Jazz — All Formats  

Classic Quincy Jones from the 60s – a pair of records that really show why his jazz skills were unlike anyone else! Quincy Jones Plays Hip Hits is a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man". Golden Boy is a sweet bridge between Quincy's big band recordings and his groovier soundtrack work of the mid 60s – as the record combines straight jazzy grooving with some of the cooler elements of Quincy's soundtrack scores, like stepping strings, wordless voices, and a breathy mellow groove that floats across the disc in a wonderful way! Aiding Quincy in the album are a host of top-line jazz players – including Eddie Lockjaw Davis, Jerome Richardson, and Phil Woods on saxes – plus Freddie Hubbard on trumpet, Al Grey on trombone, and Jim Hall on guitar! Although titled after the show Golden Boy, only a few cuts here are from that musical – and the rest include Quincy Jones originals and some cool covers, given the Q twist. Titles include "Seaweed", "The Witching Hour", "Hard Day's Night", "The Sidewinder", and "Theme From Golden Boy", done in 2 versions, both great!

An obscure Jazz Messengers session – but a great one! The album is ostensibly a set of jazz versions of tunes from the musical Golden Boy, and the group this time is a larger one than usual – a total of 10 players, led by Blakey – and playing beautifully over arrangements from Wayne Shorter, Curtis Fuller, and Cedar Walton! The style's not any sort of clunky "jazz meets Broadway" mode, though – as the care taken by the artists involved help elevate the tunes, and the performance, to a whole new soulful level – hardly what you'd expect! The group features trumpet work from Lee Morgan and Freddie Hubbard, tenor from Wayne Shorter, alto from James Spaulding, trombone from Curtis Fuller, baritone from Charles Davis, piano from Cedar Walton, and bass from Reggie Workman – all very hip cats, working here with the same sort of large group textures you might hear on Freddie Hubbard's Body & Soul album from the same time, mixed with some more traditionally Blakey-led moments. Titles include "Yes I Can", "Theme From Golden Boy", "Lorna's Here", "This is The Life", and "There's A Party".

There's definitely lots of brass here – as you might guess from the title – but never so much so that it gets in the way of individual soloing by Maynard Ferguson! The date features Maynard working with arrangements by Willie Maiden, Al Cohn, Ernie Wilkins, and Bill Holman – all for a largeish group that's wonderfully hip – Bobby Timmons on piano, Anthony Ortega on alto, Jimmy Ford on alto and tenor, Willie Maiden on tenor, Tate Houston on baritone, Richard Evans on bass, and Larry Bunker on drums – plus some added trumpets and trombones! Maynard himself plays both instruments on the date, and the album also feature some surprising guest vocals by Irene Kral on 4 tracks – spicing up the instrumental blend with lyrics on "Moonlight In Vermont", "I Hadn't Anyone Till You", "Imagination", and "The Song Is You". Instrumental tracks include "Jeepers Creepers", "I Never Knew", "A Foggy Day", "Love Me Or Leave Me", and "The Lamp Is Low".

One of Coryell's best albums ever – a much more expansive session than some of his other records, fueled by some of the spiritual intensity of the Impulse records generation. Players on the album include Steve Marcus on tenor and soprano sax, Mike Mandel on piano, Roy Haynes on drums, and Larry Killian on congas – working with Coryell on long trippy tracks that are clearly informed by the styles of 60s work by Chico Hamilton, Charles Lloyd, and Gabor Szabo. All tracks are long, and titles include "Call To The Higher Consciousness", "The Great Escape", and "Gypsy Queen".

A gem of a record from Nat Adderley – filled with short soulful groovers, and done with an upbeat vibe that rivals some of Cannonball's best of the 60s! Joe Zawinul handled the arrangements, so there's definitely a strong influence here from the Cannon group – and although the players shift a bit throughout the course of the set, there's a really unified feel – thanks to a top-shelf lineup that includes Seldon Powell on tenor and flute, Ernie Royal on trumpet, Benny Powell on bass trombone, and Willie Bobo on percussion! The set features all original material by Nat – with older gems and new favorites that include "Little Boy With The Sad Eyes", "Never Say Yes, "Jive Samba", "Stony Island", "Junkanoo", and "Work Song".

Classic mellow Jug – from a time when Prestige discovered that Gene Ammons would sell equally well to the mellow jazz crowd as to the jukebox jumpers! This set brings together tracks from 3 Gene Ammons 60s albums – 2 of which were best sellers, Velvet Soul and Sock, the last of which, Night Lights, was a lesser known number cut at the end of the 60s. Tracks are with a number of different groups – a few with a larger one, and others with smaller combo that features either organ or piano. There's a total of 13 tracks in all – and titles include "Calypso Blues", "Nature Boy", "Blue Coolade", "Scam", "Cara Mia", "Night Lights", "Salome's Tune", "Velvet Soul", "Stranger In Town", and "Light N Up".

A Christmas jazz album – even though you might not guess it from the title and cover – and one that really takes a fresh approach to a wide range of Holiday classics! Guitarist Craig Brann isn't content to simply rehash old melodies – and instead really steps out with creative jazz reworkings of these classic tunes – re-arranging almost all of them with a fresh sense of rhythms, and some angular energy that makes them all a lot more striking than most familiar versions! Tunes are short, but get in plenty of creative changes – and in addition to Brann's guitar, the set also features tenor and alto from Gregory Tardy, piano from Joel Weiskopf, and alto from Nicholas Kozak. Maybe the most openly creative Christmas jazz album since God Rest Ye Merry Jazzmen – with titles that include "We Three Kings", "Angels We Have Heard On High", "God Rest Ye Merry Gentlemen", "Hark The Herald", "Little Drummer Boy", and "Joy To The World".

