DAVID LIEBMAN | MARC COPLAND — Bookends (2002) 2CD | FLAC (tracks+.cue), lossless

The title of this CD might imply that saxophonist Dave Liebman and pianist Marc Copland signify two jazz musicians who share similar visions and musical aspirations. The adage that like minds think along parallel paths serves as an underlying condition for the artists' third collaboration for the Switzerland-based hatOLOGY record label. This time, the instrumentalists work as a duo, performing a few originals amid modern jazz standards. They wittily reconfigure Herbie Hancock's classic "Maiden Voyage," where the duo unassumingly sneaks the primary theme into the grand scheme of things. With this two-CD set, the musicians glide through a sequence of meticulously enacted improvisations amid a delightful and generally probing rendition of Miles Davis' "Blue in Green," among other familiar works. Nonetheless, the artists' synergy seemingly sparks creativity here. Some of these pieces are marked by freely organized tradeoffs, to coincide with wistful melodies and bluesy dreamscapes. Sure, they turn up the heat on occasion, yet it is all about intuitive responses, delicately enacted frameworks, and memorable melodies, as they tend to collapse the history of modern jazz into a uniformly arranged production that most assuredly emanates from the heart. Strongly recommended. Glenn Astarita   Tracklist :
Credits :
Piano – Marc Copland
Soprano Saxophone, Tenor Saxophone – David Liebman

LEE KONITZ & MARTIAL SOLAL - Star Eyes, Hamburg 1983 (1983-2009) FLAC (tracks+.cue), lossless

Despite the many recordings Lee Konitz has made either as a leader or as a sideman -- they number well over 100 -- there is no date, with possible exceptions of Motion and Lone-Lee, that can touch this live duet setting for breaking new ground. Given his apprenticeship with Lennie Tristano, Konitz is well-known for his melodic improvising and his ability to re-conceptualize a tune. But what happens here, with Martial Solal's dramatic, often theatrical style of piano playing, is the extension of Konitz's own abilities to visualize inherently what is possible within a given framework. What happens on a standard like "Body and Soul" is truly startling: Solal creates a nearly orchestral backdrop of the tune's harmonic and melodic architecture, and Konitz goes looking not for another way to state it, but for something in it to move out onto the ledge of. For Konitz, on this date, the place in a tune's harmonic and melodic framework where it was most recognizable became the point of departure without any knowledge of where he would end up. Solal would carry his lines further out to lunch while remaining within the meter and rhythmic parameters of the original. But given the nearly inconceivable dexterity and musical prowess at work in Solal's playing, even these were altered while retaining their essence. On Ray Noble's "Cherokee," which closes the set, a true anthem of bebop, the pair goes deep into the tune's bluesed-out root and drags from it a skittering skein of multiple harmonies and incandescent intervals where Konitz's melodic sensibilities change the somewhat aggressive nature of the tune and make it swing along a track where its melody is turned inside out; three new skittering skeins of lyrical improvisation are introduced to Solal who structures them vertically and hands them back to Konitz to take even further before returning eventually with a radically altered but nonetheless intact version of the tune, with Solal restating the original melody and harmony to keep it honest. It's quite honestly the finest live recording of Lee Konitz that exists.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Just Friends 7:43
John Klenner / Sam M. Lewis
2     Star Eyes 7:12
Gene DePaul / Don Raye
3     It's You 6:22
Lee Konitz
4     Body and Soul 9:02
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5     Subconscious Lee 7:33
Lee Konitz
6     Fluctuat Nec Mergitur 6:21
Martial Solal
    7     April 7:18
William H. Bauer / Lennie Tristano
8     What's New? 10:21
Johnny Burke / Bob Haggart
9     Cherokee 5:45
Ray Noble
Credits :    
Alto Saxophone – Lee Konitz
Piano – Martial Solal

FRANZ KOGLMANN & LEE KONITZ - We Thought About Duke (1995-2002) FLAC (tracks), lossless

