Artist: John Coltrane
Title: Alternate Takes
Genre: Jazz
Release Date: 1975/2011
Label: Rhino Atlantic
Duration: 41:30
Quality: FLAC 192kHz/24bit
Source: HDTracks

Alternate Takes is a collection of Coltrane’s greatest works for Atlantic Records. The legendary jazz saxophonist provides new and refreshing renditions of his most familiar and endearing numbers for the label including “Syeeda’s Song Flute,” “Naima,” and “Cousin Mary.” Compiled from his sessions for Coltrane Jazz, Giant Steps, and Coltrane’s Sound, this hi-res remastering has never sounded better and is a vital addition for any jazz lover.

Alternate Takes is a compilation album credited to jazz musician John Coltrane, released in 1975 on Atlantic Records, catalogue SD 1668. Issued posthumously, it consists of outtakes from recording sessions which yielded the albums Giant Steps, Coltrane Jazz, and Coltrane’s Sound. All selections were unreleased at the time.

Tracklist:
01 — Giant Steps (Alternate Take)
02 — Naima (Alternate Take)
03 — Like Sonny (Alternate Take)
04 — Cousin Mary (Alternate Take)
05 — I’ll Wait and Pray (Alternate Take)
06 — Countdown (Alternate Take)
07 — Body and Soul (Alternate Take)
08 — Syeeda’s Song Flute (Alternate Take)

Pesrsonal
John Coltrane — tenor saxophone
Cedar Walton — piano on “Giant Steps,” “Naima,” “Like Sonny”
Tommy Flanagan — piano on “Cousin Mary,” “Countdown,” “Syeeda’s Song Flute”
Wynton Kelly — piano on “I’ll Wait and Pray”
McCoy Tyner — piano on “Body and Soul”
Paul Chambers — bass on all tracks except “Body and Soul”
Steve Davis — bass on “Body and Soul”
Lex Humphries — drums on “Giant Steps,” “Naima,” “Like Sonny”
Art Taylor — drums on “Cousin Mary,” “Countdown,” “Syeeda’s Song Flute”
Jimmy Cobb — drums on “I’ll Wait and Pray”
Elvin Jones — drums on “Body and Soul”

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Artist: John Coltrane
Title: John Coltrane And Johnny Hartman
Genre: Jazz
Release Date: 1963/1995/2008
Label: Impulse Records
Duration: 31:15
Quality: FLAC 96kHz/24bit
Source: HDTracks

A true jazz classic, this 1963 album paired tenor saxophone legend John Coltrane with the golden-voiced bass singer Johnny Hartman. Backed by McCoy Tyner, Elvin Jones and Jimmy Garrison, the duo moves through breathtaking covers of “Lush Life,” “My One and Only Love” and more. This album was inducted into the Grammy Hall of Fame in 2013.

Tracklist:
1.They Say It’s Wonderful 5:17
2.Dedicated To You 5:30
3.My One And Only Love 4:54
4.Lush Life 5:26
5.You Are Too Beautiful 5:36
6.Autumn Serenade 4:18

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Artist: John Coltrane and Milt Jackson
Title: Bags & Trane
Genre: Jazz
Release Date: 1961/2015
Label: Rhino Atlantic
Duration: 37:01
Quality: FLAC 96kHz/24bit
Source: HDTracks

Recorded at Atlantic Studios in New York City in 1959, Bags & Trane features Milt Jackson and John Coltrane and was produced by Neshui Ertegn.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. With fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson’s originals (including “The Late Late Blues”) and three standards: a romping “Three Little Words,” “The Night We Called It a Day,” and the rapid “Be-Bop.” This enjoyable music has been included as part of Rhino’s Heavyweight Champion: The Complete Atlantic Recordings box. –AllMusic Review by Scott Yanow

Tracklist:
01 Bags & Trane (Milt Jackson) 07:28
02 Three Little Words (Harry Ruby & Bert Kalmar) 07:32
03 The Night We Called It A Day (Matt Dennis & Tom Adair) 04:24
04 Be-Bop (Dizzy Gillespie) 08:01
05 The Late Late Blues (Milt Jackson) 09:36

Pesrsonal
Milt Jackson — vibraphone
John Coltrane — tenor saxophone
Hank Jones — piano
Paul Chambers — bass
Connie Kay — drums

Production
Nesuhi Ertegn — producer
Tom Dowd — engineer

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Artist: John Coltrane
Title: Ballads
Genre: Jazz
Release Date: 1962/2008
Label: Impulse Records
Duration: 32:08
Quality: FLAC 96kHz/24bit
Source: HDTracks

A breathtaking album by the single most influential saxophone player (and perhaps jazz artist) in history. Featuring his stellar quartet of McCoy Tyner, Elvin Jones, and Jimmy Garrison, BALLADS finds Coltrane at his most pensive and lyrical. The result is one of the great jazz albums of the 20th Century. Absolutely essential.

Throughout John Coltrane’s discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn’t want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did — exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He’s not aggressive, and he’s not outwardly. Instead he’s introspective and at times even predictable, but that is precisely Ballads’ draw.

Tracklist:
01 — Say It (Over And Over Again)
02 — You Don’t Know What Love Is
03 — Too Young To Go Steady
04 — All Or Nothing At All
05 — I Wish I Knew
06 — What’s New
07 — It’s Easy To Remember
08 — Nancy (With The Laughing Face)

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Artist: John Coltrane
Title: Blue Train
Genre: Jazz
Release Date: 1957/2012
Label: Blue Note Records
Duration: 42:11
Quality: FLAC 192kHz/24bit
Source: HDTracks

Originally issued as Blue Note BLP 1577

High Resolution Mastering by Alan Yoshida and Robin Lynn at Blanche DuBois, April 2012

“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” — Blue NotePresident, Don Was.

Tenor saxophonist John Coltrane was one of the most innovative, influential and respected figures in jazz history. In 1957, Coltrane created a masterpiece with the release of Blue Train. The album has been widely regarded by both fans and critics as one of the greatest jazz records of all time. It was his second album as a band leader and found him accompanied by greats including Lee Morgan, Curtis Fuller, Kenny Drew, Paul Chambers and “Philly” Joe Jones. The album is a scintillating display of Coltrane’s innate leadership abilities. The stunning horn arrangements add a unique distinction symbolic of Coltrane and his band. A showcase of his versatility, Coltrane soars through tunes including “I’m Old Fashioned” and “Lazy Bird.”

