ERROLL GARNER — Serenade to "Laura" (1955) APE (image + .cue), lossless

In 1993, the original source recordings for this classic album, Erroll Garner's Serenade to Laura, were remastered in 24-bit digital audio, with quietly spectacular results -- you can now hear every nuance of every key stroke, and also the action of the piano on some numbers, such as "Goodbye." This reissue also contains a previously unissued recording of "Love Walked In" that makes a perfect pairing with "Laura." Bruce Eder
Tracklist :
1. Laura (Mercer, Raksin) 2:40
2. This Can't Be Love (Hart, Rodgers) 2:23
3. The Man I Love (Gershwin, Gershwin) 2:41
4. Moonglow (DeLange, Hudson, Mills) 2:40
5. I Want a Little Girl (Mencher, Moll) 2:51
6. It's Easy to Remember (Hart, Rodgers) 2:45
7. Goodbye (Jenkins) 2:40
8. She's Funny That Way (Moret, Whiting) 2:35
9. Until the Real Thing Comes Along (Cahn, Chaplin, Freeman, Holiner, Nichols) 2:53
10. Confessin' Daugherty, Neiburg, Reynolds 3:01
11. Stormy Weather Arlen, Koehler 2:48
12. I Surrender, Dear (Barris, Clifford) 3:02
13. I'm in the Mood for Love (Fields, McHugh) 2:57
14. All of Me (Marks, Simons) 2:50
Credits :
Erroll Garner (Piano)
Jonh Levy (Bass) (1), John Simons (Bass) (2-14)
George de Hart (Drums) (1), Albin Stohler (Drums) (2-14)
Nota.
Track 1: September 25, 1945
Tracks 6,7, 12 - 14: March 29, 1949
Tracks 2 - 5, 8 - 11: Summer, 1949

GEORGE SHEARING QUINTET | RED NORVO TRIO – Midnight on Cloud 69 (1956-1993) RM | MONOAURAL | FLAC (tracks+.cue), lossless

Tracklist :
1. Sorry Wrong Rumba (George Shearing Quintet) (3:22)
2. Cotton Top (George Shearing Quintet) (2:50)
3. Be Bop's Fables (George Shearing Quintet) (3:05)
4. Midnight On Cloud 69 (George Shearing Quintet) (3:10)
5. Little White Lies (Red Norvo Trio) (3:50)
6. I'm Yours (Red Norvo Trio) (4:11)
7. Moon Over Miami (George Shearing Quintet) (3:13)
8. Cherokee (George Shearing Quintet) (2:44)
9. Life With Feather (George Shearing Quintet) (3:11)
10. Four Bars Short (George Shearing Quintet) (2:25)
11. Time And Tide (Red Norvo Trio) (2:38)
12. Night And Day (Red Norvo Trio) (4:09)

George Shearing Quintet (tracks #1-4, 7-10)
George Shearing - p
Marjorie Hyams - vib
Chuck Wayne - g
John Levy - b
Denzil Best - d

Red Norvo Trio (tracks #5, 6, 11, 12)
Red Norvo - vib
Tal Farlow - g
Charles Mingus - b
Note
1 to 4 & 7 to 10 recorded January 31, 1949
5 recorded October 13, 1950
6 recorded April 13, 1951
11 & 12 recorded May 3, 1950

THE CURTIS FULLER SEXTETTE — Imagination (1959-1991) RM | MONOAURAL | FLAC (tracks+.cue), lossless

Prior to the official formation of the Jazztet with trumpeter Art Farmer, trombonist Curtis Fuller and tenorman Benny Golson made several albums together, usually with other trumpeters. This somewhat rare date has trumpeter Thad Jones, bassist Jimmy Garrison, drummer Dave Bailey, and, most significantly, pianist McCoy Tyner in his recording debut completing the sextet. Fuller arranged all five of the songs, four of which were his originals. Although the material (other than the lone standard "Imagination") is unfamiliar, the chord changes inspire the players to create some fine solos. Easily recommended to hard bop fans lucky enough to find this album. Scott Yanow   Tracklist & Credits :

