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

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

WAYNE SHORTER — Adam's Apple (1966-2003) RM | RVG Edition Series | FLAC (tracks+.cue), lossless

With the possible exception of its song, "Footprints," which would become a jazz standard, Adam's Apple received quite a bit less attention upon its release than some of the preceding albums in Wayne Shorter's catalog. That is a shame because it really does rank with the best of his output from this incredibly fertile period. From the first moments when Shorter's sax soars out in the eponymous opening track, with its warmth and roundness and power, it is hard not to like this album. It might not be turning as sharp of a corner stylistically as some of his earlier works, like Speak No Evil, but its impact is only dulled by the fact that Shorter has already arrived at the peak of his powers. Taken in isolation, this is one of the great works of mid-'60s jazz, but when Shorter has already achieved a unique performance style, compositional excellence, and a perfectly balanced relationship with his sidemen, it is hard to be impressed by the fact that he manages to continue to do these things album after album. But Shorter does shine here, while allowing strong players like Herbie Hancock to also have their place in the sun. Especially hypnotic are two very different songs, the ballad "Teru" and Shorter's tribute to John Coltrane, "Chief Crazy Horse," both of which also allow Hancock a chance to show what he could do. Stacia Proefrock
Tracklist :
1    Adam's Apple    6:47
Wayne Shorter
2    502 Blues (Drinkin' And Drivin')    6:32
Jimmy Rowles
3    El Gaucho    6:28
Wayne Shorter
4    Footprints    7:27
Wayne Shorter
5    Teru    6:10
Wayne Shorter
6    Chief Crazy Horse    7:32
Wayne Shorter
7    The Collector    6:54
Herbie Hancock
Credits :
Bass – Reggie Workman
Drums – Joe Chambers
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By, Remastered By [2003] – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter

MILTON NASCIMENTO — Angelus (1993) FLAC (image+.cue), lossless

The list of prominent North American and British fans of Milton Nascimento continues to grow almost exponentially -- and as a result, his first album for Warner Bros, recorded in Rio, New York, Pittsburgh and L.A., has a longer guest list than ever before. On the jazz side, Wayne Shorter reunites with his Brazilian soulmate on two tracks, his beam-of-light soprano soaring brightly, and a quintet containing Pat Metheny, Herbie Hancock, Ron Carter, Jack DeJohnette, and Robertinho Silva sails magnificently through two early Nascimento classics: "Vera Cruz" and "Novena" (his first song ever). On the rock side, Nascimento pays homage to the Beatles -- who are as powerful an influence on his album conceptions and sound as anyone -- with a drawn-out, orchestrally backed "Hello Goodbye," and Peter Gabriel lends his voice to the lovely "Qualquer Coisa a Haver Com o Paraiso." Another worthwhile experiment is the convincing transformation of James Taylor's "Only a Dream in Rio," with Taylor's distinctive voice on hand with both English and Portuguese lyrics. But the state of Nascimento's songwriting imagination remains in a moderate slump, made glaringly evident by the inclusion of so much superior early music. Having made his mark as a great songwriter, Nascimento had evolved into a gifted, meticulous record maker, and alas, we have a far, far greater quantity of the latter than the former these days. Richard S. Ginell
Tracklist :
1. Seis Horas da Tarde (Nascimento) 4:12
Saxophone [Tenor] – Wayne Shorter
2. Estrelada (Borges, Nascimento) 5:01
Vocals – Jon Anderson
3. De Um Modo Geral... (Lopes, Nascimento) 5:37
Saxophone [Tenor] – Wayne Shorter
4. Angelus (Nascimento) 2:35
Percussion – Naná Vasconcelos
5. Coisas de Minas (Lopes, Nascimento) 5:27
6. Hello Goodbye (Lennon, McCartney) 4:30
7. Sofro Calado (Faria, Nascimento) 1:11
Arranged By – Robertinho Silva
8. Clube da Esquina, No. 2 (Borges, Borges, Nascimento) 5:51
9. Meu Veneno (Gullar, Nascimento) 3:45
Percussion – Naná Vasconcelos
10. Only a Dream in Rio (Taylor) 6:30
Percussion – Naná Vasconcelos
Vocals, Guitar – James Taylor
11. Qualquer Coisa a Haver Com O Paraiso (Nascimento, Venturini) 6:59
Vocals – Peter Gabriel
12. Vera Cruz (Borges, Nascimento) 6:34
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
13. Novena (Borges, Nascimento) 5:03
Bass – Ron Carter
Drums – Jack DeJohnette
Guitar – Pat Metheny
Percussion – Robertinho Silva
Piano – Herbie Hancock
14. Amor Amigo (Brant, Nascimento) 4:19
Guitar – Pat Metheny
Piano – Herbie Hancock
15. Sofro Calado (Faria, Nascimento) 2:25
Piano – Milton Nascimento

