PACO DE LUCÍA — Cositas Buenas (2004) Two Version | FLAC (image+.tracks+.cue), lossless

On his first outing in five years, and the first of the new century, flamenco guitarist Paco De Lucia has given us one of the most sublime recordings in his long career. This collection of "Good Little Things" (Cositas Buenas) is a step away from Nuevo flamenco, and back to the grain of the source music itself. It is a record full of handclapped rhythms, organic spare percussion, and burning, passionate songwriting and singing. The various singers -- including Paco himself -- wail, chant, moan, and ecstatically intone his new songs to the sheer rough-hewn grace of his playing. Most tracks are done in the canonical style of guitar, and voice with handclap accompaniment, but there are two -- the smoking, burning black soul of "El Dengue" and "Que Venga el Alba," on which he is accompanied by another guitarist. On the album's final cut, "Cassa Bernardo," a rumba, Jerry Gonzalez adds his mariachi trumpet to the proceedings. Cositas Buenas is an album that careens across the history of flamenco. While rooted in antiquity, it nonetheless points the way to a new music, one that extrapolates rhythm and harmony and adds syncopation, texture, depth, and multi-layered harmonics to the original framework. It is transcendentally beautiful if overwhelming in its passion and the sheer joy of performance. Indeed, Cositas Buenas sets a new standard for modern flamenco music and acts as the true bridge between the ancient and the future. No one but a master who cares nothing for his laurels could have articulated such a work. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1. Patio Custodio (Bulería) 4:44
Vocals [Cante] – Montse Cortés
2. Cositas Buenas (Tangos) 4:23
Vocals [Cante] – Tana
3. Antonia (Bulería Por Soleá) 6:28
Vocals [Cante] – Paco
4. El Dengue (Rumba) 4:03
Guitar – Juan D'Anyelica, Paco De Lucía
5. Volar (Bulería) 5:30
Vocals [Cante] – Potito, Tana, Paco
6. El Tesorillo (Tientos) 4:39
Vocals [Cante] – Diego El Cigala
Vocals [Voz Mujer] – Ángela Bautista
7. Que Venga El Alba (Bulería) 4:11
Guitar – Paco De Lucía, Tomatito
Vocals [Cante] – Camarón De La Isla
8. Casa Bernardo (Rumba) 4:12
Bass – Alain Pérez
Tres – Alejandro Sanz
Trumpet – Jerry Gonzáles
Credits :
Guitar, Laúd, Bouzouki, Mandolin, Producer – Paco De Lucía
Handclaps [Palmas], Coro – Antonio El Negro, Potito, Guadiana, Tana, Montse Cortés, Paco, Ángela Bautista
Percussion – Piraña

BILL EVANS — California Here I Come (1967-2004) RM | LP Reproduction Series | FLAC (tracks+.cue), lossless

Philly Joe Jones was a member of the Bill Evans Trio for a short time in 1967 but none of his recordings with the pianist were released at the time. This two-LP set from 1982 features the pair (along with bassist Eddie Gomez who had recently started his own longtime association with Evans) in superb form. Jones consistently lit a fire under the pianist and, even though Bill Evans was never just an introspective ballad pianist (which became his stereotype), he does play with some unaccustomed ferocity on several of these selections. The 71 minutes of music feature strong versions of three of Evans' originals (including "Turn Out the Stars") plus a dozen standards, highlighted by "You're Gonna Hear From Me," "Gone With the Wind" and the unlikely "California Here I Come." Well worth searching for. In September 2004, Verve reissued the album in a limited edition, 24-bit remastered CD. Where the original disc sounded thin in places -- as it is a live recording -- the remastered version sounds consistently full and warm throughout.   Scott Yanow
Tracklist :
1- California, Here I Come – 5:32
 (Buddy DeSylva, Al Jolson, Joseph Meyer)
2- Polka Dots and Moonbeams  – 3:22
(Jimmy Van Heusen, Johnny Burke)
3- Turn Out the Stars  – 5:52
(Bill Evans)
4- Stella by Starlight – 4:06
(Ned Washington, Victor Young)
5- You're Gonna Hear From Me  – 4:57
(André Previn, Dory Previn)
6- In a Sentimental Mood – 3:53
 (Duke Ellington, Irving Mills, Manny Kurtz)
7- G Waltz  – 4:35
(Bill Evans)
8- On Green Dolphin Street  – 4:53
(Bronisław Kaper, Ned Washington)
9- Gone With the Wind  – 5:35
(Herb Magidson, Allie Wrubel)
10- If You Could See Me Now  – 3:39
(Tadd Dameron, Carl Sigman)
11- Alfie  – 5:12
(Burt Bacharach, Hal David)
12- Very Early  – 4:44
(Bill Evans)
13- 'Round Midnight - 6:07
(Thelonious Monk, Cootie Williams)
14- Emily – 5:18
 (Johnny Mandel, Johnny Mercer)
15- Wrap Your Troubles in Dreams (And Dream Your Troubles Away) – 6:49
(Harry Barris, Ted Koehler, Billy Moll)
Credits :
Bill Evans - Piano
Eddie Gómez - Bass
Philly Joe Jones - Drums

YUSEF LATEEF — Before Dawn (1958-1998) RM | Verve Elite Edition Series | Two Version | WV + FLAC (image+.tracks+.cue), lossless

