Jazz -- In Stock -- LPs  

Gus Mancuso was a 50s instrumentalist who made a brief but strong flash on the modern scene -- playing one of the most unlikely jazz instruments ever, a euphonium, which he handled with surprising dexterity and grace, creating a bass-heavy sound that was not unlike some of the work done on baritone... read more

Stoner funky bluesy work from Harvey Mandel -- proof that drugs and guitars were the driving force of the Bay Area scene! This one's much more of a rock album in parts than some of Mandel's other work -- in that it's got vocals on a number of cuts and more straight songs -- but Harvey's jazz chops... read more

The title says "disco", but the album's actually a pretty nice batch of electric funk tunes from Herbie -- played with his Family of Mann group, and done in a mode that's a bit like the work on Kudu at the time. Tracks are all shortish -- usually under 5 minutes -- with a tight rhythmic... read more

Herbie Mann's at the Village Gate -- really wailing away in a set of extended numbers that not only set a whole new standard for live recording in jazz, but which also pushed forward the role of the flute in the music as well! There's a heck of a lot of soul in the grooves here -- served up by a... read more

By this point in his career, Herbie must have had a fleet of cars, a harem of ladies, and a golden flute. You can hear his success in the live material that makes up the album -- recorded before very enthusiastic audiences at the New York and Montreux festivals in 1972. Who'd have thought jazz... read more

An excellent album of Latin material from Herbie Mann -- and proof that he's equally great in just about any setting! The album's a rare Columbia Records outing from Herbie -- but it's easily one of his greatest of the 60s, thanks to some really smoking arrangements from Oliver Nelson -- plus an... read more

Herbie Mann's going for a bit of a Memphis soul groove on this album -- but he handles the work with his own sort of flair, and takes the style in a whole new direction! Unlike other sessions of this nature, Herbie didn't just fly down to Memphis and cook up a standard batch of tracks in the... read more

This album was such a big hit for Herbie that it's easy to forget the sheer raw power of the group -- a mighty quartet that included Roy Ayers on vibes, and both Sonny Sharrock and Larry Coryell on guitars -- jamming with a hard but ragged edge, and getting some tighter backing here by a hip... read more

After dipping into the Memphis Underground, Herbie continues his tour of the funky south -- recording here at American Studios in Memphis (only 5 miles from Mississippi, we guess!), with a small combo that includes Bobby Emmons on organ, Bobby Wood on electric piano, and Reggie Young on guitar. ... read more

Herbie Man gets nitty and gritty at the Muscle Shoals Studios -- bringing his funky flute to the southern powerhouse of sound, and hitting some of his most soulful grooves of the time! The approach here is really great -- definitely cast in the southern soul mode that was associated with Muscle... read more

One of Herbie Mann's biggest albums -- and one of his funkiest too! The cover's a bit of an off-putter -- although it probably helped sell the record, back in the day -- but the grooves are as rock-solid as anything that Herbie cut at the time -- tight, focused, and a perfect showcase for his... read more

One of Herbie Mann's biggest albums -- and one of his funkiest too! The cover's a bit of an off-putter -- although it probably helped sell the record, back in the day -- but the grooves are as rock-solid as anything that Herbie cut at the time -- tight, focused, and a perfect showcase for his... read more

Stone flute, or stoned flute, the album's got a really laidback feel -- a sound that's very open-ended, and quite different from some of the crossover classics Herbie Mann was cutting a few short years before! The record's got the darkly brooding feel of some of his other work on the Vortex label -... read more

Like a number of his contemporaries recording jazz for Atlantic, Herbie had moved pretty firmly into a funky soul mode by the mid 70s -- adding in lots of electric instrumentation and vocals to keep up with the success of some of the bigger-selling jazz albums of the time. Oddly, this approach... read more

Herbie's soulful flute is set to large arrangements by Oliver Nelson -- the man who was making it big with many other jazz soloists in the 60s. This album's different than most other Nelson hard-swinging efforts in that it's got a great group that features Jimmy Owens on trumpet, Dave Pike on vibes... read more

A great little LP -- even if it is a discographer's nightmare! The record was most likely recorded originally under Machito's name, and only featured Mann as a soloist -- but it's not the album Kenya, so we're not sure which one it is, although it does look like a repackaging job designed to cash... read more