JOE ZAWINUL — Brown Street (2007) 2xCD | Serie WDR The Cologne Broadcasts | FLAC (tracks+.cue), lossless

Like his friend and onetime collaborator Miles Davis, Joe Zawinul was not one to look back on his past and savor the view. Yet as in the case of Miles (his parting concert in Montreux), Zawinul finally took the plunge in central Europe late in life by revisiting his old Weather Report repertoire -- live at his Vienna nightclub, Joe Zawinul's Birdland. The significant difference is that while Miles doubled back to a re-creation of the original Gil Evans charts, Zawinul retrofitted his tunes with new big-band arrangements by Vince Mendoza, read with gusto and heft by the crack visiting WDR Big Band of Cologne, Germany. To this, Zawinul added his own synthesizer virtuosity and some overdubs from his Malibu studio, two distinguished WR alumni who still play with him off and on -- bassist Victor Bailey and percussionist Alex Acuña -- and drummer Nathaniel Townsley. In just about every case, Mendoza's charts replicate and flesh out every twist and turn in the Weather Report originals, paying off big-time with "Brown Street," an overlooked swinger from the WR 8:30 album that gets the remake album off to a percolating start. Occasionally he piles on additional harmonic tissue, as in the Miles-period "In a Silent Way." Some of the writing seems a bit redundant, yet things never become too overloaded thanks to the ceaseless drive of the rhythm section, and there is plenty of room for solos. Only on "Procession" does Zawinul write his own big-band chart; though tied tightly to the original recording, it sounds looser than most of the Mendoza charts as it works out over the drone. A few of the song choices are unexpected: the frantic "Fast City" and the strutting title tune from the Night Passage album; the former features some liquid synth solos by Zawinul and stimulating tenor sax by Paul Heller, and the latter some relaxed flügelhorn from Kenny Rampton. Others aren't from the WR catalog at all; "Silent Way" predates it, of course, though WR did play the tune in concert, and "March of the Lost Children" and the perennial "Carnavalito" are from the post-WR solo years. Unlike most jazz tribute projects -- including a fairly bloodless, multi-artist 1999 salute to Weather Report on Telarc -- this double-CD set isn't burdened with artificial nostalgia, and it benefits a lot from the presence of one of the two founding co-leaders (the other being the absent Wayne Shorter). And Zawinul is the crucial one, because the crusty Austrian keyboardist sees to it that the swing is the thing and that the groove is deep. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL & THE ZAWINUL SYNDICATE — 75th (2008) 2xCD | FLAC (image+.cue), lossless

Joe Zawinul's final edition of his Zawinul Syndicate band was a terrific ensemble that was perfect for any jazz festival. The multi-ethnic content, driving funky pulse, and Zawinul's colorful keyboard foundation kept listeners on their toes and rapt with attention. Using percussion and guitar with no other solo instruments, Zawinul was fully able to carry the proceedings with support from very talented performers who always complemented the music, but never got in the way, or dared to. This live double-CD set perfectly exemplifies Zawinul's personalized direction before he suddenly passed away, and exudes all of the energy the group produced in concert. For Weather Report fans, there are many direct or implied signposts that remind us why that band was so unique under the Austrian-born keyboardist's direction. But at the core is Zawinul's expanded sound, based in technological advances, conjuring up any number of folk based motifs from around the globe. "Orient Express" and "Madagascar" start the voyage in good form, reminiscent of Weather Report's "Black Market" phase, as electric bass guitarist Linley Marthe channels Jaco Pastorius as Mediterranean music is contemporized with an American backbeat. Late period Miles Davis simplicity is employed during "Scarlet Woman," perhaps a cousin of "Back Seat Betty" in its slow and mysterious but eventually composed strut. The mbira or thumb piano is played by Paco Serv alongside Zawinul's vocoder and synths on the sparse "Zanza II," and "Cafe Andalusia" concludes the first CD in a straight rock-funk beat with wordless vocals from the impressive Sabine Kabongo driving an unstoppable forward motion and kinetic energy. Seems like the band can't wait to dive into "Fast City/Two Lines," a speedy bullet train combo tune, fueled by the stinging Santana-like guitar of Alegre Correa, inspiring fine solos from Marthe and drummer Serv. -"Clario" is all Correa's, a spotlight on Brazilian Jobim-styled sounds, induced by his toned down guitar, ramped up scats, and yells. The Weather Report touch returns in "Badia/Boogie Woogie Waltz," a seamless transition between free time and 3/4 where Zawinul's understated synth and Correa's berimbau identify the universal global village as welcome to all. Wayne Shorter joins the group for a thinly veiled version of the Miles Davis groundbreaker "In a Silent Way," reuniting the old mates in a body of improvisation featuring small, clipped notes and phrases on soprano sax, returning after a respite to briefly state the riff on which a thousand stately, elegant and wistful counter harmonies were built upon. When the Zawinul Syndicate performed, they left nothing on the stage, extracting every ounce of their souls for all to hear. The leader demanded this commitment, and when you listen closely to his layers of pure sound and merging cultures altogether wrapped up, one wishes he could have had a prominent position in the United Nations. Our world was a better place with Joe Zawinul in it. Michael G. Nastos   Tracklist & Credits :

