RAN BLAKE — Epistrophy (1992) FLAC (tracks+.cue), lossless

Ran Blake's re-interpretations of 12 Thelonious Monk songs and four standards that Monk enjoyed playing are quite different than everyone else's. He states the basic melody but, rather than improvising off the chord changes, Blake's flights on these solo piano performances stay close to the mood of the melodies, alternating silence with unexpected emotional flurries. Scott Yanow
Tracklist :
1. Epistrophy (Clarke-Monk) - 3:08
2. Thelonious (Monk) - 5:18
3. April in Paris (Duke-Harburg) - 3:07
4. Off Minor (Monk) - 1:39
5. Criss-Cross (Monk) - 2:19
6. Reflections (Monk) - 3:24
7. Epistrophy (Clarke-Monk) - 3:55
8. 'Round Midnight (Monk) - 5:50
9. Hornin' In (Monk) - 0:56
10. Just a Gigolo (Brammer-Casucci) - 3:10
11. Nice Work If You Can Get It (Gershwin-Gershwin) - 3:47
12. Ruby, My Dear (Monk) - 3:00
13. Monk's Mood (Monk) - 5:12
14. Smoke Gets in Your Eyes (Harbach-Kern) - 2:48
15. Eronel (Monk) - 2:27
16. Misterioso (Monk) - 3:08
17. Epistrophy (Clarke-Monk) - 1:18
Credits :
Ran Blake - Piano

World Saxophone Quartet — The Complete Remastered Recordings on Black Saint and Soul Note (2012) RM | 6CD BOX-SET | FLAC (tracks+.cue), lossless

Probably the first of several saxophone-only ensembles that proliferated in jazz after 1975, the WSQ was unquestionably the most commercially (and, arguably, the most creatively) successful. Of course, commercial success is a relative thing in jazz, especially when one is speaking of an avant-garde group. But unlike most free jazz artists, the WSQ managed to attract an audience of significant size, large enough to have garnered a major-label record deal in the '80s, an almost unheard-of occurrence in that retro-jazz decade. The band did it on merit, too, with only a hint of compromise (manifested mainly by albums of R&B and Duke Ellington covers). By the time their first record on Elektra/Musician came out in 1986, the band had evolved from its fire-breathing, free-improvising, ad-hoc beginnings into a smooth-playing, compositionally minded, well-rehearsed band. At its creative peak, the group melded jazz-based, harmonically adventurous improvisation with sophisticated composition. All of the group's original members (Julius Hemphill, alto; Oliver Lake, alto; David Murray, tenor; and Hamiet Bluiett, baritone) were estimable composers as well as improvisers. Each complemented the whole, making them even greater than the considerable sum of their parts. As a composer, Hemphill drew on European techniques (though his tunes were not without an unalloyed jazz component), while Bluiett was steeped in blues and funk. Lake and Murray fell somewhere in between. As soloists and writers, the early WSQ covered all the bases. Chris Kelsey
Tracklist :
World Saxophone Quartet - Steppin' With The World Saxophone Quartet
World Saxophone Quartet - W.S.Q.
World Saxophone Quartet - Revue
World Saxophone Quartet - Live In Zurich
World Saxophone Quartet - Live At Brooklyn Academy Of Music
World Saxophone Quartet - Moving Right Along
All Credits :

PAUL BLEY — Tango Palace (1985) FLAC (tracks+.cue), lossless

An alarm mechanism goes off at the sight of another solo album by this artist; the acquisition of a complete collection would surely cause floors to sag. Still, the dapper Paul Bley, pipe alit, will arrive at the studio, and by the end of the day a project is completed, with attention paid to all the details that will make such an album an enjoyable, varied listening experience. "C.G" appears to have him musically gazing out the window, perhaps a needed respite after the peppy opening title tune. Fans of tango should savor that moment; it is the only example of that style on the entire album. "Woogie" literally invites the listener to a wedding, notes tossed out like rice in the opening passages.

