JOE HENDERSON QUARTETS — Tetragon (1968-1995) RM | FLAC (tracks+.cue), lossless

Joe Henderson's second Milestone recording (which, as with all the others, is currently available on his massive "complete" eight-CD box set) features the great tenor with two separate rhythm sections: Kenny Barron or Don Friedman on piano, bassist Ron Carter and either Louis Hayes or Jack DeJohnette on drums. Highlights of this album include the title track, "I've Got You Under My Skin" and "Invitation." Scott Yanow
Tracklist :
1.    Invitation    6:13
 Bronislaw Kaper / Paul Francis Webster 
2.    R. J.    5:33
 Ron Carter 
3.    The Bead Game    8:36
 Joe Henderson / Lee Konitz 
4.    Tetragon    5:37
 Joe Henderson 
5.    Waltz For Zweetie    4:25
 Walter Bishop, Sr. 
6.    First Trip    5:12
 Ron Carter 
7.    I've Got You Under My Skin    4:57
 Cole Porter 
Credits :
Bass – Ron Carter
Drums – Jack DeJohnette (tracks: 1 to 3, 5), Louis Hayes (tracks: 4, 6, 7)
Piano – Don Friedman (tracks: 1 to 3, 5), Kenny Barron (tracks: 4, 6, 7)
Tenor Saxophone – Joe Henderson

BOBBI HUMPREY — Dig This! (1972) RM | Two Version | Blue Note, The Masterworks Series | FLAC (tracks+.cue), lossless

Dig This, recorded and released in 1972, is the second of Bobbi Humphrey's seven Blue Note albums; it is also her sophomore recording. The album was produced by then-label president George Butler. He had signed Humphrey and helmed her debut, Flute In, the previous year. Recorded at A&R Studios, the young flutist was teamed with bassists Ron Carter and Wilbur Bascomb, Jr., powerhouse drummer Alphonse Mouzon, guitarists David Spinozza and William Fontaine, and keyboardists Harry Whitaker and Paul Griffin. While the album’s formula didn’t deviate that much from her debut -- an easy, tasty balance of soul, pop, and jazz tunes -- the material, production, and Humphrey’s confidence all stand out here. Check her reading of Bill Withers' “Lonely Town, Lonely Street,” as she stretches the melody to meet Bascomb's and Spinozza’s funky grooves. While strings swoop and hover, threatening to overtake the mix, her plaintive style goes right at them with meaty, in-the-pocket phrasing. Her version of Whitfield and Strong’s “Smiling Faces Sometimes” is well-known in pop culture for the sample that appeared on Common’s “Puppy Chow,” but taking the tune in full, Humphrey’s gift as a soloist is revealed in full, as she winds around and through funky clavinets, Rhodes, strings, guitars, and Mouzon’s popping snare. The reading of Stevie Wonder's “I Love Every Little Thing About You,” with its bubbling basslines and Humphrey’s understatement of the melody, make this a bright, shining jazz-funk number. “El Mundo de Maravillas (A World of Beauty),” is one of two fine Mouzon compositions to appear here, this one commences with a cello in a spacy, soulful ballad that showcases Humphrey’s classical chops before it moves into funk terrain and then back again. The set closer is a souled-out reading of Kenny Barron's “Nubian Lady,” with chunky guitars, Bascomb’s Fender bass, shuffling drums, and Humphrey adding air and space to the knotty groove. While Dig This is not the revelation that Blacks and Blues is (it appeared two years later), it is nonetheless a stone killer example of jazz-funk in its prime, and should be considered an essential part of the canon.

-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1. Lonely Town, Lonely Street 4:35  
(Bill Withers) 
2. Is This All? 3:43
(Henry Johnson) 
3. Smiling Faces Sometimes 6:19
 (Barrett Strong-Norman Whitfield) 
4. Virtue 4:28
(Alphonse Mouzon) 
5. I Love Every Little Thing About You 4:19
(Stevie Wonder) 
6. Love Theme from "Fuzz" 3:47
(Dave Grusin) 
7. Eo Mundo de Maravillas (A World of Beauty) 7:31
 (Alphonse Mouzon) 
8. Nubian Lady 4:47
(Kenny Barron) 
Credits :
Bobbi Humphrey - Flute
George Marge - Oboe, English Horn
Seymour Berman, Paul Gershman, Irving Spice, Paul Winter - Violin
Julian Barber (Viola), Seymour Barab (Cello), Eugene Bianco (Harp)
Harry Whitaker (Electric Piano), Paul Griffin (Electric Piano, Clavinet)
William Fontaine, David Spinozza - Guitar
Ron Carter - Bass
Wilbur Bascomb Jr. - Electric Bass
Alphonse Mouzon - Drums, Bell Tree, Arranger
Warren Smith (Percussion)
Wade Marcus, Horace Ott - Arranger

