Jazz — CDs  

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".

Reedman Oliver Lake at his most creative – stepping out here on a sublime set of 70s improvisations – all put together with a really spiritual feel! There's a very open, collaborative feel to the music – and the set was recorded in St Louis, at a time when Lake was a key part of that city's scene – and who here also seems able to attract some other musicians from the AACM in Chicago as well! As a result, the album's a wonderful document of the new ideas bursting forth at the start of the 70s – that richly creative moment when local scenes were coming together in various cities to find new ways of jazz beyond Coltrane and Dolphy – giving a player like Lake some of the most imaginative outlets of his career. Oliver plays alto, soprano, flute, and other small instruments – and other players include Baikida Carroll and Floyd Leflore on trumpets, Joseph Bowie on trombone, John Hicks on piano, Clovis Bordeaux on electric piano, Don Officer on bass, Charles Bobo Shaw on drums, and Don Moye on congas too. Titles include "Africa", "Tse Lane", "Eriee", "Zip", and "Electric Freedom".

A wonderful album from the team of Toshiko Akioshi and Charlie Mariano – a set that was only ever issued in Japan, and which we like a fair bit more than their better-known US album for Candid! The group here is the same as that one – with Charlie Mariano on alto sax, Toshiko Akioshi on piano, Eugene Chirico on bass, and Albert Heath on drums – but the sound is a lot more focused, and often a bit more swinging – with some especially great emphasis on Mariano's magnificent tone – nicely rough-edged at this point in his career, but still strongly inside – with none of the overindulgence of later years. Charlie cuts through the tunes brilliantly – and Toshiko's got a great mix of bop and modern tones in her piano work. And even though the first half of the set list is tunes from West Side Story, the quartet make them cook like you've never heard before – really taking off with a new sort of energy that's totally great! Titles include "Tonight", "America", "Cool", "Plaisir D'Amour", "Malaguena", and "Oleo".

A classic live date from Satchmo – and expanded to include the complete performances on that legendary night at Boston's Symphony Hall – for the first time ever! Recorded in November of 1947 and originally released in '51, it's never before been issued with both the first and second sets that night. There's also a number of great tunes here that were released before in edited versions, but fully presented here. It's such wonderful stuff – both as a top-shelf document of this period of American jazz – and as a brilliant example of Satcho's charming stage presence. His trumpet and solo vocals are well captured, and you can here up humming along on the instrumentals, too. The players at this point who are All Stars, indeed, include Jack Teagarden on vocals and trombone, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass, and Sid Catlett on drums – plus some great vocals by Velma Middleton. 29 songs on 2CDs – in a hardback package with a great booklet – and featuring "When It's Sleepy Time Down South", "Stars Fell On Alabama", "Body And Soul", "Steak Face", "Back O'Town Blues", "St James Infirmary", "Mop Mop", "Jack Armstrong Blues", "That's My Desire", "C Jam Blues", "Baby Won't You Please Come Home", "Mahogany Hall Stomp" and more – many previously unreleased!

Blistering sounds from Ballister – quite possibly the fiercest album so far from this key Chicago group – and that's saying a lot, given the intensity of their previous work! The trio really seem to know each other intimately by this point – so that they can really let loose, and explore a great range of sounds from the saxes of Dave Rempis, drums of Paal Nilssen-Love, and the cello, guitar, and electronics of Fred Lonberg-Holm! The album's an especially great illustration of the way that Fred's really opened up his energy level in recent years – and become a much more organic player, with a confidence in his sounds we never would have expected a decade ago. Rempis is masterful on alto, tenor, and baritone – blowing with a boldness that puts him firmly in line with a range of Chicago improvisers – and Paal's visiting drum work really pushes the whole thing forward strongly. Titles include "Cockloft", "Smolder", and "Phantom Box System".

Killer work from the classic late 50s years of the Jazz Messengers – and an album that Blue Note didn't choose to release until the end of the 70s! The record's a historic one – as it mark's Wayne Shorter's first session with the group, and the first time that they recorded his great composition "Lester Left Town" – a wonderful tune that sounds a bit different here than on the later Jazz Messengers recording of the composition. Shorter's talent is already burning brightly at this point – as is that of trumpeter Lee Morgan – and other group members include Walter Davis Jr on piano, Jymie Merritt on bass, and Blakey on drums. Titles include "Lester Left Town", "Haina", "The Midget", "Celine", and "Africaine", which has a guest appearance by Dizzy Reece on congas!

A lost treasure – never-issued material from the legendary Blue Notes combo – and a set that really helps fill some space in their all-too-small recorded catalog! The set captures the group at the end of the 70s, working in their most openly-creative mode – a style that partly shows their strong roots in the South African jazz scene of the 60s, but which also really opens up with some of the freer modes of the following decade – hitting a mix of modes that's not unlike some of the AACM at their best, although often with a lot more intensity, too! The group at this point is a quartet – with Chris McGregor on piano, Johnny Dyani on bass, Louis Moholo on drums, and Dudu Pukwana on some especially amazing alto sax – blown with such righteous force, we might well say that his instrument is center stage on the record – were it not for the wonderfully complex rhythms from the other three group members too! Tracks are long, and filled with righteous soul – and titles inlcude "Ithi Gui", "Mange", "Lonta Uyagula", "Lakutshonga Ilanga", "The Bride", and "Funk Dem Dudu".

Quite a surprising pairing of talents – and a set that shows that at in the right settings, Stephane Grappelli's still got plenty of modern moments! The core group is really that of vibist Gary Burton – with Steve Swallow on electric bass and Bill Goodwin on drums – both players with an open, spacious feel that's quite different than the usual rhythm group for a Grappelli record – which really opens up the legendary violinist, and has him stretching out wonderfully – especially on some of the more contemporary numbers. Burton's vibes are great at this point – sharp toned, yet incredibly warm too – and titles include "Daphne", "Blue In Green", "Sweet Rain", "Coquette", and "Arpege".

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

Great work from one of the funkiest periods in the career of the Jazz Crusaders – that point when they first dropped the "jazz" from their name, and started moving into groovier territory! The set's a bit electric, but never as much so as their later, bigger hits – just enough so that the basslines bump the tunes along strongly, and the keyboards start to sparkle in the mix too – but still leaving plenty of space for acoustic contributions on piano, trombone, and tenor. Arthur Adams joins the group for a bit of guitar, which is well-placed – and titles include the massive "Pass The Plate" medley, which runs for over 15 minutes – plus "Young Rabbits 71/72", "Goin' Down South", "Listen & You'll See", "Greasy Spoon", and "Treat Me Like Ya Treat Yaself".

One of the most obscure 60s jazz sessions on ESP – a really free outing from pianist Lowell Davidson, working here in a trio that includes Gary Peacock on bass and Milford Graves on drums! Davidson's approach to the keys is quite far out, especially for the time – very much in the mode of Cecil Taylor, but possibly even more open-ended than Taylor's work up to this point. He doesn't get lost in the open spaces, though, thanks in no small part to the intuitiveness of his players. Really wonderful stuff that's loose, angular and engrossing all the way! Tracks are all longish originals – and titles include "L", "Ad Hoc", "Strong Tears", "Stately 1", and "Dunce".

