Art Ensemble Of Chicago - The Paris Session (2LP-1975)

Genre: Jazz / Free Jazz | Total Time: 1:21:50 | Size: 734.67 MB | FLAC
Side A
A1 - Tutankhamun .... 18:10

Side B
B1 - The Ninth Room .... 15:35
B2 - That The Evening The Sky Fell Through The Glass
Wall And We Stood Alone Somewhere? .... 6:00

Side C

C1 - Toro .... 8:25
C2 - Lori Song .... 3:53
C3 - Tthinitthedalen Part One .... 4:24
C4 - Tthinitthedalen Part Two .... 4:54

Side D

D1 - The Spiritual .... 20:00

Roscoe Mitchell – alto sax / soprano sax / bass sax, clarinet, flute,
whistle, siren, bells,    percussion
Lester Bowie – trumpet, flugelhorn, horns, drums [bass drum]
Joseph Jarman – alto sax / soprano sax / bass sax, clarinet, oboe, flute,
piano, harpsichord, guitar, percussion
Malachi Favors – bass, bass [Fender], banjo, sitar, percussion

Label: Arista – AL 1903, Freedom – AL 1903
Format: 2 × Vinyl, LP, Compilation / Country: US / Released: 1975
Style: Free Jazz, Free Improvisation
Recorded at Polydor Studios (Dames II), Paris, 26th June 1969.
Design [Sleeve] – Hamish Grimes
Photography By – Jan Persson
Engineer – J. P. Dupuy, P. Quef
Liner Notes – John B. Litweiler
Producer – Alan Bates, Chris Whent
Matrix / Runout (Side A runout, etched): AL 1903-SA
Matrix / Runout (Side B runout, etched): AL 1903-SB
Matrix / Runout (Side A runout, etched): AL 1903-SC
Matrix / Runout (Side B runout, etched): AL 1903-SD

At the second LP (side C) the first track misspelled: "Joro", and correctly is "Toro".

The Art Ensemble of Chicago is an avant-garde jazz group that grew out of the Association for the Advancement of Creative Musicians (AACM) in the late 1960s. The ensemble integrates many jazz styles and plays many instruments, including "little instruments": bells, bicycle horns, birthday party noisemakers, wind chimes, and various forms of percussion. The musicians wear costumes and face paint while performing. These characteristics combine to make the ensemble's performances both aural and visual. While playing in Europe in 1969, five hundred instruments were used.

Members of what was to become the Art Ensemble performed together under various band names in the mid-sixties, releasing their first album, Sound, as the Roscoe Mitchell Sextet in 1966. The Sextet included saxophonist Roscoe Mitchell, trumpeter Lester Bowie, and bassist Malachi Favors. For the next year, they played as the Roscoe Mitchell Art Ensemble. In 1967, they were joined by fellow AACM members Joseph Jarman (saxophone) and Phillip Wilson (drums) and recorded for Nessa Records.

All of the musicians were multi-instrumentalists. Jarman and Mitchell's primary instruments were alto and tenor saxophone, respectively, but they played other saxophones (from the small sopranino to the large bass saxophone), and the flute and clarinet. In addition to trumpet, Bowie played flugelhorn, cornet, shofar, and conch shells. Favors added touches of banjo and bass guitar. Most of them dabbled in piano, synthesizer, and other keyboards.

In 1969, Wilson left the group to join Paul Butterfield's band. The remaining group travelled to Paris, where they became known as the Art Ensemble of Chicago. The impetus for the name change came from a French promoter who added "of Chicago" to their name for descriptive purposes, but the new name stuck because band members felt that it better reflected the cooperative nature of the group. In Paris, the ensemble was based at the Théâtre des Vieux Colombier and they recorded for the Freedom and BYG labels. They also recorded Comme a la radio with Brigitte Fontaine and Areski Belkacem but without a drummer until percussionist Don Moye became a member of the group in 1970.

The double album "The Paris Session" is a compilation of studio recordings from this period in Paris 1969 which were originally realized in two vinyl editions "Tutankhamun" and "The Spiritual" (both Freedom Records), plus material that was first released on this LP.


Urbie Green - New Faces, New Sounds (1953)

Genre: Jazz | Total Time: 23:04 | Size: 50.95 MB | MP3 320 kbps
1.Incubator (4:45)
2.Skylark (3:23)
3.La Salle (3:28)
4.Dansero (3:19)
5.Stairway To The Stars (3:02)
6.Johnbo Mambo (5:09)

Urbie Green - trombone
John Murtaugh - tenor saxophone
Doug Mettome - trumpet & baritone horn
Sam Staff - baritone saxophone
Jimmy Lyon - piano
Dante Martucci - bass
Jimmy Campbell - drums

Sonny Rollins - Our Man In Jazz (1963)

Genre: Jazz | Total Time: 1:01:41 | Size: 144.61 MB | MP3 320 kbps
01. Oleo (25:24)
02. Dearly Beloved (8:14)
03. Doxy (15:16)
04. You Are My Lucky Star (3:46)*
05. I Could Write A Book (3:13)*
06. There Will Never Be Another You (5:42)*
* - bonus track CD

Sonny Rollins - Tenor Saxophone;
Don Cherry - Cornet;
Bob Cranshaw (1, 2, 3), Henry Grimes (4, 5, 6) - Bass;
Billy Higgins - Drums.

Label: RCA Victor/BMG ‎– 74321851602 (EU 2001)

Moacir Santos - Maestro (1972)

Genre: Jazz | Total Time: 36:11 | Size: 96.53 MB | MP3 320 kbps
1. Monologue
2. Nana
3. Bluishmen
4. Luanne
5. Astral Whine (An Elegy to Any War)
6. Mother Iracema
7. Kermis
8. April Child
9. The Mirror's Mirror

Producer: Reggie Andrews
Engineer: Chuck Blitz
A&M, Los Angeles, Calif.
Remix Engineer: Don Hahn, A&R Recording, New York, N.Y.
Mastering: Sol Kesser, Media Sound, New York, N.Y.
Arranged by Moacir Santos
Nana arranged by Reggie Andrews
Joe Pass - Guitar
Moacir Santos, Ray Pizzi, Don Menza - Saxophone
Frank Rosolino - Trombone
Clair Fischer - Organ
Bill Henderson - Electric Piano
Moacir Santos, Sheila wilkinson - Vocals
Hymie Lewak - Piano
John Heard - Bass
Don Menza - Flute
David Duke - French Horn
Oscar Brashear – Trumpet