CURTIS FULLER QUINTET — Blues ette (1959-1991) RM | FLAC (tracks+.cue), lossless

Sessions in any genre of music are all too often described as "sublime," but seldom has that description been better deserved than with this relaxed hard bop classic. One looks to other catchalls such as "effortless" and "loose," but even those slight this amazing date by implying a lack of intensity -- and intensity comes in all forms. For all intents and purposes, this is the first recorded meeting of what would become the famous Benny Golson/Art Farmer Jazztet (albeit without Farmer), a group most commonly associated with its 1960 Chess session, Meet the Jazztet. Curtis Fuller's next date, The Curtis Fuller Jazztet, and his appearance on the Chess date, only compound this point. Like perhaps Jimmy Smith's flagship, The Sermon, Blues-ette's brilliance manifests itself not only within the individual solos but also in the way the group functions as a collective. One gets the impression that these tunes could have continued for hours in the studio without the slightest lack of interest on anyone's part. This might be because many of the themes presented here are so basic and seemingly obvious that they don't seem like anything to write home about upon first listen. A day or so later, when you're walking down the street to the tempo of the title track, you may begin to think otherwise. These are some exceptionally catchy heads and many have since become standards. As far as individual performances are concerned, you're not likely to find better solos by any of the members of this quintet than you will here, though they all have extensive and very high-quality catalogs themselves. Picking highlights is a moot point. Blues-ette is best experienced as an entire LP. It would have surely made a greater impact upon its initial release had it been on a more high-profile label, such as Columbia or Blue Note, but there's no sense worrying about that now. Any serious jazz collection is incomplete without this record. Period. Brandon Burke   

THE CURTIS FULLER JAZZTET — The Curtis Fuller Jazztet With Benny Golson (1959-1991) RM | FLAC (tracks+.cue), lossless

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip. Brandon Burke   Tracklist & Credits : 

CURTIS FULLER — Images Of Curtis Fuller (1960-1991) RM | FLAC (tracks+.cue), lossless

Tracklist & Credits :

CURTIS FULLER QUINTET — Blues-Ette, Part II (1993) FLAC (tracks+.cue), lossless

Curtis Fuller and Benny Golson were charter members in the Jazztet of the late '50s and early '60s. The band was revived a few times by Golson and founder Art Farmer, but this 1993 edition has no trumpeter. Tommy Flanagan, Ray Drummond, and Al Harewood comprise a dynamite rhythm section that allows the front-line musicians all the freedom they need to play tandem melodies signifying the happy feeling of the original Jazztet. Golson, the consummate player and especially composer, asserts his will on most of this date, while Fuller, the leader in name, follows merrily along and plays as cleanly as he ever has. Flanagan is a definite force, quoting phrase upon phrase of jazz standards spontaneously and adding his refined, unlimited string of genius ideas whether comping or playing harmonious chords. The best-known tracks of the collection are Golson's evergreens like the Art Blakey-adopted beloved standard and easy swinging "Along Came Betty" and an updated take of the classic hard bopper "Five Spot After Dark," identified by the perfect tandem melody from Golson and Fuller. "Love, Your Spell Is Everywhere" holds the most mysterious intrigue, with a patented Flanagan intro and a fine Fuller solo. There's an overall sense of cool, as nothing is rushed or blatantly fast. Though "How Am I to Know?" is quicker, it is not blindingly so, as the band also echoes the hopeful theme of "Watch What Happens" in a display of ultimate democracy and balance. Themes of "A Child Is Born" and "I Remember Clifford" convene during the sensitive Golson ballad "Is It All a Game?," while other hushed moments on the big-city blues "Manhattan Serenade" settle further into a slow, lazy mood. More of that exonerated good-time feeling is extracted during Fuller's "Capt' Kid," a bright parallel calypso to the Sonny Rollins standard "St. Thomas." It's clear the past and present are merging during the entire program, as the band snatches snippets to expound upon, most notably when Flanagan borrows blue phrases from show tune, Dizzy Gillespie, or Milt Jackson melodies during "Blues-ette '93" -- not a take on the famous Toots Thielemans tune "Bluesette." A solid recording from top to bottom with no filler or cereal, and showcasing a good chunk of Golson's many great works, this comes easily recommended to all modern mainstream jazz lovers without hesitation. Michael G. Nastos    Tracklist & Credits :

