PAUL BLEY TRIO - Closer (1965) Two Version (1993, Serie ESP-Disk New Jazz 名盤 Collection) + (2013, RM | 50th Anniversary Edition) FLAC (tracks+.cue), lossless

The second ESP issue from the Paul Bley Trio is a contrast as dramatic as rain against sunshine. The earlier album, Barrage, recorded in October of 1964, was full of harsh, diffident extrapolations of sound and fury, perhaps because of its sidemen; Marshall Allen and Dewey Johnson on saxophone and trumpet, respectively, were on loan from Sun Ra and joined Eddie Gomez and Milford Graves. Indeed, the music there felt like one long struggle to survive. On this date, recorded over a year later and released in 1966, Bley's sidemen are two more like-minded experimentalists, drummer Barry Altschul and bassist Steve Swallow. The program of tunes here is also more even-handed and characteristically lush: the entire first side and two on the second were written by Carla Bley (including the gorgeous "Ida Lupino") for a total of seven, and there is one each by pianists Annette Peacock and Ornette Coleman. Bley and his trio understand that with compositions of this nature, full of space and an inherent, interior-pointing lyricism, that pace is everything. And while this set clocks in at just over 29 minutes in length, the playing is so genuine and moving that it doesn't need to be any longer. The interplay between these three (long before Swallow switched to electric bass exclusively) is startling in how tightly woven they are melodically and harmonically. There isn't a sense that one player -- other than the volume of Mr. Bley's piano in this crappy mix -- stands out from the other two; they are of a piece traveling down this opaque yet warm road together. Bley may never have been as flashy as Cecil Taylor, but he is every bit the innovator.

-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Ida    2:58
2    Start    2:07
3    Closer    3:34
4    Sideways In Mexico    2:59
5    Batterie    3:23
6    And Now The Queen    2:18
7    Figfoot    3:29
8    Crossroads    2:34
9    Violin    2:59
10    Cartoon    2:19
Credits :
Bass – Steve Swallow
Percussion – Barry Altschul
Piano – Paul Bley

STEVE KUHN TRIO — Three Waves (1966-1978) Vinyl, LP | FLAC (tracks), lossless

Predictable is not an adjective associated with the recordings of pianist Steve Kuhn. He is joined by bassist Steve Swallow and drummer Pete La Roca for this exciting studio session from the mid-1960s, both of whom he had worked with under Art Farmer, as well as on La Roca's smashing debut as a leader, Basra. With the exception of "Ida Lupino" and "Never Let Me Go," the music will likely be unfamiliar to most jazz fans, but adventurous souls are in for a treat. Kuhn's originals include the furious modal work "Bits and Pieces," which sounds as if it represents the center of a storm, as well as "Today I Am a Man," which suggests a well-known composition from the heyday of the bop era. "Why Did I Choose You" is played with a soft bossa nova accent, while Sergio Mihanovich's "Three Waves" is intense, with overlapping changes of rhythm. "Never Let Me Go," a favorite of singers, is understated and subtle, only hinting briefly at the melody. Originally issued on LP by the long-defunct Contact label, and briefly available as a Flying Dutchman reissue, BMG in Japan has since released a CD version. Ken Dryden
Tracklist :
A1    Ida Lupino    2:34
 Carla Bley
A2    Ah, Moore    3:23
 Al Cohn
A3    Today I Am A Man    5:55
 Steve Kuhn
A4    Memory    2:41
 Steve Kuhn
B1    Why Did I Choose You?    2:52
 Michael Leonard
B2    Three Waves    6:50
 Sergio Mihanovich
B3    Never Let Me Go    2:59
 Jay Livingston
B4    Bits And Pieces    4:38
 Steve Kuhn
B5    Kod Piece    0:22
 Steve Kuhn
Credits :
Bass – Steve Swallow
Drums – Pete LaRoca
Piano – Steve Kuhn

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

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

STEVE KUHN | ALDO ROMANO | STEVE SWALLOW — Childhood Is Forever (1971-1998) RM | FLAC (tracks), lossless