Duke Ellington tributes, much like Cole Porter, George Gershwin, John Coltrane, and Miles Davis tributes, were a dime a dozen in the '80s and '90s. All too often, these Ellington tributes were unimaginative and predictable, sticking to the standards while ignoring the many lesser-known gems that were written by Ellington or his partner Billy Strayhorn. But predictability isn't a problem on We Thought About Duke, a cerebral post-bop date that trumpeter/flugelhornist Franz Koglmann co-led with alto sax master Lee Konitz. This is definitely one of the more daring Ellington tributes that came out of the '90s. Instead of inundating us with standards that we've heard time and time again, Koglmann provides arrangements of such underexposed Ellington pieces as "Love Is in My Heart," "Zweet Zurzday" (which he co-wrote with Strayhorn), and "Lament for Javanette." In fact, one could be a serious Ellington enthusiast and be unfamiliar with these compositions. The best-known song on the CD is "The Mooche," which Ellington unveiled in 1928. Although "The Mooche" can hardly be considered obscure, it hasn't been done to death à la "In a Mellow Tone" or "Cotton Tail." Koglmann's arrangements have strong classical/chamber music leanings, and his admiration for Gil Evans is evident. For those seeking an Ellington tribute that is adventurous rather than conventional, We Thought About Duke is highly recommended. Alex Henderson  
Tracklist :
1    Monoblue Quartet & Lee Konitz–    Lament For Javanette 5:15
Written-By – Duke Ellington
2    Pipe Trio & Lee Konitz–    Ko-Ko 4:14
Written-By – Duke Ellington
3    Monoblue Quartet & Lee Konitz–    Zweet Zursday 8:01
Written-By – Billy Strayhorn, Duke Ellington
4    Pipe Trio–    Thoughts About Duke I 6:30
Written-By – Franz Koglmann
5    Monoblue Quartet & Lee Konitz–    Thoughts About Duke II 4:34
Written-By – Franz Koglmann
6    Monoblue Quartet & Lee Konitz–    Love Is In My Heart 5:29
Written-By – Duke Ellington
7    Pipe Trio & Lee Konitz–    Pyramid 5:52
Written-By – Juan Tizol
8    Pipe Trio & Lee Konitz–    Thoughts About Duke III 4:33
Written-By – Franz Koglmann
9    Monoblue Quartet & Lee Konitz–    The Mooche 5:49
Written-By – Duke Ellington
10    Pipe Trio & Lee Konitz–    Dirge 6:07
Written-By – Billy Strayhorn
Credits :
Alto Saxophone – Lee Konitz (pistas: 1 to 3, 5 to 10)
Bass – Klaus Koch (pistas: 1, 3, 5, 6, 9)
Clarinet, Tenor Saxophone – Tony Coe (pistas: 1, 3, 5, 6, 9)
Guitar – Burkhard Stangl (pistas: 1, 3, 5, 6, 9)
Trombone – Rudolf Ruschel (pistas: 2, 4, 7, 8, 10)
Trumpet, Flugelhorn, Arranged By – Franz Koglmann
Tuba – Raoul Herget (pistas: 2, 4, 7, 8, 10)

LEE KONITZ | DON FRIEDMAN | ATTILA ZOLLER - Thingin' (1995-2000) FLAC (tracks+.cue), lossless

With the superb packaging and quality of sound for which the Swiss hatOLOGY label is noted, and the adventurous, Tristano-tinged blowing for which saxophonist Lee Konitz is known, this set of mostly originals ("Alone Together" being the exception) should satisfy a broad range of listeners. Joined by pianist Don Friedman and guitarist Attila Zoller, the trio dances gently with nuanced patter and exquisite precision, creating minor gems of graceful expansion. The unique instrumentation precisely fits the style of Konitz, bringing back memories of past encounters. Zollar adds a pleasing touch with his dry, lilting approach. If the session does not totally stand out from the wealth of others the saxophonist has led it is only because of the plethora of high quality disks Konitz has produced during his career. In every way, this one is a worthy contribution to his discography, with the characteristic beautiful and mellow tone, laid-back style, and advanced harmonics. Steve Loewy
Tracklist :
1     Thingin' 11:54
Lee Konitz
2     Joy for Joy 12:07
Attila Zoller
3     Opus d'Amour 8:52
Don Friedman
4     Cloisterbells 3:38
Attila Zoller
5     Images 4:22
Don Friedman
6     Alone Together 10:24
Howard Dietz / Arthur Schwartz
7     Suite for 3 13:49
Don Friedman
Credits :
Alto Saxophone – Lee Konitz
Guitar – Attila Zoller
Piano – Don Friedman

ANTHONY BRAXTON - Performance (Quartet) 1979 (2007) FLAC (tracks), lossless

This two-Lp set has a continuous 71-minute performance by Anthony Braxton's 1979 quartet, a unit that features the leader on alto, clarinets and contrabass clarinet along with the masterful (and sometimes hilarious) trombonist Ray Anderson, bassist John Lindberg and percussionist Thurman Barker. The group interprets seven of Braxton's compositions (which he outlines in extensive and generally readable liner notes) including a closing and somewhat humorous march. Since the Braxton-Anderson musical partnership did not last all that long and resulted in some real fireworks, this twofer is one that Braxton's fans will want to search for. Scott Yanow
Tracklist :
1    Part I    36:48
2    Part II    34:26
Credits :
Alto Saxophone, Soprano Saxophone, Saxophone [B & E], Clarinet, Bass Clarinet – Anthony Braxton
Double Bass – John Lindberg
Percussion, Xylophone, Gong – Thurman Barker
Trombone, Trombone [Alto], Instruments [Little] – Ray Anderson