DEODATO — Prelude (1972) Four Version | Vinyl LP 24-48Hz | The Master Series | Blu-spec CD | CTI Supreme Collection – 1 Series | CTI Records 40th Anniversary | FLAC (tracks+.cue), lossless

Eumir Deodato de Almeida, also known as Eumir Deodato, is a Brazilian pianist, composer, record producer and arranger, primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music.
Prior to Prelude, Eumir Deodato was primarily known, if at all, as a tasteful, lyrical, bossa nova-based sometime arranger for the likes of Antonio Carlos Jobim, Frank Sinatra, Wes Montgomery, and others. Enter Creed Taylor, who gave Deodato a chance to step out on his own as a pianist/leader, doing a few tunes of his own plus a healthy quota of CTI-patented jazz interpretations of classical pieces by Richard Strauss ("Also Sprach Zarathustra (2001)"), Debussy ("Prelude to the Afternoon of a Faun"), and bowdlerized Borodin ("Baubles, Bangles and Beads"). Well, "2001" -- a clever, up-tempo Latin-groove takeoff on the opening measures of Strauss' tone poem suddenly exploded and became an improbable hit single. In its wake, Prelude soared to number three on the pop LP charts, and Deodato was propelled out of the arranger-for-hire business. Though overshadowed by "2001," the other tracks also hold up well today, being mostly medium-tempo, sometimes lushly orchestrated, conga-accented affairs that provide velvety showcases for Deodato's lyrical electric piano solos. The record also made a temporary star out of John Tropea, whose electric guitar has a lot of rock & rolling zip and fire, and Hubert Laws, Stanley Clarke, and Marvin Stamm each get a little solo room too. This would be the biggest hit Deodato and CTI ever had, and though short on playing time (32 minutes), it still makes enjoyable listening. Richard S. Ginell
Tracklist :
1 Also Sprach Zarathustra 9:01
Arranged By, Adapted By – Eumir Deodato

Electric Bass [Solo] – Stanley Clarke
Electric Guitar [Solo] – John Tropea
Written-By – Richard Strauss
2 Spirit Of Summer 4:14
Guitar [Solo] – Jay Berliner
Written-By – E. Deodato 
3 Carly & Carole 3:41
Written-By – E. Deodato 
4 Baubles, Bangles And Beads 5:20
Electric Bass – Ron Carter
Electric Guitar [Solo] – John Tropea
Written-By – A. Borodin, G .Forrest, R. Wright 
5 Prelude To The Afternoon Of A Faun 5:13
Arranged By, Adapted By – Eumir Deodato
Flute [Solo] – Hubert Laws
Trumpet [Solo] – Marvin Stamm
Written-By – C. Debussy 
6 September 13 5:56
Electric Guitar [Solo] – John Tropea
Written-By – B. Cobham, E. Deodato
Credits :
Arranged By, Conductor,  Electric Piano, Piano – Eumir Deodato
Bass – Ron Carter
Cello – Charles McCracken, Harvey Shapiro, Seymour Barab
Congas – Ray Barretto
Drums – Billy Cobham
Electric Bass – Stanley Clarke
Electric Guitar – John Tropea
Engineer – Rudy Van Gelder
Flute – George Marge, Hubert Laws, Phil Bodner, Romeo Penque
French Horn – Jim Buffington, Peter Gordon
Guitar – Jay Berliner
Percussion – Airto
Producer – Creed Taylor
Trombone – Bill Watrous, Garnett Brown, George Strakey, Paul Faulise, Wayne Andre
Trumpet – Joe Shepley, John Frosk, Marky Markowitz, Marvin Stamm
Viola – Al Brown, Emanuel Vardi
Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Lookofsky, Max Ellen, Paul Gershman 

WES MONTGOMERY — So Much Guitar (1961) RM | Four Version | Original Jazz Classics Remasters Series | 24-Karat Gold Plated | FLAC (image+.tracks+.cue), lossless

