Charles Mingus - Mingus Plays Piano (1964)

Bassist Charles Mingus would never qualify as a virtuoso on the piano but his technique was reasonably impressive and his imagination quite brilliant. This unique solo piano CD (which was reissued in 1997) has a few standards ("Body and Soul," "Memories of You" and "I'm Getting Sentimental over You") along with some freely improvised originals, most of which are quite fascinating to hear, as if one were listening to Mingus think aloud.

by Scott Yanow in All Music Guide

Styles:
Post-Bop
Avant-Garde

Tracks:
01 - Myself When I Am Real (07:38)
02 - I Can't Get Started (03:43)
03 - Body and Soul (04:35)
04 - Roland Kirk's Message (02:43)
05 - Memories of You (04:37)
06 - She's Just Miss Popular Hybird (03:11)
07 - Orange Was the Color of Her Dress, Then Silk Blues (04:18)
08 - Meditations for Moses (03:38)
09 - Old Portrait (03:49)
10 - I'm Getting Sentimental Over You (03:46)
11 - Compositional Theme Story: "Medleys, Anthems and Folklore (08:35)

Line-up:
Charles Mingus - Piano

Yusef Lateef - A Prayer to the East (1957)

A half-a-century following its original release, Prayer to the East by Yusef Lateef remains a seemingly blessed moment of creative interaction between American modern jazz and the music of the so-called Arab East, the latter evoked in essences ranging from snippets of traditional musical scales to picture postcards of Tunisian nightlife. The second half of the '50s was a busy period for Lateef, at that time under contract to the Savoy imprint. This album as well as three others were all cut in October of 1957, establishing as much documentation as could ever be needed of a transition from a player in the swing context of bandleaders such as Lucky Millinder and Hot Lips Page to a bold adventurer. Extended improvisations and the introduction of unusual instruments were important parts of this development and these recordings, yet the impression should not be one of austerity. Lateef's use of the flute turned out to be commercial, one of many instances of this particular axe finding more favor among the listening public than it tends to within the ranks of musicians themselves. Lateef and comrades may have been going for deep listening, still it is worth pointing out that an admirer of sides such as Prayer to the East pointed out how much fun him and his buddies used to have listening to this music while playing pool.
The lengthy "Night in Tunisia" is nothing but a great moment in small modern jazz combo recordings, allowing Lateef's budding interest to bloom in an intriguing light. Flugelhornist Wilbur Harden was also a collaborator of John Coltrane's in the same period. The brassman dodges imitations of the song's composer, high-note trumpet maestro Dizzy Gillespie, instead hovering in his mid-register, revealing a joke in a turn of phrase as if he was being spied on. The album's title track comes from drummer Oliver Jackson, so tightly affiliated with swinging syncopation that his nickname was "Bops Junior." Later drummers working in Lateef's combos such as Frank Gant and of course Elvin Jones would introduce more polyrhythms, percolating a brew that by the end of the '50s had much less of the aroma of a mainstream cup of jazz. Some listeners may find, however, that a player such as Jackson creates more excitement, more workable dynamics, the tension of a stylistic clash that is inevitably hinted at rather than shouted. "Lover Man" may have been an overdone number in the jazz combo repertory even by 1957; the subsequent years would only redeem this particular performance were it more substantial. A formidable Lateef original and Les Baxter's "Love Dance" are the two concluding numbers, each in the six-minute range without a wasted moment in either case. The leader's improvisations are perfect, full of interesting choices of register, a man in motion who somehow masks his true dimensions.

by Eugene Chadbourne in All Music Guide

Styles:
Hard-Bop
World Fusion

Tracks:
01 - A Night in Tunisia (13:09)
02 - Endura (06:45)
03 - Prayer To The East (09:54)
04 - Love Dance (06:37)
05 - Lover Man (08:18)

Line-up:
Yusef Lateef - tenor saxophone, flute
Wilbur Harden - flugehorn, balloon
Hugh Lawson - piano, turkishfinger, cymbal
Ernie Farrow - bass
Oliver Jackson - drums, Chinese gong

Thelonious Monk - Criss Cross (1963)