Bley digs deeper as the program progresses, with the gaze now out the window of a train, en route from gig to gig, a life of music passing by in a pattern of reminiscing. This can be heard in the references to melodies and styles, the little nuances that can peel 40 years off the music right before your ears. "But Beautiful" has just the right amount of build for a ballad, never upsetting the gentleness of its nature. The second side's opener, "Return to Love," has an amazing amount of detail and contrast; it is simply played beautifully, but appears to fade abruptly. "Bound" begins like a Thelonious Monk tune, then is abruptly abducted off to a land of more space than sound. As its two-and-a-half-minute length nervously unfolds, Bley alternates brief moments of emphasis with jewel-like chordal strokes that recall Satie. It is a wonderfully casual performance, and very deep.

Elsewhere, the pianist does some interesting swing, walking with an effective kind of halting motion before flitting off into the high register as if sewing a pocket shut. True, some mannerisms reappear as if a tired mind was trying to finish a job, including a kind of hackneyed use of the sustain pedal along with ringing high notes. "Please" is extremely pretty, a nice suggestion as a track to play to lure listeners into jazz piano piece, but it also fades out. "Explain" provides the final five minutes; one can almost hear the producer mouthing "What? Another slow one?" behind the glass. Eugene Chadbourne 
Tracklist & Credits :

BLEY | MOTIAN — Notes (1988) FLAC (tracks+.cue), lossless

This collection of 19 shortish piano and drum duets has caused the same reaction in several different fans of Paul Bley, so probably shouldn't be dismissed as quickly as the performers seemed to each track go by. Initial listings inspire indifference, in some case sneers, as it seems the two veteran players and longtime musical parners are improvising as if facing a row of judges who have given them time limits. This image addresses the brevity of the tracks, but not the lack of any palpable urgency, a quality that it is assumed would be rampant in anyone addressing such a court.

Superficially, the set of musical miniatures brings to mind a classic Erroll Garner side, in which each in a series of two, three and four minute tracks opens up an entire musical cosmos as well as inviting in the apparition of romance and the smell of perfume. None of that happens at all here, the tracks basically having the flatness and relative lack of detail of the album's cover illustration. These performances have a lingering quality, however, certain moments eventually acquirng magic like illuminations, even though it is all mere residue under the fingers of players who seemingly can create beauty in their sleep. "West 107th Street" is music for an imaginary movie, "Love Hurts" almost manages to deny feeling, and "Batterie" in its millionth recording still puts new thoughts in the pianist's mind. Eugene Chadbourne
Tracklist & Credits :

BLEY | HADEN | MOTIAN — Memoirs (1992) FLAC (tracks+.cue), lossless

Memoirs serves as a tidy summation of Paul Bley's gifts as an individual and musical conversationalist. It helps that he converses with old friends. Paul Motian is, roughly, to the drums what Bley is to the piano, capable of sculpting icy, paradoxical emotions; on moment's notice, they can venture "out" where tonal centers and rhythmic pulses are not invited. And there, always, is the fundamental Charlie Haden, who demonstrates how a few well-placed notes and well-observed silences can lock a group texture into place. Josef Woodard    Tracklist & Credits :

JIMMY GIUFFRE | PAUL BLEY | STEVE SWALLOW — Conversations with a Goose (1996) FLAC (tracks+.cue), lossless