This date is a fine example of Steve Kuhn's concept of trio jazz. It was recorded in Paris, 1969. The programme is very well put together with exciting and varying interpretations of standards, with a cooking rendition of Steve Swallow's "Eiderdown" as a closing show-stopper. The trio is in exceptional good mood and delivers thoroughly inspired performances on every track. There is a latin tinge to most of the arrangements, but it is only truly explicit in the bossa/latin tunes. It keeps the vibe fresh and bouncy. The album also has a few excentric excurions into free/avantgarde but they act more as beacons of distant shores than points of focus – a sort of spice. Steve Swallow's bass work is nothing short of stellar through the whole album. As is drummer Aldo Romano's. This is arguably one of the better incarnations of the Steve Kuhn Trio and worthy of wider discovery.
It is a pity, though, that both the recording, the vinyl pressings and cd reissue are marred with serious sound quality issues. But, on the other hand, it sort of increases the feeling of having found a hidden, unpoilshed gem - which this album truly is. Tobias Berving
Tracklist :
1    The Night Has A Thousand Eyes 6:01
Written-By – J. Brainin
2    Spring Can Really Hang You The Most 6:48
Written-By – Wolf
3    Baubles, Bangles And Beads 5:03
Written-By – Forest, Wright
4    The Meaning Of The Blues 3:41
Written-By – B. Troup
5    All That's Left 5:48
Written-By – A.C. Jobim
6    I Waited For You 5:07
Written-By – W. Fuller
7    Eiderdown 4:25
Written-By – S. Swallow
Credits :
Bass – Steve Swallow
Drums – Aldo Romano
Piano – Steve Kuhn

STEVE KUHN — Trance (1975) FLAC (tracks+.cue), lossless

Trance, Steve Kuhn's second recording for ECM, was actually recorded a mere ten days after Ecstasy, his solo piano debut for the label. Trance features Kuhn playing both electric and acoustic piano, bassist Steve Swallow, drummer Jack DeJohnette, and percussionist Sue Evans. Two of the album's compositions, "Silver" and "Life's Backward Glance," are re-recordings of tunes appearing on Ecstasy. Adventurous and wide open, Trance is a mixed bag full of knots, twists, and turns. While firmly in the jazz idiom, Kuhn also draws on classical sources (check his solo in "Squirt"), drawing on Luciano Berio and Olivier Messiaen as well as Cecil Taylor. Performed on electric piano, "Silver" is a chugging, repetitive riff with a Latin rhythm, and Kuhn swings it like mad as Swallow's bass pops and spits along the melodic line as well as the rhythmic undertone. This is jazz that touches on fusion, modal, and the new spirit of the music as ECM came into the 1970s as a player. There is restlessness and calm, tempestuousness and serenity, conflict and resolution, and -- above all -- creativity and vision.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Trance    5:59
 Steve Kuhn
2    A Change Of Face    4:58
 Steve Kuhn
3    Squirt    3:00
 Steve Kuhn
4    The Sandhouse    3:47
 Steve Kuhn
5    Something Everywhere    7:48
 Steve Kuhn
6    Silver    2:54
 Steve Kuhn
7    The Young Blade    6:17
 Steve Kuhn
8    Life's Backward Glance    3:09
 Steve Kuhn
Credits :
Drums – Jack DeJohnette
Electric Bass – Steve Swallow
Percussion – Sue Evans
Piano [Acoustic Piano], Electric Piano, Composed By – Steve Kuhn
Producer – Manfred Eicher

STEVE KUHN | STEVE SWALLOW — Two By 2 (1996-2007) RM | Confluences Series | FLAC (tracks), lossless