J.J. Johnson - Proof Positive (1964)

Genre: Jazz | Total Time: 40:25 | Size: 94.92 MB | MP3 320 kbps
01. Neo (Miles Davis) (9:26)
02. Gloria (Bronislaw Kaper) (2:32)*
03. Stella By Starlight (Ned Washington, Victor Young) (4:06)
04. Minor Blues (J.J.Johnson) (8:12)
05. My Funny Valentine (Lorenz Hart, Richard Rodgers) (3:06)
06. Blues Waltz (Max Roach) (8:11)
07. Lullaby Of Jazzland (Manny Albam, Rick Ward) (5:11)
* - bonus track only CD

J.J.Johnson - trombone;
Harold Mabern, McCoy Tyner (#7) - piano;
Toots Thielemans (#7) - guitar;
Arthur Harper, Richard Davis (#7) - bass;
Frank Gant, Elvin Jones (#7) - drums.

Recorded at the Van Gelder Studio Englewood Cliffs, New Jersey on May 1, 1964.

Label: Impulse! – GRP 11452 (US 1994)

Buddy DeFranco & Oscar Peterson Quartet - Buddy DeFranco & Oscar Peterson Quartet (1954)

Genre: Jazz | Total Time: 43:53 | Size: 99.29 MB | MP3 320 kbps
1.Sweet And Lovely (7:06)
2.Fascinatin' Rhythm (4:54)
3.Love For Sale (9:30)
4.Easy To Love (4:58)
5.Pick Yourself Up (11:26)
6.They Can't Take That Away From Me (6:05)

Recorded In Los Angeles, October 29,1954

Buddy DeFranco - clarinet
Oscar Peterson - piano
Herb Ellis - guitar
Ray Brown - bass
Louie Bellson - drums

Anita O’Day - Antibes Jazz Festival 1966 (1966)

Genre: Jazz | Total Time: 20:02 | Size: 45.94 MB | MP3 320 kbps
1. Intro (excerpt from Jordu) (1:13)
2. Let’s Fall in Love (4:05)
3. Fly Me to the Moon (4:35)
4. S’wonderful (2:21)
5. They Can’t that Away from Me (1:21)
6. Banter (1:07)
7. Tea for Two (4:51)
8. Outro (0:33)

Recorded July 1966 at the Antibes Jazz Festival, Antibes, France

Anita O’Day, vocals
Tete Montoliu, piano
Erik Peter, bass
John Poole, drums

Alice Coltrane - A Monastic Trio (1968)

Genre: Jazz | Total Time: 57:11 | Size: 131.64 MB | MP3 320 kbps
1. Lord, Help Me to Be (bonus track)
2. The Sun (bonus track)
3. Ohnedaruth
4. Gospel Trane
5. I Want To See You
6. Lovely Sky Boat
7. Oceanic Beloved
8. Atomic Peace
9. Altruvista (previously unreleased bonus track)

Personnel: Alice Coltrane (harp, piano); John Coltrane (spoken vocals); Pharoah Sanders (tenor saxophone, flute, bass clarinet); Jimmy Garrison (bass); Ben Riley, Rashied Ali (drums).

Alice Coltrane's 1968 solo debut on Impulse still stands tall in the artist's excellent discography. Coltrane had already gained a considerable education playing in the band of her late husband John during one of his boldest and most exploratory periods. The searching quality underpinning the saxophonist's last albums is also present on A Monastic Trio, as are the Eastern modalities and the balance between density and expansiveness often associated with Trane. But to consider Coltrane's debut a mere offshoot of her late husband's inventions is to do her a great disservice. Coltrane distinguishes herself as a composer (all the tunes on the album are hers), and as an instrumentalist (her harp playing, in particular, is noteworthy). A Monastic Trio also benefits from a superb personnel list, including Rashied Ali on drums, Jimmy Garrison on bass, and the irrepressible Pharoah Sanders on saxophone, flute, and bass clarinet. This recording remains one of the landmark debuts in avant-garde jazz.


Lester Bowie's Brass Fantasy - I Only Have Eyes For You (LP-1985)

Genre: Jazz / Contemporary Jazz | Total Time: 53:41 | Size: 433.44 MB | FLAC
Side A
A1 - I Only Have Eyes For You .... 10:30
By – Al Dubin, Harry Warren
A2 - Think .... 1:31
By – Bruce Purse
A3 - Lament (Dedicated To Dr. Ray Copeland) .... 13:50
By – Malachi Thompson
soloist, trumpet – Stanton Davis

Side B
B1 - Coming Back, Jamaica .... 5:17
By – Lester Bowie
B2 - Nonet .... 14:30
By – Bob Stewart
B3 - When The Spirit Returns .... 7:50
By – Lester Bowie

Lester Bowie – trumpet
Malachi Thompson – trumpet
Bruce Purse – trumpet
Stanton Davis – trumpet, flugelhorn
Craig Harris – trombone
Steve Turre – trombone
Vincent Chancey – French horn
Bob Stewart – tuba
Phillip Wilson – drums, percussion

Label: ECM Records – ECM 1296 /  ECM Records ?– 825 902-1
Format: Vinyl, LP, Album / Country: Germany / Released: 1985
Style: Contemporary Jazz
Recorded February 1985 at Rawlston Recording Studios, Brooklyn, NY.
Design – Dieter Rehm
Photography By [Cover Photo] – Karl Johnson
Photography by [Insert Photo] – Helmut Frühauf
Photography By [Liner Photo] – Lynne Wilson
Photography By [Liner Photos] – Deborah Bowie
Engineer – Akili Walker
Digitally mixed at Tonstudio Bauer, Ludwigsburg
Engineer [Mixing] – Martin Wieland
Producer – Lester Bowie, Manfred Eicher
Matrix / Runout (Side A): 825 902-1 S1 ECM 1296 320
Matrix / Runout (Side B): 825 902-1 S2=2 ECM 1296 320

Lester Bowie’s Brass Fantasy’s debut album is a deliberate provocation. The band, a nonet consisting of four trumpets, two trombones, a French horn, tuba and drums, displays Bowie’s love for pop music while clearly being in the jazz tradition, the album is released on ECM Records, a label that is famous for its clean and perfect sound. The band is extremely cool and tight (especially Bob Stewart on tuba, Steve Turre on trombone and Philip Wilson on drums), the sound is full of emotional depth and the selection of the tracks – from The Flamingo’s doo wop classic “I Only Have Eyes For You” to Bob Stewart’s majestic and uplifting “Nonet” – take the concept of Ancient to the Future to the next level because in spite of the pop approach the music breathes the spirit of gospel and blues. Lester Bowie’s “Coming Back, Jamaica”, is one of the best reggae tracks ever, which is dominated by the mother of all tuba solos. One of my all-time-favorite albums!