GIL EVANS — The Individualism of Gil Evans (1964-2003) RM | Serie Jazz The Best | FLAC (tracks+.cue), lossless

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era. Scott Yanow
Tracklist :
1 Time Of The Barracudas 7:26
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
2 The Barbara Song 9:59
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Bertolt Brecht, Kurt Weill
3 Las Vegas Tango 6:35
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
Flute Song / Hotel Me (12:29)
4a Flute Song
Bass – Ben Tucker, Paul Chambers, Richard Davis 
Drums – Elvin Jones
Engineer – Phil Ramone
French Horn – Don Corado, Gil Cohen, Julius Watkins
Guitar – Barry Galbraith
Harp – Margret Ross
Reeds, Woodwind – Al Block, Bob Tricarico, Eric Dolphy, Steve Lacy
Trombone – Jimmy Cleveland
Written-By – Gil Evans
4b Hotel Me
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson, Phil Ramone
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
5 El Toreador 3:26
Bass – Milt Hinton, Paul Chambers, Richard Davis 
Drums – Osie Johnson
Engineer – Phil Ramone
French Horn – Jim Buffington, Bob Northern
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Jerome Richardson, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Ernie Royal, Johnny Coles, Louis Mucci
Written-By – Gil Evans
– BONUS TRACKS –
6 Proclamation 3:55
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
7 Nothing Like You 2:36
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Bob Dorough
8 Concorde 7:39
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – John Lewis 
9 Spoonful 13:46
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – Willie Dixon
Credits : Arranged By, Conductor, Piano – Gil Evans

ART BLAKEY & THE JAZZ MESSENGERS — Free For All (1964-2014) RM | Serie Blue Note The Masterworks | SHM-CD | FLAC (tracks+.cue), lossless

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Hardly a free for all at all – as the album's a masterpiece of focus and direction, and a classic set from the sextet lineup of the Jazz Messengers! The album's a real feather in the mid-60s cap of Art Blakey –and features an expanded sound from the quintet era of his group – with a sublime horn lineup that features Wayne Shorter on tenor, Freddie Hubbard on trumpet, and Curtis Fuller on trombone – all gliding along these soaring piano lines from Cedar Walton! Reggie Workman works some real magic on bass, too – and the tracks are all very long – with titles that include "Free For All" and "Hammer Head" – both written by Shorter – plus "The Core", by Hubbard, and a beautiful version of Clare Fischer's "Pensativa".

Free for All is a high point in drummer Art Blakey's enormous catalog. This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history. In the eight minutes of "Free for All," an emotional apex is reached that skirts the edge of free bop without losing Blakey's rhythmic glue. Another Shorter composition, "Hammer Head," is a mid-tempo soul-blues groove, with Shorter, Hubbard, and Fuller taking exceptional solos while Blakey keeps the mid-tempo vigorously swinging. Hubbard's "The Core," dedicated to the Congress of Racial Equality, comes close to capturing the heat of the title cut, as it contains similar fiery interplay. The session's closer, Clare Fischer's "Pensativa" (brought to the Messengers songbook by Hubbard), would remain a favorite with Blakey for years. A passionate Jazz Messengers workout that proves essential. Al Campbell

Tracklist :

1 - Free For All

2 - Hammer Head

3 - The Core

4 - Pensativa

5 - Free For All (alt. take) (bonus track)

Personnel :

Art Blakey - Drums

Cedar Walton - Piano

Wayne Shorter - Tenor saxophone

Freddie Hubbard - Trumpet

Curtis Fuller - Trombone

Reggie Workman - Bass

LOU DONALDSON - Lush Life (1967-2007) RM | RVG Edition | FLAC (image+.cue), lossless