More amazing work from the legendary Bob Downes – the British reedman/arranger/composer who's getting really rediscovered these days – represented here in a host of previously unissued tracks! Bob put together the package from his vaults, and we've got to say that the music here is every bit as wonderful as anything Downes released back in the day – and is perhaps overall maybe even more striking, as most of it is played by a trio that features Bob on flutes, tenor, alto, and soprano saxes, with Barry Guy on bass and Denis Smith on drums! There's a great groove on many numbers – kind of a modal, soulful bounce that really has us appreciating Guy's bass work from a whole new direction – especially since we've mostly known him as a more avant player. And Downes is as creatively as compelling as ever – even playing "simultaneous saxes" at one point in the record! Titles include "Seashore", "West Eleven", "Walkin Runnin Man", "Funky Groove (parts 1 & 2)", "Brasilian Beauty", and "Wavelength".

A killer album of soul jazz piano instrumentals – produced by James Brown! The Dee Felice Trio were a groovy combo from Cincinnati, and James Brown took a shine to them at some point in the late 60s. They backed James on one record, but their big moment was this album – which had James producing, and the group grooving nicely on some hard piano jammers! The sound's a lot more stripped-down than usual for James, but the groove is very nice! Includes an excellent funky version of "There Was A Time", a great cover of Marcos Valle's "Crickets Sing For Anamaria", and the tracks "Summer In The City", "In Heat", "Both Sides Now", and "Never". Features 3 bonus tracks too – "Nightingale", "Little Liza Jane", and "There Was A Time (single version)".

Dizzy Gillespie meets the Phil Woods Quintet – a group that already has a great trumpeter in the form of Tom Harrell – which makes the album here a double-horn delight! Dizzy's on trumpet throughout, and Harrell plays both trumpet and flugelhorn – and the pair work well with Woods' alto in the front line, sharing back and forth, and creating a lively interplay between the different voices of their instruments. Dizzy is impeccable – as he always is at this point in his career – and rhythms are nice and tight, thanks to piano from Hal Galper, bass from Steve Gilmore, and drums from Bill Goodwin. Titles include a great reading of Galper's Loose Change" – plus "Terrestris", "Love For Sale", "Oon Ga Wa", and "Whasidishean".

Very interesting work from Chico Hamilton – one of his most compelling albums of the 50s! The three "faces" of Chico are as follows: his vocals, his solo percussion, and his quintet. Forget the vocals, because they're just OK (and Chico hardly embarked on a singing career after this one) – and focus on the percussion and quintet sides, because they're totally amazing! The percussion tracks have Chico playing solo, with a really haunting sound to them. There's not a lot of tricks, or pyrotechnics, and his work in this respect almost points the way to later recordings by Andrew Cyrille. The quintet sides are great, too – as this is the point at which Chico's got Eric Dolphy and Dennis Budimir in the group, both of whom draw a good edge on Chico's popular sound of a few years previous. Titles include "No Speak No English Man", "Miss Movement", "Trinkets", "Happy Little Dance", and "Newport News".

An incredible collection of work from vibist Bobby Hutcherson – some of his most righteous recordings ever, spread out over the span of 5 albums recorded for Blue Note in the mid 70s – one of which was only ever issued in Japan! The work here has Bobby taking off nicely from his years with Harold Land – and although the set includes two albums with Land, the excellent Cirrus from 1974, and the Japanese-only Inner Glow, the remaining albums feature a range of different players – including Manny Boyd on soprano and tenor sax, George Cables on piano, Larry Nash on electric Piano, Hadley Caliman on reeds, and Freddie Hubbard on trumpet. As with the better-known recordings with Land, the style here is flowing and open – an approach that starts in modal rhythms, and which moves into some of the more soaring, spacious modes shared by Bobby's contemporaries on the indie soul jazz scene – especially artists on labels like Black Jazz and Strata East. The albums here are all amazing – never too slick, and beautifully balanced, with a sense of focus that still makes Hutcherson one of the greatest vibists working at this point in his career. 3CD set features the albums Cirrus, Inner Glow, Waiting, The View From The Inside, and Knucklebean – featuring a whopping 30 tracks in all!

A beautiful little record – one of those really unique, really sensitively soulful sessions of jazz that were coming out of the Japanese scene in the 70s – quite different than work you'd hear from any other point of the globe! The group's led by bassist Yoshio Ikeda – who has a way of carefully setting things up from the bottom – rolling out these warm acoustic lines that set the scene for the album's work on piano from Aki Takase, flute from Masami Nakagwa and Tamami Koyake, trombones from Shigeharu Mukai and Tadanori Knakawa, trumpet from Hitoshi Okano, and soprano and tenor from Suetoshi Shimizu – instruments that are spun out in these long, lyrical lines that are extremely beautiful – and as evocative as the title fo the record! Titles include "Down To The Sea", "After Image", "Anemophilous Flower", and "Rising Into The Sky".

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this first volume include "Fancy Free", "Sambra", and "The Children Save The Children".

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this second volume include "New Breed", "My Ship", and "Sweet Mama".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

A wonderful blend of free jazz & atmospheric electronic experimentation led by soprano mainstay Steve Lacy – a truly inviting blend of open-ended sounds that manages to all come together in a very natural way! Sadly, this set captured here at the NEWJazz meeting of 2002 at Baden-Baden, Germany turned out to be one of Lacy's final projects – and it's a nice tribute to his legacy of openness and a free spirit. The project started by using a piece by ambitious composer Bernard Lang, "DW 1.2 For Piano, Flute And Saxophone" as a starting point for the improvisations of an interesting group of players – including Lacy, Peter Herbert on double bass, Wolfgang Reisinger on drums, Philip Jeck on turntables, plus Christof Kurzmann and Lang on electronics. It essentially develops a dialogue among the genres themselves – jazz, electronica and freeform sound art – as much as between the individual players! 6 extended numbers with the titles "DW 1.2 Remix 6.8" (quartet of Lacy, Lang, Herbert & Reisinger), "DW 1.3 Remix 7.4" (trio of Lacy, Lang & Jeck) "DW 1.2 Remix 10.2" (quartet of Kurzman, Lacy Herbert & Reisinger), "DW 1.2 Remix 7.7" (duo Jeck & Lacy), "DW 1.2 Remix Karlsruhe 3.3" (solo Lacy) and "DW 1.2 Remix 6.1" (quartet Lang, Lacy Herbert & Reisinger).

Genius jazzy soul from Webster Lewis – one of his amazing late 70s sets for Epic Records! By this point in his career, Lewis had honed his keyboard craft to perfection – and on albums like this one, he laid down some excellent smooth soulful fusion that soared in a righteous way that few other artists of his generation could match! The sound's never cheesy, and has a wonderfully fusion-based bottom that's served up by a range of great players that include Paul Jackson, James Gadson, and Bennie Maupin – and which is topped off by very jazz-sensitive production from Lewis and Herbie Hancock. Most cuts have vocals – some by Lewis himself – and the album includes the monster dancefloor cut "Give Me Some Emotion", plus the cuts "Fire", "Go For It", "You Deserve To Dance", and "The Love You Give To Me".

