Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax! The group here is the classic quartet – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – taking Trane up to the heavens on waves of modal energy, but also holding his spirit closer to the planet than on some of later, more outside performances. There's a slight bit of vocalization on the record – that chanted energy that imbues the set with so much love – and movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". Plus, this new version of the set features a huge amount of bonus material – a long live version of the whole suite, recorded in 1965 in Antibes, alternate takes of tracks on the original session – and the fantastic sextet reading of "Acknowledgement", with playing by Archie Shepp! Movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". CD

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". CD

An excellent groover from Kenny Dorham – possibly one of his best ever albums for Blue Note – a record that shows how much he was pushing past his bop roots in his later years! The tracks are extremely long, and done with a complexity in rhythms that mixes Latin elements with hardbop modes – all set up in a style that really stretches out, and drives Dorham's trumpet with a fire he'd hardly had before. The rest of the group is super-sharp – key young players who really help keep an edge the the whole thing – with Herbie Hancock on piano, Joe Henderson on tenor, Butch Warren on bass and Tony Williams drums. Tracks are all long, incredible Dorham originals – "Una Mas" fills up side one, and "Straight Ahead" and "Sao Paulo" cover the flip. Also includes a bonus track, a sweet warm take of "If Ever I Would Leave You". CD

Excellent middle period work by the Dramatics – recorded after their years at Stax, with a slightly smoother groove, and featuring some great tunes that really sparkle! By this point, the group were hitting a Detroit modern mode – with less of the rough edges of the Stax work, which meant that the harmonies were even tighter than ever – perfectly placed on the best cuts, with a precision you wouldn't have expected a few years earlier. Songwriting is still great – and this 16 track set features many fine numbers from their ABC LPs of the late 70s when the group were working with Don Davis. Titles include "Be My Girl", "Love Is Missing From Our Lives", "Door To Your Heart", "Stop Your Weeping", "Shake It Well", "You're Foolin You", and "Do What You Want Be What You Are", one of the greatest 70s ballad tracks ever! CD

Really wonderful early work from pianist Berndt Egerbladh – a player who's gotten a lot more global attention in recent years, but who sounds especially great on this rare date from the 60s! The album's a masterful showcase for Berndt's warm, fluid approach on the keys of the piano – a style that's really quite unique for the time, and a very strong precursor to modes that wouldn't show up that strongly on other scenes until the following decade. There's a really mature sound to the record, but one that never tries to hard to be "new", nor pushes its own sense of specialness too strongly. Instead, Berndt manages to stretch out spaciously, but in an understated way – a beautiful balance of color and sound that gives the record a really timeless quality. Bass is by Bjorn Alke, drums by Sten Oberg – and titles include "Mr Idrees", "Eva", "Sarek", "Monique", "Schizo", and "Days Of Wine & Roses". CD

One of the best records ever cut by funky sax man Joe Farrell! The album's got a stripped down, choppy groove – virtually the blueprint for later 70s funk of this type, and played perfectly by Farrell and a very hip quartet lineup! Players include Joe on soprano and tenor sax, Herbie Hancock on keyboards, Stanley Clarke on bass, and Jack DeJohnette on drums – playing with a very angular sense of rhythm that really dives the record! The record's got a tight combo sound that's far more energetic than most CTI jazz from the time – and titles include the great cut "Great Gorge", which has a tight modal sample groove, plus "Times Lie", "Bass Folk Song", and "Moon Germs". CD

An oft-overlooked gem by Funkadelic – the group's last album for Westbound, and a record that really has them growing into a great new groove! Bootsy and Eddie Hazel have stepped aside for the set, but that gives Bernie Worrell plenty of room to work his magic on keyboards – in a way that really increases the spacier elements of the set, and almost trades a messed-up moogy sort of feel for the heady guitars of earlier years – a slippery kind of Funky Worm groove that we totally love! The set is self-described as "delightfully putrid" on the Pedro Bell cover – and we couldn't agree more! Titles include "Undisco Kidd", "Let's Take It To The People", "How Do Yeaw View You", "Butt-to-Butt Resuscitation" and "Take Your Dead Ass Home!". CD features the bonus track "Undisco Kidd (45 edit)". CD

A rare 60s meeting of groovy talents from both sides of the Atlantic – and a record that matches the trumpet of Dizzy Gillespie with the hiply swinging vocals of The Double Six Of Paris! The group were a wonderfully groovy precursor to the Swingle Singers – and sung in a scatting approach to jazz vocals that was very much in the tradition of Lambert, Hendricks, & Ross – but also drew inspiration from the earlier work of Eddie Jefferson, King Pleasure, and others. Their sound is great – much more 60s groovy than some other vocal groups – and pairing them with Dizzy gives this record an added punch that some of their other sessions are missing! Backing is small combo throughout – with either Bud Powell or Kenny Barron on piano, Kenny Clarke on drums, and James Moody on tenor – and with the presence of Diz, most of the material here is of bop orientation – taken at a fast and lively clip! Lalo Schifrin arranged the whole session too – and titles include "One Bass Hit", "Blue N Boogie", "Emanon", "Groovin High", "Ow", "The Champ", "Tin Tin Deo", "Hot House", and "Con Alma". CD

The modern touch indeed! You can't get any more classic Benny Golson than this – a sublime late 50s album that features Benny with a sextet, working out amazing versions of the sorts of material that set him apart from every other jazz arranger of the time! The tracks here are complicated, yet have a rootsy soulfulness that makes them instantly compelling – and Benny's tone on tenor sax is sharp and angular, yet also has a raspiness that gives it a degree of honesty you wouldn't expect from a budding young modernist. The rest of the players – Max Roach, Paul Chambers, Wynton Kelly, JJ Johnson, and Kenny Dorham – are equally great, too – and amidst Benny's arrangements, they come together as if they'd been playing in this format for years! Titles include "Out Of The Past", "Venetian Breeze", "Reunion", "Hymn To The Orient", and "Blues On Down". CD