Jimmy Giuffre, Paul Bley, and Steve Swallow had reunited four years prior to this recording session before a live and very enthusiastic audience. On this date, they had been touring together on and off for four years and were as telepathic as in 1961 when they recorded Fusion and Thesis with Creed Taylor at Verve (yeah, the same guy who aesthetically ruined Wes Montgomery and Grover Washington, Jr.). The differences were few but marked: For one, on this date Swallow plays electric bass -- an instrument that Giuffre has enjoyed in his bands since the late '70s. Bley's playing -- trademark as ever with those big spaces in the middle of a dense passage -- is like liquid here; he pours himself through the group tunes and, on his solos, slips through the keys in a fierce contrapuntal assertion of thematic development. Swallow is the most understated and elastic of bassists. He understands implicitly that the place of rhythm in this trio is between interplay, not underscoring it. The set opens with the title track written by Bley. Giuffre moans an intro on the clarinet and Bley answers with his theme, which is a variation on a Harold Arlen tune and Thelonious Monk's "Pannonica." Giuffre seemingly pays no mind and creates a modal tone bridge for Swallow to create a wedge for himself. Being in 4/4, it feels like a blues, and in Bley's right hand it is, but Giuffre finds the contrapuntal element to be more expressive and follows along just after the beat in a semi-quaver that suggests an intervallic shift, but the meter is the same. Giuffre's solo actually quotes (for six notes) Carla Bley's "Jesus Maria" from the group's 1961 Fusion album. On Giuffre's "Calls in the Night," thematic development is very gradual, though the piece is only six minutes long. Bley plays counterpoint with himself and Giuffre and Swallow are forced to follow scalular chromatics until the tune opens up and then all three members form a contrapuntal mode where the aesthetic is microtonal and the improvisation is a harmonic shift in dynamic, not the other way around. Giuffre's sheer number of tones and colors is staggering; they seem limitless -- it is impossible to tell what has been predetermined and what is improvised given the formlessness of his approach. Swallow's "Watchin' the River" is an actual chromatic study in scale and interval. Bley and Giuffre offer separate nodes of harmonic invention as Swallow, playing at the top of the instrument's register and getting a guitar effect, creates the tune's body from chromaticism to institute a theme that can be opened in any number of directions. Bley chooses a serialist approach and Giuffre chooses melodic invention before Bley gives in and trades eights with both men. It's breathtaking to listen to the intricate interplay and staggering communication inherent in a music this understated and free. Conversations With a Goose may not be a muscular recording in the way that Hat's Berlin 1961 was, or in the aggressive nature of Free Fall's two group pieces. That said, it is far more challenging and exhilarating to listen to because this trio used Free Fall as a starting point toward a peak it seems they had yet to reach. Onward and upward.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

PAUL BLEY | GARY PEACOCK — Mindset (1997) FLAC (tracks+.cue), lossless

Tracklist & Credits :

PAUL BLEY | FURIO DI CASTRI | TONY OXLEY — Chaos (1998) FLAC (tracks+.cue), lossless

This is a fascinating set. Although the instrumentation (pianist Paul Bley, bassist Furio DiCastri and Tony Oxley on drums and percussion) may lead one to expect a conventional piano trio, in reality the 13 selections consist of four drum solos, one unaccompanied bass piece, two piano solos, a piano-drums duet and just five trio numbers. Bley's use of space and dynamics gave free jazz pianists in the 1960s an alternative approach to Cecil Taylor; here he sounds quite creative and his opening "Chaos" is a near-classic. DiCastri, who is very inventive on his unaccompanied "Touching Bass," is intuitive and displays a huge tone. However, it is Oxley who often steals one's attention. His wide array of equipment makes one think that he raided a junkyard, and his four solos are full of color rather than technique, surprises rather than swing. While many drum/percussion solos lose a great deal when the visual element is not present, Tony Oxley's transfer very well to disc. This set of concise free improvisations is highly recommended to open-minded listeners. Scott Yanow    Tracklist & Credits :

KENNY DREW TRIO — Your Soft Eyes (1982) FLAC (tracks+.cue), lossless

Pianist Kenny Drew is accompanied by fellow expatriate drummer Ed Thigpen and the talented young bassist Mads Vinding on these 1981 sessions. The leader continued to grow as a player during his years living in Europe, evolving from a strong bop pianist into something more. He opens "Alone Together" with a tense, evocative solo before returning to familiar territory as the rhythm section joins him. His sprightly, brisk take of "How Are Things in Glocca Mora" is a nice change from the usual arrangements, with Vinding's walking bass prominent in the mix. The leader's two originals include the snappy "Evening in the Park" and the lush, intimate ballad "Your Soft Eyes." This rewarding CD seems to have been deleted from Soul Note's catalog, so it is well worth tracking down. Ken Dryden 
Tracklist :
1 Forgotten But Not Gone 3:52
Ernie Wilkins
2 Alone Together 9:50
Howard Dietz / Arthur Schwartz
3 Your Soft Eyes 5:06
Kenny Drew
4 Evening in the Park  5:18
Kenny Drew
5 How Are Things in Glocca Morra?  7:36
E.Y. "Yip" Harburg / Burton Lane
6 Mads' Blues
Kenny Drew
Credits :
Double Bass – Mads Vinding
Drums – Ed Thigpen
Piano – Kenny Drew

