Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of “Los Malos Hombres”) played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson’s career.

Personnel: Duke Pearson (piano); Freddie Hubbard (trumpet); Garnett Brown (trombone); Jerry Dodgion (alto saxophone, flute); James Spaulding (alto saxophone); Stanley Turrentine (tenor saxophone); Gene Taylor (bass); Grady Tate (drums).

Tracklist

01. Chili Peppers
02. Make It Good
03. My Love Waits (O Meu Amor Espera)
04. Los Malos Hombres
05. Scrap Iron
06. Rotary
07. Los Malos Hombres (Alternate Take)

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Soundtrack of “Scusi, Facciamo L’Amore? (Listen, Let’s Make Love)” Composed By the great Ennio Morricone, enjoy!

Tracklist

01. Scusi, Facciamo L’Amore? (Original Single Version Side A)
02. A Lidia (Original Single Version Side B)
03. Scusi, Facciamo L’Amore? (Between The Sheets)
04. Scusi, Facciamo L’Amore? (From Bed to Worse)
05. Scusi, Facciamo L’Amore? (Take Me Now)
06. Scusi, Facciamo L’Amore? (Dog Up a Tree)
07. A Lidia
08. Scusi, Facciamo L’Amore? (To The Altar and Back)
09. Scusi, Facciamo L’Amore? (After The Party)
10. Scusi, Facciamo L’Amore? (Passion Play)
11. Scusi, Facciamo L’Amore? (Reprise)
12. Scusi, Facciamo L’Amore? (Lay Down, I Think I Love You)
13. Scusi, Facciamo L’Amore? (Various Troubles)
14. Scusi, Facciamo L’Amore? (Knowing The Ins and Outs)
15. A Lidia
16. Scusi, Facciamo L’Amore? (Two Cigarettes)
17. Scusi, Facciamo L’Amore? (The Big One)
18. Scusi, Facciamo L’Amore?
19. A Lidia (Finale)

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The title of A New Conception refers to Sam Rivers’ ingenious interpretations of standards on this record. Rivers treats the songs — such familiar items as “When I Fall in Love,” “I’ll Never Smile Again,” “That’s All,” “What a Difference a Day Makes,” and “Secret Love” — with respect, but he doesn’t treat them as museum pieces. He knows that if the songs are to remain fresh, they need to be heard in different ways, and he skillfully opens up each composition to contemporary avant-garde techniques. Rivers and his supporting trio of pianist Hal Galper, bassist Herbert Lewis, and drummer Steve Ellington gradually ease each number into more adventurous territory, slowly shifting into exploratory instrumental sections, slyly varying the melodic themes, or adding shaded dissonant textures. It’s challenging music that remains accessible, since it reconfigures familiar items in new, intriguing ways. The sheer skill in Rivers’ arrangements once again confirms his large, unfortunately underappreciated, talent.

Personnel: Sam Rivers (tenor and soprano saxophone, flute), Hal Galper (piano), Herbie Lewis (bass), Steve Ellington (drums)

Tracklist

01. When I Fall In Love
02. I’ll Never Smile Again
03. Detour Ahead
04. That’s All
05. What a Difference a Day Makes
06. Temptation
07. Secret Love

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Alligator Bogaloo is one example of Lou Donaldson’s successful combinations of hard bop and soul-jazz. Of the six tunes, three are Donaldson originals, including the title hit. The excellent band, consisting of Melvin Lastin, Sr. on cornet, George Benson on guitar, Lonnie Smith on organ, and Leo Morris on drums, mixes laid-back vamps beneath driving hard bop charts. As the ’60s turned into the ’70s, Donaldson began shaving off hard bop invention for a more radio-friendly and 45 rpm length, leaving soulful — yet monotonous — vamping. At that point, Donaldson’s material suffered from a lack of originality. That’s not the case on Alligator Bogaloo.

Tracklist

01. Alligator Bogaloo
02. One Cylinder
03. The Thang
04. Aw Shucks!
05. Rev. Moses
06. I Want A Little Girl

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The late alto saxophonist Jackie McLean had one of the most distinctive sounds in jazz history–fluid and bittersweet, with an impassioned “cry” at its heart. McLean made several classic albums for Blue Note in the 1960s, with Demon’s Dance arriving in 1967, near the end of his time with the label. While not as well known as his other albums, Dance exhibits some excellent bristling, surging hard bop, much of which features trumpeter Woody Shaw–most notably on the indelible, infectious would-be hit “Sweet Love of Mine.”