One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with "Cottontail," "I'm Just a Lucky So and So," and a brief unaccompanied "While We're Young" being high points. -Scott Yanow
Tracklist :
1. "Twisted Blues" (Wes Montgomery) – 5:31
2. "Cotton Tail" (Duke Ellington) – 3:38
3. "I Wish I Knew" (Mack Gordon, Harry Warren) – 5:26
4. "I'm Just a Lucky So-and-So" (Ellington, Mack David) – 5:57
5. "Repetition" (Neal Hefti) – 3:48
6. "Somethin' Like Bags" (Montgomery) – 4:44
7. "While We're Young" (Morty Palitz, Alec Wilder) – 2:12
8. "One for My Baby (and One More for the Road)"  (Harold Arlen, Johnny Mercer) – 7:38
Credits :
Wes Montgomery – Guitar
Ron Carter – Bass
Lex Humphries – Drums
Ray Barretto – Conga
Hank Jones – Piano 

HERBIE MANN — Memphis Two-Step (1971-2007) FLAC (tracks+.cue), lossless

Memphis Two-Step was the third in Herbie Mann's series of soul/R&B-inflected albums with similar names that began with Memphis Underground and continued with Muscle Shoals Nitty Gritty. It is also one of the weakest. "Soul Man" and the title cut really cook, with the personnel and recording information on the latter indicating it may be an outtake from the Memphis Underground sessions. In fact, it is the only track actually recorded in Memphis. The rest of the album doesn't work very well, with "The Night They Drove Old Dixie Down" a particularly poor choice for a jazz session. The album cover, however, is very cool. Jim Newsom
Tracklist :
1    Soul Man 4:49
Bass – Darrel Clayborn
Drums – Richard Waters
Electric Piano – John Barnes
Flugelhorn – Melvin Lastie
Guitar – Al Vescovo
Percussion – Victor Pantoja
Trombone – George Bohanan
Trumpet – Ike Williams
Written-By – David Porter, Isaac Hayes
2    The Night They Drove Old Dixie Down 5:25
Bass – Darrel Clayborn
Drums – Richard Waters
Electric Piano – John Barnes
Flugelhorn – Melvin Lastie
Guitar – Al Vescovo
Percussion – Victor Pantoja
Trombone – George Bohanan
Trumpet – Ike Williams
Written-By – J.R. Robertson
3    Memphis Two-Step 6:27
Bass – Mike Leach
Drums – Gene Christman
Electric Piano – Bobby Wood
Guitar – Larry Coryell, Reggie Young
Organ – Bobby Emmons
Vibraphone – Roy Ayers
Written-By – Don Sebesky
4    Down On The Corner 5:50
Congas – Patato Valdez
Guitar – Charlie Brown
Written-By – John Fogerty
5    Guinnevere 8:00
Guitar – Charlie Brown
Written-By – David Crosby
6    Acapulco Rain 7:54
Bass – Ron Carter
Guitar – Richie Resnicoff
Rainstick [Rainmaker] – Eddie Simon
Written-By – Herbie Mann
7    Kabuki Rock 5:30
Bass – Ron Carter
Guitar – Richie Resnicoff
Written-By – William S. Fischer