LEE KONITZ NONET - Live at Laren (1984) FLAC (tracks+.cue), lossless

Lee Konitz revived his nonet for the occasion of this 1979 concert, with trumpeters Red Rodney and John Eckert, baritonist Ronnie Cuber, trombonist Jimmy Knepper, and tuba player/bass trombonist Sam Burtis joining him in the front line. Lennie Tristano's "April," a challenging reworking of the standard "I'll Remember April," proves to be an inspired opener, with great solos all around. Knepper's blues "Who You" has the flavor of Charles Mingus' early-'60s compositions. Konitz's scoring of "Without a Song" begins with an unaccompanied alto solo before taking on a Latin flavor. Pianist Benny Aronov switches to the electric keyboard for an intricate take of Chick Corea's "Times Lie," while the nonet charges head first into the lengthy exploration of Corea's "Matrix." One of the less familiar releases in Lee Konitz's extensive discography. Ken Dryden
Tracklist :
1    April 7:03
Written-By, Arranged By – Lennie Tristano
2    Who You 6:15
Written-By, Arranged By – Jimmy Knepper
3    Without A Song 9:32
Arranged By – Lee Konitz
Written-By – Billy Rose, Edward Eliscu, Vincent Youmans
4    Moon Dreams 3:45
Arranged By – Gil Evans
Written-By – Chummy McGregor, J. Chalmers, Johnny Mercer
5    Times Lie 10:54
Arranged By – Sy Johnson
Written-By – Chick Corea
6    Matrix 13:38
Arranged By – Sy Johnson
Written-By – Chick Corea
Credits :    
Alto Saxophone, Soprano Saxophone – Lee Konitz
Baritone Saxophone, Clarinet – Ronnie Cuber
Bass – Ray Drummond
Drums – Billy Hart
Piano, Electric Piano – Ben Aronov
Trombone – Jimmy Knepper
Trumpet, Flugelhorn – Red Rodney
Trumpet, Flugelhorn, Piccolo Trumpet – John Eckert
Tuba, Bass Trombone – Sam Burtis
Notas.
Recorded live at Laren Jazz Festival August 12, 1979 by the Dutch Broadcasting, NOS -Hilversum
Mastered at Polygram, Tribiano - Milano

LEE KONITZ QUARTET - Ideal Scene (1986) FLAC (tracks+.cue), lossless

This Soul Note release features Lee Konitz with his 1986 quartet, a unit that also includes pianist Harold Danko, bassist Rufus Reid and drummer Al Harewood. Konitz, listed as playing soprano on the album but actually sticking exclusively to alto, not only interprets three veteran standards ("Ezz-thetic," "If You Could See Me Now" and "Stella by Starlight") but also three of Danko's then-recent originals and his own "Chick Came Around." The subtle but swinging music is harmonically advanced and full of surprising twists; no predictable bebop here. More than most members of his musical generation, Lee Konitz has continued to keep his music and improvising style fresh and enthusiastic while retaining his own original musical personality through the years. Scott Yanow
Tracklist :
1     Chick Came Around 6:13
Lee Konitz
2     Tidal Breeze 7:50
Harold Danko
3     Silly Samba 6:30
Harold Danko
4     Ezz-Thetic 4:35
George Russell
5     If You Could See Me Now 7:30
Tadd Dameron / Carl Sigman
6     Stare-Case 3:06
Harold Danko
7     Stella by Starlight 9:24
Ned Washington / Victor Young
Credits :
Alto Saxophone, Liner Notes – Lee Konitz
Artwork [Cover Art] – Giuliano Crivelli
Bass – Rufus Reid
Drums – Al Harewood
Piano – Harold Danko