Personnel: Jackie McLean (alto saxophone); Jackie McLean; Scott Holt (bass instrument); Woody Shaw (trumpet); LaMont Johnson (piano); Jack DeJohnette (drums).

Tracklist

01. Demon’s Dance
02. Toyland
03. Boo Ann’s Grand
04. Sweet Love Of Mine
05. Floogeh
06. Message From Trane

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Cal Tjader recorded frequently for Verve during the 1960s, yet this is one of his more unusual sessions. Instead of fronting his regular group in a typical Latin setting, the vibraphonist plays arrangements by Benny Golson or Bobby Bryant, accompanied a band that includes Ernie Royal, Marvin Stamm, J.J. Johnson, Jerome Richardson, Mel Lewis, either Ron Carter or Richard Davis on bass, and three different pianists: Herbie Hancock, Patti Bown, or John Bunch. The solo focus is almost exclusively on the leader in these fairly brief charts, though there are brief spotlights on Richardson and Hancock. The best tracks are Golson’s “Blues March,” John Lewis’ “Django,” and Tjader’s “Hip Vibrations.” A pair of current pop songs of the day (“Georgy Girl” and “Windy,” the latter a hit for the rock group the Association) seem a little out of place but prove to be no more than innocuous. This 1967 session has long been out of print and seems like it might be an unlikely candidate for reissue, but there’s enough good music within it to justify picking it up if it can be located.

Tracklist

01. Blues March
02. Georgy Girl
03. Hip Vibrations
04. A Waltz For Diane
05. Windy
06. Sweet Honeybee
07. Django
08. Moanin’
09. Canto De Ossanha

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for more info and buy check: vervemusicgroup.com/wayneshorter

1959 – Introducing Wayne Shorter

Tracklist

01. Blues A La Carte
02. Harry’s Last Land
03. Down In The Depths
04. Pug Nose
05. Black Diamond
06. Mack The Knife
07. Blues A La Carte (Alternate Take)
08. Harry’s Last Stand (Alternate Take)
09. Down In The Depths (Alternate Take)
10. Black Diamond (Alternate Take)

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1960 – Second Genesis

Tracklist

01. Ruby & The Pearl
02. Pay As You Go
03. Second Genesis
04. Mr.Chariman
05. Tenderfoot
06. The Albatross
07. Getting To Know You
08. I Didn’t Know What Time It Was

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1962 – Wayning Moments

Tracklist

01. Black Orpheus (Take 4)
02. Devil’s Island (Take 8 )
03. Moon Of Manakoor (Take 2)
04. Dead-End (Take 8 )
05. Wayning MOments (Take 2)
06. Powder Keg (Take 5)
07. All Or Nothing At All (Take 3)
08. Callaway Went That A Way (Take 3)
09. Black Orpheus (Take 3)
10. Devil’s Island (Take 7)
11. Moon Manakoor (Take 1)
12. Dead End (Take 7)
13. Wayning Moments (Take 3)
14. Powder Keg (Take 1)
15. Callaway Wen That A Way (Take 1)

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1964 – Juju

Tracklist

01. Juju
02. Deluge
03. House Of Jade
04. Mahjong
05. Yes Or No
06. Twelve More Bars To Go
07. Juju (Alternate Take)
08. House Of Jade (Alternate Take)

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1964 – Night Dreamer

Tracklist

01. Night Dreamer
02. Oriental Folk Song
03. Virgo
04. Black Nile
05. Charcoal Blues
06. Armageddon
07. Virgo (Alternate Take)

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1964 – Speak No Evil

Tracklist

01. Witch Hunt
02. Fee-Fi-Fo-Fum
03. Dance Cadaverous
04. Speak No Evil
05. Infant Eyes
06. Wild Flower
07. Dance Cadaverous (Alternate Take)

