Jazz — All Formats  

One of the all-time classics of early 60s mainstream jazz – and a beautiful record that showcases writing and arranging talents of Oliver Nelson! Nelson had been bumping around a variety of sessions before this one – as a leader, sideman, and arranger – but it was with this album that his true talents really unfolded – sparkling with a depth of imagination and expression that marked him as one of the greatest artists in 60s American jazz! The group on the set is an all-star sextet – featuring Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, and Freddie Hubbard – a disparate group of players who manage to come together with Nelson and find a unique voice that's rarely been duplicated again! The album features 6 fantastic compositions by Nelson, including "Stolen Moments", "Hoe Down", and "Yearnin". A fantastic record – and one that you can't go wrong with!

One of Houston Person's first forays into the jazz funk sound that other Prestige Records players were picking up at the time – a sweet little set with some nicely extended tunes! The groove here is a bit harder than some of Person's previous soul jazz sets – with some tightly snapping drums from Frankie Jones, augmented on rhythm both by the Fender bass of Bob Bushnell, and some added congas from Buddy Caldwell – both of whom help make for a very fluid groove. Other players include Billy Butler on guitar and Sonny Phillips on Hammond – and the tunes have a nicely snaking sort of feel – not the break-heavy funk of an Idris Muhammad-driven set, but a groove that's still plenty darn soulful and with some nicely funky undercurrents. Titles include a sweet version of "Cissy Strut", plus "On The Avenue", "The Pulpit", "For Your Love", and "Wadin".

One of the all-time classics of early 60s mainstream jazz – and a beautiful record that showcases writing and arranging talents of Oliver Nelson! Nelson had been bumping around a variety of sessions before this one – as a leader, sideman, and arranger – but it was with this album that his true talents really unfolded – sparkling with a depth of imagination and expression that marked him as one of the greatest artists in 60s American jazz! The group on the set is an all-star sextet – featuring Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, and Freddie Hubbard – a disparate group of players who manage to come together with Nelson and find a unique voice that's rarely been duplicated again! The album features 6 fantastic compositions by Nelson, including "Stolen Moments", "Hoe Down", and "Yearnin". A fantastic record – and one that you can't go wrong with!

A trio of early 60s gems from pianist Les McCann – all wrapped up here in a single set! First up is The Gospel Truth – a solid 60s smoker in which Les McCann really gets back to the roots of soul jazz – serving up the gospel-tinged truth promised in the title – and really linking his piano back to the pulpit in the process! Les has a wonderfully firm touch on the left end of the keyboard – which makes for a rollicking groove on just about every track, augmented by super-tight drum work from the great Paul Humphrey, who almost gets a tambourine vibe out of his snare and cymbal! Stanley Gilbert plays bass, and Charles Kynard plays guest Hammond on a few tracks – and titles include "Get That Soul", "The Preacher", "The Gospel Truth", "Oh The Joy", and "Didn't It Rain". Soul Hits is a really hard-hitting groover from the great 60s trio of Les McCann – a set that adds in some extra guitar from Joe Pass, who definitely sounds his most soulful on the set! Joe grooves perfectly with Les' piano – and has almost a Kenny Burrell-like depth in tone throughout – one that we're not as likely to hear on other Pass sessions of this vintage, possibly because of the excellent rhythms from Paul Chambers on bass and Paul Humphrey on drums! Tunes are definitely the soul hits promised in the title – mostly numbers that were brimming up big in the soul jazz generation of the time, but given a particular Les McCann twist. Titles include "Sister Sadie", "Bag's Groove", "Back At The Chicken Shack", "Work Song", "Sonnymoon For Two", "Groove Yard", and "Sack O Woe". McCanna is filled with a great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight".

Oliver Nelson's follow-up to his classic Blues & The Abstract Truth session for Impulse – and like that one, a tremendous little album – filled with deep tones and wonderful colors in sound! The group here's a bit larger than before – an ensemble that includes Phil Woods on alto, Ben Webster on tenor, Thad Jones on trumpet, Pepper Adams on baritone, Roger Kellaway on piano, Richard Davis on bass, and Grady Tate on drums. The album includes some superb original compositions by Nelson – just the kind of overlooked jazz numbers that make the set great – and as with most of his arrangements from the time, there's a perfect balance between group force and intimate solo space! Titles include "The Critic's Choice", "Blues & The Abstract Truth", "One For Bob", and 2 versions of Dave Brubeck's "Theme From Mr. Broadway".