ANTHONY BRAXTON - Quartet (Dortmund) 1976 (2001) FLAC (tracks+.cue), lossless

Braxton has produced many excellent recordings through the years, but only a small number stand out from the pack the way this one does. This version of his pianoless quartet is captured live in an inspired, energized performance at the first Dortmund Jazz Festival in Germany. Trombonist George Lewis had only recently joined the group, replacing the more introspective trumpeter Kenny Wheeler. Braxton's compositions are uniformly brilliant, incorporating marching band themes, lightening-fast hard bop-influenced runs, and strings of non-syncopated eighth notes, all of which contribute to a sense of wonder and excitement. Also, Braxton is in marvelous form on his varied horns, springing forth an arsenal of seemingly endless ideas. His lengthy solo on "Composition 40 F" is among his best on disc, garnering a well-deserved enthusiastic reaction from the audience. By bringing Lewis into the group, Braxton helped to nurture one of the most astonishing and technically virtuosic trombonists in all of jazz. The young Lewis is hardly intimidated by the celebrity quality of the group, and from the outset, he engages in mouth-watering displays that match the saxophonist note for note. Whether playing open or muted, Lewis was one of the most effective interpreters of Braxton's complex compositions. There are fine contributions, too, from drummer Barry Altschul and especially bassist Dave Holland, but the intricate compositions themselves and the incredible soloing of the horns are what mark this one for the big leagues. Graham Lock's knowledgeable, erudite liners are a big plus in helping to understand this difficult but highly rewarding music. Steve Loewy  
Tracklist :
1    Composition 40 F / Composition 23 J    26:10
2    Composition 40 (O)    6:40
3    Composition 6 C    9:48
4    Composition 40 B    13:58
Credits :
Alto Saxophone, Contrabass Saxophone, Sopranino Saxophone, Clarinet, Clarinet [Eb], Contrabass Clarinet, Composed By – Anthony Braxton
Bass – Dave Holland
Drums, Percussion – Barry Altschul
Trombone – George Lewis

MAX ROACH | ANTHONY BRAXTON - One in Two, Two in One (1980-2004) RM | FLAC (tracks+.cue), lossless

The second of two duet albums by drummer Max Roach and multi-reedist Anthony Braxton was recorded live and released on this two-LP set; this is the more interesting of the two projects since it is a nearly 78-minute continual improvisation. Braxton gets to stretch out on alto, soprano, sopranino, contra bass clarinet (which really gets a monstrous sound), clarinet, and flute. With Roach pushing Braxton, the results are quite adventurous, yet full of joy. Followers of avant-garde jazz can consider this set to be essential. Scott Yanow
Tracklist :
1    One In Two - Two In One Part I 35:29
Composed By – Anthony Braxton, Max Roach
2    One In Two - Two In One Part II 39:29
Composed By – Anthony Braxton, Max Roach
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Clarinet, Contrabass Clarinet, Flute, Composed By – Anthony Braxton
Percussion, Gong [Gongs], Cymbal [Tuned Cymbals], Composed By – Max Roach

ANTHONY BRAXTON — Creative Orchestra (Köln) 1978 (2CD 2009) + Creative Orchestra (Guelph) 2007 (2008) Serie Line – LINE 30 | FLAC (tracks+.cue), lossless

This expansive two-LP set captures an entire, nearly two-hour live set by Anthony Braxton's Creative Orchestra recorded in Koln, Germany, in 1978. Braxton, like most members of the AACM (Association for the Advancement of Creative Musicians, a loose Chicago-based collective that also included the Art Ensemble of Chicago and others), normally performed in small groups, from duos to quartets. Braxton's Creative Orchestra -- in which the saxophonist does not play, but merely conducts his own compositions -- is a 20-member exception to this rule. Many of Braxton's compositions explore near-silence in ways similar to John Cage, but this group is nothing if not loud.