Criss-Cross -- Thelonious Monk's second album for Columbia Records -- features some of the finest work that Monk ever did in the studio with his '60s trio and quartet. Whether revisiting pop standards or reinventing Monk's own classic compositions, Monk and Charlie Rouse (tenor sax), John Ore (bass), and Frankie Dunlop (drums) exchange powerful musical ideas, as well as provide potent solos throughout the disc. Fittingly, "Hackensack" -- a frenetic original composition -- opens the disc by demonstrating the bandleader's strength in a quartet environment. The solid rhythmic support of the trio unfetters Monk into unleashing endless cascades of percussive inflections and intoxicating chord progressions. The title cut also reflects the ability of the four musicians to maintain melodic intricacies that are at times so exigent it seems cruel that Monk would have expected a musician of any caliber to pull them off. "Tea for Two" showcases Monk's appreciation for the great stride or "walking" piano style of James P. Johnson and Willie "The Lion" Smith. The arrangement here is lighter, and features a trio (minus Rouse) to accent rather than banter with Monk's splashes of magnificence throughout. Likewise, Monk's solo on "Don't Blame Me" is excellent. The extended runs up and down the keyboard can't help but reiterate the tremendous debt of gratitude owed to the original stride pianists of the early 20th century. The 1993 compact disc pressing of Criss-Cross sounds great and adds a version of "Pannonica" that was previously unissued at the time. Unfortunately, however, the liner notes originally used on the album jacket -- penned by "Pannonica"'s namesake, Baroness Nica de Koenigswarter -- were replaced by those of a writer for Rolling Stone magazine. This is prime Monk for any degree of listener.

By Lindsay Planer in All Music Guide

Styles:
Bop
Hard-Bop

Tracks:
01 - Hackensack (04:17)
02 - Tea For Two (03:53)
03 - Criss-Cross (04:46)
04 - Eronel (04:36)
05 - Rhythm-A-Ning (03:58)
06 - Don't Blame Me (07:11)
07 - Think Of One (05:23)
08 - Crepuscle With Nellie (02:52)
09 - Pannonica (06:47)

Line-up:
Thelonious Monk — piano
Charlie Rouse — tenor saxophone
John Ore — bass
Frankie Dunlop — drums

Sam Rivers - Fuchsia Swing Song (1964)

Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition. Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point. Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. "Downstairs Blues Upstairs" sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures. He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is "Luminous Monolith," with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records "limited editions"; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of "Luminous Monolith" and three more of "Downstairs Blues Upstairs," making it a very worthwhile look at the entire session. This is a highly recommended date. Rivers never played quite like this again.

by Thom Jurek in All Music Guide


Styles:
Post-Bop
Avant-Garde

Tracks:
01 - Fuchsia Swing Song (06:03)
02 - Downstairs Blues Upstairs (05:32)
03 - Cyclic Episode (06:57)
04 - Luminous Monolith (06:31)
05 - Beatrice (06:11)
06 - Ellipsis (07:41)

Line-up:
Sam Rivers - Tenor Saxophone
Ron Carter - Bass
Anthony Williams - Drums
Jaki Byard - Piano

Don Cherry - Symphony for Improvisers (1966)

For his second album, Symphony for Improvisers, Don Cherry expanded his Complete Communion quartet -- tenor saxophonist Gato Barbieri, bassist Henry Grimes, and drummer Ed Blackwell -- to a septet, adding vibraphonist Karl Berger, bassist Jean François Jenny-Clark, and tenor saxophonist Pharoah Sanders (who frequently plays piccolo here). The lineup has a real international flavor, since Barbieri was from Argentina, Berger from Germany, and Jenny-Clark from France; Cherry had gigged regularly with all three during his 1964-1965 sojourn in Europe, and brought them to New York to record. With all the added firepower, it's remarkable that Symphony for Improvisers has the same sense of shared space and controlled intelligence as its predecessor, even when things are at their most heated. Once again, Cherry sets up the album as two continuous medleys that fuse four compositions apiece, which allows the group's improvisational energy and momentum to carry straight through the entire program. The "Symphony for Improvisers" suite is the most raucous part of Cherry's Blue Note repertoire, and the "Manhattan Cry" suite pulls off the widest mood shifts Cherry had yet attempted in that format. Even though the album is full of passionate fireworks, there's also a great deal of subtlety -- the flavors added to the ensemble by Berger's vibes and Sanders' piccolo, for example, or the way other instrumental voices often support and complement a solo statement. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note.

by Steve Huey in All Music Guide

Styles:
Free-Jazz
Avant-Garde

Tracks:

01 - Symphony for Improvisers: Symphony for Improvisers/Nu Creative Love/What's Not Serious?/Infant Happiness (19:43)
02 - Manhattan Cry: Manhattan Cry/Lunatic/Sparkle Plenty/Om Nu (19:17)