Beautiful Brazilian-tinged jazz from the legendary Dusko Goykovich – one of the best new albums we've heard from the European trumpeter in a long time, and one of the few that really lives up to the cross-cultural genius of his key albums from many years back! As you'd guess from the title, there's a fair bit of influences here from Brazilian jazz – acoustic guitar, flute, and percussion – all dancing along in a lively blend of bossa, samba, and more – served up with a warm glow and soulful finish that's a perfect foil for Dusko's bold and well-stated solos! The mix of modes here is perfect – and almost recalls the genius of Goykovich's legendary Slavic Mood album from the 70s – with a depth and sense of feeling that really brings out an added layer in his music. Celine Rudolph sings a bit on a few tracks on the record – and titles include "Samba Tzigane", "Melodia Sentimental", "Menina Moca", "A Descoberta De Lentidao", "Trio Loco", "Samba Triste", and "Every Day & Every Night I Dream Of You". CD

Prime mid 70s live Dead from a monumental series of shows at Winterland in late October, 1974! Steal Your Face is something of a benchmark in the official Dead archives, as it not only captures the band during their "farewell" run before going on hiatus, it was also the final album on their own Grateful Dead Records label in it's original incarnation when it first came out in 1976. Historical significance aside, it's just a great snapshot of the band at a peak level, with "The Promised Land", "Cold Rain & Snow", "Around And Around", "Stella Blue", "Ship Of Fools", "Big River", "El Paso", "Sugaree", "I Must Have Been The Roses", "Casey Jones" and more. CD

Really wonderful work from trombonist Al Grey – sounding hipper here than at any other point in his career! One of the great reason for Al's sound here is the presence of tenorist Billy Mitchell – a partner with Al in the Basie band, and a great player who gives just about any session a deeply soulful finish. The rest of the group is equally nice too – with work by Dave Burns and Donald Byrd on trumpet, Floyd Morris and Herbie Hancock on piano, and Bobby Hutcherson on vibes. The use of vibes is especially striking for a set like this, and really gives the proceedings a different feel than you might think. Titles include "R.B.Q.", "Minor On Top", "African Lady", and "Hi Fly". CD

Hard driving jazz from the Japanese scene of the 50s! The album's one of the best recorded by Nobu Hara and the legendary Sharpes & Flats group – a really swinging set of big band jazz that drives with the power of some of the 60s recordings by the Clarke-Boland Big Band, and which offers plenty of space for the soloists to swing out during the set. Unfortunately, all the notes are in Japanese – so we can't tell you the exact lineup or the song titles – but the album's a strong one, and a perfect example of the strength of the Japanese scene in the postwar years! CD

A jazz vocal album, but one with a nicely different vibe – even in comparison to some of the other work by Japanese singer Mieko Hirota! The style here is often quite funky, even on older tunes – thanks to arrangements by jazz funk maestro Hiromasa Suzuki, who's work here gives everything a sweet, soulful finish, with lots of electric instrumentation in the mix! Mieko sounds wonderful in the setting – stretching her vocals in ways we've never heard before – bringing a lot to the English language lyrics of tunes that include "What's Going On", "Easy Evil", "My Love", "Day Dreaming", "Sweet Love", and "My Funny Valentine". CD

A later set from tenor legend Red Holloway – but one that really revives the style of his 60s soul jazz classics on Prestige Records! Red gets plenty of old school company on the set – a group that features Frank Wess on additional tenor, Lonnie Smith on Hammond, Melvin Sparks on guitar, and Paul Humphrey on drums – all cookers we love from years back, doing a pretty great job of keeping things groovy here. Titles include "Avalon", "3 Steps Up Clark", "Water Jug", "Struttin With Julie", "Good To Go", "Million Dollar Secret", and "Still Groovin". CD

A slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". CD

Magical solo work from pianist Keith Jarrett – a set that's comprised almost entirely of standards, similar to some of the better-known trio recordings in this format by the artist – and which has Jarrett playing in this really evocative way that definitely lives up to the title! The solo performances aren't nearly as open or longform as his other recordings without any other players – melodies are intact throughout – but Keith does really have a way of opening up the songs, and almost making them sound like these very fragile, very personal poems that spin from his fingers on the keys of the piano. Titles include "Don't Ever Leave Me", "I Loves You Porgy", "Blame It On My Youth", "Meditation", "Something To Remember You By", and "I'm Through With Love". CD

A surprising 90s set from The Jazz Passengers – the New York group who'd worked in many modes other than just the straight jazz you might guess from their name, but who here maybe take things back to basics, especially on some of the cuts that bring in vocals from famous guests who include Deborah Harry and Elvis Costello! In some ways, Harry is the core of the set – as she unlocks this great jazz-based side of her style, in a way that gives her voice a whole new level of expression – one that's surprisingly strong next to the instrumentation provided by Roy Nathanson, Curis Fowlkes, and the rest of the group. Elvis Costello sings moodily on the tune "Aubergine" – but most other vocal numbers feature Deborah Harry, and include "Pork Chop", "Lil Darlin", "Maybe I'm Lost", "Imitation Of A Kiss", "Ole", and "Angel Eyes". Harry and Costello duet on "Doncha Go Way Mad" – and the set also features a nice instrumental remake of the Nat Adderley tune "Jive Samba". CD

Brilliant 70s material by Antonio Carlos Jobim – one of his key sets from the middle part of the decade that had the composer really deepening his approach to both singing and songwriting – moving past some of the more instrumental modes that he was using at the start of the decade! There's a richness to the songs that goes way past simple bossa styles – and the lyrical brilliance shows that Jobim hardly ever needed a poet or co-writer to help him hit the heights – as he really wins us over with his words as much as his music. Claus Ogerman produced, and gives things the right balance between fullness and space in the charts – which allows both a great focus on Antonio's vocal style – expressive, but very down to earth – and a few nice solos on Fender Rhodes too! Titles include "Saudade Do Brasil", "Correnteza", "Boto", "Ligia", "Valse", "Arquitetura De Morar", and "O Homem". CD