Thanks to Braxton's skill as a composer, the results never devolve into mere cacophony, even in those passages where all 20 members -- including an accordionist and a synthesizer player -- are playing at once, as in the opening "Language Improvisations." This is a powerful document of a little-appreciated side of Anthony Braxton's work. Rovi Staff  
Tracklist :
1-1    Language Improvisations    14:34
1-2    Composition 55    12:27
1-3    Composition 45    25:21
2-1    Composition 59    21:45
2-2    Composition 51    17:19
2-3    Composition 58    12:56
Credits :
Accordion – Birgit Taubhorn
Bass – Brian Smith, John Lindberg
Conductor, Composed By – Anthony Braxton
Electric Guitar – James Emery
Percussion, Marimba – Thurman Barker
Piano – Marilyn Crispell
Saxophone [Saxophones], Clarinet [Clarinets], Flute [Flutes], Piccolo Flute [Piccolo], Nadaswaram [Nagaswaram], Ocarina – Dwight Andrews, J.D.Parran, Marty Ehrlich, Ned Rothenberg, Vinny Golia
Synthesizer – Robert Ostertag
Trombone, Tuba – George Lewis, James King Roosa, Ray Anderson
Trumpet, Flugelhorn – Kenny Wheeler, Michael Mossman, Rob Howard, Leo Smith
Vibraphone – Bobby Naughton

Tracklist :
1    Language Improvision    5:02
2    Composition 306    7:04
3    Language Improvision    15:09
4    Composition 307 / Language Improvisation    25:36
5    Composition 91    9:00
Credits :
Alto Saxophone – Evan Shaw
Bass – Rob Clutton, Victor Bateman
Cello – Tilman Lewis
Clarinet [Eb Clarinet], Bass Clarinet – Ronda Rindone
Conductor, Soprano Saxophone, Composed By – Anthony Braxton
Drums – Joe Sorbara, Nick Fraser
Flute – Rob Piilonen
Guitar – Ken Aldcroft
Guitar, Harmonica – Justin Haynes
Piano – Tania Gill
Soprano Saxophone – Kyle Brenders
Tenor Saxophone – Colin Fisher
Trombone – Scott Thomson
Trumpet – Nicole Rampersaud
Violin – Parmela Attariwala
Voice – Christine Duncan
Xylophone – Brandon Valdivia

RAN BLAKE & ANTHONY BRAXTON - A Memory Of Vienna (1997) FLAC (tracks+.cue), lossless

This program of jazz standards and classics was the product of a two-and-a-half-hour completely unplanned session that happened as a result of Franz Koglmann's Pipetet finishing an album project a few hours early. Blake and Braxton had not played together for ten years -- since Blake's Rapport album in 1978. Art Lange, the session's producer, got the pair to find a number of tunes they wanted to play in common, noted the keys each tune was to be played in, and let them go. The result: eight gloriously recorded, wonderfully executed, and soulfully played duets that cover all kinds of territory, from a gorgeously reverential and understated version of Thelonious Monk's "'Round Midnight" to a stunning agile "Yardbird Suite," to Dizzy Gillespie's "You Got to My Head," played with just enough smoke to keep from igniting a full-fledged emotional fire. The themes are stated so seductively on the alto and Blake's large, whispering, chorded harmony, you could forget Braxton is the horn player and feel if you were in a movie theater in the 1930s. But if this isn't enough, you also get Mal Waldron's sultry "Soul Eyes" and Miles Davis' "Four," played by Braxton with all the dexterity Sonny Rollins did originally. This pair, despite the quirky nature of Blake's off-kilter harmonizing (which is very lyrical), know how to swing together, taking great care not to get in the way of the tunes they're playing. This is as understated and "mellow" as you will ever hear these two players. However, it also may be the first time you hear what sensitive listeners and interpretive masters they can be with the jazz canon.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     'Round Midnight 11:06
Bernie Hanighen / Thelonious Monk / Cootie Williams
2     Yardbird Suite 5:37
Charlie Parker
3     You Go To My Head 7:57
J. Fred Coots / Haven Gillespie
4     Just Friends 6:24
John Klenner / Klenner / Sam M. Lewis
5     Alone Together 4:58
Howard Dietz / Arthur Schwartz
6     Four 4:52
Miles Davis
7     Soul Eyes 7:33
Mal Waldron
8     I'm Getting Sentimental Over You 7:06
George Bassman / Ned Washington
Credits :
Alto Saxophone – Anthony Braxton
Piano – Ran Blake

ANTHONY BRAXTON - Seven Compositions (Trio) 1989 (1989-2009) FLAC (tracks+.cue), lossless

