rancho Nas Nuvens 4:05
Antônio Carlos Jobim
8    Nuvens Douradas 3:18
Antônio Carlos Jobim
9    Águas de Março (Waters of March) 3:55
Antônio Carlos Jobim
Credits:
Bass – Richard Davis, Ron Carter
Concertmaster, Violin [Tenor] – Harry Lookofsky
Cover [Original] – Paulo Hermanny Jobim
Drums, Percussion – Airto Moreira, João Palma
Flute, Woodwind – Don Hammond, Jerry Dodgion, Phil Bodner, Ray Beckenstein, Romeo Penque
Guitar – Antonio Carlos Jobim (faixas: 1 to 5, 7, 9)
Percussion – George Devens
Piano – Antonio Carlos Jobim
Producer, Arranged By, Conductor – Claus Ogerman
Trombone – Urbie Green (faixas: 7, 8)
Vocals – Antonio Carlos Jobim (faixas: 1 to 3, 6, 9)
Written-By – Antonio Carlos Jobim (faixas: 1 to 4, 6 to 9)

BARRY GALBRAITH - Guitar And The Wind [1958]

Guitarist Barry Galbraith played with Babe Russin, Art Tatum, Red Norvo, Hal McIntyre and Teddy Powell after moving to New York from Vermont in the early '40s. He was in Claude Thornhill's band from 1941 to 1942, and again from 1946 to 1949 following army service. Galbraith was a busy studio musician in the '50s and '60s, playing with Benny Goodman, Ella Fitzgerald, Tony Bennett, Tal Farlow, and Gil Evans among others. He toured with Stan Kenton in 1953, and was prominently involved with the film "After Hours" in 1961. Galbraith became a teacher in the '70s, and devoted most of his time to that role. He published the "Barry Galbraith Guitar Study Series" in 1982."  by Ron Wynn
Tracklist:
1. Bull Market 2:47
2. Portrait of Jennie 3:12
3. Judy's Jaunt 2:31
4. Nina Never Knew 2:51
5. Walking 3:15
6. A Gal in Calico 3:13
7. I Like to Recognize the Tune 2:59
8. Any Place I Hang My Hat 3:10
9. Love is for the Very Young 2:51
10. Holiday 2:54
11. Ya Gotta Have Rhythm 3:14
12. What am I Here For 2:35
Credits
Bass – Milt Hinton (tracks: All)
Drums – Osie Johnson (tracks: All)
Flute – Bobby Jaspar (tracks: All)
Flute, Clarinet – Spencer Sinatra (tracks: 2, 6, 7, 10)
Flute, Clarinet, Bass Clarinet – Phil Bodner (tracks: 2, 6, 7, 10)
Flute, Oboe, Clarinet – Romeo Penque (tracks: 2, 6, 7, 10)
Guitar – Barry Galbraith (tracks: All)
Piano – Eddie Costa (tracks: All)
Trombone – Chauncey Welsch (tracks: 1, 4, 8, 12),
Frank Rehak (tracks: 1, 4, 8, 12),
Richard Hixson (tracks: 1, 4, 8, 12),
Urbie Green (tracks: 1, 4, 8, 12)

BARRY GALBRAITH 

Guitar And The Wind [1958]

DECCA / CBR320 / scan

O Púbis da Rosa

LALO SCHIFRIN - The Dissection And Reconstruction Of Music From The Past As Performed By The Inmates Of Lalo Schifrin's Demented Ensemble As A Tribute To The Memory Of The Marquis De Sade [1966] Verve / Lp / FLAC

Come again? This crackpot title -- probably the longest ever concocted for a jazz album -- actually is a front for a not-so-dangerous, hard-swinging album in which Schifrin invents or borrows 18th-century classical themes and sets them into big band or small-combo contexts. Such is Schifrin's chameleonic mastery that his own inventions are a match for the themes of the period, and he is tasteful enough not to overload the window dressing and keep the rhythm section loosely swinging nearly all the time. Once, Lalo tries something wacky; on "Beneath a Weeping Window Shade," he has singer Rose Marie Jun intoning a madrigal-like Francis Hopkinson song against some avant-garde multiphonic flute from Jerome Richardson, ministrations from a string quintet, and Schifrin's own comments on harpsichord. There is also a stimulating pastiche "Aria" that sounds like Schifrin arguing with Heitor Villa-Lobos and Henry Purcell in 9/8 time. With the cream of New York's jazz session men of the '60s on board -- including the inimitable Grady Tate on drums, Richardson on flute and tenor, Gene Bertoncini on guitar, and J.J. Johnson and Kai Winding on trombones -- and Creed Taylor's production dictating the distinctive timbres, jazz buffs will have a fine time with this collision of the centuries, which leans heavily to the jazz side. The album was reissued on CD as part of Verve's limited Elite Editions series.

Tracklist
A1. Old Laces 4:20
A2. The Wig 2:40
A3. The Blues For Johann Sebastian 3:05
A4. Renaissance 3:15
A5. Beneath A Weeping Willow Shade 2:30
B1. Versailles Promenade 3:55
B2. Troubadour 3:00
B3. Marquis De Sade 2:45
B4. Aria 2:30
B5. Bossa Antique 3:26

Arranged By, Conductor, Leader, 

Piano, Harpsichord– Lalo Schifrin

Bass – Richard Davis (2)

Cello – George Ricci (tracks: A4, A5, B4)

Drums – Grady Tate

Flute [Tenor & Alto] – Jerome Richardson

Saxophone (tracks: A2, A3, A4, A5, B2, B4, B5)

Flute, Flute [Alto] – Romeo Penque (tracks: A2, A3, B2, B5)

French Horn – James Buffington* (tracks: A2, A3, B2, B5), 

Ray Alonge (tracks: A2, A3, B2, B5), 

Richard Berg (3) (tracks: A2, A3, B2, B5)

Guitar – Gene Bertoncini (tracks: A4, A5, B4)

Guitar [Classic], Electric Guitar (tracks: A1, B1, B3)

Harp – Gloria Agostini (tracks: A4, A5, B4)

Trombone – J. J. Johnson* (tracks: A2, A3, B2, B5),

 Kai Winding (tracks: A2, A3, B2, B5), 

Thomas Mitchell (tracks: A2, A3, B2, B5), 

Urbie Green (tracks: A2, A3, B2, B5)

Trumpet – Clark Terry (tracks: A2, A3, B2, B5),

 Ernie Royal, Snooky Young* (tracks: A2, A3, B2, B5), 

Jimmy Maxwell (tracks: A2, A3, B2, B5)

Tuba – Don Butterfield (tracks: A2, A3, B2, B5)

Violin – Alfred Brown (tracks: A4, A5, B4), 

Christopher Williams (10) (tracks: A4, A5, B4), 

Gene Orloff (tracks: A4, A5, B4),

 Harry Lookofsky (tracks: A4, A5, B4)

Vocals – Rose Marie Jun (tracks: A4, A5, B4)

O Púbis da Rosa