Jazz  

One of the greatest albums ever from Lorez Alexandria -- an ultra-hip singer who recorded for Impulse and King, but who sounds especially wonderful on this rare date for Chess Records! The album's got a groove that definitely lives up to its title -- a jazzy, bouncy sort of rhythm that's definitely "for swingers only", and which is a nice contrast to overdone torch or standard jazz vocal modes. Alexandria's singing is completely sublime -- quite fluid, yet with a soulful depth that's really amazing -- and her backing combo is equally hip -- a group led by John Young on piano, and also featuring George Eskirdge on guitar, Jimmy Garrison on bass, Phil Thomas on drums, and Ronald Wilson on flute and tenor -- an obscure player whose reed work really makes the album sparkle! The song choices are great too -- a mix of some under-recorded gems and a few blue-toned classics -- all redone amazingly by Lorez with a sound that's quite unique. Titles include her classic Argo reading of "Baltimore Oriole", which begins with an amazing drum/bass passage that's worth the price of the album alone -- and other tracks include "The End Of A Love Affair", "Baltimore Oriole", "All Or Nothing At All", "Mother Earth", "Love Look Away", and "Traveling Down A Lonely Road".

An excellent album that's a perfect document of the strong impact that Quincy Jones had in the transatlantic jazz scene of the late 50s and early 60s. The set was recorded in 1960, and features two players that Quincy would leave behind in Europe to have a huge influence on the scene. Trumpeter Benny Bailey is the greatest of these -- and his impact on jazz in Germany and Sweden during the 60s and 70s cannot be discounted. The other is drummer Joe Harris, who does excellent work here in a group that includes Arne Domnerus on sax, Ake Persson on trombone, and Gunnar Svensson on piano -- all Swedes that Quincy picked up after touring the country heavily during the late 50s. The set grooves with the best of Jones' work on Mercury from the time -- and although Quincy's not listed in the credits, it's probably only because of contractual reasons. Titles are all Jones originals -- including "Meet Benny Bailey", "Plenty, Plenty Soul", "Fallen Feathers", and "The Midnight Sun Never Sets".

An amazingly beautiful set of tracks from Art Farmer -- playing here with superb accompaniment from a young Harold Mabern on piano, in a laidback quartet format that really lets Art open up! Art's playing is fresh and creative throughout -- never too over the top, and always blown with that subtle genius that he was bringing to his work in the 60s -- a pure exercise in understatement, with a quality that seems to make the notes fall out of the air by themselves. Rhythm is by Tommy Williams on bass and Roy McCurdy on drums -- and the choice of material includes Tom McIntosh's great composition "The Day After", plus Art's "Punsu" and "Kayin" -- and versions of "Change Partners", "Blue Room", and "Nobody's Heart".

One of the best albums ever by this crack soul jazz combo -- the mighty Jazztet, an early 60s group led by Art Farmer and Benny Golson! The set was recorded in Chicago, and it features the group hard-grooving through some really well-arranged numbers -- lively tunes with a snapping, in-the-pocket kind of groove, played with a lot more soul than you'd expect from either Golson or Farmer's solo albums. The rest of the group's great, too -- and features Cedar Walton on piano, Tom McIntosh on trombone, and Albert Heath on drums. A few tracks are nice and long, and titles include "Farmer's Market", "Junction", "November Afternoon", and "Shutterbug".

A brilliant little record from the legendary team of Michael Garrick and Norma Winstone -- easily one of their most striking albums ever, and hardly the "blues" set you might guess from the title! Winstone's vocals are very firmly woven into the group's sound here -- and most tunes have some sort of lyrics, not just wordless jazz voice -- so there's almost an extra level of meaning and intensity to the songs, one that further expands the modally-influenced grooves laid down by Garrick and the other instrumentalists! The rest of the group includes Trevor Tomkins on drums, Henry Lowther on trumpet, Art Themen on soprano and tenor, and Don Rendell on tenor -- and Garrick himself plays harpsichord as well as his usual piano -- all with a flowing, soaring grace that's amazing. Titles include "Fire Opal", "Home Stretch Blues", "Sweet & Low", "Epiphany", "Wishbone", "Blue Poppies", and "Limbo Child".

