LENNY WHITE — Big City (1977-2006) FLAC (tracks+.cue), lossless

On his second solo album, Big City, Return to Forever drummer Lenny White leads an all-star cast on a jaunt through the diverse worlds of jazz fusion. The title track is a groove-oriented monster that unites the Brian Auger Oblivion Express with the Tower of Power horn section. While "Sweet Dreamer" is a soft ballad that features the singing of Linda Tillery, and "Rapid Transit" is a study in funk built around the bass playing of Verdine White, both songs benefit from the presence of Herbie Hancock on electric piano. Not to be forgotten, Lenny White shows off his penchant for sharp and accelerated drum cadences on interludes titled "Egypt" and "Ritmo Loco." Yet his leanings towards rock are taken a bit too far with Ray Gomez and Neal Schon trading epic guitar solos on "Dreams Come and Go Away" as well as "And We Meet Again." Fortunately the gap between sonic freak-outs is bridged by the exceptional "Enchanted Pool Suite," which features Miroslav Vitous on acoustic bass, Jerry Goodman on violin, and Jan Hammer on Minimoog. Robert Gabriel
Tracklist  :
1. Big City 5:22
Arranged By – Lenny White
Arranged By [Horns] – Lenny White, Weldon Irvine
Baritone Saxophone – Steve Kupka
Bass – Clive Chaman
Congas – Lennox Langton
Drums, Synthesizer [Eµ Synthesizer, Micro-minimoog], Other [Wallet] – Lenny White
Guitar – Alex Ligertwood
Lead Guitar, Soloist – Jack Mills
Organ, Electric Piano – Brian Auger
Tenor Saxophone – Emilio Castillo
Tenor Saxophone, Lyricon, Soloist [Lyricon solo] – Lenny Pickett
Trumpet – Greg Adams
Trumpet, Trombone – Mic Gillette
Written-By – Alex Ligertwood, Jack Mills, Lenny White
2. Sweet Dreamer 4:39
Arranged By – Lenny White
Bass – Paul Jackson (2)
Electric Piano [Yamaha Grand] – Herbie Hancock
Guitar [Guitars] – Ray Gomez
Lyrics By – Weldon Irvine
Music By – Lenny White
Synthesizer [Eµ Synthesizer] – Pat Gleeson
Synthesizer [Oberheim Polyphonic, Arp String Ensemble] – Lenny White
Vocals – Linda Tillery
3. Egypt 1:01
Written-By, Arranged By – Lenny White
Drums, Piano [Acoustic] – Lenny White
Bass [Weird Bass] – Marcus Miller
4. Nocturne 1:18
 Written-By – Lenny White, Don Blackman
Arranged By – Lenny White
Orchestrated By – Michael Gibbs
5. Rapid Transit 3:58
Arranged By – Lenny White, Ray Gomez
Bass [Very Funky Bass] – Verdine White
Electric Piano, Electric Piano [Yamaha Grand] – Herbie Hancock
Guitar – Ray Gomez
Synthesizer [Arp String Ensemble] – Pat Gleeson
Synthesizer [Oberheim Polyphonic] – Lenny White
Written-By – Ray Gomez
6. Ritmo Loco 1:18
Drums, Congas, Timbales, Tom Tom [Roto Toms], Electronic Drums [Moog Drum], Other [Cheese Enchiladas] – Lenny White
Written-By – Lenny White
7. Dreams Come And Go Away 3:33
Arranged By – Lenny White, Michael Gibbs
Bass – Alex Blake (2)
Drums – Lenny White
Electric Guitar, Soloist [1st Solo], Acoustic Guitar – Ray Gomez
Electric Guitar, Soloist [2nd Solo] – Neal Schon
Piano [Acoustic Piano] – Onaje Allan Gumbs
Written-By – Alex Blake
8. Enchanted Pool Suite(Part I-II) 9:28
Orchestrated By – Michael Gibbs
Written-By, Arranged By – Lenny White
9. And We Meet Again 7:06
Bass – Alex Blake
Drums, Voice [Announcement] – Lenny White
Guitar [Left] – Neal Schon
Guitar [Right] – Ray Gomez
Organ, Electric Piano, Piano [Acoustic Piano] – Brian Auger
Sopranino Saxophone – Bennie Maupin
Written-By, Arranged By – Lenny White

DON CHERRY · DEWEY REDMAN · CHARLIE HADEN · ED BLACKWELL — Old And New Dreams : Playing (1981) FLAC (tracks+.cue), lossless

This Austrian concert CD features the four notable Ornette Coleman alumni (trumpeter Don Cherry, tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Ed Blackwell) stretching out on three of Ornette's tunes, plus a song apiece from Cherry, Redman and Haden. Although Cherry's chops were not quite in peak form anymore, Redman is consistently stirring. Recommended, as are Old and New Dreams' other three releases. Scott Yanow
Tracklist :
1 Happy House 11:20
Written-By – Ornette Coleman
2 Mopti 7:40
Written-By – Don Cherry
3 New Dream 9:20
Written-By – Ornette Coleman
4 Rushour 7:04
Written-By – Dewey Redman
5 Broken Shadows 9:47
Written-By – Ornette Coleman
6 Playing 9:51
Written-By – Charlie Haden
Credits :
 Double Bass – Charlie Haden
Drums – Ed Blackwell
 Tenor Saxophone, Suona [Musette] – Dewey Redman
Trumpet, Piano – Don Cherry