The verve of a duet recording between pianist Steve Kuhn and electric bass guitarist Steve Swallow cannot be underestimated. An inherent telepathy, shared concern for beauty, and high level of musicianship should lead one to believe, on paper, that this would be a perfect joining, and indeed it is. So many outstanding pieces highlight this disc, especially considering they play no standards. Of Kuhn's compositions, you get the stunning "Deep Tango," with its stop-start tendencies, and Kuhn vocally reciting "Poem for #15" (never previously recorded with the verse), also known as "The Saga of Harrison Crabfeathers." Both of these classics were previously heard on the ECM recording Playground, which Kuhn did in collaboration with Sheila Jordan. There's the bluesy title selection, the fun "Mr. Calypso Kuhn" (rivaling the Sonny Rollins evergreen "St. Thomas"), and the utterly gorgeous "Gentle Thoughts." Swallow assimilates legitimate single-string high-octave guitar leads on "Deep Tango" and "Gentle Thoughts," but sticks with traditional basslines on most of the record, and he is an unquestioned master at that. His compositional contributions are his more famous than ever melody of "Eiderdown" (a great rendition), the noir drama samba "Ladies in Mercedes" (popularized by Carla Bley), and the spirit waltz "Remember." All pieces are played with a modern luster and shine rivaling a mirror-like polished piece of chrome. Whether pristine and pretty, pensive and moody, or bright and bouncy, Kuhn and Swallow consistently deliver a timeless recording that should stand all tests of time, and is definitely recommended. Michael G. Nastos
Tracklist :
1    Gentle Thoughts 4:01
Composed By – Steve Kuhn
2    Two By Two 3:51
Composed By – Steve Kuhn
3    Remember 5:56
Composed By – Steve Swallow
4    Wrong Together 4:33
Composed By – Steve Swallow
5    Eiderdown 5:33
Composed By – Steve Swallow
6    Lullaby 5:47
Composed By – Steve Kuhn
7    Ladies In Mercedes 6:30
Composed By – Steve Swallow
8    Deep Tango 6:31
Composed By – Steve Kuhn
9    Poem For #15 6:39
Composed By – Steve Kuhn
10    Mr Calypso Kuhn 2:55
Composed By – Steve Kuhn
11    Emmanuel 5:39
Composed By – Michel Colombier
Credits :
Electric Bass – Steve Swallow
Piano – Steve Kuhn

STEVE KUHN | STEVE SWALLOW | JOEY BARON — Wisteria (2012) FLAC (tracks+.cue), lossless

Steve Kuhn has excelled in many settings in a career spanning over five decades, but he is at his best leading a trio. Like many top pianists, Kuhn interacts with his musicians rather than relegating them exclusively to the role of accompanists. By the time of this 2011 record date, he had worked with bassist Steve Swallow at various times for over a half-century and with drummer Joey Baron for over 20 years, but this marked their first recording together as a trio. Swallow's sublime lyrical bass is always a welcome addition, while Baron has contributed to recordings by a diverse range of stylists. Kuhn contributed many of the songs, highlighted by his lyrical samba "Adagio" and the glistening, light-hearted "Morning Dew." He also revisits several of his best compositions recorded for previous projects: the lush ballad "Romance," the whispered "Pastorale" with Swallow playing lead in the introduction as Kuhn plays soft chords behind him and Baron's light touch on brushes providing the perfect accent, along with the mellow yet hip "Promises Kept." Swallow's compositions are frequently used by leaders with whom he works. His "Dark Glasses" opens with a mysterious air but shifts quickly into a bright bossa nova. One can only imagine the inspiration for the title to "Good Lookin' Rookie," and this breezy number doesn't disappoint, with Kuhn's driving piano and Swallow's intricate bass solo, along with Baron's drum breaks. Highly recommended! Ken Dryden
Tracklist :
1    Chalet 6:23
Written-By – Steve Kuhn
2    Adagio 7:03
Written-By – Steve Kuhn
3    Morning Drew 6:33
Written-By – Steve Kuhn
4    Romance 4:27
Written-By – Dori Caymmi
5    Permanent Wave 6:36
Written-By – Carla Bley
6    A Likely Story 6:43
Written-By – Steve Kuhn
7    Pastorale 6:15
Written-By – Steve Kuhn
8    Wisteria 5:47
Written-By – Art Farmer
9    Dark Glasses 5:52
Written-By – Steve Swallow
10    Promises Kept 5:31
Written-By – Steve Kuhn
11    Good Lookin' Rookie 5:50
Written-By – Steve Swallow
Credits :
Bass – Steve Swallow
Drums – Joey Baron
Piano – Steve Kuhn