One of the few fantastic collaborations between trombonist Al Grey and tenor saxophonist Billy Mitchell -- made even better by some work on vibes from a young Bobby Hutcherson! The groove here is earthy and bluesy -- quite a different setting than Hutcherson's modernist sides for Blue Note, and a really unique little groove that makes equal use of the tenor, trombone, and vibes in the frontline. And while Grey and Mitchell have their roots in more famous bigger bands, they work together here with a playful lyricism that's really amazing -- a unique approach to their music that made the group one of the most striking of the time. Other players include Dave Burns on trumpet, Earl Washington on piano, Otis Candy Finch on drums, and Herman Wright on bass -- plus a bit of conga from Phil Thomas. Titles include "Stella By Starlight", "Laughing Tonight", "Through For The Night", "Blues In The Night", "Stardust", and "Night & Day".

The legendary pianist is caught on his home turf -- at his (then) newly-opened Alhambra night club, a pretty cool Eastern-themed place on Chicago's classy Michigan Ave. The material's standard Jamal for the time -- played with his trio that included Israel Crosby on bass and Vernell Fournier on drums -- and featuring tracks like "Snow Fall", "The Breeze & I", "Sweet & Lovely", "The Party's Over", and "Autumn Leaves".

A live set -- one of many fine ones that Jamal recorded for Argo during the early 60s -- recorded at his own Alhambra Club in Chicago, with the classic trio that included Israel Crosby on bass and Vernell Fournier on drums. Tracks are light and lively -- and very Jamal -- and titles include "Time On My Hands", "Angel Eyes", "You Go To My Head", "Star Eyes", and "What Is This Thing Called Love".

A crucial album for Jamal -- one in which he's really working in the "extensions" mode promised in the title! The tracks are all quite long -- far longer than on his usual Argo sides, which is why there's only 4 in all on the whole album. The feel of the album is free and lively, a real extension from the groundbreaking mode of piano expression that Jamal had pioneered during the late 50s -- and this added room allows him to spin out in more complicated lines that clearly would have a bit influence on 70s soul jazz and spiritual players. Includes a great track called "This Terrible Planet", which has shaken bells with the rhythm, plus "Extensions", "Dance To The Lady", and "Whisper Not".

A compelling title -- as the record was recorded at Nola Penthouse Studios in New York, one of the hippest places to lay down tracks at the time -- but the cover shows an image of the Playboy building in Chicago, famous from the TV show Playboy's Penthouse, Hugh Hefner's first foray into television! The actual music is equally compelling too -- as the record is one of Ahmad's first non-trio sessions, and features some great larger arrangements from Joe Kennedy -- backing the trio of Jamal, Vernel Fournier, and Israel Crosby with some light strings that create a wonderfully dreamy feel! Ahmad's piano glides along wonderfully in such a setting -- set free a bit more than usual, and really sounding great on tracks that include "Ivy", "Comme Ci, Comme Ca", "Tangerine", "Never Never Land", "Ahmad's Blues", and "Seleritus".

The part 2 to Jamal's classic Pershing set -- But Not For Me -- featuring more material from the same date, one of the most successful live piano recordings of the time! Jamal is quite at home in the setting -- grooving with his trio of Israel Crosby on bass and Vernell Fournier on drums -- on a set of tracks that includes "Billy Boy", "Too Late Now", "All The Things You Are", "My Funny Valentine", and "I'll Remember April".

A nicely expanded take on the Ahmad Jamal sound of the early 60s -- one that adds in guitar from Ray Crawford and violin from Joe Kennedy to Jamal's usual trio grooving! The main focus here is often still on the core group -- which features Israel Crosby on bass and Vernell Fournier on drums -- but the added elements are used sparely to bring in new colors to the tunes, with Kennedy bowing violin lines on most of side one, and Crawford hitting some of his great single-note lines on most of side two. Titles include "Ahmad's Waltz", "Valentina", "Tempo For Two", "Yesterdays", and "Baia".

