ARCANA : BILL LASWELL | TONY WILLIAMS — Arc Of The Testimony (1997) FLAC (tracks), lossless

Arc of Testimony is one of the last recordings to feature legendary drummer Tony Williams, and its bold, experimental textures are a fitting epitaph to his career. Arcana was formed by bassist/producer Bill Laswell with the intention of exploring the outer reaches of fusion, ambient and free jazz. Like the group's debut, Last Wave (released only in Japan), Arc of the Testimony is a freewheeling, unpredictable blend of electronic and acoustic sounds. However, this record is even more adventurous, since it finds a common ground between improvisation and post-production studio trickery. All of the musicians -- Williams, Laswell, saxophonist Pharoah Sanders, saxophonist Byard Lancaster, cornetist Graham Haynes, guitarist Nicky Skopelitis and guitarist Buckethead -- are open-minded and help push the music forward, resulting in a thoroughly involving, challenging listen. Stephen Thomas Erlewine
Tracklist :
1    Black Money    4:16
2    Gone Tomorrow    9:39
3    Illuminator    6:07
4    Into The Circle    9:25
5    Returning    4:29
6    Calling Out The Blue Light    6:37
7    Circles Of Hell    7:15
8    Wheeless On A Dark River    4:27
9    The Earth Below    5:28
Credits :
Alto Saxophone [Alto Sax], Bass Clarinet – Byard Lancaster (tracks: 4, 6)
Artwork – Yoko Yamabe
Bass [Basses], Electronics – Bill Laswell
Cornet – Graham Haynes (tracks: 2, 4)
Drums – Tony Williams
Guitar – Buckethead (tracks: 3, 5, 7, 9), Nicky Skopelitis (tracks: 2 to 8)
Songwriter [Songs Written By] – Tony Williams, Bill Laswell, Peter Apfelbaum (tracks: 1)
Tenor Saxophone [Tenor Sax] – Peter Apfelbaum (tracks: 1), Pharoah Sanders (tracks: 2, 7)

MILES DAVIS QUINTET — Miles Smiles (1966) Three Version (1998, RM | Serie Columbia Jazz) + (2006, RM | Serie The Original Jacket Collection) + (2018, RM | SACD, Hybrid, | Ultradisc UHR, Original Master Recording 24-48.1Hz) FLAC (tracks+.cue), lossless

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. Stephen Thomas Erlewine
Tracklist :
1    Orbits    4:35
 Wayne Shorter
2    Circle    5:52
 Miles Davis
3    Footprints    9:44
 Wayne Shorter
4    Dolores    6:20
 Wayne Shorter
5    Freedom Jazz Dance    7:11
 Eddie Harris
6    Ginger Bread Boy    7:40
 Jimmy Heath
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Tenor Saxophone [Tenor Sax] – Wayne Shorter
Trumpet – Miles Davis

HERBIE HANCOCK – Quartet (1982) FLAC (image+.cue) lossless

This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1983, fanning the flames even more.  Richard S. Ginell
Tracklist :
1    Well You Needn't 6:26
Written-By – T. Monk
2    'Round Midnight 6:38
Written-By – B. Hanighen, C. Williams, T. Monk
3    Clear Ways 5:01
Written-By – T. Williams
4    A Quick Sketch 16:24
Written-By – R. Carter
5    The Eye Of The Hurricane 8:03
Written-By – H. Hancock
6    Parade 7:56
Written-By – R. Carter
7    The Sorcerer 7:18
Written-By – H. Hancock
8    Pee Wee 4:32
Written-By – T. Williams
9    I Fall In Love Too Easily 5:53
Written-By – J. Styne-S. Cahn
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis

THE TONY WILLIAMS LIFETIME — Turn It Over (1970-1997) RM | FLAC (tracks+.cue), lossless