STEVE KUHN TRIO — At This Time ... (2016) FLAC (tracks+.cue), lossless

Tracklist :
1    My Shining Hour 6:33
Written-By – Harold Arlen, Johnny Mercer
2    Ah Moore 9:19
Written-By – Al Cohn
3    The Pawnbroker 6:10
Written-By – Quincy Jones
4    All The Rest Is The Same 7:33
Written-By – Steve Kuhn
5    The Feeling Within 5:49
Written-By – Steve Kuhn
6    Carousel 5:51
Written-By – Duncan Lamont
7    Lonely Town 5:47
Written-By – Leonard Bernstein
8    This Is New 5:45
Written-By – Kurt Weil
9    I Waited For You 6:06
Written-By – Gil Fuller
Credits :
Electric Bass – Steve Swallow
Drums – Joey Baron
Piano – Steve Kuhn

STEVE KUHN TRIO with STEVE SWALLOW | JOEY BARON — To And From The Heart (2018) FLAC (tracks), lossless

Tracklist :
1    Thinking Out Loud 7:49
Written-By – Steve Swallow
2    Pure Imagination 6:15
Written-By – Anthony Newly, Leslie Bricusse
3    Away 6:00
Written-By – Steve Swallow
4    Never Let Me Go 4:38
Written-By – Raymond Evans & Jay Livingston
5    Into The New World 5:29
Written-By – Michika Fukumori
6    Trance / Oceans In The Sky 16:29
Written-By – Steve Kuhn
Credits :
Bass – Steve Swallow
Drums – Joey Baron
Piano, Producer [Produced By] – Steve Kuhn

JIMMY GIUFFRE — Free Fall (1962-1998) RM | APE (image+.cue), lossless

 Jimmy Giuffre's 1962 recording for Columbia with his trio is one of the most revolutionary recordings to come out of the 1960s. While Coltrane and Coleman and Taylor were trying to tear music down from the inside out to discover what it really counted for, Giuffre was quietly creating his own microtonal revolution that was being overlooked by other avant-gardists in jazz. On Free Fall, Giuffre, pianist Paul Bley, and bassist Steve Swallow embarked on a voyage even farther-reaching than their previous two Verve albums, Fusion and Thesis (both recorded in 1961), in their search of pointillistic harmony, open-toned playing, and the power of the nuanced phrase to open new vistas for solo or group improvisation. The original album is comprised of five clarinet solos, two duets for clarinet and bass, and three trio pieces. The CD reissue adds five more clarinet solos to the bank and makes it a stunning view of Giuffre as a master of the idiom of not only jazz free improvisation but also a fine interpreter of the musical languages being discussed by classical composers Darius Milhaud, Stravinsky, Messiaen, and even Morton Feldman and Earle Brown. All of Giuffre's clarinet studies -- particularly "Man Alone," "Yggdrasill," and "Present Motion" -- are studies in tonal coloration, where phraseology opens onto second and third tonal ideas being layered atop one another to de-emphasize one or the other. Of the group interactions, "Threewe" and "Spasmodic" offer the view of intertwining chromatic pointillism as it shapes itself linguistically between one instrument and the next without concern for a dominant harmony, rhythm, or melody. Indeed, Free Fall was such radical music, no one, literally no one, was ready for it and the group disbanded shortly thereafter on a night when they made only 35 cents apiece for a set. Reissued in 1999, Free Fall predates all of the European microtonal studies and is indeed an inspiration to all who have
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Propulsion (3:07)
 Jimmy Giuffre
2. Threewe (4:11)
 Jimmy Giuffre
3. Ornothoids (2:43)
 Jimmy Giuffre
4. Dichotomy (3:57)
 Jimmy Giuffre
5. Man Alone (2:18)
 Jimmy Giuffre
6. Spasmodic (3:27)
 Jimmy Giuffre
7. Yggdrasill (2:32)
 Jimmy Giuffre
8. Divided Man (1:53)
 Jimmy Giuffre
9. Primordial Call (2:17)
 Jimmy Giuffre
10. The Five Ways (10:19)
 Jimmy Giuffre
11. Present Notion (3:41)
 Jimmy Giuffre
12. Motion Suspended (3:16)
 Jimmy Giuffre
13. Future Plans (3:56)
 Jimmy Giuffre
14. Past Mistakes (2:05)
 Jimmy Giuffre
15. Time Will Tell (3:49)
 Jimmy Giuffre
16. Let's See (3:26)
 Jimmy Giuffre
Credits :
Paul Bley - Piano (tracks 2, 6, 10, 12)
Jimmy Giuffre - Clarinet
Steve Swallow - Double Bass (tracks 2, 4, 6, 8, 10, 12)

