ELVIN JONES — In Europe (1992) FLAC (tracks+.cue), lossless

Recorded live at a jazz festival in Germany, In Europe represents a typical Jazz Machine live performance, three selections from the group's regular repertoire where the musicians get plenty of room to stretch out, fueled by Jones' propulsive polyrhythms. "Ray-El," written by Elvin's brother Thad Jones, is a medium tempo blues number featuring a fine flute solo by Sonny Fortune. The traditional Japanese folk song "Doll of the Bride" is a 32 minute tour-de-force beginning with Fortune's flute and a long Jones drum solo using mallets, then moving into a Latin-ish vamp with excellent solos from Fortune on tenor sax and Willie Pickens on piano. "Island Birdie," written by McCoy Tyner, is a happy calypso reminiscent of "St. Thomas" with a nice turn on soprano sax by Ravi Coltrane, the son of Elvin's former employer John Coltrane, and bassist Chip Jackson. This was Jones' return to recording after a seven year hiatus. Greg Turner
Tracklist :
1    Ray 17:25
Composed By – Thad Jones
2    Doll Of The Bride 32:28
Japanese Traditional
Arranged By – Keiko Jones
3    Island Birdie 13:02
Composed By – McCoy Tyner
Credits :
Bass – Chip Jackson
Drums – Elvin Jones
Ensemble – The Elvin Jones Jazz Machine
Piano – Willie Pickens
Tenor Saxophone, Flute – Sonny Fortune
Tenor Saxophone, Soprano Saxophone – Ravi Coltrane

ELVIN JONES INTRODUCES TAKEHISA TANAKA WITH SONNY FORTUNE, CECIL McBEE — When I Was At Aso-Mountain (1993) FLAC (tracks), lossless

This is basically a recording of the trio of Japanese pianist Takehisa Tanaka and the stellar rhythm team of bassist Cecil McBee and drummer Elvin Jones, with saxophonist/flautist Sonny Fortune performing on three of the eight selections, which include three Tanaka compositions and three standards. Ironically Fortune plays on all three Tanaka compositions, which are the recording's highlights: "I Was Too Young" is a ballad with the beautiful melody played by Fortune's tenor sax; "My Dream Come True, To E.J.," the only up-tempo selection on this recording, with the melody also played by Fortune's tenor sax; and the title track, a medium-tempo number that features Fortune's flute and Jones on mallets and brushes. The three standards, "Beautiful Love," "You Don't Know Where Love Is," and "Stella By Starlight" are given relatively straightforward readings here. The normally aggressive Jones is more restrained than usual throughout this recording, probably so he doesn't overpower Tanaka, a good pianist who seems out of place playing with musicians the caliber of Jones, McBee, and Fortune. Not an essential recording except for Jones completists. Greg Turner

Tracklist :
1    Beautiful Love    7:27
 Haven Gillespie / Wayne King / Egbert VanAlstyne / Victor Young
2    I Was Too Young    8:25
 Takehisa Tanaka
3    You Don't Know What Love Is    10:14
 Gene DePaul / Don Raye
4    My Dream Come True, To E.J.    5:23
 Takehisa Tanaka
5    Dream Gypsy    8:23
 Judith Veevers
6    When I Was At Aso-Mountain    8:12
 Takehisa Tanaka
7    Soultrane    8:51
 Tadd Dameron
8    Stella By Star Light    9:31
 Ned Washington / Victor Young
Credits :
Bass – Cecil McBee
Drums, Music Director – Elvin Jones
Flute, Tenor Saxophone – Sonny Fortune
Piano – Takehisa Tanaka

