Jazz — All Formats  

A tremendous little album from reedman Darryl Reeves – jazz at the core, but served up with plenty of cosmic soulful touches too – thanks to help from a great lineup of guest singers! Darryl's work on alto sax is more than enough to make us fall in love with the album – especially when it's lined up here with 70s-styled spacey keyboards, and given some crisp 21st Century funky production – but the addition of voice to the mix really helps push the whole thing even further, and give the record a glowing sort of warmth that comes from all the collaborative efforts on the tunes! Guests include Carmen Rodgers, Valencia Robinson, Rasheeda Ali, Gwen Bunn, and Ingride Sibley – and titles include "Coldstone", "Southern Lights", "Everytime I See You", "Peach Lady", "Mercenaries", "The Messenger", and "Star Of Detroit".

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".

Bold work from Charlie Barnet – packaged in a cover with great graphics too!

Second volume pulled together in the early 80s of Brownie's remarkable work with a smoking quintet that would record some of the finest bop sides issued on the Emarcy label. He's working here with Max Roach, George Morrow and Richie Powell and either Sonny Rollins or Harold Land as Brown's foil in the front line. 16 tracks in all: "George's Dilema", "If I Love Again", "The Blues Walk", "What Am I Here For", "Cherokee", "Jacqui", "Sandu", "Gertrude's Bounce", "Junior's Arrival", "Powell's Prances", "Flossie Lou", "What Is This Thing Called Love", "Love Is A Many Splendored Thing", "I'll Remember April", "Time" and "The Scene Is Clean".

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".

Although the cover of the record includes a picture of Eddie's wife, Dinah Washington, and the "Friend" in the title would seem to imply that she's on the album, the set's really just a bunch of hard jazz cuts that showcase Eddie's screaming tenor sax, and which don't include Dinah's vocals. Not that that's a problem, though, because the record's a great one, and it's a good peek at player who was one of the biggest in Chicago during the 50's, and who had a loud hard R&B sound, in a mode that was similar to other Chicago players, such as Gene Ammons and Red Prysock. The record's got a number of originals by Chamblee, plus a few tracks written by Julian Priester and Dinah Washington (but did she really write them?). Titles include "Back Street", "Strollin Sax", "Village Square", and "Swing A Little Taste".

Strong work in Charles' post-Prestige mode – the style in which he turned his keyboard skills to other non-Hammond instruments, like Fender Rhodes, clavinet, and mini-moog. Tracks are a mix of smooth soulful numbers and more jazz funk oriented ones – and the whole thing's got a sophisticated sound that's pretty darn striking, especially when you consider that Charles handled all the arrangements and most of the production. Titles include "Upper Atlantis", "In The Land Of Mu", "Drifting", "Mona Lisa", and "The Great Pyramid".

Classic club jazz from Charles Earland – one of the best LPs from his late 70s, post-Hammond period – when he was really opening up and exploring the use of a variety of keyboards! The set was done in conjunction with Randy Muller – who arranged, produced, and wrote the tracks – and it's also got background vocals by Skyy, who fit in nicely with the record's R&B-tinged approach to the material. Lots of nice clubby groovers, and Charles even sings lead vocals on one really nice mellow track. Titles include "Let The Music Play", "I Like It", "Changes", "Over & Over", and "Smile".

A pair of records from the legendary Art Farmer & Benny Golson Jazztet! Here & Now is one of the most magical records ever from this legendary group – a set that swings as hard and soulfully as some of their previous sessions, yet also has a sharper, more modern vibe as well! Of course, this latter aspect is no surprise – once you realize that a young Grachan Moncur is on trombone – adding his hip horn to the wonderful frontline of Benny Golson on tenor and Art Farmer on trumpet and flugelhorn. And given that the rhythm group also features Harold Mabern on piano, you can bet there's a freshness here that can't be beat – a sound and energy that's kept this one at the top of our stack for many many years. Mabern and Moncur contribute two of the best tracks – "Richie's Dilemma" and "Sonny's Back" – and other titles include "Whisper Not", "Tonk", "Rue Prevail", and "Ruby My Dear". Another Git Together is a rare later date, recorded after their more famous albums for Chess! The lineup here is a bit unusual – in that a young Grachan Moncur III is in the combo on trombone – really adding some deep, soulful tones to the music – in ways that are very different than his famous Blue Note performances – but which really shape the sound of the music here wonderfully! Harold Mabern's on piano – again bringing in a different feel to this record for the group, with some lyrical undercurrents that are beautiful – and the rest of the lineup features Roy McCurdy on drums and Herb Lewis on bass – in addition to the sublime trumpet of Art Farmer and tenor of Benny Golson. Titles include one of the best versions of "Along Came Betty" that we've ever heard – plus the tracks "Domino", "Another Git Together", "Reggie", and "Space Station.

One of our favorite records ever from the legendary Art Farmer/Benny Golson Jazztet – and a rare later date, recorded after their more famous albums for Chess! The lineup here is a bit unusual – in that a young Grachan Moncur III is in the combo on trombone – really adding some deep, soulful tones to the music – in ways that are very different than his famous Blue Note performances – but which really shape the sound of the music here wonderfully! Harold Mabern's on piano – again bringing in a different feel to this record for the group, with some lyrical undercurrents that are beautiful – and the rest of the lineup features Roy McCurdy on drums and Herb Lewis on bass – in addition to the sublime trumpet of Art Farmer and tenor of Benny Golson. Titles include one of the best versions of "Along Came Betty" that we've ever heard – plus the tracks "Domino", "Another Git Together", "Reggie", and "Space Station.

John, aka Johnny Frigo, who's best known to our set for the rare dynamite jazz dance sides he recorded later on, and to the jazz world at large for his work as a bassist, leads a small group on this rare, early full length for Mercury as as a leader on his first instrument – the violin! It's a pretty sweet set, and really not at all the token late 50s swing set you'd expect from the title, and owes as much or more to the bop scene at the time. Frigo's lead violin gives the tunes kind of a cinematic sweep – and he's accompanied by Dick Marx on piano, Ray Brown on bass, Norm Jeffries on drums and others. Tracks include "What A Difference A Day Made", "Polka Dots And Moon Beams", "Blue Orchids", "Moonlight In Vermont", "Is Love Good To Me" and more.

Two albums that really show why we love Benny Golson so much! Turning Point is an incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". On Free, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

A great lost date from the wonderful Gigi Gryce – a set that features the altoist in an sextet, but often swinging with a looser vibe than on some of his better-known albums from the 50s! There's a mix of soulful and modern here that's not unlike the Art Farmer/Benny Golson Jazztet – both players of Gryce's same postwar generation, and coincidentally recording for Mercury at the same time. Although the groove here is definitely different – less emphasis on the bottom, and more on the top – not just Gryce's wonderfully raspy alto, but also the trumpet of Richard Williams too. All other players are great as well – and Eddie Costa brings in some sweet vibes – in a lineup that also features Richard Wyands on piano, and either Reggie Workman or George Duvivier on bass, and either Walter Perkins or Bob Thomas on drums. Tracks include "Reminiscing", "Gee Blues Gee", "Blue Light", and "Night In Tunisia".

This is the 14th in a the original 10" series of recordings at the Philharmonic. The line up on this set is pretty blistering, and includes Coleman Hawkins and Lester Young on tenor sax, William Smith on alto, Buck Clayton on trumpet, Buddy Rich on drums, Irving Ashby on guitar, Billy Hadnott on bass and Kenny Kersey on piano, all blowing nice and hard. As with others, there are just two lengthy jamming tracks: "I Surrender Dear" and "I Got Rhythm".

An unusual package of Quincy Jones albums – featuring variations on two American records, presented here in offbeat German versions of the 60s! First up is Songs For Pussycats, kind of a mix of Quincy Jones' Pussycat album for Mercury with some tracks from other records too – all done in that wicked mix of jazz, soundtrack, and popular themes that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Take Five", "Mack The Knife", "Sermonette", "Mr Lucky", and "Cast Your Fate To The Wind" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. Quincy In Rio is a set that seems to be the famous Big Band Bossa Nova album at the start, but which also features tracks from other 60s albums too – showing a whole new fresh side to Quincy's genius in a jazz bossa mode! Arrangements are very lively, with lots of great percussion underneath the soaring big band charts – and titles include "Bossa Nova USA", "Desafinado", "Jive Samba", "Baia", "The Gentle Rain", "Non-Stop To Brazil", "Samba De Una Nota So", and "I Love You & Don't Forget It".

From their inception in late 1956, Ramsey Lewis and his famous Young/Holt-era trio were destined for great jazz fame. This 1958 session on Mercury (then based in the group's native Chicago) catches the trio right at the beginning – when they were taking tunes that were pretty well known, and turning them into tight, jaunty, often comically-tinged soul jazz numbers that were very popular with the folks at the downtown clubs. As proof of that, the album features Lewis-arranged versions of many familiar favorites – including "Dark Eyes", "Come Back To Sorrento", "Greensleeves", and "Sometimes I Feel Like A Motherless Child". Also includes a few originals – like "We Blue It" and "Soul Mist".

Bennie Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament".

A pair of funky jazz sets from Bennie Maupin – '77's Slow Traffic To The Right and '78's Moonscapes – together in a single set! Slow Traffic To The Right is Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament". Next up is Moonscapes, and like a lot of the other Mercury jazz records from the late 70s, it's a great mix of funky jazz playing and smooth studio production. The production is again by Pat Gleeson, who was best known for his arp and synth playing in the mid 70s. Maupin's playing is great throughout, and his pinched hard reed sound feels good on both the fusiony tracks and the smoother funk ones! Tracks include "Nightwatch", "Sansho Shima", "Anua", "Crystals" and "Just Give It Some Time".

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues".

A percussion-heavy batch of tracks that has Pete Rugolo starting from a mode explored heavily in the hi-fi years, but taking the genre into much jazzier territory! With the help of a large group of west coast players – including Don Fagerquist, Larry Bunker, Herbie Harper, Frank Rosolini, Jack Costanzo, and Shelly Manne – Pete really makes things swing nicely, and brings in as much dynamic energy from the horns as he gets from the percussion! Titles include "Bongo Riff", "Drumerama", "Funky Drums", "Interplay For Drums, Bass", "Artistry In Percussion", and "1+4".

One of Jimmy's last albums for a major label in the 70s – a real back-to-basics set that was recorded live at the Jimmy Smith Supper Club in LA – the "home of fried cornbread and live jazz", and a venue that we certainly wish we could have visited! Jimmy's working here with an all-star group that almost recalls his Blue Note jam session work – with Blue Mitchell on trumpet, Teddy Edwards and Harold Land on tenor, and Ray Crawford on guitar – all coming together in gently-grooving numbers that have a classic soul jazz feel. Titles include "It's Necessary", "For Your Love", "Side Mouthin", "Sometimes I'm Happy", "I've Got Love On My Mind", and "Say It Again, Jim".

Although he's best known for his vocal R&B hit "Heartbreak", Jon Thomas was also a darn good organist, and this mid 50s album for Mercury's a nice batch of sides in the same tradition as contemporaneous work by Bill Doggett and Doc Bagby. The tracks are short and lively, and Jon plays with most of the stops out, for a vibrato-heavy sound. Titles include "Blu Jon", "Hot Tip", "Fat Back", "Go & See", and "Jelly Belly".

No honking here, as Sil Austin takes his deeply soulful tenor sax, and turns it to a set of creamy late-nite tracks – all done over some very "pretty" backings, ala the Verve strings work of Ben Webster or Lester Young. Most cuts have voices in with the orchestrations – and titles include "I'll Walk Alone", "Call me", "Ruby", "My Mother's Eyes", "Stardust", "Prisoner Of Love", and "Sweet Slumber".

A fantastic hard bop reissue! This CD combines two rare early sessions by Art Blakey – one recorded under his name, the other under the leadership of trumpeter Joe Gordon, a fantastic player who died an early death, and never got to record as much as he should have. Both albums were only ever issued on rare 10" LPs during the mid 50s, and they're combined here with great sound, great notes, and two bonus tracks. The set's over 70 minutes in length, and every cut crackles with a sinister intensity that's just fantastic – made all the more special by a host of original compositions by both Gordon and Gigi Gryce, who arranged one of the session. One session features Gordon on trumpet, Gigi Gryce on alto, and Walter Bishop on piano; the other features Gordon, Charlie Rouse, and Junior Mance – and Blakey is on drums throughout. Titles include "Evening Lights", "Rifftide", "Lady Bob", "Eleanor", "Minority", "Hello", "Mayreh", and "Futurity".

A surprisingly great album – one that we might have passed up otherwise! Buddy DeFranco's always pretty darn nice, but he really sounds great on this one – his clarinet solo style mixing with the accordion sounds of Tommy Gumina, all set to some hip 60s arrangements that mix in a bit of bossa with straighter jazz – occasionally augmented by guitar, organ, and vibes. Includes a great version of "Girl From Ipanema", plus "Never On Friday", "Lunar Lunacy", "I Love You", and "It Could Happen To You".

After his run of funky organ records for Prestige in the early 70s, Charles took a similar route to Herbie and others, and picked up a host of electric keyboards for his spacey fusion records on Mercury. The core of Earland's groove here is the Arp, which he plays masterfully – running from tight funky melodies to wilder outer spacier sounds. The groups that back him up include many crack 70s fusion players – and the record has a style that's overall more slick and sophisticated than his Prestige sessions. Titles include "Journey Of The Soul", "Phire", "We All Live In The Jungle", and "Cosmic Fever".

One of the fine fine albums of spacey keyboard funk that Charles cut for the Mercury label during the late 70s. Earland starts with a Herbie Hancock approach – and no surprise, he's got Paul Jackson and Harvey Mason in the group – but then he changes the groove to show off more of his funky soul jazz roots, and comes up with a sound that has a bit of a Mizell touch, with a nice soulful groove, still underpinned by some great jazzy conceptions. Titles include a cover of a Stevie Wonder's "I Wish", plus "Betty Boop", "Singing A Song For You", "Shining Bright", and "Revelation".

Not classic Chico – but a pretty darn nice album of fusion tracks, very much in the spirit of other Mercury jazz work from the 1976/1977 generation! The tracks have a nice riffing groove to them – with fast tight drums from Chico, souflul sax work by Arthur Blythe and Gary Gordon, and even some vocals on the "Theme From Big Blue Marble", a version of the old kid's show theme that really sounds a heck of a lot better than we remember! Other tracks include "The Baron", "We Make Music", "Forked Tongue", "Outrageous", and "Catwalk".

American release of this session by the famous French tenor and reed player, with backing by French players like Rene Urtreger, Sacha Distel, and Jean Louis Viale. The set's fairly straight boppish material, with occasional performances by Jaspar on flute. Tracks include "Minor Drops", "Milestones", and "Bag's Groove".

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

A key early album from reedman Roland Kirk – at set that really has him strongly finding his voice in jazz, and transforming most of modern music in the process! The set's a perfect illustration of the way that Roland could swing with soul, yet still reach out with bold new ideas too – mixing up work on tenor sax, manzello, stritch, flute, and even nose flute – instruments often played at the same time, with this amazing multi-reed style that's really mindblowing – and which follows the soaring sheets of sound of the Coltrane generation, yet completely in its own way too! There's a sharp modern edge to most of the rhythms – thanks in part to the presence of Andrew Hill on piano and celeste on a few cuts – alongside from Vernon Martin on bass and Roy Haynes and Henry Duncan on drums – and a bit of additional piano from Wynton Kelly. The whole thing's amazing – one of those records that never fails to delight us – and titles include "3 In 1 Without The Oil", "ED", "Domino", "Meeting On Termini's Corner", and "A Stritch In Time".

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance".

Funky Houston Person on Mercury – an album with some nice surprising touches! Person's blowing in a large group on this one – in a style that seemed to be an increasing refuge for some of the soul jazz players of the 60s during the time – but despite that setting, Houston keeps it real on a few of the album's best tracks – thanks to the kind of far-thinking production that made some of these Mercury jazz funk sides so great! Horace Ott's arranging the backings, and is crowning achievement is the album's extended take on Fela's "I Get No Eye For Back" – done here as a long drawn-out funky jazz number – with great sax from Person, and some really nice keyboard parts! The album also features 2 other nice full funk numbers – "Do It While You Can" and "Love Is All We Need" – both penned by Ott, with the mixture of large group backing and light vocal refrains that were similar to those used on Jimmy Smith's Mercury album.

Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s. Our favorite track on here is a masterful take of "Can't Hide Love", but there's a lot of other nice funky tracks like "Slippery Hips", "My Place In Space", and "Give Up the Booty". Unfinished Business is mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA".

A sweet Mercury Records package for radio DJs – with music by Jon Thomas, Rolf Ericson, Cannonball Adderley, Patti Page, Manny Albam, Sarah Vaughan, Pearl Bailey, and others.

Early early work by Bob James – recorded years before his classic 70s sides on electric piano, and in a brightly modern mode that recalls the spirit of Steve Kuhn and Paul Bley at the time! The set's a trio session – produced by Quincy Jones, who'd heard the young James and rushed him into the studio. Bob's playing in a group that includes Ron Brooks on bass, and the great Bob Pozar on drums – who went onto do some of his own excellent avant work in later years. The tracks are relatively straight, but have some nice jagged edges at times – and light experimentation that makes the set way more than just a standard piano trio session! Titles include "My Love", "Moment's Notice", "Quest", "Trilogy", "Nardis", and "Birk's Works".

A pair of corkers from Roland Kirk – back to back on a single CD! Domino is a key early album from reedman Roland Kirk – at set that really has him strongly finding his voice in jazz, and transforming most of modern music in the process! The set's a perfect illustration of the way that Roland could swing with soul, yet still reach out with bold new ideas too – mixing up work on tenor sax, manzello, stritch, flute, and even nose flute – instruments often played at the same time, with this amazing multi-reed style that's really mindblowing – and which follows the soaring sheets of sound of the Coltrane generation, yet completely in its own way too! There's a sharp modern edge to most of the rhythms – thanks in part to the presence of Andrew Hill on piano and celeste on a few cuts – alongside from Vernon Martin on bass and Roy Haynes and Henry Duncan on drums – and a bit of additional piano from Wynton Kelly. The whole thing's amazing – one of those records that never fails to delight us – and titles include "3 In 1 Without The Oil", "ED", "Domino", "Meeting On Termini's Corner", and "A Stritch In Time". Reeds & Deeds is a hauntingly beautiful album from the great Roland Kirk – and a perfect illustration of why his music means so much to us! The set sparkles with warmth and imagination right from the start – a subtle balance between swing, soul, and searching reedwork from the leader – bold on tenor, but also completely creative on flute, stritch, manzello, and even siren too. Benny Golson adds in a bit of tenor, and also helps with the arrangements – and the record also features key contributions from other fresh talents of the 60s – including Charles Greenlee and Tom McIntosh on trombones, Virgil Jones on trumpet, Harold Mabern on piano, Richard Davis on bass, and Walter Perkins on drums – the last of whom really seems to get the right sort of rhythms for Kirk's playful swing. The whole thing's wonderful – and titles include "Reeds & Deeds", "Waltz Of The Friends", "Hay Ro", "Limbo Boat", "This Is Always", and "Song Of The Countrymen".

The title makes this one sound like a batch of bachelor pad tunes, but the album itself is easily one of Pete Rugolo's best of the 50s – a really tremendous big band outing that's filled with all-star players – all in a groove that breaks Pete very firmly past his Kenton heritage! The tracks are bold and strong voiced – often a bit longer than usual, which allows for even more focus on the album's solos from players who include Larry Bunker, Pete Candoli, Ronny Lang, Russ Freeman, and Dave Pell. There's a wonderful quality to the record – one in which all elements gell together perfectly, but in a way that still makes you aware of the presence of each player in the larger group – and titles include "Fawncy Meeting You Here", "For Hi Fi Bugs", "These Foolish Things", "Dream Of You", "Snowfall", and "Later Team".

Although this one's not from Gabor's classic period on the Skye label, it does have a nice R&B fusion sound to it, and was recorded at Sigma Studios in Philly. Bunny Sigler produced, and he gives the set a 70's soul sort of sound, but Gabor's cool guitar is still out front, and keeps the tracks sharp, in a sort of pop fusion way. Cuts include the spacey "Concorde (Night Flight)", plus "Babby Rattle Snake", "Smooth Sailin", and "Keep Smilin".

A pretty obscure Sarah Vaughn album – and a nice one! The album's got Sarah singing with arrangements by Hal Mooney, who'd done work for her before in a more standard way, and who here is opening up a bit, at times almost hitting a groovy late 60s mode. Players in the group include Bob James (who also arranged a few numbers), Phil Woods, Benny Golson, and Freddie Hubbard – and titles include "The Man That Got Away", "Alfie", "For Every Man There's A Woman", "Jim", and "My Man".

A set that's right on target, right from the start – and one that has the young Cannonball Adderley really coming into his groove! The set's a lot more soul jazz-oriented than some of Cannon's records from a few years before – played by a rock-solid group that includes brother Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums – hitting a groove that's got plenty of nascent elements of that Cannonball sound that would virtually take over jazz in the 60s! Yet there's also a nicely different vibe going on here too – a bit less structure, and a looser approach to the mode – spun out with some modern moments too, on titles that include "Straight No Chaser", "Jubilation", "Our Delight", "Fuller Bop Man", and "Stay On It".

One of the best albums that Al Cohn and Zoot Sims ever cut together – and that's saying a lot, given the strength of their collaborations during the 50s and 60s! The set's got a nice small group feeling, and is a bit more open and relaxed than some of their RCA material – still in the sharp, thoughtful mode that marked both Cohn and Sims' sessions – but also a bit more earthy, too – possibly because they've got Mose Allison in the combo on piano. The album includes the incredible spare sax-only track "Improvisation For Unaccompanied Saxophones", which is an extremely haunting track that sounds unlike anything the pair had ever done together – and other titles have the full quintet playing, tunes that include "The Opener", "The Note" and "You N Me".

A pretty unique record by Gibbs – a set of Jewish tunes set to jazz, played by a group that includes vibes, piano, trombone, and clarinet. The clarinet's the main influence here on the sound – as it's used in a snakey way that instantly invokes Klezmer music, yet still retains the fluidity you'd expect from a jazz album. About half the tunes on the album will be instantly familiar – as they're numbers with popularity that brought them out of the Jewish market into the mainstream in years past – and titles include "Bei Mir Bist Du Schon", "S & S", "Nyah Shere", "And The Angels Sing", "My Yiddishe Momme", and "Papirossen (Cigarettes)".

One of the rarest Roland Kirk albums – and a great one! The record features Kirk in his prime early years – before he got totally nutty, and when he would still play straight soul jazz/hard bop, but with kind of a mad twist, and with strange instrumentation. Horace Parlan's on piano, and his work on the keys, as always, is a real treat – and it keeps the album grooving along at a nice pace. Most tracks are originals, written with Kirk's unique sense of whimsy and humor – and titles include "Blues For C&T", "Hip Chops", "Gifts & Messages", "Vertigo Ro", and "Where Does The Blame Lie?"

A rare slice of work by Roland Kirk from his early years – a great live set recorded in Europe in the mid 60's – done in a looser mode than his studio sessions from the time! Kirk's playing his usual array of incredible horns – tenor, stritch, flute, nose flute, and manzello – with an international group that features Tete Montoliu on piano, Niels Henning Orsted Pederson on bass, and J.C. Moses on drums. In the setting, there's more of a hardbop feel to the material than on some of Kirk's studio sets – but given Roland's penchant for unusual phrasing, twin-reed blowing, and general free-thinking overall, the sound is pretty unique overall! Titles include "Mingus-Griff Song", "The Monkey Thing", and "On the Corner of King and Scott Streets".

Stellar grooves from Charles Earland – a great mix of jazz, soul, and funk – put together in a way that's quite different from his previous records on Prestige or Mercury Records! The sound here is tight 80s soul – put together by Tom Tom Washington, who gives the whole thing a sophisticated Chicago vibe – and one that matches Charles' sweet keyboard solos with wickedly sharp rhythms, and some occasional vocal bits too. Singers include Larry Blackmon, TC Campell, and Charles himself – but there's still a focus that seems to be more on the instrumentation overall – served up with some mighty nice organ lines from Earland. Titles include "The Only One", "Marcia's Waltz", "You Belong To Me", "Never Knew Love Like This Before", "Guilty", "Laser Lips", "Earland's Jam", and "Animal". CD features "Never Knew Love Like This Before (single)", "Guilty (single)", "Animal (12" version)", and "The Only One (12" version)".

A pretty great little album by the multi-reed player Ralph Gari – and obscure New York talent that we've only ever heard on this one side cut for Mercury during the 50s. The focus here is on Gari's great reed work within a small combo – and he plays alto, clarinet, flute, and oboe on the album's tracks. His alto work is fairly heavily featured, which is great, because he's a tight angular player in the Boston soul mode of artists like Dick Johnson or Charlie Mariano. Backing is by a piano trio on each side, and titles include "Kali", "Fourth Dimension", "Happy Daze", "That Old Black Magic", and "The Way You Look Tonight". Great stuff, and kind of like some of the excellent Hal McKusick albums from the same time!

Excellent small group work from vibist Terry Gibbs – just the kind of set that shows why he was one of the best known players on his instrument in the 50s! Gibbs has a clear, clean style here that's never too laidback, nor too prone to over-done flourishes – a style that was born in swing, informed by bop, and carried off beautifully by a quartet on the date that includes Terry Pollard on piano, Herman Wright on bass, and Bert Dale (aka Nils Bertil Dahlander) on drums. The sound is nicely straight ahead – no gimmicks, no schtick, just nicely grooving work on vibes and piano – with tracks that include "Seven Come Eleven", "Lonely Dreams", "Dickie's Dream", "Imagination", "King City Stomp", "Pretty Face", "The Continental", "Bless My Soles", and "Nutty Notes".

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!

Amazing sounds from the SF scene of the 70s – previously unreleased work that really opens up a whole new chapter of jazz on the west coast! The HE3 Project is the brainchild of keyboardist Herman Ebertizsch – who plays lots of Fender Rhodes and moog on this sweet little record – really driving some amazing lines for a wickedly soulful group that also features Coke Escovedo on timbales and Linda Tillery and Johnny Lovett on vocals! Supposedly, these sessions were the genesis of the groove that Escovedo later laid down on Mercury Records – but the sound here is a lot more open-ended and funky – a beautiful combination of jazz and soul elements, put together in ways that are quite different than any other Bay Area acts of the time. Titles include "Rapture Of The Deep", "Funk Punk", "Appreciation", "Life Is A Tortured Love Affair", "Make It Sweet", "We All Have Our Own Lives", "In A Soft & Subtle Way", and "Easy Come Easy Go".

Later genius from Rahsaan Roland Kirk – a record of wonderful depth and soul, and a session that moves back to the straighter jazz focus of some of his work from the Mercury years – yet still keeps all the personality and charm of the best Atlantic sides! Roland's playing in a warm jazzy mode that still features some of his wit and tricks – but which also is even more nicely in a straight jazz vein on the album's best tracks – rolling out in a gently soulful 70s mode that features some slight electric touches, but which preserves a main focus on his own soulful work on a variety of saxes and flute. The lineup is great too – with a shifting group of players that include Hilton Ruiz, Billy Butler, Walter Perkins, and even the great Trudy Pitts – and titles include "Sugar", "Serenade To A Cuckoo", "The Christmas Song", "Los Angeles Negro Chorus", "Bright Moments", "Night In Tunisia", and "J. Griff's Blues".

A stone classic from Roland Kirk – and a record that beautifully balances his modern ideas and playful energy – as you might guess from the title! While posing as the "whistleman", Roland's also pushing the boundaries of jazz a few steps forward too – not just in modern terms, but in spiritual ones too – showing that there's a way of letting loose that doesn't always have to be cold or artsy, but personal and soulful too. There's still echoes of the hardbop of the Mercury years, and plenty of inventive reed work from Kirk – on tenor, alto sax, manzello, stritch, and even nose flute too. The album was recorded live with a very hip cast that includes Lonnie Smith and Jaki Byard on piano, Charles Crosby on drums, and Major Holley on bass – and tracks include "Roots", "Here Comes The Whistleman", "Step Right Up", and "Aluminum Baby".

Mindblowing work from Roland Kirk – a record that really pushes the boundaries of his music even farther than some of his earlier, and excellent, albums for the Mercury label! Kirk's really stretching out here – finding a space in jazz that's uniquely his own – modern, yet playful – creative, yet never overindulgent – and perfectly balanced to find a whole new sound of soul for the 60s! Things never get too far outside, but Kirk's reedlines are always breaking out into fresh territory – incredible tenor parts, and also some amazing work on manzello and stritch too, both lesser-known reed instruments that Roland employs to incredible ends. Other group members fit his vibe perfectly – Jaki Byard on piano, Richard Davis on bass, and Elvin Jones on drums – each stepping quickly to catch the energy of each new twist and turn in Kirk's music. Titles include the sublime "From Bechet Byas & Fats" – plus "No Tonic Pres", "Rip Rig & Panic", "Mystical Dream", "Black Diamond", and "Slippery Hippery Flippery". This copy doesn't have the gatefold cover, but it's still got a nice textured one, and it's a second pressing from the 60's!

One of the most striking records so far from the mighty Rob Mazurek – a set that makes us more than glad we've been following his musical journey for the past two decades! The set's got a nicely compressed feel – one that takes some of the looser energy that's been bubbling up in recent Mazurek records, and delivers it in a tight quartet format – with Rob's sparkling cornet in the lead, amidst great piano from Angelica Sanchez, bass from Matt Lux, and drums from John Herndon! Given the wide resumes of all players, there's a really shifting sense of sound here – one that's bold one minute, introspective the next – and never falls into too-familiar jazz phrasing modes. Yet Mazurek's also really matured as a player, too – working here with a sensitivity we never would have expected years ago – captured with great clarity in the recording. Titles include "Magic Saturn", "Twister Uranus", "Spanish Venus", "Folk Song Neptune", "Primitvie Jupiter" and "Spiral Mercury".

Some of the best material ever recorded by pianist Less McCann – lifted from his groovy mid 60s recordings for the Limelight and Mercury labels – including many gems that were buried on albums that had otherwise weaker material. Lots of these tracks have added instrumentation over Les' usual trio format, which makes for a swinging soulful larger sound that really grooves nicely, and which romps between 60s mod, boogaloo, and straighter soul jazz! The set includes great groovers like "Boo Go Loo", "La Brea", "Red Top", "Little Freak", "Watermelon Man", "Great City", and a tasty 2 part version of "Sunny"!

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance".

A seminal set from Max Roach – the start of his more righteous stretch in jazz, as you might guess from the title of the album! At some level, the record's got a bit of the feel of the post-Clifford Brown Mercury years from Roach – but at another, it's stretching out towards the directions Max would explore fully on the Candid, Impulse, and Fantasy labels in the 60s – an approach to hardbop that often really pushes its limits – not content to simply set up solos for the players, and instead moving with a much more forceful energy overall! Group members include Booker Little on trumpet, George Coleman on tenor, Ray Draper on tuba, and Art Davis on bass – and the lack of a piano makes for a very exciting sound! The album's got 2 great originals by Bill Lee – "Jodie's Cha-Cha" and "Deeds Not Words" – plus Draper's classic "Filide", and the groundbreaking "Conversation" – a very cool solo by Roach on the drums!

A seminal set from Max Roach – the start of his more righteous stretch in jazz, as you might guess from the title of the album! At some level, the record's got a bit of the feel of the post-Clifford Brown Mercury years from Roach – but at another, it's stretching out towards the directions Max would explore fully on the Candid, Impulse, and Fantasy labels in the 60s – an approach to hardbop that often really pushes its limits – not content to simply set up solos for the players, and instead moving with a much more forceful energy overall! Group members include Booker Little on trumpet, George Coleman on tenor, Ray Draper on tuba, and Art Davis on bass – and the lack of a piano makes for a very exciting sound! The album's got 2 great originals by Bill Lee – "Jodie's Cha Cha" and "Deeds Not Words" – plus Draper's classic "Filide", and the groundbreaking "Conversation" – a very cool solo by Roach on the drums!

Seminal work by drummer Max Roach – recorded in 1960, at the time when he was leading one of his best groups ever! The material was recorded live in Germany with a quintet that includes Tommy Turrentine on trumpet, Stanley Turrentine on tenor, and Julian Priester on trombone – and the approach of the album takes off from the hardbop of Roach's studio sides at the time, opening things up a lot with exploratory drum work, rolling basslines, and some angular interplay between the horns that's just fantastic! The title cut – "Long As Your Living" – is done in the best version we've ever heard – and other tracks include "The Villa", "Lotus Blossom", "Night In Tunisia", and "Prelude". A great companion to the group's rare few Mercury sides from the time!

Previously unreleased work from the legendary group of Clifford Brown and Max Roach – recorded back in the 50s, when Mainstream producer Bob Shad was working on the Brown/Roach dates for Mercury – but not issued until this set in the 70s, when Shad had his own label! The music here is right up there with the best 50s classics by the pair – really showcasing that amazing trumpet style that made Brownie a genius right from the start – next to some of the burning energy he forged with Roach in the group. Every player's tremendous – Harold Land on tenor, Richie Powell on piano, and George Morrow on bass – and titles include two Clifford Brown originals – "Daahoud" and "Joyspring" – plus Roach's "Mildama", plus the standards "I Don't Stand A Ghost Of A Chance", "I Get A Kick Out Of You", and "These Foolish Things Remind Me Of You".

Amazing funky jazz from the 70s – a completely rare little set recorded in the Bay Area scene of the time – featuring hip trumpet work from Woody Shaw, and lots of cool keyboards from Patrick Gleeson! The feel here is somewhere in the territory of work that Gleeson did with Herbie Hancock in the mid 70s, or of some of the spinoff Headhunters funky jazz projects recorded on Mercury – but the groove's also a bit looser too, given that the album was done by the small Reynolds indie label. Other players include Norman Williams on alto, Michael Howell on guitar, and Allan Pittman on additional trumpet – and there's a simple, focused approach to the grooves that's totally great – very soulful, and very in the pocket – never too spacey or overly jamming, like some of the best Fantasy Records funky fusion of the time! Titles include "Getting It Together", "Getting To The Moon", "Hozrot", "Waterman", and "Love Ballad".

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues".

Summer jazz is 60s jazz – or at least that's the way it seems on this set – but that's A-OK with us, because 60s jazz is some of our favorite jazz ever! Although the package features a few numbers from other years, the main focus here is on the best 60s styles of labels like Verve, Impulse, and Mercury – particularly those tracks that borrowed heavily from the bossa nova, or used other Latiny rhythms to create a gently breezy groove! The styles here are subtle, but warm and wonderful – and the package is filled with plenty of jazzy numbers that slide along like waves on the shore on a sunny summer beach. Titles include "From The Hot Afternoon" by Paul Desmond, "Beach Samba" by Astrud Gilberto, "Sunny" by George Benson, "South Seas" by Wynton Kelly, "Little Sunflower" by Dorothy Ashby, "The Shining Sea" by Stan Getz, "Surfboard" by Roberto Menescal, "Summer Is Gone" by Carmen McRae, "The Things We Did Last Summer" by Art Van Damme, and "Boy From Ipanema" by Sarah Vaughan.

A hardbop classic from Cannonball Adderley – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. The set's strong and straight ahead – a good bridge between Cannon's early Mercury recordings, and his later albums for Riverside and Capitol – tightly crafted solos with a good deal of soul, Adderley holding down all the horn work on the record. Titles include "If This Isn't Love", "Serenata", "Poor Butterfly", "I Remember You", and "I've Told Ev'ry Little Star". CD also features 2 bonus alternate tracks!

A collection of tracks by various artists in the Mercury/Limelight catalog – collected together in support of the musical I Had A Ball, from which all the cuts were drawn. We're not sure, but we think the material here appeared elsewhere on other Mercury albums – but the set works wonderfully together, and has a lot of great numbers by the artists involved. Dizzy sings some great bop vocals on a version of "The Fickle Finger Of Fate", Blakey grooves with John Gilmore on the cut "Faith", Quincy Jones blows out some stormers on "I Had A Ball", "Almost", and "Addie's At It Again", and Chet Baker blows with a soulful modal groove on "Think Beautiful".

Amazing late 70s work from Charles Earland – quite different material than his contemporaneous sets for Mercury and Columbia, and much more the rootsy soul jazz he first cut at Prestige! The tracks are long, and filled with rhythms – that undeniable Earland groove, which is laid out here beautifully on the Hammond – in a real no-nonsense sort of style that holds up wonderfully over the years. Players are great throughout – and include Dave Schnitter and George Coleman on tenor, Jimmy Ponder on guitar, and Walter Perkins on drums. Titles include "Undecided", "The Dozens", "Mama Roots", "Red Green & Black Blues", "Old Folks", and "Bluesette".

Mindblowing work from Roland Kirk – a record that really pushes the boundaries of his music even farther than some of his earlier, and excellent, albums for the Mercury label! Kirk's really stretching out here – finding a space in jazz that's uniquely his own – modern, yet playful – creative, yet never overindulgent – and perfectly balanced to find a whole new sound of soul for the 60s! Things never get too far outside, but Kirk's reedlines are always breaking out into fresh territory – incredible tenor parts, and also some amazing work on manzello and stritch too, both lesser-known reed instruments that Roland employs to incredible ends. Other group members fit his vibe perfectly – Jaki Byard on piano, Richard Davis on bass, and Elvin Jones on drums – each stepping quickly to catch the energy of each new twist and turn in Kirk's music. Titles include the sublime "From Bechet Byas & Fats" – plus "No Tonic Pres", "Rip Rig & Panic", "Mystical Dream", "Black Diamond", and "Slippery Hippery Flippery".

In case you think the folks at Chess were putting too fine a point on the earthy origins of Ramsey's jazz, the title's actually one that follows from an earlier album Ramsey cut for Mercury – and features a similar cover of a shovel digging in the dirt! The tracks are a great blend of the rich approaches to piano jazz performed by the Lewis trio with Eldee Young and Red Holt – with some tracks bluesy, some tracks upbeat, some whimsey, and a few that groove in very surprising places. Titles include "Volga Boatman", "Around The World In 80 Days", "Hello Cello", "Blues For The Nighty Owl", and "Gonna Set Your Soul On Fire".

One of the most striking records so far from the mighty Rob Mazurek – a set that makes us more than glad we've been following his musical journey for the past two decades! The set's got a nicely compressed feel – one that takes some of the looser energy that's been bubbling up in recent Mazurek records, and delivers it in a tight quartet format – with Rob's sparkling cornet in the lead, amidst great piano from Angelica Sanchez, bass from Matt Lux, and drums from John Herndon! Given the wide resumes of all players, there's a really shifting sense of sound here – one that's bold one minute, introspective the next – and never falls into too-familiar jazz phrasing modes. Yet Mazurek's also really matured as a player, too – working here with a sensitivity we never would have expected years ago – captured with great clarity in the recording. Titles include "Magic Saturn", "Spiritual Mars", "Twister Uranus", "Spanish Venus", "Folk Song Neptune", and "Spiral Mercury".

An obscure set from Max Roach – but right up there with his best work of the late 50s on Mercury and other labels! The album features the "award winning" drummer in a quintet with Booker Little on trumpet, Ray Draper on tuba, George Coleman on tenor, and Art Davis on bass – a cool piano-less group that hits some really unusual notes! Draper's horn provides a deep bottom to the record, mixing with Davis' exotic tones nicely – and the album represents Roach's increasing penchant for experimentation in the post Clifford Brown years – tunes with an offbeat edge that's really great. Titles include "Pies Of Quincy", "Tuba De Nod", "Milano", and "Sadiga".

Funky fusion in a runaway spaceship – the second album by Larry Young's cosmic heavy Fuel ensemble! The album's a perfect batch of jazzy keyboard grooves in a tradition that includes Lonnie Liston Smith, Johnny Hammond, and Charles Earland during his Mercury years – with Larry on moog, organ, Hammond B-3, Fender Rhodes, and other cool keyboards – grooving with a sound that ranges from fast and choppy to sweet and spacious. Julius Brockington also plays a lot of funky keys on the set next to Larry, and although a few tracks have vocals, the real focus here is on the instrumentation. Titles include "Startripper", "Message From Mars", "Moonwalk", "Sticky Wicket", and "Flytime". His last album, and a nice bit of far-reaching funk!

Amazing sounds from the SF scene of the 70s – previously unreleased work that really opens up a whole new chapter of jazz on the west coast! The HE3 Project is the brainchild of keyboardist Herman Ebertizsch – who plays lots of Fender Rhodes and moog on this sweet little record – really driving some amazing lines for a wickedly soulful group that also features Coke Escovedo on timbales and Linda Tillery and Johnny Lovett on vocals! Supposedly, these sessions were the genesis of the groove that Escovedo later laid down on Mercury Records – but the sound here is a lot more open-ended and funky – a beautiful combination of jazz and soul elements, put together in ways that are quite different than any other Bay Area acts of the time. Titles include "Rapture Of The Deep", "Funk Punk", "Appreciation", "Life Is A Tortured Love Affair", "Make It Sweet", "We All Have Our Own Lives", "In A Soft & Subtle Way", and "Easy Come Easy Go".

Two amazing sets from Harold McNair – a fantastic London 60s flute player with a really sharp edge! The self-titled Harold McNair has the leader working in a tight combo with some nice offbeat sounds – including a lot of breathy, soul-toned notes that remind us a fair bit of Roland Kirk – but which also showcase some of Harold's West Indian roots! (McNair was part of the same great West Indian influx of jazz musicians that also gave England Joe Harriott and Dizzy Reece.) The group features Harold mostly on flute, plus a bit of tenor – alongside Bill LeSage on piano, Spike Heatley on bass, and Tony Carr on drums – and titles include the seminal groover "The Hipster" – worth the price of the record alone – plus "Mento", "Indecision", "The Cottage", and "Mini Blues". Flute & Nut features the flute of Harold McNair alongside some sweet arrangements from John Cameron – with whom Harold worked famously on Donovan sessions in the 60s! Many tunes are McNair originals, and Harold's flute is definitely in the lead – but we also love the grooves that Cameron brings on board – a sweet blend of soulful jazz and sound library styles – all of which gives the album a similar feel to Roland Kirk's work with the Benny Golson group on Mercury. Titles include "Burnt Amber", "Herb Green", "Nomadic Joe", "Barnes Bridge", and "The Umbrella Man".

Magnificent! Charles Earland may well be our favorite-ever jazz organist – and after you hear this set, he'll probably be yours too! Charles really didn't emerge as a name until the beginning of the 70s – and although that decade did some nasty stuff to some of the 60s best organ players, Earland managed to really get a heck of a lot out of the decade, twisting and turning his style with all the changes in arrangements and instrumentation, yet always keeping it real, laying down killer solos and funky grooves that rank with some of the best organ work of his generation! This 2CD set is the first to really pay tribute to Earland's genius – and it's a massive batch of tracks the spans his early years at Prestige Records, and moves into his work for labels like Mercury, Columbia, and Muse. Disc 1 features "funky organ grooves" – 10 tracks from Prestige and Muse with a straight heavy soul jazz funk groove, cut with monster players like Melvin Sparks, Idris Muhammad, Gary Chandler, and Virgil Jones. Tracks on the set include "Murilley", "Spinky", "Betty's Dilemma", "Sing A Simple Song", "Morgan", "My Favorite Things", and "Sing A Simple Song" – and the grooves are hard and funky all the way through! Disc 2 features "jazz funk and beyond" – beginning with Earland's spacier jam cuts on the Leaving This Planet session for Prestige, then moving into his jams on Arp and Electric Piano for Mercury, and some of his later R&B funk cuts for Columbia. Most of this work's never been on CD before – and the wealth of Earland's talent here will take you way past his early Black Talk years. Titles include "Phire", "Coming To You Live", "Red Clay", "Intergalactic Love Song", "Cosmic Fever", "Betty Boop", "Let The Music Play", and "Over & Over".

A split 70s LP – with two earlier classics! First up is How I Feel About Jazz – an important early album from Quincy Jones! Q's working here in some of his hippest settings of the 50s – scoring longish versions of jazz tunes for groups that include players like Lucky Thompson on tenor, Herbie Mann on flute, Art Farmer on trumpet, Phil Woods and Gene Quill on alto sax, Hank Jones on piano, and even Charles Mingus on bass! As with most Jones albums of the time, Quincy has a way of making a bigger group sound nice and lean – hitting some especially nice edges along with the rhythms, and really showing the way towards a new soulful sound for a bigger band. Titles include a sublime 10 minute version of "Walkin" that kicks off the album with a great soulful groove – plus original tunes "Evening In Paris", "Stockholm Sweetnin", and "Boo's Blues", as well as a version of Cannonball Adderley's "Sermonette". Next is Quintessence – a very soulful set of big band material from Quincy Jones – recorded during that tight early 60s period when his arrangements just couldn't fail! The album's his only session for Impulse, and it's got a slightly deeper style than his work from the time for Mercury – a bit more sophisticated, with nice modern touches that take the tunes in surprising directions. Part of the greatness of the set lies in the players – as the album features work by Curtis Fuller, Thad Jones, Stu Martin, Freddie Hubbard, Patty Brown, Phil Woods, and Jerome Richardson – and titles include "Robot Portrait", "Hard Sock Dance", "The Twitch", and "For Lena & Lennie".