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

Tracklist & Credits :

PAUL BLEY | JIMMY GIUFFRE | STEVE SWALLOW — The Life Of A Trio : Saturday (1990-2007) RM | Confluences Series | FLAC (tracks+.cue), lossless

 The venerable Sunnyside label has re-released the two Life of a Trio nights -- originally issued in the early '90s on CD by France's Owl label -- that featured the 1989 reunion of the 1961-1962 Jimmy Giuffre 3 of Giuffre on reeds, pianist Paul Bley, and bassist Steve Swallow. The first evening, Saturday, December 16, began with a solo clarinet improvisation by Giuffre, followed by "Black Ivory," a duet between Giuffre and Bley, and then "Owl Eyes," by solo Bley, with the tension heating up as Bley duets with Swallow on "Endless Melody," until they come together all too briefly (5:22) for "Turns." Effortless, spontaneous, adventurous, and even moving, this trio released three of the most provocative -- and all but ignored -- recordings in '60s jazz: Fusion and Thesis for Verve in 1961 and the undisputed radical classic Free Fall for Columbia in 1962. Live performances from the period have appeared on Hat and ECM. As the trio plays together -- with Swallow on his electric bass -- on "Turns," time seems to be stripped away, and the microtonal and pointillistic investigations in collective improvisation embarked upon nearly three decades previously are as current as the next breath. And indeed they are, as there were no rehearsals, no extra or alternate takes, nothing but the music as it happened. There are only two other trio pieces (the others in two parts each) on Saturday night; the other pieces making up the set are solos by Bley, Swallow, and Giuffre on soprano. No matter. What comes out is an investigation of sound from the inside out, textually, tonally, spatially. Extraordinary.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

PAUL BLEY | JIMMY GIUFFRE | STEVE SWALLOW — The Life Of A Trio : Sunday (1990-2007) RM | Confluences Series | FLAC (tracks+.cue), lossless

The second night of the 1989 reunion in New York of the 1961-1962 Jimmy Giuffre 3 with pianist Paul Bley and (now electric) bassist Steve Swallow in some ways eclipses the first. The fact that there is more integration between the trio members as a whole than on the first evening is certainly one place to start. At the very beginning, "Sensing" -- with Giuffre on soprano and Bley playing bass notes in the lowest register as Swallow enters and takes over the role and Bley moves to the middle -- is a stunner, though it is only four minutes and 13 seconds long. The breadth of the players seems to have come back to them as a unit with these live, as-they-happened, no-second-take performances. There are six full performances here -- and oddly enough the most satisfying of them is a composed piece by Carla Bley entitled "Where Were We?" -- instead of three from the previous evening. Giuffre is more comfortable on the soprano here, and the duos are quite literally amazing. Bley has a pair of piano solos, Giuffre has one clarinet solo, and the rest are duos made up of either bass and piano, clarinet and bass, soprano and piano, soprano and bass, etc. The joy of music-making and the inherent lyricism in these pieces reflect not only a sense of familiarity with the dialogue and improvisational feel of each player, but the true desire to communicate from inside the sound being explored to the listener as well. There may have been a few more viscerally exciting performances by vanguard jazz trios during 1989, but few of them that revealed -- via the strength of restraint -- what tonality, dissonance, and harmony can achieve when what is explored is music for its own sake. Highly recommended.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
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 :

