LEE WILEY — Night in Manhattan (1952-2007) MONO | FLAC (image+.cue), lossless

Collectors' Choice Music presents a rare compilation featuring Lee Wiley's most prolific and oft-requested post-World War II extended-play platter, including three complete 10" discs that the vocalist cut for Columbia in the early '50s. When initially issued, Wiley had already experienced significant success as a traditional pop and torch singer circa the '30s. During this era she was supported by such notables as Jimmy Dorsey, Tommy Dorsey, and the Johnny Green-led Casa Loma Orchestra. Due to its thematic nature, this project could rightly be considered as an early Songbook or concept album. That said, it is Night in Manhattan that perhaps most accurately exemplifies the moods, sounds,and auras of The Big Apple after hours. Wiley's unmistakable voice yields a distinct, organic,and otherwise full-bodied timbre. She unleashes varying degrees of that charm, bringing to life the Great American Songbook classics "Any Time, Any Day, Anywhere" and "(I Don't Stand) A Ghost of a Chance (With You)" with her trademark sense of a distant and at times flawed vulnerability. Wiley is joined by Bobby Hackett and Joe Bushkin's Swinging Strings on Night in Manhattan. Comparatively, the Vincent Youmans and Irving Berlin anthologies offer collaborations with Stan Freeman and Cy Walter, who collectively continue building upon Wiley's considerable back catalog of similar "songbooks" cut throughout the '40s. These centered on the works of Rodgers & Hart, Cole Porter, and George & Ira Gershwin. The original decision to cover both high-profile and obscure titles alike -- such as the elegant "Tea for Two" compared to the equally engaging "Why Oh Why" -- was an inspired one to be sure. Yet it is unquestionably Sings Irving Berlin that serves up one of the finest examples of the magic that can occur when a performer is given access to songs that at times sound as if they were penned specifically for them. Supported by a single keyboard, the classics "I Got Lost in His Arms," "Fools Fall in Love" and "How Deep Is the Ocean (How High Is the Sky)" are haunting and ethereal -- much like Manhattan herself. Lindsay Planer
Tracklist :
1    Manhattan 3:24
Written-By – Rodgers-Hart
2    I've Got A Crush On You 3:25
Written-By – I. Gershwin-G. Gershwin
3    A Ghost Of A Chance 3:16
Written-By – Crosby, N. Washington, V. Young

4    Oh! Look At Me Now 3:08
Written-By – Bushkin, De Vries
5    How Deep Is The Ocean 2:51
Written-By – Berlin
6    Time On My Hands 2:47
Written-By – Adamson, M. Gordon, Youmans
7    Street Of Dreams 3:13
Written-By – S. Lewis, V. Young
8    A Woman's Intuition 3:31
Written-By – N. Washington, V. Young
9    Sugar 3:07
Written-By – Alexander, Pinkard, Mitchell
10    Any Time, Any Day, Anywhere 2:25
Written-By – Wiley, N. Washington, V. Young
11    Soft Lights And Sweet Music 2:32
Written-By – Berlin
12    More Than You Know 3:12
Written-By – W. Rose, Eliscu, Youmans
Credits :
Piano – Cy Walter, Joe Bushkin, Stan Freeman
Trumpet – Bobby Hackett
Vocals – Lee Wiley

ORNETTE COLEMAN - Chappaqua Suite (1966-2014) RM | 2CD | Jazz Collection 1000 | FLAC (tracks+.cue), lossless

This four-part suite is actually a film soundtrack to the debut feature by Conrad Rooks, though it was never used as such. Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context. Sanders' interaction with Coleman is startling too, in that his normally overpowering voice is tempered here, playing along with the nuances and odd harmonic figures Coleman suggests and then blatantly states from his alto. The improvisation is complementary, not a cutting contest at all. Most of all, the rhythm section carries the balance of power and keeps the entire thing moving, handling the dynamic changes with a feral grace while at the same time suggesting a knottier path for Coleman to follow in the tempting pastoral sections of the work. While not considered a masterwork of Coleman's, perhaps because of its unavailability in the United States in its entirety, Chappaqua Suite is a testament to Coleman's vision as a composer and the power of his orchestral direction. Very worthwhile indeed.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Chappaqua Suite   
1-1    Part I    21:25
1-2    Part II    19:00
2-1    Part III    17:40
2-2    Part IV    21:58
Credits :
Alto Saxophone, Trumpet – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
Tenor Saxophone – Pharoah Sanders