One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note. Bobby Jaspar's in the frontline with JJ – playing both tenor and flute – and rhythm is from a trio that features Tommy Flanagan on piano, Wilbur Little on bass, and Elvin Jones on drums. Jones' touch on the kit gives the album a nicely dancing feel throughout – and is a real reminder of his simple genius in an early setting like this. Titles include "Bird Song", "Blue Haze", "Old Devil Moon", "Tea Pot", "Barbados", "Cette Chose", and "So Sorry Please". CD

Despite the fact that the title's "Introducing Roland Kirk", it's not actually Kirk's first album – but it is a heck of a smoker with a very unusual sound! The session features Roland with a Chicago group that includes Ira Sullivan on trumpet, Don Garrett on bass, and Ron Burton on both piano and organ – the latter of which gives Kirk's playing a very different feel than usual – a bit more soul jazz and gutbuckety than on the later Mercury recordings. In fact, given Roland's use of many different reed instruments (tenor, manzello, stritch, and whistle – all often played at the same time!) – there's almost a Yusef Lateef quality to the album, at last in the style of some of Lateef's more hardbop sides for Prestige at the time. Kirk's tone, as always, is amazing – with that really spacious feel he gets from playing more than one horn at once! Titles include some great originals, like "The Call", "Soul Station", and "Spirit Girl" – plus "Our Waltz" and "Jack The Ripper". CD

The album gives away its premise with the "ballad" in the title – but that's only part of the picture here, as the tenor of Joe Lovano is so wonderfully distinct, the album's got a richness that goes way beyond its cover! As with Coltrane's famous Ballads album of the early 60s, Joe here proves that at the core, past his other settings and experiments, he can still be a hell of a traditionalist on his horn – yet work with a sense of individuality that comes through right from the very first note! His partners in crime here are Hank Jones on piano, George Mraz on bass, and Paul Motian on drums – and titles include "Early Autumn", "Monk's Mood", "Like Someone In Love", "I'm All For You", "Don't Blame Me", "I Waited For You", and "Countdown". CD

A really fantastic large project by Christian McBride – maybe one of his most ambitious records ever, and one that really lives up to its intention! The movement here is the Civil Rights movement – recalled through the words of Malcolm X, Muhammad Ali, Rosa Parks, and Dr Martin Luther King Jr – then set to jazz instrumentation by a wonderful lineup that includes Warren Wolf on vibes, Steve Wilson on alto and flute, Ron Blake on tenor and soprano sax, Michael Dease and Steve Davis on trombones, Lew Soloff on trumpet, and Geoffrey Keezer on piano. Four different figures each take on the voices, with an approach that's as great as the music – actors Wendell Pierce, Vondie Curtis Hall, and Dion Graham – plus poet Sonia Sanchez – often shifting the words of the key figures throughout a single musical work, with results that are surprisingly powerful. Titles include "Brother Malcolm", "Sister Rosa", "Rumble In The Jungle", "Ali Speaks", "Soldiers", and "A View From The Mountaintop". A fantastic record – and one that reminds us of the great power in this nation, at a time when its light is sometimes eclipsed. CD

A mighty nice setting for Carmen McRae, and a bit different than usual too – especially given that the backing group is a pretty soulful tenor/organ combo! Jack McDuff handles the Hammond, and Red Holloway plays both tenor and alto, with some nice comping from Phil Upchurch on guitar in the group – and this mix of hip players gives the set a more soulful swing than some other McRae dates from the time – and from other times as well – almost going for the feel of some of the 60s Etta Jones sets on Prestige. Titles include "Black & Blue", "My Handy Man Ain't Handy No More", "Fine & Mellow", "What Is This Thing Called Love", "What Can I Say After I Say I'm Sorry", and "One More Chance". CD

A fantastic batch of jazzy grooves – featuring Claudio Medeiros and Victor M of the group Made In Brasil, plus other associates from the Bay Area fusion scene of the 70s! The record's got a strong mix of mellow tunes and funkier ones – with touches of Brazilian jazz and CTI fusion swirled together in a San Francisco sunny mode. The set includes the incredible groover "Soar", which has nice moog bubbling through a jazzy midtempo groove – and features many other great tunes like "Cachaca", "Generous", "Green Olives", "Grape Woman", and "Rotation". CD

Fantastic – and one of Mingus' greatest albums ever! This one ranks right up with The Clown and Pithecantropus Erectus for sheer raw power and emotion – and Mingus' writing here is incredibly tight, giving soloists like Charlie Mariano, Jaki Byard, Richard Williams, and Jerome Richardson a real workout. The set's an extended suite of tracks with sort of a semi-ballet form. Don't let this fool you into thinking that the work's some sort of semi-classical snoozer, though – as Mingus uses the structure to hit some brilliant raw emotion, and the "dance" part of the piece gives the work a tight rhythmic form, pushing the soloists into raw urgent grooves, of a nature that never show up on Mingus' other work from the time. Titles include "Trio & Group Dancers", "Solo Dancer", "Group & Solo Dance", and "Duet Solo Dancers". CD

One of the first great pairings of Hank Mobley and Lee Morgan – a trumpet/tenor team that was always a treasure, no matter what the setting! This one's a pretty open-ended blowing date – one that gives both horn players plenty of room to stretch out, in a setting that's filled with sharp-edged, and imaginative lines! The rhythm section is rock solid too – with Wynton Kelly on piano, Paul Chambers on bass, and the great Charlie Persip on drums – kicking things nicely on the kit to get a groove going. Tracks are all quite long, and titles include "Git Go Blues", "Speak Low", "Stretchin Out", and "High & Flighty". This CD edition includes 3 bonus tracks – alternate takes of ""High & Flighty", "Speak Low" and "Stretchin Out". CD