Inducted into the Grammy Hall of Fame in 1999.

Customer Reviews
“I downloaded the 192 version of John Coltrane’s Blue Train. It was stunning; sounded like it was just expertly produced. I can’t believe it was a 1957 recording. Well done and keep it coming.” — Ken G.
“The sound is gorgeous, I think as good as the vinyl.” — Martin G.

Tracklist:
1 Blue Train 10:40
2 Moment’s Notice 9:08
3 Locomotion 7:12
4 I’m Old Fashioned 7:55
5 Lazy Bird 7:04

Pesrsonal
John Coltrane, tenor saxophone
Lee Morgan, trumpet
Curtis Fuller, trombone
Kenny Drew, piano
Paul Chambers, bass
Philly Joe Jones, drums

Note
Recorded: September 15, 1957 at Van Gelder Studio, Hackensack, New Jersey.
Mastered: Alan Yoshida and Robin Lynn at Blanche DuBois, April 2012

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Artist: John Coltrane
Title: Sideman: Trane s Blue Note Sessions
Genre: Jazz
Release Date: 2014
Label: Blue Note Records
Duration: 03:34:38
Quality: FLAC 192kHz/24bit
Source: HDTracks

A collection of the legendary saxophonist’s sideman sessions for Blue Note Records from 1956-1957, when Coltrane was a regular member of the Miles Davis Quintet and played with pianist Thelonious Monk. This set, conceived by former Blue Note Records president Bruce Lundvall, marks the first time Coltrane’s sideman sessions for the label have been collected in one place; albums include recordings led by Paul Chambers (Chambers’ Music, a.k.a. High Step, and Whims of Chambers), Johnny Griffin (A Blowing Session) and Sonny Clark (Sonny’s Crib).

The 2014 John Coltrane anthology Sideman: Trane’s Blue Note Sessions compiles cuts the influential saxophonist appeared on for other artists’ various Blue Note albums. These are sides Coltrane recorded in 1956-1957, before he was the innovative giant he would become in the ’60s. During this time, he was a working member of trumpeter Miles Davis’ quintet, and an occasionally featured player with pianist Thelonious Monk. Here, however, Blue Note president Bruce Lundvall has brought together cuts Coltrane recorded for album sessions with three heavy-hitting artists, pianist Sonny Clark, bassist Paul Chambers, and saxophonist Johnny Griffin, with tracks culled from such albums as Clark’s 1959 date Sonny’s Crib, Chambers’ 1956 and 1957 albums Chambers’ Music and Whims of Chambers, and Griffin’s 1957 classic A Blowin’ Session. This is a three-disc set, presented in the original mono audio, and accompanied by a 34-page liner note booklet. While these tracks have been anthologized elsewhere, Sideman: Trane’s Blue Note Sessions marks the first time all of Coltrane’s recordings as a hired gun for the storied jazz label have been collected in one place; that alone makes this a welcome addition to Coltrane’s catalog, not to mention a fascinating portrait of the saxophonist on the verge of his most transformative period.

Tracklist:
CD1 #01 — Dexterity / Paul Chambers (feat. John Coltrane)
CD1 #02 — Stablemates / Paul Chambers (feat. John Coltrane)
CD1 #03 — Easy To Love / Paul Chambers
CD1 #04 — Visitation / Paul Chambers (feat. John Coltrane)
CD1 #05 — Trane’s Blues (aka John Paul Jones) / Paul Chambers (feat. John Coltrane)
CD1 #06 — Eastbound / Paul Chambers (feat. John Coltrane)
CD1 #07 — Trane’s Strain / Paul Chambers (feat. John Coltrane)
CD1 #08 — High Step / Paul Chambers (feat. John Coltrane)
CD1 #09 — Nixon, Dixon And Yates Blues / Paul Chambers (feat. John Coltrane)
CD1 #10 — Omicron / Paul Chambers (feat. John Coltrane)
CD1 #11 — Whims Of Chambers / Paul Chambers
CD1 #12 — Nita / Paul Chambers (feat. John Coltrane)

CD2 #01 — We Six / Paul Chambers (feat. John Coltrane)
CD2 #02 — Dear Ann / Paul Chambers
CD2 #03 — Tale Of The Fingers / Paul Chambers
CD2 #04 — Just For The Love / Paul Chambers & John Coltrane
CD2 #05 — The Way You Look Tonight / Johnny Griffin (feat. John Coltrane)
CD2 #06 — Ball Bearing / Johnny Griffin (feat. John Coltrane)
CD2 #07 — All The Things You Are / Johnny Griffin
CD2 #08 — Smoke Stack / Johnny Griffin (feat. John Coltrane)
CD2 #09 — Smoke Stack (Alternate Take) / Johnny Griffin (feat. John Coltrane)

CD3 #01 — With A Song In My Heart / Sonny Clark (feat. John Coltrane)
CD3 #02 — Speak Low / Sonny Clark (feat. John Coltrane)
CD3 #03 — Come Rain Or Come Shine / Sonny Clark (feat. John Coltrane)
CD3 #04 — Sonny’s Crib / Sonny Clark (feat. John Coltrane)
CD3 #05 — News For Lulu / Sonny Clark (feat. John Coltrane)
CD3 #06 — Sonny’s Crib (Alternate Take) / Sonny Clark
CD3 #07 — Speak Low (Alternate Take) / / Sonny Clark (feat. John Coltrane)
CD3 #08 — With A Song In My Heart (Alternate Take) / Sonny Clark

Pesrsonal
John Coltrane — saxophone
Paul Chambers — double bass
Sonny Clark — piano

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Artist: John Coltrane
Title: Giant Steps [MONO]
Genre: Jazz
Release Date: 1959/2014
Label: Atlantic Records
Duration: 37:33
Quality: FLAC 192kHz/24bit
Source: HDTracks
Recorded: tlantic Studios, New York, NY on April 1, May 4 and December 2, 1959

Saxophonist John Coltrane was among the most important, and most controversial, figures in jazz. He influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. Coltrane’s 1959 Atlantic Records debut became his most influential album, and helped bring jazz to the mainstream. This classic is arguably Trane’s most celebrated release, the full flowering of his mighty playing and one of the best jazz albums of all time! Giant Steps features Paul Chambers, Wynton Kelly, Tommy Flanagan, Jimmy Cobb, and Art Taylor.