This is one of the most obscure of all Yusef Lateef recordings, one that has even been left out of some discographies. Lateef mostly sticks to tenor (playing only flute on one song and making one appearance on the double-reed arghul) and is featured with his Detroit All-Stars, a quintet also including the up-and-coming trombonist Curtis Fuller, pianist Hugh Lawson, bassist Ernie Farrow and drummer Louis Hayes. Overall, the set is more bop-oriented than normal, with versions of "Pike's Peak" (based on "What Is This Thing Called Love"), Charlie Parker's "Constellation" and the blues "Chang, Chang, Chang" showing how strong and original Lateef could be even playing conventional straight-ahead material. Some of the other pieces look toward the future and/or the East, and all eight selections have their memorable moments, with the passionate yet thoughtful ballad "Love Is Eternal" being among the high points. Recommended. Scott Yanow
Tracklist :
1.    Passion 4:04
    Composed By – Yusef Lateef
2.    Love Is Eternal 6:30
    Composed By – Yusef Lateef
3.    Pike's Peak 5:30
    Composed By – Yusef Lateef
4.    Open Strings 6:15
    Composed By – Yusef Lateef
Celesta [Celeste] – Hugh Lawson
Flute – Yusef Lateef
5.    Before Dawn 5:27
    Composed By – Yusef Lateef
Performer [Arghul] – Yusef Lateef
Performer [Rabab] – Ernest Farrow
6.    Twenty-Five Minute Blues    5:27
    Composed By – Yusef Lateef
7.    Chang, Chang, Chang 2:57
    Composed By – Yusef Lateef
Percussion – Yusef Lateef
8.    Constellation 4:47
Composed By – Charles Parker, Jr.
Credits :
Bass – Ernie Farrow (tracks: 1 to 4, 6 to 8)
Drums – Louis Hayes
Piano – Hugh Lawson
Tenor Saxophone – Yusef Lateef (tracks: 1 to 3, 5 to 8)
Trombone – Curtis Fuller

DIANA KRALL — Turn Up the Quiet (2017) Two Version | SHM-CD | FLAC (image+.cue), lossless

Diana Krall spent the better part of the 2010s exploring byways of American song -- her 2012 set Glad Rag Doll drew heavily on obscure jazz from the 1920s and '30s, its 2015 sequel Wallflower concentrated on pop and rock tunes -- but 2017's Turn Up the Quiet finds the pianist/singer returning to well-known standards from the Great American Songbook. Reuniting with producer Tommy LiPuma for the first time since 2009's bossa nova-inspired Quiet Nights, Krall works with a trio of lineups on Turn Up the Quiet, alternating between a trio, quartet, and quintet. The album isn't divided into triads but rather gently shifts between these bands, a move that's sometimes imperceptible because the focus is firmly on Krall, the pianist. Her voice often operates at a hushed whisper -- a decision that suits this collection of romantic, dreamy material; it also underscores the importance of the record's title -- and that emphasizes her lithe piano along with the solo spotlights from her featured musicians. Krall gives her three bands plenty of space to shine -- fiddler Stuart Duncan, in particular, stuns with his solo on "I'll See You in My Dreams," but there are nice turns from guitarists Russell Malone, Anthony Wilson, and Marc Ribot, along with supple playing by bassists Christian McBride, Tony Garnier, and Anthony Wilson -- but what impresses is how these ensembles are all united in spirit and attitude, all thanks to their leader. Krall has a definite vision for Turn Up the Quiet -- she wants to keep things smoky and subdued, a record for the wee hours -- and the end result is so elegant, it seems effortless. Stephen Thomas Erlewine
Tracklist :
1. Like Someone In Love 3:16
 Acoustic Bass – Christian McBride
 Composed By – Jimmy Van Heusen And Johnny Burke
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
2. Isn't It Romantic 4:29
 Acoustic Bass – John Clayton
 Composed By – Rodgers & Hart
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Electric Guitar – Anthony Wilson
 Solo Vocal, Piano – Diana Krall
 Vibraphone – Stefan Harris
3. L-O-V-E 4:21
 Acoustic Bass – John Clayton
 Composed By – Bert Kaempfert, Milt Gabler
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Electric Guitar – Anthony Wilson
 Solo Vocal, Piano – Diana Krall
4. Night and Day 4:39
 Acoustic Bass – John Clayton
 Acoustic Guitar – Anthony Wilson
 Composed By – Cole Porter
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Solo Vocal, Piano – Diana Krall
5. I'm Confessin' (That I Love You) 3:24
 Acoustic Bass – Tony Garnier
 Composed By – Al Neiburg, Doc Daugherty, Ellis Reynolds
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Electric Guitar – Marc Ribot
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall
6. Moonglow 5:15
 Acoustic Bass – Tony Garnier
 Composed By – Eddie Delange, Irving Mills, Will Hudson
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Electric Guitar – Marc Ribot
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall
7. Blue Skies 4:39
 Acoustic Bass – Christian McBride
 Composed By – Irving Berlin
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
8. Sway 6:13
 Acoustic Bass – John Clayton
 Acoustic Guitar – Anthony Wilson
 Composed By – Luis Demetrio, Norman Gimbel, Pablo Rosas Rodriguez
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Solo Vocal, Piano – Diana Krall
9. No Moon At All 4:06
 Acoustic Bass – John Clayton
 Composed By – David Mann, Redd Evans
 Contractor – Shari Sutcliffe
 Solo Vocal, Piano – Diana Krall
10. Dream 4:05
 Acoustic Bass – Christian McBride
 Composed By – John H. Mercer
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
11. I'll See You In My Dreams 3:51
 Acoustic Bass – Tony Garnier
 Acoustic Guitar – Marc Ribot
 Composed By – Gus Kahn, Isham Jones
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall

COUNT BASIE — Basie Picks the Winners (1965-2020) RM | UHQCD | Count Basie New Basie Series | FLAC (tracks), lossless