Line-up:

Don Cherry - cornet
Gato Barbieri - tenor saxophone
Pharoah Sanders - tenor saxophone, piccolo
Karl Berger - vibes, piano
Henry Grimes - bass
Jean-François Jenny-Clark - bass
Ed Blackwell - drums

Horace Silver - The Cape Verdean Blues (1965)

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw -- is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album.

by Steve Huey in All Music Guide

Styles:
Hard-Bop
Soul Jazz

Tracks:
01 - The Cape Verdean Blues (04:59)
02 - The African Queen (09:36)
03 - Pretty Eyes (07:30)
04 - Nutville (07:15)
05 - Bonita (08:37)
06 - Mo' Joe (05:47)

Line-up:
Horace Silver - piano
Woody Shaw - trumpet
Joe Henderson - tenor sax
J. J. Johnson - trombone
Bob Cranshaw - bass
Roger Humphries -drums

Freddie Hubbard - First Light (1971)

Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor's studio for the third time in 1971 with the express purpose of making a record radically different from anything he'd cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him. The band was also supported by the truly ethereal and adventurous string arrangements of Don Sebesky (a first for Hubbard). The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard's most exciting playing ever. The title track and Hubbard's ingenious read of Paul and Linda McCartney's "Uncle Albert/ Admiral Halsey," as well as Leonard Bernstein's "Lonely Town," are so in the pocket that they bleed soul. Benson's uncharacteristically edgy guitar playing juxtaposed against Hubbard's warm tone, and Hancock's beautifully modal Rhodes lines that are drenched with big, open, minor chord voicings, are simply made more illustrious and graceful by Sebesky's strings. While Red Clay and Straight Life are both fine albums, First Light is the one that connects on all levels -- and it did with the jazz-buying public as well. A masterpiece.

by Thom Jurek in All Music Guide

Style:
Fusion

Tracks:
01 First Light (11:05)
02 Uncle Albert/Admiral Halsey (8:17)
03 Moment to Moment (5:43)
04 Yesterday's Dreams (3:55)
05 Lonely Town [from On the Town] (7:00)
06 Fantasy in D (6:55)
07 First Light [alternate take] (16:04)

Line-up:
Freddie Hubbard - trumpet
Joe Henderson - tenor saxophone
Herbie Hancock - Fender Rhodes piano
Richard Wyands - piano
Ron Carter - bass
Jack DeJohnette - drums
Eric Gale - guitar
George Benson - guitar
Airto Moreira - percussion
Don Sebesky - string arrangements

Lee Morgan - Search for the New Land (1964)

This set (the CD reissue is a duplicate of the original LP) is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.

by Scott Yanow in All Music Guide

Styles:
Hard-Bop

Tracks:
01 - Search for the New Land (15:45)
02 - The Joker (05:04)
03 - Mr. Kenyatta (08:43)
04 - Melancholee (06:14)
05 - Morgan the Pirate (06:31)

Line-up:
Lee Morgan – trumpet
Grant Green – guitar
Herbie Hancock – piano
Billy Higgins – drums
Wayne Shorter – tenor sax
Reggie Workman – bass

Larry Young - Lawrence of Newark (1973)

The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. The CD reissue has fine sound and sells for a budget price; it should not be overlooked. The DJs just haven't discovered this one yet. Awesome.

by Thom Jurek in All Music Guide

Styles:
Post-Bop
Avant-Garde
Jazz-Funk

Tracks:
01 - Sunshine Fly Away (08:51)
02 - Khalid of Space, Pt. 2 Welcome (12:41)
03 - Saudia (04:31)
04 - Alive (02:01)
05 - Hello Your Questions (Islands) (10:17)

Line-up:
Larry Young - Bongos, Keyboards, Organ, Remixing, Producer, Percussion, Vocals
Pharoah Sanders - Sax (Tenor)
Abdul Sahid - Drums
Armen Halburian - Bells, Percussion, Conga
Stacey Edwards - Conga, Percussion
Dennis Mourouse - Electric Saxophone, Sax (Tenor), Saxophone
Umar Abdul Muizz - Conga, Percussion
Howard King - Drums
James Blood Ulmer - Guitar
Joony Booth - Bass
Cedric Lawson - Piano (Electric)
Charles Magee - Electric Trumpet, Trumpet
Diedre Johnson - Cello
James Flores - Drums
Poppy LaBoy - Percussion
Abdul Hakim - Bongos, Percussion
Jumma Santos - Conga, Cowbell, Tom-Tom, Whistle (Human), Tambourine, Percussion, Hi Hat
Don Pate - Bass
Art Gore - Drums, Piano (Electric)