PAUL BLEY WITH STEVE SWALLOW, PETE LAROCA — The Floater Syndrome (1990) FLAC (tracks), lossless

Tracklist & Credits :

DIZZY GILLESPIE – The Champ (1956-2003) RM | Savoy Jazz Classic Masters | FLAC (tracks+.cue), lossless

An early LP on Savoy that gathers Dizzy Gillespie's small-group recordings from 1951-52, The Champ has a lot to recommend it -- songs, sidemen, and performances. With just one exception, each of the selections are drawn from quintet or sextet dates, boasting work by Art Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in addition to an early appearance from John Coltrane (he made his debut with Diz, though not here). On the title track, a six-minute jam released as a two-part single, Gillespie plays furiously and tenor Budd Johnson contributes a great squawking solo. "Birk's Works," one of Dizzy's finest compositions, gets its first commercial recording, while Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it needs to lift it above competing versions. Diz and Joe Carroll trade vocals on "On the Sunny Side of the Street," and bop culture meets gospel for "Swing Low, Sweet Cadillac."  John Bush
 Tracklist :
1 The Champ 05:43
 Dizzy Gillespie
2 Birk's Works 03:09
Dizzy Gillespie
3 Caravan 02:56
Duke Ellington / Irving Mills / Juan Tizol
4 Time On My Hands 02:26
Harold Adamson / Mack Gordon / Vincent Youmans
5 On the Sunny Side of the Street 03:09
Dorothy Fields / Jimmy McHugh
6 Tin Tin Deo 02:43
Gil Fuller / Dizzy Gillespie / Chano Pozo
7 Stardust 03:07
Hoagy Carmichael / Mitchell Parish
8 They Can't Take That Away from Me 03:46
George Gershwin / Ira Gershwin
9 The Bluest Blues 02:57
Dizzy Gillespie / Gary McFarland / Sir Charles Thompson
10 Swing Low, Sweet Cadillac 03:10
 Dizzy Gillespie
11 Ooh-Shoo-Be-Doo-Bee 03:21
Joe Carroll / Dizzy Gillespie / Bill Graham
Credits :
Alto Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11), John Coltrane (tracks: 2, 6)
Baritone Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11)
Bass – Bernie Griggs (tracks: 8, 11), Percy Heath (tracks: 1 to 7, 9, 10)
Drums – Al Jones (tracks: 3 to 5, 7 to 11), Art Blakey (tracks: 1), Kansas Fields (tracks: 2 to 6)
Guitar – Kenny Burrell (tracks: 2, 6)
Organ – Milt Jackson (tracks: 3 to 5, 7 to 9)
Piano – Milt Jackson (tracks: 2, 6, 10), Wynton Kelly (tracks: 8, 11)
Tenor Saxophone – Budd Johnson (tracks: 1), John Coltrane (tracks: 2, 6)
Trombone – J.J. Johnson
Trumpet – Dizzy Gillespie
Vibraphone – Milt Jackson (tracks: 2, 6, 10)
Violin – Stuff Smith (tracks: 3 to 5, 7, 9)
Vocals – Dizzy Gillespie (tracks: 10), Joe Carroll (tracks: 1, 3 to 5, 7 to 11), Melvin Moore (tracks: 1, 10), Milt Jackson (tracks: 3 to 5, 7 to 9)

ZOOT SIMS - “Live” In Philly (1973-2003) FLAC (tracks+.cue), lossless

Released for the first time on this 1998 CD, this excellent live set dates from the early '70s (1973 is an educated guess) and features the always swinging tenor man Zoot Sims in a quartet with pianist Benny Aronov, bassist Major Holley, and drummer Mickey Roker. Sims is in top form on a variety of veteran standards, including "In a Mellow Tone" and a lengthy "Do Nothin' 'Till You Hear from Me." Holley's bowing and singing combination is showcased on "Polka Dots and Moon Beams," and Aronov shows plenty of fire and potential. Easily recommended to bop and Zoot Sims fans. Scott Yanow
Tracklist :
1     That Old Devil Called Love 9:08
Doris Fisher / Allan Roberts
2     Do Nothin' Till You Hear from Me 10:53
Duke Ellington / Bob Russell
3     Polka Dots and Moon Beams 5:38roke
Johnny Burke / James Van Heusen
4     I Don't Stand a Ghost of a Chance With You 9:03
Bing Crosby / Ned Washington / Victor Young
5     In a Mellow Tone 5:32
Duke Ellington / Milt Gabler
6     I Got It Bad (And That Ain't Good) 4:31
Duke Ellington / Paul Francis Webster
7     Theme 4:46
Zoot Sims
Credits :
Bass – Major Holley
Drums – Mickey Roker
Piano – Benny Aronov
Tenor Saxophone – Zoot Sims