The great avant-garde reed player Anthony Braxton (who on this set switches between alto, C-melody sax, clarinet, flute, soprano and sopranino), bassist Adelhard Roidinger and drummer Tony Oxley play five of Braxton's complex originals, Oxley's "The Angular Apron" and the standard "All the Things You Are." As usual Braxton's improvising is quite advanced and original but is colorful and fiery enough to always hold on to open-eared listener's attention. This is one of literally dozens of stimulating Anthony Braxton sessions currently available. Scott Yanow
Tracklist :
1    Composition 40D / Composition 40G (+63)    19:36
All The Things You Are / The Angular Apron / Composition 6A    
2a    All The Things You Are 10:40
Written-By – Jerome Kern & Oscar Hammerstein
2b    The Angular Apron 8:20
Composed By – Tony Oxley
2c    Composition 6A    7:35
3    Composition 40J / Composition 110A (+108B+69J)    12:06
Credits :
Alto Saxophone, Soprano Saxophone, Sopranino Saxophone, Saxophone [C-melody], Clarinet, Flute,
Composed By – Anthony Braxton
Double Bass – Adelhard Roidinger
Drums – Tony Oxley

ANTHONY BRAXTON - Performance (Quartet) 1979 (2007) FLAC (tracks), lossless

Tracklist :
1    Part I 36:47
2    Part II 34:26
Credits :
Alto Saxophone, Soprano Saxophone [B♭ And E♭], Clarinet, Contrabass Clarinet, Arranged By – Anthony Braxton
Bass – John Lindberg
Percussion, Xylophone, Gong [Gongs] – Thurman Barker
Trombone, Trombone [Alto], Instruments [Little] – Ray Anderson

ANTHONY BRAXTON - Anthony Braxton's Charlie Parker Project (1995) 2CD | FLAC (tracks+.cue), lossless

On this double CD the innovative altoist Anthony Braxton (who also plays a bit of his sopranino and the remarkable contrabass clarinet) interprets 13 bebop songs (two taken twice), 11 of which were composed by Charlie Parker. However, do not mistake these performances (which are comprised of both a studio session and a club set) with the type of music often played by the Young Lions. In fact, those listeners who consider themselves bop purists are advised to look elsewhere. Performing with an adventurous sextet that also includes Ari Brown on tenor and soprano, trumpeter Paul Smoker, pianist Misha Mengelberg (the most consistently impressive of the supporting cast), bassist Joe Fonda, and either Han Bennink or Pheeroan AkLaff on drums, Braxton uses the melodies and some of the original structures of such tunes as "Hot House," "Night in Tunisia," "Bebop," and "Ko Ko" as the basis for colorful and often-stunning improvisations. He does not feel restricted to the old boundaries of the 1940s and '50s, preferring to pay tribute to the spirit and chance-taking of Charlie Parker rather than to merely recreate the past. The passionate and unpredictable results are quite stimulating and full of surprises, fresh ideas and wit. It's highly recommen Scott Yanow  
Tracklist :
1-1    Hot House 15:06
Composed By – Tadd Dameron
1-2    A Night In Tunisia 9:03
Composed By – Dizzy Gillespie
1-3    Dewey Square    12:28
1-4    Klactoveesedstene    8:46
1-5    An Oscar For Treadwell    19:38
2-1    Bebop 8:22
Composed By – Dizzy Gillespie
2-2    Bongo Bop    6:45
2-3    Yardbird Suite    8:14
2-4    A Night In Tunisia 8:28
Composed By – Dizzy Gillespie
2-5    Passport    6:30
2-6    Klactoveesedstene    7:07
2-7    Scrapple From The Apple    5:15
2-8    Mohawk    2:45
2-9    Slippin' At Bells    4:08
2-10    Koko    7:36
Credits :
Alto Saxophone, Sopranino Saxophone, Contrabass Clarinet – Anthony Braxton
Composed By – Charlie Parker
Double Bass – Joe Fonda
Drums – Han Bennink (pistas: 1-1 to 1-5), Pheeroan AkLaff (pistas: 2-1 to 2-10)
Piano – Misha Mengelberg
Tenor Saxophone, Soprano Saxophone – Ari Brown
Trumpet, Flugelhorn – Paul Smoker

ANTHONY BRAXTON — Quintet (Basel) 1977 (2001) APE (image+.cue), lossless

Not released until more than two decades after it was recorded, this collection from a live concert in the late 1970s documents one of Anthony Braxton's most important small groups. Trombonist George Lewis had earlier proved himself to be one of the saxophonist's most exciting partners, and he continues here to overwhelm with his enormous technique coupled with a somewhat uncharacteristic emotional adventurousness. The group was recorded during a period in which Braxton's compositions were still partially rooted in a hard bop aesthetic, though his use of the medium was entirely original and incorporated postmodern concepts. It is a real treat for the two horns to be joined on piano by Muhal Richard Abrams, a seminal player in the history of free jazz and an important early influence on Braxton and Lewis. The pianist regales in the opportunity to spread out with sophisticated, occasionally dense constructs. Another unusual group member, drummer Charles "Bobo" Shaw, energizes the quintet with an aggressive style derived from his days with the St. Louis-based Human Arts Ensemble. All-star bassist Mark Helias rounds out the rhythm section. This super quintet meets expectations, and the historically important set should achieve some sort of critical, if not cult, status. Steve Loewy  
Tracklist :
1    Composition 69 J    16:25
2    Composition 69 N/G    26:02
3    Composition 69 M    12:52
4    Composition 40 B    18:16
Credits :
Alto Saxophone, Sopranino Saxophone, Clarinet, Composed By – Anthony Braxton
Double Bass – Mark Helias
Drums – Charles "Bobo" Shaw
Piano – Muhal Richard Abrams
Trombone – George Lewis

