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

YUSEF LATEEF — The Golden Flute (1966-2004) RM | Serie LP Reproduction | APE (image+.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    Road Runner 4:44
Written-By – Lateef
2    Straighten Up And Fly Right 3:26
Written-By – Mills, Cole
3    Oasis 4:23
Written-By – Lateef
4    I Don't Stand A Ghost Of A Chance With You 4:03
Written-By – Crosby, Washington, Young
5    Exactly Like You 2:54
Written-By – McHugh/Fields
6    The Golden Flute 3:54
Written-By – Lateef
7    Rosetta 3:51
Written-By – Hines, Woode
8    Head Hunters 4:33
Written-By – Harris, Lawson
9    The Smart Set 7:31
Written-By – Brooks
Credits
Bass – Herman Wright
Drums – Roy Brooks, Jr.
Flute, Tenor Saxophone, Oboe – Yusef Lateef
Piano – Hugh Lawson

BEN WEBSTER | OSCAR PETERSON — Ben Webster Meets Oscar Peterson (1959) Two Version (1997, RM | Serie Verve Master Edition) + (2011, RM | SACD, Hybrid | Serie Verve Reissues) APE (image+.cue), lossless & FLAC (tracks+.cue), lossless

Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio -- Peterson is joined by bassist Ray Brown and drummer Ed Thigpen -- use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist's best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing -- none of Webster's boogie-woogie piano work to break up the mood here. Besides reinvigorating such lithe strollers as "Bye Bye Blackbird" (nice bass work by Brown here) and "This Can't Be Love," Webster and company achieve classic status for their interpretation of the Sinatra gem "In the Wee Small Hours of the Morning." And to reassure Peterson fans worried about scant solo time for their hero, the pianist lays down a healthy number of extended runs, unobtrusively shadowing Webster's vaporous tone and supple phrasing along the way. Not only a definite first-disc choice for Webster newcomers, but one of the jazz legend's all-time great records. Stephen Cook  
Tracklist :
1 The Touch Of Your Lips 6:10
Written-By – Noble
2 When Your Lover Has Gone 3:50
Written-By – Swan
3 Bye Bye Blackbird 6:35
Written-By – Dixon, Henderson
4 How Deep Is The Ocean (How High Is The Sky) 2:30
Written-By – Berlin
5 In The Wee Small Hours Of The Morning 3:06
Written-By – Hilliard, Mann
6 Sunday 3:55
Written-By – Krueger, Conn, Styno, Miller
7 This Can't Be Love 9:45
Written-By – Rodgers/Hart
Credits :
Bass – Ray Brown
Drums – Ed Thigpen
Piano – Oscar Peterson
Tenor Saxophone – Ben Webster

BILL EVANS WITH JEREMY STEIG — Whats New (1969-1995) RM | Serie Verve 24bit Super Best 50 – 4 | FLAC (tracks+.cue) lossless