One of the rarest albums from Shelly Manne -- and one of the best, too! The set's a soundtrack for an obscure film -- and it features Shelly really breaking from the norm a bit -- stretching out with his combo to reach towards some really evocative sounds! The group's a sextet, with edges as... read more

A pretty darn great record -- the first full length LP cut by Shelly, issued by Contemporary in the mid 50s, and pulling together side from sessions in 1953, some of which were issued previously, others of which appear for the first time here. The tracks are short and playful -- very much in the... read more

A great set of fusion tunes -- recorded by American saxophonist Charlie Mariano, in the company of a very hip Finnish ensemble! This 1974 gem features some of Charlie's best work of the decade -- freewheeling, but never too out, and with none of the rock flourishes that sometimes mar his other... read more

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Players include Branford Marsalis on soprano and tenor, Kenny Kirkland on piano, Charnett Moffett on bass, and Jeff Tain Watts on drums -- and titles include "Black Codes", "For Week Folks", "Chambers Of Tain", "Aural Oasis", and "Delfeayo's Dilemma"... read more

Wynton Marsalis is working in lean quartet formation here -- no sax from brother Branford, whose own star was rising -- and instead lots more room to really stretch out on his own languid lines on trumpet! The rest of the quartet features Marcus Roberts on piano, Robert Hurst on bass, and Jeff... read more

Wynton Marsalis' second date for Columbia Records, and an album that already has him stretching out from the first! Unlike before, when Wynton was given a few older players to help establish his sound, the group here is all Marsalis' own -- with brother Branford on tenor and soprano sax, Kenny... read more

A masterpiece of Latin jazz -- and one of the truest expressions of the genre we can think of! The album's quite unique, especially for the time -- a spare, stripped-down presentation of Latin-influenced jazz -- a sound that has its roots in the cubop experiments of a decade before, but which... read more

One of the only early albums as a leader from pianist Ronnie Mathews -- a player who recorded more often in later years, but who really sounds incredible in this rare session for Prestige! Although a lyrical player at heart, Mathews also has a very hard edge here -- more of a soul jazz groove than... read more

A mid 80s trio set from Ronnie Mathews -- one of those great players who always labored in obscurity, but who also managed to always sound great at whatever point in his career he was recorded! The tracks are deceptively simple piano trio material -- with excellent rhythmic backing by Alvin Queen... read more

A mid 80s trio set from Ronnie Mathews -- one of those great players who always labored in obscurity, but who also managed to always sound great at whatever point in his career he was recorded! The tracks are deceptively simple piano trio material -- with excellent rhythmic backing by Alvin Queen... read more

An obscure Japanese session by David Matthews -- one of the sweet electric fusion sides that were part of the late 70s/early 80s Electric Bird series. The sound here is kind of an extension of the funky electric big band sides that Matthews scored for Kudu and CTI in the late 70s -- smoother than... read more

Like a lot of the other Mercury jazz records from the late 70's, this release by the reed player from the Headhunters is a mix of out funky jazz playing with smooth studio production. The sound's a little bit more polished than the Headhunters LPs, and the production is by Pat Gleeson, who was... read more

By this point in his career, Les McCann's moved past straight jazz, and is spending a lot of time on vocals -- sung in a nice raspy style that makes up for what it lacks in technique with a nice dose of soul! The record's got a few cuts that have some good funky riffs -- like the jaunty "Some... read more

A killer little set from Les McCann -- one of his greatest records of the 60s, thanks to a fair bit of Latin Soul influences! The album's got a groove that's much grittier than Les' other work -- a solid, soulful emphasis on bottom rhythms -- which are mostly in a boogaloo and shing-a-ling mode --... read more

A killer little set from Les McCann -- one of his greatest records of the 60s, thanks to a fair bit of Latin Soul influences! The album's got a groove that's much grittier than Les' other work -- a solid, soulful emphasis on bottom rhythms -- which are mostly in a boogaloo and shing-a-ling mode --... read more

Wild electric work from Les -- and a real break from his work of the 60s! Side one of the album features a 26 minute fusion jam called "The Lovers" -- filled with lots of breaks, grooves, and time changes -- and played by a hip ensemble that includes Yusef Lateef, Cornell Dupree, Bernard... read more