GARY BURTON — Times Square (1978) FLAC (tracks+.cue), lossless

After a decade of leading quartets that matched his vibes with a variety of top young guitarists, Gary Burton decided that it was time for a change. While he is joined by a pair of longtime associates (bassist Steve Swallow and drummer Roy Haynes), the fourth member of the group on this set is the young trumpeter Tiger Okoshi. Since Burton has never been a major composer, there are five Swallow originals, two from Keith Jarrett, and Jim Hall's "Careful." Okoshi's presence adds more fire to this session than was typical of most of Burton's previous records. A fine outing. Scott Yanow
Tracklist  :
1 Semblence 4:00
 Keith Jarrett
2 Coral 5:47
 Keith Jarrett
3 Careful   4:42
 Jim Hall
4 Peau Douce 4:55
 Steve Swallow
5 Midnight 4:20
 Steve Swallow
6 Radio 4:41
 Steve Swallow
7 True Or False 2:20
 Roy Haynes, Steve Swallow
8 Como En Vietnam 6:43
 Steve Swallow
Credits
Bass – Steve Swallow
Drums – Roy Haynes
Producer – Manfred Eicher
Trumpet – Tiger Okoshi
Vibraphone [Vibes] – Gary Burton

LEE KONITZ | STEVE SWALLOW | PAUL MOTIAN - Three Guys (1999) FLAC (tracks+.cue), lossless

Lee Konitz continues to record at peak form, as clearly evidenced by this trio with Steve Swallow on electric bass and Paul Motian on drums. All of the nine pieces are originals by members of the trio, the exceptions being a compelling version of "Come Rain or Come Shine" and a gorgeous take of Jobim's "Luiza." As to be expected, these three veterans mesh well together. While there are few extraordinary moments, there is plenty of well-played, emotionally satisfying jazz, the way Konitz has been doing it for a lifetime. You might confuse his pinched alto for a soprano at times, but there is no questioning his immaculate phrasing. Konitz has always shined best with a repertoire of standards, and the choice of tunes here is slightly less interesting. Motian is a good choice on the sticks, while Swallow remains an acquired taste. Steve Loewy
Tracklist :
1     It's You 05:08
Lee Konitz
2     Come Rain or Come Shine 5:36
Harold Arlen / Johnny Mercer
3     Thingin' 7:53
Lee Konitz
4     Luiza 4:13
Antônio Carlos Jobim
5     From Time to Time 3:21
Paul Motian
6     Ladies' Waders 5:44
Steve Swallow
7     Johnny Broken Wing 6:50
Paul Motian
8     Eiderdown 6:16
Steve Swallow
9     A Minor Blues in F 5:36
Lee Konitz
Credits :
Alto Saxophone – Lee Konitz
Drums – Paul Motian
Electric Bass – Steve Swallow

THE ART FARMER QUARTET - Live at the Half Note (1962-1987) RM APE (image+.cue), lossless

After the Jazztet that he co-led with tenor-saxophonist Benny Golson broke up, flugelhornist Art Farmer led a pianoless quartet during 1963-64 with guitarist Jim Hall. For this reissue in the Atlantic Jazzlore series, Farmer and Hall are joined by bassist Steve Swallow and drummer Walter Perkins. Their repertoire is a bit surprising since four of the five songs were veteran swing standards; all but Miles Davis's obscure "Swing Spring." Hall (who has "I'm Gettin' Sentimental over You" as his feature) was a perfect musical partner for Farmer since both musicians have mellow sounds and thoughtful improvising styles that are more complex than expected. This 1987 reissue is well worth picking up. The group only lasted long enough to make three records, all of which are out-of-print. Scott Yanow
Tracklist :
1     Stompin' at the Savoy 12'27
Benny Goodman / Andy Razaf / Edgar Sampson / Chick Webb
2     Swing Spring 5'51
Miles Davis
3     What's New? 4'24
Johnny Burke / Bob Haggart
4     I Want to Be Happy 9'41
Irving Caesar / Vincent Youmans
5     I'm Gettin' Sentimental Over You 5'03
George Bassman / Ned Washington
Credits :
Bass – Steve Swallow
Drums – Walter Perkins
Flugelhorn – Art Farmer (pistas: 1 to 4)
Guitar – Jim Hall