 “I Only Have Eyes For You” it was Lester’s first record with his new group, Brass Fantasy, and for my money, this lineup is my favorite. And of all the subsequent Brass Fantasy albums, this first one is my favorite. The basic (and I know it’s not cool to reduce a great concept down to something so basic) premise for the group seems to have been: take some pop tunes and make arrangements for a brass band of improvisers with the lead role going to the great singer of songs, Lester Bowie. So if that’s the schtick with this band, then maybe why I like this first album so much is the fact that this first album only features one pop tune cover; the other five tracks are originals, two of which are Lester compositions. The cover feature here is obviously the title track which dates back to the early 30’s, but the version everyone today knows is the most popular: the 1959 version of “I Only Have Eyes For You” by the Flamingos. The Flamingos were a classic doowop group and they had their share of hits, but their version of this tune is one of the classic recordings of all time. It’s just magical. Here, listen. Awesome, right? Now, check out the Brass Fantasy version. It’s longer than the Flamingos version but it stays pretty faithful to that 1959 arrangement, even down to those amazing “doo bop shoo bops.” I can hear Lester playing the words and I love how he sings that diminished feel coming out of the bridge each time the bands repeats. So many great sounds of Lester’s ridiculously huge arsenal of amazing trumpet sounds come out in this recording. He’s really a vocalist stuck with a trumpet. And dig Vincent Chancey’s French horn. Perfect.

What a great start to an amazing record. Another gem on this record is “Think” by trumpeter Bruce Purce (never heard of him before or after this record! Have you??). Malachi Thompson’s “Lament” is also pretty special. Lester’s two compositions on this record “Coming Home Jamaica” and “When the Spirit Returns” are also pretty sweet (some classic Lester on these) and indicative of the kinds of tunes he wrote and often played with later versions of the Art Ensemble of Chicago. And then there’s the great tuba monster Bob Stewart who is always the rock of Brass Fantasy albums. His tune “Nonet” is probably the most “avant” on this album. It’s amazing. Wonderful arrangement and spectacular group playing and improvisation. All in all, it’s a really special album from a performance standpoint and fro a compositional standpoint. Although some of the future Brass Fantasy records resort to kinda dialed-in, almost cheesy arrangements of pop tunes, the band never compromises here. There is some adventuresome and powerful playing and writing on this first album.

Have I sold you on this record yet? :)... If you like brass instruments, if you like trumpet, if you like Lester Bowie, if you like The Flamingos, if you like jazz, if you like good music, then you really should consider adding this album to your collection.

Charles Bobo Shaw / Human Arts Ensemble - Junk Trap (LP-1978)

Genre: Jazz / Free Jazz | Total Time: 51:35 | Size: 487.73 MB | FLAC
Side A
A1 - Beyond The New Horizon .... 7:42
A2 - Night Dreamer .... 10:57
A3 - Brown Rock City .... 7:25

Side B
B1 - Skiwee .... 6:30
B2 - Junk Trap .... 9:15
B3 - Electric Two .... 6:25
B4 - Sequence .... 2:29

Luther Thomas – alto saxophone
Joseph Bowie – trombone
James Emery – guitar
John Lindberg – acoustic /electric bass
Charles Bobo Shaw – drums, percussion, bugle

Label: Black Saint – BSR 0021
Format: Vinyl, LP, Album / Country: Italy / Released: 1978
Style: Free Jazz, Fusion
Recorded in May 1978 at GRS Studios, Milano, Italy
Cover [Cover Art], Photography By – Giuseppe Pino
Design [Cover] – "Gigi" Barbieri
Engineer – "Michel" Carlo Assalini
Producer – Giacomo Pellicciotti
Producer [Assistant] – Walter Prati
Matrix / Runout (Side A Runout): BSR 0021-A-78 I ?
Matrix / Runout (Side B Runout): BSR 0021-B-78 I ?

A wonderfully focused record from drummer Charles Bobo Shaw -- a set that shows the new fire his music had gained in the latter part of the 70s! The lineup still strongly shows Shaw's roots -- a creative combo that features Joseph Bowie on trombone, Luther Thomas on alto sax, James Emery on guitar, and John Lindberg on bass -- and there's a nice sense of swing amidst the freedom, a rhythmic pulse that comes especially strongly from the bass and drums, and which reminds us of some of Thomas' best moments in this mode. The set's a great example of the way that 70s groups like this could work with a great sense of freedom, but still keep things grooving too.


Toots Thielemans - The Brasil Project Vol.2 (1993)

Genre: Jazz | Total Time: 51:31 | Size: 123.07 MB | MP3 320 kbps
01. Cê (Ivan Lins, Vitor Martins) (5:30)
02. Chôro Bandido (Chico Buarque, Edu Lobo) (3:36)
03. Retrato em Branco e Preto (Chico Buarque, Antônio Carlos Jobim) (3:19)
04. Obsession (Dori Caymmi, Gilson Peranzzetta, Tracy Mann) (3:34)
05. Travessia (Fernando Brant, Gene Lees, Milton Nascimento) (3:09)
06. Flora (Gilberto Gil) (4:25)
07. Unconditional Love (Tom Kelly, Cyndi Lauper, Billy Steinberg) (5:18)
08. Papel Mache (2:59)
09. O Futebol (Chico Buarque) (3:37)
10. Linda (Você É Linda) (Caetano Veloso) (3:48)
11. Samba de Uma Nota So (Jon Hendricks, Antônio Carlos Jobim, Newton Mendonça) (3:22)
12. Oceano (Djavan) (5:21)
13. Samba de Orfeu (Luiz Bonfá) (3:36)

Label: Private Music ‎– 01005-82110-2 (US)

Sweet Baby J'ai - Straight To That Place (2015)

Genre: Jazz | Total Time: 55:55 | Size: 127.40 MB | MP3 320 kbps
1. Feeling Good
2. Feva (Fever)
3. Straight To That Place
4. Killer Joe
5. When You're In Love
6. Black Magic Woman
7. That's All
8. Scofield's Blues
9. Call My Name (Message From Your Angel)
10. Girl From Ipanema
11. I'm Consumed
12. Rock Me, B.B.
13. Feeling Good (Still)

This latest cd, Straight To That Place, produced by renowned pianist, arranger, producer Jane Getz, critically acclaimed singer, composer, producer Sweet Baby J’ai and Grammy award winning engineer, producer Bob Tucker, showcases sublime offerings fusing jazz, blues, R&B and Latin. “It’s been a while since my last recording so with this project I wanted to go straight there – straight to that place where I go to in my heart and soul, ” says J’ai, “I wanted to express what I’ve been going through in love and life, celebrate some of my favorite musicians and composers, and share some of my own compositions. Every note, every chord and every word tells a story!”