WOODY SHAW — Blackstone Legacy (1970-1999) RM | FLAC (tracks+.cue), lossless

Originally a two-fer on vinyl and now on one CD, Shaw's debut as a leader is one of the first "free bop" sessions, in many ways his answer to Bitches Brew. The trumpeter's ensemble extracts dense, energetic, meaty collective sounds based in pure improvisation with a skeleton of a rhythmic framework to expound upon. Saxophonists Gary Bartz & Bennie Maupin, electric pianist George Cables, twin bassists Ron Carter and Clint Houston, and drummer Lenny White respond to Shaw's heavy direction, making for some of the most kinetic jazz heard in that period of early fusion. Shaw's bright melodicism, hard edged swing and refusal to compromise are his greatest assets. They come shining through on tuneful classics like the unstoppable "Think On Me" and stop-start gymnastics of "Boo-Ann's Grand." It represents the progressive bop aesthetic at a fever pitch. The title track is as wild and wooly as Woody could be, while "Lost & Found" is free bop at its finest. "New World" is a free funk number, quite a trend setter for its time, while "A Deed For Dolphy" shows an abstract, no-time side rarely heard from Shaw. All tunes are quite lengthy, no shorter than nine, no longer than seventeen minutes. This allows the band to develop their ideas and interact in a manner more akin to a concert setting. Bartz (alto and soprano saxophone) and Maupin (tenor saxophone, bass clarinet and flute) consistently show why they are two of the best improvising jazzmen out there. As much as the music is the thing, it is the singular presence of Shaw that refracts many colors of light and dark, like a multi-hued beacon directing many ships to port. There is not a better example of this music from its inception, documented on tape, than this other worldly session that brought the trumpeter to the jazz world's attention. Furthermore, few have done it better since. Truly a landmark recording, and a pivot point in the history of post-modern music. Michael G. Nastos
Tracklist
1    Blackstone Legacy    16:08
Composed By – Woody Shaw
2    Think On Me 10:49
Composed By – George Cables
3    Lost And Found    10:45
Composed By – Woody Shaw
4    New World 17:06
Composed By – George Cables
5    Boo-Ann's Grand    14:25
Composed By – Woody Shaw
6    A Deed For Dolphy    8:56
Composed By – Woody Shaw
Credits :
Alto Saxophone [Left Channel], Soprano Saxophone [Left Channel] – Gary Bartz
Bass [Left Channel] – Ron Carter (tracks: 2 to 6)
Bass [Right Channel] – Clint Houston (tracks: 1, 2, 4 to 6)
Drums – Lenny White
Piano, Electric Piano – George Cables
Tenor Saxophone [Right Channel], Bass Clarinet [Right Channel], Flute [Right Channel] – Bennie Maupin
Trumpet – Woody Shaw

STEVE KUHN — The October Suite : Three Compositions of Gary McFarland (1966-2003) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Composer and arranger Gary McFarland was well known in the 1960s for his film-scoring abilities and his charting skills with midsized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, all but two of which were written specifically for the album. Recorded in 1966, it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillistic school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet on half the record and with a wind trio with harp on the other half. The tracks on side one are in some ways less revolutionary, yet more fulfilling because Kuhn is clearly at home with the sonorities afforded by the strings. They don't swing, even on "One I Could Have Loved" from the film 13 or "St. Tropez Shuttle," a strangely metered bossa tune (in 3/4 instead of 4/4). Kuhn's cautious, contemplative improvising concerns itself with scalar explorations of melody, color, and harmony rather than rhythm or modal considerations. His touch is light and airy and therefore most pronouncedly visible against the strings. The interplay between Carter and Morell is almost instinctual; they couldn't have moved any closer together on this set if the charts had been written for them -- and they were not. With the wind trio and harp, Kuhn's approach is more physical, but nonetheless strives to create a palette for the very instruments that are trying to create one for him. There is some tension in this approach, but it works to the record's advantage. In sum, The October Suite was an experiment that worked beautifully, even if it was not acknowledged as being one of the more subtly brilliant albums of its day, though it most certainly stands the test of time that way.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    One I Could Have Loved    4:45
 Gary McFarland
2    St. Tropez Shuttle    7:10
 Gary McFarland
3    Remember When    7:25
 Gary McFarland
4    Traffic Patterns    5:04
 Gary McFarland
5    Childhood Dreams    6:27
 Gary McFarland
6    Open Highway    8:43
 Gary McFarland
Credits :
Bass – Ron Carter
Cello – Al Brown (tracks: 1 to 3)
Composed By, Conductor, Arranged By – Gary McFarland
Drums – Marty Morell
Harp – Corky Hale (tracks: 4 to 6)
Piano – Steve Kuhn
Viola – Charlie McCracken (tracks: 1 to 3)
Violin – Isador Cohen (tracks: 1 to 3), Matt Raimondi (tracks: 1 to 3)
Woodwind – Don Ashworth (tracks: 4 to 6), Gerald Sanfino (tracks: 4 to 6), Irving Horowitz (tracks: 4 to 6), Joe Firrantello (tracks: 4 to 6)