The better of the two albums the Tony Williams Lifetime recorded in 1970, Turn It Over, is a far more focused and powerful album than the loose, experimental Ego, and one of the more intense pieces of early jazz-rock fusion around. In parts, it's like Jimi Hendrix's Band of Gypsys with much better chops. It's more rock-oriented and darker-hued than their debut, 1969's Emergency!, and the temporary addition of ex-Cream member Jack Bruce on bass and vocals alongside stalwart guitarist John McLaughlin makes this something of a milestone of British progressive jazz. The album's primary flaw is that unlike the expansive double album Emergency!, these ten songs are tightly constricted into pop-song forms -- only a swinging cover of Antonio Carlos Jobim's "Once I Loved" breaks the five-minute mark, and then only barely -- which reins in these marvelous soloists too much. This is particularly frustrating since pieces like the two-part "To Whom It May Concern" feature some outstanding solos (especially from McLaughlin and organist Larry Young, the group's secret weapon) that are frustratingly, tantalizingly short. Expanded to a double album, Turn It Over would probably surpass Emergency! as a pioneering jazz-rock fusion release; as it is, it's an exciting but mildly maddening session. Stewart Mason  
Tracklist :
1     To Whom It May Concern - Them 4:21
Chick Corea
2     To Whom It May Concern - Us 2:57
Chick Corea
3     This Night This Song 3:46
Tony Williams
4     Big Nick 2:46
John Coltrane
5     Right On 1:52
Tony Williams
6     Once I Loved 5:11
Ray Gilbert / Antônio Carlos Jobim / Vinícius de Moraes
7     Vuelta Abajo 5:00
Tony Williams
8     A Famous Blues 4:13
John McLaughlin
9     Allah Be Praised 4:38
Larry Young
10     One Word 3:45
John McLaughlin
Lead Vocals – Jack Bruce
Credits :
Tony Williams - Drums, Vocals
John McLaughlin - Guitar, Vocals
Larry Young - Organ
Jack Bruce - Bass, Vocals

JOHN McLAUGHLIN | JACO PASTORIUS | TONY WILLIAMS — Trio Of Doom (1979-2007) RM | APE (image+.cue), lossless

Certainly the potential of a recording by this trio featuring guitarist John McLaughlin and drummer Tony Williams (both members of Lifetime with organist Larry Young) along with bassist Jaco Pastorius -- aka the Trio of Doom -- is enormous. This compilation contains a performance of the trio at the Havana Jam in 1979, a U.S. State Department-sponsored cultural tour by a large number of American musicians who played on the same stage as Cuban aces. The band rehearsed and had about 25 minutes on the stage. Five days after leaving Cuba, the band reconvened in a New York City studio and recut most of the tracks. The studio versions (cuts six, seven, and ten) were released on a pair of various-artists compilations from the Cuban concert. McLaughlin felt at the time that the live performances were unusable because of Pastorius' playing. He relates the details in brief in the liner notes by Bill Milkowski. What this means, of course, is that out of ten cuts here, seven have never been released before. That said, the sum total of all the music that the group cut together is a little less than 40 minutes. From this, the opening drum solo by Williams takes up nearly three, and 20 seconds is of an alternate take of the drummer's "Para Oriente." But this is not a dodgy rip simply assembled to make money from the stuff of myth. Well, it is designed to make money from myth, but there is some seriously intense music here.