ELVIN JONES — It Don't Mean A Thing ... (1994) FLAC (tracks+.cue), lossless

Elvin Jones has participated in many recording sessions through the years, but this CD is one of the most well-rounded sets he has ever led. The lineup of musicians is very impressive: trumpeter Nicholas Payton, Sonny Fortune on tenor and flute, trombonist Delfeayo Marsalis, pianist Willie Pickens, bassist Cecil McBee, and vocalist Kevin Mahogany. Everyone plays up to their potential and the material has plenty of variety, ranging from Monk, Ellington, and Strayhorn to a traditional Japanese folk song arranged by Elvin's wife, Keiko ("A Lullaby of Itsugo Village"), two features for Mahogany (a touching version of "Lush Life" and his scat-filled "Bopsy"), and some authentic-sounding R&B (Sam Cooke's "A Change Is Gonna Come"). Payton, Marsalis, and Fortune are not on every selection, but each have their chance to shine while pianist Willie Pickens is showcased with the trio on a medley of "A Flower Is a Lovesome Thing" and "Ask Me Now." And as for the drummer, there is still no one around who has captured the sound and spirit of Elvin Jones. Scott Yanow
Tracklist :
1    Green Chimneys 6:58
Written-By – Thelonious Monk
2    A Lullaby Of Itsugo Village 6:04
Traditional
Arranged By – Keiko Jones
3    It Don't Mean A Thing If It Ain't Got That Swing 5:39
Written-By – Duke Ellington
4    Lush Life 6:41
Written-By – Billy Strayhorn
5    Zenzo's Spirit 6:54
Written-By – Keiko Jones
6a    A Flower Is A Lovesome Thing
Written-By – Billy Strayhorn
6b    Ask Me Now 9:06
Written-By – Thelonious Monk
7    Bopsy 4:18
Written-By – Kevin Mahogany
8    Fatima's Waltz 6:26
Written-By – Keiko Jones
9    A Change Is Gonna Come 5:23
Written-By – Sam Cooke
Credits :
Arranged By – Gene Perla
Bass – Cecil McBee
Drums – Elvin Jones
Flute, Tenor Saxophone – Sonny Fortune
Trombone – Delfeayo Marsalis
Trumpet – Nicholas Paytona\Q1Q
Vocals – Kevin Mahogany

ELVIN JONES — Jazz Machine (1997) FLAC (tracks+.cue), lossless

Tracklist :
1    April 8th 7:03
Composed By – Elvin Jones
2    East Of The Sun 4:06
Composed By – Brooks Bowman
3    Zenzo's Spirit 6:57
Composed By – Keiko Jones
4    A Change Is Gonna Come 5:25
Composed By – Sam Cooke
5    It Don't Mean A Thing If It Ain't Got That Swing 5:38
Composed By – Duke Ellington
6    Angel Eyes 8:50
Composed By – Matt Dennis
7    Have You Seen Elveen 7:54
Composed By – Nicholas Payton
8    My Romance 6:25
Composed By – Rodgers & Hart
9    A Flower Is A Lovesome Thing/Ask Me Now 9:13
Composed By – Billy Strayhorn, Thelonious Monk
10    Island Birdie 13:02
Composed By – McCoy Tyner
Credits :
Bass – Brad Jones (tracks: 1,2), Cecil McBee (tracks: 3-5,9), Chip Jackson (tracks: 10), George Mraz (tracks: 6,7,8)
Flute, Piccolo Flute – Kent Jordan (tracks: 1,2)
Piano – Willie Pickens (tracks: 1-5,9,10)
Soprano Saxophone, Tenor Saxophone – Ravi Coltrane (tracks: 1,2,10)
Tenor Saxophone – Javon Jackson (tracks: 1,2,7), Joshua Redman (tracks: 6,7)
Tenor Saxophone, Flute – Sonny Fortune (tracks: 3-5,9,10)
Trombone – Delfeayo Marsalis (tracks: 3-5,9)
Trumpet – Nicholas Payton (tracks: 1-5,7,9)

GARY BARTZ | SONNY FORTUNE - Alto Momories (1995) FLAC (tracks), lossless

Tracklist :
1    Stolen Moments    8:36
2    U.F.O    5:13
3    Jeannine    9:13
4    Minority    5:40
5    Billie's Bounce    3:49
6    Embraceable You    5:59
7    Capuchin Swing    6:11
8    Lonely Woman    9:50
9    When Lights Are Low    4:56
10    Warm Valley    7:32
Credits :
Alto Saxophone – Gary Bartz, Sonny Fortune
Double Bass – Buster Williams
Drums – Jack DeJohnette
Piano – Kenny Barron