ART FARMER - The Many Faces of Art Farmer (1964-2006) FLAC (tracks+.cue), lossless

Tracklist :
1     Happy Feet 4'43
Tom McIntosh
2     Hyacinth 5'02
Dennis Sandole
3     Ally 6'51
Tom McIntosh
4     Minuet in G 4'51
Tom McIntosh
5     All About Art 4'45
Sergio Mihanovich
6     People 5'18
Jule Styne
7     Saucer Eyes 4'54
Randy Weston
8     Summertime 4'48
George Gershwin / Ira Gershwin
9     Bess, You Is My Woman 3'06
George Gershwin / Ira Gershwin
10     I Loves You Porgy 4'59
George Gershwin / Ira Gershwin
11     I Got Plenty of Nothing 2'51
George Gershwin / Ira Gershwin
12     Bess, Oh Where Is My Bess 2'17
George Gershwin / Ira Gershwin
13     Redhead Woman 2'24
George Gershwin / Ira Gershwin
14     My Man's Gone Now 3'25
George Gershwin / Ira Gershwin
15     It Takes a Long Pull to Get There 2'51
George Gershwin / Ira Gershwin
16     It Ain't Necessarily So 3'10
George Gershwin / Ira Gershwin
17     There's a Boat That's Leaving Soon for New York 3'13
George Gershwin / Ira Gershwin
Credits :
1-7: New York, 1964.
Art Farmer Quintet :
Alto Saxophone – Charles McPherson
Bass – Ron Carter (pistas: 2, 4, 7), Steve Swallow (pistas: 1, 3, 5, 6)
Drums – Bobby Thomas
Flugelhorn – Art Farmer
Piano – Tommy Flanagan
- Bonus Album -
8-17: Mundell Lowe Septet: Porgy & Bess: New York, July 16 & 17, 1958
Don Elliott - Mellophone, Vibes
Tony Scott - Clarinet
Ben Webster - Tenor Sax
Mundell Lowe - Guitar
George Duvivier - Bass
Osie Johnson - Drums

ART FARMER & JIM HALL QUARTET - The Complete Live Recordings (2008) FLAC (image+.cue), lossless

The Art Farmer-Jim Hall Quartet recorded only a handful of times in the early 1960s, making this reissue of two separate live performances all the more valuable. By the time Farmer recruited Hall for his new group, he had made the switch from trumpet to the richer sound of the flugelhorn, while the guitarist's style of playing complemented the leader perfectly. The first date originally was issued by Atlantic, though both the album and the subsequent CD reissue have long been unavailable; the rhythm section consists of Steve Swallow (who had not yet made the switch to electric bass) and drummer Walter Perkins. Except for Miles Davis' "Swing Spring," all of the songs are from the swing era. The extended workout of "Stompin' at the Savoy" is illustrative of the group's abilities, while Hall is featured in a lush setting of "I'm Getting Sentimental Over You." The last five tracks first appeared on the Moon bootleg CD Meets Mulligan & Hall, though it too has been out of print for some time, with Pete La Roca (aka Pete Sims) taking over on drums. The sound of these performances is a bit muddy, as if taken from a second or third generation of a broadcast taping, though the music is excellent throughout the set. This Gambit reissue repeats the earlier CD's sloppy composer credits, which attribute the lilting take of "Sometime Ago" to Chick Corea instead of Sergio Mihanovich, though the addition of detailed liner notes is welcome. The heartfelt arrangement of "'Darn That Dream" and burning take of Sonny Rollins' unusual jazz waltz "Valse Hot" are also highlights. Ken Dryden  