STEVE KUHN — The Early 70's (1971-2007) FLAC (tracks+.cue), lossless

This is the almost more about the other Jazz side of Steve Khun the vocalist, not the Pianist. When he plays piano, it is within the language of avant garde classical, and the presence of a string quartet affirms that soundscape, yet the Jeckyll to the Hyde of that is the singing is mellifluous, accompanied by gentle Electric piano. It is in the spirit of Michael Franks, and a delight in being so. In a long and distinguished career with some of jazz' s greats, this is his oddity. Yet for the most part, the unusual experiment works, I think for the most part that there is a nostalgia for early fusion, and this is the sleeper in that format. The best instrumental tracks on the lp are comparable with the Return to Forever tracks with no guitarist on them. The later Kuhn ECM albums embrace that early hard to post bop language and have him back in the piano seat without the vocal mike. Mark Harrington
Tracklist :
1    The Zoo (a.k.a. Pearlie's Swine)    5:29
Written-By – Steve Kuhn
2    Silver    4:38
Written-By – Steve Kuhn
3    Tomorrow's Son (a.k.a. Time To Go)    3:23
Written-By – Steve Kuhn
4    The Heat Of The Moment    1:56
Written-By – Steve Kuhn
5    Saharan (a.k.a. The Baby)    4:46
Written-By – Steve Kuhn
6    The Drinking Song (a.k.a. Hold Out Your Hand)    3:12
Written-By – Steve Kuhn
7    The Meaning Of Love    2:54
Written-By – Steve Kuhn
8    Remembering Tomorrow (a.k.a. Ulla)    4:22
Written-By – Steve Kuhn
9    A Change Of Face    3:34
Written-By – Steve Kuhn
10    Day Dreaming 2:59
Written-By – Aretha Franklin
11    Something Everywhere    4:47
Written-By – Steve Kuhn
12    Trance    4:41
Written-By – Steve Kuhn
13    Last Tango In Paris 2:37
Written-By – Gato Barbieri
14    Life's Backward Glance    3:06
Written-By – Steve Kuhn
Credits :
Acoustic Bass, Electric Bass – Ron Carter (tracks: 1 to 8)
Arranged By – Gary McFarland (tracks: 1 to 8), Steve Kuhn (tracks: 1 to 8)
Conductor – Gary McFarland (tracks: 1 to 8)
Drums – Billy Cobham (tracks: 1 to 8), Bruce Ditmas (tracks: 9 to 14)
Electric Bass – Steve Swallow (tracks: 9 to 14)
Electric Piano – Steve Kuhn
Percussion – Susan Evans (tracks: 9 to 14)
Percussion [Latin] – Airto Moreira (tracks: 1 to 8)
Piano – Steve Kuhn (tracks: 1 to 8)
Vocals – Steve Kuhn (tracks: 1 to 8, 14)

STEVE KUHN TRIO — Life's Magic (1986) FLAC (tracks+.cue), lossless

 Steve Kuhn leads an all-star trio with bassist Ron Carter and drummer Al Foster in this compilation of 1986 performances recorded over several nights at the Village Vanguard. First issued on Black Hawk and subsequently re-released in 2012 with a new cover, this is one of the many highlights of the pianist's vast discography. Opening with a spry, playful take of "Little Old Lady," Kuhn follows with his loping, bluesy "Two by Two" and Fats Waller's lyrical "Jitterbug Waltz," the latter showcasing Carter's intricate bass and Foster's light touch with brushes. His brisk setting of "Yesterday's Gardenias" (a song recorded by Glenn Miller in the 1940s) takes it far from its roots, turning this ballad into an engaging post-bop vehicle. The pianist's "Mr. Calypso Kuhn" puts the spotlight on Foster, opening with an intense solo, followed by the addition of Carter and, finally, the leader. Kuhn's luxurious, spacious take of "Never Let Me Go" conveys the song's message even without its lyrics. The disc closes with an extended workout of "Softly, as in a Morning Sunrise" that leaves the entranced audience wanting more. Ken Dryden
Tracklist :
1    Little Old Lady 4:03
Written-By – Carmichael, Adams
2    Two By Two 7:40
Written-By – Kuhn
3    Jitterbug Waltz 10:00
Written-By – Waller
4    Ulla 0:35
Written-By – Kuhn
5    Trance 10:45
Written-By – Kuhn
6    Yesterday's Gardênias 5:56
Written-By – Robertson, Cogane, Mysels
7    Mr. Calypso Kuhn 6:01
Written-By – Kuhn
8    Never Let Me Go 4:41
Written-By – Evans/Livingston
9    Softly As In A Morning Sunrise 13:21
Written-By – Hammerstein, Romberg
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN — The Vanguard Date (1991) Serie Owl Time Line | Two Version | FLAC & APE (image+.cue), lossless