ANTHONY BRAXTON (+ DUKE ELLINGTON) — Concept Of Freedom (2005) APE (image+.cue), lossless

Recorded at the Institut fur Elektronische Musik und Akustik in Graz, Austria during the first week of August 2003, Anthony Braxton's (+ Duke Ellington) Concept of Freedom is a dazzling exercise in collective creativity. Braxton does not perform on this recording. Neither does Ellington, for that matter. Both men and their substantial accomplishments are honored and invoked by a quartet of skilled improvisers. These are trombonist Roland Dahinden, pianist Hildegard Kleeb, violinist Dimitris Polisoidis, and electronics artist Robert Holdrich. Kleeb, like her life partner Dahinden, has worked with Braxton's music in other contexts, most importantly perhaps her four-CD set devoted to 20 years' worth of his notated piano music which was released on the hatNOW series in 1996. The Braxtonian ingredients for the Concept of Freedom album combine his Ghost Trance Music Composition No. 257 with elements from Compositions 30, 31, 46, 69, 90 and 136. The Ellingtonian aspects were inspired by three different segments of "Freedom" from Duke's Second Concert of Sacred Music, which was presented in 1968 and posthumously released by Fantasy Records as a gatefold double LP. The bracing combination of minds and influences, patterns and evocations on this recording resulted in music of exceptionally inventive complexity and multi-dimensionality, as the full measure of perpetually evolving tradition was taken and expanded into precisely the kind of ritual function that Braxton has extolled and celebrated during virtually every day of his adult life. Finally, let's not overlook the other piece from Ellington's Second Sacred Concert that inspired an impassioned and creative instrumental: "Something ‘Bout Believing," done up joyously by Rahsaan Roland Kirk on his 1972 Atlantic album A Meeting of the Times. arwulf arwulf  
Tracklist :
1     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 9:58
Anthony Braxton / Duke Ellington
2     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 8:14
Anthony Braxton / Duke Ellington
3     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 8:27
Anthony Braxton / Duke Ellington
4     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ...
Anthony Braxton / Duke Ellington
5     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 4:10
Anthony Braxton / Duke Ellington
6     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 10:49
Anthony Braxton / Duke Ellington
7     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 11:04
Anthony Braxton / Duke Ellington
Credits :
Electronics – Robert Höldrich
Piano – Hildegard Kleeb
Trombone – Roland Dahinden
Violin – Dimitris Polisoidis

ALBERT AYLER – Stockholm, Berlin 1966 (2011) FLAC (tracks+.cue), lossless

Stockholm, November 10, 1966
1    Truth Is Marching In    9:15
Composed By Albert Ayler
2    Omega (Is The Alpha)    10:36
Composed By Albert Ayler
3    Our Prayer - Bells 7:51
Composed By [Our Prayer] – Donald Ayler
4    Infinite Spirit - Japan 3:53
Composed By [Japan] – Pharoah Sanders
Berlin, November 3, 1966    
5    Truth Is Marching In    7:25
Composed By Albert Ayler
6    Omega (Is The Alpha)    3:36
Composed By Albert Ayler
7    Our Prayer - Truth Is Marching In 5:06
Composed By [Our Prayer] – Donald Ayler
8    Ghosts - Bells    11:29
Composed By Albert Ayler
Credits :
Double Bass – William Folwell
Drums – Beaver Harris
Tenor Saxophone – Albert Ayler
Trumpet – Donald Ayler
Violin – Michel Samson