Sublime modern jazz from Teddy – right up there with the best mid 50s work of other groundbreakers like Charles Mingus or George Russell, to whom Charles acknowledges more than a bit of inspiration! Charles plays vibes like no one else – especially at this point in his career, when he's moving into offbeat chromatic ranges that wouldn't be duplicated for another decade, in the work of players like Bobby Hutcherson or Gary Burton. His players on this set include Art Farmer, JR Monterose, Gigi Gryce, and Mal Waldron – and the album includes the original tracks "Green Blues", "The Emperor", and "Vibrations", plus a great version of "Nature Boy".

A really rich document of the charms and talents of reedman Lol Coxhill – a set that features music from a wide range of scenes and settings in Lol's long career – including bits of hardbop from the 50s, R&B from the 60s, and a wide range of great performances from later years too! Coxhill's a hell of a player who always seems to shine, no matter what the setting – and this package is almost like a combination of the sharp edges of the Emanem recordings, the moodier feel of the Virgin albums and some of Lol's rockish work, and the charming whimsy of the Nato years too – all topped off with a few historic elements that only add to the color and tone of the package – especially given that the tunes aren't always presented in chronological order. We're under the impression that most music is exclusive to this set – and tracks include "Bad Boy", "Autumn In New York", "Vermillion Sands", "Three Go To Letchworth", "Out Of Nowhere", "Uptown Top Ranking", "Magic Buffalo", "A Brief Introduction To Sax", "Murder In The Air", and "Resonance".

Despite the title of the album, the group's a sharp-edged fusion combo – one that hails from late 70s Japan, and who works here in the best mainstream fusion mode of the time! The tunes are mostly jazz funk with a bit of polish – heavy on guitars from Kazuo Takeda, who also takes off on some pretty nice solos – and also featuring keyboards from Hisao Sakurai and tenor from Mitsuru Kanekuni. The record is never too jamming, nor too smooth – but one number does feature some unfortunate blues vocals from Takeda. Titles include "Spinning Toe Hold No 2", "No Problem", "Wild Cat", "Swamp Boy", and "Fou Fou Gun Gun".

Amazing live documents of Miles Davis and his incredible mid-to-late 60s quintet – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – complete concert recordings from Antwerp, Copenhagen and Paris on 3CDs seeing release for the first time ever, plus a DVD featuring the only known video footage of this group from the period! CD 1 features material from 10/28/68 in Antwerp, CD 2 on 11/2/67 in Copenhagen and 11/6/67 in Paris, with the latter concert continued on CD 3. This is landmark stuff here – a surprisingly rare opportunity to hear first rate live recordings of legendary material from the ESP, Miles Smiles, Sorcerer and Nefertiti albums – as well as brilliant revisits of vital earlier material. Includes live takes on "Agitation", "Foot Prints", "No Blues", "Gingerbread Boy", "On Green Dolphin Street", "The Theme", "Footprints", "Masqualero", "I Fall In Love Too Easily", "Walkin'" and more. The DVD starts with five numbers recorded on 11/7/67 in Karlzruhe, Germany: "Agitation", "Footprints", "I Fall In Love Too Easily", "Gingerbread Boy" and "The Theme". It concludes with material in Stockholm on 10/31/67: "Agitation", "Footprints", "'Round Midnight", "Gingerbread Boy" and "The Theme".

Amazing live documents of Miles Davis and his incredible mid-to-late 60s quintet – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – complete concert recordings from Antwerp, Copenhagen and Paris on 3CDs seeing release for the first time ever, plus a DVD featuring the only known video footage of this group from the period! CD 1 features material from 10/28/68 in Antwerp, CD 2 on 11/2/67 in Copenhagen and 11/6/67 in Paris, with the latter concert continued on CD 3. This is landmark stuff here – a surprisingly rare opportunity to hear first rate live recordings of legendary material from the ESP, Miles Smiles, Sorcerer and Nefertiti albums – as well as brilliant revisits of vital earlier material. Includes live takes on "Agitation", "Foot Prints", "No Blues", "Gingerbread Boy", "On Green Dolphin Street", "The Theme", "Footprints", "Masqualero", "I Fall In Love Too Easily", "Walkin'" and more. The DVD starts with five numbers recorded on 11/7/67 in Karlzruhe, Germany: "Agitation", "Footprints", "I Fall In Love Too Easily", "Gingerbread Boy" and "The Theme". It concludes with material in Stockholm on 10/31/67: "Agitation", "Footprints", "'Round Midnight", "Gingerbread Boy" and "The Theme".

2 lesser-known sides of Blossom Dearie – both recorded in Paris in the 50s! The first 8 tracks on the set are from a rare 10" session recorded in 1955 – one that features Blossom only at the piano, not singing, but swinging in a solid trio format. Tracks on that session include "The Boy Next Door", "Down In The Depths Of The 90th Floor", "April In Paris", and "Blue Moon". The other 4 tracks on the set are from a 45rpm ep by Blossom's famous vocal group, The Blue Stars. The ensemble featured vocalese performances by young singers that included Christine Legrand, Jeanine De Waleyne, and Fats Sadi – and was the virtual blueprint for later jazz vocal groups, like Les Double Six or The Swingle Singers. Titles from that group include "Toute Ma Joie", "Embrasse Moi Bien", and "Toute Ma Joie".