2 Columbia killers from Charles Lloyd – back to back in a single set! Discovery is a wonderful bit of soul jazz – much less trippy than some of Lloyd's later work, and handled with a soulful flair that's a mix of Coltrane spiritualism, with an even larger dose of the sort of post-Trane experimentations in jazz that would crop up during the early 70s on smaller independent labels. The record's quite advanced for its time – and features Lloyd's tenor and flute next to piano by Don Friedman, bass by either Richard Davis or Eddie Khan, and drums by Roy Haynes or JC Moses. Includes Lloyd's classic "Forest Flower", plus "Little Peace", "Love Song to A Baby", "Sweet Georgia Bright", and "Bizarre". Nirvana is lovely work from Charles Lloyd – recorded at the point when he was just pushing off from Chico Hamilton's group, and before he got too noodly for his own good! Side one of the record features Lloyd with his own group – jazzing it up in a mix of flute, guitar, and percussion on a number of short tracks that have a light and breezy feel. There's a nice dose of bossa in the set, plus some of the other freer rhythmic styles that Lloyd and Hamilton experimented with together at the time – but all of the tracks have a strong rhythmic pulse, and never lose their groove for too much experimentation. Side two features two wonderful tracks with Hamilton's group at a point when Lloyd was still working with the ensemble – both long tracks with a modal pulse and a great deal of spirituality – again free, but never too much so! A nice little album – with tracks that include "Island Blues", "Carcara", "Long Time Baby", "One For Joan", and "Freedom Traveler".

Fred Lonberg-Holm at his collaborative best – working with a great group of Chicago citizens, each of whom shape the others' sound in the set! Parts of the record have Lonberg-Holm's older style of arch avant energy – an almost academic mode that comes across with thoughtfully expressive passages. Yet other sides of the music are much more freewheeling – and almost swinging, which is quite a change for Fred – but a welcome one too! Things never get too conventional, as the older modes grab back the newer ones from time to time – making for a rich set of sounds that come from Lonberg-Holm on cello and guitar, Aram Shelton on alto and clarinet, Keefe Jackson on tenor and bass clarinet, Josh Berman on cornet, Anton Hatwich on bass, and Frank Rosaly on drums – and, oddly, at some point nearly every band member plays some form of trumpet, too. Titles include "Infra Pass", "It's A Tough Grid", "Later News", "Lazy Day", "Roses", and "Simpler Days".

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

Great early 70s work from Herbie Mann! By this point in his career, Herbie must have had a fleet of cars, a harem of ladies, and a golden flute. You can hear his success in the live material that makes up the album – recorded before very enthusiastic audiences at the New York and Montreux festivals in 1972. Who'd have thought jazz flute could go so far? All tracks are long and pretty darn lively – and Herbie's group still includes Sonny Sharrock on guitar, plus the groovy Pat Rebillot on piano, and David Newman on tenor and 2nd flute. Titles include "Soul Beat Momma", "Never Can Say Goodbye", "Respect Yourself", "Memphis Underground", and "Hold On, I'm Coming".

Herbie Mann's going for a bit of a Memphis soul groove on this album – but he handles the work with his own sort of flair, and takes the style in a whole new direction! Unlike other sessions of this nature, Herbie didn't just fly down to Memphis and cook up a standard batch of tracks in the studio – and instead, he produced the whole thing himself, and is working in a mode that uses southern soul as a starting point, but which also takes off in some of the headier, trippier directions of Mann's Embryo imprint on Atlantic. Players here include Roy Ayers on vibes, George Bohannon on trombone, Sonny Sharock on guitar, Miroslav Vitous on bass, and Larry Coryell on guitar – and the groove is plenty darn funky throughout, with lots of long tracks that almost seem to have a dose of 70s soundtrack funk in the mix! The cut "Memphis Two Step" is a great little funk track with a monster drum break at the beginning that really gets the track grooving – and other titles include "Soul Man", "Guinnevere", "Acapulco Rain", "Kabuki Rock", and "Down On The Corner".

A masterpiece by Warne Marsh – and proof that there was always a committed modernist lurking behind some of his more straightforward playing! The session has sort of a post-Tristano underground west coast feel (if we can make up such a heavy handed term!), and it features a piano-less quartet with Marsh on tenor, Gary Foster on alto, Dave Parlato on bass, and Terry Tirabasso on drums. Foster's playing at this point in his career is wonderful, with lots of crisy icy tones that remind us of the best Konitz recordings of the mid 50s. Tracks are long and introspective, and titles include Tristano's "Lennies Pennies" and "317 E 32nd", Konitz's "Subconscious-Lee", and the original improvisation "Touch & Go".

One of the greatest 50s showcases for the tenor talents of Warne Marsh – a deceptively understated album that captures Warne at his most fluid and creative point! The setting is a quartet – with Ronnie Ball on piano, Red Mitchell on bass, and Stan Levey on drums – and Marsh is magnificent throughout, really blowing with a tone that is fresh and filled with modern ideas – yet never overdone, nor too willfully complex to lose the train of the tunes. The approach is almost Konitz-soulful – a wonderful distillation of ideas in the hands of one magical talent – and titles include "Ad Libido", "It's All Right With Me", "Playa Del Ray", "Autumn In New York", and "You Are Too Beautiful".

A really beautiful batch of tracks from Charles McPherson – with a late 60s approach to soul jazz that reminds us of some of the work by Sonny Criss on Prestige, or of some of Cedar Walton's sessions from the same time. McPherson's moved way past his earlier bop roots here – stretching things with a hip group that includes Buster Williams, Roy Brooks, and Barry Harris – crafting tunes that point the way at soul jazz in the 70s, with a more complicated and sophisticated approach to rhythm, but still a firm commitment to swing! Titles include "Explorations", "Mish Mash Bash", "Opalescence", and "My Cherie Amour".

Lee Morgan on the hippest side of his 60s talents – working here in a style that's really stretching out, and in the same territory as similar unreleased gems from the time – like Tom Cat or Sonic Boom! The group here is very inventive – Jackie McLean on alto, Larry Willis on piano, Reggie Workman on bass, and Billy Higgins on drums – players who really represent the left side of Blue Note, but not as out as the "new thing" crowd – with a really creative approach to both the rhythms and the solos, commanded by Morgan's rich imagination at this point in his career. All tunes are great, and titles include "Zip Code", "Infinity", "Miss Nettie B", "Growing Pains", and McLean's fantastic "Portrait of a Doll".

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 pair of Oscar Peterson gems – back to back on a single CD! Night Train is one of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". Jazz Soul Of Oscar Peterson is one of the first Peterson albums to ever feature "soul" in the title – added, no doubt, as a way of keeping up with Ray Bryant and other pianists making their name in the growing soul jazz field at the time! There's a groove here that's a bit harder than usual for Peterson on Verve – a heavier approach to rhythm on the keys, and a more focused trio formation – one that clearly sets a pace for albums to come in the 60s, but which must have been relatively striking to Peterson fans at this point. The trio here features Ray Brown on bass and Ed Thigpen on drums – and tracks are longer than usual, with some really great room to stretch out! Titles include "Liza", "Con Alma", "Close Your Eyes", "Maidens Of Cadiz", and "Woody'n You".