For starters, Williams' drum solo that opens the album is to die for. There is no excess, no showing off -- only an intense orgy of rhythm. When McLaughlin and Pastorius join him, the crowd must have gone crazy because he shifts nonstop into the guitarist's composition "Dark Prince." While his solo is overdriven, distorted, and rangy, full of angles and twists and turns, Jaco's playing on the head, and in taking the tune out, is solid. Perhaps at the time this didn't seem up to snuff, but it's hard to hear that based on the disc. The entire band is engaged with focused attention, ascending scalar and harmonic peaks together for its six and a half minutes. It is followed by a beautiful ballad by Pastorius called "Continuum," which appeared on his self-titled solo debut for Columbia. It's a gorgeous and deeply melodic ballad, and the bassist's playing is intensely soulful and lyrical. McLaughlin's chord shadings and voicings are not only supportive, they bring weight and depth, as does the beautiful hi-hat work of Williams. (Speaking of which, on "Dark Prince" and elsewhere, it's obvious that Williams is the true inventor of the blastbeat, not some generic heavy metal drummer. To hear his incessant bass drum and chronic cymbal-and-snare workouts is inspiring.) "Are You the One, Are You the One?," written by McLaughlin, closes the live set, and it's a funky, kinetic, and knotty jam with Williams playing breaks as well as pummeling the toms to get the funk up out of the thing. Pastorius' groove is incessant, even when he is matching the guitarist note for contrapuntal note. That's the good news. The studio versions of these cuts may "sound" better technically -- mostly due to the amplification and balance given the drum kit -- but they lack the raw edginess of the live sides. Still, fans of the fusion era, and those interested in any of these personas, will be much edified by what is found here. If only there were more of it.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist:
1 Drum Improvisation   2:26
Tony Williams
2 Dark Prince 6:36
John McLaughlin
3 Continuum 5:11
Jaco Pastorius
4 Para Oriente 5:42
Tony Williams
5 Are You the One, Are You the One? 4:54
John McLaughlin
6 Dark Prince 4:08
John McLaughlin
7 Continuum 3:49
Jaco Pastorius
8 Para Oriente 1:05
Tony Williams
9 Para Oriente 0:20
Tony Williams
10 Para Oriente 5:28
Tony Williams
Credits
 Bass – Jaco Pastorius
 Drums – Tony Williams
 Guitar – John McLaughlin

GIL EVANS AND HIS ORCHESTRA – There Comes a Time (1976-2014) Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

 This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets. [This is the original issue without the bonus tracks.] Scott Yanow    Tracklist & Credits :

ERIC DOLPHY — Out to Lunch (1964) Two Version (1986, Blue Note CD Super 50 – 11 + 1999, RVG Edition | FLAC & APE (image+.cue), lossless

 Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. Steve Huey 
Tracklist :
1 Hat And Beard 8:24
2 Something Sweet, Something Tender 6:02
3 Gazzelloni 7:22
4 Out To Lunch 12:06
5 Straight Up And Down 8:19
Credits
Alto Saxophone, Flute, Bass Clarinet, Composed By – Eric Dolphy
Bass – Richard Davis
Drums – Tony Williams
Recorded By [Recording] – Rudy Van Gelder
Trumpet – Freddie Hubbard
Vibraphone [Vibes] – Bobby Hutcherson

SAM RIVERS - Fuchsia Swing Song (1964-2003) RM | Blue Note Connoisseur Series | APE (image+.cue), lossless

Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point), and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues. Hence the sound on Fuchsia Swing Song is that of an artist at once self-assured and in transition. Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde collander. The title, opening track is a case in point. Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is his own. He strikes the balance and then takes off on both sides of the aisle. Byard's builds in minor key, rhythmic figures just behind the tenor. "Downstairs Blues Upstairs" sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures, but he never goes completely over the ledge. The most difficult cut on the date is "Luminous Monolith," showcases a swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins to stutter step around the time, as Byard makes harmonic adjustments with dense chords for Rivers to play off. This is a highly recommended date. Other than on 1965's Contours, Rivers never played quite like this again.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Fuchsia Swing Song    6:03
2    Downstairs Blues Upstairs    5:33
3    Cyclic Episode    6:57
4    Luminous Monolith    6:31
5    Beatrice    6:13
6    Ellipsis    7:43
7    Luminous Monolith (Alternate Take)    6:39
8    Downstairs Blues Upstairs (First Alterate Take)    8:09
9    Downstairs Blues Upstairs (Second Alternate Take)    7:47
10    Downstairs Blues Upstairs (Third Alternate Take)    7:49
Credits :
Bass – Ron Carter
Drums – Tony Williams
Engineer [Recording] – Rudy Van Gelder
Piano – Jaki Byard
Producer – Alfred Lion
Reissue Producer – Michael Cuscuna
Tenor Saxophone, Composed By [All Compositions] – Sam Rivers

CHARLES LLOYD QUARTET - Of Course, Of Course (1965-2007) RM | FLAC (tracks+.cue), lossless

