The grooviest work so far from the Hi-Fly Orchestra – a set that moves even farther past the sublime territory of their debut, into a really classic blend of soul jazz and Latin rhythms – produced to perfection with a wonderfully solid feel! Instrumentation here is all live – a blend of sax, flute, trombone, Fender Rhodes, piano, and plenty of percussion – all handled with a feel that takes us back to some of our favorite territory on Verve Records from the 60s, those wonderful records that blended elements from the Latin underground with some of the harder jazz leanings of the period – a legacy these guys are happy to add to with their wonderful grooves. Miriam Aida guests on vocals on two cuts, but most titles are instrumental – and tunes include "Afro Boo", "Carioquinha", "Polonesa", "SP Samba", "Mrs Shing A Ling", "Hi Fly Stomp", "Mambo Atomico", and a surprisingly groovy cover of "Crosstown Traffic". (Deep Funk, Jazz) CD

A set recorded in the 90s, but one that brings together a host of players who recorded for Riverside Records in the late 50s and early 60s! The core sound is right in keeping with the label's best mix of hardbop, modern, and soul jazz at the time – and the ensemble is mighty tight, and hardly the "jam session" group you might expect! Instead, the record features a sextet with Nat Adderley on cornet, Jimmy Heath on tenor, Buddy Montgomery on vibes, Tommy Flanagan on piano, Bob Cranshaw on bass, and Albert Tootie Heath on drums – all coming together with the solid sock you might expect from some of Nat's classic Riverside dates with brother Cannonball Adderley! Tracks are nice and long – and titles include "Hi Fly", "Jive Samba", "Big P", "Back To Back", "You've Changed", and "Pannonica". CD

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'". CD

A great document of a really unique slice of 50s jazz – the trad-based jam session recordings led by Buck Clayton in 1953 and 1954! The sessions were originally recorded for Columbia Records by John Hammond – and done in a style that wanted to break from the tighter jam session mode used over at Verve. Clayton was the ostensible leader, but Hammond really directed the sessions – using the famous trumpeter in conjunction with players that included Joe Newman, Urbie Green, Sir Charles Thompson, Joe Thomas, Al Cohn, Jo Jones, and others – all in a mode that had a rougher, more "on the spot" sort of feel. The set brings together 19 tracks on 3CDs – all much longer than usual for the time, especially for Clayton's recordings – and featuring titles that include "Moten Swing", "How Hi The Fi", "Blue Moon", "Lean Baby", "Robbin's Nest", "Undecided", "Blue Lou", and "All The Cats Join In". CD

Eddie Harris was a hell of a saxophonist, and he was also a hell of an entertainer too – something that didn't always come through on his studio records of the 60s and 70s! This live set features Eddie late in life, but still completely on fire – scatting a very cool intro to the whole performance, then leading a tight group with a lot of warmth – while he also still blows us away with the soul and personality he brings to his solos on tenor. Things are a bit loose on the rhythmic tip, which seems to open up Eddie's horn even more – and the group here features Ronald Muldrow on guitar, Louis Spears on bass, and Albert Tootie Heath on drums. Eddie plays a bit of piano, too – and titles include "Scat", "Song", "There Was A Time", "Lover", and "Softly As In A Morning Sunrise". CD

A quadruple-header from Ramsey Lewis – four albums from his great 70s electric period on Columbia Records! First up is Funky Serenity – sweet electric funk from Ramsey Lewis! The album's one of his best from the 70s – and it's got Ramsey on Fender Rhodes, electric harpsichord, and other keyboards, grooving away in an open-ended 70s mode that still retains all the heavy soul of his classic work for Chess. Morris Jennings adds in some very nice percussion with his drum work, and Cleveland Eaton's on funky bass, giving the set a strong bottom groove. Features the sublime sample cut "My Love For You", a great version of "Knights In White Satin" that's done with a weird spacey groove, plus the tracks "Kufany Mapenzi (Making Love)", "Serene Funk", "What It Is!", and "Dreams". Golden Hits isn't a "best of", but instead has Ramsey and his funky mid 70s trio with Morris Jennings and Cleveland Eaton revisiting some of his best loved material from the Cadet years, but with the groovy Rhodes and wah wah sound that we dig so much about his CBS recordings. Unlike some of the other records from this period, the group's nice and stripped down, just the electric piano, bass and drums, so the groove's nice and wide open, Ramsey and company popping along with the sanctified soulful vibe of his 60s work, but updating their sound with some nice electric touches. 9 numbers in all: "Hang On Sloopy", "Blues For The Night Owl", "Hi-Heel Sneakers", "Carmen", "Delilah", "Wade In The Water", "Slippin' Into Darkness", "Somethin' You Got", and "The In Crowd". Solar Wind was cut smack dab in the middle of Ramsey's glory days at Columbia Records – with great production help and work on bass from the mighty Cleveland Eaton! The style is nice and lean, with just some occasional fuller touches – and Ramsey plays plenty of Fender Rhodes, in addition to bits of Arp and moog too – in a setting that's mostly trio, with a few guest players stepping into the mix from track to track! There's a nice degree of fuzz at points, thanks to added help from Steve Cropper – and titles include a great funky version of "Summer Breeze", plus "Solar Wind", "Come Down In Time", "Love for A Day", "Hummingbird", "Jamaican Marketplace", and "Sweet & Tender You". Sun Goddess is one of our favorite Ramsey Lewis albums ever – and a perfect summation of the genius that was brewing on the Chicago scene in the late 60s and early 70s! The album has Ramsey working strongly with Earth Wind & Fire – no surprise, given his close ties to Maurice White, who was the drummer in Ramsey's trio before starting his own group – and the shared relationship both artists had with producer Charles Stepney! The three were all key parts of the late 60s sound at Chess Records – but here, they've brought the same soulful energy to Columbia – working in a wider, more mature groove for the 70s – one that has Lewis' wicked Fender Rhodes lines stretching out strongly over tight, compressed, funky lines from EWF! The centerpiece of the set is the massive 7 minute "Sun Goddess", but there's lots of other nice ones like "Living For The City", "Gemini Rising", and "Jungle Strut". Funky, electric, and sublimely wonderful all the way through! CD