Basie picks his own set of "Winners", tracks pulled from the Billboard Pop Charts, and re-arranged by Billy Byers to give them the true Basie touch! The set features a number of 60's standards, plus a few older tunes all performed in a warm, buoyant tone that was every bit the best side of the Basie group in that decade. Players include Eric Dixon, Al Aarons, Al Grey, and Eddie Lockjaw Davis – all bursting out of the group with tight short solos that really get the point across! Titles include "I'll Get By", "Watermelon Man", "Exodus", "I'm Walkin", and "Volare" ..  Strongly Recommended! Rick Ransom
Tracklist :
1.    Watermelon Man 3:11
 Herbie Hancock
2.    That's All    3:20
 Alan Brandt / Bob Haymes
3.    I Won't Cry Anymore 2:22
 Al Frisch / Fred Wise
4.    Main Theme From "Exodus" 3:06
 Ernest Gold
5.    I'll Get By (As Long As I Have You)    3:16
 Fred E. Ahlert / Roy Turk
6.    My Kind Of Town    2:40
 Sammy Cahn / James Van Heusen
7.    I'm Walkin'    3:34
 Dave Bartholomew / Fats Domino
8.    Rain Or Shine    2:53
 Harold Arlen / Johnny Mercer
9.    Volare (Nel Blu, Dipinto Di Blu)    2:45
 Domenico Modugno
10.    Nobody Knows You When You're Down And Out 2:06
 Count Basie / Jimmy Rushing / Lester Young
Vocals – Leon Thomas
11.    Oh, Lonesome Me    2:59
 Don Gibson
Credits :
Arranged By – Bill Byers
Bass – Wyatt Bull Ruether
Drums – Irv Cotler, J.C. Heard
Guitar – Freddie Green
Piano, Leader – Count Basie
Saxophone – Bobby Plater, Charlie Fowlkes, Eddie Lockjaw Davis, Eric Dixon, Marshall Royal
Trombone – Al Grey, Billy Hughes, Grover Mitchell, Henderson Chambers
Trumpet – Al Aarons, Sam Noto, Sonny Cohen, Wallace Davenport

HERBIE HANCOCK · MICHAEL BRECKER · ROY HARGROVE — Directions in Music : Live at Massey Hall (2002) Two Version | APE + FLAC (image+.tracks+.cue), lossless

A double-milestone year for jazz, 2001 marked the 75th anniversary of the births of both Miles Davis and John Coltrane. With that in mind, Herbie Hancock went on tour with a quintet modeled after his V.S.O.P. bands of the '70s and '80s and the Tribute to Miles band of the '90s, which in turn were modeled after the 1965-1968 Miles Davis Quintet. The question this disc proposes: Can you go home yet again? Hancock preferred to dodge that one, saying that he was attempting to push the music onward in the Davis/Coltrane spirit of adventure rather than play for nostalgia. But essentially, despite the often unblinkingly hard-nosed soloing and the sometimes radical reworking of the old tunes, the conception of this idiom is that of Miles, and Michael Brecker's often brilliant, searching tenor sax work owes its soul to the example of Trane. Although the quintet's Los Angeles gig on October 11, 2001, was rather disappointing, the Toronto concert recorded here was a big improvement, with two weeks of roadwork evidently having the desired tightening effect. Though Hancock's piano gradually became more abstract and disconnected with its surroundings over the years, here he is in touch with his colleagues. Brecker provides the most fervent individual statement with an unaccompanied rendition of "Naima" that amounts to a virtual encyclopedia of tenor saxophone technique. Roy Hargrove does a serviceable job on trumpet and flügelhorn, trying to fill some heavy shoes, and as accomplished as the rhythm team of John Patitucci (bass) and Brian Blade (drums) is, you miss the irreplaceable combustion of Ron Carter and especially the late Tony Williams (compare the original Davis recording of "The Sorcerer" with this inward, less dynamic, less driving version). The most strikingly reworked cover tune is a slow, drawn-out, mournful take on "Impressions," almost an elegy for Coltrane, and Brecker delivers the eulogy with fire in the belly. There is new material from Hargrove ("The Poet"), Brecker ("D Trane"), and the three headliners ("Misstery"), none of which expands much beyond the parameters of the Davis and Coltrane models. While this quintet does not kick over old boundaries, it does make good, uncompromisingly intelligent music. Richard S. Ginell  
Tracklist :
1 The Sorcerer 8:54
Herbie Hancock
2 The Poet 6:35
Roy Hargrove
3 So What/Impressions 12:51
John Coltrane / Miles Davis
4 Misstery 8:16
Michael Brecker / Herbie Hancock / Roy Hargrove
5 Naima 7:29
John Coltrane
6 Transition 10:26
John Coltrane
7 My Ship 8:40
Ira Gershwin / Kurt Weill
8 D Trane 15:11
Michael Brecker
Credits :
Bass – John Patitucci
Drums – Brian Blade
Piano, Executive Producer – Herbie Hancock
Tenor Saxophone, Producer – Michael Brecker
Trumpet, Flugelhorn (tracks: 2, 7) – Roy Hargrove

LOUIE BELLSON AND HIS ORCHESTRA — Skin Deep (1954-1999) RM | Verve Elite Edition Series | FLAC (tracks+.cue), lossless

Louis Bellson has long been acknowledged as one of the greatest drummers in jazz history and this release combines two separate sessions that are predominately features for his incredible solos. "Percussionistically Speaking" starts as a blues, then Bellson shows off his subtle brushwork before switching to sticks for a powerful solo. There's more room for other soloists on "Fascinatin' Rhythm," where guitarist Joe Puma, pianist Ralph Martin and bassist Bob Peterson get to show off their chops, too. The title track is Bellson's best known piece, written while he was briefly with Duke Ellington; this powerful big band version is as effective as his famous earlier version. Another choice cut is "For Europeans Only," featuring a strong solo by the ill-fated tenor saxophonist Wardell Gray, who was killed a little over a year following this session. Ken Dryden
Tracklist :
 1. Percussionistically Speaking (7:58)
Written-By – Louie Bellson
2. A Pearl For Louie (3:54)
Written-By – Ralph Martin
3. Fascinatin' Rhythm (4:16)
Written-By – George And Ira Gershwin
4. Copasetic (Long Version) (4:56)
 Written-By – Don Elliott, Ralph Martin
5. All God's Chillun Got Rhythm (2:55)
Written-By – Bronislaw Kaper, Gus Kahn, Walter Jurmann
6. Skin Deep (7:53)
Written-By – Louie Bellson
7. Loris (3:58)
Written-By – Joe Puma
8. For Europeans Only (3:03)
Written-By – Don Redman, Tadd Dameron
9. Phalanges (3:18)
Written-By – Clark Terry
10. Caxton Hall Swing (3:00)
Written-By – Louie Bellson
11. Copasetic (Short Version) (3:44)
Written-By – Don Elliott, Ralph Martin
Credits :
Louie Bellson plays drums on all tracks accompanied by:
On tracks 1-5, 7 and 11:
Don Elliott-trumpet, mellphone, vibraphone, bongo
Ralph Martin-piano
Joe Puma-guitar
Bob Peterson-bass
Recorded probably early February 1954 in New York City