ORNETTE COLEMAN - Skies Of America (1972-2014) RM | Jazz Collection 1000 | FLAC (tracks+.cue), lossless

Here's what is known about Ornette Coleman's first recorded orchestral symphonic work (he had written others previously and had them performed but never put on tape): After hiring conductor David Measham and the London Symphony Orchestra, British musicians' union rules prohibited Coleman from using his own quartet to play on the record. As a result, he had to re-examine the work without the concerto grosso form and, to fit the work on a single LP, he had to cut many of the recurrent themes of the work. It is also known that the recording quality isn't the greatest. So what? The bottom line is this: In the 21st century, Skies of America, which was Ornette's first attempt at employing his newly developed harmolodic theory (whereby using modulation many players could solo at once using different keys), still sounds ahead of its time. Though there are 21 bands marked on the cover, this is a single unbroken work with many of the themes recurring -- either in that they had long been present in Ornette's musical iconography, or would become so. (Check the theme in "The Good Life," as it evolved from "School Work" from 1962 and became "Dancing in Your Head" in the late '70s.) Coleman himself solos beautifully in the middle of the disc, from "The Artist in America" on and off until the work's end with "Sunday in America." This is loaded music: politically, emotionally, and also spiritually. The dissonance doesn't seem so profound now, but it still rubs against the grain of Western harmonic principles in all the right ways. It's difficult to find the sense of what chord is dominant in Coleman's composition, and for that alone it's valuable. But also, it's compelling listening on a level that music such as this is not yet the cultural norm or even close to approaching its standard -- which means that it is not yet fully possible. Ornette's was an opening volley, thrown down as a gauntlet that has yet to be picked up. This is still dangerous and rewarding music.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Skies Of America    2:48
2    Native Americans    1:11
3    The Good Life    1:33
4    Birthdays And Funerals    3:14
5    Dreams    0:53
6    Sounds Of Sculpture    1:19
7    Holiday For Heroes    1:09
8    All Of My Life    3:40
9    Dancers    1:18
10    The Soul Within Woman    0:50
11    The Artist In America    3:56
12    The New Anthem    0:31
13    Place In Space    2:44
14    Foreigner In A Free Land    1:19
15    Silver Screen    1:12
16    Poetry    1:14
17    The Men Who Live In The White House    2:50
18    Love Life    4:34
19    The Military    0:33
20    Jam Session    0:40
21    Sunday In America    4:28
Credits :
Alto Saxophone [Uncredited], Composed By, Liner Notes, Orchestrated By – Ornette Coleman
Bass [Uncredited] – Charlie Haden
Conductor – David Measham
Drums [Uncredited] – Ed Blackwell
Orchestra – The London Symphony Orchestra
Tenor Saxophone, Oboe [Uncredited] – Dewey Redman

WITOLD LUTOSLAWSKI : Complete Works for Piano Solo (Ewa Kupiec) (2013) FLAC (tracks), lossless

 

Mr. WATERMELON MAN MONGO SANTAMARIA - La Bamba (1965-2014) Jazz Collection 1000 / FLAC (tracks+.cue), lossless