A pair of great Bill Evans albums for Verve – both a very good fit together! The cover of Empathy co-credits Bill Evans and Shelly Manne as the leader of the set – and that distinction's an important one – as the record has a slightly different feel than some of Bill's other 60s work for Verve! The sound is often a bit stronger, somewhat bolder – and although Manne's not a monster on the drums, he does have a way of directing the tunes that's a bit different than some of Evans' other piano-led albums. Bass is by Monty Budwig, who's nicely sensitive to the talents of both players – and there's almost an equally-weighted melodic feel to all three elements of the trio – which really rounds out the record nicely. Titles include "The Washington Twist", "Danny Boy", "Let's Go Back To The Waltz", "With A Song In My Heart", "Goodbye", and "I Believe In You". Simple Matter Of Conviction is a move into a more sophisticated vein than his earlier recordings! The album has him working with bassist Eddie Gomez, a hugely talented bassist that would be one of Bill's best partners during this period, and a player who added a nice dose of soul to the proceedings. The drummer is Shelly Manne, who's pretty nice, too – and really shows off some of his more sophisticated shadings here in the presence of Evans and Gomez – similar to his work on the great Empathy album. Tracks are shortish, but filled with imagination – and titles include "Unless It's You", "These Things Called Changes", "Stella By Starlight", and "A Simple Matter Of Conviction".

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include classic long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

If you've ever needed a definition of hardbop, this is it! The set's a crack quartet session for Blue Note, recorded in the mid 50s by a young Johnny Griffin – fresh in from Chicago, and playing with tons of fire and loads of imagination! Wynton Kelly's on piano and Max Roach is on drums – and the excitement never stops as the group rolls their way through the tightly-crafted tunes on the set. And don't mistake the session as just a head-blowing album with no creativity – because the whole thing's incredibly precise, and the real charm is the way in which the razor-sharp group manages to twist and turn so deftly – yet still always plays with creative imagination and thoughtful solos! Cuts include "Mil Dew", "Chicago Calling", "These Foolish Things", The Boy Next Door", "Lover Man" and "It's Alright With Me".

Great recent work from legendary bassist Chuck Israels – a player known for his famous work with Bill Evans, but a musician who's just kept on growing over the years! This set's got a great 50s modern jazz vibe – bass by Israels and guitar from co-leader Axel Hagen – in a setting that also features drums from Peter Kahlenborn and tenor and clarinet from John Ruocco. The bass and guitar often take the lead – in ways that echo the vibe of an older Jim Hall-styled session – and when clarinet's in the mix, there's a wonderfully open style to the record – not exactly the Jimmy Giuffre trio on Atlantic, but not far off either! Titles include "Koko", "Slow Freight", "The Boy Next Door", "Chaconne A Son Gout", "The Sweetest Sounds", and "Minor Tributary".

A sweet Japanese piano trio session from the 70s – named after the ballad "Emily", which features prominently in the lineup – but handled with a depth of sound that goes way past that familiar number! Emiko Kai's got a subtle touch on the keys – one that definitely has echoes of Bill Evans, and her treatment of the title tune – but there's also a warmer, rolling sense of piano work too – that style of inherently rhythmic playing that makes 70s Japanese sets like this so great. The group features American Donald Bailey on drums, plus Takashi Mizuhashi on bass – and titles include "Emily", "Tem Do De Mim", "Go Away Little Boy", "Beautiful Love", and "The Time Of My Life".

One of the hippest Stan Kenton albums of the 60s – a set of original compositions by Dee Barton – Stan's drummer at the time, and a composer to rival the great ones who contributed to the Kenton group of the 40s and 50s! Barton's work here is totally great – modern, but never too academically so – that perfect balance of swinging and thinking that marks some of the best Kenton albums over the years. All numbers are awash in those great Kenton tones and colors we love so much – and the group here features Mike Price on trumpet, Dick Shearer on trombone, Ray Reed on alto & flute, Mike Altschul on tenor, and Don Bagley on bass – as well as Kenton on piano and Barton on drums. Titles include "Man", "Lonely Boy", "Singing Oyster", "Dilemma", "Three Thoughts", "A New Day", and "Woman".

Genius work from trumpeter Blue Mitchell – one of his most solid sides as a leader from the 60s, and a well-deserved treasure in the Blue Note catalog! The album's quite different than the straight soul jazz of Blue's early days on Riverside – or the more arranged dates of the late 60s – and it features him moving in a soulful, lyrical, modal style – quite similar to Horace Silver in conception, but with a fresh execution that's mighty nice – and which marks Mitchell as one of the fresher trumpet voices of his generation! The whole group's great, too – and the lineup includes Junior Cook on tenor, Blue's old bandmate from Horace Silver's group – plus Harold Mabern on piano, who really helps shape the sound of the record, Gene Taylor on bass and Billy Higgins on drums. Tracks include gems from Mitchell, Jimmy Heath, and Tom McIntosh – titles that include "Bring It Home To Me", "Blues 3 For 1", "Port Rico Rock", and "Ginger Bread Boy".

The team of Clark Terry & Bob Brookmeyer shouldn't work so well together – but although Terry's always been an optimist, and Brookmeyer's had a history as a modernist, the pair cut some great records together! This set's one of the best of a short run the Terry/Brookmeyer group cut for Mainstream in the mid 60s – a quintet session with Hank Jones on piano, Bob Cranshaw on bass, and Dave Bailey on drums – all players creative enough to match the playful spirit of the leaders, muting their rhythms one minute, and grooving them up the next! The mix of Terry's flugelhorn and Brookmeyer's trombone is especially great – a breathy approach to the horn parts that still swings hard, but with a fluid grace that's more pulsating than punctuating. Titles include a great version of Gary McFarland's "Milo's Other Samba", Jimmy Heath's "Gingerbread Boy", and the titles "Haig & Haig", "My Gal", "Naptown", and "Morning Mist".