ALBERT AYLER - Lörrach, Paris 1966 (1966-2002) FLAC (tracks+.cue), lossless

The two concerts presented on this disc represent two of the finest dates of Albert Ayler's European tour of 1966. The band -- with brother, Don, on trumpet, violinist Michael Sampson, drummer Beaver Harris, and bassist William Folwell -- was in fantastic shape and performed beyond expectation on both evenings. What is most noticeable about these dates and how they fill in a part of the Ayler mystique as a performer was to hear how immediately he would dictate a marching rhythm, theme, or folk song melody, or even perhaps a child ballad. It was important to acknowledge, right from the beginning in these tunes for a European audience, where this music came from and what continuum he was part of. The opener is "Bells," and for the longest time a Sousa marching rhythm precedes an eight-note melody. Like Ornette Coleman, he uses Sampson's violin and Donald's trumpet to move that melody through the modulation of the rhythm section before taking off into something else, someplace where the saxophone can become a real and true extension of the human voice. The squealing and honking and wailing all become part of a choir of voices forgotten by history, yet inextricably tied to it as ciphers and ghosts. The theme of "Bells" and those of "Our Prayer," "Ghost," "Holy Ghost," and "Spirits" all come from the entryway of emotional clarity and parade churchlike through the band, transferring themselves out onto an audience that must have been staring in disbelief. The shock is how well Ayler moves through his harmonic inventions and involves the band without regard for their involvement. He knows they are there; that's enough, and so he speaks freely. His timbral modulations carry emotions directly from the heart through the horn onto the band, who fills them and sends them out, whether tenderly or terrifyingly, onto those in the seats. This is an amazing document, like the Hilversum sessions but better, because the sound is respectable here and matches the grandeur and shocking emotional immediacy of the performances.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Bells 13'30
Albert Ayler
2     Prophet 7'00
Albert Ayler
3     Our Prayer/Spirits Rejoice 6'25
Albert Ayler / Donald Ayler
4     Ghosts 3'26
Albert Ayler
5     Truth Is Marching In 11'24
Albert Ayler
6     Ghosts 7'43
Albert Ayler
7     Spiritual Rebirth/Light in Darkness/Infinite Spirit 11'05
Albert Ayler
8     All/Our Prayer/Holy Family 4'45
Albert Ayler / Donald Ayler
Credits :    
Bass – William Folwell
Drums – Beaver Harris
Tenor Saxophone – Albert Ayler
Trumpet – Don Ayler
Violin – Michel Sampson

ARCHIE SHEPP - I Know About The Life (1981-2003) RM | FLAC (tracks+.cue), lossless

Recorded in 1981 in a quartet setting featuring the great drummer John Betsch, bassist Santi Debriano, and pianist Ken Werner, I Know About the Life doesn't so much explore these standards as re-contextualize them in the canon. Opening with Thelonious Monk's "Well You Needn't," Shepp does to Monk's tune what Monk did regularly with pop tunes: he smears the melody all around a different harmonic context, adds a boatload of blues feel and a smattering of soul. His double times with Betsch in the middle of the cut are stunning and humorous, and in spite of his solo honks and squeals, he never loses sight of Monk's tune. On his own "I Know About the Life," one can hear Lockjaw Davis, Ben Webster, and John Coltrane in his playing as Shepp builds on the deep soul and blues roots of his 1970s records like Cry of My People. The other two cuts here, a steaming muscular and frenetic read of Coltrane's "Giant Steps," and a nearly heartbreaking version of "'Round Midnight," reveal that the tradition for Shepp was not as it was for the coming reign of neo-trad revisionists who would re-imagine it in their own images: for Shepp here, as on many of his 1980s recordings (check "I Feel Like Going Home" with Horace Parlan), the tradition was an open-ended conversation to be annotated in the ballroom and on the back porch anytime one wished to step into it. Shepp's perception of the language of Ellington was -- and remains -- no less profound than Ellington's understanding of the language of Mingus, or Mingus' of Eric Dolphy's. The whispering sweetness tinged with crackling blues feel in "'Round Midnight" is one of the most important reads of this tune because it gives back to Monk what so many generic players tried to take away: the blood that lies at the heart of the ballad. Hearing Shepp in this light makes any serious jazz fan completely reconsider his contribution after the 1970s.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Well You Needn't 8:50
Written-By – Thelonious Monk
2    I Know About The Life 13:51
Written-By – Archie Shepp
3    Giant Steps 8:08
Written-By – John Coltrane
4    Round Midnight 12:11
Written-By – Thelonious Monk
Credits :
Double Bass – Santie Debriano
Drums – John Betsch
Piano – Ken Werner
Tenor Saxophone – Archie Shepp

CECIL TAYLOR UNIT - One Too Many Salty Swift and Not Goodbye (1978-2004) 2CD / FLAC (tracks+.cue), lossless