Much more of a soul-based effort than usual from Pieces Of A Dream – a tight set of hook-heavy grooves with a sharp late 80s vibe! There's still some of the jazz of the group's roots in place – often heard on the keyboards – but the focus has shifted most strongly to vocals, and rhythms that really help structure the energy of the tunes – a setting that works perfectly for the addition of Norwood, who stepped in to really help the group increase their lyrical direction at this point! Norwood's got a rich style that's definitely deepens the soul of the record – and titles include "Bout Dat Time", "For You", "Can't Be Alone", "Kicking", "Surrender", and "Pick Up The Pieces". CD features bonus tracks – a 7", 12", and dub version of "Bout Dat Time".

Vital late work from the amazing Sam Rivers – masterful, energetic jazz orchestra pieces recorded live and in the studio with players culled from Orlando and the Central Florida areas around Rivers' adopted home – a treasure that finds Sam sounding as spry and fiercely creative in his 80s has he was half a lifetime ago! Trilogy features 3 unreleased sets – 2 live and one with studio recordings – and it's remarkably vibrant throughout. Sam started dabbling with orchestra jazz in the 70s, bring muscularity and dissonance to big band music in a wholly unique way, and he's been doing it as brilliantly as ever in recent years. 14 horns bring complex, but melodic sweep to the sound, with a 2 piece rhythm. We've been blown away by most of Sam's late period efforts and this exceptional 3CD set from Mosaic is as great as any of it. Players include Jeff Rupert, Chris Charles, David Pate and others on saxes, Tom Parmenter, Brian Scanlon and more trumpet players, Keith Oshiro and David Sheffield on trombone, Doug Mathews on bass and Rion Smith on drums. The first disc (Offering) was recorded at the Plaza Theater in Orlando in November of '08. Includes "Spice", "Ganymede", "Crux", "Aura", "Perkin" and "Pulsar". Disc two (Progeny) was recorded at Sonic Cauldron Studios in Casselberry, FL earlier in '08, and it includes "Robyn", "Cindy", "Monique", "Traci", Iisha", "Destiny" and more. Disc Three (Edge) is a return to the Plaza Theatre in April of '09, and it includes "Ridge", "Brink", "Precipice", "Verge", "Visions", "Point" and more.

Fantastic stuff, and a record that was virtually the blueprint for spiritual soul jazz in the 70s! Although Max Roach first rose to fame during the bop years, by the time of this set he'd really stretched out a lot – moving past initial righteous projects in the Civil Rights era, to even more progressive work with a group like this! The players are all youthful geniuses who would go onto shape the sound of 70s jazz tremendously – working here at a point that already shows their brilliance – Gary Bartz on alto, Charles Tolliver on trumpet, Stanley Cowell on piano, and even Andy Bey, who sings vocals on the title track. The overall style is very similar to Bartz's early albums on Milestone, or to some of the Music Inc records on Strata East, which feature Cowell and Tolliver. It's no surprise that Cowell contributed 3 tracks to the set – "Effi", "Equipoise", and "Abstrutions" – and the group also performs a great version of Bartz's "Libra"!

Great later work from Tom Scott – an artist who cut funk records at the start of the 70s, worked on some great soundtrack jazz, and really spun things out strongly in later years too! Despite Tom's placement here on the GRP label, which was then home to a lot of smooth jazz – the Scott-strong sense of bite on the reeds is still strongly in place – tuned a bit differently than in his funk years of the 70s, but still surprisingly soulful here – and with a lot more punch than most of his mellower GRP contemporaries. The track list is great – really does a lot to remind us that Tom was still sounding wonderful at this point – and titles include "Daybreak", "Dirty Old Man", "Target", "Jungle Funk", "Feet First", "Miz Thang", "Reed My Lips", "GBU", "Night Creatures", "Sneakin In The Back", "Tom Cat", "Midtown Rush", and "We Belong Together".

A late 50s stormer from Japanese drummer Hideo Shiraki – caught here at a great point in his early career! The album's got a bit more of a swing-based feel than some of Shiraki's later sides – a bit more Verve-like energy than Blue Note style – which is a-ok with us, because the sound of the set is so great! But even more than Hideo's work on drums, the real star of the album is almost saxophonist Akira Miyazawa – who gets in some great solo moments on nearly every track, blowing tenor with a great sense of soul that really lights up the record and makes things shine. Titles include "The Man I Love", "Moritat", "Night In Tunisia", "Drum Boogie", "Around The World", and "I Got Rhythm".

The music of Horace Silver is magically presented here by drummer Hideo Shiraki – grooving nicely in the same exotic approach to soul jazz you'd find on Silver's best Blue Note sides of the late 50s! Shiraki's always had a bit of a Jazz Messengers approach in his music – at least at this point in his career – so it's no surprise that he does such a great job with Silver's music – recreating some of the best grooves made famous by Horace at Blue Note, but also bringing a bit of his own flavor to the tunes too. One of the ways he does this is by expanding the sound slightly, as group's a sextet – with Hidehiko "Sleepy" Matsumoto on tenor and flute, Akira Fukuhara on trombone, and Hisaya Omata on trumpet – all providing a nice three-tiered frontline that then breaks out into solo formation. Pianist Joe Sera handles Horace's role on the tunes – and titles include "Senor Blues", "The Preacher", "Blowing The Blues Away", "Filthy McNasty", "Doing The Thng", and "Swinging The Samba".

Spiralling, soaring work from the Alan Skidmore Quintet – a group led by one of the greatest British tenor talents at the end of the 60s! Skidmore's name turns up often in some of the larger ensemble sessions from the period, but this album's one of his few smaller group outings – and it's a real treasure that we'd rank with the most free-thinking jazz on Deram as the time. Skidmore's joined in the group by an all-star lineup that includes Kenny Wheeler on flugelhorn, John Taylor on piano, Harry Miller on bass, and Tony Oxley on drums – and all players are working here in a cohesive, vibrant style that's quite different than some of the freer, more "out" work of later years. There's a real love of color and tone on the session – and the tunes unfold with a soaring quality that's really tremendous – one that's rarely too free, and which explores the shades and hues that were showing up in some of the best British jazz of the time. For one point of reference, we might compare the record to the depth of the best Michael Garrick sessions of the late 60s – but there's also a bit more straightforward quality here that we really love. Titles include "Old San Juan", "Once Upon A Time", "The Yolk", "Free For Al", and "Image".

A key turning point for Johnny Hammond Smith – 2 hip albums from the latter half of the 60s, a time when he was really changing up his groove! First up is Soul Flowers, one of Johnny's most obscure records – and a great little album that's filled with short tracks played by a largeish group – all in a groove that's almost got a cop show feel! The album's got a gritty, dirty feel that's totally great – a nice change from Johnny's early 60s soul jazz, and a definite nod at the funk that would come in the 70s. There's twin tenors on the date from Houston Person and Earl Edwards – who often blow together on the heads, creating a mini-horn section sort of feel that then breaks up into more of a small combo mode as the set rolls on. Guitar is by the wonderful Wally Richardson, who works alongside electric bass from Jimmy Lewis – rumbling nicely next to Hammond's newly-lean sound on the organ. Added congas from Richard Landrum round out the set – and titles include the wonderful "NYPD", plus "Dirty Apple", "Ode To Billie Joe", "Days Of Wine & Roses", "Tara's Theme", and "I Got A Woman". Dirty Grape is excellent work from Johnny Hammond Smith – a record that really lives up to the "dirty" in the title! The approach here is a bit like some of Jimmy McGriff's recordings at the end of the 60s – organ soloist riffing around on some short hard tracks, with a bit of electric bass in the mix to soup things up a bit, rhythm-wise! The players include Wally Richardson on guitar – whose solos and sound are almost as important to the date as Johnny Hammond's – plus the twin team of Houston Person and Earl Edwards on tenor, Fender bass by Jimmy Lewis, drums by John Harris, and added conga by Richard Landrum. Tracks include some very groovy numbers – like "Dirty Grape", "Animal Farm", and "Black Strap Molasses" – plus covers of "To Sir With Love", and "Love Is A Hurtin Thing".

A great date from the non-Louis Prima years of Keely Smith – a rare radio performance done with backing from the Count Basie Band! Both Keely and Basie are at the height of their powers here – and the album has a format that alternates vocal numbers with some equally great instrumental tracks – played by the Count's group with all the soulful, dynamic qualities of their best recordings for Roulette Records! Given the radio presentation, the recording quality is great – and the combination of talents makes for a really unique date that's quite different than any of Smith's other solo records. Titles include "Corner Pocket", "Cherry Point", "Gonna Build A Mountain", "Crazy He Calls Me", "Basically Blue", "Why Not", "Make The Man Love Me", and "My Heart Cries For You".

A definite set of bare essentials from the Spontaneous Music Ensemble – especially given that at this point, the group was stripped down to just the duo of John Stevens on percussion and cornet, and Trevor Watts on soprano sax! The material was all recorded live, and the double-length set is an amazing illustration of the genius that Stevens brought to the group – a way of working and reworking a very simple concept – such that the freedom of improvisation was also given a structure, yet one with a logic that would often defy more simplistic conceptions of jazz! The package features a massive 16 previously unissued tracks – a great look at this unique chapter of the group – with titles that include "In The Midlands", "For Phil", "Three Extracts", "Newcastle 72", "Open Flower", and "Opening The Set".

2 classic Stitt albums back to back – Turn It On and Black Vibrations, both recorded during his early 70s funk years at Prestige! Turn It On is very firmly the funky Prestige sound of the early 70s – complete with Idris Muhammad on drums, organ by Leon Spencer, guitar by Melvin Sparks, and trumpet by Virgil Jones. After years of noodling around on the Varitone, never quite hitting his right moment, Stitt breaks out nicely in the company of these hot young funky players. The record's got a few mellow moments that point towards his older ballad style, but the funky numbers are the best. Titles include "Turn It On", "The BBQ Man", and "Miss Riverside". On Black Vibrations, Sonny Stitt joins up with a tight group of prime Prestige funky players – like Idris Muhammad, Leon Spencer, Melvin Sparks, and Virgil Jones – for a sound that's much funkier than some of his other records for the label. The set's got a good set of modern funk tracks, with all the quality moments you'd expect from these top-notch players. Titles include "Goin' To DC", "Calling Card", "Them Funky Changes", and "Black Vibrations".

6 classics from Weather Report – presented in cool tiny LP-sleeve covers! First up is the original Weather Report album from 1971 – a massive session that took fusion to a whole new level for the 70s! Most of the players here had been associated with Miles Davis at some point in the year or two beforehand – and Miles' electric work is definitely a starting point for this group – but they quickly flow off in whole new directions, thanks to the mighty legacy of their own talents on previous records! Next is I Sing The Body Electric – one of the finest statements ever uttered by group, and a set that's got a bit more soul and warmth than their first album! The lineup's changed slightly at this point – still Wayne Shorter on reeds, Joe Zawinul on keyboards, and Miroslav Vitous on bass – but Eric Gravatt has replaced Alphonse Mouzon on drums, and Dom Um Romao's taken over for Airto on percussion – giving the record an even earthier feel at times! Then, you get the 2CD set Live In Tokyo – an album that was only ever issued in Japan at the time of recording, and which really shows a searing side of the Weather Report sound! Sweetnighter is one of our favorite albums ever from Weather Report – an album that has them picking up a bit more soul than before, and shaking off some of the experimental sounds of their roots – yet all in a way that still makes them one of the most revolutionary fusion combos of the time! There's an incredible sense of tightness between the reeds of Wayne Shorter, the keyboards of Joe Zawinul, and the bass of Miroslav Vitous – and even when things go a bit outside, there's always a sense of focus and groove that brings them back together – a style that's never entirely funky, but which has plenty of funky elements to please our ears! Mysterious Traveller brings a new sense of focus in the Weather Report sound – that building, soaring groove that would become the group's trademark in the mid 70s – offered up here in one of it's first and finest examples! The approach is one to describe accurately on paper – but which is instantly recognizable as the Weather Report sound of the time – a flowing, stretching, organic vibe that builds equally from the talents of all players, and turns it into a wonderfully righteous groove! And last up is Tale Spinnin – a beautiful title for a beautiful little record – one that really does have Weather Report spinning out musical tales in sound – with a free-flowing and soulful sense of energy! The groove's definitely tighter than the earlier years, but it's never slick – and Joe Zawinul handled the overall orchestrations for the record, with an approach that's often highly rhythmic, vamping, and building up nicely as the tunes roll on.

The latest volume in one of our favorite series of soul jazz tracks! This one opens the scope way past previous volumes, and features a rollicking party of tasty little groovers – most of them with a raw, uptempo, funky 45 jukebox kind of feel! Tracks are from the Chess, Fantasy, Jewel, and Brunswick catalogs – with many rare numbers like "Fever" by Sharon Cash, "Get Ready" by Ella Fitzgerald, "Ain't There Something That Money Can't Buy" by Young Holt Unlimited, "Light My Fire" by Erma Franklin, "Hush" by Woody Herman, "Another Plan For School Mix Up" by The Cals, "I Heard It Through The Grapevine" by Karen Hernandez, "Caesar's Pad" by Googie Rene, "The Point" by Aaron (Chico) Bailey & The Family Affair Band, "I Got To See My Baby" by Lee Jones & The Unforgotten Two, and "Ain't It A Groove" by Dave Hamilton. 23 cuts in all – and very very groovy!

A great illustration of the recent growth of the Jazzland label from Norway – home to some of the most freest-thinking jazz and instrumental music of the past decade or so, and definitely a place of great experimentation in the last few years! The sound of Jazzland is never overdone – and, if anything, the label's emerged to a point where their subtle sounds are often their best – often spare instrumental musings that lay somewhere in a space beyond jazz – a bit like the vibe on ECM during the classic years, but more contemporary too. Some tracks here are from albums already issued on the label, but the collection also features a full bonus CD of live material too – Jazzland Live Session titles from 2011, featuring "Ideale" by Hakon Kornstad, "Sylvartun" by Knut Reiersrud, "De Viaje" by Josemi Carmona, "Darn That Dream" by Bugge Wesseltoft, "Boog" by Ola Kvernberg, and "Paradoxes" by Stein & Mari's Daydream Community. Studio titles include "Low Swing" by Knut Reiersrud, "Plystre" by Hakon Kornstad, "Giant Steps" by Bugge Wesseltoft, "Liarbird" by Ola Kvernberg, and "Sweet Mysterious" by Mari Kvien Brunvoll.