PHAROAH SANDERS — Izipho Zam (1973-2006) RM | Serie 70年代ジャズを味わう!! – 11 | FLAC (tracks+.cue), lossless

Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time -- and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet -- Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since. Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others. The set begins with a gorgeous soul tune in "Prince of Peace," with Leon Thomas doing his trademark yodel, croon, and wail as Smith, McBee, and Hart back him and Sanders fills the gaps. Next is "Balance," the first blowing tune on the set, with the African drums, the modal horns, and Sanders' microtonal investigations of sonic polarity contrasted with Johnson's tuba, leaving the rhythm section to join him as Sharrock and Smith trade drone lines and Sanders turns it into a Latin dance from outer space about halfway through to the end -- it's astonishing. Finally, on the 28-minute title track, the band members -- all of them -- begin a slow tonal inquiry, a textured traipse into the abyss of dissonance and harmonic integration, with Thomas as the bridge through which all sounds must travel on their way to the ensemble. From here, percussion, bells, whistles, Sharrock's heavily chorded guitar -- all provide rhythm upon interval upon tonal figure until the horns enter at about 12 minutes. They move slowly at first and gather force until they blast it right open at 20 minutes and the last eight are all free blowing and an endurance ride for the listener because, with four minutes left, Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience.
> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <
Tracklist :
1     Prince of Peace 8:50
Pharoah Sanders    
2     Balance 12:43
Pharoah Sanders    
3     Izipho Zam 28:50
Pharoah Sanders    
Credits :
Alto Saxophone – Sonny Fortune
Bass – Cecil McBee, Sirone (Norris Jones)
Drums – Billy Hart, Majeed Shabazz
Drums [African] – Chief Bey
Guitar – Sonny Sharrock
Percussion – Nat Bettis, Tony Wylie
Piano – Lonnie Liston Smith
Saxophone, Percussion, Composed By – Pharoah Sanders
Tuba – Howard Johnson
Vocals, Percussion – Leon Thomas

RABIH ABOU-KHALIL - Al-Jadida (1991) APE (image+.cue), lossless

Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning. by Ron Wynn
Tracklist :
1 Catania 7:41
Rabih Abou-Khalil
2 Nashwa 9:33
Rabih Abou-Khalil
3 An Evening With Jerry 6:59
Rabih Abou-Khalil
4 When The Lights Go Out 7:14
Rabih Abou-Khalil
5 Storyteller 8:52
Rabih Abou-Khalil
6 Ornette Never Sleeps 4:01
Rabih Abou-Khalil
7 Nadim 8:29
Rabih Abou-Khalil
8 Wishing Well 5:25
Rabih Abou-Khalil
Credits :
Alto Saxophone – Sonny Fortune
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Oud – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Bukra (1989) APE (image+.cue), lossless

Tracklist:
1    Fortune Seeker    4:52
Rabih Abou-Khalil
2    Bukra    7:58
Rabih Abou-Khalil
3    Kibbe    8:16
Rabih Abou-Khalil
4    Remember... The Desert 7:10
Rabih Abou-Khalil
Overtone Voice – Glen Velez
5    Nayla    9:24
Rabih Abou-Khalil
6    Time    4:25
Rabih Abou-Khalil
7    Reflections    8:05
Rabih Abou-Khalil
Credits:
Alto Saxophone – Sonny Fortune
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum, Percussion – Glen Velez
 Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil

MILES DAVIS - Big Fun (1974-2000) 2CD / RM / FLAC (tracks+.cue), lossless

Despite the presence of classic tracks like Joe Zawinul's "Great Expectations," Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed. Despite the numerous lineups and uneven flow of the tracks, there does remain some outstanding playing and composing here. Most notably is "Great Expectations" from 1969, which opens the album. Here the lineup is Miles, Steve Grossman, Bennie Maupin, John McLaughlin, Khalil Balakrishna, and Bihari Sharma on sitar and tambura, Herbie, Chick Corea, Ron Carter, Harvey Brooks, Billy Cobham, and Airto. Creating a series of vamps from drones and a small melodic figure, there is very little in the way of groove or melodic development until the middle section, where a series of modalities enters the composition. The second album in the set features "Go Ahead John," an outtake from Jack Johnson's sessions that is 28 minutes in length. It's a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace with Steve Grossman on soprano. The basic motif is the blues, floating around E and Bb flat, but there are modulations introduced by Miles into Db flat that add a kinkier dimension into the proceedings as well. Dave Holland is the bass player, and DeJohnette is the drummer. There is no piano. What's most interesting about this date is how it prefigures what would become "Right Off" from Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece. This is for Miles fans only, especially those of his electric period, because it fills in the puzzle. The reissue added four bonus tracks to the original double-LP set, but other than "Recollections" by Zawinul, they shed little light on the mystique and development of the intensely creative music being developed in 1969 and 1970. Others should be directed to Bitches Brew, In A Silent Way, Jack Johnson, or Live Evil as starting points. by Thom Jurek 
Tracklist 1:
1 Great Expectations 27:23
Bass – Ron Carter
Bass [Fender] – Harvey Brooks
Bass Clarinet – Bennie Maupin
Drums – Billy Cobham
Electric Guitar – John McLaughlin
Electric Piano – Chick Corea, Herbie Hancock
Percussion – Airto Moreira
Sitar [Electric], Tambura – Bihari Sharma, Khalil Balakrishna
Soprano Saxophone – Steve Grossman
2 Ife 21:34
Bass – Michael Henderson
Clarinet, Flute – Bennie Maupin
Drums – Al Foster, Billy Hart
Percussion [African] – James "Mtume" Forman*
Piano – Harold I. Williams*, Lonnie Smith
Soprano Saxophone – Carlos Garnett
Soprano Saxophone, Flute – Sonny Fortune
Tabla – Badal Roy
3 Recollections 18:55
Bass Clarinet – Bennie Maupin
Cuica, Percussion – Airto Moreira
Drums – Jack DeJohnette
Electric Bass – Dave Holland
Electric Piano [Left] – Joe Zawinul
Electric Piano [Right] – Chick Corea
Guitar – John McLaughlin
Soprano Saxophone – Wayne Shorter
Triangle – Billy Cobham
4 Trevere 5:55
Bass – Dave Holland
Bass Clarinet – Bennie Maupin
Cuica, Berimbau – Airto Moreira
Drums – Billy Cobham, Jack DeJohnette
Electric Bass – Harvey Brooks
Electric Piano – Chick Corea
Guitar – John McLaughlin
Organ, Celesta – Larry Young
Sitar [Electric] – Khalil Balakrishna
Soprano Saxophone – Steve Grossman
Tambura – Bihari Sharma
Tracklist 2:
1 Go Ahead John 28:27
Bass – Dave Holland
Drums – Jack DeJohnette
Electric Guitar – John McLaughlin
Saxophone – Steve Grossman
2 Lonely Fire 21:21
Bass – Dave Holland
Bass [Fender] – Harvey Brooks
Bass Clarinet – Bennie Maupin
Drums – Billy Cobham, Jack DeJohnette
Electric Piano – Chick Corea
Electric Piano, Organ [Farfisa] – Joe Zawinul
Instruments [Indian] – Airto Moreira, Khalil Balakrishna
Percussion – Airto Moreira
Saxophone – Wayne Shorter
3 The Little Blue Frog 9:10
Bass – Dave Holland
Bass Clarinet – Bennie Maupin
Cuica, Berimbau – Airto Moreira
Drums – Billy Cobham, Jack DeJohnette
Electric Bass – Harvey Brooks
Electric Piano – Chick Corea
Guitar – John McLaughlin
Organ, Celesta – Larry Young
Sitar [Electric] – Khalil Balakrishna
Soprano Saxophone – Steve Grossman
Tambura – Bihari Sharma
4 Yaphet 9:39
Bass – Ron Carter
Bass Clarinet – Bennie Maupin
Cuica, Berimbau – Airto Moreira
Drums, Triangle – Billy Cobham
Electric Bass – Harvey Brooks
Electric Piano [Left] – Herbie Hancock
Electric Piano [Right] – Chick Corea
Guitar – John McLaughlin
Sitar [Electric] – Khalil Balakrishna
Soprano Saxophone – Steve Grossman
Tambura, Tabla – Bihari Sharma
 

