Jazz — All Formats  

A nice collection that features one track by Billie Holiday with Paul Whiteman – plus work by Al Casey, Sid Catlett, Rex Stewart, and Sonny Greer.

Wickedly hip work from Cannonball Adderley – and one of his real standout sessions for Capitol Records in the 60s! The set lives up to its "Africa" promise right from the very first note – and features a set of loud, proud tunes that really bring out the righteous sounds of this generation of new liberation – tunes that sparkle with lead alto and soprano sax from Cannon, but which really draw even more energy from the whole collective of musicians on the record – a hip lineup led by HB Barnum, who also did all the arrangements for the set! The result is a record that's unlike any of Adderley's other albums – from some of the evocative snakey lines on the top, to the hip mix of 60s Cali soul and African percussion on the bottom. And oh yeah, David Axelrod produced the whole thing too! Titles include "Gumba Gumba", "Up & At It", "Hamba Nami", "Ndolima", and "Lehadima".

Once again, Cannon proves that it's not the song, it's the singer! This set of tunes from the hit musical Fiddler On The Roof should be schmaltzy – but thanks to the quality of the group (a great sextet with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones, and Louis Hayes), and thanks to some hip production from David Axelrod, the album really sparkles! The tones of Cannon and Lloyd are great together – and the make the best songs sound like strange Eastern-tinged jazz numbers. Tunes include "To Life", "Fiddler On The Roof", "Cajvalach", "Sewing Machine", "Matchmaker", and "Now I Have Everything".

A totally great set by Cannonball Adderley – one of his funkiest albums ever, recorded live at Operation Breadbasket under the supervision of Jesse Jackson, and a session in which the band is cooking a lot more than on some of their other albums from the time! The set grooves hard with some tight electric piano from Joe Zawinul – amazing snakey lines that not only set the tone for the whole record, but which really make for a strong evolution from the Mercy Mercy Mercy era of the group a few years before. Cannon's alto and soprano work are beautiful – a masterpiece of soul jazz expression – as is the cornet from brother Nat – and the group's completed by bassist Walter Booker and drummer Roy McCurdy. The album's a bucketful of great jazzy sample tunes – and tracks include "Walk Tall", "Country Preacher", "Hummin", and the extended "Afro-Spanish Omlet".

Excellent live set from the early 70's, featuring George Duke, Airto, Ernie Watts, and brother Nat. David Axelrod produced, and the LP's got that nice hard funky sound that he did so well during his stint with Cannonball. Includes the 12 minute groover "The Brakes", plus "Oh Babe", "Music, You All", and "Capricorn". Lots of funky drums and bass, and with a lot of space in the arrangements to let things break down!

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

A masterpiece! This is one of David Axelrod's most perfectly realized albums – and it's a brilliant batch of baroque arrangements, jazzy solos, and slightly subtle funky bits! The album contains the much-sampled song "Holy Thursday", but the whole thing has a very similar feel to that track – with lots of sinister strings, rumbling drums, and archly-modern bits of instrumentation. A real killer – and with the cuts "The Smile", "A Dream", "Song Of Innocence", and "The Mental Traveller". William Blake never sounded so funky!

One of the greatest albums ever by studio genius David Axelrod! The album's one of Axelrod's first on his own – cut for Capitol Records at a time when he was working with some of the label's biggest selling soul acts – like Cannonball Adderley and Lou Rawls – turning their already-successful sounds into super-hit material by adding some nice funky touches, and excellent baroque production. This album lets Axelrod fully explore his talents for larger studio arrangements, and complex yet soulful instrumentation. The record is subtitled "an anthology of awareness after birth, based on the 18th century poems of William Blake" – and it features incredible arrangements conducted by Don Randi, played by a host of excellent LA jazz and studio players. The overall sound is spacey and dark, with nice touches of funk, and plenty of cool instrumental passages that have been sampled over the years by hip hoppers and other producers. Titles include "London", "The Fly", "The Human Abstract", "A Divine Image", and "The Sick Rose". Reissued with the original gatefold cover, and everything!