One of the more obscure John Coltrane albums for Atlantic – but a beautiful batch of spiritual numbers that really show him pushing towards the sound of A Love Supreme! The date on the album's 1966, but the material was recorded earlier – in that key turning point year of 1960, when Coltrane really started to let loose with his new ideas – ideas so fresh, in fact, that they might have kept this record from getting released at the time! The group here features piano from McCoy Tyner, drums from Elvin Jones, and bass from Steve Davis – an oft-overlooked talent who did some amazing work with Coltrane during this brief time. The tracks are open, flowing, and filled with imagination – and Coltrane works both on tenor and soprano sax, on titles that include "Liberia", "Equinox", "Satellite", "Central Park West", and a classic reading of "The Night Has A Thousand Eyes". CD features an alternate take of "Body & Soul", plus the track "26-2".

Rare work from female pianist Jutta Hipp – an artist who's probably known to most for her Blue Note sessions of the 50s, but who's heard here on some German recordings from younger years! Most of the material is live, but well-recorded – and even at this point, Hipp's touch on the piano is sublime – very fluid, yet focused and hard-swinging too – at a level that made her one of the best hardbop pianists on the European scene of the postwar years. Other players on these tracks include Hans Koller on tenor on four tracks, Joki Freund on tenor on two more – plus a bit of guitar from Atilla Zoller and some trombone from Albert Mangelsdorff. Titles include "Serpentinen", "You Go To My Head", "Sound Koller", "Daily Double", "Gone With The Wind", "Erroll's Bounce", "Blues After Hours", and "What Is This Thing Called Love".

A nice little bit of bop from LA – a tightly-crafted mid 50s date for the Bethlehem label – featuring drummer Stan Levey at the head of a great group of horn players! The album features some standout work from Dexter Gordon on tenor – making a rare appearance here as a sideman – and the frontline of the sextet also features Conte Candoli on trumpet and Frank Rosolino on trombone – both well-matched players, especially at this point in their careers. The group's completed by Leroy Vinnegar on bass and Lou Levy on piano – and there's a bit more bite on some tracks than the usual Bethlehem set. Titles include "Diggin For Diz", "Ruby My Dear", "Tune Up", "Stanley The Steamer", and "This Time The Drum's On Me".

Wonderful 50s work from guitarist Sal Salvador – a record that features some great work by Phil Woods on alto sax! Given that Sal often recorded in a small combo mode that usually highlighted his guitar in the lead, the presence of Woods is really a nice surprise here – especially since Phil's at that key early point in his career, when he was playing with a raspy edge that could really add a lot to a session! The players here shift a bit from track to track – and Woods is on 7 of the album's 11 tracks – joined on some of the best by Eddie Bert on trombone and Eddie Costa on vibes. Titles include "Joe & Me", "Carioca", "Delighted", "I've Got A Feelin", "I Hadn't Anyone Til You", and "Took The Spook".

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded – cut with a great group that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. The added percussion really brings a lot to the set – and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong – caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall – and if you think you might have it under another name, check the song listings – because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note".

The album's hardly breakthrough for pianist Eldar Djangirov, given his success in recent years – but it is another bold step forward, served up in his richly flowing approach to the keys! Eldar's trio rolls out here with tight energy from the start – gathering force as they move forward, with a wonderful tangle of piano, bass, and drums – all effortlessly pulsing, dipping, and turning – even while Djangirov flows ahead on some wonderful free flights of his own! The approach is everything that's made Eldar such a strong new voice on the piano – and the group also features guest appearances from Chris Potter on tenor and Joe Locke on vibes – each on a different track. Titles include "Blink", "No Moon At All", "What'll I Do", "In Pursuit", "Morning Bell", "Point Of View Redux", and "Breakthrough".

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.

Two great ones as a leader from bassist Ray Brown – back to back on a single CD! All Star Big Band is a standout session from Brown – one of a few 60s big band sessions recorded for Verve, featuring some searing solo work from Cannonball Adderley! Brown's name as a leader is possibly more as a compadre than the main driving force of the record – as the arrangements here are by Ernie Wilkins, often in the tightly soulful bag he was laying down at the time – and Adderley's presence as the main soloist certainly gives a Cannonball flair to the record. But there's definitely plenty of Brown's warmth guiding the whole session – and other players include Nat Adderley, Clark Terry, Melba Liston, Budd Johnson, and Yusef Lateef. Some tracks have Brown's bass right out front in the arrangements, dipping nicely and adding into the groove – and titles include "Tricotism", "Cannon Built", "Thumbstring", "Two For The Blues", and "Work Song". Ray Brown & Milt Jackson is a really hip record from the team of bassist Ray Brown and vibist Milt Jackson – a swinging large group record that has them fronting arrangements from Oliver Nelson and Jimmy Heath! Nelson and Heath are both mighty hip cats at this point in their career – and bring a soulful swing to the record that really takes off – a groove that's lively, but tuned with lots of cool colors and tones too – shifting effortlessly while things move forward – but always with the right soulful appeal for older fans of both leaders. Milt's especially great in this setting – even more on fire than some of his other collaborations with Brown – and titles include "Dew & Mud", "Lined With A Groove", "Lazy Theme", "In A Crowd", and "Now Hear My Meaning".

Seminal work from British reedman Elton Dean – two classic Ogun albums back to back on a single CD! First up is Happy Daze – a set that's got a lot more complicated class than you might expect from the title – really wonderful large ensemble arrangements penned by Dean, and definitely in the spirit that he claimed made the group the heir to Keith Tippett's previous group of the late 60s! The music here is all nicely inside, and pretty darn soulful – swinging and stepping with a bit more of a groove than some of the other Ogun Records work of the time – really back to that hip point at the end of the 60s, when British jazz groups stretched out in their spirit, but never got too avant in their style – a perfect blend that Dean really recreates here, with help from players who include Alan Skidmore on tenor, Harry Beckett on trumpet, Mark Charig on trumpet and tenor horn, Nick Evans and Radu Malfatti on trombones, Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. Titles include "Nicrotto", "Seven For Lee", "Sweet FA", and "Three For All". On Oh For The Edge, there's definitely an edge to the music – but one that's a bit different than that of some of Elton Dean's contemporaries in the 70s British scene! Dean brings a lot more swing and soul to this record than you might expect – working with a large group, but never letting the players get totally outside – which is a real change from some of the more freely improvising UK ensembles of the period. Dean's own work on alto and saxello are totally great – as are the core rhythms of the group, which come from Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. But we're also plenty happy to hear Alan Skidmore on tenor, Harry Beckett and Mark Charig on trumpets, and Nick Evans on trombone. The recording has a very good "roomy" sound to it that gives it a darker edge than some of the other Ogun recordings from the time – and tracks include "Fall In Free", "Dance", "Friday Night Blues", and "Prayer For Jesus".

A kitschy cover, but a great little record – as you might guess by its visual link to the Sonny Rollins albums for Contemporary Records at the end of the 50s! The group's a trio, of the sort that would have made Rollins' proud – searing tenor from Jon Irabagon, pushed forward boldly by the bass of Peter Brendler and drums of Barry Altschul! And although Rollins is definitely the starting point of inspiration for the music, the overall sound has a lot more bite, too – loads of circular lines from Irabagon, rolling out over the equally hypnotic basslins of Brendler, and given a surprisingly strong bottom-slap from the drums. Titles include a whole host of "Doxy"-like numbers – including "Foxy", "Proxy", "Biloxi", "Boxy", "Chicken Poxy", "Roxy", and "Epoxy".