One of Ahmad's best albums ever -- a Latin-ized set of tracks done with arrangements by Richard Evans, who really knows how to make the set groove! Ahmad's flowing piano lines come into play with lots of tight percussion and big band backing -- in a way that never dampens his spirit, and almost seems to open him up with more of an edge than on his trio recordings. The record includes the killer groover "Haitian Marketplace", which jumps and clangs all over the place, and has a hard catchy hook that's unlike any other Ahmad Jamal record -- and also features loads of other great originals by Evans, including "Bossa Nova Do Marilla", "Belo Horizonte", "Montevideo", and "Bogota".

Jamal could make magic out of anything -- case in point is this fantastic little LP, based around Anthonly Newley and Leslie Bricusse's score to The Roar Of The Greasepaint! Jamal takes the tunes and turns them completely on their heads -- using them all as platforms for lyrical improvisation, in that magical and soulful style that he virtually invented at the time. His trio includes Jamil Nasser on bass and Chuck Lampkin on drums, and titles include "Feeling Good", "This Dream", "Look At That Face", "It Isn't Enough", and "Sweet Beginning".

One of the strongest early albums by the Ramsey Lewis Trio -- especially because it features some great original material! The group -- with the usual Redd Holt and Eldee Young lineup -- is augmented by Chris White on a few tracks, who plays bass while Young switches to cello, an instrument that he played better in jazz than just about anyone. Apart from the group's great title reading of Cannonball Adderley's "Barefoot Sunday Blues", the record also features original tracks "The Train Won't Wait", "Come On Baby", "I Spend My Life", "Act Like You Mean It", "Salute To Ray Charles", and "Don't Even Kick It Around". Also includes Charles Lloyd's evocative composition "Island Blues".

Easily one of the biggest selling jazz albums of the 60s -- a crowning achievement for Ramsey Lewis and his popular trio with Eldee Young on bass and Redd Holt on drums! The set was recorded live at the Bohemian Caverns in DC, and the trio are perfect in the setting -- going at the numbers with pyrotechnic fury, but always staying in the soul jazz idiom -- keeping things nice, tight, and in the pocket! Titles include the group's hit version of "The In Crowd", plus "You Been Talkin Bout Me Baby", "Spartacus", "Felicidade", and "Come Sunday".

One of the first ever albums by the Ramsey Lewis Trio -- featuring an assortment of lively tracks with a touch of jazz-based humor, the kind that were winning them huge audiences in Chicago at the time! With Eldee Young and Redd Holt to back him up, Ramsey's got plenty of pyrotechnics in tow -- which means that he does a great job on versions of familiar tunes like "Carmen", "I'll Remember April", and "Bi Mir Bist Du Shon" -- as well as great originals like "Fantasia For Drums", "Dee's New Blues", and "Tres".

A wonderful later album from pianist Dodo Marmarosa -- quite possibly his greatest record ever! The set's an obscure "comeback" date recorded in Chicago for Chess in the early 60s -- a trio session with Richard Evans on bass and Marshall Thompson on drums -- both working very gently behind Marmarosa's lead. Dodo sounds wonderful here -- slightly broken down and world-weary, but in a way that makes for quite a change both from his earlier recordings, and from the standard piano session of the time. There's nothing too polished here, and there's always a strong sense of "voice" on the tracks -- a quality that speaks volumes with a short amount of effort -- and which has really made this one a favorite of ours over the years! Titles include "Tracy's Blues", "Mellow Mood", "On Green Dolphin Street", and "Cottage For Sale".

One of James Moody's first albums for Argo -- and an album that features him shifting from tenor sax over to flute -- and playing in a slyly seductive way that would have great implications for generations of soul jazz musicians for years to come! The sound here is never sleepy -- and instead shows the flute to be a perfect vehicle for creating more sensitive colors and tones in jazz -- in a way that's also offset by a bit of work on alto and tenor on the album as well. The group features some excellent work from trumpeter Johnny Coles and baritonist Pee Wee Moore -- plus some sparkling arrangements from pianist Jimmy Boyd -- and Eddie Jefferson joins in on 3 great vocal numbers. Titles include "Birdland Story", "I Cover The Waterfront", "Breaking The Blues", "Easy Living", "Richard's Blues", and "Boo's Tune".