A fantastic bit of jazz funk fusion – and one of the landmark 70s albums produced by Larry Mizell! This is Gary Bartz's second (and most amazing) collaboration with Larry Mizell – a studio genius who could focus on the best talent of a jazz artist, then expand it using additional keyboards, percussion, and often a sweet bank of chorus vocals to give the tracks an extra soulful sound! By the time of this album, Larry had already worked to great fame with Donald Byrd, Bobbi Humphrey, and Johnny Hammond – and the record has him turning his talents towards Gary Bartz to unlock a whole hidden side of soulful expression that would never be matched again! The title cut – "Music Is My Sanctuary" – is a jazz fusion classic in anyone's book, and it features characteristic Mizell keyboards alongside Gary's soulful sax, augmented by a deep vocal chorus that's simply fantastic. Other highlights include "Carnaval De L'Esprit" and "Macaroni" – and the whole album's nice!

Sweet and funky organ work from the great Henry Cain – a little known player who recorded on some excellent sides for Capitol in the 60s, including some of the albums by Howard Roberts! This set is Cain's one full album for the label – and it's a tight and jumpy set of instrumentals, produced by David Axelrod with a nice sharp edge. Arrangements are by HB Barnum and Oliver Nelson – both of whom really hit the right sound for Cain's clean approach to the Hammond keys – setting up enough space for him to groove freely, yet still keeping the band tightly reigned into the rhythm of the cuts. Titles include "Horror Scope", "Shake A Lady", "Dead End Street", "Why", "Sunny", "The Way I Feel", and "Critic's Choice".

Always brilliant work from the great June Christy – an album that's got a lot more darkness than you might think from the title and the bright-colored cover! The style is very booze-soaked and sad – with plenty of echoes of the classic Something Cool album – and like that set, this one features sublime arrangements from the great Pete Rugolo – who has a perfect way of shading things in with the dark tones and modern elements that always work best for Christy's vocals! One of our favorite-ever records from June – with titles that include "Let There Be Love", "When Sunny Gets Blue", "I Want To Be Happy", "Imagination", "No More", "Better Luck Next Time", and "The Best Thing For You".

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Plus, this special CD reissue features the mono and stereo recordings of the album – completely different ones, as the album was originally recorded in mono in 1954, and completely re-recorded again with the same arrangements in 1960!

A very hip LA ensemble – featuring Gary Pack and Steve Spiegl on trumpets, and Tom Baker on trombone – directed by Jack Wheaton.

Titles include "West Side Story Medley", "Funky Night", "Without You I'm Nothing", "Teacher's Blues", and "Taunting Scene".

A genius album from Swedish baritone giant Lars Gullin – and a set that's from a period that was much less documented on our side of the Atlantic! Gullin was one of the undisputed masters of the instrument, and his American recordings on Mercury and Prestige stand as proof to his talent – but his work from the 60s, done back in his native Sweden, has been lost for years – and is often deeper and more complicated than his US sides of the 50s! This set from 1964 features Gullin in the company of a host of very talented "pals" that includes some of the greatest talents in jazz in Sweden at the time – Rolf Billberg on alto, Jan Allan on trumpet, Harry Backlund on tenor, Torgny Nilsson on trombone, and Lars Sjosten on piano – all artists used by Gullin in varying combinations, working through these wonderful arrangements of original tunes that are among some of the best he ever wrote. The set features haunting arrangements that defy description, and which allow the soloists free room to express themselves in a manner that skirts between hardbop and modernism, but which always manages to swing! Titles include "It's True", "I've Seen", "Prima Vera", "Decent Eyes", "Gabriella", and "Portrait Of My Pals". CD also features 4 bonus tracks too!

An excellent document of how the rawer soul jazz spiritualism of the early 70s smoothed out to become the spacey mellow fusion of the late 70s. The players all have their jazz funk chops – and include Paul Humphrey, Herbie Hancock, Bennie Maupin, and Bill Summers – and they've taken years at their craft to perfect their interplay in a subtle fashion, without the heavier full-on message of earlier days. Skip Drinkwater's producing the set – and as on some of his best work from the time, he manages to give the whole thing a smooth sound, yet still retain a lot of the soul. Lots of nice grooves, with almost a Larry Mizell feeling to them. Titles include "Mahal", "Ecstasy", "Butterfly", and "Cyclops".

An excellent document of how the rawer soul jazz spiritualism of the early 70s smoothed out to become the spacey mellow fusion of the late 70s. The players all have their jazz funk chops – and include Paul Humphrey, Herbie Hancock, Bennie Maupin, and Bill Summers – and they've taken years at their craft to perfect their interplay in a subtle fashion, without the heavier full-on message of earlier days. Skip Drinkwater's producing the set – and as on some of his best work from the time, he manages to give the whole thing a smooth sound, yet still retain a lot of the soul. Lots of nice grooves, with almost a Larry Mizell feeling to them. Titles include "Mahal", "Ecstasy", "Butterfly", and "Cyclops". Also includes a bonus disco remix version of "Cyclops".