Giant Steps is the fifth studio album by jazz musician John Coltrane as leader, released in 1960 on Atlantic Records, catalogue SD 1311. His first album for his new label Atlantic, it is the breakthrough album for Coltrane as a leader, and many of its tracks have become practice templates for jazz saxophonists. In 2004, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. The Penguin Guide to Jazz selected this album as part of its suggested “Core Collection” calling it “Trane’s first genuinely iconic record.” In 2003, the album was ranked number 103 on Rolling Stone magazine’s list of the 500 greatest albums of all time.
History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed “sheets of sound.” Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre — turning it into the equivalent of easy listening. He wastes no time as the disc’s title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of “Countdown” does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral “Naima” was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty. –Lindsay Planer

Tracklist:
1. Giant Steps 04:48
2. Cousin Mary 05:50
3. Countdown 02:25
4. Spiral 06:01
5. Syeeda’s Song Flute 07:06
6. Naima 04:25
7. Mr. P.C. 06:58

Pesrsonal
John Coltrane, tenor saxophone
Tommy Flanagan, piano
Wynton Kelly, piano
Cedar Walton, piano
Paul Chambers, bass
Art Taylor, drums

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Artist: John Coltrane
Title: My Favorite Things
Genre: Jazz
Release Date: 1961/2013
Label: Rhino Atlantic
Duration: 40:45
Quality: FLAC 192kHz/24bit
Source: HDTracks

My Favorite Things is another landmark recording by John Coltrane. This 1961 classic is the first to feature Coltrane performing on soprano saxophone. Coltrane, joined by McCoy Tyner, Steve Davis and Elvin Jones, lends his inimitable style to pop standards including “Summertime,” “Everytime We Say Goodbye” and the title-track. In 1998, the album was a recipient of the GRAMMY Hall of Fame Award.

Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane’s Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet’s capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio — most notably Tyner — gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard “Everytime We Say Goodbye” and tenor solos on “But Not for Me” easily establish Coltrane as a pioneer of both instruments.

Tracklist:
01 — My Favorite Things
02 — Everytime We Say Goodbye
03 — Summertime
04 — But Not For Me

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Artist: John Coltrane
Title: Offering: Live At Temple University
Genre: Jazz
Release Date: 2014
Label: Verve
Duration: 01:32:02
Quality: FLAC 96kHz/24bit
Source: Pono

Offering: Live at Temple University is a 2014 live album released posthumously by John Coltrane on Resonance Records. The album was recorded from original master reels stored by WRTI-FM. Proceeds from the album benefit the John Coltrane Home.

Recorded eight months before his death from liver cancer, the concert album Offering: Live at Temple University features legendary jazz saxophonist John Coltrane performing with his quintet in his hometown of Philadelphia on November 11, 1966. Although it’s been available in various incomplete bootleg forms over the years, Resonance’s Offering is the first official, complete, and fully mastered version to be released. Produced from a set of long-lost master tapes rediscovered by Coltrane’s son, saxophonist Ravi Coltrane, Offering showcases the late jazz innovator’s final ensemble featuring his wife, keyboardist Alice Coltrane, saxophonist Pharoah Sanders, bassist Sonny Johnson (sitting in for Jimmy Garrison), drummer Rashied Ali, and a coterie of local guest musicians. This was Coltrane’s main lineup after the departure of pianist McCoy Tyner and drummer Elvin Jones only a few months prior to this concert. However, rather than a lesser version of Coltrane’s once classic quartet, this ensemble seems to have codified the spiritually infused free jazz, modal, and Indian raga influences Coltrane had been exploring since the early ’60s. Gone was the internal band discord over the use of two drummers (Tyner and Jones’ purported bugaboo), replaced by an ensemble of like-minded musicians unified as much by spiritual concerns as creative ones. Beginning with an epic version of his classic 1960 composition “Naima,” Coltrane and his group perform with a sustained intensity and creative focus that would soon become a major element of Coltrane lore after his passing. Yet, here they are: the sheets of arpeggiated sound gushing from his saxophone in a burnished oaken moan, the frenetic squelch of Sanders and Coltrane’s dual opening to “Leo,” and the subsequent mid-track “vocalizations” — long debated in almost mythological terms by fans who saw Coltrane live — captured here in all their unnerving, otherworldly glory. And while there certainly is something otherworldly and transformative about Offering, it’s also utterly tangible, visceral, and organically Technicolor in the way only the best live performances are. There’s also a balance to the performances on Offering. By 1966, Coltrane had become infamous for his band’s extended solos, purportedly shutting down clubs with cacophonous 20-minute improvisations. The longest song here, an inspired reworking of his indelible 1960 version of “My Favorite Things,” clocks in at 23:20 and reveals an ensemble fully capable of guiding an audience on a logical, if no less adventurous, journey through well-charted musical territory. Listening to Alice Coltrane propel herself through “My Favorite Things,” her sparkling, hard bop-inflected keyboard lines as generously abundant as her husband’s, is to experience something strangely familiar yet completely new. By the time you get to 18-year-old college student Steve Knoblauch’s utterly unhinged guest improvisation, you aren’t so much confused as astounded that the group members lose none of their euphoric intensity while they buoy him, his throaty aggression bridging toward Coltrane’s laser-fire soprano return. Ultimately, though we will never know where Coltrane would have taken his music had he lived, Offering works as a live culmination of Coltrane’s musical journey, a homecoming and spiritual communion with the deep, creative forces that drove him right until the end of his life and, based on the music here, one can only assume beyond. —AllMusic Review by Matt Collar

Tracklist:
1-1 Naima 16:28
1-2 Crescent 26:11
2-1 Leo 21:29
2-2 Offering 4:19
2-3 My Favorite Things 23:18

Pesrsonal
John Coltrane Quintet:
John Coltrane — soprano and tenor saxophones, flute, vocals, bandleader
Rashied Ali — drums
Alice Coltrane — piano
Sonny Johnson — upright bass
Pharoah Sanders — tenor saxophone and piccolo

Additional:
Umar Ali — percussion
Algie DeWitt — percussion
Arnold Joyner — alto saxophone
Robert Kenyatta — percussion
Steve Knoblauch — alto saxophone

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Artist: John Coltrane
Title: Sun Ship: The Complete Session
Genre: Jazz
Release Date: 1965/2013
Label: Impulse Select
Duration: 01:47:21
Quality: FLAC 192kHz/24bit
Source: HDTracks

Coltrane’s Sun Ship was one of the final and finest chapters in the story of his classic quartet. It features pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones. The work highlights the saxophonist in transition from the secular (“Dearly Beloved”) to the sacred (“Amen”). Sun Ship: The Complete Session includes every recorded moment from this historic session including alternate takes, conversations between the musicians, their leader and their producer and more than one hour of unreleased music.