One good hit deserves a remake, so Columbia had Mongo Santamaria redo his breakthrough record "Watermelon Man" on his second LP for the label. Indeed, it is this brighter, better-recorded version that we generally hear on the radio nowadays instead of the Battle original. Even better, though, are "Fatback" and the wildly swinging workout on "La Bamba" that kicks off the album, to which you can imagine the foxy blonde model on the cover dancing the boogaloo. Marty Sheller's charging arrangements and trumpet are in the driver's seat of this sports car with the Mongo engine, and Hubert Laws has a ball in his flute and tenor sax solos. Few records embodied the go-go spirit of the '60s as well as this Latin jazz album. by Richard S. Ginell
Tracklist :
1    La Bamba 3:58
Written-By – R. Valens
2    Fatback 3:16
Written-By – B. Capers
3    Summertime 4:42
Written-By – D. Heyward, G. Gershwin
4    Manha De Carnaval (Morning Of The Carnival) 4:46
Written-By – A. Maria, L. Bonfa
5    José Outside 2:39
Written-By – M. Sheller
6    Coconut Milk 2>33
Written-By – C. Garcia
7    Watermelon Man 3:15
Written-By – H. Hancock
8    Do It To It 3:55
Written-By – R. Grant
9    Rick Tick 2:21
Written-By – B. Salter
10    Streak O´Lean 2:50
Written-By – B. Capers
11    Just Say Goodbye 3:14
Written-By – Rodgers Grant, Ruth Grant
12    From Me To You All 2:52
Written-By – R. Grant
Credits :
Alto Saxophone, Baritone Saxophone,
Flute – Bobby Capers
Bass – Victor Venegas
Flute, Tenor Saxophone – Hubert Laws
Leader, Bongos – Mongo Santamaria
Piano – Rodger Grant
Timbales, Drums – Carmello Garcia
Trumpet – Marty Sheller

JOHN WILLIAMS PLAYS BACH : The Complete Lute Music on Guitar · Transcriptions (2018) 4xCD / FLAC (image+.cue), lossless

   All tracks & credits 

ANNER BYLSMA PLAYS BOCCHERINI : Cello Concertos & Sonatas, Fugues, String Quintets, Symphonies (2010) 5CD BOX-SET / FLAC (image+.cue), lossless

The set includes a wide variety of Boccherini's music....an overture, an octet, symphonies, cello concertos, quintets, cello sonatas, and fugues for 2 cellos. All are played on original instruments giving it a warm, beautiful tone. The symphonies are played with plenty of energy. Bylsma has a warm and smooth tone as he plays very virtuosic music. The music is virtuosic but still very pleasant to listen to. Boccherini was a genius with the cello and strings in general! 

Performer:
Anner Bylsma, cello
Tafelmusik (CD 1&2)
Jeanne Lamon, violin & direction (CD 1 & 2)
Kenneth Slowik, cello (CD 3)
Bob van Asperen, fortepiano (CD 3)
Sigiswald Kuijken, violin (CD 4 & 5)
Alda Stuurop, violin (CD 4 & 5)
Lucy van Dael, viola (CD 4 & 5)
Wieland Kuijken, cello (CD 4 & 5)
Hopkinson Smith, guitar (CD 5)

ANTON WEBERN : Complete Works Opp. 1-31 / Das Gesamtwerk / L'Oeuvre Intégrale (Pierre Boulez) (1991) 3xCD / APE (image+.cue), lossless

 

COPLAND : Early Orchestral Works, 1922-1935 (1991) 2xCD / APE (image+.cue), lossless

Track listing: Disc 1

Dance Symphony (1922-1925)
1. I. Introduction: Lento; Molto allegro; Adagio molto 7:02
2. II. Andante moderato 6:03
3. III. Allegro vivo 4:56

London Symphony Orchestra Conducted by Aaron Copland
Recorded at Walthamstow Town Hall, London UK on October 2&3, 1967

Two Pieces For String Orchestra (1923, 1928)
4. Lento molto 5:42
5. Rondino 4:23

London Symphony Orchestra conducted by Aaron Copland
Recorded at Walthamstow Town Hall, London UK on November 6, 1965

Symphony For Organ & Orchestra (1924)
6.: I. Prelude: Andante 6/8 5:54
7. II. Scherzo: Allegro molto 3/4; Moderato 4- 7:30
8. III. Finale: Lento; Allegro moderato 4/4 11:00

New York Philharmonic conducted by Leonard Bernstein
E. Power Biggs, organ
Recorded at Philharmonic Hall (Avery Fisher Hall), New York City, NY USA on January 3, 1967

Music For The Theatre (1925)
9.: I. Prologue 5:46
10. II. Dance 3:13
11. III. Interlude 5:19
12. IV. Burlesque 3:13
13. V. Epilogue 3:51

New York Philharmonic conducted by Leonard Bernstein
Recorded at the St. George Hotel, Brooklyn, New York USA on December 15, 1958

Time: 74:35 mins

Disc 2

Concerto For Piano & Orchestra (1926)
1. I. Andante sostenuto 6:50
2. II. Molto moderato (molto rubato) 9:18