The title track was most likely meant to be something of a hit for Les McCann back in his early Pacific Jazz years -- and while it maybe didn't hit the heights of the charts at the time, it's still a great little cooker that leads off a tasty little set! The group here is Les' "Ltd"... read more

The extremely successful union of two of Atlantic's biggest funky jazz stars, caught live in Switzerland, with the amazing Benny Bailey sitting in on trumpet. The tracks are long and funky, and are virtually a blueprint for pop soul jazz playing of the time -- mixing slinky rhythms with some... read more

One of the self-released LPs by a largely unkown Chicago tenor player, who follows along in the great tradition of players like Von Freeman, Cozy Eggleston or Vandy Harris. They may not be a household name, even to jazz fans, but on the south side here they're well know, plugging away on cold... read more

Late Chess stuff, but kind of hard to find -- and very nice! This is a smoking live album, and is a crucial link between the Prestige recordings and the more produced albums of the seventies. Some great cuts, including "Soul Yodel" and "The Jolly Black Giant". Great cover... read more

Don't be put off by the staid sound of "concert" in the title -- because the album's a great set of swingin' live McDuff, recorded at his prime, with the classic quartet of George Benson, Red Holloway, and Joe Dukes. The album's filled with screamin' groovers throughout, including a... read more

A really unusual album for Jack McDuff -- one that was recorded in Memphis, with a lineup and a feel that's quite different from other Blue Note sessions of the time! There's a lot of electricity bubbling in the record -- and although McDuff normally never worked with a bassist on earlier sessions... read more

One of McDuff's fantastic Cadet LPs, and one that features the funky funky organist in a set of crazy arrangements written by him and Richard Evans. An amazing mix of McDuff's soul jazz organ sound with the genius that was the Chess/Cadet studio system of the late 60's -- and one that yields such... read more

A lost electric groover from Brother Jack McDuff -- sweet keyboards instead of his usual Hammond, but still plenty darn great! The record's got a slinky groove that's almost more CTI than Chess Records -- with full arrangements by Billy Jones, who also plays guitar on the record -- alongside... read more

An excellent album of long jazzy grooves by Brother Jack McDuff -- and one that has him really breaking past the tighter style of early years, into the long complicated modal style that graced his best later work. The material was most likely recorded earlier than the record's 1968 release date --... read more

Wonderful stuff from Brother Jack McDuff -- very hip, with a mixture of soul jazz and 60s grooving that's hard to beat! The album's also one of Jack's harder to find numbers on Prestige -- and it features tenor work by Red Holloway and Harold Ousely, guitar by Pat Azzara, drums by Joe Dukes, and... read more

Mindblowingly baroque funk from Brother Jack McDuff -- an album that takes the initial Blue Note tripped-out groove of Moon Rappin, and pushes it to a whole new level! Jack's working here with arranger Ray Draper to come up with some tunes that are miles away from the earlier McDuff albums on... read more

One of the more open-ended sessions that Brother Jack cut for Atlantic -- with less of the tight larger soul arrangements that the label usually saddled him with. (Not that we mind those, though!) David Newman plays a variety of saxes, and the group also includes a young Melvin Sparks on guitar. ... read more

This is actually just a repackaging of McFarland's "Soft Samba" LP from 1964 -- a dream of a record from Gary McFarland -- lightly jazzy instrumentals with a warm bossa nova undercurrent! The style is incredible -- a sweet blend of vibes, guitar, and even some light whistling -- often... read more

A wonderful album from the great Gary McFarland -- and completely sublime all the way through! The record's part jazz, part easy, and all McFarland, with a cool compressed breezy vibe that's just about impossible to describe accurately. Gary's vibes are wonderfully set in a small combo with reeds... read more

A previously-unissued gem from pianist Chris McGregor -- recorded at the tail end of the 60s, when McGregor and some of his South African compatriots were really helping to change the sound of the British jazz scene! The album is one of McGregor's strongest ever -- an incredibly bold statement in... read more

A great little album from Jimmy -- even if it doesn't look it from the cover! Most of the tunes are standards, too -- which doesn't make you think the record will be a slammer -- but the quality of the playing is excellent, and Jimmy's got a 2-guitar combo with Eric Gale and Everett Barksdale on... read more

A nice bit of funky organ work from Jimmy McGriff! The record's recorded with a slightly larger than usual band -- but that's a good thing here, as players like Horace Ott, Cliff Davis, Richard Evans, and Everett Barksdale provide a strong bouncy groove, which Jimmy uses to solo over the top with... read more