Tracklist :
1     Stompin' at the Savoy 12'25
Benny Goodman & His Orchestra / Andy Razaf / Edgar Sampson / Chick Webb
2     Swing Spring 5'56
Miles Davis
3     What's New? 4'28
Haggart / Burke   
4     I Want to Be Happy 9'43
Irving Caesar / Vincent Youmans
5     I'm Getting Sentimental Over You 5'07
George Bassman / Ned Washington
6     Sometime Ago 7'49
Chick Corea
7     Bilbao Song 6'10
Kurt Weill
8     Darn That Dream 4'55
James Van Heusen
9     Valse Hot 11'21
Sonny Rollins
10     Theme 0'58
Art Farmer
Credits :
Bass – Steve Swallow
Drums – Pete La Roca, Walter Perkins
Flugelhorn – Art Farmer
Guitar – Jim Hall

RABIH ABOU-KHALIL - Blue Camel (1992) APE (image+.cue), lossless

Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can almost be characterized as a new Kind of Blue. Both tense and reflective, it is perfect for listening after midnight. Abou-Khalil brings back Charlie Mariano on alto sax and Kenny Wheeler on flügelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. They form a tight ensemble and play comfortably with each other. The album opens with "Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing melody that could be either Arabic or jazz, and one of Abou-Khalil's best solos, a well-defined interlude that delightfully features the unique timbre of the oud. "Tsarka" begins with a fast break on the oud that turns out to be one of the two motifs on which everything is built. After it is elaborated for a few bars, the oud comes back with another building block. Then we get some stunning improvisations, especially from Abou-Khalil. "Ziriab" opens with a trumpet solo in which Kenny Wheeler tests the compass of his instrument, backed up with some atmospheric sounds from the udu drum; then Abou-Khalil enters with another great tune for everyone to build on. The title track is nothing but fun. Seductive percussion ushers in Wheeler and Mariano playing in unison for a tune that is somewhere between Duke Ellington and the court of Baghdad. As the percussion bubbles along, Milton Cardona's congos adding a Latin flavor to the proceedings, Abou-Khalil steps up with a very fast and rhythmic, if not very tuneful, solo. Midway through the track, Mariano blisters the paint with a screeching sax workout that bridges the Arabic and the Latin, while remaining all the while pure jazz. Even Steve Swallow gets a chance to feature his bass after which the ensemble brings it together and takes it home. Some of the other tracks are not as good as the ones mentioned above, but they are all listenable and very atmospheric. The aptly named "A Night in the Mountains" is a slow, thoughtful walk, perfect for silent contemplation. The album ends with "Beirut," named for the Lebanese city torn by civil war from which Abou-Khalil had to flee many years ago. The track begins with a quiet oud solo and then builds to something more chaotic and striving. Blue Camel may not be a perfect album, but it demonstrates better than any other that a fusion between jazz and a musical form from another culture is possible and can work to the advantage of both. Plus, it's just great listening. by Kurt Keefner  
Tracklist :
1    Sahara    8:18
Rabih Abou-Khalil
2    Tsarka    6:45
Rabih Abou-Khalil
3    Ziriab    6:49
Rabih Abou-Khalil
4    Blue Camel    8:20
Rabih Abou-Khalil
5    On Time    6:19
Rabih Abou-Khalil
6    A Night In The Mountains    8:37
Rabih Abou-Khalil
7    Rabou-Abou-Kabou    4:47
Rabih Abou-Khalil
8    Beirut    10:52
Rabih Abou-Khalil
Credits :    
Alto Saxophone – Charlie "Sir Charles" Mariano
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Steve "Dr. Zvalov" Swallow*
Congas – Milton Cardona
Drums [South Indian], Percussion – Ramesh Shotham
Flugelhorn, Trumpet – Kenny Wheeler
Frame Drum – Nabil Khaiat
Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil