Jazz — All Formats  

Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

Mose Allison's last album for Prestige Records – before moving onto even bigger fame at Columbia and Atlantic during the 60s! Unlike Allison's later sets, this one is mostly instrumental – but there are a few sweet vocal tracks that bring out the hip, rootsy lyrical modes that would make Mose a big hit with the mod scene overseas – including the classic "Eyesight To The Blind", plus "That's All Right" and "Do Nothing Till You Here From Me". The remaining piano trio sides have a great rollicking groove – rootsy, yet slightly modern too – with bass by Addison Farmer and drums from Ronnie Free – on titles that include "Promenade", "It's Crazy", "Strange", "Autumn Song", and "Groovin High".

The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time – similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches – very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster".

A perfect title for a perfect record – especially given all the love we've felt from Build An Ark over the years! The album's a masterpiece through and through – easily the greatest statement ever from this already-amazing band – a contemporary ensemble, but one that we'd seamlessly rank right next to our righteous favorites on labels like Impulse Records, Tribe, or Strata East – with all the political power and sense of social mission those references would imply! The song titles alone will give you a great idea of the beautiful vibe behind Build An Ark – tunes like "Celebrate", "How Do We End All This Madness", "Love Is Everywhere", "World Peace Now", and "This Prayer For The Whole World" – which re-ignite the Love Supreme candle first lit by John Coltrane in the 1960s – burning brightly again in the 21st Century, and almost even more inspiring – given the youthful energy of the group. As always, mainman Carlos Nino deserves a hell of a lot of credit for getting something this great, this right – but the group is also very clearly a collective, and draws amazing energy from members who include Dwight Trible, Kamau Daaood, Miguel Atwood-Ferguson, Damon Aaron, Jim Lang, and others. In addition to above-mentioned titles, other tunes include "Sweet Thing", "World Music", "More Love", "In The Park", and "Play The Music".

Charlie Byrd gets some top-shelf treatment here – in a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz".

Not the usual jazz outing from trumpeter Pete Candoli, and more an album of pop instrumentals, designed to cash in on the success of the big hit single "Moscow Mule"! (Pete didn't do the original version of that, right?) Tunes are short, jaunty, and use the trumpet in the kind of 60s pop way that was working big with Al Hirt and Herb Alpert – not as cool as Pete's 50s jazz work, but groovy enough if you're not looking for that. Titles include "Wild Turkey", "Rum & Coca Cola", "Moscow Mule", "Tequila", "Cool Green Grasshopper", and "Scotch & Soda".

Two post-CTI gems from Deodato – back to back on a single CD! Whirlwinds is sweet keyboard soul from Deodato – a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards – and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune! Artistry is a live set from Deodato – but one that's very much in the mode of his best CTI studio sessions – with soaring, over the top keyboard work that's totally great – backed by some tightly compressed guitar, bass, and drums, with just enough funk in the mix to keep things interesting! As with other Deodato records from the time, there's a mix of moods here that comes together nicely – a range that goes past his easy hits, and shows Deodato to be one of the hippest, most soulful keyboard talents of his generation. Titles include a great version of "Super Strut" that grooves for over 8 minutes, and which has some firey guitar that really competes with Deodato's work on the keys – and other tracks include "Farewell To A Friend", "Pavane For A Dead Princess", "Rio Sangre", and "Jivin".

They certainly got the title right on this one – as Feldman moves from his usual staid jazz mode, to come up with a very groovy LP! In the course of the album, Vic gets his hands on conga, sand blocks, vibes, drums, organ, electric piano, tympani, tambourine, jawbone, novachord, and a lot more – creating some great little tunes with a heavily percussive groove to them. The set's a great mix of jazz and mod – with a sound that would make Verve weep! Titles include "Voce E Eu", "Do The Jake", "Geronimo", "Sunshine Superman", "In The Mood", "Have A Heart", and "This Door Swings Both Ways".

A fantastic bit of late 60's funk, and a surprisingly slammin' record from Dizzy! The album's got tight, hard, choppy funk arrangements from Ed Bland – who went onto to do some great work at the Perception label – and the group features James Moody blowing hard lean funky solos right next to Diz, in the way that he'd do on some of his own funk work from the same time. The record is wonderful all the way through – killer heavy drums, heavy electric bass, searing sax solos from Diz and Moody – all produced with a mad mad full-on funk sound that will make your jaw drop! Titles include "Blue Chuchifrito", "Chicken Giblets", "Rutabega Pie", "The Fly Fox", "Stomped & Wasted" and "Casbah Melon".

Chicago alto player Bunky Green gets "Latinized" – in a very groovy set of soul jazz tunes from the 60s Cadet Records scene! The style isn't entirely straight Latin – more just a soul jazz approach to small combo jazz, supported with great percussion from a trio of added players – but Bunky's alto sax is right out front in the mix, bounding warmly over the top of the grooves with a sound that's a bit like Lou Donaldson or Chicago contemporary Sonny Cox! The Dells bring in a bit of vocals to the record – not much, but just enough to create a nice sense of surprise – and tracks include "Feeling Good", "Do It Like You Feel It", "Fast n Foxy", "A Ting A Ling", and "How's Your Mambo?".

An amazing bit of jazz funk from Johnny Hammond – and one of his greatest LPs! This is the first album that Johnny recorded with Larry Mizell, cut right before the pair of them went onto do the landmark Gears album. While this one never became as famous as Gears, it's got some fantastic moments that are every bit as great – a perfect blend of Mizell's spacey fusion and Hammond's fiercely soulful soloing, with lots of great jazzy changes to keep the pace fresh throughout. Includes the great spacey jazz cuts "Star Borne" and "Yesterday Was Cool", the latter of which is an excellent piece of work by Larry Mizell – plus the cuts "Back To The Projects", "Gambler's Life", "Rhodesian Thoroughfare", and "Virgo Lady". Plus, the CD features 4 bonus tracks that represent some of Johnny's best work for the Kudu label – including "Rock Steady", "Higher Ground", "Breakout", and "Who Is Sylvia".

Fantastic work from one of the most unique talents in jazz! Rufus Harley plays bagpipes – yes, that's right, bagpipes – in a modal Coltrane-esque way that's simply got to be heard to be believed. He uses the drone capability of the instrument to explore reed patterns in the same way that Coltrane did, inspired a bit by Eastern sounds, especially Indian music, but also working in an Afro-centric mode that reclaims the bagpipes as an instrument rooted in the middle east (where it was first picked up by soldiers during the crusades, and brought north to Scotland.) The whole thing might sound incredibly silly, but when you hear the music, you'll be convinced – and this CD is set up to do just that. The collection takes 9 tracks from Rufus glory days at Atlantic Records during the late 60s – and features Harley not only on bagpipes, but on tenor, soprano, and flute – playing in groups that feature players like Roy Ayers, Herbie Mann, Sonny Stitt, James Glenn, and Don Patterson. Titles include "Feelin Good", "Flute Bag", "Taurus The 20th", "More", "Sufur", and "Pipin The Blues".

A great little album from talented tenorist Jon Irabagon – served up with a cover that's sort of a parody of a hip hop record – but delivered with a bold musical sound that's right up there with Jon's work in Mostly Other People Do The Killing! The tenor's really out front in most numbers – carving out a fresh space that changes throughout the set – sometimes spare and improvised, yet other times boldly swinging with lots of angular changes – setting fire to the group's lineup of trumpet, keyboards, bass, and drums. One track features a larger ensemble, and a few others feature guest players too – all integrated wonderfully into Irabagon's bold musical vision. Titles include "Lola Pastillas", "Camp Douglas", "Mourning In America", "Charles Barkley", "Parker Posey", and a nicely offbeat version of "Take Five".

The earliest work we've ever heard from keyboardist Webster Lewis – and a set that's quite different than his late 70s groovers for Columbia Records! The music here is equal parts jazz, soul, and funk – spun out of over a set of long tracks recorded in Oslo at the start of the 70s – and done in a very righteous mode overall! Even at this early age, Lewis is a tremendous talent on the keys – hitting the Hammond and electric piano with a groove that's somewhere in between Doug Carn or Charles Earland at the time – and always with a free-flowing, very exploratory sound that's wonderfully recorded throughout – and which almost makes the record feel like an American classic on the Black Jazz label! The drums on the set are by Jimmy Hopps – who brings in some funky beats at just the right moments – and other musicians include Bobby Greene on alto and Stan Strickland on tenor – plus Judd Watkins on vocals, who sings on some of the best songs with a deep-voiced quality that's really great! This double-length reissue really expands past the previous version on Counterpoint – and the 2CD set features 15 tracks that include "Do You Believe", "Saturday Night Opening", "Dear Sister", "Qvote Unqvote", "Mr Knots", "Space Rock", "Silent Lights", "Up On The Roof", "Club 7 Latin", "For Arne", "Twelve Gates To The City", and "Intermezzo".

Lovely bossa work from Argentine guitarist Agustin Pereyra Lucena – one of his first records, done in a style that's right up there with the best of Brazil in the 60s! Acoustic guitar is the main instrumentation on the set – supported by light percussion, warm basslines, and some occasional wordless female vocals – which drift in and out of the set with a really wonderful tone! The vocals make for a really great element to the set – working a bit like they do in Baden Powell's albums from the same time. Titles include "Tema Para Martin", "O Astronauta", "Tristeza De Nos Dois", "Canto De Ossanha", "Pro Forma", and "Berimbau".

We're not sure what to make of the title – but to our ears, everything here sounds plenty new and plenty fresh – the kind of creative guitar-driven work we've come to expect from Jon Lundbom and his cool contemporaries from the Mostly Other People Do The Killing side of the universe! The group here also features Jon Irabagon on alto and soprano sax, Bryan Murray on tenor and balto sax, Moppa Elliott on bass, and Dan Monaghan on drums – and there's an intensity to the music right from the start – a blistering sort of energy that almost takes us back to some of the most creative downtown jazz experiments of the New York scene in the early 80s. Titles include "The Other Third One", "Of Being Done To", "The Bad Thing", and "Talent For Surrender".

Two classics from the legendary Idris Muhammad! Black Rhythm Revolution is one of the first records ever as a leader from funky drummer Idris Muhammad – a set that was cut right at the same time Idris was burning up the kit on his classic jazz funk sessions with other Prestige label players! The groove here is tight, funky, and very much in the mode that Muhammad laid down for other bigger soloists – a solid, socking sound that was the early 70s inheritance of the "Popcorn" funk groove of the late 60s. Players here are all great – and include Melvin Sparks on guitar, Harold Mabern on electric piano, and Virgil Jones on trumpet – and tracks include great covers of "Express Yourself" and "Super Bad", plus "Wander" and "Soulful Drums". Peace & Rhythms is a wonderful departure from Muhammad – and proof that he could do a lot more than just provide heavy breaks for Lou Donaldson and Melvin Sparks! This set is surprisingly spiritual and righteous at points – with a groove that's almost more like Strata East than some of Muhammad's previous work as a sideman on Blue Note and Prestige. Side one features the extended "Peace and Rhythm Suite" – a beautiful cut that's filled with searching, soaring energy – and side two includes two vocal cuts "Brother You Know You're Doing Wrong" and "I'm a Believer", both sung by Sakinah Muhammad – plus "Don't Knock My Love". Players are all great – and a nicely different lineup than the usual Prestige jazz funk gang.

A single extended piece from this four extremely creative musicians – spun out over an hour of live performance with a range of tones and sounds that's simply breathtaking! Evan Parker's reeds really stretch out – both soprano and tenor, which seem restlessly in search of new notes and pathways – as Paul Rutherford muses on those rumbling tones he could do so well at this point. Hans Schneider hangs back a bit on bass, but wells up at just the right spots – and Paul Lytton really intensifies certain passages with both acoustic percussion and electronics!

A killer album of German fusion from the late 70s – a blend of acoustic elements, Brazilian rhythms, and freer jazz moments that's right up there with the best of the Glucklich generation! The group's led by percussionist Heinz Von Moisy – and it features plenty of his own rootsy work – but also includes vibes, bass, and guitar – all in a swirlingly rhythmic blend! Some of the longer cuts have spare, spacier moments – but others get nice and tight, and the album's a great example of the organic advances of the German jazz scene after the initial spark of the MPS generation. Titles include the classic "Nil", plus "Las Plantas", "The Lost Dream", "Mirage", "Samba Do Contrabandista", and "La Carretera".

Great stuff! Phils Woods plays reeds over a cool crazy band of Greek players who are trying to do a "jazz meets Zorba the Greek" thing here. Sounds crazy, but the record's actually great, and has a mix of styles that comes together in an amazing way. We always used to pass this up, but now we love it – not only for the crazy cacaphonous sound of the greek players, but for the sweet right-on solos by Woods. Tracks include "Zorba The Greek", "Greek Cooking", "Nica", and "Got A Feelin".

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

One of the earliest albums as a leader from reedman Robin Kenyatta – and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s – a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary. A few tracks get surprisingly out, but always with a nice sense of focus, especially in the rhythms – and in addition to Kenyatta's own bold work on alto sax, the album features performances by Roswell Rudd on trombone, Mike Lawrence on trumpet, Walter Booker on bass, Fred Simmons on piano, and Horace Arnold on drums. The tunes have lots of sharp edges – almost Ayler-like at times, but more inside – and titles include "You Know How We Do", "Little Blue Devil", "This Year", and "Until".

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

Twin pianos from Tommy Flanagan and Hank Jones – with no other instrumentation – played in some great ways that provide an equal balance of rhythmic pulse and lyrical melody! The set's got a sweet stereo split – so that Tommy's in the right channel, and Hank is in the left – and the pair do a great job of bringing new life to a host of bop classics, yet in an all-piano style that has the music billowing out in these great waves of sound! Titles include "Robbins Nest", "Confirmation", "Jordu", "Our Delight", and "Lady Bird".

Pepper Adams never fails to blow us away in a small group setting – and here, on a killer quartet date from the early 80s, he really wins us over all over again! The album's one of those great ones from Adams – in which he's really let loose to open up and blow some extended, imaginative solos – the kind of open-ended baritone sax romps that few (if any) other players could do this well! The rhythm section kicks with just the right sort of energy for the tunes – Jimmy Rowles on piano, George Mraz on bass, and Billy Hart on drums – and titles include "Trentino", "Urban Dreams", "Three Little Words", "Dexter Rides Again", and "Time Is On My Hands".

One of the coolest albums ever from organist Milt Buckner – a set that not only features his own great work on Hammond, but also some excellent vibes from Gene Redd! This isn't the Redd that was a member of Kool & The Gang, but his pops – and Gene works with Buckner here on arrangements to craft a sound that's much hipper and more soulful than usual for Milt – quite a change from some of his dates for other labels, especially some of the overseas ones. The rest of the group features Bill Willis on bass and Phil Paul on drums – and tunes are awash in cool tones and unusual sounds – handled very differently than in other versions. The album includes nice versions of "Take Five", "Fly Me To The Moon", "All Blues", and "Why Don't You Do Right" – all with a lot more of a soul jazz groove than you'd expect!

Two sides of Charlie Byrd in the mid 60s – one focused on Brazil and the other a sweet set of jazzy soundtrack adaptations – on one CD! First up is the classic Brazilian Byrd – a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz". Next up is the Hollywood Byrd set – with some dreamy, jazzy covers of popular movie tunes. It includes some of our own favorites – such as "Alfie", "The Wishing Doll", "Moment To Moment", "Wish Me A Rainbow" and more. A number of tunes have lovely choral vocals, and all of them have a really groovy 60s sound. We'll also make an admission – we give it a few extra points for having one of the sexiest covers ever – but the music can sell it just as well!

Trombonist Vincent Gardner really knows how to make an album cook in an old school sort of way – and here, he steps out with a tight sextet in a soulful set of bebop classics – handled in long takes that point more towards a late 50s/early 60s hardbop style! The combo is excellent – Ryan Kisor on trumpet, Dick Oatts on alto, Peter Zak on piano, Peter Washington on bass, and Ali Jackson on drums – grooving hard right from the get-go, and in ways that are definitely their own – and avoid the too-familiar takes that you'd sometimes hear on tunes like these. The horn players respond especially strong to the setting – and titles include "Sid's Delight", "Dizzy Atmosphere", "Another Hair Do", "Double Talk", "Darn That Dream", "Compulsion", and "I Waited For You".

A fantastic bit of late 60's funk, and a surprisingly slammin' record from Dizzy! The album's got tight, hard, choppy funk arrangements from Ed Bland – who went onto to do some great work at the Perception label – and the group features James Moody blowing hard lean funky solos right next to Diz, in the way that he'd do on some of his own funk work from the same time. The record is wonderful all the way through – killer heavy drums, heavy electric bass, searing sax solos from Diz and Moody – all produced with a mad mad full-on funk sound that will make your jaw drop! Titles include "Blue Chuchifrito", "Chicken Giblets", "Rutabega Pie", "The Fly Fox", "Stomped & Wasted" and "Casbah Melon".

Amazing stuff! Johnny "Hammond" Smith began his career as a simple soul jazz organist – but by the time of this album, he'd teamed up with the mighty Larry Mizell, the genius arranger/producer who'd breathed new life into the careers of Donald Byrd and Bobbi Humphrey. Mizell works with Hammond in the same way he does with other jazz artists – by taking a groove that works best with their solo style, and slowly layering other instrumentation and effects on top of it, so that when the solo kicks in, it's supported on waves and waves of funky sounds and soulful grooves. Mizell and his brother Fonce both play keyboards on the record, and the rest of the group includes monster fusion players like Harvey Mason, Roger Glenn, Hadley Caliman, and Jerry Peters. The real treat is Johnny, though – as his solos are heavenly, the best of his 70s work, stripped mean and lean, laid in at just the right points. Includes the breakbeat classic "Shifting Gears", the house classic "Los Conquistadores Chocolates", and funky numbers "Fantasy" and "Tell Me What To Do".

One of Ramsey Lewis' best albums of the 60s – a killer Cadet record that stands right up there with classics like Maiden Voyage and Mother Nature's Son! As on those records, arrangements here are mostly by Charles Stepney, who comes up with that righteous blend of soul, strings, and jazz that really takes Ramsey to the next level – and the great Chicago soul arranger Richard Evans handles a few tracks here too, bringing a slightly funky undercurrent to the record. Part of the record seems to take off from Stepney's sessions for Minnie Riperton – particularly the cuts "Distant Dreamer" and "Rainy Day In Centerville" – both done here as instrumentals – and a version of "Golden Slumbers" is clearly from the Beatles' sessions used for Mother Nature's Son. The album's essential listening through and through – Ramsey really taking things past the simple structure of the trio, yet never losing his soul in the process. Other titles include "You've Made Me Feel So Very Happy", "Time & Space", "Do I Love Her", "Close Your Eyes & Remember", "Whenever Wherever", and "The Love I Feel For You".

A sweeeeeet groover by Patrice Rushen – her first album for Elektra, and a stunning blend of funky jazz and soul! The record really has Patrice stepping out from her earlier years at Prestige – working in some surprisingly great vocals next to tight lines on Fender Rhodes, synth, and clavinet, handled with a smooth and soulful quality that's wonderful all the way through – a blend of soul and jazz that few other players could do this well – no matter how many others tried to copy her style over the years! Rhythms are as hard and heavy as on the Prestige years, and the keyboards have a great sort of focus too – just the right mix of jazz to offset the vocals – which themselves are a wonderful discovery. The whole album's a gem – and tracks include the great funky classic "Hang It Up", plus "Changes (In Your Life)", "When I Found You", "Play", "Didn't You Know?", and "Music Of The Earth".

Tony's a million miles from his work with the Miles Davis Quintet on this record – grooving in a heavy rock/fusion mode with his New Lifetime group that includes Allan Holdsworth on guitar, Tony Newton on bass and vocals, and Alan Pasqua on keyboards. The tracks have a post Jeff Beck kind of approach – lots of heavy riffing in a way that does create a bit of funk at the right moments, almost in the Alphonze Mouzon/Tommy Bolin mode. Titles include "Sweet Revenge", "Inspirations Of Love", "Lady Jade", "What You Do To Me", and "Joy Filled Summer".

A great look at an under-acknowledged period of the career of Eumir Deodato – his mid 70s sides for MCA, recorded right after his better-known records for CTI! The vibe here is quite similar to the jazzy funk that Deodato laid down in the earlier part of the decade – a bit fuller at times, thanks to some added instrumentation, but still filled with amazing work on Fender Rhodes throughout – sweetly soaring keys that come off better than most of Deodato's contemporaries on the fusion scene. The set list here is totally great – and features most of the best tracks from Deodato's four albums for MCA – all distilled down into one great 14 track collection that's filled with wonderful keyboard grooves. Titles include "Amani", "Do It Again", "Moonlight Serenade", "Havana Strut", "Whirlwinds", "Juanita", "Funk Yourself", "Adam's Hotel", "Black Widow", and "Super Strut".

Lady bossa nova – and instrumental bossa as well – an early jazz session cut by later soundtrack maestro Gianni Ferrio! The set's got all the sweet grooves you'd expect from a bossa nova date cut in Italy during the 60s – jazzy rhythms, dreamy instrumentation, and just a bit of vocals from singer Marina Moran – who's the "lady" in the title, a singer with just the right gentle touch to match the spirit of the music. Players include Gino Marinacci on flute, Lino Cerveglieri on tenor, Berto Pisano on bass, and Biagio Marullo on trombone – and the work's got a feel that's nicely arranged, but still quite loose – that best extrapolation of Brazilian modes that surfaced in Italy during the 60s. Titles include "Lady Bossa Nova", "Barquinho", "Desafinado", "Linea Del Ecuador", "Samba Do Bom", "Poche Parole", "Ilha De Coral", and "Ao Cair Do Sol".

A fantastic bit of late 60's funk, and a surprisingly slammin' record from Dizzy! The album's got tight, hard, choppy funk arrangements from Ed Bland – who went onto to do some great work at the Perception label – and the group features James Moody blowing hard lean funky solos right next to Diz, in the way that he'd do on some of his own funk work from the same time. The record is wonderful all the way through – killer heavy drums, heavy electric bass, searing sax solos from Diz and Moody – all produced with a mad mad full-on funk sound that will make your jaw drop! Titles include "Blue Chuchifrito", "Chicken Giblets", "Rutabega Pie", "The Fly Fox", "Pot Licka" "Stomped & Wasted" and "Casbah Melon".

2 rare albums by this obscure soul jazz combo! The Modern Jazz Disciples are one of those groups that will make you scratch your head and say "who the heck were they?" Unfortunately, we can't answer that question with much information, except to tell you that they were part of the underground of tight local soul jazz acts that peppered America in the 60's, but hardly ever got recorded. Fortunately, these two sessions brought the group out of their native Cincinnatti for a session on New Jazz that ranks right up there with the best soul jazz sides on Prestige. Curtis Peagler (just about the only name in the group that we do recognize) plays alto and tenor, and William Kelly plays this crazy instrument called the Normaphone, which is a valve trombone in the shape of a saxophone, and which has a deep brass sound to it. William Brown plays piano, and the set rolls along with a gutbuckety soul jazz groove on cuts like "Disciples Blues", "Slippin & Slidin", "A Little Taste", "Kelley's Line", "Hapnin's", "Right Down Front", "Ros-Al", and "Along Came Cheryl".

Things definitely get plenty deep on this jazz trip – a great run through the 70s catalog of Muse Records, and one that's filled with some incredible bits that we'd rank right up there with the best work of the time on labels like Black Jazz or Strata East! Muse always had a way of really letting its artists do their thing – and you'll heard that clearly on some of the best cuts here – numbers that offer up surprisingly vibrant sides of the artists included, usually with some righteous undertones. Titles include Eddie Jefferson's rendering of "Freedom Jazz Dance" (and a very crazy one at that), Charles Earland's excellent stormer "Murilley", Kenny Barron's "Swamp Demon", Walter Bishop Jr's "Soul Village", Joao Donato's "Night Tripper", "Old Man Moses" by Grant Green, and three nice ones by Carlos Garnett – "Good Shepherd", "Banks Of The Nile", and "Taurus Woman", from the classic Black Love LP.

Charlie Byrd gets some top-shelf treatment here – in a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz". CD also features a previously unreleased alternate take of "Engano"

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks!

One of the earliest albums as a leader from reedman Robin Kenyatta – and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s – a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary. A few tracks get surprisingly out, but always with a nice sense of focus, especially in the rhythms – and in addition to Kenyatta's own bold work on alto sax, the album features performances by Roswell Rudd on trombone, Mike Lawrence on trumpet, Walter Booker on bass, Fred Simmons on piano, and Horace Arnold on drums. The tunes have lots of sharp edges – almost Ayler-like at times, but more inside – and titles include "You Know How We Do", "Little Blue Devil", "This Year", and "Until".

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".

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".

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".

Very righteous work from percussionist Pheeroan Ak Laff – even more hard-edged than some of his other important recordings of the late 70s – and that's saying a lot! Allthough Pheeroan lent his talents to many other musicians, this is one of the few albums he cut under his own name – and it's a blazing hot batch of percussion – monstrous work on the drum kit, with other percussion instruments as well – all recorded with a spare, earthy sound that's really amazing! The feel is partly loft jazz, partly ethnographic percussion – the latter of which is augmented more when the album features a few spoken spiritual passages – and the tones that Ak Laff gets out of his percussion are amazing – surprisingly melodic moments, mixed with others of bombastic intensity. Titles include "Ayin Of Love", "Tzaddi Vau", "Michelle Del America De Sud", "Jarawa", "Freedom" and "3 In 1".

Eric Alexander in a perfect setting – working here with a rock-solid group of familiar players who are perfect for his soulful tenor sound! The album's got a gentle, ballad-heavy approach – but even so, the groove is superb, and right in the pocket right from the start – with Harold Mabern on piano, John Webber on bass, and Joe Farnsworth on drums – a trio who've worked often with Alexander over the years, and really know the right sort of modes to bring out the fullest feeling in his horn! Eric himself just gets better and better with age – a player who was already great in the early years, but who seems to get an even deeper sense of feeling as he matures – doing more with less, and shading in some especially great sounds on the ballads in the set. Titles include "Dinner For One Please James", "I'm Glad There Is You", "Oh Girl", "Touching", "Gone Too Soon", and "September Of My Years".

A key album in the career of Louis Armstrong – one that helped him forge the fourth or fifth great comeback in his career! As you'd guess by the title, the album's built around Louis' hit version of "Hello Dolly" – sung in a mode that at one level stretches back to his roots in trad jazz, but at another kind of peps the whole thing up with a mod 60s/20s retro sort of swing – more syncopated than before, with a choppy little groove that pushed Louis right back onto the charts. Backing is by a small group that includes Billy Kyle on piano, Arvell Shaw on bass, and Joe Darensbourg on clarinet – and the album's filled with other great numbers that include "A Kiss To Build A Dream On", "Moon River", "You Are Woman I Am Man", "Blueberry Hill", and "Be My Life's Companion".

One of the last live appearances by Louis Armstrong – presented here in a really charming little album, issued in a small pressing by The National Press Club! The album's a great document of all the Armstrong charms in one package – as Louis talks as much as he plays – telling stories and speaking about the music on the first half of the set. The second half then features material recorded after Armstrong's passing – with Tyree Glenn and Tommy Gwaltney keeping up the vibe, especially on some of the spoken passages where Glenn talks about Louis! The sound quality is a bit "broadcast"-styled at the start – and titles include "Rockin Chair", "Royal Garden Blues", "Love For Sale", "Crazy Rhythm", and "It's Alright With Me".

An excellent funky fusion group from Chicago – and one of the best ensembles to record for the Black Jazz label! The group's made up of hip Chicago underground players – and includes Ken Chaney on electric piano, Ari Brown on saxes, and Frank Gordon on trumpet – a lineup that comes together with the same sort of righteous energy and soulful power as Windy City contemporaries like The Pharoahs or Earth Wind & Fire! On this first LP, they jam with a mix of righteous funk and spiritual soul jazz, mixing electric piano, choppy reeds, and tight horns with a powerful rhythm backing that never goes too over the top, and which stays in a good modal mode that works great for the soloists – soaringly expressive at a personal level, yet coming together with a really righteous group feel in the end. Tracks include "Jupiter", "Brand New Feeling", "Convulsions", and "Kera's Dance".

A seminal Albert Ayler session from the 60s – recorded at the legendary Judson Hall with an incredible sound! There's a bold, righteous feel to this record that possibly even tops other Ayler classics for ESP – and the spacious setting makes the notes echo, rebound, and come back together with searing intensity throughout. The group features Ayler on tenor, brother Don on trumpet, Charles Tyler on alto, Sunny Murray on drums, and both Henry Grimes and Gary Peacock on basses – using a unique two-bass approach that only further emphasizes the unique qualities of the record. Call Cobbs plays a bit of harpsichord too – and tracks include "Sprits Rejoice", "Holy Family", "Angels", and "Prophet".

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace".

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". CD also features four bonus tracks – "Jazz Carnival (full original mix)", "Avenida Das Manguerias (SS translation by Theo Parrish)", "Jazz Carnival (Yambee rework by Ashley Beedle & Yam Who)", and "Codsall Juniors" by Mark E.

Count Basie goes pop, and the results are mighty nice – a hard-swinging take on familiar tunes from the 60s, but all re-tooled the jazzy Basie way! The vibe here is right up there with the best Neal Hefti moments with the group – and although the arrangements are by Billy Byers, they've got that sense of tightness that Hefti first help bring to the band – a great setting for the inventive solos, and all the cool little twists and turns that make a record like this so great. And while you might think of the setting, or the title, as some sort of sell-out on the Count's part – the album's instead a perfect way to hear what made the Basie band so great – how they could completely transform tunes like "Pretty Woman", "Bye Bye Love", "Doo Wah Diddy Diddy", "At Long Last Love", and "Go Away Little Girl".

Pretty mellow stuff from George Benson, but with some nice moments! Don Sebesky handled the arrangements for this set of larger backings – but Benson's guitar is right out front, hitting some super-dope lines at the best moments, stretching out from the warm Fender Rhodes or horn heavy backings. Highlights include "No Sooner Said Than Done", which has some very weird processing on the guitar; "Full Compass", which has some nice hard drums; and "Summer Wishes, Winter Dreams", a mellow moody track. CD also features 3 bonus tracks – the previously unreleased "From Now On", and new mixes of "Serbian Blue" and "Take The A Train".

The keys are coral, and the sound is sublime – one of the greatest albums ever from pianist Walter Bishop Jr, and proof that he can really stretch out, given the right setting! The piano here is all acoustic, but there's an almost-electric vibe to the date – long, open tracks that sway and swell with some great spiritual energy – made even more wonderful by work from reedman Harold Vick, who plays tenor, flute, and soprano sax on the record – and makes it one of his best recordings ever! The reedwork alone is worth the price of admission – but the rhythms are also great too – a mix of soulful, modal, and some slight funky bits – handled by Reggie Johnson on bass, and either Idris Muhammad or Alan Benger on drums. Woody Shaw plays trumpet on some cuts, too – and titles include "Coral Keys", "Soul Turn Around", "Freedom Suite", "Track Down", "Waltz For Zweetie", and "Three Loves".

An amazing collection of work from the legendary Graham Bond – a 60s Hammond player who was incredibly important to the London scene during the best mod years of the decade! Bond was way more than just a jazz musician – and like George Fame, Zoot Money, and a few of his other contemporaries – he had a way of mixing together jazz and soul with a strong touch of blues – almost a new British version of soul jazz, similar to the way that some of the bigger English rock groups were drawing from American R&B! Graham sings on most tracks – with these raspy vocals that are incredibly charming, and downright soulful – and in addition to his own work on organ, instrumentation features lots of pre-Cream work from Ginger Baker on drums and Jack Bruce on bass – plus plenty of tenor from Dick Heckstall-Smith too. If you dig the mod work of Georgie Fame, you'll find plenty to love here too – but Bond also really helps point the way towards more progressive jazz-rock experiments of the future – although this set features mostly tracks from 1966 and before, without any of Graham's later trippier music. The 4CD package is the best collection we've ever seen of Bond's music from these years – and includes rare singles, unreleased cuts, and even some side projects with Ernest Ranglin and Duffy Power too. 98 tracks in all, with a great booklet as well – and titles that include "Cabbage Greens", "Harmonica", "Early In The Morning", "Tammy", "Honey Bee", "Long Tall Shorty", "Soul Tango", "Down In The Valley", "Waltz For A Pig", "Like A Baby", "Please Don't Say", "Walking In The Park", "Who's Afraid Of Virginia Woolf", "Dick's Instrumental", and lots lots more.

One of the hippest records ever to come out of Chicago – the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach – one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting – but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time – all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums – but they way they're put together is often far different than other funky combos – and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit – but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish – unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

One of the greatest albums so far from mighty Chicago reedman David Boykin – and easily a set that lives up to the rich legacy of avant jazz in the Windy City! There's a depth to the record that comes through right from the very first note – a sense of history and feeling that shows just how much Boykin's developed as a player over the past decade or so – a tenorist with a done that's right up there with Archie Shepp or David Murray at their creative best – really stretching out on some wonderful solos that never fail to dim in imagination or new ideas. The group's a trio – with Alex Wing on bass and James Woodley on drums – which gives the recording an almost ESP Records sort of vibe – and Boykin's the shining star throughout, really knocking us over with his solos on the well-recorded set! Titles include "Blast Off For Love", "Walk Turn Bat Shimmy", "Try Harder", "Blue Lotus", "Star Book", and "Late Night With The David Boykin Trio Theme".

One of the greatest albums so far from mighty Chicago reedman David Boykin – and easily a set that lives up to the rich legacy of avant jazz in the Windy City! There's a depth to the record that comes through right from the very first note – a sense of history and feeling that shows just how much Boykin's developed as a player over the past decade or so – a tenorist with a done that's right up there with Archie Shepp or David Murray at their creative best – really stretching out on some wonderful solos that never fail to dim in imagination or new ideas. The group's a trio – with Alex Wing on bass and James Woodley on drums – which gives the recording an almost ESP Records sort of vibe – and Boykin's the shining star throughout, really knocking us over with his solos on the well-recorded set! Titles include "Blast Off For Love", "Walk Turn Bat Shimmy", "Try Harder", "Blue Lotus", "Star Book", and "Late Night With The David Boykin Trio Theme".

One of the few albums ever cut as a leader by pianist Ronnell Bright – a player best known for his accompaniment behind famous vocalists, like Sarah Vaughan and Nancy Wilson! This rare date was cut in Paris – at a time when Bright was visiting the city with Vaughan – and it's a stripped-down trio date with a nicely relaxed feel – one that has Bright really opening up on the keys, in ways you don't always hear on his material with singers. Other players in the trio include Richard Davis on bass and Art Morgan on drums – and titles include "Johnnie Pate's Blues", "Sail Em", "Doxology", "Chasing Sarah", and "R&R Groove".

A classic "with strings" session from Clifford Brown – nearly as well-done and perfect as some of Charlie Parker's sides for Verve, handled here with perhaps a slightly sweeter touch, as Neal Hefti's the man on arrangements. The core group's the Brown/Roach combo, augmented by a smallish string section – and Clifford's right up front blowing warm and glistening solos, with titles that include "Willow Weep For Me", "Yesterdays", "Laura", "Smoke Gets In Your Eyes", and "Portrait Of Jennie".

A key bit of jazz funk from trumpeter Tom Browne – still grooving strong here, with a sublime mix of modern soul, funky jazz, and some of the 80s groove touches that showed up on the best GRP titles from the time! The album's got a smooth compressed groove – kind of post-Donald Byrd, with Tom taking solos over the top of most tracks, and occasional vocals , wither from a backing group, or an assortment of different lead singers. Players on the set include Bernard Wright, Dave Grusin, Bobby Broom, and Marcus Miller – and tracks include "I Know", "Midnight Interlude", "Let's Dance", "Night Wind", "Making Plans", "Thighs Hihg", and "Magic".

A key bit of jazz funk from trumpeter Tom Browne – still grooving strong here, with a sublime mix of modern soul, funky jazz, and some of the 80s groove touches that showed up on the best GRP titles from the time! The album's got a smooth compressed groove – kind of post-Donald Byrd, with Tom taking solos over the top of most tracks, and occasional vocals , wither from a backing group, or an assortment of different lead singers. Players on the set include Bernard Wright, Dave Grusin, Bobby Broom, and Marcus Miller – and tracks include "I Know", "Midnight Interlude", "Let's Dance", "Night Wind", "Making Plans", "Thighs Hihg", and "Magic". CD features nice bonus tracks too – "Magic (12" UK version)", "Thighs High (single version)", and "Let's Dance (single version)".

A classic killer from trumpeter Tom Browne – a smoking set that still has all the jazz funk touches of his earlier records, yet which also picks up a bit of an electro vibe as well! The move here is a bit like that taken by some of Browne's labelmates on GRP at the time – particularly Bobby Broom and Bernard Wright – and offers up a great mix of jazzy roots and some of the newer sounds hitting the streets in the early 80s – a vibe that's maybe one of the first moments when older genres of music were beginning to show an influence from hip hop! Maurice Starr handles most of the production, and really makes things tight throughout – but Tom himself does a great job of keeping things interesting with the solos, augmenting the electric vibe with some rock-solid acoustic playing. Titles include "Rockin Radio", "Angeline", "Brighter Tomorrow", "Never My Love", "Mr Business", "Cruisin", and "Feel Like Makin Love". CD features bonus tracks – "Bye Gones (12" version)", "Rockin Radio (special 12" mix)", and "Cruisin (dub)".

Fantastic funky jazz from tenorman Rusty Bryant – one of the real standout titles in the classic early 70s Prestige jazz/funk years! Rusty leads a group that includes heavyweights like Charles Earland on organ, Virgil Jones on trumpet, Melvin Sparks on guitar, and Idris Muhammad on drums – all top-shelf players who make for a date as great as you might imagine – one that definitely liberates Rusty's soul from older modes, and sets it free into new funky pastures! The vibe here is right up there with Bryant's legendary Fire Eater record – and titles include "Soul Liberation", "Cold Duck Time", "Lou Lou", and "Freeze Dried Soul".

An amazing album from Build An Ark – even more spiritual and far-reaching than their first – and still with a vibe that rivals some of the most righteous jazz ever issued in the 70s on labels like Impulse and Strata East! The ensemble features both older and younger players – coming together in a collective exploration of some of the hipper sides of the jazz spectrum – all in a mode that recalls early genius of Pharoah Sanders, Alice Coltrane, and others from many years back – recorded in a style that's completely sensitive to the nuances of the music. Carlos Nino produced, and also contributed some of the tunes – and group members include Dwight Trible on vocals, Nate Morgan on piano, Adam Rudolph on kalimba, and Derf Reklaw on congas – but that's only the tip of the iceberg, given the size of the group. Titles include "Sunshine", "Healing Song", "Love Sweet Like Sugar Cane", "Dawn", "River Run", "When Ancestors Speak", "Morning Glory", "In Her Smile", and "You Yourself Are The Key To The Universe".

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant".

Donald Byrd in a sweet electric mode – as you'd guess from the title! The set was recorded right before Byrd's legendary run with Larry Mizell in the early 70s – and the electric approach is a bit different here – a style that blends Byrd's wonderful trumpet lines with the larger ensemble mode Blue Note sometimes used in the late 60s, but with a spacey, stretched-out feel that's mighty nice! The album's somewhat similar to Byrd's Kofi set – but possibly a bit more open overall – and players here include Duke Pearson on electric piano, Jerry Dodgion on alto and sopranos ax, Frank Foster on tenor, Pepper Adams on baritone, Hermeto Pascoal on flute, Wally Richardson on guitar, Ron Carter on bass, Mickey Roker on drums, and Airto on percussion. Pearson produced, and probably arranged too – given a slight Brazilian undercurrent to the grooves – and titles include "Estavanico", "Essence", "The Dude", and "Xibaba".

One of the harder to find 50s sessions from LA jazz brothers Pete & Conte Candoli – a twin-trumpet album with rhythm from Jimmy Rowles, Howard Roberts, Max Bennett, and Frank Capp. The tracks are a clean extension of mid 50s LA cool jazz – blown with a bit more edge, and perhaps a looser feel than some of the brothers' earlier work – and nicely swinging overall. Titles include "Splanky", "Rifts For Rosie", "Doodlin", "Blueing Boogie", and "Richard Diamond's Blues".

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty".

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty".

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One".

A legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". CD has an insane amount of bonus tracks – 8 more than the original album – with titles that include "Old Man Joe", "Afra Jum", "Amazona", "Por Que Paro", and "El Morro".

An overstuffed package that feature 2 albums from Italian guitarist Franco Cerri! First up is Metti Una Sera Cerri, from 1973 – an unusual album that has Cerri working with larger backings, in a style that's almost a bit like soundtrack work of the time! Franco's guitar lines are clean and clear – right up front in the mix, over a range of strings, plus bits of organ, harpsichord, and flutes too – all directed by the great Nando De Luca, with a feel that's warm and sweet, but never too mellow! The guitar glides nicely over the top – making for a really light sort of groove, and a change from Cerri's straighter work of previous years – on titles that include "Miss Iva", "Bostrizione", "Toilette", "Lady Stinta", "Penelope Jane", and "Vado E Tornio". CD also features the album Merci Beaucoup – recorded more recently, in 2003 – some tracks with piano trio backing, others with Cerri's Guitar Ensemble, a more guitar-based group. Titles include "Domino", "Yardbird Suite", "Just A Gigolo", "Merci Beaucoup", and "Out Of Nowhere".