On tracks 6 and 8-10:
Harry "Sweets" Edison, Maynard Ferguson, Conrad Gozzo, Ray Linn - Trumpet
Hoyt Bohannon, Herbie Harper, Tommy Pederson - Trombone
Benny Carter, Willie Smith - Alto Saxophone
Wardell Gray, Bumps Myers - Tenor saxophone
Bob Lawson - Baritone saxophone
Jimmie Rowles - Piano
Barney Kessel - Guitar
John Simmons - Bass
Don Redman - Arranger
Recorded August 14, 1953 at Radio Recorders, Hollywood

Original recordings produced by Norman Granz
Tracks 1-5 and 6-10 are in their respective original 10" LP sequences
Master numbers show the order in which the tracks were recorded

HANK JONES — Urbanity (1956-1997) RM | Verve Elite Edition Series | FLAC (tracks+.cue), lossless

Pianist Hank Jones' first LP consists of six piano solos from 1947 and four trio numbers (with guitarist Johnny Smith and bassist Ray Brown) from 1953. Particularly on the unaccompanied solos, Jones shows off the influence of Art Tatum, while the trio cuts are more boppish and sometimes recall the King Cole Trio. Excellent music. Scott Yanow
Tracklist :
1    Thad's Pad    2:56
2    Things Are So Pretty In The Spring    3:38
3    Little Girl Blue    2:45
4    Odd Number    3:30
5    Blues For Lady Day    2:41
6    The Night We Called It A Day    3:20
7    Yesterdays    3:03
8    You're Blasé    3:06
9    Tea For Two    3:00
10    The Blue Room    2:42
11    Thad's Pad - Alternative Take    3:00
Thad's Pad    
12.1    Index 1 - False Start    0:14
12.2    Index 2 - Incomplete Take    0:19
13    Thad's Pad - Alternative Take    2:58
Things Are So Pretty In The Spring    
14.0    Index 0 - False Start    0:14
14.1    Index 1 - Alternative Take    3:59
Things Are So Pretty In The Spring    
15.1    Index 1 - Breakdown    0:10
15.2    Index 2 - Breakdown    0:19
15.3    Index 3 - Breakdown    0:47
15.4    Index 4 - Breakdown    2:01
16    Things Are So Pretty In The Spring - Alternative Take    3:36
17    Things Are So Pretty In The Spring - Alternative Take    3:39
Credits :
Bass – Ray Brown (tracks: 1 to 4, 11 to 17)
Guitar – Johnny Smith (tracks: 1 to 4, 11 to 17)
Piano – Hank Jones
Notes :
Recorded 1947 and 1955.
Tracks 5-10 originally issued as Hank Jones - Hank Jones' Be-Bop Piano
Tracks 11-17: previously unreleased alternative takes

CHRISTIAN McBRIDGE BAND — Sci-Fi (2000) FLAC (image+.cue), lossless

On a large scale, there is no denying that music can move masses of people to assert themselves and establish a particular vision that will benefit many for years to come. With the release of Sci-Fi, the highly acclaimed bassist Christian McBride has established another great realm of music for his fans to explore. Accompanied by the dynamic Ron Blake on tenor and soprano sax, Shedrick Mitchell on piano and Fender Rhodes, the great Herbie Hancock on piano, Rodney Green on drums, David Gilmore on electric and acoustic guitar, Dianne Reeves giving great vocalese on "Lullaby for a Ladybug," James Carter on bass clarinet, and the exciting Toots Thielemans on harmonica, listeners will soon discover that the jazz galaxy will never be the same. The acoustic fusion and thematic sound concept for the CD settled in after McBride wrote "Science Fiction" and discovered it made a great nucleus for the CD. Featured selections include McBride's brilliant arrangements of masterworks by Stanley Clarke, Sting, Jaco Pastorius, and Steely Dan as well as seven original compositions by the versatile leader. Flawless piano grace from Herbie Hancock on "Xerxes" and "Lullaby for a Ladybug" and McBride's Fender Rhodes work throughout is a listen to behold. Particularly, the conversation between McBride's double bass and Carter's bass clarinet on "Walking on the Moon" shouldn't be missed. Sci-Fi is a seminal work by seminal artists and may very well be considered one of the most essential jazz recordings of the 21st century. Paula Edelstein
Tracklist :
 1. Aja (Fagan, Becker) 6:46
2. Uhura's Moment Returned (McBride) 6:18
3. Xerxes (McBride) 7:56
4. Lullaby For a Ladybug (McBride) 7:28
5. Science Fiction (McBride) 6:50
6. Walking On The Moon (Sting) 6:43
7. Havona (Jaco Pastorius) 7:12
8. I'll Guess i'll Have To Forget (McBride) 6:10
9. Butterfly Dreams (Stanley Clarke) 6:43
10. Via Mwandishi (McBride) 8:02
11. The Sci-fi Outro (McBride) 1:13
Credits :
Christian McBride – Bass (Upright, Electric), Keyboards
Ron Blake - Sax (Tenor, Soprano)
Shedrick Mitchell – Piano, Electric Piano
Rodney Green – Drums
Herbie Hancock – Piano (on "Xerxes" and "Lullaby For a Ladybug")
Dianne Reeves – Vocalese (on "Lullaby For a Ladybug")
Toots Thielemans – Harmonica
James Carter – Bass Clarinet
David Gilmore – Guitar (Acoustic, Electric)