There are incredible nuances and bold statements happening simultaneously on Sweet Baby J’ai’s current album, Straight To That Place. Respected for her considerable gifts as a vocalist and songwriter, J’ai’s original compositions draw us in with their openhearted lyrics, working into our consciousness and taking us to wondrous places. She breathes new life into classics with great reinterpretations giving us a new scope to appreciate timeless songs with a different perspective. Her deeply soulful vocals are infectious, and the stellar support by musicians Mimi Fox, Nolan Shaheed, Jane Getz, Karen Hammack, Chris Colangelo, Peter Buck, Carol Chaikin, Bob Tucker and others are electrifying. Straight To That Place delivers on what it promises, taking its listeners straight to wonderland. This is an outstanding album and well worth the wait!

Sweet Baby J’ai has performed extensively nationally and internationally and has been featured at numerous concert halls, festivals, and clubs. She has shared the stage with such luminaries as, Herbie Hancock, Etta James, Jill Scott, Joe Sample, KD Lang, Tom Waits, Terri Lyne Carrington, Patrice Rushen, Sheila E., and Eddie Harris, to name a few.

Reggie Workman - Summit Conference (1993)

Genre: Jazz / Free Jazz | Total Time: 56:34 | Size: 124.83 MB | MP3 320 kbps
1.Encounter (7:45)
2.Estelle's Theme (4:05)
3.Conversation (10:13)
4.Meteor (5:34)
5.Solace (4:19)
6.Summit Conference (8:32)
7.Breath (6:54)
8.Gone (9:21)

At Kampo Audio, New York 1993
Label: Postcards - POST 1003

Reggie Workman - double bass
Sam Rivers - tenor, soprano sax & flute
Julian Priester - trombone
Andrew Hill - piano
Pheeroan Aklaff - drums

Jason Lindner, Giulia Valle, Marc Ayza - 1,2,3, Etc (2002)

Genre: Jazz | Total Time: 1:01:39 | Size: 139.13 MB | MP3 320 kbps
1. Contra Las Piedras 7:48
2. Aisha 10:19
3. Pensativa 6:03
4. Donn't You Worry 'bout A Thing 6:13
5. Walzette 8:55
6. Brilliant Corners 5:44
7. Bolero De 8:21
8. The End Of A Love Affair 8:17

Personnel: Jason Lindner (p), Giulia Valle (b), Marc Ayza (d)

Recorded December 2001 in Barcelona (Spain)

2002 Fresh Sound FSNT138
The piano-led trio continues to be one of the most enduring formats in jazz - witness the rise of Brad Mehldau and Esbjorn Svensson, not to mention the continued popularity of Keith Jarrett's Standards' trio. Bill Evans opened out the format's possibilities at the turn of the 1960s, making music, which was at once melodic and harmonically complex, with often-sublime levels of three-way dialogue. Jason Lindner wisely decides not to stick exclusively to this already congested terrain, and the most memorable moments on his new release occur when he doubles on electric piano. Lindner is probably known at the moment only to those who have been keeping tabs on bassist Avishai Cohen's solo projects, and Cohen's regular boss Chick Corea is a clear influence.

The programme consists of predominantly Latin flavoured themes with a few neo standards, all played in a fairly relaxed, sometimes funky groove. Lindner is given flexible and muscular support from label stalwarts Valle and Ayza, and the electrifying group sound on the Rhodes piano reworking of Monk's Brilliant Corners" is a thoroughly convincing performance, the nearest thing on the disc to a tour de force. Closer to Bob James than to Monk, this is precisely the way in which Lindner can add to the legacy. The Rhodes is employed again to good effect on Claire Fischer's under-recorded Pensativa", avoiding any comparisons to McCoy Tyner's classic reading. Other highlights include Tyner's beautiful Aisha and Stevie Wonder's Don't You Worry 'Bout A Thing".

They work up a sweat on the final track, The End Of A Love Affair", which provides a rousing finale. That Lindner sounds more convincing on electric piano possibly suggests that he is yet to develop the feel and touch required on the acoustic instrument. Nevertheless, this is a promising statement that will reward repeated listens, and hats must come off for his efforts to promote the rehabilitation of the much-maligned electric piano!- Fred Grand, Jazz Review (UK)

Fragile - Handle with Care (1997)

Genre: Jazz, Fusion | Total Time: 42:22 | Size: 97.48 MB | MP3 320 kbps
01. Handle with Care
02. Pati - Pati - Patica
03. Sarasvati
04. Limited Answers
05. Discus Discussion
06. Baba, Tell Me
07. Mysterious Region
08. Little Weat
09. Brains Think, Body Electric
10. Nowake
Label – Daiki (Japan)

Koichi Yabori - guitar
Masatoshi Mizuno - bass
Kozo Suganuma - drums

Eddie Daniels & Gary Burton - Benny Rides Again (1992)

Genre: Jazz | Total Time: 58:32 | Size: 132.97 MB | MP3 320 kbps
1.Sing Sing Sing
2.Stompin' At The Savoy
4.Airmail Special
5.Let's Dance
6.Slipped Disc
7.Memories Of You
9.In A Mist
10.Grand Slam
11.After You've Gone
13.Knockin' On Wood

Eddie Daniels - clarinet
Gary Burton - vibes & xylophone
Mulgrew Miller - piano
Marc Johnson - bass
Peter Erskine - drums

Don Thompson Quartet - For Kenny Wheeler (2008)