A hard and heavy Hammond jazz classic -- and one of Jimmy McGriff's greatest recordings of the 60s! The title track's a new rendition of Ray Charles' famous tune "I've Got A Woman" -- recorded here in a rolling, vamping groove that must have blown the woofer out of countless jukeboxes in... read more

Jimmy's at the organ (but when is he not?) -- really hitting hard in that smoking soul jazz vein that made all of his albums for Sue Records instant classics! The group on this set is nice and small, nice and tight -- featuring a young (pre-Black Jazz) Rudolph Johnson on tenor, Jimmy Smith (not... read more

Later work by McGriff -- back in a straight soul jazz style, ala his earlier 60s work, cut perhaps in a mellower tone, like some of his more laidback albums for Solid State. Players include Harold Vick, Bill Easley, Bill Hardman, and Jimmy Ponder -- and titles include "All Day Long",... read more

Jimmy McGriff picks up a few more keyboards than straight Hammond organ -- but that's ok with us, given the great results of the set! The album's got McGriff working on electric piano and clavinet alongside the organ -- plus supporting arrangements from Brad Baker, in that fuller, Kudu-styled... read more

Heavy funk from Jimmy McGriff -- a monster set of grooves that ranks with his best of the late 60s! The tracks are short and sock-hard -- Jimmy wailing on Hammond, over rhythms that have plenty of sharp edges, and lots of nice drum work -- all recorded in a mode that's a heck of a lot rawer than... read more

Sweet funky blues from the team of Junior Parker and Jimmy McGriff -- sounding better here maybe than on any of their other albums! Junior's got a sweet approach to the lyrics that grooves nicely with Jimmy's Hammond -- and the set's got some full and soulful arrangements by Horace Ott that really... read more

Twin organs back to back -- and a heck of a hard-wailing set from Groove Holmes and Jimmy McGriff! The album cooks from the very first note -- and features long tunes that open up with the same sort of solo-heavy approach that you'd get on Holmes' Prestige albums of the 60s -- very stretched out,... read more

A killer "new thing" session from Blue Note's mid 60s glory days -- featuring Jackie McLean, and some youthful modernists, like Cecil McBee, Bobby Hutcherson, and Charles Tolliver, all coming together in an incredibly powerful set of tracks! Billy Higgins rounds out the set on drums, and... read more

A tremendous set from Jackie McLean -- perfectly poised between his hardbop and modern years, with a set of compositions that are as great as the performances! The lineup on this one's a bit unusual -- with Walter Bishop on piano, Blue Mitchell on trumpet, Paul Chambers on bass, and Art Taylor on... read more

Great stuff, and one of Jackie McLean's best for Blue Note from the "new thing" period! The album features Jackie working out a wealth of new ideas, in a quartet that includes Larry Willis on piano, Bob Cranshaw on bass, and Clifford Jarvis on drums. Jackie holds down the frontline... read more

Early genius from Jackie McLean -- arguably his best pre-Blue Note album, and a sinister batch of hardbop tracks recorded with a great group that includes Donald Byrd on trumpet and Elmo Hope on piano! The tracks are long, with a bit of the "blowing session" feel of other Prestige albums... read more

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Bebop is alive and well in this classic 60s set by McPherson -- blowing hard here in a Bird-esque mode on alto, but also with some of the soulfulness of Jackie McLean during the 50s. The group features Carmell Jones on trumpet, Barry Harris on piano, Nelson Boyd on bass, and Al Heath on drums --... read more

A mixture of bop tunes and easier grooving numbers, played in the nicely flowing spiritual mode that McPherson could hit when he had the chance, and the right setting. Backing is by a trio of Barry Harris, Sam Jones, and Leroy Williams -- and titles include "Tokyo Blue", "East Of... read more

A brilliantly evocative album from Pat Metheny -- one that's got a quietly epic feel, as Pat and group soar out across the American landscape in a set of tunes that subtly explore space and sound while still remaining wonderfully fluid. There's nothing forced here, and nothing too slick -- just a... read more

Sweet jazzy grooves from this hip Italian duo -- Enzo & Gianni Lo Greco, who've also recorded as Quintetto Lo Greco for Schema Records! The sound here is definitely in a Schema groove -- lots of jazzy instrumentation on piano, sax, trumpet, and trombone -- very much in the best 60s Italian... read more

80s electro soul from Marcus Miller -- nicely grooving in a mix of beats, keyboards, and vocals -- all handled by Marcus himself! As with his other work from the decade, there's a jazzy flair to much of the record -- a style that goes a bit deeper than just the simple soul that you might guess... read more

A classic Landmark trio session from Mulgrew Miller -- filled with the kind of expansive rolling piano progressions that made his early work so striking! The trio's got an incredible sense of power, thanks to strong bass work from Robert Hurst and beautifully placed drumming from the great Kenny... read more

Wonderfully sensitive work from pianist Mulgrew Miller -- an album that's hardly "work" at all, and which seems to have the magical music flowing from his hands with ease! There's a really organic feel to the set -- that never-forced approach to piano that made Miller a real standout... read more

Stunning stuff -- and one of the greatest Charles Mingus albums of all time -- a true treasure recorded in that magical year of 1957, when Mingus was finally finding his strongest voice in modern music! The album's near-perfect from start to finish -- as bold a statement in jazz as anyone might be... read more

One of Charles Mingus' true classics -- and an essential album in any jazz collection! This 1959 gem was recorded by Mingus at a key point in his career -- when he was rising from the jazz underground into the ranks of America's elite jazzmen, penning some of the most challenging work of his... read more

A landmark recording from Mingus -- and one of his best of the mid 60s! The album was recorded live at the Montery Jazz fest -- and it features great work by Jaki Byard, Charles McPherson, John Handy, and Lou Blackburn. Mingus explores his increasing fascination with the work of Ellington on the... read more

Seminal early work from Charles Mingus -- a session that really shows him beginning to work in tightly arranged, deeply resonant styles -- pushing much more deeply towards the brilliance of the late 50s! The set's recorded with a great lineup that includes Mal Waldron, Max Roach, and the enigmatic... read more

A killer live date from that key Charles Mingus year of 1964 -- recorded on the famous tour of Europe that happened shortly before Eric Dolphy's death! The group here is Mingus' sharp-edged sextet -- an ensemble that features Dolphy on flute and alto, Johnny Coles on trumpet, Clifford Jordan on... read more

A fantastic album -- one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus -- and it features the same sort of fire and emotion that made those classics so great. The group alone... read more

Comprehensive 3 LP set that covers the full range of Mingus' great recordings for Atlantic, including stuff from many hard to find albums that you won't find easily on LP. The track list is virtually a catalog of his greatest recordings, with 18 tracks in all: "Pithecanthropus Erectus",... read more

Two great sides of Mingus, recorded in France in 1970 and originally issued on America records. The group's a smallish one, featuring Mingus stalwart Dannie Richmond on drums and Jaki Byard on piano, plus Charles McPherson, Bobby Jones and Eddie Preston up front. These sides offer ample proof... read more

Oh how we love this album -- and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 -- missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the... read more

Oh how we love this album -- and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 -- missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the... read more

A lost bit of funky 70s jazz -- featuring the John Minnis Big Band from the Philly scene! Minnis leads the group on trombone and keyboards, and the album's got a feel that's right up there with the best electric big band styles of the time -- grooving hard on some tracks, and kicking back and... read more

A great overlooked album by this fantastic tenor talent from Detroit. Although often lost in other people's groups, Billy is excellent here, and lays down some great solos with a lot of imagination and fire. He's backed by a group that includes Thad Jones, Kenny Burrell, and Richard Wyands, and... read more

Funky stuff for Mainstream, with a number of different players on each track -- including Charles Williams, Charles Kynard, Curtis Fuller, Ron Carter, Paul Humphrey, Harold Mabern, and Ray Barretto -- but a pretty consistent groove throughout! Blue's trumpet always works well in this sort of... read more

Sweet electric 70s funk from Blue Mitchell -- blowing here in some of the hippest arrangements of his career! Blue's trumpet alone is always pretty darn great, but for this album he's working with arranger Dave Matthews -- who gives the tunes fierce groove that mixes vamping guitars with snapping... read more

An album recorded for RCA during the time when they were making a number of great funky jazz sessions that had a good fusion R&B feel. Clarence McDonald plays some cool synth and clavinet, and David T. Walker lays down some nice guitar riffs. Includes a good version of "Creepin",... read more