AL COHN - Al Cohn's Tones (1950-1992) MONO | FLAC (tracks+.cue), lossless

Cohn stretches out here for a program heavy with up-tempo swingers. Cut in two sessions during 1950 and 1953, Cohn's Tones finds the usually more mellow tenor great feeding off the driving drum work of both Tiny Kahn and Max Roach. Besides the ballad evergreen "How Long Has This Been Going On" and a bluesy "Ah-Moore," the eight-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe. Stephen Cook
Tracklist :
1     I'm Tellin' Ya 5:58
Al Cohn
2     Jane Street 4:37
Al Cohn
3     Infinity 2:57
Al Cohn
4     How Long Has This Been Going On? 3:13
George Gershwin / Ira Gershwin
5     That's What You Think 4:50
Al Cohn
6     Ah Moore 4:57
Al Cohn
7     Groovin' With Gus 2:36
Al Cohn
8     Let's Get Away from It All 3:10
Matt Dennis
Credits :    
Bass – Curly Russell (tracks: 1, 2, 5, 6), Tommy Potter (tracks: 3, 4, 7, 8)
Drums – Max Roach (tracks: 1, 2, 5, 6), Tiny Kahn (tracks: 3, 4, 7, 8)
Piano – George Wallington (tracks: 3, 4, 7, 8), Horace Silver (tracks: 1, 2, 5, 6)
Tenor Saxophone – Al Cohn
Trumpet – Nick Travis (tracks: 1, 2, 5, 6)

AL COHN - The Progressive Al Cohn (1953-1994) RM | SJL Collection | FLAC (tracks+.cue), lossless

This CD (reissued by Savoy in 1994) has tenor saxophonist Al Cohn's first two sessions as a leader. Cohn, who was very influenced during the era by Lester Young, is in fine early form with a 1950 quartet that also includes pianist George Wallington, bassist Tommy Potter and drummer Tiny Kahn, and with a 1953 quintet that has trumpeter Nick Travis, pianist Horace Silver, bassist Curley Russell and drummer Max Roach. All but two numbers ("How Long Has This Been Going On" and an excellent version of "Let's Get Away Ffrom It All") are Cohn's inventive originals; best are "Infinity," "That's What You Think" (heard in two versions) and "Ah-Moore."  Scott Yanow

Tracklist :
1 Infinity 2:53
Al Cohn
2 Groovin' With Gus 2:31
Al Cohn / Dizzy Gillespie
3 How Long Has This Been Going On 3:10
George Gershwin / Ira Gershwin
4 Let's Get Away From It All 3:05
Al Cohn / Matt Dennis
5 That's What You Think (Take 1) 4:46
Al Cohn / Margaret Whitfield
6 I'm Tellin' Ya 5:57
Al Cohn
7 Jane Street 4:30
Al Cohn
8 Ah-Moore 4:51
Al Cohn
9 That's What You Think (Master) 4:44
Al Cohn / Margaret Whitfield 

Credits :
Bass – Curly Russell (tracks: 5 to 8), Tommy Potter (tracks: 1 to 4)
Drums – Max Roach (tracks: 5 to 8), Tiny Kahn (tracks: 1 to 4)
Piano – George Wallington (tracks: 1 to 4), Horace Silver (tracks: 5 to 8)
Tenor Saxophone – Al Cohn
Trumpet – Nick Travis (tracks: 5 to 8)

HANK MOBLEY - The Jazz Message Of Hank Mobley # 2 (1956-1992) RM | MONO | FLAC (tracks+.cue), lossless