Fin 1968 le pianiste Bill Evans (1929-1980) met en place un nouveau trio ; le batteur Marty Morell rejoint le contrebassiste Eddie Gomez qui est déjà avec Bill depuis 1966. Ce trio durera jusqu’en 1974. En octobre 1968, ils se produisent au Top Of The Gate, situé au-dessus du Village Gate. Souvent en fin de soirée le flutiste Jeremy Steig s’adjoint au groupe. Bill Evans connaissait Steig depuis 1964 et l’appréciait. Eddie Gomez était très ami avec le flutiste, il venait de participer à l'enregistrement d'un disque de jazz fusion, "Jeremy & The Satyrs", sous la direction du flutiste. Depuis de nombreuses années Bill et Jeremy avaient le projet d’un album conjoint. Bill Evans dans les notes de pochette de cet album rappelle combien il apprécie la flûte, instrument qu’il a pratiqué de nombreuses années. Rendez-vous est donc pris pour un album commun prometteur.
L’album «What’s new», enregistré début 1969, est donc le premier en studio du trio Evans-Gomez-Morell, avec le flutiste en invité. Un Bill Evans plus rageur dès le premier morceau, la composition de Monk «Straight No Chaser», ou encore comme sur un «Autumn Leaves» plein d’énergie, comme une poussée de sève printanière. L’album se conclut avec un «So What» que Bill Evans n’avait pas enregistré* depuis la séance historique avec Miles Davis. Probablement à la demande de Steig, c’est une version nettement plus « speed » qui nous est offerte, Bill Evans semble en retrait.
Disque plaisant certes, mais à l’écoute je ne ressens ni la même spontanéité ni la même complicité que sur l'excellent Flute Fever, premier album du flutiste (en compagnie de Denny Zeitlin au piano). Sur plusieurs morceaux, pendant le solo de Jeremy, le piano est absent. Eddie Gomez occupe une grande place dans cet album, bénéficiant d’un large espace comme soliste et il s’avère très brillant. Bien des années plus tard, à propos de cet album, Marty Morell dans deux interviews (une sur le site Jazzwax et l’autre avec Jan Stevens) laisse entendre que Jeremy Steig n’était pas du tout en forme, un peu ailleurs. Les prises se sont multipliées (près de 30 parfois) et Bill Evans perdait patience. Au final, malgré tout, un bon disque, même si son accouchement a été difficile. Un rendez-vous dont peut-être les protagonistes attendaient trop ? Philippe A
Tracklist :
1    Straight No Chaser 5:40
Written-By – Thelonious Monk
2    Lover Man 6:19
Written-By – David, Sherman, Ramirez
3    What's New 4:50
Written-By – Haggart, Burke
4    Autumn Leaves 6:12
Written-By – Prevert, Mercer, Kosma
5    Time Out For Chris 7:17
Written-By – Evans
6    Spartacus Love Theme 4:18
Written-By – North
7    So What 9:06
Written-By – Hall, Davis
Credits :
Bass – Eddie Gomez
Drums – Marty Morell
Flute – Jeremy Steig
Piano – Bill Evans

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | Limited Edition | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanburn.

Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.

After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song. Samuel L. Chell
Tracklist :
1    Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Bass – Gene Wright
Clarinet – Buddy DeFranco
Drums – Bobby White
Guitar – Tal Farlow (tracks: 1, 3 to 5)
Organ, Piano – Sonny Clark

REGINA CARTER — Motor City Moments (2000) FLAC (tracks+.cue), lossless

Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene. Paula Edelstein
Tracklist :
1    Don't Git Sassy 5:17
Bass Clarinet, Tenor Saxophone – James Carter
Trumpet – Marcus Belgrave
Written-By – Thad Jones
2    Don't Mess With Mr. T 6:18
Drums – Lewis Nash
Written-By – Marvin Gaye
3    For Someone I Love 5:52
Arranged By – Regina Carter
Written-By – Milt Jackson
4    Forever February 3:49
Written-By – Regina Carter
5    Higher Ground 6:56
Written-By – Stevie Wonder
6    Love Theme From Spartacus 6:24
Bass Clarinet – James Carter
Flugelhorn – Marcus Belgrave
Written-By – Alex North
7    Prey Loot 3:47
Drums – Lewis Nash
Piano – Barry Harris
Written-By – Lucky Thompson
8    Fukai Aijo 4:56
Written-By, Piano – Barry Harris
9    Chattanooga Choo Choo 3:50
Guitar – Russell Malone
Whistle [Train Whistle] – Regina Carter
Written-By – Harry Warren, Mack Gordon
10    Up South 3:36
Written-By – Regina Carter
Written-By, Guitar – Russell Malone
Credits :
Arranged By – John Clayton (tracks: 1, 2, 6, 9)
Bass [The Band] – Darryl Hall (tracks: 1 to 7, 9)
Drums [The Band] – Alvester Garnett (tracks: 1, 4 to 6)
Percussion [The Band] – Mayra Casales (tracks: 2, 3, 5)
Piano [The Band] – Werner "Vana" Gierig (tracks: 1 to 6, 9)
Violin – Regina Carter

CHARLIE HADEN & PAT METHENY – Beyond The Missouri Sky (Short Stories) (1997) FLAC (tracks+.cue) lossless