Classic trumpet-heavy jive from Jonah Jones! The focus is on Jonah's gutbucket swinging style, with his trumpet up front in the mix in post-KC swing-type tunes. Things get a bit campy at times, but this pop-jazz-swing style worked extremely well for Jones and Capitol. Titles include "Moten Swing", "Lots Of Luck Charley", "Ballin The Jack", "Slowly But Surely", "Night Train", "The Blues Don't Care", and "Just A Gigolo". Sure to be a big hit with the modern swingers!

Weirdly groovy stuff from Jonah Jones – playing here in his usual pop-gospel-swing style, but with backing by a set of voices that gives that album a nice full sound. The vocal group isn't nearly as soporific as those used on other pop/jazz albums from the time, and they have a nice lilting groove that works well with Jonah's trumpet. Titles include "So Blue", "It's A Blue World", "Blue Champagne", and "Dust Bowl Blues".

A classic from Der Mickle!

Genius, pure genius! If you've ever wondered why folks think Stan is so great, check out this landmark set of postwar modern swing tunes – some of the most groundbreaking work of its generation, and proof that there was still a lot of room to grow within the big band format. June Christy provides some icy vocals on a few numbers, and other strong players on the set include Vido Musso, Boots Mussulli, Kai Winding, Eddie Safranski, and Shelly Manne. Arrangements are by Pete Rugolo, Gene Roland, and Stan – and titles include "Artistry In Bass", "Artistry In Percussion", "Fantasy", "Come Back To Sorrento", "Soothe Me", "Opus In Pastels", and "Artistry In Bolero".

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".

A great example of the Kenton powerhouse in action – a 90 minute double-live recording that really set a new standard for jazz sets of its type! The album features a side apiece dedicated to each of the three acts – one by Kenton's orchestra, one by Christy on vocals, and one by the Four Freshmen – the latter two supported by Kenton's group on their own sides, then joining together for a final fourth side that features all artists together. The approach is a great one – very vibrant, and certainly crowd-pleasing – and titles include "Artistry In Rhythm", "My Old Flame", "I Want To Be Happy", "Midnight Sun", "Day In Day Out", "Angel Eyes", and "Love For Sale".

A pair of classics from Ronnie Laws – back to back on a single CD! On Mr Nice Guy, Laws really makes a big move into the soul field – quite a big record for him back in the day, and a set that helped him reach an even wider audience at the time! Ronnie sings as much as playing sax on the set – and he also handles a fair bit of keyboards too – often laid down alongside the beats with a snapping 80s groove sort of feel – a sound that's just right for the jazzy flourishes you'd expect from Laws, but much more soul-styled than before! Laws' vocals have a lightness that really works well with the instrumentation – a catchy charm we wouldn't have expected a few years before. Tracks include "In The Groove", "Mr Nice Guy", "Big Stars", "Can't Save Tomorrow", "What Does It Take", "Off & On Again", and "Rolling". Classic Masters features the best of Ronnie Laws' 70s material, plus a few new tracks as well – an album that definitely lives up to its title! The music is awash in both jazz and soul modes – jazz, thanks to Ronnie's well-played solos, which soar out in an amazing blend of new ideas and on-the-money groove – and soul, with production that really helped Laws cross over to big audiences at the time – a blend that's like the best Blue Note jazz funk of the mid 70s! The new cuts include "City Girl" and "(You Are) Paradise" – and some of the classics include Wayne Henderson-produced gems, like "Friends and Strangers", "Saturday Evening", and the big big hit "Always There".

Do yourself a favor, and buy this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

Do yourself a favor, and splurge on this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

A funky fusion classic – and quite possibly Bobby Lyle's most perfectly realized album! The set was Bobby's first full US outing, and it's filled with soaring, riffing keyboards that stretch out into territory explored a few years before by Johnny Hammond and Lonnie Liston Smith! The real difference, though, is the album's sweet soulful production from Wayne Henderson – who hooks in the best bits of Bobby's sound, and fuses them with a modern soul-styled groove that creates the same blend of jazz and R&B that you'd get on some of Eddie Henderson's best records from the time, or some of the best Ronnie Foster work on Columbia from a few years later. Bobby's keyboards are capable of hitting both a soulful groove and a deep jazzy vibe – and the record's got a rich palette of tunes that never fail to amaze us! Titles include "Mother Nile", "You Think Of Her", "The Genie", "Pisces", "Magic Ride" and "Night Breeze".