New York Philharmonic conducted by Leonard Bernstein
Aaron Copland, piano
Recorded at Philharmonic Hall (Avery Fisher Hall), New York City, NY USA on January 13, 1964

Symphonic Ode (1927-1929)
3. Symphonic Ode 19:47

London Symphony Orchestra conducted by Aaron Copland
Recorded at Walthamstow Town Hall, London UK on October 2&3, 1967

Short Symphony (Symphony No. 2) (1931-1933)
4. Short Symphony (Symphony No. 2) 15:30

Statements (1934-1935)
5 I. Militant 2:44
6. II. Cryptic 3:21
7. III. Dogmatic 1:47
8. IV. Subjective 3:31
9. V. Jingo 2:33
10. VI. Prophetic 3:34

London Symphony Orchestra conducted by Aaron Copland
Recorded at Walthamstow Town Hall, London UK on November 5, 1965

Time: 69:31 mins 

JEAN SIBELIUS : Piano Works (Janne Mertanen) (2015) 5CD BOX-SET / FLAC (image+.cue), lossless

MILES DAVIS — Black Beauty : Miles Davis at Fillmore West (1973-1991) Serie The Legend Of Miles | FLAC (image+.cue), lossless

A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, and percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way and Bitches Brew. Opening with Joe Zawinul's "Directions," with a small three-note vamp, Davis creates a spaciousness for Grossman to hit the stratosphere and for both Holland and DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can't seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines. On "Miles Runs the Voodoo Down," since there is a discernible though minimal melody and groove, the band brings it in tighter, focusing on Davis smattering blues notes and Corea's distorted chord voicings. This is where the band hits their stride, and keeps it through "Willie Nelson" and the Sammy Cahn tune, an odd choice for this part of the program, "I Fall in Love Too Easily." From the opening of "Sanctuary" through "It's About That Time," "Bitches Brew," "Masqualero," and "Spanish Key/The Theme," the music become a kind of suite that doesn't really stop. It may pause in spots, but it loops through modal figures before disintegrating completely. There is no harmony to speak of and melody has become an extinct concept. What matters most is the nuance of groove and rhythm, and Davis found both in this band, though Grossman's playing is too busy and too green; he plays everything he knows in every solo. It's a small complaint, as this is an exciting document of a band trying to come to grips with the power of a music they don't even fully understand yet.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1:

1 Black Beauty Part I

2 Black Beauty Part II
Tracklist 2:

1 Black Beauty Part III

2 Black Beauty Part IV
Credits:
Bass – Dave Holland
Drums – Jack DeJohnette
Electric Piano – Chick Corea
Percussion – Airto Moreira
Saxophone – Steve Grossman
Trumpet – Miles Davis

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

RETURN TO FOREVER — Romantic Warrior (1976-1990) FLAC (image+.cue), lossless

The most popular and successful lineup of Return to Forever -- Chick Corea, Stanley Clarke, Lenny White, and Al Di Meola -- was coming off the Grammy-winning No Mystery when it recorded its third and final album, Romantic Warrior. It has been suggested that in employing a medieval album cover (drawn by Wilson McLean), using titles like "Medieval Overture" and "Duel of the Jester and the Tyrant," and occasionally playing in a baroque style, particularly in Clarke's "The Magician," Corea was responding to Rick Wakeman's successful string of albums on similar themes. Certainly, the music suggests that the musicians have been listening to Wakeman's band, Yes, among other progressive rock groups. But they bring more of a traditional jazz approach to their sound, particularly in the opening statement of intent "Medieval Overture" and the original side one closer, "The Romantic Warrior," both of which feature extensive acoustic piano soloing by Corea. The original side two -- Di Meola's "Majestic Dance," "The Magician," and "Duel of the Jester and the Tyrant" -- is much more in a jazz-rock style, with Di Meola particularly rocking out on extensive, fast-paced electric guitar solos. Meanwhile, the rhythm section of Clarke and White is always extremely busy, maintaining a funky, driving pulse and several cross rhythms no matter what's going on above it. This is particularly noticeable, naturally, on White's sole composition, "Sorceress," but it continues to keep the music in the fusion camp even when Corea is sounding like a more traditional jazz pianist. Romantic Warrior is the sound of a mature band at the top of its game, which may help explain why it was Return to Forever's most popular album, eventually certified as a gold record, and the last by this assemblage. Having expressed themselves this well, they decided it was time for them to move on.  by William Ruhlmann  