LEE KONITZ QUARTET - The New York Album (1988) FLAC (tracks+.cue), lossless

While jazz wars continue to rage between the neo-classicists and most everyone else, veterans like alto saxophonist Lee Konitz thankfully continue to produce great music. Having already experienced the controversy of coming out of Lennie Tristano's idiosyncratic camp during the late bebop years, Konitz seems content in exploring the endless tributaries of jazz and improvisation. The high quality of his work from the past 40 years, along with his willingness to experiment with a variety of musicians and group configurations, earned him both the prestigious Jazzpar Prize and the continued praise of critics and fans alike. For this lovely and swinging date from 1988, Konitz conjures up a fresh array of solo moods on a mix of self-penned material, contemporary originals, and standards. Backed by a stellar band made up of bassist Marc Johnson, pianist Harold Danko, and drummer Adam Nussbaum, Konitz pleasantly surprises with his mercurial phrases, varied tonal palette, and unique rhythmic sense. Highlights include "Candlelight Shadows," "Limehouse Blues," and "Monkian Round." A very enjoyable collection. Stephen Cook  
Tracklist :
1     Candlelight Shadows 9:34
Harold Danko
2     Everybody's Song But My Own 7:23
Kenny Wheeler
3     Limehouse Blues 5:252
Philip Braham / Douglas Furber
4     Monkian Round 3:24
Lee Konitz
5     September Waltz 7:01
Frank Wunsch
6     Dream Variation 4:35
Lee Konitz
7     Invitation 8:56
Bronislaw Kaper / Paul Francis Webster
Credits :    
Alto Saxophone – Lee Konitz
Bass – Marc Johnson
Cover [Painting] – Tavia Konitz
Drums – Adam Nussbaum
Piano – Harold Danko

LEE KONITZ QUARTET - Zounds (1992) FLAC (tracks+.cue), lossless

This is a very interesting if occasionally unsettling CD. Lee Konitz (doubling on alto and soprano) and his 1990 quartet (which is comprised of Kenny Werner on piano and occasional synthesizer, bassist Ron McClure and drummer Bill Stewart) emphasize freely improvised performances throughout the date. Two standards ("Prelude to a Kiss" and "Taking a Chance on Love") are interpreted pretty freely while all of the other selections are group originals; Konitz even takes an unplanned "vocal" (more an example of sound explorations then an attempt at conventional singing) on "Synthesthetics." This is a consistently stimulating and rather unpredictable outing by the talented group. Scott Yanow
Tracklist :
1     Prologue 5:29
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner
2     Zounds 2:33
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner    
3     Prelude to a Kiss 5:19
Duke Ellington / Irving Gordon / Irving Mills
4     Blue Samba 4:19
Lee Konitz
5     All Things Considered 14:38
Lee Konitz
6     Synthesthetics 7:29
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner
7     Taking a Chance on Love 4:12
Vernon Duke / Ted Fetter / John Latouche
8     Piece for My Dad 4:31
Kenny Werner
9     Soft Lee 6:14
Lee Konitz
Credits :    
Alto Saxophone, Soprano Saxophone, Voice – Lee Konitz
Bass – Ron McClure
Drums – Bill Stewart
Piano, Synthesizer – Kenny Werner

LEE KONITZ | PEGGY STERN - Lunasea (1992) FLAC (tracks), lossless

Altoist Lee Konitz certainly covers a lot of ground on this Soul Note CD. Performing with his recent discovery Peggy Stern on piano, guitarist Vic Juris, bassist Harvie Swartz, drummer Jeff Williams and percussionist Guilherme Franco, Konitz and his players perform everything from jams in the Lennie Tristano tradition and Brazilian pieces that are almost pop-oriented to free improvisations. Stern is quite impressive throughout the date. Classically trained, she proves from the start that she has a real talent at improvisation and is not afraid to take chances. Konitz sounds inspired by her presence and their interplay makes this an easily recommended set for adventurous listeners.  Scott Yanow
Tracklist :
1     Subconscious Lee, No. 2 7:10
Lee Konitz
2     Femaleon 4:06
Lee Konitz / Peggy Stern
3     Bossa Tia 5:49
Peggy Stern
4     The Final Blow 4:31
Lee Konitz / Peggy Stern
5     Lunasea 5:27
Peggy Stern
6     Matter of Opinion 4:26
Peggy Stern
7     The Aerie 5:46
Peggy Stern
8     Leeway 6:13
Peggy Stern
9     Stanbye 4:20
Peggy Stern
10     To Peggy 3:25
Vic Juris / Lee Konitz
11     Solo Too 1:40
Peggy Stern
12     Opertune 6:00
Peggy Stern
13     Djuo 4:17
Lee Konitz / Peggy Stern
14     S'gone 5:52
Peggy Stern
15     P.s. 1:27
Lee Konitz / Peggy Stern
Credits :
Alto Saxophone, Producer – Lee Konitz
Artwork [Cover Art] – Xerios
Bass – Harvie Schwarz
Drums – Jeff Williams
Guitar – Vic Juris
Painting [Cover] – Ann Kiehm
Percussion – Guilherme Franco
Piano, Producer – Peggy Stern