An excellent Hank Mobley session – with an unusual twist that takes it past his earlier work! The lineup's great all the way through – with Woody Shaw on trumpet, George Benson on guitar, and Billy Higgins on drums – and the addition of Benson's guitar gives the tracks a groovily swinging edge that really makes them dance nicely! The set's got 4 originals – "Good Pickins", "Up Over & Out", "Beverly", and "Lookin East" – and 2 soul covers – "Reach Out" and "Goin' Out Of My Head" – and Mobley never misses a beat. Mobley was so great during this period, and we always mourn the fact that he hardly recorded much afterward! CD

A cool tribute to the French jazz soundtrack generation of the late 50s – played here by an equally cool combo from Japan! The Modern Jazz Playboys have a sound here that definitely lives up to their name – a slinky, sexy groove that's perfect for the album's selection of tunes from French New Wave films – a set that features some famous Miles Davis and Art Blakey soundtrack numbers, but which also includes some even better lesser-known gems! Instrumentation is spare at all the right moments, and full at other key parts – and titles include "Estate Violenta", "Clue #9", "Un Temoin Dans La Ville", "Les Loups Dans La Bergerie", "Blues De Memphis", "Cora", "Black Nightgown", "Le Grisbi", and "Black March". CD

A beautiful live set from the legendary Thelonious Monk Quartet – that magical lineup you'll know from Monk's early 60s albums on Columbia Records, captured here in a concert performance that really opens up so many different currents of the group's sound! Monk is crucial, of course, on piano – but the group also moves with a perfect sense of timing for his music, thanks to the work of John Ore on bass and Frankie Dunlop on drums – a group who are then topped by some fantastic tenor work from the amazing Charlie Rouse – a hell of player at many levels, but one who always seemed to hit new heights with Monk! The double-length package really gives the group a lot of room to open up – and tracks move nicely between extended numbers and a few nice shorter bits – on titles that include "Just A Gigolo", "Well You Needn't", "Round Midnight", "Bemsha Swing", "Balu Bolivar Balues Are", "Crepuscule With Nellie", "Jackie-Ing", and "Blue Monk". CD

A very different album for Lee Morgan – especially in comparison with his other early sessions! The record is a gentle batch of ballads and standards, played by Morgan with a quartet that includes Sonny Clark on piano, Doug Watkins on bass, and Art Taylor on drums – all beautifully poised to help Lee hit just the right notes in the set. The album's a crucial one, in that it gives Lee Morgan a chance to show off a warmer, mellower, and more introspective style – after first coming onto the scene as a stormer on his first few sessions. The whole thing's great, and a really important part of Morgan's catalog – and an album that was sadly "lost" in the Blue Note catalog for years, due to a too-short initial release! Titles include "Candy", "Who Do You Love, I Hope", "All The Way", and "Since I Fell For You". CD

Oliver Nelson is definitely taking care of business here – thanks to some key help from the great Lem Winchester on vibes, and a young Johnny Hammond Smith on organ! The pair bring a mighty deep groove to the record – which gives Nelson a chance to show off some of the deeper tones on his tenor and alto sax – a sound that gets a lot more space for personal expression than on some of his albums with larger arrangements! The raw sound of the record is a great change from the more composed modes you might know from Oliver's other dates – and the set's further illustration that Nelson was one of the most complete, most versatile talents in jazz at the time. Titles include "Trane Whistle", "In Time", "Groove", and "Lou's Good Dues". CD

A record that will make you forgive Randy for all the later sweeter soundtrack work! Titles include "Burn On", "God's Song", "Political Science", "Old Man", "He Gives Us All His Love", and "Simon Smith & The Amazing Dancing Bear". CD

They got that title right, because with decades of performances on the strip, Wayne certainly earned the name of "Mr Las Vegas"! However, Newton oddly never recorded a live album in Vegas during his years working for Capitol – so this collection is oddly one of the few non-live packages in Capitol's Vegas Centennial Collection – and instead features studio work from Wayne's early albums for the label. But that's ok with us, because we love the jazzy pep of these sides – a pop-heavy, playful approach to tunes that follows nicely off Bobby Darin's style at the time – no surprise, as Wayne got a lot of help at the start from Bobby. The package does feature 2 live tracks, but recorded in Hollywood – "You're Nobody Til Somebody Loves You" and "Mack The Knife" – alongside studio tunes "Danke Schoen", "As Long As I'm Singing", "Strangers In The Night", "Wives & Lovers", "More", "Call Me Irresponsible", "LOVE", "I've Got The World On A String", and "Charade". CD

The breakout album for singer Frank Ocean – the featured voice and name attached to some stellar material by other acts leading up to this career-making set for Interscope! Simply put, Channel ORANGE is the hella rare pop phenomenon that not only lives up to the pre-release hype, it actually transcends it! Ocean has a unique and distinct voice and style, and we hope he's here to stay. Includes "Thinkin' About You", "Sierra Leone", "Sweet Life", "Super Rich Kids", "Pilot Jones", "Crack Rock", "Pyramids", "Lost", "Bad Religion", "Pink Matter" and more. CD

You may know the Ozark Mountain Daredevils as a crossover AM radio act from the mid 70s – but on this early record, the group have a nicely rootsy vibe that certainly lives up to their name! Production is by David Anderle and Glyn Johns – who do a great job of avoiding some of the cliches of the nascent country rock scene – which really suits the way that the group brings some more personal themes to tunes that have a mixture of acoustic elements, especially harmonica, and some heavier rock touches. And the Ozark here might be a good way of nicely placing the album's feel away from some of the other work of the period – as the sound is neither LA country rock, nor upstate New York, nor even Memphis or Muscle Shoals. Titles include "Chicken Train", "Colorado Song", "Within Without", "Black Sky", "Road To Glory", "Standing On The Rock", and "Country Girl". CD