Tracklist :
1  Medieval Overture  5:14
Written-By – Chick Corea
2  Sorceress  7:34
Written-By – Lenny White
3  The Romantic Warrior  10:52
Written-By – Chick Corea
4  Majestic Dance  5:01
Written-By – Al Di Meola
5  The Magician  5:29
Written-By – Stanley Clarke
6  Duel Of The Jester And The Tyrant (Part I & Part II)  11:26
Written-By – Chick Corea
Credits
Bass [Alembic Bass With Instant Flanger, Piccolo Bass], Acoustic Bass, Bell Tree, Bells [Hand Bells] – Stanley Clarke
Drums, Timpani, Congas, Timbales, Bells [Hand Bells], Drums [Snare Drums], Cymbal [Suspended Cymbals], Other [Alarm Clock] – Lenny White
Electric Guitar [Electric Guitars], Acoustic Guitar, Guitar [Soprano Guitar], Bells [Hand Bell], Slide Whistle – Al Di Meola
Piano [Acoustic Piano], Electric Piano [Fender Rhodes], Clavinet [Honer Clavinet], Synthesizer [Mini Moog, Moog 15, Micro Mini Moog, ARP Odyssey, Polymoog], Organ [Yahama Organ], Marimba, Percussion – Chick Corea

BRANFORD MARSALIS - Scenes In The City [1984] FLAC (tracks+.cue), lossless

Branford Marsalis's debut as a leader is ambitious yet consistently successful. On "Scenes of the City," his narrative is in the same spirit of some of Charles Mingus's recordings of the 1950s. Otherwise the music is in the modern mainstream vein with Marsalis (on tenor and soprano) hinting strongly at Wayne Shorter and John Coltrane, along with a touch of Sonny Rollins. The backup crew includes such notable young lions as pianist Mulgrew Miller and Kenny Kirkland, bassist Charnett Moffett, and drummers Jeff "Tain" Watts and Marvin "Smitty" Smith in addition to bassist Ron Carter. It's an impressive start to a notable career. by Scott Yanow
Tracklist  
1 No Backstage Pass 6:48
Bass – Ron Carter
Drums – Marvin Smith
Tenor Saxophone – Branford Marsalis
Written-By – B. Marsalis
2 Scenes In The City 5:50
Bass – Ray Drummond
Drums – Marvin Smith
Narrator – Wendell Pierce
Piano – Mulgrew Miller
Tenor Saxophone – Branford Marsalis
Trombone – Robin Eubanks
Trumpet – John Longo
Voice [In Rooming House] – Branford Marsalis, Jeffrey Watts
Voice [Radio Announcer In Rooming House] – Ed Williams 
Written-By – C. Mingus
3 Solstice 8:58
Bass – Ron Carter
Drums – Marvin Smith 
Piano – Mulgrew Miller
Tenor Saxophone, Soprano Saxophone – Branford Marsalis
Written-By – B. Marsalis
4 Waiting For Tain 6:51
Bass – Charnett Moffett
Drums – Jeffrey Watts
Piano – Kenny Kirkland
Soprano Saxophone – Branford Marsalis
Written-By – B. Marsalis
5 No Sidestepping 7:00
Bass – Ron Carter
Drums – Marvin Smith
Piano – Mulgrew Miller
Tenor Saxophone – Branford Marsalis
Written-By – M. Miller
6 Parable 5:36
Bass – Phil Bowler
Drums – Jeffrey Watts
Piano – Kenny Kirkland
Soprano Saxophone – Branford Marsalis
Written-By – K. Kirkland

BRANFORD MARSALIS - Scenes In The City 

[1984] CBS / Sony / FLAC (tracks+.cue), lossless

O Púbis da Rosa

PAT MARTINO – Exit (1976-1998) RM | Series : Master Sound | FLAC (tracks+.cue), lossless