BORAH BERGMAN with EVAN PARKER - The Fire Tale (1994) FLAC (tracks+.cue), lossless

A showdown between the two players with the most comprehensive techniques in jazz -- Borah Bergman and Evan Parker. As a pianist, Bergman breaks down all distinctions between the left and right hands; his style is a multi-layered counterpoint of extreme sophistication and complexity. The equally hyper-dextrous Parker comes as close as any saxophonist ever has to playing counterpoint on a single-line instrument. At full steam, Parker's soprano lines are a continuous, mercuric flow, covering all registers of the horn, segmented by his incredibly fleet and precise articulations. These players do not really complement one another -- in many ways, they're just too much alike -- but neither is likely to find another so technically advanced. Scary and brilliant music. Chris Kelsey
Tracklist :
1    The Fire Tale    19:39
2    Red Shadows    15:19
3    Ascent Through The Vortex    17:38
4    Helixian Steps    4:14
Credits :
Piano, Producer, Composed By – Borah Bergman
Soprano Saxophone – Evan Parker

ANTHONY BRAXTON - The Complete Remastered Recordings on Black Saint & Soul Note (2011) RM | 8CD BOX SET | FLAC (tracks+.cue), lossless

 Cam Jazz's Complete Remastered Recordings on Black Saint & Soul Note series rolls on with this set by Anthony Braxton, who cut eight full-lengths for then owner Giovanni Bondarini. The first of these is an excellent studio duet with Max Roach, entitled Rebirth, recorded in 1978; the final album in this box is a curiosity piece composed for a multimedia performance entitled Braxton: Compostion No. 173, recorded in 1996. While the bookends are compelling for Braxton's devotees, the real attraction to this budget-priced box lies in his quartet recordings. There are two with Marilyn Crispell, Gerry Hemingway, and Mark Dresser: Four Compositions (Quartet) 1983 and Six Compositions (Quartet) 1984. On Five Compositions (Quartet) 1986, David Rosenboom replaced Crispell. Six Monk Compositions 1987 is an entirely new band with Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne holding the greatest appeal. The other two recordings are Ensemble Compositions 1992 (with Guy Klucevsek, Don Byron, and Marty Ehrlich as part of a larger group), and Eugene 1989 (where Braxton conducted the Northwest Creative Orchestra). It's easy to claim that anyone who would buy an Anthony Braxton box is a hardcore fan anyway, but in his case there are levels of that distinction. That said, this set is almost worth the purchase price just to have remastered versions of the two albums with the Crispell/Hemingway/Dresser group; these are standouts even in Braxton's vast catalog.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
CD1    Birth And Rebirth
CD2    Four Compositions (Quartet) 1983
CD3    Six Compositions (Quartet) 1984
CD4    Five Compositions (Quartet) 1986
CD5    Six Monk's Compositions (1987)
CD6    4 (Ensemble) Compositions 1992
CD7    Eugene (1989)
CD8    Composition No- 173 For 4 Actors, 14 Instrumentalists Constructed Environment And Video Projections    
All Tracks & Credits

ARCHIE SHEPP - Down Home New York (1984) FLAC (tracks+.cue), lossless

Archie Shepp was the picture of rebellion and anger in the 1960s, but he became the voice of swing, blues and classicism in the 1980s. Shepp displayed his penchant for honking R&B and soulful blues on this 1984 date. The title piece was a jaunty stroll, as was the celebratory "Straight Street." Shepp turned to impressionistic fare with his version of Thelonious Monk's "Round Midnight." The group included a great drummer in Marvin Smith and also other competent players, although Saheb Sarbib sometimes did not offer as full and aggressive a backbeat as needed. But Shepp's swaggering, confident tone and style maintained the pace. Ron Wynn
Tracklist :
1     Down Home New York 10:50
Archie Shepp
2    'Round About Midnight 9:13
Bernie Hanighen / Thelonious Monk / Cootie Williams
3     May 16th 9:06
Saheb Sarbib   
4     The 4th World 6:02
Archie Shepp   
5     Straight Street 6:36
John Coltrane   
Credits
Bass, Electric Bass, Voice – Saheb Sarbib
Drums, Voice – Marvin "Bugalu" Smith
Piano, Voice – Ken Werner
Tenor Saxophone, Soprano Saxophone, Voice – Archie Shepp
Trumpet, Voice – Charles E. McGhee
Voice – Bazzi Bartholomew Gray