A great little album of jazz funk – and the only record we've ever seen by this group! The 3 Pieces may not have lasted long in the record business, but this rare album from 1975 has made them legends on the rare groove scene for years. The record was cut during the height of the jazz funk years at Fantasy Records – and it features Donald Byrd handling the production chores, in a similar manner to the style that he used with the more famous Blackbyrds, who were also recording for Fantasy the time. The record features loads of electric piano and ARP, plus some tight and smooth guitar, and a nice rolling groove that is very catchy. A number of tracks have vocals – in kind of a subdued soul mode – and tracks include the groove classics "Backed Up Against The Wall", "Shortnin Bread", "Concrete Jungle", and "Vibes Of Truth". And believe it or not, there aren't any vibes on the album!

Very soulful jazz from Avery Sharpe – who plays acoustic and electric bass on the set – on the bassist and composer's wonderful tribute to and African American abolitionist and women's rights advocate Sojourner Truth! The record is an effective tribute to the brave woman it's named after, and it's also an enlightening one – but it's also a remarkably timeless jazz album by Avery, who has played in bands with some of greatest living legends over the years, as well as writing and recording great work of his own! Onaje Allan Gumbs is on piano, Craig Handy on saxes, Yoron Israel on drums and Duane Eubanks on trumpet. Includes "Isabella's Awakening", "Bomefree", "Ain't I Woman?", "Truth Be Told" and more, a nice version of "Motherless Child" with vocals by Jeri Brown, "Virtuous She Is" and more.

One of the hippest funky jazz combos of the 70s – stepping out here in their amazing debut for Cobblestone records! Catalyst had a groove that was unlike most of their contemporaries – a sound that was often jazzier than some of the tighter funk artists on labels like Kudu or Prestige, with some deeply spiritual leanings in the solos – but also a style that was still pretty tight and focused, not as far out as some of the headier groups on the Strata East label. There's loads of great choppy rhythms and tight-edged grooves on the record – thanks to Fender Rhodes from Eddie Green, reeds from Odeon Pop, bass from Al Johnson, and drums and percussion from Sherman Ferguson. Skip Drinkwater produced the session at Sigma Sound, and it's definitely got some of his hallmark appreciation of rhythm in the mix – on titles that include "Ain't It The Truth", "New Found Truths", "East", "Catalyst Is Coming", "Jabali", and "Salaam".

Herb Ellis pays homage to one of the first great jazz guitarists – the legendary Charlie Christian, certainly one of the first true soulful talents to emerge on the instrument! The set's one of Ellis' nicer ones for Verve – and although it mentions Christian in the title, there's nothing outdated or old-timey about the sound of the record! Herb's lean lines on the guitar come through nice and clear – in a group that features Frank Strazzari on piano, Chuck Berghofer on bass, and Kenny Hume on drums – as well as Harry Babasin on cello, playing some nicely plucked notes that sound beautiful alongside the guitar! Tracks are relatively short, and titles include "Everything's Pat", "Workin' With The Truth", "Cherry Kijafa", and "Karin".

A beautifully mellow set of funky grooves, played by Diz with a west coast group that includes Roger Glenn on flute, Mickey Roker on drums, and Michael Howell on guitars – very similar to Dizzy's excellent Portrait Of Jenny album on Perception. The "Bahia" reference is quite pointed, as these cuts have a nice Braziliany groove, in a way that other west coast jazz groups were exploring at the time. The original release was a double album, and this 8 track set features some excellent long groovers like "Samba", "In The Land Of The Living Dead", "Olinga", "Pele", and "The Truth". Extremely haunting, and similar to Diz's "Portrait Of Jenny" LP.