Great set of recordings from the 70's that feature Roscoe Mitchell in a number of different settings. "The Maze" has him playing with 8 percussionists (including Braxton, Malachi Favors, Joseph Jarman, and Henry Threadgill) in a 20 minute long moody choppy piece. "L-R-G" is a... read more

A seminal session from Roscoe Mitchell -- beautiful work recorded for the small Nessa label, and a real testament to the fragile beauty of his music! Some of the tracks are solo, and others feature Roscoe in shifting groups with other AACM players -- a duet with bassist Malachi Favors, another... read more

One of the first bold statements to come from Chicago's AACM underground of the 60s -- a tremendous debut effort from the young Roscoe Mitchell! The album's got a "sense of the new" feel that's as gripping as anything recorded by ESP or Impulse around the same time -- a rule-breaking,... read more

The MJT grooves like nobody's business, thanks to a core rhythm group that includes Harold Mabern on piano, Walter Perkins on drums, and Bob Cranshaw on bass. Add to the mix a young Frank Strozier on alto, fresh from Memphis (he made the trip to Chi-town with buddy Harold Mabern), and the smoking... read more

The MJT grooves like nobody's business, thanks to a core rhythm group that includes Harold Mabern on piano, Walter Perkins on drums, and Bob Cranshaw on bass. Add to the mix a young Frank Strozier on alto, fresh from Memphis (he made the trip to Chi-town with buddy Harold Mabern), and the smoking... read more

One of the greatest Blue Note albums of all time! Hank Mobley leads an incredibly soulful group that includes Lee Morgan, Curtis Fuller, McCoy Tyner, and Billy Higgins -- and the group plays this amazing mix of soul jazz and modal grooves that is hardly matched by anything else in the Blue Note... read more

One of Hank's most solid sessions from the mid 60's -- recorded with a hard-biting lineup that has Lee Morgan, Harold Mabern, and Larry Ridley -- coming together under Mobley's expansive style of the time! The record's a key turning point in his career -- as Hank moves from a straight hard bop... read more

One of Hank Mobley's greatest sides from the hardbop years of the late 50s -- a searing sextet session with a 3-horn frontline! The group features Mobley on tenor, John Jenkins on alto, and Donald Byrd on trumpet -- plus a crackling rhythm group with Bobby Timmons, Wilbur Ware, and Philly Joe... read more

We put the catalog number in the title of this one because it seemed that Blue Note was putting out too many title-less Hank Mobley albums during the late 50s. Who cares, though? This album's a great batch of hardbop tracks that show Mobley at his finest, and which hardly need a title to hang... read more

Excellent Hank Mobley work from the 60s! The record is a fierce session of modal hardbop numbers, of the sort that Mobley was perfecting during this key point in his career. Lee Morgan's on trumpet, and pianist Andrew Hill makes a rare "straight" appearance on the album. Titles include... read more

A killer set of hardbop from the legendary Hank Mobley -- recorded during the initial Mobley run at Blue Note, and a keen document of his amazing power on the tenor sax! The album's got a tightness that's almost impossible to believe -- a summation of all the best bop trends of the 50s, rolled... read more

A lost session by Hank Mobley -- originally recorded in 1966, but not officially issued until 1979, and then only briefly until another short issue in the mid 90s! The record has Mobley really reaching out into a new bag -- hitting a more soulfully arranged sound than on some of his other... read more

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums-- a spare and simple group, but one with a direct energy that's really amazing --... read more

One of Hank Mobley's last recordings for Blue Note, and a record that really shows him stretching it out -- hitting territory hardly imagined on his earlier hardbop sides! The album's still somewhat inside, but the overall feel is much more spacious than before -- a sound that has some nice open... read more

One of the best-ever Hank Mobley albums on Blue Note -- and a killer batch of soulful hardbop that was cut right around the same time as the classic No Room For Squares LP. In fact, the album contains work from 2 different sessions that filtered over to the Squares album -- one that featured... read more

Killer work from a group who really live up to their name -- a sharp-edged piano trio with really far-reaching ideas in their music! The combo features Franco D'Andrea on piano, and the tunes are awash in his angular tones -- notes that always seem to have a nice bite to them, but never in ways... read more