With one of his greatest groups in a powerful performance, this was the Unit at its peak. by Michael G. Nastos
Tracklist 1 :
1    Jimmy Lyons, Raphé Malik–    Duet    3:49
2    Ramsey Ameen, Sirone–    Duet    11:24
3    Ronald Shannon Jackson–    Solo    5:35
4    Cecil Taylor Unit–    Untitled    24:16
5    Cecil Taylor Unit–    Untitled    27:27
Tracklist 2 :
1    Cecil Taylor Unit–    Untitled    29:01
2    Cecil Taylor Unit–    Untitled    17:57
3    Cecil Taylor Unit–    Untitled    28:33
Credits :
Alto Saxophone – Jimmy Lyons
Double Bass – Sirone
Drums – Ronald Shannon Jackson
Piano, Composed By – Cecil Taylor
Trumpet – Raphé Malik
Violin – Ramsey Ameen

PAUL BLEY | FRANZ KOGLMANN | GARY PEACOCK — Annette (1992-2001) FLAC (image+.cue), lossless

This trio date is dedicated to the music of Annette Peacock, former wife of both pianist Paul Bley and bassist Gary Peacock. While Bley is the undisputed leader on this date (as he has recorded many of these pieces before), it is flügelhorn and trumpet player Franz Koglmann who arranged them in such an exquisite manner. The majority of the pieces included here were originally composed as songs. They were vehicles for expressing the interior, haunted world that Ms. Peacock inhabits and featured her lilting, edgy voice, which slips and slithers through her deceptively simple melodies before erupting into a shriek of ecstasy or pain. Her music is the undercarriage -- the skeletal structure-- for her poetry to hang itself on. This trio treats these 12 compositions in much the same way. The music is so sparse, so lacking in adornment, that at times, tension replaces the subtle dynamic shifts in Ms. Peacock's compositions. The harmonic construction employed by Bley on this recording is used nowhere else in his vast oeuvre. The set begins with a solo piano rendering of "Touching." An open minor chord (strung with spare notes for accent) gives way to more modal chords, creating a sonic architecture that doesn't reach, but burrows deeply into itself. (It's also interesting to note that the record ends with the same tune, but played with Peacock's bass as a foundation for the terse improvisation.) Next is Koglmann's opportunity to reveal his ability for understatement with "El Cordobes." The trumpet comes off playing a tango line joined note for note by Bley, stating a theme evoking distance and melancholy before melding fully into Ms. Peacock's sad song. Koglmann also briefly quotes several selections from Miles Davis' Sketches of Spain before allowing Peacock's bass to lead him back toward the original melody. Bley shades each of the trumpet lines almost imperceptibly as Peacock takes the trio down the labyrinth of this song's subtle complexity. Bley enters fully about midway through, changing tempo and mode to carry the improvisation off into yet another songlike structure before the trio fades into silence. "Kid Dynamite" is an example of Ms. Peacock's humor and interest in cultural Americana. The opening theme stated by Bley comes straight out of Copland filtered through Fats Waller. The blues are jubilant here, spiked and adorned with all manner of swing and flourish. Each chorus pushes the threshold a bit until "Kid Dynamite" concludes with a collage of smattered notes and chords from the entire trio. But perhaps "Albert's Love Theme" best defines the lyrical and emotional concerns that Ms. Peacock's songs deal with. Here, Koglmann's lonely flügelhorn introduces a lyric phrase so fraught with melancholy and tenderness that it nearly disintegrates as Peacock's bass enters the tune. Breadth, range, and harmony are all contained in these simple lines. The tension held between both Koglmann and Peacock is nearly unbearable before the track whispers to a close, completely unresolved. As the record closes with the second take of "Touching" (this time with just Koglmann and Peacock), the listener has encountered a world of musical sound so completely focused within that, for a few moments, it is difficult to hear or see anything outside of its muted colors and textures. There isn't anything else to play after Annette that wouldn't seem superfluous or bombastic. With this album, the trio of Bley, Peacock, and Koglmann has created more than just a tribute to a great artist -- it has offered a look deep inside the musical psyche of a true original.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-

 Tracklist :
1 Touching 5:52
Annette Peacock
2 El Cordobes 8:30
Annette Peacock
3 Cartoon 6:26
Annette Peacock
4 Albert's Love Theme 3:46
Annette Peacock
5 Kid Dynamite 4:26
Annette Peacock
6 Miracles 6:47
Annette Peacock
7 Blood 5:03
Annette Peacock
8 Annette 6:26
Paul Bley / Franz Koglmann / Gary Peacock
9 Both 4:26
Annette Peacock
10 Blood 2:46
Annette Peacock
11 Mister Joy 8:37
Paul Bley / Annette Peacock
12 Touching 1:45
Annette Peacock
Credits:
Double Bass – Gary Peacock
Piano – Paul Bley
Trumpet, Flugelhorn – Franz Koglmann