The Vanguard Date features jazz pianist Steve Kuhn performing with his trio at New York's Village Vanguard in 1986. Joining Kuhn here are bassist Ron Carter and drummer Al Foster. Whether playing jazz standards, ballads, or the pianist's own atmospheric and harmonically interesting post-bop compositions, Kuhn and his trio sound superb. This is a highly recommended album for Kuhn fans. Matt Collar
Tracklist :
1    Clotilde 4:39
Composed By – Steve Kuhn
2    Superjet 7:30
Composed By – Tadd Dameron
3    Little Waltz 6:30
Composed By – Ron Carter
4    The Zoo 4:57
Composed By – Steve Kuhn
5    I Thought About You 7:13
Composed By – Jimmy Van Heusen
6    Music Prayer For Peace 11:38
Composed By – Phil Perry
7    Dance Only With Me 5:39
Composed By – Jule Styne
8    Lullaby 5:04
Composed By – Steve Kuhn
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

STEVE KUHN TRIO — Live at Birdland (2007) APE (image + .cue), lossless

Steve Kuhn has been recording professionally for close to five decades, most of which time he's operated stealthily, rarely achieving the level of recognition he so richly deserves for contributing his immaculate pianistry to a range of jazz greats who have included John Coltrane, Stan Getz, Ornette Coleman, Art Farmer and others, or for leading his own diverse bands. In the mid-'80s Kuhn worked briefly in a trio setting with bassist extraordinaire Ron Carter and drummer Al Foster, cutting a pair of releases, The Vanguard Date and Life's Magic. Two decades later, that trio reconvened at New York's Birdland, and this exquisite aural document of their performance serves as a reminder that, at close to 70, Kuhn is one of jazz piano's unheralded giants. He is as sharp, imaginative and dexterous as he was during his younger years, and with Carter and Foster he is at home -- the musicians reportedly didn't rehearse for these shows, yet they sound as if they'd been at one another's sides for the past 20 years. At Birdland, the trio revisited four compositions that appeared on the earlier albums: Kuhn's own "Clotilde" and "Two by Two," Carter's "Little Waltz" and the Fats Waller standard "Jitterbug Waltz," the latter deconstructed into an 11-minute tour de force that, like much of the music in the set, allows the three musicians to explore a number of tempos, moods and tones. Kuhn, Carter and Foster alternately strut individually and lock intuitively into an airtight groove that takes surprising and pleasing twists before returning to the initial theme. Whether on the opening track, Frank Loesser's "If I Were a Bell," the fusing of Debussy's "La Plus Que Lente" and Billy Strayhorn's "Passion Flower," or the closer, Charlie Parker's "Confirmation," Kuhn establishes a template with light and sensitively executed solo figures before opening things up for all to take off to places unknown. There's a fine balance of simplicity and complexity at work here, but perhaps because he no longer needs to prove anything at this stage in his career, Kuhn seems to have lightened up -- the experimentalism of his ECM period has given way to an approach that is, while still at times blindingly intense, simultaneously light and playful. It's not a bad place for a master to be. Jeff Tamarkin
Tracklist :
1    If I Were A Bell 10:08
Written-By – Frank Loesser
2    Jitterbug Waltz 11:05
Written-By – Thomas Waller
3    Two By Two 7:04
Written-By – Steve Kuhn
4    La Plus Que Lente / Passion Flower 7:11
Written-By – B. Strayhorn, C. Debussy
5    Little Waltz 7:24
Written-By – Ron Carter
6    Lotus Blossom 6:13
Written-By – Kenny Dorham
7    Stella By Starlight 8:13
Written-By – N. Washington, V. Young
8    Slow Hot Wind 7:16
Written-By – H. Mancini, N. Gimbel
9    Clotilde 6:19
Written-By – Steve Kuhn
10    Confirmation 7:09
Written-By – Charlie Parker
Credits :
Bass – Ron Carter
Drums – Al Foster
Piano – Steve Kuhn

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

DUKE PEARSON — Sweet Honey Bee (1966-1993) FLAC (tracks+.cue) lossless

Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians -- trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader -- are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music. Scott Yanow
Tracklist :
1    Sweet Honey Bee    4:50
 Duke Pearson
2    Sudel    5:40
 Duke Pearson
3    After The Rain    4:25
 Duke Pearson
4    Gaslight    5:50
 Duke Pearson
5    Big Bertha    5:50
 Duke Pearson
6    Empathy    6:00
 Duke Pearson
7    Ready Rudy?    6:10
 Duke Pearson
Credits :
Freddie Hubbard - Trumpet
James Spaulding - Alto Sax & Flute
Joe Henderson - Tenor Sax
Duke Pearson - Piano
Ron Carter - Bass
Mickey Roker - Drums