Recorded on August 26, 1965 (and not released until after his death in heavily edited form), Sun Ship was the final recording by John Coltrane’s quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet’s rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader’s call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on “Ascent” and “Attaining,” where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of “Dearly Beloved” suggest earlier balladic explorations such as “Alabama,” with Coltrane’s keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner’s great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On “Amen,” the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane’s final period of transformation.

Tracklist:
CD1 #01 — Dearly Beloved (Takes 1 & 2 / False Start And Alternate Version)
CD1 #02 — Dearly Beloved (Take 3 / Breakdown)
CD1 #03 — Dearly Beloved (Take 4 / Complete Version)
CD1 #04 — Attaining (Take 1 / Alternate Version)
CD1 #05 — Attaining (Take 2 / Breakdown)
CD1 #06 — Attaining (Take 3 / Complete Version)
CD1 #07 — Attaining (Take 4 / Insert 1)
CD1 #08 — Sun Ship (Take 1 / Breakdown)
CD1 #09 — Sun Ship (Take 2 / Complete Alternate Version)
CD1 #10 — Sun Ship (Take 3 / Insert 1)
CD1 #11 — Sun Ship (Take 4 / Complete Version)

CD2 #01 — Studio Conversation
CD2 #02 — Ascent (Take 1 / Complete Version)
CD2 #03 — Ascent (Take 2 / Incomplete Version)
CD2 #04 — Ascent (Take 3 / False Starts / Incomplete Version)
CD2 #05 — Ascent (Takes 4-6 / Inserts / False Starts)
CD2 #06 — Ascent (Take 7 / Complete Insert 4)
CD2 #07 — Ascent (Take 8 / Complete Insert 5)
CD2 #08 — Amen (Take 1 / Alternate Version)
CD2 #09 — Amen (Take 2, released version)

Pesrsonal
John Coltrane — tenor sax
McCoy Tyner — piano
Jimmy Garrison — bass
Elvin Jones — drums

Note
Recorded August 26,1965 at RCA Victor Studios, 155 E. 24th St., New York, NY.
Original recordings produced by Bob Thiele and John Coltrane.
Recorded at RCA Victor Studios. Engineer: Bob Simpson.

Download:

https://file.al/9rds7ow0hg05/hires.link_JohnColtraneSunShipTheCompleteSession19652013HDTracks24192.part1.rar.html
https://file.al/m2nug9pnntij/hires.link_JohnColtraneSunShipTheCompleteSession19652013HDTracks24192.part2.rar.html
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https://file.al/94wynd5vq9zd/hires.link_JohnColtraneSunShipTheCompleteSession19652013HDTracks24192.part4.rar.html
https://file.al/3lml855t017d/hires.link_JohnColtraneSunShipTheCompleteSession19652013HDTracks24192.part5.rar.html

Artist: John Coltrane
Title: The Art Of John Coltrane: The Atlantic Years
Genre: Jazz
Release Date: 1990/2011
Label: Rhino Atlantic
Duration: 01:13:56
Quality: FLAC 192kHz/24bit
Source: HDTracks

This ground-breaking anthology features Coltrane’s greatest hits from his Atlantic period. The album compiled of originals and classic standards includes the massive hits “My Favorite Things,” “Body and Soul” and “Giant Steps.” This Hi-Res remastering is the only way to experience one of jazz’s greatest tenor players.

Good anthology collecting several good tracks from Coltrane’s Atlantic period, among them the earliest “My Favorite Things” and other standards and originals. Although these songs weren’t as transcendent as the Impulse period, they were an important indicator of future directions.

Tracklist:
01 — Syeeda’s Song Flute
02 — Aisha
03 — Countdown
04 — Mr. Knight
05 — My Shining Hour
06 — Blues To Bechet
07 — The Invisible
08 — My Favorite Things
09 — Giant Steps
10 — Central Park West
11 — Like Sonny
12 — Body And Soul

Download:

https://file.al/yt5ar63x7r3x/hires.link_JohnColtraneTheArtOfJohnColtrane19902011HDTracks24192.part1.rar.html
https://file.al/1glvrcn59hsh/hires.link_JohnColtraneTheArtOfJohnColtrane19902011HDTracks24192.part2.rar.html
https://file.al/u4dzvx1d95ow/hires.link_JohnColtraneTheArtOfJohnColtrane19902011HDTracks24192.part3.rar.html

Artist: John Coltrane
Title: The Coltrane Legacy
Genre: Jazz
Release Date: 1970/2015
Label: Atlantic Records
Duration: 40:30
Quality: FLAC 96kHz/24bit
Source: HDTracks

Released posthumously in 1970, The Coltrane Legacy is a compilation album consisting of outtakes from the recording sessions for the albums Ol Coltrane, Coltrane Plays the Blues, Coltrane’s Sound, and Bags & Trane. All selections were previously unreleased.