Charles Earland - Black Talk! (1969)

This CD reissue of a Prestige date is one of the few successful examples of jazz musicians from the late '60s taking a few rock and pop songs and turning them into creative jazz. Organist Charles Earland and his sextet, which includes trumpeter Virgil Jones, Houston Person, on tenor and guitarist Melvin Sparks, perform a variation of "Eleanor Rigby" titled "Black Talk," two originals, a surprisingly effective rendition of "Aquarius," and a classic rendition of "More Today Than Yesterday." Fans of organ combos are advised to pick up this interesting set.

By Scott Yanow in All Music Guide

Styles:
Jazz Funk
Soul

Tracks:
01 - Black Talk (07:50)
02 - The Mighty Burner (03:04)
03 - Here Comes Charlie (08:18)
04 - Aquarius (08:02)
05 - More Today Than Yesterday (11:13)

Line-up:
Charles Earland - organ
Houston Person - tenor saxophone
Virgil Jones - trumpet
Melvin Sparks - guitar
Idris Muhammad - drums
Buddy Caldwell -congas

Bobby Hutcherson - Dialogue (1965)

Coming fresh on the heels of his groundbreaking work with Eric Dolphy, Bobby Hutcherson's debut album is a masterpiece of "new thing" avant-garde jazz, not really free but way beyond standard hard bop. Dialogue boasts an all-star lineup of hot young post-boppers -- trumpeter Freddie Hubbard, woodwind player Sam Rivers, pianist Andrew Hill, bassist Richard Davis, and drummer Joe Chambers -- and a set of imaginative compositions by either Hill or Chambers that frequently push the ensemble into uncharted territory. The result is an album bursting at the seams with ideas that still sound remarkably fresh, not to mention a strong sense of collectivity. Hutcherson has so many fine players on hand that the focus is naturally on group interaction rather than any particular soloist(s), setting up nice contrasts like the fiery sax work of Rivers versus the cooler tones of Hutcherson and Hill. Hill's pieces stand tradition on its head, twisting recognizable foundations like the blues ("Ghetto Lights"), Latin jazz ("Catta"), and marching bands ("Les Noirs Marchant," which sounds like a parade of mutant soldiers) into cerebral, angular shapes. Chambers, meanwhile, contributes the most loosely structured pieces in his delicate, softly mysterious ballad "Idle While" and the nearly free group conversations of the ten-minute title track, where Hutcherson also plays the more African-sounding marimba. What's impressive is how focused Hutcherson keeps the group through those widely varied sounds; no one is shortchanged, yet the solos are tight, with no wasted space or spotlight-hogging. Dialogue remains Hutcherson's most adventurous, "outside" album, and while there are more extensive showcases for his playing, this high-caliber session stands as arguably his greatest musical achievement.

by Steve Huey in All Music Guide

Styles:
Hard-Bop
Post-Bop

Tracks:
01 - Catta (07:19)
02 - Idle While (06:37)
03 - Les Noirs Marchant (06:41)
04 - Dialogue (09:59)
05 - Ghetto Lights (06:16)
06 - Jasper (08:29)

Line-up:
Bobby Hutcherson: vibraphone, marimba
Joe Chambers: drums
Andrew Hill: piano
Sam Rivers: woodwinds
Freddie Hubbard: trumpet
Richard Davis: bass

Andrew Hill - Point of Departure (1964)

Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalogue -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz.

by Thom Jurek in All Music Guide

Styles:
Post-Bop
Avant-Garde

Tracks:
01 - Refuge (12:12)
02 - New Monastery (07:00)
03 - Spectrum (09:42)
04 - Flight 19 (04:10)
05 - Dedication (06:40)
06 - New Monastery [Alternate Trake] (06:13)
07 - Flight 19 [Alternate Take] (03:49)
08 - Dedication [Alternate Take] (07:03)

Line-up:
Andrew Hill - piano
Eric Dolphy - alto saxophone, bass clarinet, flute
Joe Henderson - tenor saxophone
Richard Davis - bass
Tony Williams - drums
Kenny Dorham - trumpet