A brilliant return from the Hot 8 Brass Band – a New Orleans combo who take tradition into some great funky new territory! As you'd guess from their name, the instrumentation is heavy on brass – played with a gritty, soulful edge – in the way you'd find during some street performance in a corner far from the mainstream Quarter – sometimes accompanied by ensemble vocals, and almost always driven by these great rhythms at the bottom – more than funky enough to set even the heaviest horns on fire with their energy. Titles include "Bingo Bango", "Fine Tuner", "Steamin Blues", "Can't Hide From The Truth", "New Orleans (After The City)", and a nice remake of The Specials' "Ghost Town".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

Just Wailin is right – as the album's a real cooker in the classic Prestige mode of the late 50s – and a record that shows lots of early bite from a young Herbie Mann! Mann's in the frontline, working alongside the heavy tenor of Charlie Rouse – and in company like that, it's hard not to sound great – especially when other group members include Kenny Burrell on guitar, Mal Waldron on piano, George Joyner on bass, and Art Taylor on drums. The album's got a tighter groove than a blowing session date – with lots of focused energy from all group members – yet more than enough breakout solo space for the stars. Titles include "Minor Groove", "Blue Echo", "Blue Dip", "Jumpin With Symphony Sid", "Trinidad", and "Gospel Truth".

A great little album – even if it tries to promise too much! The set bills itself as "the swinginest Hammond organ album since the birth of psychedelia" – and while that sort of a claim is so high that nobody could ever match it, the album is a great batch of offbeat soul instrumentals – recorded in kind of a tripped-out take on the Memphis groove! We're not sure who the mysterious "Mustang" is (although it could be Paul Griffin, who also recorded for the same label in a similar mode) – but we're guessing here that the name is also used to convey the fact that many of the tunes have a "Mustang Sally" sort of rhythm. Backing is in a hip small combo mode – with nice go-go drums, tight rhythm guitar, and soulful honking sax behind the organ – and although the sound is more straight soul instrumentals, the titles are nicely tripped-out – and include "The Acid Test", "California Time", "Joshua Got Busted", "Haight Ashbury Time", "Swing Low Sweet Truth", and "Golden Gate Freakout".

Righteous jazz, with plenty of soul – a killer collection of the mid 70s work of Lonnie Liston Smith – all based around his legendary recordings for the Flying Dutchman label! Lonnie got his start on the hippest side of the jazz spectrum – including work with Pharoah Sanders on Impulse – but by the time of these tracks, he'd found a way to beautifully mix the righteous energy of his roots with some sweet mid 70s jazz funk touches – all served up in a sublime blend of electric keyboards and acoustic piano, and often expanded with lyrics that helped Smith cross over into a soul audience too! Few artists ever handled the balance as well as Lonnie – although this work certainly inspired dozens of others to try – and the set's a beautiful testament to his lasting power, with 15 great tracks that include "Visions Of A New World", "Cosmic Funk", "Get Down Everybody", "In Search Of Truth", "Expansions", "Beautiful Woman", "Golden Dreams", "Astral Traveling", "Meditations", "Devika", "Shadows", and "Sunbeams".

Whomp! It's a stormer! Killer killer killer! No kidding, this album's a monster – and it's one of the heaviest slices of funk we've heard in ages! Pardon the exclamations, but we're telling the truth – and this classic by the Sugarman Three is a must-have for any fan of funky jazz and jazzy funk. The group's usual lineup has been expanded to a hard, heavy sextet – with organ, tenor, guitar, flute, and percussion all going to town like a house on fire, or (more appropriately) like the best of the lost little combos that we usually sell on funky 45s! The drummer's totally sock-solid, and the organ and guitar riffs wail so hard your windows will break (Dusty Groove not to be held responsible for damage!) Every cut's a winner – and this will be the best present your ears have had all year! Titles include "Soul Donkey", "Chicken Half", "Double Back", "Pull My Cart", "Out A Sight", "So Long Donkey", "Turtle Walk", and "Mullin Around". Great stuff!

Soulful fusion by one of the best groups of their genre! The CD contains both albums recorded by Tarika Blue for Chiaroscuro Records in the 70s – both of them wonderful fusion records that have an incredibly soulful sound. The group features work by soulful luminaries like Justo Almario, James Mason, and Ryo Kawasaki – and the overall feel is sweetly bubbling, soul-inspired jazz – very much in the tradition of Roy Ayers' best work of the period, or work recorded for the same label by Mason and Kawasaki! Irene Datcher and Dolores Smith sing on a few tracks, giving the album a nice vocal dimension that takes things even deeper – and the CD features a total of 13 tracks that include "Love It", "Truth Is The Key", "Dreamflower", "Things Spring", "Blue Neptune", "Jimi", "Downtown Sound", "Sun Through Winter", "Sunshower", "Charlie", and "My Love Is So Free".