ELLA FITZGERALD — Whisper Not (1966-2002) RM | LP Reproduction Series | Two Version | FLAC (image+.tracks+.cue), lossless

Whoever decided to put pianist Marty Paich and Ella Fitzgerald together in the studio in 1966 deserves a bit of credit for the great music on Whisper Not. Together, Fitzgerald and Paich deliver a dozen beautifully sung, carefully arranged standards. An orchestra tastefully backs Fitzgerald's vocals, offering cushy support without overdoing it. Even lighter pieces like "Sweet Georgia Brown" and "Old MacDonald" are given stately renditions. There's a fun version of "I Said No," filled with silly double entendres, and a relaxed take on "Thanks for the Memory." Norman Granz takes full advantage of stereo capabilities, creatively mixing the instruments to the right and left tracks while leaving Fitzgerald's voice front and center. Paich adds to the overall sound quality by varying the arrangements from song to song, carefully wrapping each tune in the right package. These fine-tuned arrangements also provide the perfect launching pad for Fitzgerald to place her own stamp on material associated with other singers. While both "Lover Man (Oh Where Can You Be)" and "You've Changed" will be recognized as Billie Holiday classics, Fitzgerald delivers light, elegant versions that are distinctly her own. Whisper Not captures two intelligent artists working toward a common goal and creating beautiful music in the process. Ronnie D. Lankford
Tracklist :
1. Sweet Georgia Brown 3:35
 Ben Bernie / Kenneth Casey / Maceo Pinkard
2. Whisper Not 3:04
 Leonard Feather / Benny Golson
3. I Said No 4:04
 Frank Loesser / Jule Styne
4. Thanks for the Memory 4:05
 Ralph Rainger / Leo Robin
5. Spring Can Really Hang You Up the Most 3:51
 Fran Landesman / Tommy Wolf
6. Old MacDonald 2:19
  Traditional
7. Time After Time 3:31
 Sammy Cahn / Jule Styne
8. You've Changed 3:19
 Bill Carey / Carl Fischer
9. I've Got Your Number 3:16
 Cy Coleman / Carolyn Leigh
10. Lover Man (Oh Where Can You Be?) 4:24
 Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
11. Wives and Lovers 2:24
 Burt Bacharach / Hal David
12. Matchmaker 2:49
 Jerry Bock / Sheldon Harnick
Credits :
Ella Fitzgerald - Vocal
Marty Paich - Piano, Arranger
Chuck Berghofer - Double Bass
Louie Bellson - Drums
Harry "Sweets" Edison - Trumpet
Shelly Manne - Drums
Joe Mondragon - Double Bass
Bill Perkins - Tenor Saxophone
Jimmy Rowles - Piano
Al Viola - Guitar
Stu Williamson - Trumpet

JOE HENDERSON — Lush Life : The Music of Billy Strayhorn (1992+2005) Two Version | WV + FLAC (tracks+.cue), lossless

With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended. Scott Yanow
Tracklist :
1. Isfahan (Duke Ellington, Billy Strayhorn) – 5:59
Arranged By – Don Sickler
Bass – Christian McBride
Tenor Saxophone – Joe Henderson
Written-By – Billy Strayhorn, Duke Ellington
2. Johnny Come Lately – 6:30
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
3. Blood Count – 7:19
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
4. Rain Check – 5:54
Bass – Christian McBride
Drums – Gregory Hutchinson
Tenor Saxophone – Joe Henderson
5. Lotus Blossom – 4:31
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
6. A Flower is a Lovesome Thing – 6:58
Arranged By – Don Sickler
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
7. Take the "A" Train – 7:11
Drums – Gregory Hutchinson
Tenor Saxophone – Joe Henderson
8. Drawing Room Blues – 7:33
Arranged By – Don Sickler
Bass – Christian McBride
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
9. U.M.M.G. (Upper Manhattan Medical Group) – 5:02
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
10. Lush Life – 5:03
Tenor Saxophone – Joe Henderson

OSCAR PETERSON — Oscar Peterson Plays the George Gershwin Song Book (1996) RM | FLAC (tracks+.cue), lossless

Oscar Peterson Plays the George Gershwin Songbook is a 1959 album by pianist Oscar Peterson of compositions written by George Gershwin. Peterson had recorded many of the pieces for his 1952 album Oscar Peterson Plays
Tracklist  :
1. It Ain't Necessarily So – 2:48
 George Gershwin
2. The Man I Love – 3:09
 George Gershwin / Ira Gershwin
3. Love Walked In – 2:49
 George Gershwin / Ira Gershwin
4. I Was Doing All Right – 2:50
 George Gershwin
5. A Foggy Day – 2:55
 George Gershwin / Ira Gershwin
6. Oh, Lady be Good – 3:02
 George Gershwin / Ira Gershwin
7. Our Love is Here to Stay – 2:59
 George Gershwin / Ira Gershwin
8. They All Laughed – 2:31
 George Gershwin / Ira Gershwin
9. Let's Call the Whole Thing Off – 2:20
 George Gershwin / Ira Gershwin
10. Summertime (DuBose Heyward) – 2:58
 George Gershwin / Ira Gershwin / DuBose Heyward
11. Nice Work If You Can Get It – 2:07
 George Gershwin
12. Shall We Dance? – 2:18
 George Gershwin / Ira Gershwin
13. The Man I Love    3:30
14. Fascinating Rhythm    2:56
15. It Ain't Necessarily So    3:13
16. Somebody Loves Me 3:22
Composed By – Ballard MacDonald, B. G. DeSylva, George Gershwin
17. Strike Up The Band    3:14
18. I've Got A Crush On You    2:52
19. I Was Doing All Right    2:41
20. 'S Wonderful    2:36
21. Oh, Lady, Be Good!    3:49
22. I Got Rhythm    3:16
23. A Foggy Day    3:38
24. Love Walked In    3:06
Credits :
Oscar Peterson – Piano
Ray Brown – Double Bass
Ed Thigpen – Drums
Notes :
2 LPs on 1 CD
Tracks 1 to 12 recorded between July 21 and August 1, 1959 at Universal Recording Studios, Chicago - Original LP issue: The Oscar Peterson Trio - Oscar Peterson Plays The George Gershwin Song Book.
Tracks 13 to 24 recorded probably between November 1 and December 4, 1952 in Los Angeles - Original LP issue: Oscar Peterson - Oscar Peterson Plays George Gershwin.