After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop -- only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant -- it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide. Nonets are unwieldy, to be certain, but Duke Pearson's arrangements are clean, sparkling, and attractive, and the superstar band -- Wayne Shorter (tenor sax), Jerry Dodgion (alto sax, flute), Pepper Adams (bari sax), Freddie Hubbard (trumpet), Garnett Brown (trombone), McCoy Tyner (piano), Ron Carter (bass), Al Harewood (drums) -- knows enough to provide sympathetic support and not steal the show. When they do take solos, it enhances Donaldson's original statements, and helps make Lush Life the singularly enchanting record it is. Stephen Thomas Erlewine
Tracklist :
1    Sweet Slumber 5'56
Lucky Millinder / Al J. Neiburg / Henri Woode
2     You've Changed 4'23
Bill Carey / Carl Fischer    
3     The Good Life 4'53
Jean Broussole / Sacha Distel    
4     Star Dust 3'40
Hoagy Carmichael    
5     What Will I Tell My Heart 4'25
Irving Gordon / Jack Lawrence / Peter Tinturin
6     It Might as Well Be Spring 5'58
Oscar Hammerstein II / Richard Rodgers
7     Sweet and Lovely 5'58
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
Credits :
Alto Saxophone – Lou Donaldson
Alto Saxophone, Flute – Jerry Dodgion
Arranged By – Duke Pearson
Baritone Saxophone – Pepper Adams
Bass – Ron Carter
Drums – Al Harewood
Piano – McCoy Tyner
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trombone – Garnett Brown
Trumpet – Freddie Hubbard

ART BLAKEY — Paris Jam Session (1959-2000) RM | Serie Jazz In Paris – 40 | FLAC (tracks+.cue), lossless

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography. Ken Dryden
Tracklist :
1     Dance of the Infidels 12:26
Bud Powell
2     Bouncing with Bud 11:38
Gil Fuller / Bud Powell
3     The Midget 11:05
Lee Morgan
4     A Night in Tunisia 7:02
Dizzy Gillespie / Frank Paparelli
Credits :
Alto Saxophone – Barney Wilen (faixas: 1, 2)
Bass – Jymie Merritt
Drums – Art Blakey
Piano – Bud Powell (faixas: 1, 2), Walter Davis Jr. (faixas: 3, 4)
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan
Nota :
Recorded live December 18, 1959 at the Théâtre des Champs-Elysées, Paris
Reissue of the Fontana LP 832 692 

MICHEL PETRUCCIANI ft. JIM HALL AND WAYNE SHORTER - Power of Three (1987) FLAC (image+.cue), lossless

This is an all-star summit that works quite well. Pianist Michel Petrucciani, a major jazz musician who had already led 11 record dates by this time (despite still being only 23), teams up with guitarist Jim Hall at the 1986 Montreux Jazz Festival for two lyrical duets: the altered blues "Careful," in which they comp exquisitely behind each other's solos, and "In a Sentimental Mood." Petrucciani and Hall are joined by Wayne Shorter on soprano and tenor for "Limbo," "Morning Blues," and the calypso "Bimini," and these songs feature some of Shorter's finest jazz playing of the era.

Tracklist:

1. Limbo (Wayne Shorter) - 7:57

2. Careful (Jim Hall) - 6:49

3. Morning Blues (Michel Petrucciani) - 8:15

4. Waltz New (Jim Hall) - 5:30

5. Beautiful Love (King, Young, Alstyne, Gillespie) - 7:19

6. In A Sentimental Mood (Duke Ellington) - 12:18

7. Bimini (Jim Hall) - 10:05

Personnel

Michel Petrucciani - piano

Jim Hall - guitar

Saxophone – Wayne Shorter

Note

Tracks 4 and 5 do not appear on the LP configuration.

ART BLAKEY AND THE JAZZ MESSENGERS - A Night in Tunisia (1961-2013) RM / BLUE NOTE MASTERWORKS / SHM-CD / FLAC (tracks+.cue), lossless