A wonderful record by Bobby Lyle – and a genius blend of jazz, soul, and lots of other righteous sounds! Lyle started out as a keyboardist, but this album really has him taking off as a vocalist too – working in a sweet Roy Ayers-styled groove – one that blends mellow rhythms with warmly jazzy inflections – with roots in fusion, yet a tighter soul finish overall! Lyle's still got a few keyboard flights – of the sort heard on The Genie – but with Wayne Henderson at the production helm, things are a bit tighter overall – given a really wonderful focus that makes Bobby sound better than ever. Titles include the great funky number "Groove (Ain't No Doubt About It)", the warm stepper "Good Inside", and cool keyboard grooves like "Star Traveler", "Missing Your Love", and "Inner Space".

A stone classic from Bobby Lyle – and a record that really has him stepping out strongly, both as a keyboardist and a singer! Bobby's strength at this point is undeniable – and he's got a perfect sense of balance that rivals contemporaries like Roy Ayers or Webster Lewis – both of whom work in a similarly jazzy groove! Lyle plays some great Fender Rhodes on the set – plus other more way-out keyboards too – and production is by the At-Home team, who really know how to bring in a strong sense of focus to the grooves, while still letting the best jazzy elements flourish. Titles include "Space Place", "Stop Running Away From Love", "Getting Into Love", "Dream Lady", "Stop Running Away From Love", and "For Love".

Way way more than just a simple "jazz meets Broadway" session – as Shelly's working here with vocals by Jack Sheldon & Irene Kral, and arrangements by soundtrack maestro Johnny Williams – in a style that completely recasts the score! The album's got a really dynamic kind of range – one that's purely phonographic, and not just a weak attempt to capture Broadway on wax. Jack and Irene perform the work with a style that's personal and intimate, and Williams' arrangements have a swinging 60s flair that's totally great – and made even better by players that include Don Sleet, Russ Freeman, and Charlie Kennedy. Titles include "I'm An Ordinary Man", "Why Can't The English", "Ascot Gavote", "Show Me", "The Rain In Spain", and "You Did It".

Arranger Onzy Matthews plays piano and leads a nice tight band that includes LA soul jazz players like Curtis Amy, Clifford Scott, Bobby Bryant, Ray Crawford, and Horace Tapscott! The title sums up the sound of the session perfectly, as the tracks are bluesy, but with an elegant sense of arrangement, as you might expect from a jazz release on Capitol at the time. The solos of the stars are fairly prominent, and the LP's better than you might expect. Titles include "Pensive", "Dallas Blues", "Blues Non Stop", and "Somethin's Cookin".

Sounds for the 60s indeed – and a great set of jazzy instrumentals that step out with a lean Capitol groove! Onzy's on piano and at the head of the group – and the record features some nice solo work by Curtis Amy and Clifford Scott, both of whom bring a surprising dose of soul to a set that might have some lighter edges otherwise. The tunes are a nice batch of covers, plus originals – all played with that sweet Capitol bounce of the mid 60s. Titles include "Ray On Blues", "Mexicali Brass", "White Gardenia", "Ballad For Orchestra", and a really great take on "Moon River".

A fantastic album, and one of Jimmy's hardest to find! The set is quite different than most of Jimmy's other work – and it features short, hard, funky tracks that feel more like obscure 7" singles than any of Jimmy's straighter soul jazz work. It almost sounds like The JBs are backing him – as the drums are tight, bass is great, and the overall groove is fantastic! The record's a little like Jimmy's Electric Funk album, but harder, with more breaks and basslines – and a non-stop groove that's a pure delight for any fan of deep funk! Great stuff, with "Ain't It Funky Now", "The Now Thing", "Fat Cakes", "New Volume", and "Bug Out".

Great early west coast jazz! This album puts together 2 different sessions both recorded by Gene Norman in the early 50s. One features Shorty Rogers heading up a great group with Art Pepper and Jimmy Giuffre – on the tracks "Four Mothers", "Didi", "Sam & The Lady", and "Popo". The other features classic cool Gerry Mulligan material – played by a tentet with Chet Baker, Bud Shank, and Bob Enevoldsen. Titles on that one include "Westwood Walk", "Simbah", "Walking Shoes", and "Rocker".