Charles Lloyd's second album as a leader teams him with guitarist Gabor Szabo (his old friend from the Chico Hamilton group), bassist Ron Carter, and drummer Tony Williams. Although Lloyd was still a member of Cannonball Adderley's group, his playing on the set shows that he was clearly ready to become a leader. Seven of the nine diverse compositions are his originals; he takes "The Things We Did Last Summer" as a duet with Szabo and rips through "Apex," a trio number without the guitarist, but it is this cut most certainly reflects Ornette Coleman's influence (whereas Lloyd and everyone else who played tenor were being written about in the shadow of Coltrane). Certainly Coltrane's flurry of notes and deconstruction of chords is evident in places, but here, it is Coleman's unshakable sense of melody and rhyme that is most prevalent, and it sports is a brief but wonderfully woody solo by Carter. Other notable selections include "Goin' to Memphis" and Sammy Kahn's "Things We Did Last Summer" (where, according to Stanley Crouch's new liner notes, the saxophonist directly quotes the melody of Coleman's "Free at 3:00 of..."). Other cuts that really stand out here are the title track and the serious blowing session of "One for Joan," where the twinning and counterpoint interplay between Szabo and Lloyd is almost synchronous. Whether on tenor or flute, Lloyd was quickly coming into his own as an original voice, and this underrated set is a minor classic. [In 2007, Mosiac Records in its Singles series, reissued the recording for the first time on CD. In addition to a beautiful remastering job that is warm and clean, there are three bonus tracks also recorded in 1965 but not released until Lloyd's Nirvana album in 1968. Two of these, "Island Blues," and "Sun Dance" feature Albert Stinson on bass and Pete La Roca on drums in place of Carter and Williams. Another oddity is that in addition to Szabo's guitar playing, the Band's Robbie Robertson makes an appearance on the Caribbean-flavored latter tune. The other bonus cut, "East of the Sun and West of the Moon," uses the primary rhythm section, and was recorded for the original session, and left off the final version of the LP.] Scott Yanow
Tracklist :
1     Of Course, Of Course 4'45
Charles Lloyd
2     The Song My Lady Sings 2'28
Charles Lloyd    
3     The Best Thing for You 5'18
Irving Berlin    
4     The Things We Did Last Summer 6'08
Sammy Cahn / Jule Styne
5     Apex 3'59
Charles Lloyd
6     One for Joan 5'07
Charles Lloyd
7     Goin' to Memphis 3'38
Charles Lloyd
8     Voice in the Night 6'44
Charles Lloyd
9     Third Floor Richard 6'16
Charles Lloyd
10     East of the Sun (And West of the Moon) 4'54
Brooks Bowman
11     Island Blues 3'25
Charles Lloyd
12     Sun Dance 3'32
Charles Lloyd
Credits :
Bass – Albert Stinson (11, 12), Ron Carter (1 to 3, 5 to 10)
Drums – Tony Williams (1 to 3, 5 to 10), Pete LaRoca (11, 12)
Flute – Charles Lloyd (1 to 10)
Guitar – Gabor Szabo (1 to 4, 6 to 12), Robbie Robertson (12)
Tenor Saxophone – Charles Lloyd

CHARLES LLOYD - Nirvana (1968-2014) RM | Jazz Collection 1000 | FLAC (tracks+.cue), lossless

Tracklist :
1    Charles Lloyd & His Quintet–    Island Blues 3:26
Written-By – C. Lloyd
2    Charles Lloyd & His Quintet–    Carcara 1:45
Written-By – J. Candido, J. Vale
3    Charles Lloyd & His Quintet–    Long Time, Baby 2:12
Written-By – C. Lloyd
4    Charles Lloyd & His Quintet–    East Of The Sun (And West Of The Moon) 4:57
Written-By – B. Bowman
5    Charles Lloyd & His Quintet–    Love Theme From 'In Harm's Way' 2:11
Written-By – J. Goldsmith
6    Charles Lloyd & His Quintet–    Sun Dance 3:17
Written-By – C. Lloyd