A nice little tribute to soul, jazz and fusion legend George Benson – and a project that's a labor of love for Benson-devotee, soulful spirit and brilliant guitarist U-Nam – with an allstar lineup that features Ronnie Foster, George Duke, Patrice Rushen, Andreas Oberg, Tim Owens, Marcus Millers and others! Benson is an artist who embraced diversity and creative evolution – and this tribute does that legacy proudly. It’s rich with fusiony soul groovers that are laced with some truly impeccable guitar work. It's got some throwback swagger in spots, but it's also got some distinctly modern soul appeal – and an all around affectionate spirit. U-Nam plays guitars, keyboards and more here – on top of handling the recording and arrangements – and the guests bring their best! Includes "Weekend In LA" with Rhodes and clavinet by Ronnie Foster and vocals by Andreas Oberg, "Give Me That", "Shiver" and more with singer Tim Owens, "This Masquerade" with more great Fender Rhodes – this time by George Duke, "Hip Ship", "Before You Go/Breezin'" with Patrice Rushen, "Nature Boy" with Stokely Williams and more.

Sublime soulful sax from Grover Washington – the man who virtually reinvented the sound of the instrument for a decade! The package here brings together some of the coolest cuts from Grover's years on Kudu Records – a place that really helped him hone his sound after initial recordings in the soul jazz underground – coming up with a compressed style that worked perfectly alongside keyboards and Hammond – played here by players who include Dave Grusin, Bob James, and Richard Tee! Tracks are often long and have a snakey vibe that's always funky, but a bit more too – that special blend that was Grover's imprint at the time – and which resonates a lot stronger here than on any later work. The package is overflowing with gems – including "Loran's Dance", "The Sea Lion", "Earth Tones", "Masterpiece", "Black Frost", "Ain't No Sunshine/Theme From Man & Boy", "All The King's Horses", and "Inner City Blues".

A classic Verve pairing of two of its greatest soloists – both recorded here in a laidback, easily-swinging session that allows both players to shine equally! Young's tenor is always a welcome addition to any set of this nature, and Edison's playing here in a gentler, relaxed mode that's a wonderful fit to the easygoing groove laid down by the rhythm section of Herb Ellis, Ray Brown, and Buddy Rich. Titles include "Mean To Me", "That's All", "She's Funny That Way", and "Red Boy Blues".

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include classic long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

A wonderful little record from Canadian pianist Bernie Senensky – his first as a leader, and an incredibly strong debut that's filled with life, love, and a keen sense of imagination! The tracks are all originals penned by Bernie, and the set's recorded in a spacious, open style that's very much in keeping with other jazz work at the time on the PM label – but done in a mode that's gentler and sweeter than some of the heavier-hitting jams that PM was known for. Senensky's got a wonderful ear for a lyrical tune – and many of the numbers on the set leap along in a lively mode that gives the album a few great jazz dancers. Bass is by Michel Donato, drums are by Marty Morell – and titles include "Poochie", "Lolito's Theme", "Little Waltz For A Little Boy", "BB", and "Another Gift".

One of the straighter sessions ever recorded by vocalist Bobby Troup – an intimate quartet side, with backing by Howard Roberts on guitar, Bob Enevoldsen on bass, and Don Heath on drums. Bobby sings and plays piano – in that warm, laidback LA style that's made him one of our favorite male vocalists of the time – and he's less tongue-in-cheek here than on some of his other recordings, bringing a simple but honest presentation to material that includes "Have You Met Miss Jones", "It Still Suits Me", "Little Girl Blue", "You Are Too Beautiful", "They Can't Take That Away From Me", and "The Boy Next Door".

A great step forward for trumpeter Christian Scott – a set that really delivers all the promise we've always seen in his music – and really pushes things into rich new territory too! The title and cover look rootsy, but the rhythms are really futuristic – soaring, spiraling bass, drums, and piano – plus Fender Rhodes too – used in these unbridled ways that are almost to Scott's career what Bitches Brew was to Miles Davis! Yet that's also not to say that this double-length set is any sort of Bitches copycat either – as Scott's inspirations are a lot different, and the tunes are sometimes nicely compact – able to deliver a lot with just a little, all while still setting his horn free much more than before. Titles include "New New Orleans", "Who They Wish I Was", "Spy Boy/Flag Boy", "Dred Scott", "Danzinger", "Jihad Joe", "Cara", "Red Rooster", "Liar Liar", and "I Do".

One of the first European recordings from Sahib Shihab – a classic set that's the start of an amazing 60s run on the continent! Shihab here is quite different than his American dates of the 50s – bolder, and blowing with a really open, fluid sort of groove that marks a great development in his sound – using baritone sax, soprano, and flute – a range of instruments that really creates a wide range of feeling in the set! The performance is a live one, and the group is great too – with Allen Botschinsky on flugelhorn, Ole Molin on guitar, Niles Henning Orsted Pedersen on bass, and both Alex Riel and Bjarne Rostvold on drums. Rhythms are a key part of the set – really free and open, setting the scene for Sahib's modal genius to come – and titles include "47th Blues", "Billy Boy", and the 3-part track "Conversations". CD features 3 bonus tracks – "Charade", "Not Yet", and "Someday My Prince Will Come".

A nice little tribute to Boston boy Charlie Mariano – done by the Berklee School Of Music, at a time when the group included John Abercrombie on guitar, Yasuo Arakawa on bass, Alf Clausen on French horn, and Ernie Watts on sax and flute! Herb Pomeroy directs, and titles include "Iberian Waltz", "Miss Blue Eyes", "Little T", "Come Fall", and "Impressions Of Kyoto".