Genre: Jazz | Total Time: 1:05:31 | Size: 149.34 MB | MP3 320 kbps
1. Birdbath 7:33
2. K.T.T. 10:12
3. Moonwalk 7:11
4. For Kenny Wheeler 6:18
5. Days Gone By 12:48
6. The Peregrine Blues 6:01
7. For Scott Lafaro 8:48
8. Another Time, Another Place 6:40
Label - Sackville

Don Thompson - piano, vibraphone
Phil Dwyer - soprano, tenor saxophone
Jim Vivian - bass, bass guitar
Terry Clarke - drums

Chuck Wayne - Jazz Guitar Essentials (2013)

Genre: Jazz | Total Time: 1:05:46 | Size: 149.06 MB | MP3 320 kbps
1. Lullaby In Rhythm
2. More Than You Know
3. Cool Saturday Night
4. Embraceable You
5. Red Sun Blues
6. What A Difference A Day Made
7. Love For Sale
8. Carmel
9. Body And Soul
10. Lover Man
11. Snuggled On Your Shoulder
12. Along With Me
13. Rockabye Bay
14. How About You
15. Blue Serge
16. Good Old Guy
17. Five O'clock Blues
18. Happiness Is A Thing Called Joe

Although he often paid his bills with non-jazz pursuits, native New Yorker Chuck Wayne was an expressive and talented, if underexposed, bebop guitarist along the lines of Barney Kessel, Tal Farlow, Jimmy Raney, and Johnny Smith. Wayne was never a huge name in the jazz world, but he did cross paths with major jazzmen like Dizzy Gillespie, Zoot Sims, and Woody Herman -- and improvisers who were familiar with his swinging yet lyrical playing (a relatively small group) swore by him. Wayne was capable of playing more than one style of jazz; he played swing before he played bop, and he could handle Dixieland as well. But bop was his preference, and that's the style that he is best known for in jazz circles. Wayne was born Charles Jagelka in the Big Apple on February 27, 1923 -- that's the name that appeared on his birth certificate -- but when he pursued a career in music, he realized it would be easier and more convenient to go by Chuck Wayne. The improviser didn't start out as a guitarist; as a teenager in the late '30s, he played swing on the mandolin. But by the early '40s (when he was hired a sideman by swing pianist Clarence Profit), Wayne had switched to the guitar and made it his primary instrument. After spending some time in the United States Army, Wayne became quite active on midtown Manhattan's legendary 52nd Street scene of the '40s -- and that was where he made the transition from swing to bebop. Wayne, whose early influences included Oscar Moore (of the Nat King Cole Trio) and the seminal Charlie Christian, first heard Charlie Parker around 1944; it didn't take him long to take the bebop plunge. The mid-'40s found Wayne playing with Woody Herman's big band, and 52nd Street was where he played with trumpeter Dizzy Gillespie. Wayne (who played the banjo and the balalaika as secondary instruments) was a sideman for pianist George Shearing from 1949-1952, and in the '50s he recorded some LPs for the Progressive label as a leader. But it was also during the '50s that Wayne had a lot of non-jazz activities, which ranged from writing for Broadway to working as a staff musician for CBS-TV to a stint with singer Tony Bennett (who isn't jazz per se but is a fine example of jazz-influenced traditional pop). However, Wayne never gave up bebop, and he recorded a handful of bop-oriented albums in the '60s and '70s (two more decades that found him dividing his time between jazz and non-jazz pursuits). The '80s found Wayne teaching at the Westchester Conservatory of Music in suburban White Plains, NY (just outside of the Big Apple), and he continued to teach and play in the '90s. On July 29, 1997, Wayne passed away at the age of 74.

Bobby Taylor - The Motown Anthology (2006)

Genre: Funk / Soul | Total Time: 2:29:43 | Size: 353.57 MB | MP3 320 kbps
01. Does Your Mama Know About Me
02. So thsi Is Love
03. I Am Your Man
04. I Heard It Through The Grapevine
05. Malinda
06. Fading Away
07. You Gave me Something (And Everything's Alright)
08. It's Growing [Single Version]
09. One Girl
10. Try A Little Tenderness
11. Day By Day Or Never
12. If You Love Her
13. Out In The Country
14. Oh, I've Been Blessed
15. How Long Has That Evening Train Been Gone
16. My Girl Has Gone
17. Eleanor Rigby
18. I Just Can't Carry On
19. I Need To Belong To Someone
20. Don't Be Afraid
21. One Too Many Heartaches - 03:08
22. It Should Have Been Me Loving Her
23. Little Miss Sweetness
24. Serve Yourself A Cup Of Happiness

01. Blackmail
02. Hey Lordy
03. Just A Little Bit Closer
04. Memories
05. All I Need
06. Weekend Vacation
07. Soul Man
08. Harlem
09. Meeting Over Yonder
10. I Should Have Known It Was You My Love
11. Sometimes I Wonder
12. I Can Feel The Rain
13. A Little Too Much
14. Two Sides To Love
15. child Of Tears
16. Further Up The Road
17. Where Would I Be Without You Baby
18. Grandma's Hands
19. In Other Words (Fly Me To The Moon)
20. Park St. Bridge
21. Look Before You Leap
22. The Bigger You Love The Harder You Fall / Chained [Live]


Tony Bennett - Yesterday I Heard The Rain (1968)