Blue Note Now – and Blue Note Then – a cool little set that mixes contemporary grooves from the Blue Note catalog with some of the older gems that made the label great back in the 50s, 60s, and 70s! In truth, some of the contemporary cuts go back more than a few years – but come together nicely on CD1, to show the way the label's really grown in the past decade or two – moving into great soulful territory with tracks like "Little B's Poem" by Quasimode, "Freedom Dance" by Lionel Loueke, "It's All Over Your Body" by Jose James, "Black Radio" by Robert Glasper Experiment, "Soin Something" by Soulive, and "Time After Time" by Cassandra Wilson. CD2 features loads of older killers – including "Feel Like Makin Love" by Marlena Shaw, "Harlem River Drive" by Bobbi Humphrey, "Kathy" by Horace Silver, "Adams Apple" by Wayne Shorter, "Afrodisia" by Kenny Dorham, "Black Byrd" by Donald Byrd, and "Speedball" by Lee Morgan.

A sweet late 70s set from Freddie Hubbard – a slight move away from some of his highly-electric sides of the CTI years, yet one that still has some of the most soulful qualities of that work! Freddie's trumpet has a nicely spacious quality throughout – one that's flowing, and almost glowing at time – cascading along with qualities you might be more likely to hear from Art Farmer on some of the gentler numbers, yet really bursting out with that old Hubbard dynamism on the rest. Other players include Joe Henderson on tenor, Hubert Laws on flute, Kenny Barron on piano and keyboards, Ron Carter on bass, and Jack DeJohnette on drums – and George Benson also guests on guitar on one number too. A good number of the titles are originals, and tracks include "Super Blue", "To Her Ladyship", "Take It To The Ozone", "The Gospel Truth", and "Theme For Kareem".

Some of the coolest work Kai Winding ever recorded – two very odd albums, back to back on a single CD! Soul Surfin is hardly the trombone jazz outing you might have guessed from Kai's famous work with JJ Johnson – and instead, an electrified set that's got plenty of cool 60s touches! Winding does play trombone, but the group also features lots of guitar from Kenny Burrell, electric piano from Paul Griffin, and ondioline from Jean Jacques Perry – who really gives the whole thing a cool sort of watery sound – making the guitar and trombone sound wonderful together! Burrell's at his boldest too – almost surf-ish in parts – and titles include the album's hit version of "More", plus "Gravy Waltz", "China Nights", "Pipeline", "Sukiyaki", "Tube Wall", "Sinner", and "Hearse Ride". Mondo Cane 2 is a sweet return of the cool sounds that Kai Winding cut on his Soul Surfin album – not really jazz, but a wicked hybrid of groovy 60s modes – set to larger orchestrations this time around, but still featuring some great ondioline from Jean Jacques Perry! Perry's instrument is really unique – gliding out here in ways that make the instrumental tunes cross over to worlds that Winding might never have touched before – augmented by great arrangements from Claus Ogerman, Charlie Calello, Billy Byers, and Winding himself! The set features guitar from Les Spann – and titles that include "Python", "Mondo Cane #2", "The Gospel Truth", "Warm", "Theme From The Medic", "The Struggle", and "Portrait Of My Love".

The complete recordings from Albert Ayler's 1966 ESP set at Slugs Nightclub – located in his home turf of the East Village, a very fervent setting for avant jazz at the time! The material has a feel that's a lot like Ayler's studio recordings for ESP, but the tracks are longer overall, and feature a bit more interplay between the group members at times – individual solo space that's occasionally a bit more pronounced, running back into some tighter energies from the rest of the group. Ayler's blowing with a lineup that includes his brother Donald Ayler on trumpet, Lewis Worrell on bass, Michel Sampson on violin, and a very young Ronald Shannon Jackson on drums and percussion. This expanded version features better sound and more tracks than previous versions – plus a great cover image too! Titles include "Truth Is Marching On", "Bells", "Ghosts", "Initiation", and "Our Prayer".