A cool cooker from Oliver Nelson -- one of the few 60s albums he cut as a leader with the same sense of soul and swing as his backings for other players! The sound here is right up there with Nelson's work with Jimmy Smith over at Verve -- soaring, soulful arrangements that sparkle in ways that few other arrangers could match -- perfectly balanced between bold statements by the soloists and a tight ensemble feel overall! The players are all top-shelf -- and include Phil Woods on alto sax, Jerome Richardson on flute and baritone, Robert Hashton on tenor, Art Hoyle on trumpet, and Patti Brown on piano -- plus Nelson himself on alto, getting in a few key solos. The whole thing's wonderfully upbeat and joyous, but with a deeper sense of feeling too -- and many titles are originals by Nelson, including "Hobo Flats", "Post No Bills", "Laz-ie Kate", "Teenie's Blues", and "Three Plus One".

An amazing record -- bold, proud, and soulful -- a set that we'd easily rank with any classic early 60s session on Blue Note -- and for good reason too! This rare date is the debut as a leader for trumpeter Gene Shaw -- also known as Clarence Shaw in an earlier history of work with Charles Mingus -- and it's an incredible blend of hardbop grooving with sharper-edged modern jazz ideals -- an incredible blend that comes off beautifully on every track in the set! Shaw's probably best known for his late 50s work on the Charles Mingus albums Tijuana Moods, East Coasting, and Modern Jazz Symposium Of Music & Poetry -- but after a famous fight with Mingus, Clarence "hid out" in Chicago and worked under the name of Gene -- but soon made big waves on his own with tremendous work like this. (In the liner notes to the 1963 release of Tijuana Moods, in which Mingus says that he loved Shaw, but can't get in touch with him anymore!) Every aspect of the record is superb -- from the writing, to the rhythm section, to the incredibly well blown solos from trumpeter Shaw and tenorist Sherman Morrison -- who himself is another vastly-overlooked talent in jazz. The rest of the group features James Taylor on piano, Sidney Robinson on bass, and Bernard Martin on drums -- a totally crackling rhythm section who give most tunes a snapping sort of groove! Most tracks are originals, and titles include "Autum Walk", "Six Bits", "The Thing", "It's A Long Way", "AD's Blues", "Marj", and "Our Tune".

A fantastic early record by Sahib Shihab -- a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble -- including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Ake Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums -- all coming together here with a groove that's really groundbreaking -- a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving -- with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s -- a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi -- the man behind the CBBB albums on MPS -- with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great -- one of Shihab's most wonderful records, and totally worth owning -- and titles include "Lillemor", "Please Don't Leave Me", "Waltz For Seth", and "Herr Fixit".

A rare treasure from Yusef Lateef -- one of his hardest to find albums, recorded right around the same time as his magical work for Savoy! The record has Lateef playing in his local Detroit area -- working with Terry Pollard on piano, William Austin on bass, and Frank Gant on a host of percussion instruments. The tracks have that open, percussive, and exotic feel that we love the most in Lateef -- soul jazz taken to a very righteous territory, and one of the first powerful flowerings of the Detroit underground. Includes a really long version of "Morning", plus "Let Every Soul Say Amen", "Brazil", and "Woody N You". CD also features some bonus tracks from other sessions -- including "Before Dawn", "Mahaba", "Taboo", "Playful Flute", "The Beginning", and "Open Strings".

A fantastic early record by Sahib Shihab -- a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble -- including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Ake Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums -- all coming together here with a groove that's really groundbreaking -- a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving -- with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s -- a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi -- the man behind the CBBB albums on MPS -- with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great -- one of Shihab's most wonderful records, and totally worth owning -- and titles include "Lillemor", "Please Don't Leave Me", "Waltz For Seth", and "Herr Fixit".