Unheard sounds from the legendary Charlie Parker – a set that features 58 previously-unknown alternate takes of classic recordings from Parker's years with Verve producer Norman Granz – all presented here with a huge amount of detail in the notes! The set is incredible – and has appeal that goes far beyond just pleasing the legion of Parker devotees out there – as the way that Charlie approaches a solo is incredible, and it's equally incredible to hear him trying out different approaches on these different tracks – even on some of the numbers that stop short or are incomplete takes – because there's a sense of fire and excitement that still grabs you, and maybe a lot more than many other artists on a full-length solo. There's a reason why early fans of Bird were so fanatic about hearing everything they could by the man – and this set continues that legacy, and really lives up to the faith – with never-heard takes on "Bloomdido", "Visa", "Okiedoke", "Tune X", "Tune Z", "Star Eyes", "Fiesta", "Tico Tico", "An Oscar For Treadwell", "Mohawk", "My Little Suede Shoes", "Night & Day", "Almost Like Being In Love", "If I Should Lose You", "Tune Y", and "What Is This Thing Called Love". Great notes by Phil Schaap, too – a huge booklet! CD

An expanded version of the first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". CD

An oft-overlooked gem from Parliament – released during the year 1976, and sometimes hidden between monster LPs like Funkentelechy and Mothership Connection – but every bit as great as those two classics! The album's got that tightened-up P-Funk sound that was working so perfectly at the time – still with all the fuzzy haired elements of earlier years, but presented with a bit more focus – and a powerhouse swing that really drives the tracks home with a funky groove on the bottom! There's a flowing sort of energy here that almost makes you think that the whole thing just emerged naturally from the brain of George Clinton – but all ensemble players have a strong hand in the action, and really get some great moments in on the set. Cuts include "Gamin' On Ya", "Do That Stuff", "Children Of Production", and "I've Been Watching You (Move Your Sexy Body)". CD

A really fantastic final album from The Peddlers – the UK trio who effortlessly mixed jazz and soul in the 60s, but who work here in a more expanded format! All the best elements of the group's sound are still nicely in place – those raspy vocals, strong use of keyboards, and especially their great sense of a groove – one that's made them a favorite for samples for more sophisticated DJs and producers over the years! But here, the sound is maybe even cooler – thanks to work from the London Philharmonic. Group leader/singer/keyboardist Roy Phillips composed the whole thing, and the Peddlers are at the core – but they're also helped out by percussionist John Punter and guitarist Toney Walmsley, and Peter Robinson – who did the larger orchestrations. Titles include "This Strange Affair", "Raining In London", "Sequence Of Thought", "Did She", "Sequence Of Thought", "In Juxtaposition", "Under London Nights", "River Lives", "I Have Seen", "Impressions", and "A Year And A Day Metamorphosis". CD includes 6 bonus rarities – equally strong singles the trio cut between 1971 and 1973 – compiled by St Eteinne! Titles include "Manah", "Have You Ever Been To Georgia", "Nothing Sacred", "Sing Me An Old Song" and "It's So Easy". CD

Art's blowing with a quiet intensity here – not as far out as you might expect from the title, but with that crisp genius that still graced all of his records from the time! The album features a quartet with Dolo Coker on piano, Jimmy Bond on bass, and Frank Butler on drums – working in a format that gives Art center stage, blowing with a slightly raspy tone that still always sends chills up our spine! There's a maturity here that we really like – that later Contemporary mode that has Pepper breaking things down a bit more than usual, and showing a bit more humanity in his horn. Titles include "Too Close For Comfort", "Gone With The Wind", "Long Ago & Far Away", and "I Love You". CD also features the bonus track "Five Points". CD

A great live album from Poco, one that has the group sounding nicely different than the warmth of their studio albums – in front of a crowd that's clearly going nuts for their special blend of country and rock elements! The setting gives Poco an edge that really gets at the newness of the sound at the time – very different than a few years later, when it was more arena-filling fare – and almost in the territory of a Flying Burritos live set from the same time. Timothy B Schmidt's vocals are great – and titles include "C'Mon", "You'd Better Think Twice", "Man Like Me", "I Guess You Made It", "Hear That Music", and two great medley tracks – "Hard Luck/Child's Claim To Fame/Pickin Up The Pieces" and "Just In Case It Happens/Grand Junction/Consequently So Long". CD

Gregory Porter arrives on Blue Note Records – and the result is Porter's most fully-formed set so far – just the kind of album that will push him firmly into the limelight – a place that we've felt he's deserved for quite a few years! Porter's a hell of a singer, and a hell of a songwriter too – and although his roots are in jazz, he's got a rare ability to step between genres with plenty of soul – a special space that belongs to a very rare few – like Nina Simone, Bill Withers, Roberta Flack, or Gil Scott-Heron! Gregory's voice is amazing, his lyrics are both personal and pointed – and he does so much here with so little, the album should be handed out to the hundreds of mis-directed vocalists who think that a few extra tweaks in the studio is all they really need. Most numbers just feature small combo backing, with wonderfully warm piano from Chip Crawford – and the whole thing's got a timeless feel that makes us think this is the beginning of a rich new season for Porter. Titles include "Free", "Water Under Bridges", "Lonesome Lover", "Liquid Spirit", "No Love Dying", "Brown Grass", "When Love Was King", and "Wind Song". CD

One of Lasha & Simmons firey collaborations from the mid 60's! Both players are at the top of their form, and the backing – by Bobby Hutcherson, Buster Williams, and Charles Moffett – provides a hard rythmic drive that sets their solos on edge and really gives them focus. Lasha plays flute, alto, and alto clarinet, and Simmons plays alto and a bit of English horn. Great stuff, and beautiful mix of out sensibilities and tight rhythm playing. With the tracks "Island Song", "Firebirds", and "Psalms Of Solomon". CD