7    Charles Lloyd & His Quintet–    You Know (From "Ecco") 1:39
Written-By – R. Ortolani
8    Chico Hamilton & His Quintet Featuring Charles Lloyd–    One For Joan/Freedom Traveler (Part I-Prayer) (Part II-Journey) 14:39
Written-By – C. Lloyd
Credits :
Bass – Albert Stinson (pistas: 1, 2, 3, 5, 6, 8, 9), Ron Carter (pistas: 4, 7)
Drums – Anthony Williams (pistas: 4, 7), Chico Hamilton (pistas: 8, 9), Pete La Roca (pistas: 1, 2, 3, 5, 6)
Guitar – Gabor Szabo
Producer – Teo Macero
Tenor Saxophone, Flute – Charles Lloyd
Trombone – Garnett Brown (pistas: 7, 8)

RON CARTER - Parade (1979-2000) RM / FLAC (image+.cue), lossless

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well. by Ron Wynn
Tracklist :
1     Parade 9:01
Ron Carter
2     A Theme in 3/4 5:54
Ron Carter
3     Sometimes I Feel Like a Motherless Child 2:46
Traditional
4     Tinderbox 5:07
Ron Carter
5     Gypsy 8:41
Ron Carter
6     G.J.T. 4:48
Ron Carter
Credits :
Arranged By [Horns], Conductor [Horns] – Wade Marcus
Bass Trombone – Tom Malone
Bass, Bass [Piccolo], Producer, Written-By – Ron Carter
Drums – Tony Williams
Flute, Clarinet, Alto Saxophone – Jerry Dodgion
Flute, Clarinet, Tenor Saxophone – Frank Wess
Piano – Chick Corea
Recorded By, Mixed By – Rudy Van Gelder
Tenor Saxophone – Joe Henderson
Trombone – Urbie Green
Trumpet, Flugelhorn – Joe Shepley, John Frosk, Jon Faddis

RON CARTER - Etudes (1983) APE (image+.cue), lossless

Sophisticated, elegant quartet date from 1982, with Art Farmer's serene trumpet and flugelhorn playing setting the tone, backed by tenor and soprano saxophonist Bill Evans, who's more restrained than usual. Carter's bass and Tony Williams' drums are both understated and definitive in their support and backing rhythms. by Ron Wynn
Tracklist :
1     Last Resort 7:29
Ron Carter
2     Bottoms Up 6:18
Ron Carter
3     Arboretum 4:31
Tony Williams
4     Rufus 5:12
Ron Carter
5     Echoes 4:10
Ron Carter
6     Doctor's Row 8:11
Tony Williams
Credits :   
Double Bass – Ron Carter
Drums – Tony Williams
Tenor Saxophone – Bill Evans
Trumpet – Art Farmer

KENNY DORHAM - Una Mas (One More Time) (1963-1986) FLAC (image+.cue), lossless

When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this 1963 CD reissue: tenor-saxophonist Joe Henderson, bassist Butch Warren, and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter's originals ("Una Mas" is the most famous) along with the standard ballad "If Ever I Would Leave You." Even if the playing time (under 37 minutes) is a bit brief, the explorative yet swinging music lives up to its potential. by Scott Yanow
Tracklist :
1     Una Mas [One More Time] 15:16
Kenny Dorham
2     Straight Ahead 8:55
Kenny Dorham
3     Sao Paolo 7:16
Kenny Dorham
4     If Ever I Would Leave You 5:07
Alan Jay Lerner / Frederick Loewe
Credits :
Bass – Butch Warren
Drums – Anthony Williams
Piano – Herbie Hancock
Recorded By – Rudy Van Gelder
Tenor Saxophone – Joe Henderson
Trumpet – Kenny Dorham 

BRANFORD MARSALIS - Renaissance (1987) FLAC (tracks+.cue), lossless

The high point of Branford Marsalis' third Columbia release as a leader is a 15-minute version of Jimmy Rowles' "The Peacocks" played in a trio with pianist Herbie Hancock and bassist Buster Williams. The remainder of the program matches Marsalis with pianist Kenny Kirkland, bassist Bob Hurst, and drummer Tony Williams on a pair of standards ("Just One of Those Things" and a live version of "St. Thomas"), J.J. Johnson's "Lament," and originals by Marsalis and Williams. Although he did not have an immediately recognizable sound on tenor and soprano at this point, it was obvious from nearly the start that Branford Marsalis would have a very significant career. This is one of his better early efforts. by Scott Yanow