Stripped-down Count Basie from the start of the 60s – a great little set that has the Count working with some of the best players from his larger group, in a session of even more intimate small combo material! The sounds here echo the Basie groove of the earlier years, but the overall presentation is a fair bit more modern – nicely syncopated with that sense of space discovered by Basie in the 50s – and perfectly interpreted by players who include Thad Jones on trumpet, Frank Wess on flute, Frank Foster on tenor, Freddie Green on guitar, Eric Dixon on flute, and Basie himself on both piano and organ – the latter of which is quite a treat! Titles include "Secrets", "Count's Place", "I Want A Little Girl", "Tally Ho Mr Basie", "Senator Whitehead", "Whatcha Talkin", and "Shoe Shine Boy".

Live material from a Village Gate performance that included the leading lights of the East Village free scene in the 60s – John Coltrane, Albert Ayler, Grachan Moncur, and Archie Shepp! The set's a great counterpart to some of the full artist releases on Impulse at the time – and features key material that's not out there elsewhere! A really standout track is from a unique group that never got much recording time – one featuring Bobby Hutcherson on vibes, Charles Tolliver on trumpet, James Spaulding on alto, Cecil McBee on bass, and Billy Higgins on drums – on a killer version of Monk's "Brilliant Corners". Other titles include an Alber Ayler-led version of "Holy Ghost", a Grachan Moncur reading of "Blue Free" with Hutcherson on vibes, a Coltrane quartet take of "Nature Boy", and Archie Shepp doing "Hambone" in a group with Marion Brown on alto and Virgil Jones on trumpet.

An odd little session for Miles Davis – playing here with a great group, but one that's made up of musicians who are all uncommon sidemen for him, even at this early point in his career! Britt Woodman (a nom-du-date?) is on trombone, and Charles Mingus and Elvin Jones are in the rhythm section – plus Teddy Charles' vibes where you might expect a piano. As you might guess from the title and instrumentation, the set has more to do with Miles' more contemplative explorations of the time – his "blue moods" – than his more upbeat boppish styles, but that's where Charles' vibes come in and really make the set a great one. The group runs through a nice set of laidback, cool renditions of the tunes "Nature Boy", "Alone Together", "There's No You" and "Easy Living" – all done in nice longer takes!

One of our favorite records ever from trombonist Steve Davis – a live date recorded at Smalls, and one that lets him stretch out a lot more than most of his studio albums! The setting is wonderful – an open-ended, easygoing quintet with great piano from Larry Willis – and a groove that is a nice change from some of the tighter modes that Davis often hits with his One For All compadres. As a result, Steve really takes some nice chances on the solos – and shows a range of his horn that impresses us even more than usual – and heck, we already think he's a great player! Altoist Mike DiRubbo brings a nice edge to the proceedings with some great solo work of his own – and the rest of the group features Gerald Cannon on bass and Willie Jones III on drums. Titles include "Spirit Waltz", "Nature Boy/To Wisdom The Prize", and "Daydream/Outro".

A great west coast live date from Bill Evans – one that showed that his magic on the keys was equally at home in LA as it was in New York! The session's especially noteworthy for the presence of drummer Larry Bunker – a great player who worked on countless recordings, both jazz and non-jazz, but who hits a new level here with the Evans Trio – one that almost matches that of Paul Motian for his sensitivity and lyrical interplay with Evans' piano and the bass of Chuck Israels! Titles include "Blues In F", "Our Love Is Here To Stay", "The Boy Next Door", "Swedish Pastry", and "Round Midnight" and the bonus track "All The Things You Are".

Gutsy tenor work from Jimmy Forrest – a player who was poised to rival Sonny Stitt and Gene Ammons at the start of the 60s, and who could have easily done so, given the strength of his work for Prestige! The record's one of a few that the St Louis player got to cut for the label – and it's a tightly-crafted combo effort that features Hugh Lawson on piano, Tommy Potter on bass, and Clarendon Johnson on drums – plus a bit of added conga from Ray Barretto, bringing in that extra "kick" that pushed off other great soul jazz sessions from the time! Tracks are short, and have a good focus on Forrest's wonderful tone – and titles include "Sonny Boy", "Annie Laurie", "I Love You", "Most Much", "Soft Winds", "Matilda", and "Autumn Leaves".

Dex's famous return to New York in the mid 70s – recorded at the Village Vanguard in 1977, and featuring some of his best group-heavy playing of the decade! The quintet is fantastic – and includes Woody Shaw, Ronnie Matthews, Stafford James, and Louis Hayes. Features versions of Shaw's "Little Red's Fantasy" and "In Case You Haven't Heard", Matthews' "Let's Get Down", Jimmy Heath's "Gingerbread Boy", and Gordon's own "Fenja" and "Backstairs".

Dex's famous return to New York in the mid 70s – recorded at the Village Vanguard in 1977, and featuring some of his best group-heavy playing of the decade! The quintet is fantastic – and includes Woody Shaw, Ronnie Matthews, Stafford James, and Louis Hayes. Features versions of Shaw's "Little Red's Fantasy" and "In Case You Haven't Heard", Matthews' "Let's Get Down", Jimmy Heath's "Gingerbread Boy", and Gordon's own "Fenja" and "Backstairs".

If you've ever needed a definition of hardbop, this is it! The set's a crack quartet session for Blue Note, recorded in the mid 50s by a young Johnny Griffin – fresh in from Chicago, and playing with tons of fire and loads of imagination! Wynton Kelly's on piano and Max Roach is on drums – and the excitement never stops as the group rolls their way through the tightly-crafted tunes on the set. And don't mistake the session as just a head-blowing album with no creativity – because the whole thing's incredibly precise, and the real charm is the way in which the razor-sharp group manages to twist and turn so deftly – yet still always plays with creative imagination and thoughtful solos! Cuts include "Mil Dew", "Chicago Calling", "These Foolish Things", The Boy Next Door", "Lover Man" and "It's Alright With Me". CD features 2 bonus tracks – "Cherokee" and "The Way You Look Tonight".