When this LP was released in 1970, it debuted some valuable Coltrane recordings covering a two-year period. Three of the selections are alternates taken from his Atlantic album with vibraphonist Milt Jackson, “Original Untitled Ballad” (later titled “To Her Ladyship”) is from the session that resulted in Coltrane’s Ole album with Eric Dolphy and Freddie Hubbard, and the remaining two numbers (“26-2 and “Exotica”) find ‘Trane meeting up with both pianist McCoy Tyner and drummer Elvin Jones (along with bassist Steve Davis) on records for the first time. Historically significant music, it’s generally quite enjoyable. –Scott Yanow

Tracklist:
1 26-2 07:09
2 Original Untitled Ballad 03:33
3 Untitled Original 09:05
4 Centerpiece 06:13
5 Stairway To The Stars 09:06
6 Blues Legacy 05:24

Pesrsonal
John Coltrane — soprano, alto, and tenor saxophone
Freddie Hubbard — trumpet on “Original Untitled Ballad”
Eric Dolphy — flute on “Original Untitled Ballad”
Milt Jackson — vibraphone on side two
McCoy Tyner — piano on side one
Hank Jones — piano on side two
Paul Chambers — bass on side two
Steve Davis — bass on “26-2 and “Untitled Original”
Art Davis — bass on “Original Untitled Ballad”
Elvin Jones — drums on tracks 1-3
Connie Kay — drums on tracks 4-6

Download:

https://file.al/sgjr9uv91tjn/hires.link_JohnColtraneTheColtraneLegacy19709624.rar.html

Artist: John Coltrane
Title: Dakar
Genre: Jazz
Release Date: 1957/2014
Label: Prestige Records
Duration: 39:27
Quality: FLAC 44.1kHz/24bit
Source: Qobuz

Dakar was one of the early albums from Prestige on which John Coltrane played. While not the lead musician on the recording, Prestige marketed the album as such due to Coltrane’s rapidly-rising fame as a soloist.

Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the “Prestige All-Stars.” On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered “leaderless” units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.

The Latin-flavored title track “Dakar” finds Coltrane adapting his solo to faultlessly conform to Payne and Adams’ comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. “Mary’s Blues” is a treat for sax lovers as Adams — who penned the number — almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane’s frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On “Route Four” the strongest elements of each player surface, creating one of the platter’s brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane’s tenor sax clearly tests the boundaries of the Taylor/Watkins rhythm section. The moody and sublime ballad “Velvet Scene” is a Waldron composition containing some of the author’s strongest individual involvement as he interjects his expressive keyboarding directly into the melody. If the album is flawed, that may well be due to Coltrane’s inability to deliver during “Witches’ Pit.” Perhaps because he is the first soloist, there seems to be no immediate direction to his playing. In a highly unusual move, he simply trails off rather than concluding his portion with his usual command and authority. “Cat Walk” restores Coltrane’s sinuous leads during a couple of jaunty double-time excursions that tread gingerly around the catchy tune. Jazz enthusiasts — especially lovers of Thelonious Monk — should easily be able to discern Adams’ nod to “‘Round Midnight.” ~~AllMusic Review by Lindsay Planer

Tracklist:
1. Dakar 07:12
2. Mary’s Blues 06:50
3. Route 4 06:57
4. Velvet Scene 04:54
5. Witches Pit 06:43
6. Cat Walk 07:10

Pesrsonal
John Coltrane — tenor saxophone
Cecil Payne — baritone saxophone
Pepper Adams — baritone saxophone
Mal Waldron — piano
Doug Watkins — bass
Art Taylor — drums

Download:

https://file.al/apkuthn5rnuv/hires.link_JohnColtraneDakar1957RVGRemaster2014Qobuz2444.1.rar.html

Artist: John Coltrane
Title: Crescent
Genre: Jazz
Release Date: 1964/2016
Label: Verve
Duration: 40:29
Quality: FLAC 192kHz/24bit
Source: AcousticSounds

John Coltrane’s 1964 album Crescent features his classic quartet of McCoy Tyner on piano, Jimmy Garrison on double bass and powerhouse drummer Elvin Jones. This acclaimed set of five Coltrane originals paved the way for Coltrane’s next recording, the landmark A Love Supreme.

John Coltrane’s Crescent from the spring of 1964 is an epic album, showing his meditative side that would serve as a perfect prelude to his immortal work A Love Supreme. His finest quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones supports the somewhat softer side of Coltrane, and while not completely in ballad style, the focus and accessible tone of this recording work wonders for anyone willing to sit back and let this music enrich and wash over you. While not quite at the “sheets of sound” unfettered music he would make before his passing in 1967, there are hints of this group stretching out in restrained dynamics, playing as lovely a progressive jazz as heard anywhere in any time period. The highlights come at the top with the reverent, ruminating, and free ballad “Crescent,” with a patient Coltrane acquiescing to swinging, while the utterly beautiful “Wise One” is accented by the delicate and chime-like musings of Tyner with a deeply hued tenor from Coltrane unrushed even in a slight Latin rhythm. These are the ultimate spiritual songs, and ultimately two of the greatest in Coltrane’s storied career. But “Bessie’s Blues” and “Lonnie’s Lament” are just as revered in the sense that they are covered by jazz musicians worldwide, the former a hard bop wonder with a classic short repeat chorus, the latter one of the most somber, sad jazz ballad reflections in a world full of injustice and unfairness — the ultimate eulogy. Garrison and especially Jones are put through their emotional paces, but on the finale “The Drum Thing,” the African-like tom-tom sounds extracted by Jones with Coltrane’s sighing tenor, followed by some truly amazing case study-frantic snare drumming, makes it one to be revisited. In the liner notes, a quote from Leroi Jones/Amiri Baraka states John Coltrane was “daringly human,” and no better example of this quality transferred to musical endeavor is available than on this definitive, must have album that encompasses all that he was and eventually would become.

Tracklist:
01 — Crescent
02 — Wise One
03 — Bessie’s Blues
04 — Lonnie’s Lament
05 — The Drum Thing

Pesrsonal
John Coltrane — band leader and tenor saxophone
McCoy Tyner — piano
Jimmy Garrison — double bass
Elvin Jones — drums

Note
This album is a high-resolution digital transfer of material originating from an analogue recording. It may contain noise, distortion or other artifacts, and may also contain audio which is limited in bandwidth and dynamic range, due to the technology available at the time of its original creation. As such, it is offered as a high-resolution documentation of a historical release.

Download:

https://file.al/2w9w1tohw4lv/hires.link_JohnColtraneQuartetCrescent19642016AcousticSounds24192.part1.rar.html
https://file.al/4wfabzursmrq/hires.link_JohnColtraneQuartetCrescent19642016AcousticSounds24192.part2.rar.html
https://file.al/ulfqbv83jsb6/hires.link_JohnColtraneQuartetCrescent19642016AcousticSounds24192.part3.rar.html

Artist: David Garrett
Title: Explosive
Genre: Classical
Release Date: 2015
Label: Decca Records
Duration: 49:54
Quality: FLAC 44.1kHz/24bit
Source: HDTracks

Combining his virtuosic playing with electronic beats, David transforms hit songs by Ed Sheeran, Eminem, David Guetta and Metallica into powerful new instrumental tracks, full of excitement and vitality. For the first time, this album is dominated by David’s own original compositions, plus popular classical tunes. Many of the tracks are infused with high-spirited, upbeat rhythms — “I think that is what the album is all about”, says David, “a fun, positive, high-energy record.”