A pretty strange concept for an album – a bunch of LA jazz players get together and do versions of songs usually associated with the south! This penchant for swinging tunes from unusual sources was one of Pell's strongest 50s tricks, though, and he makes it come off pretty well with a group that includes Tommy Tedesco on guitar, Jack Sheldon on trumpet, Marty Paich on piano, and Med Flory on baritone sax. Arrangements are by Flory, Paich, Bob Florence, Bill Holman, and Johnny Williams – and titles include "Shi Me Sha Wabble", "Sugar Foot Strut", "Jazz Me Blues", "Blues", "Paper Doll", and "Ballin The Jack".

Includes the tracks "Hallelujah", "Anything Goes", "There's A Small Hotel", and "Way Down Yonder In New Orleans".

Great work from pianist Don Randi – and a lost David Axelrod gem! The album features Randi playing over Axelrod arrangements – and as a whole, it's really more of an Axelrod album than anything else – especially considering the fact that Randi was the player on some of Axe's own albums, and that the orchestrations are more the star here than the piano. The tunes groove along in that wonderful Axelrod way – lots of space, a nice bounce, and just the right mix of big and little, loud and soft, to create a very nice sound! There's some very nice soundtracky bits on the set – and titles include "Che", "Across The River", "Goodbye Columbus", "The Fox", "Mrs Robinson", "Boogaloosa", and "Both Sides Now".

A killer album from Johnny Richards – possibly the best he ever cut! The album sparkles with all the intensity he brought to Stan Kenton's Cuban Fire album – with bits of Latin, jazz, and some of the modernist scoring that Kenton, Richards, and Pete Rugolo were using at the time. However, the main thing about this album is that it swings like a mo-fo – moving past any tricks and gags to hit a strong jazz mode, with excelelnt solo work by players like Frank Socolow, Gene Quill, and trumpeter Burt Collins. Willie Rodriguez brings some nice Latin percussion to the set – and titles include "Cimarron", "Eyes", "Nipigon", and "The Ballad Of Tappan Zee".

Very groovy! The record's a hip batch of jazzy tracks played by the great Howard Roberts, caught here at the height of his 60s groovy bossa style, and playing with his regular combo plus backing by a larger group of horns. Jack Marshall and Shorty Rogers helped Howard with the arrangements, and the record has that groovy LA jazz sound that graced the best of the Capitol sides of the time. Charles Kynard gets in some nice organ, Howard plays a nicely-toned Epiphone, and titles include "Bluesette", "The Lonesome Cowboy", "Charade", "Maniac", and "Recado Bossa Nova".

An overlooked 60s gem from George Shearing – mellow and jazzy, and done with a slightly different style than usual! Deep Velvet takes Shearing's piano and vibes and backs them up with a 12-piece woodwind choir – one that creates a shimmering backdrop of colors and tones for the core sound of the Shearing quintet – and a mode that allows George's work on piano to explore with even more lyrical openness than before. The woodwinds occasionally step out a bit in some complicated passages of their own, but the real charm of the record, as always, is from the Shearing touch. Titles include "Passing By", "Would You Like To Take A Walk", "Signing Off", "One Love", "Slowly", "My Heart Stood Still", and "I Used To Be Color Blind".

An unusual one for George Shearing – in that this Capitol session's a trio date, instead of Shearing's usual quintet mode – working in an Ahmad Jamal-like trio with drums by Vernel Fournier and bass by the late Israel Crosby! There's flowing, subtly soulful sound going on here – one that's almost an homage to Jamal, but which still has some of the more Shearing-like tones to ring out and announce George's influence on the date. The album was sadly Crosby's last recording, but his bass still sounds great – and titles include "Wonder Why", "Blues In 9/4", "Heart Of Winter", "What's New?", and "Symphony".

Classic work by Teagarden – pop trad tracks, cut at the height of his popularity in the mid 50s. Teagarden sings and plays trombone – and other players include Gus Bivona, Nick Fatool, Harry Geller, Jack Marshall, and Manny Klein. Tracks include "After You've Gone", "I'm Coming Virginia", "Beal Street Blues", "Peg O My Heart", and "The Sheik Of Araby".

40s recordings by Leadbelly, Nappy Lamare, Zutty Singleton, and Eddy Miller.

Features work by Coleman Hawkins, Nat King Cole, Stan Kenton, Jay McShann, and Benny Carter!

Prime material from Cannonball and David Axelrod – and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Axelrod take a trip through a host of cultural milestones – stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing – and tracks include "Make Your Own Temple", "Amani", "Space Spiritual", "Eternal Walk", and "Gone". Oh for the days of the double LP concept jazz record!