Classic hard-hitting organ jazz session by this great Chicago keyboard player, better known to the world for his two Blue Note LPs, but playing here in a style that's much more creative, and much more open-ended than on those LPs. He's got a tight trio here, with Ben White on guitar and Jerry Donavon on drums, and the group runs through a wild mix of material -- from short groovers like "Tacos Joe" and "Sinnin Sam", to the extended Larry Young-ish "Song Of The Universe". The album's a classic bit of Chicago jazz, and a darn tough one to find!

A classic -- and probably one of the best-selling Christmas jazz albums of all time! Ramsey and his classic trio with Redd Holt and Eldee Young serve up a tight set of grooves based around Holiday favorites like "Santa Claus Is Coming To Town", "Winter Wonderland", "Here Comes Santa Claus", "The Christmas Song", and "Sleigh Ride" -- and also carve out a few nice originals like "Christmas Blues" and "The Sound Of Christmas". Side one features the trio on its own, and side two features added arrangements by Riley Hampton -- swirling around to expand the groove even more!

A late 60s set, but one that recalls the sweet swinging style of Prestige Records' Swingville sessions from the early part of the decade! Illinois Jacquet sounds wonderful here on tenor (and a bit of bassoon on one track!) -- blowing with plenty of open space amidst a lineup that includes Tiny Grimes on guitar, Wynton Kelly on piano, Buster Williams on bass, and Oliver Jackson on drums. The approach is kind of a mix of Jacquet's mid 60s work for Argo/Cadet, with some of the late 50s non-bop swing sessions issued by Prestige -- and titles include "The Galloping Latin", "Still King", "For Once In My Life", and "Every Day".

The "revisited" in the title refers to Jamal's earlier success on Argo records with a recording of "Poinciana" -- one that forever made the tune his, thanks to a long-flowing approach that took the familiar standard, and turned it into the perfect foil for Jamal's expressive piano style. This set features a beautiful 9 minute reworking of the tune -- handled in a way that beautifully shows Jamal's growth during the 60s -- plus other gems that include "Call Me", "Lament", "How Insensitive", and "Have You Met Miss Jones".

A really nice record from Jamal's later years at Argo/Cadet, when the label was mixing up his usual trio format with some interesting settings -- in this case, a 15 piece string section, which is added to the trio of Jamal, Jamil Nasser, and Vernel Fournier -- to great effect! The strings don't make the album lose its swing -- and if anything, Jamal is more open, and more complicated than on some of his earlier sides for the label. Includes a great version of McCoy Tyner's "Effendi" -- plus the tracks "Strange", "Concern", "Invitation", and "Then I'll Be Tired Of You".

A sparkling collection of the soul jazz groovers churned out by Ramsey's famous first trio -- the groundbreaking ensemble that featured Eldee Young on bass and Redd Holt on drums. The set does a good job of pushing past obvious hits, and includes some tasty little groovers like "Travel On", "Somethin You Got", "Look A Here", "My Bucket's Got A Hole In It", "Hello, Cello", and the classic "Blues For Night Owls".

A 2LP set that features the core album Interaction by Stitt & Sims -- plus a lot of additional material from other albums. The core set was recorded in Chicago after the two had played together at the Plugged Nickel in the Windy City! Backing is by the trio of John Young -- who gives the album a rolling bottom groove that shows off the Chicago sound of the early 60s quite nicely -- and both Stitt and Sims respond with some strong solo work on their own part, opening up a bit more than on other sides at the time. Tracks include three originals by Stitt -- "The Saber", "Katea", and "I Want To Go Home" -- as well as "My Blue Heaven", "Fools Rush In", and "Look Down That Lonesome Road". Added to that is some material from the Zoot Sims Quartet album on Argo from 1956 -- featuring the tracks "That Old Feeling" and "Woody N You" -- plus tracks from the 1960 Stitt set Burning -- including the tracks "It's Hipper Than That" and "How High The Moon".