Dear friends, After two classical albums I am so excited to finally release my new crossover record, Explosive. I have had a lot of time to think about what direction I wanted to take; I’ve had the luxury to create something without any guidelines, but of course that also brings a responsibility to deliver something exciting. For me, it was very important to introduce my fans more and more to my own compositions. Eleven original pieces are on this album and I have to say it feels great to finally show that side of me. Having artists like Nicole Scherzinger and Xavier Naidoo sing my songs is a dream come true — I still can’t believe it! Of course I am a bit anxious to see what you guys will think. Hopefully you will enjoy this album as much as I had fun writing, producing and recording it. –Sincerely, David

Tracklist:
1. Dangerous 03:54
2. Explosive 03:33
3. Serenity (feat. Nicole Scherzinger) 03:43
4. Lose Yourself 03:06
5. Adventure Island 02:45
6. Midnight Waltz 03:08
7. How Many Times (feat. Xavier Naidoo) 03:22
8. Unlimited Symphony 03:13
9. They Don’t Care About Us (feat. Valentina Babor) 03:41
10. Thinking Out Loud 03:43
11. Innovation 02:57
12. Ritmo Espaol 02:56
13. Baboushka 03:18
14. Baroque Fantasy 03:13
15. Furious 03:22
16. Wrecking Ball 03:45
17. Fuel 03:49
18. Melancholia 03:10
19. O Fortuna (feat. Cantus Domus) 03:57
20. Serenity (Instrumental) 03:43
21. Explosive (Backing track) 03:34

Pesrsonal
David Garrett, violin
Royal Philharmonic Orchestra
Franck Van der Heijden, conductor

Download:

https://file.al/8j08t2n1ah8h/hires.link_DavidGarrettExplosive2015HDTracks24441.rar.html

Artist: David Helbock Trio
Title: Aural Colors
Genre: Jazz
Release Date: 2015
Label: Traumton Records
Duration: 49:51
Quality: FLAC 44.1kHz/24bit
Source: Qobuz

“…The David Helbock Trio is full of tricks…But this isnt really a gimmicky show. In fact, when Helbock shifts from frantic virtuosity to lyrical expansiveness the true mettle of his technique and musicality can be seen…”

David Washington — InDaily Australia

The set-up here is letter perfect for what’s being done: just piano, bass (and occasional ukelele…!), and drums, allowing tons of space for the trinity to get their groove on while sitting vividly in wide open spaces (Marton Offik engineered the gig like a Kurosawa movie, simultaneously open to the skies while so compressed so that not a note is a micron out of focus). Yellow Meets Red opens the date and is a constantly moving signature, piano dominant but with a upwelling bass going almost solo athwart ceaseless drumwork…and, man, that ending! Then comes the Schoenberg Meets Kandinsky Suite (though the CD cover actually more indicates Mondrian in a color wheel, as does the angularity of the music) in three movements, a good deal more fragmentary yet always mindful of the melody, as abstract as even that is.

Op. 19, No. 3 contains marvelous, even daring, negative spaces within a cerebrally loungey ambience you’d never have heard from Schoenberg’s pen, yet Helbock knows just what he’s doing, a prolific and depth-oriented composer (he published a 600-page book of music and in 2009 wrote a song a day), and so he carries things over to the next movement, albeit a bit more meatily and with sass. The main voice throughout of course is Helbock’s, and the guy’s inventive as hell, but Raphael Preuschl (bass) and Herbert Pirker (drums) were well appointed, their work more like two painters constantly limning in the dimensions surrounding the main man.

Aural Colors is jazz, avant-garde, neoclassical, serial caprriccio, and maybe even an unidentifiable mode or two, all in one, Virus Ukelelen Song a spirited example, Preuschl sounding like Percy Jones as Helbock meanders all over the place, Pirker keeping everything centered in a home environment they always return to. AM — Anonymous Monkaholics is just as delirious’ as it should be, given the hilarious title, but with a broad humor to it. I suspect the ensemble had the most fun with this one, they couldn’t help but!, as it blends carny sideshow with midway promenade and speakeasy antics, even flashes of Guaraldi. There’s a lot to hear here, so I suggest you dig a trench, hunker down, and let everything wash over you. It’s not like you have a choice, these guys are in control.

Tracklist:
1. Yellow meets Red 6:36
2. Sechs kleine Klavierstcke op.19, Nr. IV 3:25
3. Sechs kleine Klavierstcke op. 19, Nr. III 4:06
4. Sechs kleine Klavierstcke op. 19, Nr. II 4:53
5. pfili, bist so kugelrund 5:48
6. Intro to the Myths 2:44
7. Horus and Jesus 6:45
8. AM — Anonymous Monkaholics 4:02
9. Virus Ukulelen Song 3:06
10. Healing Colors 4:20
11. Para Hermeto 4:49

Pesrsonal
David Helbock: piano
Raphael Preuschl: bass, ukulele
Herbert Pirker: drums

Download:

https://file.al/msh0wwjslm96/hires.link_DavidHelbockTrioAuralColors201544.124.rar.html

Artist: Dominique Pifarely
Title: Time Before And Time After
Genre: Jazz
Release Date: 2015
Label: ECM Records
Duration: 01:03:08
Quality: FLAC 88.2kHz/24bit
Source: Qobuz

French violinist Dominique Pifarly — last heard on ECM a decade ago on Stefano Battaglia’s Re: Pasolini — returns to the label with an outstanding solo violin recital, drawn from performances at the Auditorium Saint-Germain in Poitiers and Cave Dimire in Argenteuil. The music is totally improvised — apart from a free interpretation of the jazz standard “My Foolish Heart” by Victor Young — and it roves through a range of moods and atmospheres, textures and tone colours, dynamically and unpredictably.