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do".

Rare work by Cannonball – recorded live in Europe in the early 60s, and only ever issued there until the release of this CD in the US! The set features live material performed by Cannon's amazing group that included Joe Zawinul on piano, Yusef Lateef on reeds, Nat Adderley on cornet, and the rhythm section of Sam Jones and Louis Hayes – all grooving together perfectly for the set, with a fluid mix of hardbop, soul jazz, and slight exotic traces that are completely sublime! Titles include "P Bouk", "Gemini", "Work Song", "Trouble In Mind" and "Dizzy's Business".

A totally great set by Cannonball Adderley – one of his funkiest albums ever, recorded live at Operation Breadbasket under the supervision of Jesse Jackson, and a session in which the band is cooking a lot more than on some of their other albums from the time! The set grooves hard with some tight electric piano from Joe Zawinul – amazing snakey lines that not only set the tone for the whole record, but which really make for a strong evolution from the Mercy Mercy Mercy era of the group a few years before. Cannon's alto and soprano work are beautiful – a masterpiece of soul jazz expression – as is the cornet from brother Nat – and the group's completed by bassist Walter Booker and drummer Roy McCurdy. The album's a bucketful of great jazzy sample tunes – and tracks include "Walk Tall", "Country Preacher", "Hummin", and the extended "Afro-Spanish Omlet".

Classic funky soul jazz playing by Cannonball and one of his great groups, caught live in San Francisco, with a nice hard groove that you don't always get in their studio recordings. The record includes a stellar 11 minute version of "The Jive Samba", one of Cannonball's greatest track, plus "Primitivo", "Lillie", and "Mellow Buno". Nat Adderley's on trumpet, Joe Zawinul's on piano, and Yusef Lateef is on tenor! CD includes the bonus track "Unit 7"!

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

If you ever needed a key example of the genius of Cannonball on Capitol Records, this tight little set may well be it! The record's got all the best elements of a Cannon classic firmly in place – production by David Axelrod, electric piano by Joe Zawinul, and some tremendously soulful work from Cannon and Nat Adderley on their respective horns – all presented with a sense of relaxed tightness (if we can use such a phrase) that's jaw-droppingly brilliant all the way through! Cannon speaks a bit and pushes the band into action with charisma and warmth caught nicely by Axelrod's recording – and the band grooves on long, snakey tunes that mix equal parts funk and soul jazz together, coming up with the quintessential Adderley groove on nearly every number! Tracks include the seminal "Why Am I Treated So Bad", plus "Mini Mama", "I'm On My Way", "One For Newk", "The Scene", "Yvette", and "The Other Side".

An excellent jazz vocal album by one of the lost greats! Ernie Andrews was always a musician's singer – in that he never cracked the masses, but did have tremendous respect among jazz players in the 60s and 70s. Here, in one of his best albums, he's caught live, working with Cannon's classic quintet, and under production work by David Axelrod. The record perfectly captures the live fire of Adderley's group, and mixes it with the strong voice of Andrews in a good set of material that includes "Big City", "I'm Always Drunk In San Francisco", "Don't Be Afraid Of Love", and "I'm A Born World Shaker".

Stunning! This is David Axelrod's rare suite of tracks dedicated to saving the enviroment with a set of jazzy funky grooves! The record's probably his most baroque album ever, with a big group of jazz players that mixes vibes, guitars, and off-kilter reeds – plus a group of singers who perform some of the lyrics of the set, most of which are adapted from the Old Testament and from Navajo legends. The record's broken into two long suites – "The Warnings" and "The Signs" – and the whole thing blends together in a spacey, other-worldly mix of heavy arrangements and trippy grooves!

A masterpiece! This is one of David Axelrod's most perfectly realized albums – and it's a brilliant batch of baroque arrangements, jazzy solos, and slightly subtle funky bits! The album contains the much-sampled song "Holy Thursday", but the whole thing has a very similar feel to that track – with lots of sinister strings, rumbling drums, and archly-modern bits of instrumentation. A real killer – and with the cuts "The Smile", "A Dream", "Song Of Innocence", and "The Mental Traveller". William Blake never sounded so funky!

Legendary work from Miles Davis – large group sessions that virtually define the "cool" in cool jazz! The work's quite different from Davis' earlier bop sides with Charlie Parker – and show a distinct influence from modernists like Gerry Mulligan (who is on the recordings) and from the experiments of the Tristano school. Miles is less the leader than the creative visionary – as all players come together in a perfect blend of sound, perfectly polished, and with a very dark edge. Titles include "Jeru", "Move", "Venus De Milo", "Budo", and "Deception".