Stunning live recordings from Albert Ayler's European tour of late 1966 – during a peak creative period for Ayler – while working with an incredible group! This excellent CD captures them in Stockholm for Swedish radio on November 10, 1966 – followed by an equally well documented set in Berlin from one week prior. The performances themselves are energetic throughout, and in turns elegiac, playful and all-out intense! It's awe-inspiring material with emotional depth – that facet enhanced a bit by the presence of a violin – by Dutch player Michel Samson, who is great here. Donald Ayler's trumpet communicates brilliantly with the violin and William Folwell's double bass. Beaver Harris holds it down on drums, while Ayler blazes away in the leader, taking the group into unpredictable movements. Greatness! Includes "Truth Is Marching In", "Omega (Is The Alpha)", "Our Prayer – Bells" and "Infinite Spirit – Japan" from Stockholm, juxtaposed with differing performances of those titles in Berlin, plus the riveting closer "Ghosts – Bells", also from Berlin.

A recent tribute to Albert Ayler – but one that's performed by some of his immediate musical heirs of the 70s! The performance picks up nicely where Ayler left off – and although some of the tunes are famous Ayler numbers, the overall style is almost a loft jazz extrapolation of Albert's ideals – deconstructing them a bit from their original intensity, and allowing new avenues of sound to open up in the process! Tracks are quite long, and build with a beautifully organic sensibility – and Campbell's great work on trumpet is mixed with McPhee's tenor and pocket trumpet – in a group that also features William Parker on bass and Warren Smith on drums and percussion. Titles include "Prophet John", "Universal Indians", "Music Is The Healing Force Of The Universe", "Muntu", "Obama Victory Shoutout", and "Truth Is Marching In".

A great set on Porter Records featuring all the tracks from the first two albums by hip funky fusion titans Catylast – the complete Catalyst and Perception albums from the early 70s put together for Complete Recordings Vol 1! The first 6 tracks on the anthology are made up of the the first album, originally released on Cobblestone – one that finds Catalyst in a groove that was unlike most of their contemporaries. The sound was often jazzier than some of the tighter funk artists on labels like Kudu or Prestige, with some deeply spiritual leanings in the solos – but also a style that was still pretty tight and focused, not as far out as some of the headier groups on the Strata East label. There's loads of great choppy rhythms and tight-edged grooves on the record – thanks to Fender Rhodes from Eddie Green, reeds from Odean Pope, bass from Al Johnson, and drums and percussion from Sherman Ferguson. Skip Drinkwater produced the session at Sigma Sound, and it's definitely got some of his hallmark appreciation of rhythm in the mix – on titles that include "Ain't It The Truth", "New Found Truths", "East", "Catalyst Is Coming", "Jabali", and "Salaam". The remaining numbers feature the complete Perception album – another great one, with a lineup that included Billy Hart on percussion, Eddie Green on electric piano, and Odean Pope on tenor and flute. The real highlight, though, is Pat Gleason on arp, who adds a lot of cool dark moody touches to the group's fusiony playing. It's a stellar mix of soul jazz and edgy electric playing, far and away one of the best albums ever to be released on Muse at the time. It's been exceptionally rare over the years, too! Tracks include "Celestial Bodies", "Got To Be There", "Uzuri", and "Perception".

More greatness than usual for Duke Jordan – thanks to the presence of Charlie Rouse on tenor and Richard Williams on trumpet! Titles include "Truth", "Tall Grass", "Sultry Eye", and "Undecided Lady".

No coolin out here, as the set's a great batch of soulful jazz numbers from the legendary Muse label – filled with overlooked gems from the imprint's key 70s run – including a fair bit of gems that will set you digging for other treasures from the label! The style here is less straight jazz funk than a mix of soulful and righteous styles – some straight, some a bit more exploratory – all pretty darn wonderful, and proof that Muse could often hit some of the hippest territory in jazz when it was on the money. The set features 8 tracks in all – including "Cheeka's Dance" by Groove Holmes, "Vibrations" by Buster Williams, "Dawn" by Kenny Barron, "Angel Man" by Jimmy Heath, "New Found Truths" by Catalyst, and "Bumpin On Sunset" by Jimmy Ponder.