SANDY STEWART — My Coloring Book (1962-2004) Mono | Serie 寺島靖国コレクション | FLAC (tracks), lossless

Sandy Stewart first sang "My Coloring Book" on the Kraft Music Hall television program on October 31, 1962. It was an instant hit -- Stewart's only hit over her long career -- and became the impetus for this LP. Although Stewart owns a very pretty voice and uses it to good effect, there's nothing about it, or Stewart's approach to the songs on this album, distinguishing her from the many other pop female singers of that or any other day. On this disc, she sounds a lot like Dinah Shore. Moreover, the heavy string orchestrations contrived by Don Costa and O. B. Massingill tend to make the music murky. In fact, Stewart is sometimes overwhelmed by the arrangements and sweet-voiced choral backing that show up on some of these tracks. Stewart was much better served in a small group setting, especially when backed by occasional playing partner Dick Hyman. She first appeared on record with Hyman in 1958 and then again in 1985. Stewart also worked with Hyman on NBC radio at the tender age of 16. While Stewart didn't make much of a mark as a vocalist, she produced a son who was to become a foremost jazz pianist, Bill Charlap. Dave Nathan  
Tracklist :
1.   My Coloring Book  3:25
 Fred Ebb / John Kander
2.   Little Girl Blue  4:24
 Lorenz Hart / Richard Rodgers
3.   Greensleeves  4:22
 Don Costa
4.   Tangerine  2:55
 Johnny Mercer / Victor Schertzinger
5.   Where The Blue Of The Night Meets The Gold Of The Day  2:38
 Fred E. Ahlert / Bing Crosby / Roy Turk
6.   Over The Rainbow  3:15
 Harold Arlen / E.Y. "Yip" Harburg
7.   Deep Purple  3:15
 Peter DeRose / Mitchell Parish
8.   Scarlet Ribbons  3:22
 Evelyn Danzig / Jack Segal
9.   Little White Lies  2:40
 Walter Donaldson
10.   Beautiful Brown Eyes  2:35
 Jerry Capehart / Alton Delmore / Arthur "Guitar Boogie" Smith
11.   Ivy Rose  2:33
 Al Hoffman / Dick Manning
12.   Red Sails In The Sunset  2:44
 Hugh Williams
Credits :
Arranged By – O.B. Massingill
Conductor – Nick Perito
Producer, Arranged By – Don Costa
Vocals - Sandy Stewart

CARPE DIEM — Cueille Le Jour (1976-1994) Three Version | Mp3 + FLAC (image+.tracks+.cue), lossless

French progressive rock band active during the 1970's. They originated in Nice, first as Deis Corpus (a Jethro Tull and King Crimson cover band), transmuting into Carpe Diem "Seize the day!" By 1973 they had an entirely self-penned repertoire, with a music that cross-bred many progressive rock influences, with jazz and classical touches, but it took a further two years to get a record contract, thanks to support from Jean-Pierre Massiera. Carpe Diem recorded two albums during their lifetime, and split-up in 1979.
Couleurs    (21:38)
1a    Premiers Pas    
1b    La Traversée Des Sables    
1c    Dernier Village... Premières Neiges    
1d    Rencontre    
1e    Les Portes Du Silence    
2    Naissance    3:23
3    Le Miracle De La Saint-Gaston    3:38
4    Laure    2:44
5    Tramontane    3:37
6    Divertimento    3:56
7    Rencontre (Excerpt From Couleurs - English Version)    3:22
Credits :
Bass – Alain Bergé
Drums, Percussion – Alain Faraut
Guitar [Guitars] – Gilbert Abbenanti
Lyrics By [English Lyrics], Photography By – Gilles Bertho
Lyrics By [French Lyrics] – Yves Leu
Organ, Synthesizer [String-ensemble], Piano, Lead Vocals, – Christian Truchi
Soprano Saxophone [Soprano Sax], Flute, Percussion – Claude-Marius David

JACK DeJOHNETTE — Sorcery (1974-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

A lot of rambling takes place on this interesting but erratic LP. Drummer Jack DeJohnette (doubling on keyboards) performs three songs with a group featuring bass clarinetist Bennie Maupin and the guitars of John Abercrombie and Mick Goodrick; the music shows the influence of fusion (most obviously on "The Rock Thing") and has its strong moments (much of the nearly 14-minute "Sorcery #1"). But the attempt at humor on "The Right Time" is self-indulgent. The second half of this release, with trios by DeJohnette, bassist Dave Holland, and Michael Fellerman on metaphone (whatever that is), are less memorable. While one admires DeJohnette's willingness to take chances, this music has not dated well. Scott Yanow
Tracklist :
1. Sorcery, No. 1 - 13:50
 Jack DeJohnette
2. The Right Time - 2:21
 Jack DeJohnette
3. The Rock Thing - 4:14
 Jack DeJohnette
4. The Reverend King Suite: Reverend King/Obstructions/The Fatal Shot/Mourning/Unrest/New Spirits on the Horizon (John Coltrane/DeJohnette) - 14:19
 John Coltrane / Jack DeJohnette
5. Four Levels of Joy - 3:09
 Jack DeJohnette
6. Epilog (DeJohnette-Holland) - 3:11
 Jack DeJohnette / Dave Holland
Credits :
Jack DeJohnette - Drums, Keyboards, C-Melody Saxofone
Bennie Maupin - Bass Clarinet
John Abercrombie, Mick Goodrick - Guitars
Dave Holland - Bass
Michael Fellerman - Metaphone, Trombone