Art Blakey & the Jazz Messengers hit their artistic peak with the powerful A Night in Tunisia. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt along with their leader, Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging, and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage. Long known for their creative arrangements within the context of small-group jazz, the Messengers push the definition of hard bop and blues to the limit here. Dizzy Gillespie's title track is evidence enough of the creative power of this group: Blakey's steam shovel-like mambo, Morgan and Shorter's wailing solos, and a dramatic ending make for a stunning piece. Shorter's contribution includes the swinging "Sincerely Diana." The soulful Bobby Timmons presents his delightful "So Tired," a bluesy number in the spirit of his classic "Dat Dere." Also included are Lee Morgan's smoky "Yama," the bouncing "Kozo's Waltz," and the classic "When Your Lover Has Gone." by Rovi Staff  
Tracklist:
1 A Night in Tunisia 11:14
Dizzy Gillespie / Frank Paparelli
2 Sincerely Diana 6:48
Wayne Shorter
3 So Tired 6:37
Bobby Timmons
4 Yama 6:23
Lee Morgan
5 Kozo's Waltz 6:46
Lee Morgan
- Bonus Tracks -
6 When Your Lover Has Gone 6:46
Einar A. Swan
7 Sincerely Diana (Alt. Take) 6:58
Wayne Shorter
Credits:

Bass – Jymie Merritt

Drums – Art Blakey
Piano – Bobby Timmons
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan

ART BLAKEY AND THE JAZZ MESSENGERS - Roots & Herbs (1961-2014) RM / BLUE NOTE MASTERWORKS / SHM-CD / FLAC (tracks+.cue), lossless

Originally recorded in 1961, Art Blakey & the Jazz Messengers' Roots & Herbs was first released in 1970. Like many titles in the Blue Note catalog, this fine Blakey outing was initially shelved by Alfred Lion for unknown reasons; thankfully, considering Blakey's large array of available Blue Note albums, this wasn't necessarily a crisis. Having already been a magnet for such talented hard bop players and writers as Hank Mobley, Benny Golson, Clifford Brown, Horace Silver (who helped form the original group), and Kenny Dorham, the Messengers' lineup of 1961 featured one of Blakey's best rosters: In addition to trumpeter Lee Morgan, who would alternate in the early '60s with Freddie Hubbard, the band featured tenor saxophonist Wayne Shorter, pianists Walter Davis, Jr. and Bobby Timmons, and bassist Jymie Merritt. Feeding off six early compositions by Shorter, all the players reel off top-notch solos atop Blakey's fluidly galvanizing swing beat. Highlights include "Ping Pong," "Look at Birdie," and "Master Mind," compositions that, in their fetchingly askew ways, nicely foreshadow the wealth of ideas to come from Shorter's pen throughout the '60s. by Stephen Cook  
Tracklist:

1 Ping Pong 7:06

Wayne Shorter
2 Roots and Herbs 6:05
Wayne Shorter
3 The Back Sliders 7:51
Wayne Shorter
4 United 7:29
Wayne Shorter
5 Look at the Birdie 6:45
Wayne Shorter

6 Master Mind 6:55

Wayne Shorter

- Bonus Tracks - 

7 The Back Sliders 7:12

Wayne Shorter

8 Ping Pong 5:58

Wayne Shorter

9 United 6:48

Wayne Shorter
Credits:
Bass – Jymie Merritt
Drums – Art Blakey
Piano – Bobby Timmons (tracks: 1, 3, 5 to 9), Walter Davis Jr. (tracks: 2, 4)
Recorded By – Rudy Van Gelder
Tenor Saxophone, Composed By [All Compositions] – Wayne Shorter
Trumpet – Lee Morgan

ART BLAKEY AND THE JAZZ MESSENGERS - The Witch Doctor (1961-2014) RM / BLUE NOTE MASTERWORKS / SHM-CD / FLAC (tracks+.cue), lossless

Into the third year of utilizing late-'20s superstars trumpeter Lee Morgan and tenor saxophonist Wayne Shorter on the front line, Art Blakey's Jazz Messengers were showing a progressive compositional stance, mostly due to the emerging creativity of Shorter's sharply off-minor ideas. Pianist Bobby Timmons, a peer of the front liners, is swimming somewhere in the middle of this stylistic lake, exhibiting soulful backstrokes, straight-ahead sprinting, and the angular chordal complexities or sudden changes any potpourri of modernities might offer. Faithful bassist Jymie Merritt, no young pup at the time (seven years Blakey's junior) is solid, unspectacular, and right where this band of stars needed him to be. Writing chores continue to be split evenly between the horn players, but Shorter's pieces are distinct with a difference. "Those Who Sit and Wait" is a classic hard bop line with opposing non-sequitur melody/harmony cross sections, while "Joelle" sports two piano chords from Timmons leading to unusual phrasings, but still in a hard bop stance. Morgan contributes the title track and an alternate take with its typical and reliable hard bop shuffle buoying quirky horn and piano exchanges, and the spectacular "Afrique" with a 6/8 modal, choppy clave Latin beat merging to easy swing from the heavy tenor of Shorter -- the best of three worlds. Timmons contributes "A Little Busy" which is not far removed from the soul-jazz he is known for, a fun and funky groove biscuit where the pianist is truly in his element. "Lost & Found," penned by Clifford Jordan, showcases the straight-ahead signature sound the Jazz Messengers mined for decades -- upbeat, happy and tight. Whether this was or was not the pinnacle for this great band is still up for debate, but it assuredly ranks with Blakey's personal best aside from the popular album Moanin' of the same time frame. by Michael G. Nastos  
Tracklist:
1 The Witch Doctor 5:32
Lee Morgan
2 Afrique 6:58
Duke Ellington / Lee Morgan
3 Those Who Sit and Wait 5:54
Wayne Shorter
4 A Little Busy 6:18
Bobby Timmons
5 Joelle 5:13
Wayne Shorter
6 Lost and Found 5:06
Clifford Jordan
- Bonus Track -
7 The Witch Doctor 5:33
Lee Morgan
Credits:
Bass – Jymie Merritt
Drums – Art Blakey
Piano – Bobby Timmons
Recorded By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan

ART BLAKEY & THE JAZZ MESSENGERS - The Freedom Rider (1961-2015) RM / BLUE NOTE MASTERWORKS / SHM-CD / FLAC (tracks+.cue), lossless

The final recording by this edition of The Jazz Messengers (featuring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, bassist Jymie Merritt and drummer/leader Art Blakey) finds the group consolidating their year-and-a-half of experience into yet another exciting document. Blakey's unaccompanied drum feature on "The Freedom Rider" is full of drama while the rest of the program (two compositions apiece by Morgan and Shorter) makes this last chapter for this particular band quite memorable. by Scott Yanow
Tracklist:
1 Tell It Like It Is 7:53
Wayne Shorter
2 The Freedom Rider 7:25
Art Blakey
3 El Toro 6:20
Wayne Shorter
4 Petty Larceny 6:14
Lee Morgan
5 Blue Lace 5:59
Lee Morgan
6 Uptight 6:12
Lee Morgan
7 Pisces 6:52
Lee Morgan
8 Blue Ching 6:43
Kenny Dorham
Credits:
Bass – Jymie Merritt
Drums – Art Blakey
Piano – Bobby Timmons
Recorded By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan

ART BLAKEY AND THE JAZZ MESSENGERS - Play Selections from the New Musical Golden Boy (1963-2010) RM / EMI Music Japan Inc. 50th Anniversary / FLAC (tracks+.cue), lossless

Originally released in 1964, Golden Boy features drummer Art Blakey and his Jazz Messengers performing songs from the Lee Adams and Charles Strouse Broadway musical for which the album is titled. Based off the play, written by Clifford Odets and William Gibson, Golden Boy was a socially conscious musical about a Harlem prize-fighter trying to escape his working class roots. A somewhat obscure Blakey release, Golden Boy nonetheless features plenty of improvisatory, hard bop firepower. by Matt Collar
Tracklist:
1 Theme From Golden Boy 5:36
2 Yes I Can 5:27
3 Lorna's Here 5:09
4 This Is The Life 5:57
5 There's A Party 5:00
6 I Want To Be With You 4:03
Credits:
Alto Saxophone – James Spaulding
Arranged By – Cedar Walton, Curtis Fuller, Wayne Shorter
Baritone Saxophone – Charlie Davis
Bass – Reggie Workman
Drums – Art Blakey
French Horn – Julius Watkins
Piano – Cedar Walton
Tenor Saxophone – Wayne Shorter
Trombone – Curtis Fuller
Trumpet – Freddie Hubbard, Lee Morgan
Tuba – Bill Barber
Written-By – C. Strouse, L. Adams

LEE MORGAN - The Gigolo (1965-2014) RM / SHM-CD / FLAC (tracks+.cue), lossless

Lee Morgan was the leading trumpeter in hard bop during the 1960s and he recorded quite a few classic albums for Blue Note. This is one of them. The CD reissue (which adds an alternate take of the title cut to the original five-song program) features Morgan at his best, whether playing his memorable blues "Speed Ball," an explorative ballad version of "You Go to My Head," a lengthy "The Gigolo," or his other two originals ("Yes I Can, No You Can't" and "Trapped"). There are no weak selections on this set and the playing by the leader, Wayne Shorter on tenor, pianist Harold Mabern, bassist Bob Cranshaw, and drummer Billy Higgins is beyond any serious criticism. by Scott Yanow
Tracklist:
1 Yes I Can, No You Can't 7:25  
Lee Morgan
2 Trapped 6:00
Lee Morgan
3 Speedball 5:32
Lee Morgan
4 The Gigolo 11:03
Lee Morgan
5 You Go to My Head 10:05
Lee Morgan
6 The Gigolo 7:19
J. Fred Coots
Credits:
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – Harold Mabern, Jr.
Recorded By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan

WEATHER REPORT - Weather Report (1971-2014) RM / Jazz Collection 1000 / FLAC (tracks+.cue), lossless

Here we have the free-floating, abstract beginnings of Weather Report, which would define the state of the electronic jazz/rock art from its first note almost to its last. Their first album is a direct extension of the Miles Davis In a Silent Way/Bitches Brew period, more fluid in sound and more volatile in interplay. Joe Zawinul ruminates in a delicate, liquid manner on Rhodes electric piano; at this early stage, he used a ring modulator to create weird synthesizer-like effects. Wayne Shorter's soprano sax shines like a beacon amidst the swirling ensemble work of co-founding bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. Zawinul's most memorable theme is "Orange Lady" (previously recorded, though uncredited, by Davis on Big Fun), while Shorter scores on "Tears" and "Eurydice." One of the most impressive debuts of all time by a jazz group. by Richard S. Ginell
Tracklist:
1 Milky Way 2:30
Written-By – J. Zawinul, W. Shorter
2 Umbrellas 3:24
Written-By – J. Zawinul, M. Vitous, W. Shorter 
3 Seventh Arrow 5:20
Written-By – M. Vitous
4 Orange Lady 8:40
Written-By – J. Zawinul
5 Morning Lake 4:23
Written-By – M. Vitous
6 Waterfall 6:18
Written-By – J. Zawinul
7 Tears 3:22
Written-By – W. Shorter
8 Eurydice 5:43
Written-By – W. Shorter
Créditos
Bass – Miroslav Vitous
Drums – Alphonze Mouzon
Percussion – Airto Moreira
Piano, Keyboards – Joe Zawinul
Saxophone – Wayne Shorter

WEATHER REPORT - I Sing The Body Electric (1972-2014) Jazz Collection 1000 / FLAC (tracks+.cue), lossless

Like the weather itself, this band would assume a new shape with virtually every release -- and this album, half recorded in the studio and half live in Tokyo, set the pattern of change. Exit Airto Moreira and Alphonse Mouzon; enter percussionist Dom Um Romao, drummer Eric Gravatt, and a slew of cameo guests like guitarist Ralph Towner, flutist Hubert Laws, and others. The studio tracks are more biting, more ethnically diverse in influence, and more laden with electronic effects and grandiose structural complexities than before. The live material (heard in full on the import Live in Tokyo) is even fiercer and showcases for the first time some of the tremendous drive WR was capable of, though it doesn't give you much of an idea of its stream of consciousness nature. by Richard S. Ginell
Tracklist:
1 Unknown Soldier 7:57
Written-By – J. Zawinul
2 The Moors 4:49
Written-By – W. Shorter
3 Crystal 7:23
Written-By – M. Vitous
4 Second Sunday In August 4:04
Written-By – J. Zawinul
Medley: (10:45)
5.1 Vertical Invader
Written-By – J. Zawinul
5.2 T.H.
Written-By – M. Vitous
5.3 Dr. Honoris Causa
Written-By – J. Zawinul
6 Surucucú 7:46
Written-By – W. Shorter
7 Directions 4:37
Written-By – J. Zawinul
Credits:
Bass – Miroslav Vitous
Drums – Eric Gravátt
Flute – Hubert Laws, Jr. (tracks: 1)
Keyboards [Electric, Acoustic] – Joe Zawinul
Percussion – Dom Um Romao (tracks: 2)
Reeds – Wayne Shorter
Trumpet [D Trumpet], Piccolo Trumpet – Wilmer Wise (tracks: 1)
Twelve-String Guitar [12-String Guitar] – Ralph Towner (tracks: 2)
Vocals [Singers] – Chapman Roberts (tracks: 1), Joshie Armstrong (tracks: 1), Yolande Bavan (tracks: 1)

WEATHER REPORT - Live In Tokyo (1972-2007) RM / 2CD / FLAC (tracks+.cue), lossless