One of Hino's sweeter fusion albums – still soulful enough, but done in a style that's more like CTI funk than some of his earlier albums. Leon Pendarvis handled the group and plays keyboards on the record – and other players include Steve Gadd, Bob James, John Tropea, Masabumi Kickuchi, and Michael Brecker – plus vocals by Lani Groves and Luther Vandross. Not bad, in a soulful fusion kind of way – and with titles that include "Still Be Bop", "Goin For The Gold", "La Hora Azul", "Sweeter & Sweeter", "Late Summer", and "Antigua Boy".

Nice Quincy Jones soundtrack for the first "Mr. Tibbs" film. Roland Kirk's in the orchestra, and you can hear him nicely in a soul jazz groove on a number of tracks. Titles include "Whipping Boy", "Nitty Gritty Time", "Shag Bag, Hounds & Harvey", "Blood & Roots", and "It Sure Is Groovy". Ray Charles sings the title track, but that's a bit of a snooze. Sorry Ray!

Another vicious set of hammering, lovable skronk from Last Exit – the mighty mid 80s free group that featured Sonny Sharrock, Peter Brotzman, Bill Laswell and Shannon Jackson! This should certainly not come as a surprise, but the sound is as muscular as can be without exploding all over the place. Each player brings their most hammering torrents. Brotzmann and Sharrock get to bring the noise, and a great sense of playfulness while Laswell and Jackson keep rhythmically sound. And boy, does Jackson hit those drums! Ouch! Tracks include the 18 minute "Hard School", "Brain Damage", "Taking A Beating", "Last Call" and "Dark Heart".

Ramsey and the classic trio with Eldee Young and Red Holt – grooving away on a pot luck batch of tunes that includes material from a wide wide variety of sources, all turned into soul jazz magic by the boys! Believe it or not, Ramsey takes tunes like "Andaluza", "Arrividerci Roma", "Loch Lomond", "Nature Boy", and "Sheandoah", and arranges them with a hiply swinging style that makes you forget what they ever sounded like in the first place. Throw in some originals – like "We Blue It Again", "Look A Here", and "Swamp Girl" – and you've got pretty nice batch of tracks!

An excellent album from Carmen McRae – one of her hippest records ever, and a great set of vocal gems that often gets overlooked! Arrangements are by Benny Carter, Shorty Rogers, and Oliver Nelson – and the album's got a swinging groovy style that pushes Carmen past her straighter jazz vocal roots – into some hiply sophisticated territory that really shows her growing as a singer in the 60s. The album kicks off with an amazing reading of Tommy Wolf's "I'm Always Drunk In San Francisco", done by Carmen in a way that makes you know she owns the song – and then it moves through a compelling blend of compositions that includes "My Very Own Person", "Ask Any Woman", "Boy, Do I Have A Surprise For You", and "Elusive Butterfly".

Funky LP from Monk, with nice tight electric bass playing, and groovy arrangements by Wayne Henderson, who also produced the LP. The record's got a nice mix of soul instrumentals and jazzy bits, with a similar feel to some of the other stuff on the Chisa label at the time. Tracks include "Big Boy", "Your Love", "Bluesette", "It's Never Too Late", "My Cherie Amour", and "The Lady", which was arranged by Hugh Masekela.

Not as freewheeling as some of Raymond Scott's earlier work, but still quite nice – a set that features added strings in the mix, but used with a sound that's every bit as wild and dynamic as some of Scot's small combo recordings! A few of the tunes are familiar Scott classics, others are a bit more obscure – and the arrangements are pure Raymond all the way through – light years away from conventional scores of the time, and produced with a sense of sound as weird as the music! Titles include "Toy Trumpet", "Boy Scout In Switzerland", "Twilight In Turkey", "Power House", and "In An 18th Century Drawing Room".

Benson plays his guitar and also sings on some of these tracks. He is joined by Phil Upchurch on rhythm guitar, Ronnie Foster on electric piano & mini-moog, Jorge Dalto on clavinet & acoustic piano, Stanley Banks on bass, Harvey Mason on drums and Ralph MacDonald. Claus Ogerman arranged and conducted the orchestra. Tracks include "Nature Boy", Foster's "The Wind & I", "The World Is A Ghetto", "Gonna Love You More", Donny Hathaway's "Valdez In The Country", and "Everything Must Happen".

A great overseas meeting of two American traditionalists – a mid 60s date that has trumpeter Buck Clayton working in a relaxed studio setting with tenorist Hal Singer! Buck and Hal both come from an earlier period in jazz, but find some great appreciation for their enduring talents in Paris – and the session's the kind of respectful, open-ended date that either of them would hardly have gotten a chance to cut back in the US at the time! Other players on the date include Joe Turner on piano, Mickey Baker on guitar, Wallace Bishop on drums, and Roland Lobliegois on bass. Titles include "Boo Boo", "Groovy Sunday", "I Can't Think", "Juggi Buggi", "Just You Just Me", "One For Bonnie", "Pat's Party", and "Blue Boy". CD also features 2 previously unreleased titles – "Rosetta" and "These Foolish Things".