JOHN PIZZARELLI — Dear Mr. Sinatra (2006) SACD | FLAC (image+.cue), lossless

Frank Sinatra, though not a jazz singer, was long respected by jazz musicians for his natural ability to get the best out of a song while developing a trademark approach to singing that had great appeal. While many recorded tributes to Sinatra since his death have been abysmal at best, vocalist and guitarist John Pizzarelli knows a little something about swinging and finding the essence of each song. Backed by the Clayton-Hamilton Jazz Orchestra, with whom Pizzarelli toured prior to the making of this CD, along with arrangements by John Clayton, Don Sebesky, Dick Lieb, and Quincy Jones, he sought to focus primarily on songs written with Sinatra in mind, though taking new approaches to each of them. Dear Mr. Sinatra opens with an over-the-top rendition of "Ring-A-Ding-Ding." Clayton's sensitive writing for reeds provides the perfect backdrop for Pizzarelli's warm vocals in "If I Had You." The singer works magic in another fine Clayton chart, "I've Got You Under My Skin," delivering the goods in a sensitive interpretation. Pizzarelli is backed only by pianist Tamir Hendelman in the miniature scoring of "The Last Dance," which serves as a perfect finale. Only three of the tracks clock in at over four minutes, so there's not much of a focus upon instrumental solos, though Pizzarelli's guitar is featured in "Witchcraft." With a total time just under 40 minutes, the program is a little short by CD standards, but the performances by John Pizzarelli and the Clayton-Hamilton Jazz Orchestra in this warm tribute to Old Blue Eyes are consistently of high caliber and hit the mark every time. Ken Dryden  
Tracklist :
1    Ring-A-Ding Ding    3:37
Sammy Cahn / James Van Heusen
2    You Make Me Feel So Young    3:59
Mack Gordon / Josef Myrow
3    How About You?    2:43
Ralph Freed / Burton Lane
4    If Had You    4:48
Reginald Connelly / Ted Shapiro
5    Witchcraft    4:13
Cy Coleman / Carolyn Leigh
6    I've Got You Under My Skin    3:26
Cole Porter
7    Nice'n' Easy    2:46
Alan Bergman / Marilyn Bergman / Lewis Spence
8    Medley: I See You Face Before Me - In The Wee Small Hours (Of The Morning)    4:14
Howard Dietz / Bob Hilliard / Dave Mann / Arthur Schwartz
9    Can't We Be Friends?    3:57
Paul James / Kay Swift
10    Yes Sir, That's My Baby    3:03
Walter Donaldson / Gus Kahn
11    Last Dance    2:24
Sammy Cahn / James Van Heusen
Credits :
Alto Saxophone, Clarinet – Jeff Clayton, Keith Fiddmont
Baritone Saxophone, Bass Clarinet – Lee Callet
Bass – Christoph Luty
Bass Trombone – Maurice Spears (tracks: Tracks: 2,7,10), Robbie Hiaki (tracks: Tracks:1,5,6,8,9)
Bass, Conductor – John Clayton
Drums – Jeff Hamilton
Guitar – Bucky Pizzarelli
Guitar, Vocals – John Pizzarelli
Piano – Tamir Hendelman
Tenor Saxophone, Clarinet – Charles Owens, Rickey Woodard
Trombone – George Bohanon, Ryan Porter
Trombone [Lead] – Ira Nepus
Trumpet – Bobby Rodriguez, Gilbert Castellanos, James Ford, Sal Cracchiolo
Trumpet [Lead] – Bijon Watson

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

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

ROY HARGROVE — The Vibe (1992) FLAC (tracks+.cue), lossless

The last of trumpeter Roy Hargrove's recordings to feature his longtime altoist Antonio Hart also includes pianist Marc Cary, bassist Rodney Whitaker, drummer Gregory Hutchinson and guest spots for the tenors of Branford Marsalis and David "Fathead" Newman, plus trombonist Frank Lacy and organist Jack McDuff. Hargrove (still just 22) was already on his way to being one of the better hard bop-based trumpeters in jazz, as he shows on group originals, James Williams' "Alter Ego," Wayne Shorter's "Pinocchio," "Milestones," and "The Things We Did Last Summer." A fine example of Hargrove's rapidly emerging style. Scott Yanow
Tracklist :
1    The Vibe    6:29
 Marc Cary
2    Caryisms    6:54
 Roy Hargrove
3    Where Were You?    4:57
 Roy Hargrove
4    Alter Ego    6:30
 James Williams
5    The Thang    4:59
 Roy Hargrove
6    Pinocchio    4:48
 Wayne Shorter
7    Milestones    5:57
 Miles Davis
8    Things We Did Last Summer    5:38
 Sammy Cahn / Jule Styne
9    Blues For Booty Green's    6:26
 Roy Hargrove
10    Runnin' Out Of Time    7:37
 Marc Cary
Credits :
Alto Saxophone – Antonio Maurice Hart
Bass – Rodney Thomas Whitaker
Drums – Gregory Hutchinson
Organ [B3] – 'Cap'n' Jack McDuff (tracks: 9)
Piano – Marc Anthony Cary
Tenor Saxophone – Branford Marsalis (tracks: 6, 10), David "Fathead" Newman (tracks: 4)
Trombone – Ku-Umba Frank Lacy (tracks: 6, 8, 10)