ARCHIE SHEPP - California Meeting "Live On Broadway" (1987) FLAC (tracks), lossless

Archie Shepp recordings in the 1980s are hit and miss; this is one of the more interesting ones. Shepp does make the mistake of playing soprano on "A Night in Tunisia" (his abilities on that instrument pale next to his tenor) and having a guest singer (Royal Blue) brought out of the audience to sing "St. James Infirmary." But Shepp's tenor playing is excellent on a roaring "Giant Steps" and the ballad "My Romance," and his sidemen (pianist George Cables, bassist Herbie Lewis and drummer Eddie Marshall) are flexible and versatile enough for the diverse music. Not essential but this CD is worth picking up by Archie Shepp's fans. Scott Yanow
Tracklist :
1     St. James Infirmary 7:20
Guest, Vocals – Royal Blue
Written-By – Joe Primrose
2     A Night in Tunisia 13:42
Dizzy Gillespie / Frank Paparelli    
3     Giant Steps 6:54
John Coltrane
4     My Romance 12:27
Lorenz Hart / Richard Rodgers
Credits
Bass – Herbie Lewis
Drums – Eddie Marshall
Piano – George Cables
Tenor Saxophone, Soprano Saxophone – Archie Shepp

ARCHIE SHEPP - Little Red Moon (1986) FLAC (tracks), lossless

 By 1985 Archie Shepp's tone on tenor had declined quite a bit from just a few years earlier. This should have been a strong set for the sidemen (trumpeter Enrico Rava, keyboardist Siegfried Kessler, bassist Wilbur Little and drummer Clifford Jarvis) are excellent and the repertoire is both diverse and challenging. However Shepp fouls up "Naima" by playing his out-of-tune soprano, talks and sings on the 18-minute "Little Red Moon" more than he plays tenor and his sax sounds quite sloppy on "Whisper Not" and "Sweet Georgia Brown." Despite some good moments from the supporting cast, this is one to skip. Scott Yanow
Tracklist :
1     Little Red Moon 17'59
Archie Shepp
2     Impromptu 4'00
Archie Shepp    
3     Naima 7'51
John Coltrane    
4     Whisper Not 9'08
Benny Golson    
5     Sweet Georgia Brown 6'59
Ben Bernie / Kenneth Casey / Maceo Pinkard
Credits
Bass – Wilbur Little
Drums – Clifford Jarvis
Piano, Synthesizer – Siegfried Kessler
Tenor Saxophone, Soprano Saxophone, Vocals [Vocal] – Archie Shepp
Trumpet, Flugelhorn – Enrico Rava

ENRICO PIERANUNZI QUARTET & QUINTET ft. ART FARMER - Isis (1981) FLAC (tracks+.cue), lossless

Art Farmer's always lyrical, inviting flugelhorn fit nicely into this quartet and quintet setting matching him with an Italian ensemble. They covered standards, such bop anthems as Dizzy Gillespie's "Blue 'N' Boogie" and Charlie Parker "Ah-Leu-Cha," plus Pieranunzi originals "Little Moon" and the title track. Pieranunzi's light, enticing piano phrases made a nice contrast with Farmer's effortless, shimmering solos, while bassist Furio Di Castri and drummer Roberto Gatto handled rhythm details smoothly, and special guest Massimo Urbani chipped in with vigorous alto sax solos on three cuts. A solid, often delightful session. Ron Wynn
Tracklist :
1     Isis 5'12
Enrico Pieranunzi    
2     Ah-Leu-Cha 5'27
Charlie Parker
3     Love Walked In 6'55
George Gershwin / Ira Gershwin
4     Blue 'N' Boogie 3'56
Dizzy Gillespie / Frank Paparelli
5     Soul Dance 5'39
Enrico Pieranunzi    
6     Nancy 5'50
James Van Heusen
7     Au Privave 4'23
Charlie Parker
8     Little Moon 5'57     
Enrico Pieranunzi
Credits :
Alto Saxophone – Massimo Urbani (pistas: 1, 4, 5)
Bass – Furio Di Castri
Drums – Roberto Gatto
Flugelhorn – Art Farmer
Piano, Producer – Enrico Pieranunzi