As great of a rock & roll album as there's ever been! It's impossible to describe this record without sounding like a blow hard, but you really can't overstate what these four goony guys from Queens accomplished. 30-odd years of the most visceral pop music concentrated into 2 minute, 3 chord blasts of beautiful sonic catharsis – and they could barely even play. Thanks boys. Tracks include "Blitzkreig Bop", "I Wanna Be Your Boyfriend", "Beat On The Brat", "Now I Wanna Sniff Some Glue", "I Don't Wanna Around With You", "Loudmouth", and "Today Your Love", Tomorrow The World". 8 bonus tracks include original demo versions of many of the album tracks – plus never officially released outtakes from the sessions including "I Can't Be" and "I Don't Wanna Be Learned/I Don't Wanna Be Tamed". CD

Rita Reys meets Oliver Nelson – and a host of other great jazz talents, including Lee Konitz, Benny Bailey, Sahib Shihab, and Klaus Doldinger! The tracks on the set are all standards, but they're done in the tightly swinging style of Nelson's best backing work for vocalists at the time – complete with those warm tones and colors that always made his work some of our favorite in this mode. The mode is a bit different for Reys, who we normally know from more fragile settings – but it works especially well here, and almost seems to compensate for a faltering quality in her vocals at the time. Titles include "The Very Thought Of You", "Quiet Nights", "The Second Time Around", "If I Were A Bell", "Ill Wind", and "Wives & Lovers". CD

First up is Can't Stand The Rezillos – a record with guitars fast and hard enough to almost be late 70s punk rock, but which often comes off with a more playful, whimsical new wave sort of approach! Tracks are short and hook-heavy – produced by Bob Clearmountain with that razor-edged quality he brought to his best work of the time – and the trading off of lead vocals between Fay Fife and Eugene Reynolds makes the record hang nicely in a space between Blondie and The Ramones! Titles include "Flying Saucer Attach", "No", "Top Of The Pops", "2000 AD", "It Gets Me", "Glad All Over", and "Cold Wars". Next is Mission Accomplished – a fierce little live set from The Rezillos – one that comes as quite a surprise, since the group had only issued one studio set before – but a great choice overall, as the live setting really seems to set them on fire! Things here are harder, faster, and sharper than on their debut – with more punk speed and energy in the guitars, even if the songs themselves are more in a power pop mode – as tuneful as they are quick-moving! The concert was actually the group's last – recorded at a time when they'd announced a breakup – and that maybe gives the whole thing an urgency that was missing before, and which really makes us wish they'd kept recording. Titles include "Top Of The Pops"," Mystery Action", "Somebody's Gonna Get Their Head Kicked In Tonite", "Thunderbirds Are Go", "No", "Teenbeat", "Ballroom Blitz", "Destination Venus", and "Culture Shock". CD

A crucially important record in Sonny Rollins' career – one that had him breaking out of the straight bop sound, and emerging as a major power on the tenor sax – one with limitless creative power! The set features Rollins working with only drum and bass accompaniment – played by Max Roach and Oscar Pettiford, respectively – and the lack of piano or other horns gives Rollins a free space in which to work his magic, doing so incredibly on the album's "Freedom Suite", an extended piece that runs for nearly 20 minutes, and which pushes all conceptions of the tenor's ability to solo freely on record. The other side of the record features shorter tracks – "Shadow Waltz", "Someday I'll Find You", and "Will You Still Be Mine?" – blown with no less creativity. Includes a bonus alternate take of "Till There Was You". CD

A tremendous little album from Sonny Rollins – one of his most sharp-edged sessions of the mid 60s, and a bold departure from some of his previous work for RCA! The album has a crackling sense of energy that more than lives up to the exclamation point in the title – a starker quality than some of Sonny's earlier records, and one that brings out some sharper tones in his horn, even on the mellower numbers. The rhythm support is loose, but somewhat soulful and spontaneous – and features Ray Bryant on piano, Walter Booker on bass, and Mickey Roker on drums – an unusual pairing for Sonny, but that's what makes them so great. In a way, the album's almost Rollins' equivalent of John Coltrane's earlier Ballads album for Impulse – in that it includes familiar tunes, but remade into completely new numbers by the sound of the leader. Titles include "Green Dolphin Street", "Everything Happens To Me", "Three Little Words", and "Hold Em Joe". CD

Great stuff – one of Annie Ross' rare albums as a solo act away from her trio with Jon Hendricks and Dave Lambert – and a great little session cut with small combo jazz backing, which gives the song a nice swinging edge! Zoot Sims is the main soloist on the tunes, Russ Freeman lays down piano tracks to set the mood – and other players include Jim Hall, Monte Budwig, Mel Lewis, and Bill Perkins – all of whom contribute wonderfully to the album, and give it a nicely grooving west coast finish. Titles include "I Was Doing Alright", "You Took Advantage Of Me", "Lucky Day", "Lucky So & So", and "Nobody's Baby". CD features bonus cuts too! CD

A pretty sweet Latin jazz session from Mongo – recorded with the same electric groove as his 70s recordings on Vaya, plus touches of a more classic Latin jazz sound that are very nice! The group's very nice – and there's some excellent reed work by Sam Furnace and Tony Hinson, which gives the record a sharp edge and a off-beat tone that really keeps the tracks interesting. Marty Sheller did some of the arrangements – and titles include "Power Struggle", "Con Hache", "Zimbabwe", "Espiritu Libre", and "Manana Wilson". CD

A wonderful batch of instrumentals from the legendary Raymond Scott – and a set that features some of Scott's most wonderful compositions ever! These numbers all date from the 30s, and were originally released as 78s on the Master Records label – but this later Columbia package really brings the sounds together wonderfully, and gives Scott a long-overdue showcase as one of the budding modernists of the pre-war years – a composer who could match swing and whimsy, exoticism and jazz, playfulness and poise – all without every losing his beat! The instrumental is wonderful, the arrangements inventive, and the whole thing's got the same sort of audio appeal as an old Warner Brothers cartoon. Titles include "Twilight In Turkey", "The Penguin", "The Toy Trumpet", "Powerhouse", "New Years Eve In A Haunted House", "War Dance For Wooden Indians", "Peter Tambourine", and "At An Arabian House Party". CD