Impressive lineups, both in the front line and the rhythm section, fuel the two 1956 sessions on this Savoy reissue. The players are committed, the writing is good, and the performances reward repeated listening. The result is a worthwhile precursor to the industry-standard hard bop Mobley would later record for Blue Note.Lee Morgan, then 18, joins Mobley on two tracks that have pianist Hank Jones, bassist Doug Watkins, and drummer Art Taylor in the rhythm section. Even if Morgan at this time was audibly still growing as a trumpet player, his poise, execution, and resourceful imagination were already the tools of a master. Donald Byrd, on form and playing with crispness and authority, moves into the trumpet chair for the three remaining tracks. This time it's Barry Harris on piano, Kenny Clarke on drums, and Watkins (again) on bass. The influence on Mobley of swing era tenors, from Lester Young to Illinois Jacquet, can be clearly heard on these tracks. Mobley's respect for and understanding of the pre-bebop style serve him well in his contribution to the development of the predominant jazz style that followed bebop. In addition to three Mobley originals, there is a blues by Thad Jones and another from Watkins. The standout track is Mobley's "Space Flight," a bright, up-tempo bop number that has memorable solos from Mobley, Byrd, Harris, and Clarke. The recording on this CD is very good but, as is common on Savoy reissues, the running time isn't long -- 32 minutes in the case of this jazz message. Jim Todd  
Tracklist:
1     Thad's Blues 9:48
Thad Jones    
2     Doug's Minor B' Ok" 6:40
Doug Watkins    
3     B. For B.B. 6:31
Hank Mobley    
4     Blues Number Two 5:00
Hank Mobley    
5     Space Flight 4:15
Hank Mobley
Credits:
1-3
Bass – Doug Watkins
Drums – Art Taylor
Piano – Hank Jones
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
3-5
Tenor Saxophone – Hank Mobley
Drums – Kenny Clarke  
Piano – Barry Harris   
Trumpet – Donald Byrd

COLEMAN HAWKINS - The Hawk Returns (1955-2001) RM | MONO | FLAC (tracks), lossless

This CD features Hawkins on a dozen selections (all around three minutes long) performing with an odd group (organ, piano, bass, drums and sometimes a vocal group). Despite the potentially commercial backing, he really digs into the tunes and creates some magic. Pity that this CD only lasts around 36 minutes. Scott Yanow
Tracklist :
1    Goin' Down Home 2:42
Ozzie Cadena
2    I'll Follow My Secret Heart 3:07
Noël Coward
3    On My Way 3:12     
Ozzie Cadena
4    I'll Tell You Later 3:01
Adam Brenner
5    What a Diff'rence a Day Made 3:16
Stanley Adams / María Mendez Grever
6    Last Stop 2:54
Ozzie Cadena
7    Should I? 3:07
Freed, Broun
8    Flight Eleven 2:57
A.M. Brunner
9    Modern Fantasy 3:01
A.M. Brunner
10    Confessin' 3:03
Neiburg, Daugherty, Reynolds
11    September Song 3:28
Weill, Anderson
12    You Can't Take That Away From Me 2:59
G & I Gershwin
Notas.
Recorded in Chicago, August - September 1953
Recording date and credits above according to Geerken, Hartmut & Trent, Chris (2015) - Omniverse Sun Ra: p177#16.
Back cover has Coleman Hawkins (ts), Boddy Smith (ds) with (p) (org) (b) (vo) (May 27, 1954).
Credits :
Guitar – Leo Blevins (pistas: 1 to 6)
Organ – Les Strand (pistas: 1 to 6)
Piano [Uncredited] – Sun Ra (pistas: 7 to 12)
Tenor Saxophone – Coleman Hawkins

EDDIE 'LOCKJAW' DAVIS - The Heavy Hitter (1979-2003) FLAC (tracks+.cue), lossless

Eddie "Lockjaw" Davis recorded many albums during the 15 years before his death in 1986; virtually all are recommended. This album is a little-known quartet set with pianist Albert Dailey, bassist George Duvivier and drummer Victor Lewis, Davis' only recording for Muse. Lockjaw had never worked with Dailey or Lewis before but they have little difficulty interpreting the tough-toned tenor's usual repertoire. Highlights of the fine straighathead set include "Just One of Those Things," "Secret Love" and "You Stepped Out of a Dream." Scott Yanow
Tracklist :
1     When Your Lover Has Gone 4'33
Einar A. Swan
2     Just One of Those Things 4'16
Cole Porter
3     Medley: Old Folks/Out of Nowhere 8'24
J. Green / Edward Heyman / D. Hill
4     Secret Love 5'39
Sammy Fain / Paul Francis Webster
5     Comin' Home Baby 6'01
Bob Dorough / Ben Tucker
6     You Stepped Out of a Dream 3'04
Nacio Herb Brown / Gus Kahn
7     Jim Dog 5'01
Gene Ammons
Credits :
Bass – George Duvivier
Drums – Victor Lewis
Piano – Albert Dailey
Tenor Saxophone – Eddie "Lockjaw" Davis