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None".

Two 70s jazz giants, three different recordings, all of them wonderful! The set's a perfect showcase for both the trumpet of Kenny Wheeler and tenor of Alan Skidmore – as the recordings, done with the Jazz Live Trio of pianist Klaus Koenig, offer plenty of space for each soloist to stretch out and really do their thing – most importantly in the sort of straighter jazz setting that wasn't always recorded at this point in each player's career. Wheeler begins the album on long takes of "Come Sunday" and "A Simple Toon" – then Skidmore really smokes on "Would Jubilee Vit" and "K & A Blues" – and the last tracks feature work by both soloists together, on "Ruby Doo" and "Red Daffodil".

A beautiful love letter to contemporary Brooklyn – originally commissioned by BAM, as part of a longer piece that included narration, animation, and paintings – but a work that stands more than strongly here on its own! The music has a wonderful mix of themes – sometimes straight, sometimes a bit more abstract, to the point of illustration – played by a shifting lineup of younger musicians who really deliver on the promise of Darcy James Argue's compositions – a group that includes John Ellis on tenor sax, Rob Wilkerson on alto, Ryan Keberle on trombone, Matt Holman on trumpet, Nadje Noordhuis on flugelhorn, and Sebatian Noelle on guitar. Titles include "The Neighborhood", "Builders", "Grand Opening", "Coney Island", "Construction/Destruction", "The Tallest Tower In The World", and "Missing Parts".

A key early appearance on record by Sonny Rollins – recorded here with Miles Davis and Jackie McLean in the landmark Dig session! The album's the stuff that 50s bop dreams are made of – a session that has up-and-coming modernists working in the new freedom of the long playing record, in a way that allows them to break past the shorter, more urgent sound of the 78rpm single! Rollins is young, but a surprisingly strong voice on the set – and Jackie McLean's alto is incredibly sharp at this point, with strong hints of the genius to come later in the decade. The rest of the lineup includes Walter Bishop on piano, Tommy Potter on bass, and Art Blakey on drums – and tracks include Miles' classic version of "It's Only A Paper Moon", plus "Denial", "Out Of The Blue", "Dig", and "Bluing". CD also features 2 bonus tracks – "Conception" and "My Old Flame".

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 classic European date from Freddie Hubbard – recorded right around the vintage of his Red Clay years, but with a sound that hearkens back more towards his Blue Note sessions of the mid 60s! There's a nicely angular feel to this set – that bold, modern quality that really set Hubbard apart from other players of his generation – and while some of the songs show Freddie's growing love of longer, more openly rhythmic tunes – there's also still a sharper focus on the bold talents of the soloists. Freddie's on trumpet throughout, and other players include Eddie Daniels on tenor – still really sounding great at this point, with a surprisingly hard edge – plus Roland Hanna on piano, Richard Davis on bass, and Louis Hayes on drums. Titles include "Blues For Duane", "The Things We Did Last Summer", and "Without A Song" – and all tracks are long.

A subtle gem from Bobby Hutcherson's wonderful years on Landmark Records – a point when he was really getting back to basics, and cutting some great straight work that almost hearkened back to his 60s gems on Blue Note! The set's recorded live at the Village Vanguard – and Bobby swings soulfully in a great quartet with Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. Hutcherson's playing both vibes and marimba – and the scope of his playing here has both grown from earlier years, awash with tones, colors, and light – which Barron and Williams are only happy to fill in more deeply. Titles include "I Wanna Stand Over There", "Little Niles", "Estate", "Well You Needn't", and "Young & Foolish". Includes CD only bonus track "Young & Foolish".

A soaring set from Weather Report – captured here in an early 80s lineup that features great keyboards from Joe Zawinul and sublime saxophone from Wayne Shorter! The tunes are nice and long, and bristle with that power the quintet had at this point – a well-earned tightness that really made concerts some of their best moments – propelled by rhythms that really let the main solos fly free, especially in a live setting like this. Victor Bailey is on bass, Omar Hakim on drums, and Jose Rossy on percussion – and the set features loads of long tracks – including "Where The Moon Goes", "Fast City", "D Flat Waltz", "Two Lines", "Plaza Real", "Procession", and a great long medley of classics.

David Weiss has a great conception for this hip little set – a contemporary exploration of the best spiritual energy running through the Blue Note scene in the late 60s – based around compositions by Charles Tolliver, Wayne Shorter, and Charles Moore – the last of whom was featured with the Kenny Cox group from Detroit at the end of the 60s! In keeping with the chosen work, there's a great balance here between swing, soul, and modernism – tunes that unfold strongly with the best sort of progressive jazz energy, yet never get too indulgent – and really let the main soloists take flight over a complicated groove provided by the other members of the group. Weiss is wonderful on trumpet – reminding us of Charles Tolliver back in the day – and other players include JD Allen on tenor, Nir Felder on guitar, Matt Clohesy on bass, and Jamire Williams on drums – on tunes that include "Revillot", "Gravity Point", "Paraphernalia", "Hidden Meanings", and "Snuck In".

A cool cooker from Frank Wess – one of his great early 60s albums for Prestige, most of which sparkle even more strongly than his 50s dates for Savoy! By this point in his career, Wess had a firm attachment to the flute, and he was also one of the more soulful soloists of the early 60s. Work on albums like this that clearly set the stage for Hubert Laws and Bobby Humphrey in years to come – especially in the way that Frank snakes his instrument around some really lean, mean rhythms. The group here's a bit bigger than usual – with Oliver Nelson handling the arrangements and also playing tenor (Wess blows a bit of tenor too) – and other players who include Albert Aarons on trumpet, George Barrow on baritone sax, and Tommy Flanagan on piano. Tracks are longish, with a great rolling soul jazz groove – and titles include "Blues For Butterball", "Summer Frost", "Gin's Beguine", and "Shufflin".

A rich document of the growth in the Italian jazz scene in recent years – a great leap forward not just for individual musicians, but also for the Schema label as well! Schema first began in the 90s with a relatively programmed approach to jazz – a style that loved the classics, but often reworked them in modern production modes. Yet over the years, the company's really come to be a key home for real jazz and soulful sounds – moving past their original remix identity, to a point where they're arguably one of the most important jazz labels on the European scene! This nicely-priced batch of tracks is a great illustration of that growth – and features a few old Schema faves, mixed with newer artists who've flocked to the label in recent years – presented here in some unique remixes and other nice versions we haven't heard before. Titles include "Beyond The Days" by Gaetano Partiplio, "But Not For You" by Alessandro Maganini, "Hurt Me Bad" by Andrea Balducci, "Waltz For Emily" by Gerardo Frisina, "Banzo" by Rosalia De Souza, "Some Kind Of Blues (Grooveman Spot rmx)" by S-Tone Inc, "Welcome To My World (acoustic)" by Joyce Elaine Yuille, "Hear Us Now" by Christian Prommer's Drumlesson, "Alta Tensione 3am" by Alex Puddu, and "Good Life" by Timo Lassy.