NNENNA FREELON — Maiden Voyage (1998) Two Version | FLAC (image+.tracks+.cue), lossless

Nnenna Freelon's fifth CD should establish her as one of the top jazz singers of the 1990s. Rather than stick to typical jazz standards, she explore women's songs (or at least lyrics) from many fields of music. Her compelling interpretation of the title track, with its infrequently heard lyric by Mrs. Herbie Hancock, is followed by a hypnotic original lyric written by Freelon for Marian McPartland's "Threnody," titled "Sepia Wing" in its vocal incarnation. One of the more unusual songs selected is folk singer Buffy Saint-Marie's "Until It's Time for You to Go"; Freelon drastically rearranged this tune by changing the melody line and adding an uptempo vamp, and Bob Mintzer's soprano sax accents are also a nice touch. The moody lament written by the late Laura Nyro, "Buy and Sell," is also an intriguing chart by the singer. Of course, she's no slouch with standard Broadway fare either, as her lively duet with guitarist Joe Beck proves. Ken Dryden

Tracklist :

1 Come Into My Life 5:22

Written-By – Nona Hendryx

2 Four Women 4:54

Written-By – Nina Simone

3 Maiden Voyage 8:26

Lyrics By – Jean Hancock

Music By – Herbie Hancock

Piano – Herbie Hancock

4 Buy And Sell 5:29

Written-By – Laura Nyro

5 Future News Blues 4:43

Written-By – Nnenna Freelon

6 Until It's Time For You To Go 6:00

Written-By – Buffy Sainte-Marie

7 Women Be Wise 8:08

Written-By – Sippie Wallace

8 Sepia Wing 5:46

Lyrics By – Nnenna Freelon

Music By – Marian McPartland

9 Pick Yourself Up 4:09

Lyrics By – Dorothy Fields

Music By – Jerome Kern

10 I Won't Dance 4:33

Lyrics By – Dorothy Fields, Jimmy McHugh, Oscar Hammerstein II, Otto Harbach

Music By – Jerome Kern

11 Inside A Silent Tear 4:30

Lyrics By – Linda Albert

Music By – Blossom Dearie

12 Sing Me Down 4:18

Written-By – Nnenna Freelon

Credits :

Bass Clarinet – Bob Mintzer (tracks: 2, 4, 7)
Cello – Jesse Levy (tracks: 2, 4)
Double Bass – Avishai Cohen (tracks: 1-6, 12), Peter Washington (tracks: 8, 10, 11)
Drums – Clarence Penn (tracks: 8, 10, 11), Danny Gottlieb (tracks: 1-6, 12)
Flute – Dave Valentin (tracks: 8, 10)
Guitar – Joe Beck (tracks: 1, 3, 5, 7, 9, 11, 12)
Percussion – Sammy Figueroa (tracks: 1-6, 8, 10, 11, 12)
Piano – Michael Abene (tracks: 1, 2, 3, 5, 6, 8, 10, 11, 12)
Soprano Saxophone – Bob Mintzer (tracks: 1, 6)
Tenor Saxophone – Dick Oatts (tracks: 10, 11)
Trombone – Ed Neumeister (tracks: 10)
Vocals – Nnenna Freelon

YELLOWJACKETS — Timeline (2011) FLAC (tracks+.cue), lossless

Contemporary jazz ensemble Yellowjackets' 2011 Mack Avenue debut, Timeline features the band's longstanding knack for straddling the line between smooth jazz and more cerebral post-bop stuff. Marking the group's 30 years in the business, the album is a perfect mix of low-key, soulful moments and more funky, angular jazz. In that sense, it's a perfect balance of what the band has done throughout its career. Showcased here are members saxophonist Bob Mintzer, keyboardist Russell Ferrante, bassist Jimmy Haslip, and drummer Will Kennedy, as well as guests guitarist Robben Ford and trumpeter John Daversa. Ultimately, with tracks like the disarmingly knotty opener "Why Is It," the expansive "Tenacity," and the ruminative R&B-infused title track, Timeline reveals Yellowjackets as a band in a seemingly reinvigorated and creative state of mind. Not a bad place to be at 30. Matt Collar

Tracklist :
1     Why is It 5:04
Bob Mintzer
2     Tenacity 6:07
Bob Mintzer
Trumpet – John Daversa
3     Rosemary 4:54
W. Kennedy
4     Timeline 5:11
R. Ferrante
5     Magnolia 4:36
R. Ferrante / Jimmy Haslip
Guitar – Robben Ford
6     A Single Step 7:05
R. Ferrante
7     Indivisible 5:22
R. Ferrante
8     Like Elvin 5:32
Bob Mintzer
Trumpet – John Daversa
9     My Soliloquy 6:22
Bob Mintzer
10     Numerology 5:56
R. Ferrante
11     I Do 6:00
R. Ferrante
Credits :
Bass – Jimmy Haslip
Drums, Keyboards – Will Kennedy
Piano, Keyboards – Russell Ferrante
Producer – Yellowjackets
Tenor Saxophone, Sopranino Saxophone, Bass Clarinet – Bob Mintzer