MAYNARD FERGUSON OCTET — Maynard Ferguson and His Octet (1955-2008) Serie Verve Originals | FLAC (tracks+.cue), lossless

Maynard Ferguson Octet is an album by Canadian jazz trumpeter/trombonist Maynard Ferguson featuring tracks recorded at Capitol Studios, Los Angeles, CA. (Tracks 1-5) April 25th 1955, (Tracks 6-8) April 27th 1955 and originally released on the EmArcy label 1955. This early triumph from the solo career of the brilliant trumpeter remains bewilderingly rare-it's an avowed West Coast-jazz classic but it's been out of print for years! Rick Ransom
Tracklist :
1 Finger Snappin' 3:50
Written-By – Bill Holman
2 My New Flame 4:02
Written-By – Bill Holman
3 Autumn Leaves 3:15
Written-By – Johnny Mercer
4 Inter-Space 3:28
Written-By – Bill Holman
5 20, Rue De Madrid 4:57
Written-By – Bill Holman
6 Super-G 7:25
Written-By – Bill Holman
7 What Was Her Name? 5:03
Written-By – Bill Holman
8 Yeah 6:40
Written-By – Bill Holman
Credits :
Alto Saxophone – Herb Geller
Baritone Saxophone – Bob Gordon
Bass – Red Callender
Drums – Shelly Manne
Piano – Ian Bernhard
Tenor Saxophone – Georgie Auld
Trombone – Milt Bernhart
Trumpet – Conte Candoli
Trumpet, Trumpet [Bass], Valve Trombone – Maynard Ferguson

BUDDY RICH AND HIS SEXTET — Blues Caravan (1961-2005) RM | LP Reproduction Series | APE (image+.cue), lossless

This crack sextet recording by Buddy Rich is one of the long lost treasures in his vast discography as a leader, featuring a band he took on a State Department-sponsored tour of the Far East and Asia not long after the recording sessions were completed for this album. The band includes flutist Sam Most, trumpeter Rolf Ericson (who achieved his greatest fame with Duke Ellington), Wyatt Ruther (previously a sideman with Dave Brubeck), vibraphonist Mike Mainieri, and the somewhat obscure pianist Johnny Morris. Rich's pulsing drums are right in front in their aggressive arrangement of Horace Silver's blues "Blowin' the Blues Away," in which each soloist seems stimulated by the musician preceding him. "Caravan" begins with the leader's thunderous solo, though it quickly softens with Rich taking a backseat to Most and Ruther; the remainder of the band makes a delayed entrance. Mainieri contributed the exciting blues "Young Blood," which showcases his best solo on the date. The vibraphonist is also the featured soloist in the mellow interpretation of "I Remember Clifford," where he is backed by the haunting blend of trumpet and flute, with Rich staying very much in the background. Reissued as a limited-edition CD by Verve in 2005, this should be considered an essential Buddy Rich recording. Kent Dryden
Tracklist :
1. Blow'n The Blues Away 8:40
 Horace Silver
2. BR Blues 3:14
 Buddy Rich
3. Late Date 5:12
 Waalter Maynard
4. Caravan 9:44
 Duke Ellington / Irving Mills / Juan Tizol
5. Young Blood 5:59
  Mike Mainieri
6. I Remember Clifford 3:35
 Benny Golson
Credits :
Bass – Wyatt Ruther
Drums, Leader – Buddy Rich
Flute – Sam Most
Piano – Johnny Morris
Trumpet – Rolf Ericson
Vibraphone [Vibes] – Mike Mainieri

CHARLIE HADEN | KENNY BARRON — Night and The City (1998) FLAC (tracks+.cue) lossless

The third in a series of Charlie Haden duet projects for Verve in the 1990s finds the increasingly nostalgia-minded bass player working New York City's Iridium jazz club with pianist Kenny Barron. Moreover, it is entirely possible that we are getting a skewed view of the gig; according to Haden, he and his co-producer wife Ruth tilted this album heavily in the direction of romantic ballads, eliminating the bebop and avant-garde numbers that the two may have also played at the club. Be that as it may, this is still a thoughtful, intensely musical, sometimes haunting set of performances, with Barron displaying a high level of lyrical sensitivity and Haden applying his massive tone sparingly. Most of the seven tracks are fantasias on well-known standards, although one of the most eloquent performances on the disc is Barron's playing on his own "Twilight Song." If Haden deliberately set out to create a single reflective mood, he certainly succeeded, although those coming to Haden for the first time through this and most of his other '90s CDs would never suspect that this man once played such a fire-breathing role in the jazz avant-garde. Richard S. Ginell
Tracklist :
1. Twilight Song - 12:48
 Kenny Barron
2. For Heaven's Sake - 10:45
 Elise Bretton / Sherman Edwards / Don Meyer / Donald Meyer / Sherman Edwards & Donald Meyer
3. Spring Is Here - 10:21
 Lorenz Hart / Richard Rodgers
4. Body and Soul - 10:25
 Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5. You Don't Know What Love Is - 7:01
 Gene DePaul / Don Raye
6. Waltz For Ruth - 8:27
 Charlie Haden
7. The Very Thought Of You - 11:02
 Ray Noble
Credits :
Bass – Charlie Haden
Piano – Kenny Barron
Producer – Charlie Haden, Ruth Cameron