Genre: Jazz, Pop | Total Time: 33:58 | Size: 78.33 MB | MP3 320 kbps
1. Yesterday I Heard The Rain
2. Hi-Ho
3. Hushabye Mountain
4. Home Is The Place
5. Love Is Here To Stay
6. Get Happy
7. Fool Of Fools
8. I Only Have Eyes For You
9. Sweet Georgie Fame
10. Only The Young
11. There Will Never Be Another You
In 1968, Tony Bennett celebrated the 20th anniversary in show business. By that date, a timed tour with the Duke Ellington Orchestra, and Billboard magazine even made a special edition. In his personal life, Tony is far from calm - the courts, the divorce from his first wife and mother of his two children, Patricia Beach, and in the spring of '68 actress Sandra Grant said the singer about her pregnancy (they are officially married only in the 71- m and at the end of decades of history again - Sandra, a mother of two children, Tony, will divorce him in court for several years, and also accuse of adultery). Well, it's all in the future and is on the cover of the album released in the summer of 1968 album Yesterday I Heard The Rain Tony grins. The album recorded in New York (CBS 30th Street Studio), 5 sessions for seven months. Arranger and conductor of the orchestra of 50 musicians gave Torrie Zito, whom Bennett has already started successful collaboration on the album "For once in my life".
The album opens with the novelty "Yesterday I Heard The Rain (Esta Tarde Vi Llover)" author Somos novios, the main favorite of the Mexican Armando Manzanera. Obviously, Tony first entered the English version of the text Gina Lisa and Torrie Zito was nominated for a Grammy for an arrangement of this song (but lost to Jim Webb, who orchestrated the "McArthur Park"). Beautiful ballad Sherman Brothers "Hushabye Mountain", written for the big-budget musical -priklyuchencheskogo movie of 1968, Chitty Chitty Bang Bang as a lullaby for the child protagonist.
However, much more Tony confesses his love for jazz standards of the Hollywood golden era. It's hard to miss them sung a masterpiece of 30th Get Happy, who has been in the repertoire of Judy Garland, Frank Sinatra, Barbara Streisand, Ella Fitzgerald ... Tony then call in honor of the song record '71. From there, from the 30's, "I Only Have Eyes For You", which is inspired by artists ranging from Billie Holiday and Rosemary Clooney to Paul Anka and Art Garfunkel. And, of course, "Hi-Ho" and "Love Is Here To Stay" brothers Gershwin in 1937. By the way, Hi-Ho, designed for the musical "Shall we dance", 30 years have not been performed, was published only in 1967 and Tony was the first one who wrote this song last, final There Will Never Be Another You by Harold Arlen (from the movie "Iceland" 1942) Bennett repeatedly played this thing -. with Count Basie in 1957, with Dave Brubeck at the White house in 1962. it is really the last recorded for this album.

Ronald Shannon Jackson and The Decoding Society - Nasty (LP-1981)

Genre: Jazz / Contemporary Jazz | Total Time: 36:34 | Size: 356.49 MB | FLAC
Side A
A1 - Small World .... 3:20
A2 - Black Widow .... 10:18
A3 - Sweet Natalie .... 6:01

Side B
B1 - Nasty .... 5:53
B2 - When We Return .... 11:45

Line-up / Musicians
Ronald Shannon Jackson – drums, percussion
Byard Lancaster – saxophone [alto, baritone], piccolo flute
Charles Brackeen – saxophone [soprano, tenor]
Lee Rozie – saxophone [soprano, tenor]
Khan Jamal – vibraphone
Vernon Reid – electric guitar
Melvin Gibbs – electric bass
Bruce Johnson – electric bass

Label: Moers Music – momu 01086
Format: Vinyl, LP, Album / Country: Germany / Released: 1981
Style: Free Funk, Contemporary Jazz
Recorded at: The Hit Factory - New York, N.Y. 23rd to 27th March 1981.
Design [Cover] – Jürgen Pankarz
Photography – Debor
Recorded By – Ted Spencerah Feingold
Mastered By – Axel Markens
Producer – Burkhard Hennen
Composed By, Arranged By – Ronald Shannon Jackson
Matrix / Runout: side A / MoMu 01086-A
Matrix / Runout: side B / MoMu 01086-B

RONALD SHANNON JACKSON is best known as a jazz drummer of the first rank, having worked with both Ornette Coleman and Cecil Taylor. But he is becoming better known as the leader, composer and arranger for the Decoding Society, one of the most progressive and influential jazz-rock bands now performing and recording. The brand of amplified music the Decoding Society dispenses is derived from the work Mr. Coleman began doing with his own electric band, Prime Time, in the mid-70's; Mr. Jackson was Prime Time's original drummer. But while Mr. Coleman has recorded and performed infrequently, Mr. Jackson has set about the arduous task of building a reputation for his performing group and getting its music on disks.

Two albums by the Decoding Society, ''Eye on You'' (About Time Records) and ''Nasty'' (Moers Music), are fascinating examples of a new direction in electric music that will undoubtedly prove as influential during the l980's as Miles Davis's jazz-rock albums were in the 70's. The Decoding Society is not the only band working in this new area. Mr. Coleman's Prime Time led the way as early as 1975, but the only examples of Prime Time on record date from its first year and are not really representative of how the group sounds now. James (Blood) Ulmer, the electric guitarist who played with Mr. Coleman before forming his own band several years ago, will have his first album for a major label released by Columbia this month, and it will undoubtedly turn a few heads. But at the moment, the state of ''harmolodic music,'' as Mr. Coleman calls it, is best represented by the Decoding Society's two albums.

That word ''harmolodic'' gets hurled around a great deal these days, but Mr. Coleman has never offered a really succinct definition. Basically, it is music that concentrates on counterpoint, with horns,guitars, and even electric basses all playing independent melody lines, often in different keys. The rhythms are similarly dense, but they are driving dance rhythms, and each of the musicians in the band plays rhythmically, contributing to the kinetic force of the music. This is not a sound in which a soloist dominates over a rhythm section. Theoretically, at least, each instrument has an equal voice in the ensemble. And in ''harmolodic'' ensemble playing, each instrument's part remains distinct without getting in any other instrument's way.

Mr. Jackson has a real talent for writing compositions that are both melodic and rhythmically compelling, and his band is at its best when it delivers condensed, punchy performances of these compositions. ''Eye on You,'' which includes 11 of Mr. Jackson's tunes, is the great album. Each piece develops organically, with the written themes seeming to shift prismatically as the player s improvise on them.
''Nasty'' includes only five tunes, and two of them are rambling jams more than 10 minutes in length. The Moers dates (which resulted in Nasty and Street Priest) were well recorded, effectively highlighting the busy, melodic interplay of the two bassists who served less in the traditional/functional bass roles and more in melodic roles that were on par with the horns and guitar. The feel was overall more funky and the melodies more catchy than on Eye on You. Reid was given more room to stretch out, while the saxophones continued to explore the high register, and Jackson continued to embed rhythms and melodies within a polyphonic texture that exhibited Coleman's influence. Nevertheless, this music had rapidly and unquestionably become Jackson's own and the Moers recordings exhibit some of his finest work.

And both albums, establish Mr. Jackson as one of the most provocative band leaders who working on the razor's edge between free-form, fusion and funk.