JACKIE McLEAN — 4, 5 And 6 (1956) Four Version | RM | SACD | RVG | The Prestige Mono Series | FLAC (image+.tracks+.cue), lossless

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," with Byrd and McLean's quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break barriers, but does foreshadow the future of McLean as an innovative musician in an all-too-purist mainstream jazz world. Michael G. Nastos
Tracklist :
1.    Jackie McLean Quartet–    Sentimental Journey    (9:59)
 Les Brown / Bud Green / Ben Homer
2.    Jackie McLean Quartet–    Why Was I Born?    (5:16)
 Oscar Hammerstein II / Jerome Kern
3.    Jackie McLean Quintet–    Contour    (5:02)
 Kenny Drew
4.    Jackie McLean Sextet–    Confirmation    (11:25)
 Charlie Parker
5.    Jackie McLean Quartet–    When I Fall In Love    (5:35
 Edward Heyman / Victor Young
6.    Jackie McLean Quintet–    Abstraction (8:02)
 Mal Waldron
Credits :
Jackie McLean - Alto Saxophone
Donald Byrd - Trumpet (#3, 4, 6 only)
Hank Mobley - Tenor Saxophone (#4 only)
Mal Waldron - Piano
Doug Watkins - Bass
Arthur Taylor - Drums

HERBIE MANN · BOBBY JASPAR — Flute Soufflé (1957-1992) RM | FLAC (image+.cue), lossless

At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird."  Scott Yanow
Tracklist :
 1    Tel Aviv 14:38    
Herbie Mann
 2    Somewhere Else 5:55    
Joe Puma
 3    Let's March 7:21    
Herbie Mann
 4    Chasin' the Bird 8:13
Charlie Parker
Credits :
Bass – Wendell Marshall
Drums – Bobby Donaldson
Engineer [Recording] – Rudy Van Gelder
Flute & Tenor Saxophones – Bobby Jaspar, Herbie Mann
Guitar – Joe Puma
Piano – Tommy Flanagan

BALDASSARE GALUPPI : Keyboard Sonatas • 1 (Matteo Napoli) (2011) FLAC (image+.cue) lossless

A leading figure in the development of opera buffa, Baldassare Galuppi was also much admired as a keyboardist, though his many sonatas largely remain unpublished and unknown today. Usually comprising two or three contrasting movements, these graceful and charming works juxtapose the melodious and the bravura, the melancholy and the ebullient, often recalling the music of Domenico Scarlatti or the young Mozart. Matteo Napoli enjoys a busy international career and plays on a number of highly praised Naxos recordings. Volume 2 will be issued on 8.572490. naxos
Baldassare Galuppi (1706–1785)
1-3.     Sonata In F Major, Illy 28
4-6.     Sonata In F Minor, Illy 9
7-8. Sonata In C Minor
9-11. Sonata In C Major, Illy 57
12-13. Sonata In B Flat Major, Illy 32
14-15. Sonata In G Major, Illy 53
16-19. Sonata In D Major, Illy 45
20. Sonata In C Major, Illy 98
Credits :
Piano – Matteo Napoli
Cover photo: Burano, Venetian Lagoon

BALDASSARE GALUPPI : Keyboard Sonatas • 2 (Matteo Napoli) (2011) FLAC (image+.cue) lossless

Venetian composer Baldassare Galuppi’s reputation rests principally on his pioneering series of comic operas. But, trained by Antonio Lotti, Galuppi was also a keyboard player of distinction who served at the court of Catherine the Great in St Petersburg. Twelve keyboard sonatas were published during his lifetime, but Hedda Illy’s catalogue lists over 100 and reveals that Galuppi not only inherited the brilliance and panache of Domenico Scarlatti but anticipated the expressive writing of Mozart. The first volume in Matteo Napoli’s series (8.572263) was commended as “a good choice for connoisseurs of 18th century keyboard music.” (MusicWeb International) naxos
Baldassare Galuppi (1706–1785)
1-3. Keyboard Sonata In B-Flat Major, Illy 14     (11:03)
4-5. Sonata In D Minor, Illy 2     (5:13)
6-8. Piano Sonata in C Minor, Illy 34     (7:56)
9-11. Keyboard Sonata In C Major, Illy 27     (12:54)
12-14. Keyboard Sonata In E-Flat Major, Illy 24 (11:51)
15-16. Keyboard Sonata In D Minor, Illy 56 (7:24)
17-19. Keyboard Sonata In D Major, Illy 1     (11:26)
Credits :
Piano – Matteo Napoli
Cover photo: Burano, Venetian Lagoon

BALDASSARE GALUPPI : Keyboard Sonatas • 3 (Matteo Napoli) (2012) FLAC (tracks) lossless