An amazing album from this soon-to-be-famous group – a set that's even more incredible than their previous record – and that one really knocked us out of the park! Tenorist Shabaka Hutchings is in tremendous territory here – recording for Impulse Records, and completely reinventing the spiritual legacy of that famous label – by taking his roots in South African jazz and fusing them through the boundless imagination of the contemporary London scene – a place where Hutchings has gotten great attention in recent years, and has risen to become one of the most important talents to emerge in recent years. The group features alto, bass, drums, and plenty of percussion – plus vocal moments from Siyabonga Mthembu – all delivered with a righteous current of energy that really lives up to the promise of the title, and which may well make Shabaka an even more important messenger in jazz than Kamasi Washington. Titles include "You've Been Called", "They Who Must Die", "Beast Too Spoke Of Suffering", "Behold The Deceiver", "Til The Freedom Comes Home", "Finally The Man Cried", and "Teach Me How To Be Vulnerable". CD

A classic! This is one of the best-ever albums by the legendary Marlena Shaw – and it's a tremendous live set that really lives up to the righteous promise of her earlier work on Cadet Records! The album was cut with a small combo, and the overall feel is incredibly hip – a mixture of jazz and soul, much more open-ended than some of Marlena's other albums, and with a more sophisticated feeling that was probably part of the way that she was presented to the crowd at the Montreux Jazz Festival. The highlight of the set is a 10 minute long re-working of her classic "Woman Of The Ghetto" – done in an incredible way, with lots of extra lyrics, and a great jazzy groove that's been sampled more than once over the years. Also features an excellent reading of Marvin Gaye's "Save The Children", plus the cuts "Twisted", "You Are The Sunshine Of My Life", "The Show Has Begun", and "But For Now". CD

One of the most fantastic Horace Silver albums from the 50s – a set of complicated tunes that really lives up to its "further explorations" title! The session's a perfect example of the way that Silver was mixing hard bop sensibilities with more exotic styles of arranging in the late 50s – pushing past the straighter bop of his Jazz Messengers years, and moving into a territory that can only be described as "Silver-esque", and which went onto have a strong impact on many other players in years to come. And although not as well known as some of Silver's other classics from the time, the album's got some key tracks that show his talents at their best – like the genius "Moon Rays", or other originals that include "The Outlaw", "Melancholy Mood", "Pyramid", and "Safari". The group, which features Clifford Jordan on tenor and Art Farmer on trumpet, has an emotional maturity that you don't always get on Blue Note sessions from these days – and the album is a hauntingly lyrical batch of tracks that is among some of Silver's finest recorded work! CD

An incredible record – the kind of album that only Blue Note could put out, and an instant classic that will sound wonderful forever! The album's truly one of the great ones – one of those Blue Notes that still makes you stop and pause when you hear it, even though you've heard it a million times in Starbucks and places like that. Horace Silver is working here at the height of his powers – lyrical, free, yet also damn soulful, in a style that makes for some of the most evocative jazz-based grooves cut to wax at the time. Carmell Jones is in the group, and plays some of his best trumpet ever – and Joe Henderson really drives the whole session home with some incredible tenor work. Other group members include Teddy Smith on bass and Roger Humphries on drums – and titles include the instantly famous "Song For My Father", plus "Que Pasa", "The Kicker", and "Calcutta Cutie". This great CD reissue also adds a whole bunch of extra cuts to the original album, including new material never heard before, and a trio version of "Que Pasa". 10 cuts in all! CD

A great later set from Nina Simone – quite sensitive at times, and with a different feel than some of her 70s work – but one that's still pure Simone all the way through! There's a return-to-classic feel going here – the sort of album that Jimmy Scott and others were making in the same early 90s stretch – when record labels realized that all the clunkier modes vocalists were saddled with in the 80s just weren't working, and that everyone was much better off with warmer strings and jazzier instrumentation pulled from years past. The approach gives the album a more classic jazz vocal style than some of Simone's other work, especially on the ballads – and tunes were arranged by Nina, Richard Evans, Jeremy Lubbock, and John Clayton. Titles include "A Single Woman", "Lonesome Cities", "Papa Can You Hear Me", "Just Say I Love Him", "The More I See You", and "Love's Been Good To Me". CD

The gentler side of Keely Smith – recorded here away from Louis Prima in a warmly sweet style that reminds us that she's a heck of a great singer on her own! The album features some top-shelf backings by Nelson Riddle, who gives Keely the kind of sensitive interpretations that he brought to his Sinatra albums for Capitol during the 50s – a style that makes the session way more than just a simple batch of pop tunes and ballads, and places Keely right up there with some of the best interpreters of American song at the time. Most of the tunes are standards, done in Riddle's lightly jazzy way – and titles include "Imagination", "I Wish You Love", "When You're Alone", "Don't Take Your Love From Me", "Mr Wonderful", "When Day Is Done", and "When Your Lover Has Gone". CD also features 6 more bonus tracks – some of which break the format of the album a bit – "I Wish You Love (alternate)", "Rock A Doodle Doo", "I Would Do Most Anything For You", "Shy", and "Just As Much". CD

A smooth groovers from the mid 80s by Lonnie Liston Smith – a lot better than you might think for the time! Though this side's a set that leans a bit more towards being a straight jazz effort than some of Smith's more cosmic recordings of earlier years, it's got a sweet mellow feel – with Lonnie on acoustic piano, grooving with a small group on tunes that include "Duke's Place", "Close Your Eyes", "Speak Low", and "Wives & Lovers", plus the Cecil McBee original "Carry Paul & Louisa". CD