Tracklist:

1    Just One Of Those Things 7:46
Written-By – C. Porter
2    Lament 5:58
Written-By – J.J. Johnson
3    The Peacocks 15:00
Written-By – J. Rowles
4    Love Stone 6:24
Written-By – T. Williams
5    Citadel 10:42
Written-By – T. Williams
6    The Wrath (Structured Burnout) 6:29
Written-By – B. Marsalis
7    St. Thomas 4:50
Written-By – S. Rollins
Credits:
Bass – Buster Williams (tracks: 3), Bob Hurst (tracks: 1, 2, 4 to 7)
Drums – Tony Williams
Piano – Herbie Hancock (tracks: 3), Kenny Kirkland (tracks: 1, 2, 4 to 7)
Tenor Saxophone, Soprano Saxophone – Branford Marsalis

MICHEL PETRUCCIANI - Marvellous (1994) FLAC (tracks+.cue), lossless

Having untethered himself from the United States and Blue Note Records, Petrucciani returned to France and promptly zapped out one of his finest, most unusual recordings. By this time, Petrucciani had found his own stylistic groove, his technique sharpened to an enviable degree, his melodic bent fresh and inextinguishable. To these assets, Petrucciani added two ex-Miles Davis sidekicks of some note, bassist Dave Holland and drummer Tony Williams, who provide a furious polyrhythmic kick for the pianist to groove on. And there is something else put together just for the session: the Graffiti String Quartet, a quartet of Frenchman who have mastered the elusive craft of swinging on the strings. Everything works: Petrucciani exploits his melodic gift and comes up with an attractive set of eight compositions (there is also one by Philippe Petrucciani and "Besame Mucho" is thrown in as a parting shot), Williams shuffles the rhythms up in his explosive manner, the string quartet fills the spaces without overloading the textures or interfering with the Williams/Holland machine. Furthermore, the impact of America is still very much present in tunes like "Manhattan," which is astonishing in its hard-swinging single lines, and "Charlie Brown," an apparent reference to the Peanuts scores with a definite Vince Guaraldi quality in the rhythm and left hand. The only melancholy thing about this splendid session is the realization that Petrucciani and Williams are no longer around, cruelly taken before the decade was out when they were still relatively young men. by Richard S. Ginell  
Tracklist:
1 Manhattan 4:51
Michel Petrucciani
2 Charlie Brown 2:47
Michel Petrucciani
3 Even Mice Dance 4:39
Michel Petrucciani
4 Why 5:52
Philippe Petrucciani
5 Hidden Joy 6:21
Duke Ellington
6 Shooting Stars 5:30
Michel Petrucciani
7 You Are My Waltz 4:13
Michel Petrucciani
8 Dumb Breaks 2:42
Michel Petrucciani
9 92's Last 5:19
Michel Petrucciani
10 Besame Mucho 3:14
Sunny Skylar / Consuelo Velázquez
Credits:
Arranged By – Aldo Frank (tracks: 2, 7), Michel Petrucciani (tracks: 1, 2 to 6, 8 to 10)
Bass – Dave Holland
Cello – Vincent Courtois
Drums – Tony Williams
Ensemble – Graffiti String Quartet
Piano, Producer – Michel Petrucciani
Songwriter – Consuelo Velasquez (tracks: 10), Michel Petrucciani (tracks: 1 to 3, 5 to 9), Philippe Petrucciani (tracks: 4)
Viola – Pierre Lemarchand
Violin – Nicolas Krassik, Vincent Pagliarin

MILES DAVIS — Miles in the Sky (1968-1998) RM | Serie Master Sound | FLAC (tracks+.cue), lossless

With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy "Country Son," this is less visionary than its predecessor and feels like a transitional album -- and, like many transitional albums, it's intriguing and frustrating in equal measures. Stephen Thomas Erlewine
Tracklist:
1 Stuff 17:00

Written-By – M.Davis
2 Paraphernalia 12:42
Written-By – W.Shorter
3 Black Comedy 7:27
Written-By – T.Williams
4 Country Son 13:52
Written-By – M.Davis
Credits:

Bass – Ron Carter

Drums – Tony Williams
Guitar – George Benson (tracks: 2)
Piano, Electric Piano – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis

MILES DAVIS - Filles de Kilimanjaro (1969-1990) RM / FLAC (tracks+.cue), lossless

Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point -- though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in "direction" was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But that's not a bad thing -- this middle ground between the adventurous bop of the mid-'60s and the fusion of the late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening. by Stephen Thomas Erlewine  
Tracklist:

1 Frelon Brun (Brown Hornet) 5:36

2 Tout De Suite 14:04
3 Petits Machins (Little Stuff) 8:05
4 Filles De Kilimanjaro (Girls Of Kilimanjaro) 12:00
5 Mademoiselle Mabry (Miss Mabry) 16:32
Credits:
Bass – Dave Holland (tracks: 3, 5), Ron Carter (tracks: 1, 2, 4)
Drums – Tony Williams
Piano, Electric Piano – Chick Corea (tracks: 3, 5), Herbie Hancock (tracks: 1, 2, 4)
Tenor Saxophone – Wayne Shorter
Trumpet, Leader [Directions In Music], Written-By – Miles Davis

MILES DAVIS - In a Silent Way (1969-2000) RM / FLAC (image+.cue), lossless

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era. by Thom Jurek 
Tracklist:
1 Shhh / Peaceful 18:21
Written-By – M. Davis
2 In A Silent Way - It's About That Time 19:53
Written-By – J. Zawinul, M. Davis
Credits:
Bass – Dave Holland
Drums – Tony Williams
Electric Piano – Chick Corea, Herbie Hancock
Guitar – John McLaughlin
Organ, Electric Piano – Josef Zawinul
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis

MILES DAVIS - Water Babies (1976-2002) RM / APE (tracks+.cue), lossless

This studio LP was first released almost a decade after it was recorded. The first half features the 1967 Quintet (with Wayne Shorter on tenor and soprano, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) performing three otherwise unknown Shorter compositions. The flip side finds Davis in 1968 leading the same group (with possibly Chick Corea and Dave Holland replacing Hancock and Carter) on two early fusion jams that look a bit toward Bitches Brew. Although not an essential set, this album fills in some gaps during Davis's transitional period from adventurous acoustic playing to early electric performances. by Scott Yanow
Tracklist
1 Water Babies 5:08
2 Capricorn 8:29
3 Sweet Pea 8:02
4 Two Faced 18:02
5 Dual Mr. Anthony Tillmon Williams Process 13:22
6 Splash 10:05
Credits
Bass – Dave Holland (tracks: 4 to 6), Ron Carter (tracks: 1 to 3)
Drums – Tony Williams
Electric Piano – Chick Corea (tracks: 4 to 6), Herbie Hancock (tracks: 4 to 6)
Piano – Herbie Hancock (tracks: 1 to 3)
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis

THE GREAT JAZZ TRIO – The Great Jazz Trio at the Village Vanguard (1978-2006) RM | FLAC (tracks+.cue), lossless

No matter which edition one hears of the Great Jazz Trio, leader Hank Jones can be counted upon to deliver the goods. This live LP, originally recorded for the Japanese label East Wind and briefly available in the U.S. on Inner City prior to its premature demise, showcases excerpts from two evenings at the Village Vanguard. On this occasion, Jones is ably accompanied by Ron Carter and Tony Williams, so it is no surprise the fireworks begin right away with an exciting interpretation of Charlie Parker's "Moose the Mooche." Jones immediately cools the crowd with an expressive arrangement of John Coltrane's beautiful ballad "Naima." The pianist previously recorded Claus Ogerman's "Favors" two years earlier for his LP Hanky Panky, but this extended version proves to be an even better post-bop vehicle. Ron Carter's bluesy "12+12" proves to be a suitable closing number for this rewarding live date. Ken Dryden
Tracklist :
1 Moose The Mooch 6:06
Written-By – Charlie Parker
2 Naima 11:41
Written-By – John Coltrane
3 Favors 9:35
Written-By – Claus Ogerman
4 12+12 9:27
Written-By – Ron Carter
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Hank Jones