Modal Coltrane at its finest – a record that almost returns the great one to the territory explored at the end of his years at Atlantic Records, but which still incorporates all of the new ideas learned afterwards! The album's actually one of the straightest that John Coltrane cut after 1964 – and it features 4 long, beautiful tracks that soar with rhythms from McCoy Tyner, Jimmy Garrison, and Elvin Jones – topped with searing, searching work on tenor and soprano sax from Coltrane! Titles include one of the greatest readings of "Chim Chim Cheree" we've ever heard – a version that remakes the tune almost as a part 2 of "My Favorite Things" – and other titles include "Song of Praise", the classic "Nature Boy" and "Brazilia".

Some of the smokingest material ever recorded by British tenor player Dick Morrissey – and that's saying a hell of a lot, given the strength of his other albums! The date's got the same Storm Warning in the title as one of Dick's studio classics – but the record's something else entirely – a very open-ended live date, recorded a few years later – with loads of room for Morrissey to really open up and blow – showing off that amazing sense of tone and timing in ways that have us loving his music more than ever! The rhythm group is a key part of the success of the record – and features Harry South on piano, Phil Bates on bass, and the amazing Phil Seamen on drums – on long tracks that include "Altoitis", "Get Out Of The Country", "Sonny Boy", and "Storm Warning".

Plenty of rhythm here – tight small combo funk, or funky jazz if you prefer – played in a great no-nonsense style! The group's just guitar, bass, and drums – but they've got energy that's much more that of a funk combo than a jazz trio – thanks to arrangements from Japanese groovemeister Farah, who also produced the set! Lots of the tunes echo a sweet 70s style of funk, and the lean presentation makes the whole thing sound even better – as you'll hear on cuts that include "Real Love", "Boy You Knock Me Out", "Right Here", "Angel", "You Gotta Be", and "Summer Bunnies".

Mellow, magical, and moody – a sublime set from the great Jack Sheldon – working both as a vocalist and jazz trumpeter! Sheldon first cut his teeth as part of the west coast scene of the 50s – but by the time of this sweet little record, he'd elevated himself into a unique space that made him a regular fixture on TV during the 60s and 70s – always entertaining, and with a vocal style that was as raspy and rough as his trumpet solos were cool! This set for Dot is Jack's second for the label – and it's a great mix of styles all handled by Don Sebesky. Sebesky scores some tunes that focus on Jack's trumpet – with breathy solos that drift across some sweet 60s easy arrangements – offset by others that feature Sheldon's growling vocals, rumbling along in a jagged, jaunty sort of mode. The whole thing's filled with lots of groovy 60s touches – of the sort you'd expect much more from a record on A&M than on Dot. Titles include "The Boy's Got Soul", "Happy Together/Honey Pie", "Afterthoughts", "Meet A Cheetah", "I Think He's Hiding", and "Shangri-La".

Way more than just an anthology of drums – as the record's a special document of the rich growth in Japanese jazz at the end of the 60s – and features great work from a whole host of key players on the Tokyo scene – not just drummers, but some amazing reed players too! The package is more of a special LP than a collection of other work – and it offers up a searing array of soul jazz styles from this very fervent period of work – music that easily rivals the most compelling jazz from the US at the time – particularly work on late 60s Blue Note! The set begins with "Gingerbread Boy", the Jimmy Heath tune, played by drummer Motohiko Hino with Takao Uematsu on tenor and Kosuke Mine on alto; next is "350 Trip" from drummer Masahiko Togashi, with Hiroshi Suzuki on trombone, Terumasa Hino on trumpet, and Sadao Watanabe on alto sax; "The Time Machine" and "Free Spirits" feature George Otsuka on drums with Hidehiko Matsumoto on tenor; Takeshi Inomata drums on "Sam Sack", done with vibes from Seiji Hiraoka; "All Blues" features Inomata with his Westliners group; and "Suzu No Uta" and "Passion" feature Togashi on drums with a group co-led by trombonist Hiroshi Suzuki.

Early work by Bob James – recorded way before he became one of the funky talents of the 70s, when he was a budding young modernist on the New York scene, with clear influences from the work of Paul Bley. This set is a trio recording – and it features James playing with Barre Phillips on bass and Robert Pozar on drums. Phillips' work is especially amazing, as he gets sounds out of the bass that are just incredible – working the whole instrument into wild tones and sounds that far surpass conventional work on the strings. The whole session's amazingly dark – and it makes us love James' funky work even more to know that he started out this way! Titles include "Explosions", "An On", "Wolfman", and "Peasant Boy".

An unusual record that's had folks puzzling for decades – but one that's also kept their interest too, thanks to the quality of the music on the set! The record's got an unusual gimmick – in that it promises to feature all-star players encumbered by record contracts with other labels – listed as possibilities on the back that include Howrad McGhee, Wardell Gray, Teddy Edwards, Charlie Parker, and others. Yet it's our guess that this might be a pretty obscure lineup, but a great one too – and most numbers are live recordings, done with a hell of a lot of bop fire – quite possibly pulled from that late 40s stretch when Crown/Modern Records was doing a great job of capturing some of the early bop in LA! There's more than a few trumpets at times – and we're guessing one might be McGhee – and given their penchant for recording Vido Musso and Wardell Gray, it's quite possible both of these players are in the mix too. Yet despite the lack of real data on the players, the whole thing's a musical treasure with plenty of soulful bop on offer. Titles include "Ben's Mood", "Steady Teddy", "Deep Purple", "Big Boy (parts 1 & 2)", "Why Not", and "Stompin".