One of the most beautiful records we've ever heard from the legendary Phil Cohran – a previously-unissued performance from 1993, and one that's every bit as wonderful as his rare albums of the late 60s! The set was recorded at the planetarium in Chicago – and for the date, Cohran comes up with a really cosmic sound – a small combo that's heavy on string sounds from guitar, bass, and harp – layered together beautifully to create these Alice Coltrane-like undercurrents – over which the group solos with flute, trumpet, and trombone! There's less players here than on some of Cohran's older Artistic Heritage Ensemble sets, but the sound is exactly like those records – right down to some key moments in which Phil plays his amazing Frankiphone – an electrified kalimba with a tremendous tone. Titles include "White Nile", "Cohran Blues", "The Dogon", "Sahara", "Kalahari", and "Kilimanjaro".

Great lost work from the legendary Phil Cohran and his Artistic Heritage Ensemble – a composition that was recorded during the group's late 60s years on the Chicago scene – but which has never been released until now! The album stands beautifully alongside the group's self-titled classic and their tribute to Malcolm X – and like those amazing records, this one has a feel that's all its own – an exploration of Moorish elements in Spanish culture – which comes off as a Latin-inflected sound with African roots! The lineup here is similar to other Cohran classics – Donald Myrick on baritone sax, Charles James Williams on alto, Eugene Easton on tenor, Charles Handy on trumpet, Willie Woods on trombone, Aaron Dodd on tuba, Pete Cosey on guitar, Henry Gibson on congas, and Louis Satterfield on bass – a mix of musicians that includes members with Sun Ra and Earth Wind & Fire listed in their resumes! Cohran's vision in the suite is wonderful – and the music has all the depth and righteous energy of his self-titled record, but a bit more Latin fire too – a beautiful blend that really makes us appreciate his genius even more than before, and which finally gives us another record of his to love after all these years.

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville", "Cuernavaca", "Ancestral", "Spin", "Zincali", "Apsara", and "Frankincense & Myrrh".

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville", "Cuernavaca", "Ancestral", "Spin", "Zincali", "Apsara", and "Frankincense & Myrrh".

A brilliant tribute to the late Malcolm X – served up by Chicago's legendary Artistic Heritage Ensemble! The record's got an even farther-reaching sound than the group's self-titled effort – a flowing style that unfolds as their tribute to Malcolm rolls on – starting spare and earthy at first, then picking up a fuller, prouder, much more righteous groove as things really get going! As before, there's plenty of heavy percussion at the bottom of most tracks – topped by complicated horn passages that often verge on the exotic – and which have a tremendously captivating sound. The ensemble's led by the great Phil Cohran, who played with Sun Ra for a bit, and also plays cornet on the record – the rest of the group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey, Henry Gibson, Willie Woods, and Aaron Dodd – a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire! The LP's a suite of 4 tracks dedicated to Malcolm X, each capturing a period of his life, "Malcolm Little", "Detroit Red", "Malcolm X", and "El Hajj Malik El Shabazz".

The title gets it right – as the album's easily the closest thing to free jazz that Ornette Coleman ever recorded – an album-length improvisation played by a "double quartet" that's overflowing with classic players! The style here is a fair bit like John Coltrane's Ascension album for Impulse – and like that one, the session features Ornette and his contemporaries really stretching out – blowing like never heard before on record, and working in a highly unstructured setting! Other players include Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, and Scott LaFaro on bass – alongside regular group members Don Cherry on pocket trumpet, Charlie Haden on bass, and both Ed Blackwell and Billy Higgins on drums. One long track – just titled "Free Jazz"!

A great set from Chicago's Joan Collaso – one of the hippest vocalists working today in the Windy City! There's a soulful swing to the record that grabs us right from the get-go – thanks to a killer take on "My Favorite Things" – done in an open-ended spirit that owes plenty to the John Coltrane legacy! Other tunes are quite nice too – and really pick up a great sense of rhythm that keeps things fresh – a hip sort of swing that makes the whole record feel like some lost soul jazz treasure from years back. Tunes are familiar, but they're really recast nicely – and Joan and the combo take things into mighty lively territory – on cuts that include "My Favorite Things", "Ooo Whee", "Return To Paradise", "Peel Me A Grape", "You've Changed", "Here's To Life", and "In A Sentimental Mood".

A perennial favorite in the John Coltrane catalog – a beautiful set of standards, handled in a warm laidback style – one that shows that Trane's groundbreaking group with Jimmy Garrison on bass, Elvin Jones on drums, and McCoy Tyner on piano could still express themselves with even more direct soulfulness than usual! The album's completely solid all the way through – and although it won't change your life as much as A Love Supreme, it will show what a fantastically strong player Coltrane was, in any sort of setting! Titles include "I Wish I Knew", "What's New", "Nancy", "You Don't Know What Love Is", and "All Or Nothing At All".

Rare stuff from John Coltrane! The album features Trane playing tenor on only 4 of the album's 8 tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music. Many of the other players here are small combo heroes who can also shine brightly in bigger groups – such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass – plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date – but the bigger charm is the full ensemble work – on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather".

A fantastic album from Sonny Criss! The record is one of his excellent late 60s "comeback" sides for Prestige – and it features incredibly solid, confident, and hard alto solos, blown with a tremendous amount of imagination. Bob Cranshaw and Alan Dawson provide excellent rhythm accompaniment, and Cedar Walton's a genius on piano, providing just the right touches to give the album a sense of mature whimsy that makes the selection of tracks work perfectly in a jazz setting. There's a lot of room here, and him and Sonny intertwine constantly in a beautiful lyrical way that never gets too sentimental. Titles include "Ode To Billie Joe", "Somewhere My Love", "The Beat Goes On", and "Georgia Rose".

The amazing second album from Deep Jazz – and every bit as spiritual and soulful as the first! These guys really blew us away with their debut, and we're loving them even more this time around – and can honestly say that they're one of the few contemporary combos to ever get our favorite sounds of the 70s just right – that magical music that came out on labels like Strata East and other small indies of the time – that post-Coltrane generation when musicians really stretched their skills to the heavens in search of new sounds! The arrangements, production, and execution here are wonderful – with no modern tricks or gimmicks to get in the way at all – and in addition to great warm acoustic bass from group leader Jerker Kluge, the set also features alto, tenor, flute, bass clarinet, and piano – plus some great Alice Coltrane-like harp, sweet percussion, and even female vocals on a few cuts. Titles include the great originals "No Doubt", "The Meeting", "Movement", "Mystic Sky", "Invisible", and "East & West" – plus great versions of "Little Sunflower" and "Spirits Up Above".

Two spiritual jazz gems – back to back, and both from the excellent Deep Jazz combo! "Spirits Up Above" is that great Roland Kirk classic – taken here at a tightly swinging pace, and with a female lead vocal duo that really gives it a great flavor – putting the lyrics upfront even more than before, almost like the Bey Sisters – yet still leaving some room for a nice solo in the middle! "No Doubt" is an original by the group – resplendent with acoustic basslines right from the start, which set the tune off in a modal waltz mode that's mighty nice!

