Romeo And Juliet : Tchaikovsky On The Piano (Yevgeny Sudbin · Bella Sudbin) (2022) SACD, Hybrid | FLAC (image+.cue) lossless

Tracklist & Credits :

J.S. BACH : English Suites (Elina Mustonen) 2CD (2001) FLAC (image+.cue) lossless

Tracklist & Credits :

ALBÉNIZ : Iberia, Libros 1 & 2 • Espana, op.165 (Daniel Barenboim) (2001) FLAC (image+.cue) lossless

 Tracklist & Credits :

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

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

STEVE KUHN TRIO — Three Waves (1966-1978) Vinyl, LP | FLAC (tracks), lossless

Predictable is not an adjective associated with the recordings of pianist Steve Kuhn. He is joined by bassist Steve Swallow and drummer Pete La Roca for this exciting studio session from the mid-1960s, both of whom he had worked with under Art Farmer, as well as on La Roca's smashing debut as a leader, Basra. With the exception of "Ida Lupino" and "Never Let Me Go," the music will likely be unfamiliar to most jazz fans, but adventurous souls are in for a treat. Kuhn's originals include the furious modal work "Bits and Pieces," which sounds as if it represents the center of a storm, as well as "Today I Am a Man," which suggests a well-known composition from the heyday of the bop era. "Why Did I Choose You" is played with a soft bossa nova accent, while Sergio Mihanovich's "Three Waves" is intense, with overlapping changes of rhythm. "Never Let Me Go," a favorite of singers, is understated and subtle, only hinting briefly at the melody. Originally issued on LP by the long-defunct Contact label, and briefly available as a Flying Dutchman reissue, BMG in Japan has since released a CD version. Ken Dryden
Tracklist :
A1    Ida Lupino    2:34
 Carla Bley
A2    Ah, Moore    3:23
 Al Cohn
A3    Today I Am A Man    5:55
 Steve Kuhn
A4    Memory    2:41
 Steve Kuhn
B1    Why Did I Choose You?    2:52
 Michael Leonard
B2    Three Waves    6:50
 Sergio Mihanovich
B3    Never Let Me Go    2:59
 Jay Livingston
B4    Bits And Pieces    4:38
 Steve Kuhn
B5    Kod Piece    0:22
 Steve Kuhn
Credits :
Bass – Steve Swallow
Drums – Pete LaRoca
Piano – Steve Kuhn