CAROL WELSMAN - The Language of Love (2002) FLAC (tracks+.cue), lossless

Carol Welsman sings an easy, airy, romantic set with hints of passion and sensuality immersed in a savory palate of impressive nuance on The Language of Love. With three Juno Award nominations as well as the 2002 Vocalist of the Year award, the internationally acclaimed vocalist and pianist is appreciated more than ever. Welsman immaculately captures the unique expressions of love with elongated phrasings, lite scats, and endearing vocal techniques delectably mirrored in her bluesy rendition of Gershwin's "The Man I Love" and through the gentle swing of the French version of "Chanson de Maxence." Welsman takes the topic to new heights and eradicates the pain of falling in love with an upbeat bossa nova version of Cole Porter's "Just One of Those Things." She demystifies Gino Paoli's "Senza Fine" and beautifully brings the Italian composer's smooth essence to the forefront in his native language. This is a beautifully expressed piece and holds the listener captive until the final note is played. With The Language of Love, Carol Welsman surpasses her other endeavors and should garner more acclaim because of the delightful interpretations she offers. by Paula Edelstein  
Tracklist :
1    Taking A Chance On Love    3:10
Vernon Duke / Ted Fetter / John Latouche
2    You Take Me Away    3:42
John Acosta / Carol Welsman
3    On A Slow Boat To China    2:39
Frank Loesser
4    A Nightingale Sang In Berkeley Square    5:43
Eric Maschwitz / Manning Sherwin
5    Can't Help Falling In Love 3:31
Luigi Creatore / Hugo Peretti / George David Weiss
Vocals [Additional] – Arnold McCuller
6    Just One Of Those Things    3:31
Cole Porter
7    Caracao Leviano    4:11
Paulo Cesar Baptista De Faria
8    Every Breath You Take    4:38
Sting
9    A Fool I Know    4:00
Oscar Castro-Neves / Gene Lees
10    There's No Such Thing As Love    4:48
Ian Fraser / Anthony Newley
11    The Man I Love    4:12
George Gershwin / Ira Gershwin
12    Chanson De Maxence    4:25
Walter Brown / Jacques Demy / Michel Legrand
13    Senza Fine    4:14
Gino Paoli
Credits :
Producer, Acoustic Guitar – Oscar Castro-Neves
Backing Vocals – Kate Markowitz
Bass – Dave Carpenter
Drums, Percussion – Alex Acuña
Electric Guitar – Ramon Stagnaro
Flute – Gary Meek
Percussion – Calos Del Rosario
Violin, Viola – Charlie Bisharat

ETTA JONES - My Mother's Eyes (1977-2003) FLAC (tracks+.cue), lossless

Although by the mid-1970s she had already been a professional singer for 30 years, Etta Jones was in reality just entering her musical prime. Having developed her individuality gradually through the years, she was heard at her very best during her long string of Muse recordings. On this fine date, Jones is joined by her husband (tenor saxophonist Houston Person) and an oversized rhythm section that features keyboardist Sonny Phillips and guitarist Jimmy Ponder. Among the highlights are "The Way You Look Tonight," "Don't Misunderstand," "You Do Something to Me" and "This Girl's In Love With Me." by Scott Yanow
Tracklist :
1     The Way You Look Tonight 4:50
Dorothy Fields / Jerome Kern
2     Don't Misunderstand 6:12
Gordon Parks
3     Be My Love 5:50
Nicholas Brodszky / Sammy Kahn
4     You Do Something to Me 4:44
Cole Porter
5     My Mother's Eyes 5:49
Abel Baer / Louis Wolfe Gilbert
6     This Girl's in Love With You 3:59
Burt Bacharach / Hal David
7     Gloomy Sunday 4:38
László Jávor / Rezsö Seress
Credits :
Bass – Rufus Reid
Congas, Percussion – Lawrence Killian
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
Guitar – Jimmy Ponder
Keyboards – Sonny Phillips
Producer, Tenor Saxophone – Houston Person
Vibraphone – George Devens
Vocals – Etta Jones