Known as Il Buranello after his island birthplace of Burano, opera composer Baldassare Galuppi was also admired as a keyboard player. His sonatas are quiet, refined gems of the utmost elegance and lyricism, with expressive contrasts ranging from poignant operatic aria style movements to the energetic influence of Scarlatti. This selection includes late works from the Passatempo al Cembalo. Matteo Napoli has been praised for his “enviable poise” (International Record Review) in volume 1 (8.572263) and “finely nuanced” playing (Fanfare) in volume 2 (8.572490). naxos
Baldassare Galuppi (1706-1785)
1-4. Keyboard Sonata in D Minor, Illy No. 66 (10:27)
5. Keyboard Sonata in C Major, Illy No. 30: II. Presto (3.:39)
6-7. Keyboard Sonata in C Minor, Illy No. 38 (5:56)
8-10. Keyboard Sonata in F Major, Illy No. 36 (10:43)
11-13. Keyboard Sonata in B-Flat Major, Illy No. 23 (8:30)
14-15. Sonata In A Minor     (5:43)
16-17. Sonata In F Major, Illy 50 (3:45)
18-19. Sonata In A Minor, Illy 43 (Walsh: Op.1, No. 3)    (6:46)
20-21. Sonata In E Major, Illy 41     (9:14)
Credits :
Piano [Steinway D Model] – Matteo Napoli
Cover photo: Burano, Venetian Lagoon

PHILIP GLASS — Naqoyqatsi : Life as War -Original Motion Picture Soundtrack- (2002) FLAC (tracks+.cue), lossless

It is always impressive to hear an ensemble that plays well together, not only in terms of tonality, but also in tempo, and with sensitivity to other aspects of performance. While that is expected of professional musicians, it's surprising how often this is not the case on CDs. Members of the Philip Glass Ensemble had been working with each other and with the composer for a while and, therefore, perform Glass' music quite competently. The pick-up orchestra members employed on the Naqoyqatsi soundtrack should also get excellent marks. For that matter, so should conductor Michael Riesman, who has worked on all three Qatsi films. Even listeners who do not like Glass' music will admire the skill it takes to clearly execute keep those repetive rhythms and tones. The soloists, too, deserve praise. Ma plays in his usual musically sensitive way: on one track, it is interesting to hear the vocal soloist match timbre with the cello, sparking brief flashes where the two sound like one. Although recording the parts separately and then tweaking and mixing them back together could have "artificially" produced some of the cohesion (in which case credit should go to the engineers and editors), the musicians still deserve a lot of credit. Patsy Morita  
 Tracklist :
1 Naqoyqatsi 7:56
Bass Vocals – Al De Ruiter
2 Primacy Of Number 6:52
3 Massman 9:48
4 New World 3:04
5 Religion 9:01
Instruments [Mallet Instruments] – Sean McCaul
6 Media Weather 7:54
7 Old World 3:08
8 Intensive Time 8:09
Mezzo-soprano Vocals – Alexandra Montano
9 Point Blank 11:17
Didgeridoo – Mark Atkins
10 The Vivid Unknown 7:08
11 Definition 2:50
Bass Vocals – Al De Ruiter
Credits :
Baritone Vocals – Paul Houghtaling
Bass Clarinet – Virgil Blackwell
Bass Trombone – Alan Raph
Bassoon – Frank Morelli
Cello – David Calhoun, Gregory Hesselink, Marisol Espada, Richard Locker, Semyon Fridman
Cello, Soloist – Yo-Yo Ma
Clarinet – John Moses
Composed By, Arranged By, Liner Notes – Philip Glass
Conductor, Keyboards – Michael Riesman
Double Bass – Gail Kruvand-Moye, Joseph Bongiorno
Flute, Clarinet, Piccolo Flute – Andrew Sterman
Flute, Piccolo Flute – David Wechsler, Timothy Malosh
French Horn – Peter Gordon (8), Ronald Seli, Sharon Moe
Harp – Susan Jolles
Horns – Melanie Carp, Shelley Woodworth
Keyboards – Nico Muhly
Percussion – Frank Cassara, Sean McCaul
Performer [Members Of] – Philip Glass Ensemble
Soprano Saxophone – Jon Gibson
Soprano Vocals – Lisa Bielawa
Tenor Saxophone – Richard Peck
Tenor Vocals – Tony Bouttè
Trombone – Dan Levine, Dean Plank, James Pugh, Keith O'Quinn
Trumpet – Francis Bonny, Lorraine Cohen, William Rohdin
Tuba – Andrew Rodgers
Viola – Alfred Brown, Jill Jaffe, Linda Moss, Lois Martin, Masako Yanagita, Stephanie Fricker-Baer
Violin – Anahid Ajemian, Jan Mullen, Joyce Hammann, Julianne Klopotic, Leonid Levin, Leszek Barnat, Linda Quan, Marti Sweet, Nancy McAlhany, Regis Iandiorio, Timothy Baker