Ray Charles - The Genius Of Ray Charles (1959)

Genre: Jazz / Soul-Jazz | Total Time: 38:39 | Size: 87.23 MB | MP3 320 kbps
1.Let The Good Times Roll (2:53)
2.It Had To Be You (2:45)
3.Alexander's Ragtime Band (2:53)
4.Two Years Of Torture (3:25)
5.When Your Lover Has Gone (2:51)
6.Deed I Do (2:27)
7.Just For A Thrill (3:26)
8.You Won't Let Me Go (3:22)
9.Tell Me You'll Wait For Me (3:25)
10.Don't Let The Sun Catch You Cryin (3:46)
11.Am I Blue? (3:41)
12.Come Rain Or Come Shine (3:42)

Ray Charles - piano & vocal
Clark Terry, Ernie Royal, Joe Newman, Snookie Young, Marcus Belgrave, John Hunt - trumpet
Al Grey, Bob Brookmeyer, Melba Liston, Quentin Jackson, Thomas Mitchell - trombones
Frank Wess, Zoot Sims, Paul Gonsalves, Marshall Royal, Billy Mitchell, David Newman - tenor, alto saxes & flute
Charles Fowlkes, Bennie Crawford - baritone saxophone
Freddie Green, Allen Hanlon - guitar
Wendell Marshall, Eddy Jones, Edgar Willis - bass
Charlie Persip, Teagle Fleming, Ted Sommer - drums
Jose Mangual - bongos
With Strings section

Percy Faith And Mitch Miller - It's So Peaceful In The Country (1956)

Genre: Jazz / Easy Listening | Total Time: 43:37 | Size: 99.42 MB | MP3 320 kbps
Side 1
1. It's So Peaceful In The Country
2. While We're Young
3. Goodbye, John
4. I'll Be Around
5. It Could Happen To You
6. Imagination

Side 2
1. Love Among The Young
2. Moonlight Becomes You
3. Who Can I Turn To?
4. So Help Me
5. Darn That Dream
6. It's Always You

Paul Quinichette - For Basie (1957)

Genre: Jazz | Total Time: 38:12 | Size: 83.89 MB | MP3 320 kbps
1.Rock-A-Bye Basie (6:34)
2.Texas Shuffle (7:02)
3.Out The Window (7:33)
4.Jive At Five (9:45)
5.Diggin' For Dex (7:10)

Recorded In Hackensack, NJ, 1957

Paul Quinichette - tenor sax
Shad Collins - trumpet
Nat Pierce - piano
Freddie Green - guitar
Walter Page - bass
Jo Jones - drums


Oscar Peterson & Jon Faddis - Oscar Peterson & Jon Faddis (1975)

Genre: Jazz / Bop / Swing | Total Time: 46:27 | Size: 107.17 MB | MP3 320 kbps
01. Things Ain't What They Used To Be (Mercer Ellington, Ted Persons) (10:24)
02. Autumn Leaves (Joseph Kosma, Johnny Mercer, Jacques Prévert) (6:52)
03. Take The ''A'' Train (Billy Strayhorn) (7:58)
04. Blues For Birks (Jon Faddis, Oscar Peterson) (7:22)
05. Summertime (George Gershwin, Ira Gershwin, DuBose Heyward) (7:28)
06. Lester Leaps In (Lester Young) (6:25)

Oscar Peterson - piano;
Jon Faddis - trumpet;

Recorded At RCA Recording Studios, New York, June 5, 1975.

Label: Original Jazz Classics ‎– 0025218703628 (Europe 2006)

Ornette Coleman - Body Meta (LP-1978)

Genre: Jazz / Free Jazz | Total Time: 42:03 | Size: 383.88 MB | FLAC
Side A
A1 - Voice Poetry .... 8:10
A2 - Home Grown .... 7:45

Side B
B1 - Macho Woman .... 7:30
B2 - Fou Amour .... 8:30
B3 - European Echoes .... 9:25

Ornette Coleman – alto saxophone
Bern Nix – guitar
Charlie Ellerbee – guitar
Jamaaladeen Tacuma – bass
Ronald Shannon Jackson – drums, percussion

Label: Artists House – AH 9401 / Artists House – AH 1
Format: Vinyl, LP, Album, Gatefold / Country: Canada / Released: 1978
Style: Free Jazz
Recorded at Barclay Studios, Paris, Dec. 1976 / Mixed at Sound Ideas, N.Y.C.,1978
Artwork [Booklet] – Robert Rauschenberg
Artwork [Cover Backside] – Elizabeth Atnafu
Artwork [Cover Front] – Chief Z.K. Oloruntoba
Artwork [Cover Inside 1] – Barbara Hager
Artwork [Cover Inside 2] – Guy Harloff
Photography By [Artwork Booklet] – Wallace Litwin
Photography By [Artwork Cover] – Mike Hoeye
Photography By [Portrait] – James Hamilton
Engineer – Francis Maimay
Mastered By – Bob Ludwig
Mixed By – John Snyder, Kathy Dennis, Ornette Coleman
Composed By, Producer  – Ornette Coleman
Matrix / Runout: side a: AH9401-A AH-1-A
Matrix / Runout: side b: AH9401-B AH-1-B

This release can be found with least two different versions of the booklet. One with the Rauschenberg art and another (later? more commonly found) version with art by David Sharpe.

The establishment of Ornette Coleman's self-determining Artists House label and his electric double-trio Prime Time coincided with the release of Body Meta, which changed many of the business and musical contours of jazz in the mid- to late '70s.
It was an indisputable new music amalgam that Coleman could claim as his own, yet which sprang forth into the so-called M-Base music movement of New York City.

This album was the 1st ever to be released on the Artist's House label back in 1978, & that translates literally to the cover of Body Meta, a gatefold featuring 4 works by different artists, that one on the front is by a tribal leader, probably from when Ornette went to Morrocco to see the Jajouka musicians which inspired Dancing In Yr Head...

Staccato drums then guitars open the album on Voice Poetry, & it flows along brilliantly to feature this new band of guitarists Bern Nix & Charlie Ellerbee, bassist [electric that is] Jamalaadeen Tacuma & drummer Shannon Jackson for a couple of minutes before the arrival of the man himself. He is the star & his playing is as pure & soulful as it was back on the Shape of Jazz to Come, & in a way it's unfortunate that everything else gets buried underneath it after this but it works well. The comparisons to the Trout Mask Magic Band do make sense although this is not as cacaphonous & seemingly chaotic [Beefheart although being highly influenced by Coleman, like to only have himself allowed to improvise while his groups must stick strictly to what he composed & his personality is a bit more obsessive too], Body Meta is one of the rare things worthy of being played directly after that in-a-world-of-its-own masterpiece. Each track here is around 8 minutes which is enough time to explore without losing the listening audience. The next 2 tracks move along nicely in a similar vein whilst Fou Amour [i.e. Mad Love] is a ballad & the guitars are playing parts normally designed for a piano. European Echoes if I'm not mistaken was an older tune from the Golden Circle & is rather graceful but thankfully lets loose a bit on the outro, by which time I want to spin the whole platter again which I could do for hours on end. This is music of pure soul expression & deserves a lot of repeated listening, it's highly danceable/funky too. I would highly recommend it to anyone, for the body and the mind.