LEE MORGAN WITH HANK MOBLEY QUINTET - Introducing Lee Morgan (1957-1996) MONO / APE (image+.cue), lossless

Originally a Hank Mobley session, this is one of trumpeter Lee Morgan's earliest recordings. At the time Morgan (who was just 18) was very much under the musical influence of Clifford Brown although a bit of his own personality was starting to shine through. With the fine tenor of Mobley, pianist Hank Jones, bassist Doug Watkins and drummer Art Taylor, Morgan sounds quite comfortable playing bebop and participating in a ballad medley. This set (along with a previously unissued version of "Nostalgia") was later reissued as A-1 -- The Savoy Sessions. by Scott Yanow
Tracklist:
1. Hank's Shout 7:03
Hank Mobley
2. Nostalgia 8:53
Fats Navarro
3. Bet 7:56
Doug Watkins
4. Softly As In A Morning Sunrise 2:29
Oscar Hammerstein II / Sigmund Romberg
5. P.S. I Love You 4:22
Gordon Jenkins / Johnny Mercer
6. Easy Living 2:49
Ralph Rainger / Leo Robin
7. That's All 2:43
Alan Brandt / Bob Haymes
Personnel:
Lee Morgan (Trumpet);
Hank Mobley (Tenor Saxophone);
Hank Jones (Piano);
Doug Watkins (Bass);
Art Taylor (Drums). 

WILBUR HARDEN / JOHN COLTRANE - Jazz Way Out (1958-1991) RM / APE (image+.cue), lossless

The presence of John Coltrane on this 1958 Savoy release is its obvious drawing card, but in fact there are impressive contributions from all hands. Leader Wilbur Harden left the jazz scene by the early '60s, which is a pity. He was a player with fresh ideas and an engaging command of his trumpet's and flügelhorn's middle register. The sextet heard on this date performs two Harden compositions and one by the group's trombonist, Curtis Fuller, for a skimpy total running time of 29 minutes. The "way out" reference in the title is misleading. There are traces of exotic Asian and African influences, but they never overpower what is essentially an intelligent, straight-ahead, hard bop date. At the time of this release, Coltrane had been recording as a leader and sideman for Prestige and was on his second tour of duty with Miles Davis, whose group was on the verge of recording Kind of Blue. (Coltrane was also about to begin recording for Atlantic.) With Harden's group, Coltrane, as he did with Davis and on his own Atlantic recordings, systematically (and with sublime composure) turns the chord changes inside out, upside down, and sideways, creating a new vocabulary, syntax, and structure for jazz. Coltrane completists will definitely want these tracks in their collections, but the less fanatical listener will also have no difficulty in appreciating the collective performances of the entire sextet. by Jim Todd 
Tracklist:
1    Dial Africa 8:38
Written-By – W. Harden
2    Oomba 5:27
Written-By – W. Harden
3    Gold Coast 14:41
Written-By – C. Fuller
Credits:
Bass – Al Jackson
Drums – Art Taylor
Piano – Tommy Flanagan
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trombone – Curtis Fuller
Trumpet, Flugelhorn – Wilbur Harden

WILBUR HARDEN / JOHN COLTRANE - Tanganyika Strut (1958-1991) RM / FLAC (tracks+.cue), lossless

  Tracklist:
1    Tanganyika Strut 10:00
Written-By – C. Fuller
2    B.J. 4:30
Written-By – W. Harden
3    Anedac 5:15
Written-By – W. Harden
4    Once In A While 9:30
Written-By – Green, Edwards
Credits:
Bass – Ali Jackson
Drums – Art Taylor
Piano – Howard Williams (tracks: 2 to 4), Tommy Flanagan (tracks: 1)
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trombone – Curtis Fuller
Trumpet, Flugelhorn – Wilbur Harden
Note:
Recordings 1: June 24, 1958, 2 to 4: May 13, 1958