A near-lost bit of work from Chicago pianist John Young -- better known for his work on Argo, but sounding great in this moody 60s session -- recorded in Chicago with a familiar lineup that includes Victor Sproles on bass and Phil Thomas on drums. Young's got a nice rhythmic approach to the keys that's a bit similar to the early Lewis style of the time -- yet which also sparks with those modern touches that could also come at surprising moments from the Chicago piano crew of the period. Titles include "I Don't Wanna Be Kissed", "Bones", "Cubana Chant", "In Love In Vain", "Serenata", "Baby Doll", "Circus", and When I Fall In Love".

The "revisited" in the title refers to Jamal's earlier success on Argo records with a recording of "Poinciana" -- one that forever made the tune his, thanks to a long-flowing approach that took the familiar standard, and turned it into the perfect foil for Jamal's expressive piano style. This set features a beautiful 9 minute reworking of the tune -- handled in a way that beautifully shows Jamal's growth during the 60s -- plus other gems that include "Call Me", "Lament", "How Insensitive", and "Have You Met Miss Jones".

A very tight early session by the great organist Larry Young! The album's quite different than Young's later Blue Note work -- more in-the-pocket soul jazz, but filled with the expansive sensibility that would later have him take off for the heavens. The biggest example of this tendency is the track "Talking Bout JC" -- a cut dedicated to John Coltrane (who Young used to jam with, although sadly never on record!), recorded more famously later on Blue Note, but still sounding pretty hip here in an early take. The group on the set is a quartet that includes guitarist Thornel Schwartz and tenorist Bill Leslie (with whom he cut an album for Argo, under the name of Lawrence Olds) -- and other tracks include "Gettin' Into It" (which is 15 minutes long) and "Groove Street".

Beautiful stuff -- and one of the most stunning jazz albums ever recorded -- a blinding mix of harpsichord, cello, and Indian percussion -- with a sound that's unlike anything else we can think of! The album was the brainchild of the cross-culturally fertile Saravah records at the end of the 60s -- home to experimental work by Brigitte Fontaine, Barney Wilen, The Art Ensemble Of Chicago, and others. From the start, the group wanted to work in a boundary-less territory that really pushed the limits of jazz -- drawing in inspiration from world music, and working in a style they called "baroque", to emphasize the bizarreness of their project. Given the heavy use of tabla on the set, the album's got a really driving rhythmic component -- making for some funky numbers that have been sought-after jazz-dance tracks for years. And the role of the harpsichord is surprisingly strong -- played in almost modal lines, but with a hesitating, lilting groove that's quite different to similar use of the piano at the time. Titles include "Delhi Daily", "Chandigardh", "Latin Baroque", "Zoma", and "Cesar Go Back Home". CD also features 2 bonus tracks -- "Largo" and "Orientasie".

A later album that compiles some of Doggett's earlier sides -- with a focus on stronger work by the sidemen! His band consists of Doggett playing organ, Clifford Scott on alto, tenor & flute, Candy Johnson on tenor, Billy Butler on guitar and Shep Shephed on drums. Tracks include some Doggett originals such as "High Heels", "Smoochie", and "Blue Largo" plus several Duke Ellington tracks including "Don't Get Around Much Anymore", "Satin Doll", and "C Jam Blues" and others such as "After Hours", "And The Angels Sing", and "Early Dawn".

Early trio work from Keith Jarrett, and a bit straighter than some of his 70s work -- but in a good way, with kind of a New York modern groove that reminds us of early material by Paul Bley or Steve Kuhn! The trio's a very progressive group -- with Charlie Haden on bass and Paul Motian on drums -- making for a really open-ended approach to the rhythms, one that sets the tunes nicely free at times -- although never too outside in the end. The album's a great hint at the direction that Jarrett would take in the 70s, but it also ties him more strongly to other American pianists of the 60s -- a great link that really help us appreciate his later genius more than before. Titles include the original compositions "Church Dreams", "Margot", "Long Time Gone", and "Love No 1 & 2".