A stone classic from Bobby Lyle – and a record that really has him stepping out strongly, both as a keyboardist and a singer! Bobby's strength at this point is undeniable – and he's got a perfect sense of balance that rivals contemporaries like Roy Ayers or Webster Lewis – both of whom work in a similarly jazzy groove! Lyle plays some great Fender Rhodes on the set – plus other more way-out keyboards too – and production is by the At-Home team, who really know how to bring in a strong sense of focus to the grooves, while still letting the best jazzy elements flourish. Titles include "Space Place", "Stop Running Away From Love", "Getting Into Love", "Dream Lady", "Stop Running Away From Love", and "For Love".

Proof that even a tiger can change his stripes! The album's a rare instrumental outing from Denny McLain – a 60s pitching star on the Detroit Tigers, but also a heck of a nice little organ player in a small combo setting! Denny's working here in a mod take on organ jazz of the 60s – almost in a Howard Roberts style of setting, but with a mode that's a bit jauntier and more jagged. His combo features a number of lesser-known players from his local Detroit gigs – and the lineup includes tenor, trumpet, bass, and drums. But the real focus is on Denny's organ work – played here with the stops all out, and a lot of the vibrato you'd find in the ballpark on the instrument – set to tunes that have a heck of a lot of rhythm, and which dance around with a nice little playful groove! This isn't a set that will make you shelve your Jack McDuff albums or anything, but it's a surprisingly nice little record – with tracks that include "Extra Innings", "Hurdy Gurdy Man", "For Me", "Don't Give Up", "Watch What Happens", "Cherish", "Nice N Easy", and "The Look Of Love".

One of the best of Roy's funky piano albums from the late 60s – and a good example of how strongly Capitol could craft these sorts of pop jazz soul albums (especially when you compare the record to some of Roy's on Columbia). The best tracks on the record are the straight soul ones – like the version of "Cow Cow Blues", redone as the funky "Cow Cow Boogaloo"; or the nice jazzy stepping version of the gospel classic "Walk With Me". Other nice ones include covers of "Think", "Mission Impossible", and Eddie Harris' "Mean Greens" – plus Meriwether's own "Satisfy My Soul".

The George Shearing Quintet – with added orchestrations – all in a blend that's got that pillow-soft sound that Shearing did so well back in the 50s! Arrangements are by George and Billy May – the latter of whom is especially subtle here, bringing things in with the best ballad mode he'd use behind Sinatra – yet tailored nicely for Shearing's use of vibes, guitar, and added Latin percussion. And as with some of George's best records, even when things are gentle, they still know how to swing – thanks to a sense of space and timing that's always a treat. Titles include "Moon Song", "The Folks Who Live On The Hill", "If I Should Lose You", "Black Satin", and "Starlight Souvenirs".

A great lost chapter in the Cannonball/David Axelrod story! The record features Cannon's classic quintet performing some longer, more serious works with orchestral backing – and the sound is vaguely similar to some of Axelrod's "high concept" work for Capitol. The record features a recording of Axelrod's "Tensity" and William Fischer's "Experience In E", both conducted by Fischer, a hip modern soul-oriented arranger, with a sound that's not dissimilar to Axelrod. The last piece on the album is a nice long one by Lalo Schifrin, "Dialogues For Jazz Quintet & Orchestra", which is also conducted by him as well.

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P". CD also includes a bonus track – "Our Delight".

If the 60's ever had a "hit" jazz record, it was probably this one! The album's a sparkling live session featuring the trademark soul jazz sounds of the Cannonball Adderley group with Joe Zawinul on acoustic and electric piano, and brother Nat Adderley on cornet. The tracks have a long soulful groove, with gutbucket solos from the 3 above-mentioned players, and tight live production by a young David Axelrod. Titles include "Sticks", "Hippodelphia", "Sack O Woe", and the classic "Mercy, Mercy, Mercy" – a jazz theme that you'll recognize instantly!

Trumpeter Jonah Jones swings nicely with a Broadway theme – yet still manages to keep things in his charming blend of trad, swing, and some groovier elements too! The set's mostly instrumental, although Jonah sings on a few numbers with that warmly raspy voice of his – and as with most of the Capitol dates, a mute is used often – compressing the sound down into the grooves, which are almost upbeat and lively. Other players include George Rhodes on piano, John Brown on bass, and Harold Austin on drums – and titles include "Baubles Bangles & Beads", "Hey There", "Just In Time", "You're Just In Love", "Just My Luck", and "You're So Right For Me".