This LP gave listeners a good sampling of mid-1970s Pat Martino. The distinctive yet flexible guitarist teams up with Gil Goldstein (who sticks here to acoustic piano), the great bassist Richard Davis, and drummer Billy Hart. Martino plays more standards than usual (four out of six songs, including "Days of Wine and Roses" and "Blue Bossa"), and, of his two originals, "Three Base Hit" has the spirit and fire of bop. An excellent outing. Scott Yanow 

Tracklist :

1 Exit 9:23 

Pat Martino 
2 Come Sunday 7:30 Duke Ellington 
3 Three Base Hit 4:30
Pat Martino 

4 Days of Wine and Roses 4:47 

Henry Mancini / Johnny Mercer 
5 Blue Bossa 4:57
Kenny Dorham 
6 I Remember Clifford 7:48
Benny Golson 
Credits 
Bass – Richard Davis
Drums – Jabali Billy Hart
Guitar – Pat Martino
Piano – Gil Goldstein

TONY PERKINS - Tony Perkins (1957-2003) FLAC (tracks), lossless

Tony Perkins will undoubtedly be best remembered for his considerable cinematic contributions rather than musical ones. However during the late '50s, Perkins demonstrated remarkable versatility as a sensitive vocalist on a series of pop recordings. By the time the entertainer issued this platter in 1957, he had already become an Academy Award nominee for his role in the Civil War era drama Friendly Persuasion (1956). Under the orchestration and scoring of arranger/conductor Marty Paich, Perkins reveals a real flair for the cool and easygoing approach of the West Coast post-bop jazz movement. In fact the song selection as well as darker vocal inflections recall a striking similarity to that of Chet Baker. Paich's contributions are tasteful and never overpower Perkins' warm and supple tones and are highlighted by an equally engaging choice of material. Among the more notable performances are "Just Friends," "This Time The Dream's On Me" and the hipster's lullaby "Hit The Road To Dreamland"." These sides, although his first to be released, were not Perkins' initial foray as a vocalist. At his suggestion, "A Little Love Can Go A Long, Long Way" was incorporated into the Goodyear Playhouse television adaptation of the screenplay Joey. The success and enthusiasm generated by the telecast led to an offer by Epic Records. Even before this album, Perkins had recorded half-a-dozen sides that eventually filled out the respective A and B sides of three 7" singles. Chief among these was his reading of the afore mentioned "A Little Love Can Go A Long, Long Way" as well as the title song from his concurrent motion picture Friendly Persuasion which was also known by its parenthetical title "Thee I Love." In 2003 Collectors' Choice Music issued Tony Perkins on CD and included not only these 45's, but also a previously unreleased reading of "If You Were The Only Girl" among the supplementary materials. Although Paich was not involved with the singles, Perkins' was in the respective company of Buddy Cole, jazz arranger Obie Masingill and Buddy Bergman. Jazz vocal enthusiasts might find themselves pleasantly surprised at the emotive range and style of Tony Perkins. Followers of the West Coast cool scene are highly encouraged to investigate this title as well.  by Lindsay Planer 
Tracklist
1 April Fool  3:06
2 Just Friends  1:53
John Klenner / Sam M. Lewis
3 Hit the Road to Dreamland  2:49
Harold Arlen / Johnny Mercer
4 This Time the Dream's on Me  2:08
Harold Arlen / Johnny Mercer
5 How Long Has This Been Going On 2:53
George Gershwin
6 But Beautiful  2:50
Johnny Burke / James Van Heusen
7 Why Shouldn't I  2:11
Cole Porter
8 I Wish I Knew  4:03
Mack Gordon / Harry Warren
9 Accidents Will Happen  2:28
Johnny Burke / James Van Heusen
10 Gone With the Wind  2:29
Herbert Magidson / Allie Wrubel
11 Better Luck Next Time  3:08
Irving Berlin
12 How About You  2:36
Ralph Freed / Burton Lane
13 A Little Love Can Go a Long, Long Way  3:02
14 If You'll Be Mine  2:46
Hugh Martin
15 If You Were the Only Girl  2:48
Nat D. Ayer / Clifford Grey
16 Fool in Love  2:21
Ike Turner
17 Melody For Lovers  2:57
18 If You Were the Only Girl  2:56
Nat D. Ayer / Clifford Grey
19 Friendly Persuasion (Thee I Love)  2:47
Credits :
Marty Paich  -  Direction
Tony Perkins  -  Primary Artist