One of the most beautiful albums we've ever heard from Toshiko Akioshi – a wonderfully sensitive trio session that's quite different than her more bop-oriented work of the 50s! The mid 60s album features a fair bit of tunes pulled from traditional and Japanese sources – a few of the lullabies hinted at in the title, and a few more tracks with some slightly Eastern-styled themes. Toshiko's piano, while bold at times, also has a sensitivity that hadn't often shown up in her work by this point – a new sort of gentleness that's open to light colors and tones that really flesh out the album beautifully. Bass is by Yasuo Arakawa and drums are by Kanji Harada – and that's a young Monday Michiru sitting on the piano on the cover (and the album was also one of the last to bill Toshiko as "Mariano", referring to Monday's father Charlie.) Titles include "Mari To Tonosama", "The March", "Angel's Lullaby", "Tuppen Och Honan", "London Bridge", "Cancion De Extremadura", "Kanchororin Bushi", "I Ken Pien Tan", and "Chocho".

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn".

Sweet keyboards and lots of funky grooves – one of the best of George Duke's seminal albums for MPS – and a record that captures him at a key middle point in his growth! The sound here is tighter than the trippier records of before, but also never too smooth or commercial – still with plenty of cosmic influences in the funk, and a wealth of great keyboard work that rivals some of Herbie Hancock's best from the same stretch. George sings a bit himself – in a warmly compressed mode that's simply wonderful, and which further expands the grooves – and although much of the album's instrumentation comes from the keyboards, the record also features guest appearances from Airto on percussion and Ndugu on drums – as well as a bit of guest vocals from Flora Purim. Titles include "The Once Over", "Tzina", "Statement", "Love", "Feel", "Funny Funk", "Rashid", and "Cora Joberge".

Killer work from Henry Franklin – one of his greatest records in years, and that's saying a lot, given the strength of his other recent albums! The set features Franklin in tight company with reedman Azar Lawrence, who makes the record burn brightly with his sharp-edged sound – recently returned to the recording scene with even more fire than we might have guessed. There's a real post-Coltrane vibe to the record – tunes opened up strongly with influence from The Great One, and flowing with rhythms that often have leaping lines or modal grooves. Other group members include pianist Theo Sanders – who's also great – and drummer Tony Austin. Titles include "Skipper's Waltz", "Soultrane", "McCoy", "From The Point Of Love", and a surprisingly great Coltrane-esque take on "Oh What A Beautiful Morning".

One of the best recordings from Freddie Hubbard's "back to basics" stretch in the early 80s – a time when Freddie returned to a strongly acoustic jazz mode after a mostly electric 70s! The record still has Freddie stretching out on the longer tracks he got used to during the CTI years – but he's working here in tight quartet formation with Kenny Barron on piano, Buster Williams on bass, and the always-great Al Foster on drums – carving out long lines on extended, but well-conceived numbers that echo with a tremendous amount of force. Freddie's lost none of his edge by this point, and the record shows a new sense of energy and focus that are extremely impressive – and also pretty darn soulful! Titles include "Santa Anna Winds", "You Don't Know What Love Is", "The Outpost Blues", "Dual Force", and "Loss".

A really compelling large group project from Lee Konitz – quite rare at this point in his career, and a beautiful demonstration of his many talents! Many of the numbers here are older jazz classics, but reworked by Konitz in fresh new arrangements – handled with a solid swing, yet some echoes of modern styles as well – and played by a lineup that includes Lee on alto, Ronnie Cuber on baritone, Burt Collins on trumpet, Jimmy Knepper on trombone, Ben Aranov on piano, Knobby Totah on bass, and Kenny Washington on drums. This mix of players from different generations really helps flesh out the feel of the set – with results that are almost like some of the Phil Woods projects of this nature. Titles include "Fourth Dimension", "Chi Chi", "Giant Steps", "April/April Too", "Who You", and "Struttin With Some Barbecue".

A stone cooker from Junior Mance – quite possibly his most freewheeling album of the time – thanks to an open-ended live setting that really lets him take off! All tracks are nice and long – and Mance really stretches out on piano, working with a tight trio that features Wilbur Little on bass and Rudy Collins on drums – both great rhythm players who set the album on fire right away! David Newman guests on the last two track – playing tenor on one, and flute on the other – again, getting some more freedom than on his usual Atlantic sessions of the 60s. Mighty nice stuff – with tracks that include "Before This Time Another Year", "I Wish I Knew How It Would Feel To Be Free", "That's All", and "Turning Point".

A rare Japanese session from American reedman Charlie Mariano – and one of the few recorded documents of his time on the Tokyo scene! The album really captures Charlie at a pivotal – and under-recorded – point in his career – definitely stretching out from the tight lines of his Boston years, yet also still holding back from some of the trippier styles he'd explore more freely on the European scene. This sense of being at the edge really holds throughout the entire album – and even familiar tunes have some structures that are less familiar than you might expect – as Charlie blows alto with deep sense of soul, in the company of a group that includes Masao Yagi on piano, Hideo Shiraki on drums, Akira Fukumara on trumpet, and Hidehiko Matsumoto on tenor and soprano sax! Titles include "Etude", "Santa Barbara", "Rootie", "G Low", and "Come Rain Or Come Shine".

Two Sonny Stitt dates with organ – both from different ends of the 60s! First up is Soul Shack – a mellow burner, and a real classic from the early 60s soul jazz years of Prestige Records! The album brings together the saxes of Sonny Stitt (both alto and tenor) and the Hammond of Jack McDuff – who's really coming into his own at this point, and has a lean, mean tone that's a perfect match for Stitt's horn. There's a bluesy undercurrent to the record, but without any of the cliches that might have crept in a few years before – leaving Stitt in the modern company you might expect, in ways that are similar to his dates with Don Patterson. Rhythm is from Leonard Gaskin on bass and Herbie Lovelle on drums – and titles include "Shadows", "Soul Shack", "Sunday", "Love Nes", "For You", and "Hairy". Night Letter is a great set of Varitone sax numbers from Sonny Stitt – recorded for Prestige with a bit more bite than some of his albums of the type for Roulette! The album's got a tight tenor/organ vibe throughout – thanks to work on Hammond from Gene Ludwig, working under the "nom de date" of Booker Patterson – bumped along strongly with some tight guitar from the great Pat Martino! Drums are by Randy Gelispie – and Stitt's electric horn melds in with the organ and guitar wonderfully – with a sound that's a lot deeper than other uses of the instrument at the time. Titles include "Loose Walk", "Night Letter", "Stringing The Jug", and "Blue String".

The groundbreaking first album from Weather Report – a massive session that took fusion to a whole new level for the 70s! Most of the players here had been associated with Miles Davis at some point in the year or two beforehand – and Miles' electric work is definitely a starting point for this group – but they quickly flow off in whole new directions, thanks to the mighty legacy of their own talents on previous records! The group features an intense lineup with Wayne Shorter on saxes, Joe Zawinul on keyboards, Miroslav Vitous on bass, Alphonse Mouzon on drums, and Airto on percussion – all coming together in a groove that's often incredibly raw and free – with plenty of sharp electronic bits from Zawinul crackling under the acoustic elements in the music. The sound is still quite revolutionary all these years later – and titles include "Tears", "Eurydice", "Orange Lady", "Umbrellas", and "Milky Way".