While side two of I Sing the Body Electric gives us heavily edited glimpses of Weather Report as heard live in Tokyo, this two-disc Japanese import contains entire group ensembles from that concert -- and as such, it is a revelation. Now we can follow the wild, stream-of-consciousness evolution of early Weather Report workouts, taking the listener into all kinds of stylistic territory -- from Joe Zawinul's lone acoustic piano to dissonant free form and electronic explosions -- with lots of adjustments of tempo and texture. The pulse of jazz is more evident in their work here than on their American albums, and the example of Miles Davis circa the Fillmore concerts directs the fierce interplay. In his subsequent recordings with Weather Report, and as a leader, Wayne Shorter would rarely equal the manic intensity he displayed in Tokyo. All of the music is encapsulated in five lengthy "medleys" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. This would be the radical apogee of Weather Report on records, though they could retain this level of fire in concert for years to come. by Richard S. Ginell 
Tracklist:
1-1 Medley: Vertical Invader - Seventh Arrow - T. H. - Doctor Honoris Causa 26:12
Written-By [Doctor Honoris Causa] – J. Zawinul
Written-By [Seventh Arrow] – M. Vitous
Written-By [T. H.] – M. Vitous
Written-By [Vertical Invader] – J. Zawinul
1-2 Medley: Surucucu - Lost - Early Minor - Direction 19:08
Written-By [Direction] – J. Zawinul 

Written-By [Early Minor] – J. Zawinul
Written-By [Lost] – W. Shorter
Written-By [Surucucu] – W. Shorter
2-1 Orange Lady 18:10
Written-By – J. Zawinul
2-2 Medley: Eurydice - The Moors 13:42
Written-By [Eurydice] – W. Shorter
Written-By [The Moors] – W. Shorter
2-3 Medley: Tears - Umbrellas 10:26
Written-By [Tears] – W. Shorter
Written-By [Umbrellas] – J. Zawinul, W. Shorter
Credits:
Double Bass [Acoustic Bass], Electric Bass – Miroslav Vitous
Drums – Eric Gravatt
Percussion – Dom Um Romao
Piano [Acoustic], Electric Piano – Joe Zawinul
Soprano Saxophone, Tenor Saxophone – Wayne Shorter

WEATHER REPORT - Sweetnighter (1973-2007) RM / FLAC (image+.cue), lossless

Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord. The once fiery Wayne Shorter has been tamed, for he now contributes mostly sustained ethereal tunes on soprano sax, his tone sometimes doubled for a pleasing octave effect. The wane of freewheeling ensemble interplay is more than offset by the big increase in rhythmic push; bassist Miroslav Vitous, drummer Eric Gravatt, and percussionist Dom Um Romao are now cogs in one of jazz's great swinging machines. by Richard S. Ginell
Tracklist:
1    Boogie Woogie Waltz 13:04
Bells, Tambourine, Percussion [Chucalho] – Dom Um Romao
Composed By – J. Zawinul
Drums – Herschel Dwellingham
Drums [Moroccan Clay] – Maruga
Electric Bass – Andrew White, Miroslav Vitous
Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Synthesizer, Electric Piano – Josef Zawinul
2    Manolete 5:56
Acoustic Bass – Miroslav Vitous
Composed By – W. Shorter
Drums – Eric Gravatt, Herschel Dwellingham
Drums [Moroccan Clay], Timpani, Cymbal [Splash] – Maruga
Electric Piano, Piano, Synthesizer – Josef Zawinul
Soprano Saxophone – Wayne Shorter
3    Adios 3:00
Composed By – J. Zawinul
Electric Bass – Miroslav Vitous
Electric Piano – Josef Zawinul
English Horn – Andrew White
Instruments [Roller Toy] – Maruga
Tenor Saxophone – Wayne Shorter
4    125th Street Congress 12:14
Acoustic Bass – Miroslav Vitous
Composed By – J. Zawinul
Drum [Israeli Jar] – Maruga
Drums – Herschel Dwellingham
Drums [Intro] – Eric Gravatt
Electric Bass – Andrew White
Electric Piano – Josef Zawinul
Pandeiro, Cuica, Instruments [Tamanco], Percussion [Chucalho], Gong, Tambourine, Cowbell – Dom Um Romao
Soprano Saxophone – Wayne Shorter
5    Will 6:21
Caxixi [Cachichi], Wood Block, Percussion [Chucalho] – Dom Um Romao
Composed By – M. Vitous
Electric Bass – Miroslav Vitous
Electric Piano – Josef Zawinul
English Horn – Andrew White
Tenor Saxophone – Wayne Shorter
6    Non-Stop Home 3:54
Bass – Andrew White
Composed By – W. Shorter
Drums – Herschel Dwellingham
Percussion, Percussion [Yaibis-stone], Tom Tom [Chinese], Cymbal, Instruments [Castanhola], Gong, Wood Block, Caxixi, Flute [Wood], Tambourine – Dom Um Romao
Soprano Saxophone – Wayne Shorter
Synthesizer, Piano – J. Zawinul