CHRIS POTTER — Traveling Mercies (2002) FLAC (tracks+.cue), lossless

Chris Potter gets more and more adventurous. On this follow-up to the strong Gratitude, the tenor and soprano saxophonist beefs up strong writing and heady group interplay with occasional sampled sounds and miscellaneous textures like clavinet and reed organ. True to form, he plays additional wind instruments -- alto flute and bass clarinet in this case -- and isn't afraid of overdubbing them to create lush orchestration, on tracks like "Snake Oil" and "Any Moment Now." On the haunting "Invisible Man" he even doubles the alto flute melody with his singing voice. Not until the fifth track, a Meters-like adaptation of the spiritual "Children Go," do you hear a 4/4 tempo; loping lines over odd meters prevail, with pianist Kevin Hays, bassist Scott Colley, and drummer Bill Stewart expertly laying down the edgy grooves. (Like on Gratitude, Hays doubles on Fender Rhodes.) John Scofield contributes tart solos on three tracks, while Adam Rogers adds nylon-string and slide colors on two others. The sweeping, Metheny-esque harmonies of "Highway One" bring the program to a head, followed by a closing bass clarinet/piano duo on Willie Nelson's "Just as I Am." As a jazz record, Traveling Mercies is very much a product of its post-millennial times, but it still comes across as highly individual. Its value will be lasting. David R. Adler
Tracklist :
 1 Megalopolis; 7:00
 Chris Potter
2 Snake Oil; 6:04
 Chris Potter
3 Invisible Man; 5:08
 Chris Potter
4 Washed Ashore; 7:07
 Chris Potter
5 Children Go; 5:37
 Public Domain / Traditional
6 Any Moment Now; 5:21
 Chris Potter
7 Migrations; 8:06
 Chris Potter
8 Azalea; 5:50
 Chris Potter
9 Highway One; 10:12
 Chris Potter
10 Just as I Am. 3:37
 Willie Nelson
Credits :
Chris Potter - Tenor & Soprano Saxophone, Alto Flute, Bass Clarinet, Reed, Organ, Clavinet, Sampler, Percussion, Voice
John Scofield - Guitar
Adam Rogers - Acoustic & Slide Guitar
Kevin Hays - Piano, Fender Rhodes, Clavinet
Scott Colley - Bass
Bill Stewart - Drums

TONY SCOTT — Music For Zen Meditation And Other Joys (1964-1984) FLAC (tracks+.cue), lossless

After stints at Juilliard and in the Army during the '40s, clarinetist Tony Scott rose to prominence in the '50s as a respected jazz soloist. His resumé at the time included work with Sarah Vaughan, Ben Webster, Dizzy Gillespie, Bill Evans, Billie Holiday, and Claude Thornhill, among many others. In addition to these sidemen dates, Scott also cut several solo albums. His subtle phrasing eventually found a perfect niche in the smattering of meditation and yoga dates he cut in the mid-'60s for Verve. Fueled by his burgeoning interest in Far Eastern culture, Scott hooked up with two Japanese master instrumentalists for this classic 1964 date. And while Scott, koto player Shinichi Yuize, and shakuhachi player Hozan Yamamoto produce nine cuts that sound classically Japanese and really nothing like jazz, they do actually improvise pretty much throughout the entire set. If you'd like to levitate to music with some unexpected twists, then Scott's Music for Zen Meditation is for you. Stephen Cook
Tracklist :
 1. Is Not All One?
 Tom Scott / Hozan Yamamoto / Shinichi Yuize
2. The Murmuring Of The Mountain Stream
 Tom Scott / Shinichi Yuize
3. A Quivering Leaf, Ask The Winds
  Hozan Yamamoto  
4. After The Snow, The Fragrance
 Tom Scott / Shinichi Yuize
5. To Drift Like Clouds
 Hozan Yamamoto / Shinichi Yuize
6. Ze-zen (Meditation)
 Tom Scott / Hozan Yamamoto
7. Prajna-Paramita-Hridaya Sutra (Sutra Chant)
 Tom Scott / Shinichi Yuize
8. San-zen (Moment Of Truth)
 Tom Scott / Shinichi Yuize
9. Satori (Enlightenment)
 Tom Scott / Shinichi Yuize
 Line-up / Musicians
Shinichi Yuize - Koto
 Hozan Tamamoto - Shakuhachi.
Tony Scott - Clarinete

MARGARET WHITING — Sings the Jerome Kern Song Book (1960-2002) RM | Serie : LP Reproduction | FLAC (tracks+.cue), lossless