Maybe the greatest record so far from Tinariwen – and a set that definitely has them really honing their amazing guitar-based skills, yet all without sounding commercial or crossover at all! The album's got a fullness that we've never heard before from the group – kind of a righteous power that really pushes their sounds and social agenda forward very strongly – at a level that really descends regional boundaries, and really lives up to the globe-trotting spirit of the group in recent years. The sound is wonderful – completely evocative right from the start, yet still very much focused on the core energy of the group, without any attempts to ever overproduce anything at all. Titles include "Emajer", "Koud Edhaz Emin", Tahalamot", "Sendad Eghlalan", "Toumast Tincha", and "Timadrit In Sahara". CD

Trio Mocoto first rose to fame as the funky band behind Jorge Ben on his early 70s classics – the combo that gave him such a soulful sound – and here on their own, they sound pretty darn great – with a style that follows the same evolution as Jorge's own sound at the time! The core elements are still a mix of funk, samba, and soul – but there's also a slightly warmer sound to the production – one that really ties the whole thing together, and maybe gives the group even more force than before! Riffing guitars snap alongside the lively percussion – and the trio trade voices in a mighty nice way – sometimes with a bit of backup from other singers too. Titles include "Nao Adianta", "Toda Tarde", "Rosa", "Onde Anda Voce", "O Meu Violao", and "Xuxu Melao". CD

Where it's at with Stanley Turrentine – circa 1962 – a time when the tenorist was really hitting on all burners, and turning out some tremendous work for Blue Note! The album's got Stan working with a special guest – a rare Blue Note appearance from pianist Les McCann, who's also at the height of his early career here – and really brings great energy to a quartet that also includes Herbie Lewis on bass and Otis Finch on drums. Les' piano has a nice bite – and really makes for a great groove alongside Stan's round, warm, raspy tone – a righteous sort of energy that drives the record strongly, in ways that are different than some of Turrentine's other sessions of the time. The whole thing's a cooker – and titles include "Pia", "Smile, Stacey", "Dorene Don't Cry I", and "Light Blue". CD also features a bonus take on "Light Blue". CD

Pivotal work from Waldron – stepping out of the blowing session mode, emerging as one of the 60s most striking moderinists. Like a lot of Waldron's records from the time, this set shows an amazing desire for new forms and modern ideas, and the mix of players – Eric Dolphy, Booker Ervin, Ron Carter, Joe Benjamin, and Charlie Persip – pulls the material in a number of different ways. Carter plays bowed cello, as he did on Dolphy's Out There session, and he gives the set a dark moody feel. Ervin's in his best modernist mode, and he ably trades lines with Dolphy and keeps the whole thing moving nicely. Waldron's writing and arranging is superb, and the tracks feature a lot of weird time structures and unusual modal patterns. Includes the tracks "Status Seeking", "Warm Canto", "Warp and Woof", and "Fire Waltz". CD

One of Sadao Watanbe's excellent late 60s bossa albums – beautifully rich, but mellow readings of bossa nova numbers – in a way that takes music that had already been introduced to Japan a few years earlier, and gives it even wider exposure with Sadao's wonderfully soulful, jazz-based approach! Sadao plays both flute and alto sax – and backing is from a small combo that mixes in Brazilian-styled guitar and percussion next to the piano from Masabumi Kikuchi and drums from Masahiko Togashi – who you'll know from other Japanese jazz of the time! Watanabe's reeds have a raspy, off-kilter quality that's almost more human than many Brazilian jazz efforts of the time – and titles include "O Grande Amor", "Felicidade", "Here's That Rainy Day", "Agua De Beber", "White Wave", "From Russia With Love" and "So Danca Samba". CD

Weather Report at the height of their 70s fame – captured live in a double-length set, very much the practice for jazz superstars of the time! The format is familiar – but the liveness gives the album a slightly different feel than their studio sets – a sound that echoes out strongly along with thunderous applause from the crowds, who are themselves clearly situated in some very large arenas. And while the studio Weather Report albums are easily documents of the group's power themselves, it's something extra to hear the crowd going nuts for them here – cheering on Jaco Pastorius during a frenetic bass solo, roaring with approval at a Joe Zawinul keyboard bit, or clapping with enthusiasm after Wayne Shorter finishes a snakey solo. Tracks are all longish, and titles include "Scarlet Woman", "Black Market", "Birdland", "Thanks For The Memory", "8:30", "Brown Street", "In A Silent Way", and "Slang". CD

The initial uttering from the West Coast Pop Art Experimental Band – a group with a heady sound that definitely lives up to their name! There's less "pop art" going on here than just trippy psych – served up at a level that makes the group one of the best bigger label examples of the style at the time – and definitely a lot more edgey than some of their labelmates on Warner. Jimmy Bowen produced, but really keeps all the edges intact – and titles include the completely insane "Help I'm A Rock" (actually about a rock calling for help!) – plus "Shifting Sands", "1906", "Transparent Day", "Here's Where You Belong", and "If You Want This Love". CD features bonus single mixes of "Help, I'm A Rock" and "Transparent Day". CD

A record we'd never part with – and easily our favorite album ever from The Who! Quadrophenia represents the group at its peak from all perspectives – songwriting, performance, and even studio presence – as the album's got a sonic sensibility that few other albums of the time can match! The set's a concept record – a story, like Tommy – yet it remains incredibly lean, without any overcluttered rock opera feel – so much so that most tunes stand mightily on their own, but also have a dense sense of texture when taken together as part of the double-length album. And we'll also say that the record's one of the few extended sets we always end up breezing through from start to finish – almost surprised by the time it comes to a close – and often hitting repeat to hear the whole thing over again! Titles include "I Am The Sea", "The Real Me", "Cut My Hair", "The Punk & The Godfather", "Sea & Sand", "5:15", "Bell Boy", "Love Rein O'Er Me", and "Is It In My Head". CD