A quadruple-header of a set – four great albums together in one cool box! First up is the first album from the great Special Edition group of drummer Jack DeJohnette – a wickedly sharp record that's as equally tight on the reeds as it is on the drums! The album features brilliant work on tenor and bass clarinet from David Murray, and equally nice alto from Arthur Blythe – both criss-crossing and soaring out effortlessly in each others' company – amidst complex rhythmic impulses from DeJohnette on drums, and both bass and cello from Peter Warren. Jack also plays a bit of piano and melodica as well – and titles include "One For Eric", "Zoot Suite", "Central Park West", "India", and "Journey To The Twin Planet". On Tin Can Alley, the great Chico Freeman really shines with drummer Jack DeJohnette – lending his tenor, flute, and bass clarinet to the album – and helping make it a really reed-heavy affair! John Purcell's also in the frontline with Chico – playing alto, baritone, and flute – and in addition to Peter Warren's bass and cello, the album Jack DeJohnette also plays drums, congas, piano, and organ too! The range of instrumentation almost echoes some Chicago AACM roots at times – but with that tighter focus that musicians like Jack were bringing to their work at ECM – and titles include "Riff Raff", "The Gri Gri Man", "I Know", and "Pastel Rhapsody". Inflation Blues is a record that bristles with energy right from the start – spurred on by the creative rhythms that have always made Jack DeJohnette one of the most inventive drummers of his time! The group features a triple-threat lineup with Baikida Carroll on trumpet, Chico Freeman on tenor and soprano sax, and John Purcell on alto, baritone, flute, and clarinet – especially nice at points when the reedmen shift and turn with sharp edges learned from the earlier avant years, yet given a nice focus here under DeJohnette's leadership. Jack penned all original tunes for the set, and there's a depth to his writing that really marks a move forward – possibly some of his richest musical statements on record ever! Titles include "Ebony", "Inflation Blues", "Slowdown", and "The Islands". Album Album is a record that really dives deep with a rich mix of creative rhythms and inventive horn lines! The album still has Jack staying true to his more avant roots – working with tenor from David Murray, alto and soprano sax from John Purcell, baritone and tuba from Howard Johnson, and bass from Rufus Reid – a lineup that's a bit bigger than on other Special Edition albums, and which is used to fill in even more colors and deeper elements than before. Some of the tunes are wonderfully vivid in approach – and titles include "Festival", "Third World Anthem", "Zoot Suite", "Ahmad The Terrible", and "New Orleans Strut".

Smoking stuff – and one of Bill Doggett's best albums away from the King record label! The style here is even tighter than on King – somewhere in a space between 60s soul jazz and soul instrumental modes – with Doggett's organ right out front in the mix, stepping along some great short little numbers! The record's nice and playful – and at times feels like an Atlantic instrumental set – on cuts that include "Hot Fudge", "Soul City", "Monkey", "One Fine Day", "The Worm", "Fingertips", and "Soul Zone".

Funky funky Hammond – a rare late 60s album from organist Bill Doggett, done with some help from James Brown – and a set that's unlike anything Doggett ever recorded before – or since! There's a blasting groove to the record right from the start – thanks to help from The James Brown Band on the leadoff cut – but even when they drop out, and Doggett's combo goes out on their own, the sound is still amazing – tight, soulful, and very much in a funky 45 style all the way through! Drums are hard, the organ is nice and fluid, and the sound is prime late 60s instrumental funk – a groove that Doggett never managed to reach again, which makes this record a real standout treasure. The album includes the legendary funky break cuts "Honky Tonk" and "Honky Tonk Popcorn", plus lots of other nice groovers, like "A Doozy", "Mad", "Slippin In", and "Corner Pocket".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Part 3 to the Five Spot recordings from Eric Dolphy – issued here as a "memorial" to Booker Little, even though Little was still alive for the recording! The album features especially searing work from Dolphy, and was part of a series of recordings that set a whole new standard for live jazz recording. The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – and titles include "Number Eight" and "Booker's Waltz".

A killer from Lou Donaldson's early hardbop years at Blue Note – recorded right during his classic run of albums for the label, but not issued until many years later! There's a sweet bounce to most tracks here – the kind of vibe that Lou had most famously on his Blues Walk album – thanks to the presence of Ray Barretto on congas, in the company of Horace Parlan on piano, Ben Tucker on bass, and Al Harewood on drums! Parlan's piano gives the whole thing a great soulful bottom – and titles include "Midnight Sun", "Dog Walk", "The Squirrel", "Si Si Safronia", and "Candy". CD features a bonus alternate of "Candy".

A killer by Lou Donaldson – one of his earliest sides for the Argo label, recorded right after his landmark organ jazz sides for Blue Note – Natural Soul and Here 'Tis – and like those, recorded with a lineup that includes Big John Patton on organ! The rest of the group features the great Tommy Turrentine on trumpet, plus Ben Dixon on drums – a killer player here, grooving in a mode that's similar to the sublime groove he brought to some of Patton's best Blue Note sides. The record's a killer – one of Lou's few non-Blue Note sides from the time that really holds up – and cuts include "Coppin' A Plea", "Si Si Safronia", and "I Feel It In My Bones".

An overlooked gem from keyboardist Joao Donato – cut in a mid 80s stretch when he was hardly doing any recording at all! The set's almost more of a jazz record than some of Donato's previous work – recorded with a warm vibe that's right up there with the best Brazilian fusion of the time – and by that, we mean the real deal coming from Brazil – not the American variant! Donato's still got a wonderful way of handling the keys – coming up with these subtle turns of phrase and gentle colors that hold us spellbound throughout – alongside other instrumentation that includes Mauro Senise and Ze Carlos on saxes, Serginho on trombone, and Paulinho on trumpet. Joao sings just a bit at a few points, but the overall vibe is instrumental – kind of a nice extension from the mellow cuts on the Quem E Quem album. Titles include "Leila XIII", "Leila VIII", and "Leila VI (Lua Dourada)".

Dorothy Donegan tickles the ivories with a mighty nice touch – on a set that shows why she was quite a popular attraction on the 50s scene! Donegan's got a way of approaching the piano with a heck of a lot of vitality – really working the keyboard with great imagination, moving up and down with tremendous dexterity as she opens up a tune! There's no tricks or gimmicks, though – and although the playing has a lot of vitality, it's also beautifully composed, too – just the right balance to keep things swinging, even when the playing is complex. Titles include "September Song", "St Louis Blues", "Love For Sale", "Lullaby Of Birdland", "I Get A Kick Out Of You", and "Dancing On The Ceiling".

Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier touches that made him one of the most exciting trumpeters to appear in the 50s scene. The rest of the group features GT Hogan on drums and Wilbur Ware or Eddie Mathias on bass – and the session's got a great reading of Kenny's classic "Lotus Blossom", plus the tracks "Jazz Classic", "Noose Bloos", "The End Of A Love Affair", and "Soon".