One of the first European recordings from Sahib Shihab – a classic set that's the start of an amazing 60s run on the continent! Shihab here is quite different than his American dates of the 50s – bolder, and blowing with a really open, fluid sort of groove that marks a great development in his sound – using baritone sax, soprano, and flute – a range of instruments that really creates a wide range of feeling in the set! The performance is a live one, and the group is great too – with Allen Botschinsky on flugelhorn, Ole Molin on guitar, Niles Henning Orsted Pedersen on bass, and both Alex Riel and Bjarne Rostvold on drums. Rhythms are a key part of the set – really free and open, setting the scene for Sahib's modal genius to come – and titles include "47th Blues", "Billy Boy", and the 3-part track "Conversations". CD features 3 bonus tracks – "Charade", "Not Yet", and "Someday My Prince Will Come".

A set recorded as part of Andrew White's One Step series – but one that also has a different feel than some of the others – as it features some shorter tunes that have a bit more straightforward approach than some of his other work! The group on the album features Blackbyrds Keith Killgo on drums and Kevin Toney on piano, plus excellent bass work by the great Steve Novosel – whose round warm tones really make the album groove! Side one features sweet takes on Coltrane tunes "Naima" and "Central Park West" – plus "What's New", "Mahogany", and "Rim Shot". Side two stretches out with the classic "Big Nick" – then offers White's own "Theme Signature" and "Superfly Disco Boy".

Massive funk from CTI – some of the label's grooviest, jazziest, most soulful gems from the 70s – all hand-picked by the folks at Wax Poetics Japan! There's some familiar tracks here, and some lesser-known nuggets too – and the set is one of the grooviest CTI collections we've ever heard – filled with just the right sort of sounds to show the label's genius in its best light – including some tracks from related imprints Kudu and Salvation, too! Don't let the "dance" in the title put you off – because this isn't dance music, just tight funky jazz of the best 70s variety – as you'll hear on cuts that include "Baretta's Theme" by Ron Carter, "Macumba" by Lalo Schifrin, "Stanley's Tune" by Airto, "Star Borne" by Johnny Hammond, "Nights In White Satin" by Deodato, "Hard To Face The Music" by Idris Muhammad, "Corazon" by Hank Crawford, "You Keep Me Hanging On" by David Matthews, "Boy I Really Tied One On" by Esther Phillips, and "Sugar Free" by Hank Crawford.

Excellent stuff – and a rare US issue of Live Ankara, an album that Cherry cut for Sonet during the mid 70s. The set is a super-hip concert performance recorded at the US Embassy in Turkey, featuring a band of eastern-flavored players that includes Okay Temiz on percussion, Selcuk Sun on bass, and Irfan Sumer on tenor. Tracks are shorter and a bit tighter than some of Cherry's other work from the early 70s – but they also have a strong amount of world influences, and the record is perhaps one of his greatest achievements at cross-breeding musical cultures. Tunes include "Gandalf's Travels", "St John & The Dragon", "Water Boy", "Kara Deniz", "Man On The Moon", and "Two Flutes".

Massively groovy work from Chico Hamilton – one of his standout swingers for Impulse Records in the 60s, and a set that really showcases all the changes in music he'd made for the decade! The set features some wonderful reed work from Jerome Richardson and Charlie Mariano, plus some especially great guitar from Gabor Szabo – a player who was rising to fame in Hamilton's group, but also stands out here with lots of the breezy grooves he'd bring to his own dates for Impulse. Tracks are short, but in a good way that really keeps them focused – and other players who complete the groove include Clark Terry on trumpet and Ron Carter on bass – both of whom nicely pick up Chico's sense of adventure and humor. Titles include "Monday Monday", "Daydream", "Stella By Starlight", "Evil Eye", "Manila", "That Boy With The Long Hair", and "Monday Monday".

A nicely grooving mid 60s collective of Swiss All Stars – led by George Gruntz – in a great set from '64! The set was captured at Studio Bern in September of that year, it's it's captivating stuff. Gruntz leads and plays piano in the set, and it really is tailored to let the individual players shine brightly – no one's work is overshadowed here, but they groove together brilliantly, too. The 11-piece group is incredible – featuring Bruno Spoerri on tenor and baritone (getting plenty of time for impeccable solos), Heinz Bigler on alto, a trumpet trio of Ray Court, Franco Abrosetti and Hans Kennel, Ueli Staub on vibes (also with some great solos here), drummer Rolf Banninger, Raymond Droz on trombone and Heinz Christen on bass. Includes" Perdido", "Dig The Scene-Sax Battle", "There'll Never Be Another You", "Boy Shooting", "Ballad Medley: Moonlight In Vermont/Everthing Happens To Me/I Can't Get Started" and "El Sino-Trumpet Battle".

An overlooked gem from a player who never fails to surprise us – recorded later in the years of drummer Art Taylor's life, but bristling with the same kind of energy we first came to love in his 50s recordings! The set's got a really unified feel – with Taylor masterfully leading the group on drums, working through an assortment of like-minded tunes with a Blakey-like sense of equal power for strongly soulful numbers, and gentle guidance for mellower and more introspective tunes. The group's got a tremendous two-horn frontline in the tenor of Willie Williams and alto of Abraham Burton, and the rest of the lineup includes Marc Cary on piano and Tyler Mitchell on bass. The album's got one very short "out" track entitled "It Doesn't Matter", alongside a number of longer soulful explorations that include "Mr AT", "Soul Eyes", "Bullet Train", "Ahmad's Blues", and "Gingerbread Boy".

Live session recorded in the post Young-Holt Unlimited years, and one that mixes straight jazz with some of the funkiness of the Young/Holt recordings. Young's joined by Ken Chaney, who often played keyboards with the Young/Holt group, and the session's got additional percussion by Yeshwua Ben Israel, and reed playing by Ari Brown. Tracks include "Big Fat Woman", "Eleanor Rigby", and "Nature Boy".