FRANK MORGAN ALLSTARS — Reflections (1988) FLAC (image+.cue), lossless

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended. Scott Yanow
Tracklist :
1    Old Bowl, New Grits 7:33
Composed By – Mulgrew Miller
2    Reflections 7:12
Composed By – Thelonious Monk
3    Starting Over 6:09
Composed By – Bobby Hutcherson
4    Black Narcissus 6:49
Composed By – Joe Henderson
5    Sonnymoon For Two 9:06
Composed By – Sonny Rollins
6    O.K. 6:11
Composed By – Ron Carter
7    Caravan 9:10
Composed By – Duke Ellington
Credits :
Acoustic Bass – Ron Carter
Alto Saxophone – Frank Morgan
Drums – Al Foster
Piano – Mulgrew Miller
Producer – Orrin Keepnews
Tenor Saxophone – Joe Henderson
Vibraphone – Bobby Hutcherson

MILES DAVIS QUINTET — Miles Smiles (1966) Three Version (1998, RM | Serie Columbia Jazz) + (2006, RM | Serie The Original Jacket Collection) + (2018, RM | SACD, Hybrid, | Ultradisc UHR, Original Master Recording 24-48.1Hz) FLAC (tracks+.cue), lossless

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. Stephen Thomas Erlewine
Tracklist :
1    Orbits    4:35
 Wayne Shorter
2    Circle    5:52
 Miles Davis
3    Footprints    9:44
 Wayne Shorter
4    Dolores    6:20
 Wayne Shorter
5    Freedom Jazz Dance    7:11
 Eddie Harris
6    Ginger Bread Boy    7:40
 Jimmy Heath
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Tenor Saxophone [Tenor Sax] – Wayne Shorter
Trumpet – Miles Davis

HERBIE HANCOCK – Quartet (1982) FLAC (image+.cue) lossless

This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1983, fanning the flames even more.  Richard S. Ginell
Tracklist :
1    Well You Needn't 6:26
Written-By – T. Monk
2    'Round Midnight 6:38
Written-By – B. Hanighen, C. Williams, T. Monk
3    Clear Ways 5:01
Written-By – T. Williams
4    A Quick Sketch 16:24
Written-By – R. Carter
5    The Eye Of The Hurricane 8:03
Written-By – H. Hancock
6    Parade 7:56
Written-By – R. Carter
7    The Sorcerer 7:18
Written-By – H. Hancock
8    Pee Wee 4:32
Written-By – T. Williams
9    I Fall In Love Too Easily 5:53
Written-By – J. Styne-S. Cahn
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis

WALLACE RONEY — Crunchin' (1993) FLAC (image+.cue), lossless

Trumpeter Wallace Roney sounds poignant and fabulous throughout the eight tracks on his latest release. His lines on "What's New" and "You Stepped Out Of A Dream" are full and gorgeous, while his soloing on "Woody'n You" and "Time After Time" has warmth, intensity and edge. Alto saxophonist Antonio Hart chimes in with equal facility and spark, while Geri Allen shows that she is just as outstanding as an accompanist on standards and hard bop as in trios or as a leader. Ron Wynn
Tracklist :
1    Woody'n You    4:47
 Dizzy Gillespie
2    What's New    7:49
 Johnny Burke / Bob Haggart
3    Angel Eyes    6:19
 Earl Brent / Matt Dennis
4    Swing Spring    5:37
 Miles Davis
5    Time After Time    5:52
 Sammy Cahn / Jule Styne
6    We See    6:49
 Thelonious Monk
7    You Stepped Out Of A Dream    4:16
 Nacio Herb Brown / Gus Kahn
8    Misterioso    12:47
 Nacio Herb Brown / Gus Kahn
Credits :
Alto Saxophone – Antonio Hart (tracks: 1, 2, 4, 6 to 8)
Bass – Ron Carter
Drums – Kenny Washington
Engineer – Rudy Van Gelder
Piano – Geri Allen
Trumpet – Wallace Roney

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

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

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) 

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

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