PHILIP GLASS — Powaqqatsi (1998) FLAC (tracks+.cue), lossless

In 2002, Philip Glass toured in support of the four-disc set Glass on Film, culled from his movie scores. It was good to see that the Philip Glass Ensemble performed the long-underrated Powaqqatsi among his other collaborations with filmmaker Godfrey Reggio, because those electric keyboard works have outlasted the symphonic stuff. Back in the '80s, Glass didn't seem to think so. He aimed to become the thinking filmmaker's response to John Williams by turning his minimalist background to astringent, stately symphonic movie scores for Mishima, Hamburger Hill, and The Thin Blue Line. It's understandable how Powaqqatsi's music was overlooked: The synthesizers and the orchestra and booming percussion were uncomfortably cluttered and showbizzy. Even today, Powaqqatsi's Anthem sounds like a naked attempt at an instrumental hit like Vangelis' theme for Chariots of Fire. On the other hand, the melodic and textural similarities of the symphonic scores, plus the snatches cribbed from them for other movies, have deadened their appeal. Powaqqatsi is straight-up loud. Instead of Koyanisqqatsi's somber organ prelude (as in a Baptist service), Serra Pelada provides the mightiest track in Glass' career: a gamelan ensemble marching with a drum-and-bugle corp behind the voices of the Latin American Children's Ensemble (set off with a coach's whistle). Almost everywhere, the synthesizers and orchestra work and play together, while the tunes are actually memorable on their own. The three-part New Cities in Ancient Lands, set in China, Africa, and India, features woodwinds and keyboards from the Philip Glass Ensemble, with kalimbas and balafons strewn among the orchestra. Video Dream is simple lyricism, like the English horn that unrolls the Arabic melody of That Place. The ponderous Caught and two of the three Anthem reprises are mere clutter, but somehow Glass makes room for everything, even Foday Musa Suso's kora and vocals on Mr. Suso #1 and Mr. Suso #2 With Reflection. It adds up for a bright world music symphony. John Young  
Tracklist :
1 Serra Pelada 5:02
2 The Title 0:23
3 Anthem (Part 1) 6:22
4 That Place 4:41
5 Anthem (Part 2) 3:48
6 Mosque And Temple 4:42
7 Anthem (Part 3) 8:11
8 Train To São Paulo 3:04
9 Video Dream 2:14
10 New Cities In Ancient Lands, China 2:47
11 New Cities In Ancient Lands, Africa 2:56
12 New Cities In Ancient Lands, India 4:42
13 The Unutterable 7:02
14 CAUGHT! 7:20
15 Mr. Suso #1 1:08
16 From Egypt 3:23
17 Mr. Suso #2 With Reflection 1:18
18 Powaqqatsi 4:35
Credits :
Bass Vocals [Bass Voice] – Al DeRuiter
Bassoon – Ethan Bauch, Lauren Goldstein, Mike Finn
Cello – Seymour Barab
Choir – Hispanic Young People's Chorus
Clarinet – John Moses, Laura Flax, Steve Hartman
Conductor – Michael Riesman
Directed By [Choir Musical Director] – Angélica Rosa Sepúlveda
Double Bass – Barbara Wilson
Effects [Ambient Sound Effects], Recorded By [Additional Recording] – Bob Bielecki, Connie Kieltyka
Flute, Piccolo Flute – Diva Goodfriend-Koven, Michael Parloff
Flute, Piccolo Flute, Saxophone – Jack Kripl
French Horn – Ann Yarbrough, Joe Anderer, Alan Spanger, Sharon Moe, Tony Miranda
Keyboards – Lee Curreri, Martin Goldray, Michael Riesman, Paul Rice
Keyboards, Programmed By [Synthesizer Programming], Sounds [Sound Design] – Jeffrey Rona
Kora, Balafon, Harp [Dousongoni], Violin [Nyanyer] – Foday Musa Suso
Lyrics By [For Children's Choir] – Bernardo Palumbo
Other [Children's Choir Executive Director] – Hector Carrasquillo
Other [Digital Tape Machines Supplied By] – Sid Zimet
Other [Technical Adviser And Consultant For African Music] – Foday Musa Suso
Other [Technical Adviser And Consultant For South American Music] – Bernardo Palumbo
Percussion, Ensemble – Joe Passaro, Roger Squitero, Sue Evans, Valerie Naranjo
Quena, Ensemble – Jefe Ronda, Jorge Joven, Miguel Grande
Saxophone – Steve Elson
Saxophone, Didgeridoo – Jon Gibson
Soloist, Vocals – Shaikh Fathy Mady
Sounds [Sound Effects Design] – Gary Summers
Tambura [Tanpura] – Frank Menusan
Trombone – James Pugh, Keith Oquinn
Trombone, Tuba – Alan Raph
Trumpet – Bill Rhodin, Lorraine Cohen, Neil Balm, Wilmer Wise
Viola – Jack Rosenberg, Jill Jaffe, Karl Bargen, Lois Martin
Violin – Carol Pool, Elliot Rosoff, Karen Karlsrud, Linda Quan, Richard Sortomme, Sanford Allen, Sergiu Schwartz

PHILIP GLASS — Koyaanisqatsi (1983) Four Version | APE + FLAC (image+.tracks+.cue), lossless

 Parodied more than once, derided, blessed, hailed as a wonder, and decried as a travesty, this (abbreviated) soundtrack is capable of generating fascination and annoyance, often simultaneously. The truth is that this isn't merely minimalism -- it's expressive minimalism, with some impressive nuances. Given the space to breathe, the music here is breathtaking, and becomes even more so when properly linked, in its full form, with the film's visuals. The later Powaqqatsi did not live up to the first film in either a visual or musical respect. Steven McDonald
Tracklist :
1 Koyaanisqatsi 3:28