Given Margaret Whiting's limitations as a stylist, you certainly wouldn't expect an album of Jerome Kern-penned Broadway standards to rank among her jazziest, most lively LPs, but the great arranger Russ Garcia truly outdoes himself, masterminding a delightfully energetic session that's undeniably appealing. While Garcia and sidemen including altoist Bud Shank contribute much of the album's sense of swing, Whiting proves herself a far more fluid and rhythmic singer than her critics care to admit -- her clarion vocals achieve a nice balance between the theatricality of Kern's music and the pizzazz of Garcia's treatments. A pointed reminder that "wholesome" doesn't necessarily equate with "square." Jason Ankeny
Tracklist :
1. Why Was I Born? 3:22
Oscar Hammerstein II / Jerome Kern
2. Remind Me 2:55
Dorothy Fields / Jerome Kern
3. The Song Is You 3:32
Oscar Hammerstein II / Jerome Kern
4. I Won't Dance 2:25
Dorothy Fields / Otto Harbach / Oscar Hammerstein II / Jerome Kern / Jimmy McHugh
5. Don't Ever Leave Me 3:19
Oscar Hammerstein II / Jerome Kern / Traditional
6. I'm Old Fashioned 2:44
Jerome Kern / Johnny Mercer
7. All in Fun 3:06
Oscar Hammerstein II / Jerome Kern
 8. Why Do I Love You? 2:34
Oscar Hammerstein II / Jerome Kern
 9. Can't Help Lovin' Dat Man 3:57
Oscar Hammerstein II / Jerome Kern
  10. A Fine Romance 3:39
Dorothy Fields / Jerome Kern
 11. Look for the Silver Lining 2:56
Buddy DeSylva / Jerome Kern
 12. All the Things You Are 3:49  
Oscar Hammerstein II / Jerome Kern
13. Poor Pierrot 3:23
Otto Harbach / Jerome Kern
14. Smoke Gets in Your Eyes 3:57  
Otto Harbach / Jerome Kern
15. Let's Begin 2:15
Otto Harbach / Jerome Kern
16. D'Ye Love Me? 3:24  
Otto Harbach / Oscar Hammerstein II / Jerome Kern
17. Dearly Beloved 2:52
Jerome Kern / Johnny Mercer
18. Long Ago (And Far Away) 4:17
Ira Gershwin / Jerome Kern
19. The Way You Look Tonight 3:33
Dorothy Fields / Jerome Kern
 20 You Couldn't Be Cuter 2:05
Dorothy Fields / Jerome Kern
21. Yesterdays 3:08
Otto Harbach / Jerome Kern
22. Bill 4:03
Oscar Hammerstein II / Jerome Kern / P.G. Wodehouse
23. She Didn't Say Yes 2:25
Otto Harbach / Jerome Kern
24. The Touch of Your Hand 3:42
Otto Harbach / Jerome Kern
Credits :
Arranged By, Conductor – Russell Garcia
Vocals – Margaret Whiting
Notes :
Recorded January and February 1960 in Los Angeles.
In collaboration with Russell Garcia, who devised the ingenious arrangements and conducted the orchestra for the set, Margaret Whiting has produced a treasury of some of the greatest popular songs written in our time.

STEVE KUHN — The October Suite : Three Compositions of Gary McFarland (1966-2003) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Composer and arranger Gary McFarland was well known in the 1960s for his film-scoring abilities and his charting skills with midsized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, all but two of which were written specifically for the album. Recorded in 1966, it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillistic school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet on half the record and with a wind trio with harp on the other half. The tracks on side one are in some ways less revolutionary, yet more fulfilling because Kuhn is clearly at home with the sonorities afforded by the strings. They don't swing, even on "One I Could Have Loved" from the film 13 or "St. Tropez Shuttle," a strangely metered bossa tune (in 3/4 instead of 4/4). Kuhn's cautious, contemplative improvising concerns itself with scalar explorations of melody, color, and harmony rather than rhythm or modal considerations. His touch is light and airy and therefore most pronouncedly visible against the strings. The interplay between Carter and Morell is almost instinctual; they couldn't have moved any closer together on this set if the charts had been written for them -- and they were not. With the wind trio and harp, Kuhn's approach is more physical, but nonetheless strives to create a palette for the very instruments that are trying to create one for him. There is some tension in this approach, but it works to the record's advantage. In sum, The October Suite was an experiment that worked beautifully, even if it was not acknowledged as being one of the more subtly brilliant albums of its day, though it most certainly stands the test of time that way.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    One I Could Have Loved    4:45
 Gary McFarland
2    St. Tropez Shuttle    7:10
 Gary McFarland
3    Remember When    7:25
 Gary McFarland
4    Traffic Patterns    5:04
 Gary McFarland
5    Childhood Dreams    6:27
 Gary McFarland
6    Open Highway    8:43
 Gary McFarland
Credits :
Bass – Ron Carter
Cello – Al Brown (tracks: 1 to 3)
Composed By, Conductor, Arranged By – Gary McFarland
Drums – Marty Morell
Harp – Corky Hale (tracks: 4 to 6)
Piano – Steve Kuhn
Viola – Charlie McCracken (tracks: 1 to 3)
Violin – Isador Cohen (tracks: 1 to 3), Matt Raimondi (tracks: 1 to 3)
Woodwind – Don Ashworth (tracks: 4 to 6), Gerald Sanfino (tracks: 4 to 6), Irving Horowitz (tracks: 4 to 6), Joe Firrantello (tracks: 4 to 6)

THE OSCAR PETERSON TRIO WITH HERB ELLIS — Hello Herbie (1969-2005) RM | Serie Most Perfect Sound Edition | FLAC (tracks+.cue), lossless

 Guitarist Herb Ellis still considers this to be one of his personal favorite recordings. Ellis was reunited with his old boss Oscar Peterson and, with the assistance of Peterson's trio of the period (with bassist Sam Jones and drummer Bobby Durham), the two lead voices often romp on the jam session-flavored set. Most of the chord changes are fairly basic (including three blues and "Seven Come Eleven"), and Peterson was clearly inspired by Ellis' presence (and vice versa). Scott  Yanow
Credits :
1 Naptown Blues 5:20
Written-By – Wes Montgomery
2 Exactly Like You 4:48
Written-By – Beda, McHugh - Fields
3 Day By Day 4:40
Written-By – Stordahl, Weston
4 Hamp's Blues 3:46
Written-By – Hampton Hawes
5 Blues For H.G. 6:10
Written-By – Oscar Peterson
6 A Lovely Way To Spend An Evening 8:25
Written-By – Adamson, McHugh
7 Seven Come Eleven 5:10
Written-By – Goodman, Christian
Credits :
Bass – Sam Jones
Drums – Bob Durham
Guitar – Herb Ellis
Piano – Oscar Peterson