MILES DAVIS – Agharta (1975-2006) 2CD | RM | Serie The Original Jacket Collection | FLAC (tracks+.cue), lossless

Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis -- saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume -- was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour. There is "Maiysha" from Get up With It and the Agharta "Interlude," which segues into the "Theme From Jack Johnson." The music here is almost totally devoid of melody and harmony, and is steeped into a steamy amalgam of riffs shot through and through with crossing polyrhythms, creating a deep voodoo funk groove for the soloists to inhabit for long periods of time as they solo and interact with one another. Davis' band leading at this time was never more exacting or free. The sense of dynamics created by the stop-start accents and the moods, textures, and colors brought out by this particular interaction of musicians is unparalleled in Davis' live work -- yeah, that includes the Coltrane and Bill Evans bands, but they're like apples and oranges anyway. Driven by the combination of Davis' direction and the soloing of Sonny Fortune and guitarist Pete Cosey, who is as undervalued and underappreciated for his incalculable guitar-slinging gifts as Jimi Hendrix is celebrated for his, and the percussion mania of Mtume, the performance on Agharta is literally almost too much of a good thing to bear. When Cosey starts his solo in the "Prelude" at the 12-minute mark, listeners cannot be prepared for the Hendrixian energy and pure electric whammy-bar weirdness that's about to come splintering out of the speakers. As the band reacts in intensity, the entire proceeding threatens to short out the stereo. These are some of the most screaming notes ever recorded. Luckily, since this is just the first track on the whole package, Davis can bring the tempos down a bit here and there and snake them into spots that I don't think even he anticipated before that afternoon (check the middle of "Maiysha" and the second third of "Jack Johnson" for some truly creepy and beautiful wonders). While Pangaea is awesome as well, there is simply nothing like Agharta in the canon of recorded music. This is the greatest electric funk-rock jazz record ever made -- period. Thom Jurek  
Tracklist 1:
1 Prelude 32:29
2 Maiysha 12:20
Tracklist 2:
2-1 Interlude / Theme From Jack Johnson 51:36
Credits:

Bass [Fender] – Michael Henderson

Congas [Conga], Percussion, Drum [Water Drum], Drum Machine [Rhythm Box] – Mtume
Drums – Al Foster
Guitar – Reggie Lucas
Guitar, Synthesizer, Percussion – Pete Cosey
Soprano Saxophone, Alto Saxophone, Flute – Sonny Fortune
Trumpet, Organ – Miles Davis
Written-By – Miles Davis

MILES DAVIS – Pangaea (1975-2001) RM | Serie Master Sound | 2xCD | FLAC (tracks+.cue), lossless

This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk -- and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the

pursuit of the all-powerful Miles Davis' inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot -- Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist 1 :
1 Zimbabwe 41:38
Tracklist 2 :
1 Gondwana 49:42
Credits :
Bass [Fender] – Michael Henderson
Congas, Percussion, Drums [Water Drums], Drum Machine [Rhythm Box] – Mtume
Drums – Al Foster
Guitar – Reggie Lucas
Guitar, Synthesizer, Percussion – Pete Cosey
Soprano Saxophone, Alto Saxophone, Flute – Sonny Fortune
Trumpet, Organ – Miles Davis

SONNY FORTUNE - Whith Sound Reason (1979-2014) FLAC (tracks+.cue), lossless