2 Organic 7:43
3 Cloudscape 4:34
4 Resource 6:39
5 Vessels 8:05
6 Pruit Igoe 7:53
7 The Grid 21:23
8 Prophecies 13:36
Credits :
Baritone Vocals [The Western Wind Ensemble: Baritone] – Elliott Z. Levine
Bass Trombone – Alan Raph
Bass Vocals [Bass Vocal] – Albert De Ruiter
Cello – E. Zoe Hasmann, Garfield Moore, Joseph Kimura, Marisol Espada, Matthias D. Naegele, Richard Sher, Sarah Carter, Seymour Barab
Conductor – Michael Riesman
Countertenor Vocals [The Western Wind Ensemble: Countertenor] – William Zukof
Ensemble – Members Of The Philip Glass Ensemble, The Western Wind Ensemble
Flute [The Philip Glass Ensemble], Piccolo Flute [The Philip Glass Ensemble: Piccolo], Bass Clarinet [The Philip Glass Ensemble] – Andrew Sterman
French Horn – Robert Carlisle, Peter Gordon
Keyboards [The Philip Glass Ensemble] – Michael Riesman
Soprano Saxophone [The Philip Glass Ensemble], Clarinet [The Philip Glass Ensemble], Flute [The Philip Glass Ensemble] – Jon Gibson
Soprano Saxophone [The Philip Glass Ensemble], Tenor Saxophone [The Philip Glass Ensemble] – Richard E. Peck, Jr.
Soprano Vocals [The Western Wind Ensemble: Soprano] – Kathy Theil, Phyllis Elaine Clarke
Tenor Vocals [The Western Wind Ensemble: Tenor] – Neil Farrell
Trombone – Dennis Elliot, James Pugh
Trumpet – Lorraine Cohen-Moses, Philip Ruecktenwald, Wilmer Wise
Tuba – Kyle Turner
Viola – Kathleen Foster, Lois Martin, Martha Mooke, Masako Yanagita, Richard Sortomme, Stephanie Fricker

ARVO PÄRT — Alina (1999) FLAC (tracks+.cue), lossless

Arvo Pärt is a living national treasure to Estonia, and this album reveals such intimate access to his faith, sadness, and humility. Structured in five parts, Alina is a simple, chilling invocation of heartfelt desire comprised of only two movements that alternate with subtle variation. The opening lullaby of "Spiegel im Spiegel" is a gentle and melancholy embrace between Sergej Bezrodney on piano and Vladimir Spivakov on violin, where every note steps gracefully forward, as if ascending a fragile staircase. In contrast, the two movements of "Für Alina" leave a little room for structured improvisation, as the top note in each chord is left for the performer to, as Pärt puts it, "explore within themselves." Thus, Alexander Malter deserves special recognition for breathing such mournful sweetness into these passages through every fingertip; every delicate cluster of notes shines like a distant star through a wintery black night. Malter stays on for the middle section of "Spiegel im Spiegel" and, with violoncello from Dietmar Schwalke, adds a more somber deliberateness to the piece that pianist Bezrodney shies away from in his performances (tracks one and five), instead opting for restrained tenderness. The disc closes much in the same way it opens: as if a prayer of deepest longing were just whispered into the still air. Frequent ECM producer Manfred Eicher calls upon his usual strengths, by letting the instruments speak for themselves in the right acoustical settings -- less is certainly more, and the stark beauty of Alina comes partly from what we hear between the notes: such a rich and gorgeous silence. This is perhaps one of Pärt's finest releases on compact disc, though one of his quietest. These are the tears of ghosts. Glenn Swan   
Arvo Pärt (b.  1935)
1 Spiegel Im Spiegel 10:36
Piano – Sergej Bezrodny
Violin – Vladimir Spivakov
2 Für Alina 10:47
Piano – Alexander Malter
3 Spiegel Im Spiegel 9:12
Piano – Alexander Malter
Violoncello – Dietmar Schwalke
4 Für Alina 10:53
Piano – Alexander Malter
5 Spiegel Im Spiegel 9:48
Piano – Sergej Bezrodny
Violin – Vladimir Spivakov

MOZART — Sonatas for Piano & Violin K303, K304, K377, K526 (Mitsuko Uchida · Mark Steinberg) (2005) FLAC (tracks+.cue), lossless

In perusing CDs of Mozart's sonatas for piano and violin, a lot can be guessed in advance by noticing which performer is featured prominently, and who is relegated to second place. In these sonatas the violin is minimized to an obbligato accompaniment. Legendary pianist Mitsuko Uchida is clearly the dominant partner, and rising violinist Mark Steinberg is only her deferential sidekick. The usual problems of balance between the piano and violin are exacerbated by such a lopsided pairing, and it is inevitable that Uchida's interesting interpretations, refined expression, and impeccable execution will outshine Steinberg's efforts; no matter how desperately he tries to get on an equal footing with her, he must fail. As it happens, his playing eventually becomes an annoyance, little more than a doubling or elaboration of the melodic line, with little independence of thought, expression, attack, or color. Strangely, one wishes to hear Uchida's playing unadorned, without the chattering fiddling going on beside her, but this is just further evidence that this duo is mismatched. The sound quality is decent, except that the highly resonant acoustics emphasize the piano to the violin's further detriment. Blair Sanderson
Wolfgang Amadeus Mozart (1756-1791)
1-3.     Sonata For Piano And Violin In F Major, K377 = Fa Majeur = F-dur (19:39)
4-5. Sonata For Piano And Violin In C Major, K303 = Ut Majeur = C-dur (9:50)
6-7. Sonata For Piano And Violin In E Minor, K304 = Mi Mineur = E-moll
8-10. Sonata For Piano And Violin In A Major, K526 = La Majeur = A-dur    
Credits :
Piano [Steinway & Son] – Mitsuko Uchida
Violin – Mark Steinberg