A great little record – with some very groovy guitar! This is the kind of session that we used to pass up years ago because we never thought it was that pure. Now, though, thanks to beatheads worldwide, the great talents of Howard Roberts' Capitol years are finally getting recognized again. This album's a gem, with tight little arrangements that pit Howard's terse jazzy guitar against some very groovy organ riffs – and the sound is very fresh, and very lively. Includes the sampled track "Dirty Old Bossa Nova", plus "Deep Fry", "Rough Ridin", "Watermelon Man", "Smolderin", and "Turista".

2 Latin lovelies back to back – some of George Shearing's best late 50s work for Capitol! Latin Lace may not be the hardest-hitting Latin jazz session you might find, but it's a wonderful record filled with complicated changes, and a mix of vibes, piano, and percussion that went onto inspire countless groups at the time! The tracks have a simple approach, but really hook into the groove nicely – gliding easily with an impossibility that makes you understand why Shearing was so popular at the time these records were released. Titles include "The Story Of Love", "Cali Mambo", "Rondo", "To The Ends Of The Earth", "Wonder Struck", "Sand In My Shoes", and "Mambo No 2". Latin Affair is wonderful exotic work from George Shearing – a mixture of jazz piano, Latin percussion, and lyrical guitar and vibes intertwined around the whole operation. The set's got the feel of a Martin Denny album – but without all the easy tricks, and with a lot stronger jazz feel on the part of the piano and vibes. Titles include "Afro #4", "Magic", "Mambo Balahu", "This Is Africa", and "Estampa Cubana".

Sweet smooth and funky work from Eddie Henderson – a nice move from his more righteous work of the mid 70s, into an R&B-tinged sound that would take him far in years to come! The sound is surprisingly great, and still pretty darn righteous – thanks to some great production by Skip Drinkwater – working with Eddie in the same funky fusion mode as on his records with Bobbi Humphrey from the same time. There's a warm compressed groove to the session that's really great – and Eddie's working with a top-shelf batch of players that include Patrice Rushen, Paul Jackson, Julian Priester, and George Cables. Titles include "Movin On", "Say You Will", "Source", "Open Eyes", and "Beyond Forever".

A collection of some of Kenton's early 50s hits, presented here as "encores", with most of the tracks arranged by Pete Rugolo. 11 tracks in all, including "He's Funny That Way", "Painted Rhythm", "Journey To Brazil", "Somnambulism", "Chorale For Brass, Piano And Bongo", "Capitol Punishment", "Ecuador" and "Abstraction". Packaged in a very cool cover featuring a conductor standing amidst a odd Dali-esque landscape of hands and lines.

A funky fusion classic – and quite possibly Bobby Lyle's most perfectly realized album! The set was Bobby's first full US outing, and it's filled with soaring, riffing keyboards that stretch out into territory explored a few years before by Johnny Hammond and Lonnie Liston Smith! The real difference, though, is the album's sweet soulful production from Wayne Henderson – who hooks in the best bits of Bobby's sound, and fuses them with a modern soul-styled groove that creates the same blend of jazz and R&B that you'd get on some of Eddie Henderson's best records from the time, or some of the best Ronnie Foster work on Columbia from a few years later. Bobby's keyboards are capable of hitting both a soulful groove and a deep jazzy vibe – and the record's got a rich palette of tunes that never fail to amaze us! Titles include "Mother Nile", "You Think Of Her", "The Genie", "Pisces", "Magic Ride" and "Night Breeze".

An interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick".

A classic from Cannoball and producer-partner David Axelrod – truly great stuff and maybe even better than the Zodiac set Cannonball did for Capitol! The formula is similar to that one – with David Axelrod producing, electric keyboards by Hal Galper and George Duke, spacey solos by Cannonball and Nat Adderley, and some very hip recitations by Rick Holmes on love, sex, and the zodiac! Holmes is best known as the chappie who cut "Remember To Remember" years later with Roy Ayers – but this album's got a similar "wisdom and knowledge" feel that's pretty wonderful. Titles include "Aquarius: Humanity Plus", "Cancer: All Sides", "Leo: Rosebud", "Aries: Damn Right", "Gemini: Ecstasy", and "Virgo: For Pam".