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1965 – Etcetera

Tracklist

01. Etceter
02. Penelope
03. Toy Tune
04. Barracudas (General Assembly)
05. Indian Song

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1965 – The All Seeing Eye

Tracklist

01. The All Seeing Eye
02. Genesis
03. Chaos
04. Face Of The Deep
05. Mephistopheles

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1965 – The Soothsayer

Tracklist

01. Lost
02. Angola
03. The Big Push
04. The Soothsayer
05. Lady Day
06. Valse Triste
07. Angola (Alternate Take)

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1966 – Adam’s Apple

Tracklist

01. Adam’s Apple
02. 502 Blues
03. El Goucho
04. Footprints
05. Teru
06. Chief Crazy Horse
07. The Collector

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1967 – Schizophrenia

Tracklist

01. Tom Thumb
02. Go
03. Schizophrenia
04. Kryptonite
05. Miyako
06. Playground

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1969 – Super Nova

Tracklist

01. Super Nova
02. Sweet Pea
03. Dindi
04. Water Babies
05. Capricorn
06. More Than Human

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1970 – Moto Grosso Feio

Tracklist

01. Moto Grosso Feio
02. Montezuma
03. Antigua
04. Vera Cruza
05. Iska

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1970 – Odyssey of Iska

Tracklist

01. Wind
02. Storm
03. Calm
04. De Pois Do Amor o Vazio
05. Joy

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1974 – Native Dancer

Tracklist

01. Ponta De Areia
02. Beauty And The Beast
03. Tarde
04. Miracle Of The Fishes
05. Diana
06. From The Lonely Afternoons
07. Ana Maria
08. Lilia
09. Joanna’s The Theme

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1985 – Atlantis

Tracklist

01. Endangared Species
02. The Three Marias
03. The Last Silk Hat
04. When You Dream
05. Who Goes There!
06. Atlantis
07. Shere Khan, The Tiger
08. Criancas
09. On The Eve Of Departure

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1986 – Phantom Navigator

Tracklist

01. Condition Rend
02. Mahogany Bird
03. Remote Control
04. Yamanjia
05. Forbidden, Plan-It!
06. Flagships

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1988 – Joy Ryder

Tracklist

01. Joy Rider
02. Cathay
03. Over Shadow Hill Way
04. Anthem
05. Causeways
06. Daredevil
07. Someplace Called Where

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1995 – High Life

Tracklist

01. Children Of The Night
02. At The Fair
03. Maya
04. On The Milky Way Express
05. Pandora Awakened
06. Virgo Rising
07. High Life
08. Midnight In California
09. Black Swan (In Memory Of Susan Portlynn Rome)

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2002 – Footprints Live!

Tracklist

01. Santuary
02. Masequelero
03. Valse Trist
04. Go
05. Aung San Suu Kyi
06. Footsprints
07. Atlantis
08. Juju

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2003 – Alegria

Tracklist

01. Sacajawea
02. Serenata
03. Vendiendo Alegria
04. Bachianas Brasileras No.5
05. Angola
06. Interlude
07. She Moves Through The Fair
08. Orbits
09. 12Th Century Carol
10. Capricorn II

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2005 – Beyond the Sound Barrier

Tracklist

01. Smilin’ Through (Arthur Penn)
02. As Far As The Eye Can See
03. On Wings Of Song
04. Tinker Bell
05. Joy Ryrder
06. Over Shadow Hill Way
07. Adventures Aboard The Golden Mean
08. Beyond The Sound Barrier

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This set is drawn from a February 15, 1967, recording session–one of John Coltrane’s last days in the studio. The tapes had been in Alice Coltrane’s care since the recording, and she gave titles to the pieces, overseeing their release on CD in 1995. All are previously unreleased with the exception of “Offering” which appeared on Expression. As on that release, there’s evidence here that Coltrane’s relentless musical search was drawing him ever further out. The performances are shorter, focused, with a magisterial lyricism seamlessly integrated with exclamatory shrieks and cries. There is an aching, though rough-hewn, beauty to Coltrane’s playing on these tracks. With the exception of “Tranesonic” where he is on alto, he plays tenor sax throughout. His command of the instrument from the very bottom of the low register to the stratospheric heights of the altissimo is staggering–note in particular his “duet” with himself on “Sun Star” where he questions and answers with himself on the extreme ranges of the horn. There’s a depth and wisdom to these recordings that only further extends the Coltrane legacy.