Tracklist:
01 — Sur terre (Live At Cave Dimire, Argenteuil/2013)
02 — Meu Ser Elstico (Live At Auditorium Saint-Germain, Poitiers/2012)
03 — L’air soudain (Live At Auditorium Saint-Germain, Poitiers/2012)
04 — D’une main distraite (Live At Cave Dimire, Argenteuil/2013)
05 — Avant le regard (Live At Cave Dimire, Argenteuil/2013)
06 — Gegenlicht (Live At Auditorium Saint-Germain, Poitiers/2012)
07 — Violn Y Otras Cuestiones (Live At Auditorium Saint-Germain, Poitiers/2012)
08 — L’oubli (Live At Auditorium Saint-Germain, Poitiers/2012)
09 — My Foolish Heart (Live At Cave Dimire, Argenteuil/2013)

Download:

https://file.al/noxzg0ynmua5/hires.link_DominiquePifarelyTimeBeforeAndTimeAfter2015Qobuz24882.part1.rar.html
https://file.al/m1di491or4vq/hires.link_DominiquePifarelyTimeBeforeAndTimeAfter2015Qobuz24882.part2.rar.html

Artist: Katarina & Svante Henryson
Title: High, Low or In Between
Genre: Classical
Release Date: 2015
Label: BIS Records
Duration: 50:10
Quality: FLAC 96kHz/24bit
Source: eClassical
Recorded: April 2014 at Artipelag, Gustavsberg, Sweden

Svante Henryson, the Swedish cellist, composer, double bass and electric bass guitar player, has been awarded the Nordic Council Music Award of some 50’000 Dollars in a ceremony on Iceland. Starting as a double-bass player in the Oslo Phil, he continued as a rock musician in one of Sweden’s more famous hard rock bands, while at all times exploring the classical cello in his own imaginative way, fusing the classical with impulses from other genres.
I have deeply admired him for many years, but only when hearing him and his singing wife Katarina (of Real Group fame) at a private party, had the chance to really approach them with a recording idea. This materialized and the SACD was recentky released.
We take this opportunity to re-present it at very favourable conditions here and now for a few days. Congratulations, Svante! Way to go!!! And congrats to the Nordic Council for a choice, as excellent as it is daring! –Robert von Bahr

As individual musicians, Katarina and Svante Henryson have carved out quite extraordinary careers: Katarina touring internationally as a member of the highly successful Swedish vocal ensemble The Real Group, and Svante appearing in the most varied collaborations — on the cello, double bass and electric bass, and as performer, arranger and composer — with musicians as diverse as Elvis Costello, Anne Sofie von Otter, Chico Freeman and Martin Frst. The duo they form together, on the other hand, has been a more private affair, performing for their relatives at christenings and weddings, at birthdays and funerals. One reason for this has been the fact that they don’t only share a surname, but also two children, and when one of them toured professionally the other would have to be at home. Their duo repertoire has grown from zero to CD at the same pace as their children — and now the time has come to ‘go public’. Representing their own broad musical tastes, the repertoire is as varied as it gets: it is truly ‘High, Low or In Between’, with pop songs by Elton John and George Harrison rubbing shoulders with Prince’s funk hit Kiss, Bill Evans’s jazz classic Waltz for Debby and Tom Jobim’s bossa nova Chega de Saudade. These last two Katarina performs in the versions made immortal by the Swedish jazz singer Monica Zetterlund, while a third song to a Swedish text, Det vxer frn Edens tider, also displays its Swedish origins proudly through its folk-like idiom. A handful of tracks consist of original material by the performers themselves — Eyes of a Child they wrote together after the birth of their son — including three cello improvisations and Svante’s instrumental piece Green. In these, Svante’s cello — and his very special treatment of it — steals the spotlight, but in fact it plays such a major role throughout the programme that it becomes a third, equal partner of the duo!

Tracklist:
Elton John
1. Come Down in Time 3’33
Jussi Chydenius
2. We Walk in a Fog 3’45
George Harrison
3. Here Comes the Sun 2’49
Svante Henryson
4. Green (instrumental) 3’56
Katarina Henryson
5. A Little Kindness 3’01
Katarina Henryson, Svante Henryson
6. Eyes of a Child 3’35
Charlie Mingus
7. The Dry Cleaner from Des Moines 2’17
Svante Henryson
8. High (cello improvisation) 1’58
Katarina Henryson
9. I Found the Key 3’18
Paul Simon
10. So Long, Frank Lloyd Wright 3’35
Svante Henryson
11. In between (cello improvisation) 1’28
James Warren
12. Everybody’s Got To Learn Sometime 2’50
Prince Rogers Nelson
13. Kiss 3’25
Svante Henryson
14. Low (cello improvisation) 1’23
Ture Gudmundsson
15. Det vxer frn Edens tider 1’42
Antonio Carlos Jobim
16. Siv Larssons dagbok (Chega de Saudade) 3’00
Bill Evans, Gene Lees
17. Monicas vals (Waltz for Debby) 3’59

Pesrsonal
Svante Henryson, cello & cello arrangements
Katarina Henryson, vocals

Download:

https://file.al/e0ex5acewhdn/hires.link_KatarinaSvanteHenrysonHighLoworInBetween20159624.rar.html

Artist: Keiko Matsui
Title: Live In Tokyo
Genre: Jazz
Release Date: 2015
Label: Shanachie Entertainment
Duration: 01:13:19
Quality: FLAC 44.1kHz/24bit
Source: HDTracks

Iconic keyboardist/composer Keiko Matsui has been wowing audiences around the world. Billed as “The Soul Quest Tour,” Keiko’s dynamic performances have been filling concert halls and garnering standing ovations and rave reviews. On this magical night in Tokyo, fellow Smooth Jazz superstars Kirk Whalum, Chuck Loeb and Tom Braxton joined Keiko to make musical history! This brilliantly captured album features some of Keiko’s biggest radio hits such as “Black Lion” and “Dream Seeker” as well as signature treasures “Deep Blue,” “Forever, Forever” and much more.