Charlie Haden and Pat Metheny have been good friends since the 1970s, so it comes as a bit of a surprise that Beyond the Missouri Sky should be their first duet album together. Both musicians are from small towns in Missouri, which leads Metheny to speculate in the liner notes if this similarity of childhood ambience might have something to do with the two players' obvious love and affinity for each other. Whatever the answer, the result of this logical pairing is a rather somber and moody one. Metheny has a dark tone on his electric guitar, and on Beyond the Missouri Sky, where he plays acoustic, his sound is similarly deep and rounded. Metheny has called Haden one of the greatest improvisers of all time, and although this may be hyperbolic exaggeration from a longtime friend, Haden has at least earned the right to defend the claim. On Beyond the Missouri Sky, his playing is as sensitive and beautiful as always. Although one can understand the vibe that Haden and Metheny were going for, the preponderance of slow and mid-tempo material can wear on the listener. When they eschew the dirge-like tempos, as on the fantastic "The Precious Jewel," the results are just as atmospheric and are, in fact, even more evocative of the Midwestern landscapes that are featured so prominently in the album art. With Metheny setting up a strummy rhythm, Haden plays the stately melody with impeccable tone. This track, one of many, also showcases Metheny overdubbing different guitars to thicken out the sound of the performance. The results are similar, at least in spirit, to Bill Frisell's recordings in the latter half of the 1990s. Although many Metheny and Haden compositions that are featured on this record, it is their readings of older material that are most effective. The Jimmy Webb classic "The Moon Is a Harsh Mistress" is wonderfully nostalgic, as Metheny uses subtle guitar and synth washes to pad a beautiful duet performance, and the traditional "He's Gone Away" is the greatest lullaby that never was. Overall, Beyond the Missouri Sky is a fine record when the material is happening, but a bit of a chore when it is not. If Haden and Metheny had gone with the more Americana theme throughout, instead of interspersing that rootsy feel with post-bop, it would have been a much stronger record. Daniel Gioffre
Tracklist :
1. Waltz for Ruth (4:29)
 Charlie Haden
2. Our Spanish Love Song (5:42)
 Charlie Haden
3. Message to a Friend (6:14)
 Pat Metheny
4. Two for the Road (5:18)
 Leslie Bricusse / Henry Mancini
5. First Song (for Ruth) (6:41)
 Charlie Haden
6. The Moon Is a Harsh Mistress (4:06)
 Jimmy Webb
7. The Precious Jewel (3:48)
 Roy Acuff
8. He's Gone Away (4:18)
 Traditional
9. The Moon Song (6:59)
 Johnny Mandel
10. Tears of Rain (5:32)
 Pat Metheny
11. Cinema Paradiso (love theme) (3:37)
 Andrea Morricone / Ennio Morricone
12. Cinema Paradiso (main theme) (4:27)
 Ennio Morricone
13. Spiritual (8:24)
 Charlie Haden
Credits :
Acoustic Guitar [Acoustic Guitars], Instruments [All Other Instruments] – Pat Metheny
Bass – Charlie Haden

ROY AYERS UBIQUITY — Virgo Red (1973-2009) RM | Serie Verve Originals | FLAC (tracks+.cue) lossless

Despite contributions from an abundance of soul-jazz greats including Dee Dee Bridgewater, Jimmy Owens, and Garnett Brown, Virgo Red is the most stripped-down and nuanced of Roy Ayers' Ubiquity LPs. Its sinuous funk grooves are first and foremost a showcase for the intuitive interplay of Ayers and electric keyboardist Harry Whitaker, whose Fender Rhodes' fills orbit Ayers' vibes' solos like a planet circling the sun. The material is a crazy quilt of righteously soulful originals and deeply funky covers spanning Leroy Hutson's soul classic "Giving Love" to Stories' soft pop smash "Brother Louie" to absolute treacle like The Poseidon Adventure's "The Morning After" -- by all rights it shouldn't work, but as the astrological overtones winding through Virgo Red attest, sometimes the stars align. Jason Ankeny
Tracklist :
1    Brother Louie 6:08
Composed By – E. Brown, T. Wilson
2    Virgo Red 2:58
Composed By – C. Clay, R. Ayers
3    I Am Your Mind 6:13
Composed By – C. Clay, R. Ayers
4    The Morning After 4:37
Composed By – A. Kasha, J. Hirschhorn
5    Love From The Sun 2:43
Composed By – C. Clay, R. Clay, W. Garfield
6    It's So Sweet 4:23
Composed By – R. Alderson, W. Salter
7    Giving Love 4:26
Composed By – J. Reaves, L. Hutson
8    Des Nude Soul 4:49
Composed By – R. Ayers
Credits
Arranged By [Vocals] – Bert DeCoteaux
Artwork – Haruo Miyauchi
Baritone Vocals – Argerie Ayers, Arthur Clark, D.D Bridgewater, Leslie Carter, Seldon Powell, Willie Michael
Bass – David Johnson, Gordon Edwards
Congas, Bongos, Vocals – Chano O'Ferral
Drums, Percussion – Dennis Davis
Guitar – Dennis Heaven, Will Hawes
Percussion – Adrian Dey, Stephen Sadiz Shbazzberrios
Piano, Electric Piano, Organ – Harry Whitaker
Sitar [Electric Sitar] – Jerry Friedman
Trombone – Garnett Brown
Trumpet – Cecil Bridgewater, Jimmie Owens
Vibraphone, Organ, Vocals, Percussion, Arranged By [Vocals] – Roy Ayers