Niels-Henning Orsted Pedersen - Jaywalkin' (1976)

Genre: Jazz | Total Time: 49:55 | Size: 111.71 MB | MP3 320 kbps
01. Summer Song (NHOP)
02. Sparkling Eyes (NHOP)
03. A Felicidade (Jobim)
04. Jaywalkin' (NHOP)
05. My Little Anna (NHOP)
06. Yesterday's Future (NHOP)
07. Interlude (NHOP)
08. Cheryl (Parker)
09. That's All (Brandt/Haynes)
10. Summer Song # 5 (Niels Pedersen) (Bonus)

Niels-Henning Orsted Pedersen - bass
Ole Kock Hansen - piano
Philip Catherine - guitar
Billy Higgins - drums


Music Revelation Ensemble - No Wave (LP-1980)

Genre: Jazz / Free Jazz | Total Time: 37:12 | Size: 360.64 MB | FLAC
Side A
A1 - Time Table .... 10:00
A2 - Big Tree .... 8:45

Side B
B1 - Baby Talk .... 9:36
B2 - Sound Check .... 8:06

James Blood Ulmer – guitar, vocals
David Murray – tenor saxophone
Amin Ali – electric bass
Ronald Shannon Jackson – drums, percussion

Label: Moers Music – momu 01072
Format: Vinyl, LP, Album / Country: Germany / Released: 1980
Style: Free Jazz, Post Bop
Recorded at: Studio 57, Düsseldorf, June 1980, Garmany.
Design [Cover] – Jürgen Pankarz
Photography By – Mario Pelizzoli
Recorded By – Hans Schlosser, Norbert Büllmeyer
Mastered By – Christoph Backhaus
Lacquer Cut By – SST
Producer – Burkhard Hennen
Composed By – James Blood Ulmer
Matrix / Runout (Side A Runout): MoMu 01072 A SST
Matrix / Runout (Side B Runout): MoMo 01072 B

Catalog number "Moers Music 01072" on sleeve, "momu 01072" on labels.

James “Blood” Ulmer may well be the only constant in the Music Revelation Ensemble, or MRE. For over 20 years, the self-professed blues preacher has remained the sole permanent member of this ever-shifting group, known as much for mixing up melodics as personnel. This is not to say the pursuit is a sketchy one: Since its 1980 Moers Music release No Wave, featuring Ulmer on guitar, David Murray on tenor saxophone, Amin Ali on electric bass, and Ronald Shannon Jackson on drums, MRE has been fueling the free jazz torch lit by pioneer and Ulmer mentor Ornette Coleman so adeptly that All Music Guide’s Chris Kelsey was moved to call the group “one of the first and best free jazz/funk bands.”

One of the most innovative electric guitarists since Jimi Hendrix, Ulmer is known for pioneering “harmolodics,” defined by Richard Cook in the Penguin Guide to Jazz, as quoted in materials from Ulmer’s publicist, as “a theory which dispenses with the normal hierarchy of ‘lead’ and ‘rhythm’ instruments, allowing free harmonic interchange at all levels of a group.” Ulmer told , “It’s a unison tuning where every string is tuned to the same note, like a one string guitar… It’s total freedom.”

In 1971 Ulmer left for New York and the following year began working with the legendary Coleman, who introduced him to the concept of harmolodics.

In 1978 Ulmer began performing under his own name, often joined by future MRE members Murray and Jackson, who both share Ulmer’s Coleman influence, along with trumpeter Olu Dara and saxophonist Arthur Blythe. MRE was formed two years later.

Jackson began playing drums professionally in Texas. He moved to New York in 1966, where he worked with such jazz luminaries as bassist Charles Mingus, bop saxophonist Stanley Turrentine, and freejazz saxophonist Albert Ayler. In 1975 he joined Coleman’s group Prime Time and began playing with Ulmer in 1979.

Amin Ali brought an impressive pedigree to the group; his father Rashied, also an Ulmer collaborator, had replaced Elvin Jones as saxophonist John Coltrane’s drummer in the 1960s. The younger Ali, who appears on four MRE albums, has also performed with a host of others including Dara, drummer Samm Bennett, and British saxophonist Django Bates. He appears on three of Ulmer’s solo albums as well.

While much of Ulmer’s solo work practiced harmolodics as rooted in the blues, his work with MRE allowed him to explore different terrain. “The purpose was in creating a sound that doesn’t inhibit. A freedom to play within jazz. It was a job to do,” he told Steven Dalachinsky, who wrote the liner notes for MRE’s fourth album, In the Name of the Music Revelation Ensemble...

Group formed with Ulmer on guitar, Murray on tenor saxophone, Ali on electric bass, and Jackson on drums, released No Wave on Moers Records, 1980.
No Wave was not a universal hit with the critics, however. Graham Flashner and Ira Robbins of the Trouser Press website called it “Ulmer’s most inaccessible work and his least focused.” The band’s rotating lineup had already begun to take shape, with Cornell Rochester replacing Jackson on drums and Jamaaladeen Tacuma, another Prime Time alum, joining Ali on bass. MRE was quiet for the next eight years, until the 1988 release of Music Revelation Ensemble. Jackson returned for this album while Tacuma was the sole bassist...

Milt Jackson Big 4 - At The Montreux Jazz Festival (1975)

Genre: Jazz | Total Time: 51:42 | Size: 118.98 MB | MP3 320 kbps
1.Funji Mama (6:21)
2.Everything Must Change (6:13)
3.Speed Ball (7:40)
4.Nature Boy (4:21)
5.Stella By Starlight (6:50)
6.Like Someone In Love (5:39)
7.Night Mist Blues (6:36)
8.Mack The Knife (6:22)

Live At The Montreux Jazz Festival, July 1975
Produced By Norman Granz

Milt Jackson - vibraphone
Oscar Peterson - piano
Niels-Henning Orsted Pedersen - bass
Mickey Roker - drums