Los Angeles, CA: On October 2, Shanachie Entertainment will release “Live In Tokyo,” the definitive concert experience from contemporary jazz icon Keiko Matsui. Recorded during a sold-out stop on her 2014 Soul Quest World Tour, the CD/DVD release showcases her stunning live show like never before.
Captured in a state-of-the-art theater in the TV Asahi EX Tower building in the vibrant nightlife district of Roppongi in Minato, Tokyo, the extraordinary 74-minute journey showcases the prowess of a truly transcendent artist at her peak powers. Deftly leading the bristling affair, Matsui hypnotically gallops through electrifying extended excursions of “Dream Seeker,” “Black Lion,” and “Stingo,” all from her critically-acclaimed album Soul Quest.
Joining the improvisational mastery is long-time collaborator Chuck Loeb who adds soaring guitar on “Caricias” and “Proof” while saxophonist Kirk Whalum reprises his guest appearance on “Affirmation,” from Matsui’s album The Road… Elsewhere, Keiko delights the crowd with fan favorites “Forever, Forever,” “Safari” and “Bridge Over The Stars” before Loeb & Whalum re-join the ensemble for a show-stopping encore of “Antartica: A Call to Action” and “A Night with Cha Cha,” both cornerstones of Soul Quest.
With over 1.2 million units sold in the U.S. over her 25-year recording career, Keiko Matsui is one of the most recognized artists in contemporary jazz. Her elegant piano melodies and spell-binding grooves have universal appeal, cementing her legacy as one of the preeminent entertainers in the world.

Tracklist:
1 Dream Seeker 06:39
2 Black Lion 05:03
3 Forever Forever 04:23
4 Caricias (ft. Chuck Loeb) 07:15
5 Proof (ft. Chuck Loeb) 07:08
6 Affirmation (ft. Kirk Whalum) 07:03
7 Soul Quest 04:18
8 Safari 04:38
9 Stingo 04:47
10 Bridge Over The Stars 04:32
11 Antarctica: A Call To Action (ft. Kirk Whalum & Chuck Loeb) 07:14
12 A Night With Cha Cha (ft. Kirk Whalum & Chuck Loeb) 05:52
13 Deep Blue 04:27

Pesrsonal
Keiko Matsui, piano, keyboard
Carlitos Del Puerto, bass
Jimmy Branly, drums
Kotaro Saito, cello
Special Guests:
Chuck Loeb, guitar
Kirk Whalum, Tom Braxton, saxophon

Download:

https://file.al/ciurs72zfmj3/hires.link_KeikoMatsuiLiveInTokyo201544.124.rar.html

Artist: Logan Richardson
Title: Shift
Genre: Jazz
Release Date: 2015/2016
Label: Blue Note Records
Duration: 59:42
Quality: FLAC 96kHz/24bit
Source: HDTracks

Alto sax player, bandleader and composer Logan Richardson recruited the amazing talent of Pat Matheny (guitar), Jason Moran (piano), Harish Raghavan (bass), and Nasheet Waits (drums) for his first album for Blue Note.

Born and raised in Kansas City, Missouri, Logan Richardson hails from a city with a rich historical lineage of improvised music. By the age of 16 Richardson had begun performing professionally, and at 19 he left for Boston to attend the Berklee School of Music, followed by a move to New York City to attend the New School University. In NYC Richardson began performing, recording, and touring internationally with artists including Joe Chambers, Billy Hart, Butch Morris, Greg Osby, Stefon Harris and Jason Moran. Richardson has released two prior albums as a leader — 2007’s Cerebral Flow (Fresh Sound, New Talent) and 2008’s Ethos (Inner Circle Music) — and was part of NEXT Collective which released the album Cover Art (Concord Jazz) in 2013. –bluenote.com

Shift, Logan Richardson’s Blue Note debut, fulfills the promise offered on the alto saxophonist’s two previous albums. On 2007’s Cerebral Flow and 2008’s Ethos, he seemed more invested in compositional acumen than improvisational flow and was somewhat restrained. Not so here. Richardson surrounds himself with a heavyweight band that no doubt tested his mettle: drummer Nasheet Waits, Jason Moran on piano and Rhodes, bassist Harish Raghavan, and guitarist Pat Metheny — who makes a rare appearance in a sideman role. Ten of these 11 tunes are the saxophonist’s, all artfully articulating his complex harmonic and rhythmic ideas that bridge the frontiers of modern creative jazz and his native Kansas City’s traditions. All are deeply melodic, yet refuse to be reined in by rhythmic constraints. “Mind Free” begins tentatively with luxuriant atmospheric textures, but unhurriedly opens onto wide harmonic vistas while never losing an innate sense of groove. Metheny joins in unwrapping the melodic line before Richardson’s solo — equal parts post-bop, soul, and blues — flows with strident yet breezy confidence. Moran’s solo gently teases open the harmony before giving way to Metheny’s more aggressive, knotty extrapolations. “Creeper” initially offers a lithe Latin tinge. Moran, playing Rhodes, colors in Richardson’s soulful lyric as Metheny lays down chunky chords and vamps before Waits adds double-timed breaks and, with Raghavan driving the accents, prompts the band on toward more open terrain. “Slow” begins as a dirge but transforms — in no small part due to Metheny’s gritty, rockist soloing — into a sprint, with fleet-fingered runs from Moran as the rhythm section whirls around the three principals. The denser “Imagine” offers multiple melodic lines, all enfolding one another from the inside; the interplay between Richardson and the guitarist is breathtaking. Bruno Mars’ “Locked Out of Heaven” — the lone cover — is inside out, full of shadows and crevices painted by Moran’s spaced-out chords and runs. The collective finds itself illuminating the tune’s dark harmonics and discovers new expression there. Closer “Untitled” commences as a midtempo ballad with glorious playing from Raghavan and Waits. As Richardson and Metheny play two phrases in repetition, Moran adds dimension and texture; his playing is at once silky, ambiguous, and exploratory. It creates a bridge between Metheny’s increasingly taut, rock-flavored roughness and Richardson’s innate bluesy swing. Eventually, they end up somewhere else together, a pronounced elastic beat providing support, so the inexact yet hummable structure accompanies the fine soloing even as the tune collapses on itself. Richardson clearly challenged himself with these sidemen. Individually and collectively they offer him a force of reckoning. On Shift, Richardson brings his best game, particularly as a composer and arranger. His democratic songs and charts allow each man to be fully himself while being an irreplaceable part of the collective.

Tracklist:
01 — Mind Free
02 — Creeper
03 — In Your Next Life
04 — Locked Out Of Heaven
05 — Slow
06 — When I Wake
07 — Imagine
08 — Alone
09 — In Between
10 — Time
11 — Untitled

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