GROVER WASHINGTON , Jr. — All the King's Horses (1972) Two Version (1993, MCA Records – MCD 10930) + (2008, RM | Serie Verve Originals) FLAC (tracks+image+.cue), lossless

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

CHRIS POTTER — Gratitude (2001) FLAC (image+.cue), lossless

Saxophonist Chris Potter honors the legacy of some of jazz's greats on Gratitude, his debut for Verve. The award-winning virtuoso and composer is compelling on his tributes to John Coltrane, Eddie Harris, Wayne Shorter, Charlie Parker, and several other legendary saxophonists. Gratitude contains nine original compositions written by Potter, who plays tenor saxophone on the majority of the songs, switches to soprano saxophone on "Eurydice," his tribute to Wayne Shorter, and plays the alto saxophone and Chinese wood flute on "Star Eyes," the tribute to Charlie Parker. Chris Potter is outstanding on bass clarinet on his composition "The Visitor" for Lester Young and captures the ambience that reflects the many styles of these accomplished players, including sliding from one note to a higher or lower note with intermediate pitches on "The Source," his tribute to the glissandi (sheets of sound) of John Coltrane, and capturing the dense, soulful sound of Joe Henderson on "Shadow." Gratitude also includes a song titled "What's New," for the current generation which completes the set. Potter, leading his great quartet of contemporaries -- keyboardist Kevin Hayes, bassist Scott Colley, and drummer Brian Blade -- makes a significant contribution to jazz history with this project and offers musical statements and voices that are truly varied in scope and deep in their essence. Paula Edelstein   
Tracklist :
1 The Source (for John Coltrane) 6:36
2 Shadow (for Joe Henderson) 5:47
3 Sun King (for Sonny Rollins) 7:00
4 High Noon (for Eddie Harris) 8:19
5 Eurydice (for Wayne Shorter) 6:00
6 The Mind's Eye Intro 0:44
7 The Mind's Eye (for Michael Brecker And Joe Lovano) 7:14
8 Gratitude (for All The Past Masters) 3:05
9 The Visitor (for Lester Young) 7:39
10 Body And Soul (for Coleman Hawkins) 5:29
Written-By – Edward Heyman, Frank Eyton, Johnny Green, Robert Sour
11 Star Eyes (for Charlie Parker) 5:23
Written-By – Don Raye, Gene DePaul
12 Vox Humana (for Ornette Coleman) 5:24
13 What's New (for The Current Generation) 2:22
Written-By – Bob Haggart, Johnny Burke
Credits :
Alto Flute – Chris Potter (tracks: 4, 7)
Alto Saxophone – Chris Potter (tracks: 11)
Bass – Scott Colley (tracks: 1 to 12)
Bass Clarinet – Chris Potter (tracks: 4, 7, 10)
Composed By – Chris Potter (tracks: 1 to 9, 12)
Drums – Brian Blade (tracks: 1 to 12)
Electric Piano – Kevin Hays (tracks: 2, 4, 6, 7)
Flute [Chinese Wood] – Chris Potter (tracks: 12)
Piano – Kevin Hays (tracks: 1, 3, 5 to 9, 12)
Soprano Saxophone – Chris Potter (tracks: 5, 12)
Tenor Saxophone – Chris Potter (tracks: 1 to 4, 6 to 9, 13)