Tracklist

01. Seraphic Light
02. Sun Star
03. Stellar Regions
04. Iris
05. Offering
06. Configuration
07. Jimmy’s Mode
08. Tranesonic
09. Stellar Regions (Alternate Take)
10. Sun Star (Alternate Take)
11. Tranesonic (Alternate Take)

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Whether essaying his skittering, free-form variations on cornet, trumpet or pocket trumpet, the endlessly melodic creations of Don Cherry were a triumph of imagination over technique. Cherry was one of the most recognizable improvisers in all of jazz, who overcame his lack of virtuoso chops with melodic and harmonic resourcefulness, terrific swing and a childlike delight in the joy of a toy. There is a playfulness and a sense of discovery to his music–particularly his three masterful sessions for Blue Note–that mitigates the emotional gravity and rhythmic turbulence of his creations.

Symphony For Improvisers , the second work of his legendary triptych, expands upon Cherry’s basic two horns/two rhythm format with the addition of saxophonist Pharaoh Sanders, bassist Jenny Clark and vibraphonist Karl Berger–all masters of the emerging new thing. The results range from flashes of extreme turbulence (the delirious double-time of the title track) to moments of exquisite spiritual serenity (the ecstatic, child-like waltz, “What’s Not Serious”).

Cherry employs a suite form, in which expressive melodic riffs melt into moments of powerful collective improvisation like movements in a symphony. It’s all held together by the unbelievable sound and swing of bassist Henry Grimes and drummer Ed Blackwell, who expand upon the basic time to create powerful conversational forms. Saxophonists Barbieri and Sanders engage in some wild tenor exchanges on “Lunatic” and “Sparkle Plenty,” and Berger’s dancing, polytonal vibes give the ensemble a lush, bell-like dimension without limiting anyone’s harmonic palette.

Personnel: Don Cherry (trumpet, cornet); Don Cherry ; Henry Grimes, Jean-François Jenny-Clark (bass instrument); Pharoah Sanders (piccolo, tenor saxophone); Gato Barbieri (tenor saxophone); Karl Berger (piano, vibraphone); Ed Blackwell (drums).

Tracklist

01. Symphony For Improvisers
02. Manhattan Cry

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John Coltrane’s work with Dizzy Gillespie, Miles Davis and Thelonious Monk, his roots in Charlie Parker and Dexter Gordon, and his mastery of traditional harmony granted him a musical license that other experimentalists such as Cecil Taylor and Ornette Coleman never enjoyed. They were always viewed as musical outsiders, whereas Coltrane’s pedigree was beyond reproach. Which is why John Coltrane’s death on July 17, 1967, a few months shy of his 41st birthday, was such a devastating shock to the jazz community. Coltrane had become a creative lightning rod for the new generation, and his music was synonymous with the liberating energy of the ’60s. Upon his passing, a creative and spiritual void manifested itself, to be filled by cutting edge rockers such as Jimi Hendrix and Cream, and a new generation of electric jazzmen–spearheaded by many of his devotees and his old mentor, Miles Davis.

Coltrane’s swan song, Expression is comprised of two sessions from the winter of 1967. “Ogunde” begins as an ecstatic ballad, with Trane’s cantorish testimonies rising to a fever pitch over wife Alice’s droning chords and Rashid Ali’s feathery brush work. “Offering” begins with keening lyric ideas and rolling rhythms (reminiscent of “A Love Supreme”), alternating with moments of rhythmic abstraction–leading to some electrifying free-form variations with drummer Ali, culminating in a sweeping romantic gesture of uncommon serenity and acceptance.

“Expression” extends on the mellifluous finale of “Offering.” Trane’s stirring prelude sets up Alice Coltrane’s roiling piano solo, until the tenor returns with extravagant, billowing phrases. In closing, the previously unreleased “Number One” offers a clear snapshot of the quintet’s special brand of group improvisation: As the rhythm section feeds their leader a churning stream of sounds and colors, Coltrane works fervently to develop ideas that transcend his beloved chord changes. In the end, there is a note of frustration to this final performance. John Coltrane had run out of time, with much left to accomplish. Listeners should return to “Offering,” and wonder at just how much jubilation John Coltrane left behind.

Tracklist

01. Ogunde
02. To Be
03. Offering
04. Expression
05. Number One

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