A wonderful album that's as swinging as it is exotic! The record really picks up the groove from Lateef's earlier sides for Savoy -- and features a mixture of hardbop and more "Eastern" themed musical images, all extremely compelling, and a wonderful look at a jazz underground that rarely got a voice on record. Lateef plays tenor, but also flute and argol in a snaking moody way -- and he's joined by a group that features Wilbur Harden, Hugh Lawson, Ernie Farrow, and Oliver Jackson, all of whom play the usual bass, piano, drums, plus some odd bits on percussion and strange instruments. Titles include "Anastasia", "Minor Mood", "Taboo", and "Mahaba". 1969 pressing of an album that was earlier issued under the title Other Sounds.

Incredible music from The Pyramids -- an obscure Midwestern combo who made some pretty amazing records in the early 70s! There's a heavy dose of spirituality in the mix here -- a vibe that rivals some of the best albums of the time on Strata East, but with a freer sound overall -- elements of the AACM Chicago scene, or some of the hipper grooves coming out of St Louis -- particularly in the way the band builds up energy on the longer tracks. The reeds are especially nice -- alto sax from Idris Ackamoor and flute from Margo Ackamoor -- and all other group members play percussion, and vocalize too -- singing along with some of the tunes in chanting, chorus formation, which adds an even further element of soul to the mix. Rhythms range from hard-driving to completely hypnotic -- and titles include "Nsorama", "My Africa", "Mogho Naba", and "Queen Of The Spirits".

Sublime mellow work from Cal -- vibes mixed with strings mixed with Latin percussion -- a nicely laidback take on his classic 50s sound! The core group is still one of Cal's Latin best -- with Mongo Santamaria and Willie Bobo on percussion -- and many tracks have some great flute work by Paul Horn, snaking through the mellower grooves with a sound that's sad and soulful. Titles include "Stella By Starlight", "Ode For Margo", "Martha", "Spring Is Here", and "Star Eyes".

A beautiful live set from Yusef Lateef -- recorded in the UK on a rare New Year's Eve show in 1966, at a time when Lateef was at the height of his early powers! The session features Yusef as the soloist fronting a British rhythm trio made up of Stan Tracey on piano, Rick Laird on bass, and Bill Eyden on drums -- in a style that's a bit more soul jazz oriented than some of Lateef's more exotic recordings of earlier years, similar to some of the straighter jazz on his Prestige albums. The tracks on the set are nice and long, and include a number of strong originals that really give Yusef plenty of room to solo nicely -- using flute, oboe, and argol, in addition to tenor. Titles include "Number Seven", "Ask The Post", "New Year Blues", "Imagination", and "Yusef's Mood".

Wonderful grooves from a label who's taught us plenty about rare European jazz over the years -- Japan's Disques Dessinne, a company with a great ear for picking up on tunes other folks have missed! This set's almost all jazz all the way through -- with some slight world elements too -- and the range of material is brilliant, quite far from what you might find on other collections of this nature -- unabashedly lyrical at points, yet downright funky at others -- presented in a package that's as beautiful as the music inside! Titles include "A Pou Zot" by Victor Sabas Quartet, "Moonless Night" by Roberto Pregadio, "Khalida's Lullaby" by Jan Wallgren/Bengt Ernryd Quintet, "Gute Ansatze 3-4" by Jean-Luc Barbier, "Sarabande A Part" byPierre Cammas, "Largo" by Baroque Jazz Trio, "For No One" by Martin Haak Kwartet, "Homre Amaestrado" by Trio De Ruben Lopez Furst, "Chorale" by Jean-Pierre Fouquey, and "Tillagnan II" by Monica Dominique Trio.

Classic early bop material from Dexter Gordon -- originally issued as 78s in the 40s, and packaged here in a hip 50s album with a very groovy cover! The set features work from 1945, 1946, and 1947 -- with Gordon in different three different groups -- one with Leo Parker on baritone and Tadd Dameron on piano, one with Leonard Hawkins on trumpet and Bud Powell on piano, and one with Argonne Horton on piano. Titles include "Setting The Pace (parts 1 & 2)", "Dexter's Riff", "So Easy", "Long Tall Dexter", "Dexter Digs In", and "Dexter's Deck".