A smoking live set from Cannonball Adderley – one recorded in a space between his famous concert albums for Riverside and Capitol Records – and equally as great as any of them! The group's got a slightly unique lineup – in that Charles Lloyd is in the combo on tenor sax – alongside Nat on cornet and Joe Zawinul on piano – really making the most of the long tracks that are carved out perfectly by the group, in a blend of soul jazz and modal styles! Titles include "Jessica's Birthday", "Cajvalach", "Sewing Machine", "The Little Boy With The Sad Eyes", and "Come Sunday". CD

A great example of the Muse Records charm of altoist Richie Cole – bop-fired creativity at its peak, mixed with some added contemporary elements to keep things fresh! In this case, Richie's horn takes on some key bop classics, but also opens up a bit with vocalsits too – Eddie Jefferson on versions of "Hi Fly", "Relaxin At Camarillo", and "Waiting For Waits" – the latter of which also features Tom Waits as well! The Manhattan Transfer make some subtle guest appearances too – but in ways that are much more restrained than their own albums, really leaving most room for Richie's horn. Bruce Forman plays guitar and Dick Hindman piano – and titles include "Hi Fly", "Relaxin At Camarillo", "Hooray For Hollywood", "I Love Lucy", "Malibu Breeze", "Waiting For Waits", and "Tokyo Rose Sings The Hollywood Blues". CD

One of our favorite-ever albums on Blue Note – a great 60s session that features one of the most unique reed players to ever record for the label! George Braith takes a bit of a page from Roland Kirk – in that he handles a variety of oddly-tuned reed instruments, but with a wonderfully soulful focus – mixing this nice edge with more familiar soul jazz modes, at a level that makes his records of the time completely unique! The group also features some sublime organ lines from Billy Gardner – a player you might know more from previous records with Lou Donaldson on piano, but who's very open and expressive here – almost echoing Larry Young at times – which is great next to the work of Grant Green's guitar on the record! Braith's playing is incredible – slightly exotic, but also quite soulful – and titles include "Nut City", "Sweetville", and "Extension". CD

The hippest side of Cannonball Adderley at the end of the 60s – that loose, soulful vibe he was serving up on some of his coolest records for Capitol at the time – stretched out here over some very long tracks recorded live in France! The year alone marks the record as a great one – as Cannon in 1969 could do no wrong – and he's working here with his crack quintet that includes Nat Adderley on cornet, Victor Gaskin on bass, and Roy McCurdy on drums – plus the mighty Joe Zawinul on both acoustic and electric piano – really finding his groove here, with that incredible sense of chunky rhythm that really seemed to set Cannonball and Nat on fire! There's a much darker edge to the music than on some of Adderley's more popular Capitol albums of the late 60s – a great reminder that in a live setting, this group can bring together all sorts of surprises. Titles include "Why Am I Treated So Bad", "The Scavenger", "Experience In E", "Blue No Boogie", "Walk Tall", "Come Sunday", "Work Song", and "Manha De Carnaval". CD

Clear, clean, and tremendous tenor work from a young Eric Alexander – working here in one of his early partnerships with pianist Harold Mabern – in a way that really helps to re-direct Mabern's energy, and take him back to the glory days of his recordings in the 60s! Alexander's tenor has a classic sound here that's wonderful – focused and very sure of itself, and able to roll out on longer numbers with a great sense of imagination that avoids any too-easy notes or hackneyed choices. Mabern follows suit strongly – sounding better than on any of his trio records from the same period, and matching Alexander's youthful energy with some soaring lines of his own – often in a modal mode that seems to bring out the best in both players. Drums are by the rock-solid Joe Farnsworth, and bass is by John Ore – on tracks that include "Up Over & Out", "Eronel", "Flying Fish", "Blues For Mabe", "I Remember Clifford", and "Bewitched". CD

A righteous set from reedman Karl Martin Almqvist – blowing both tenor and soprano here in a quartet that also includes some really fantastic piano from Nduduzo Makhathini – a player we love on his own records too! As you might expect if you know Makhathini, there's some strong South African jazz elements in the mix – and a richness of piano tone that's wonderful, and only deepened by the bass of Magne Thormodsaeter – a player we don't know at all, but whose sense of tone and timing round out the whole album wonderfully! Ayanda Sikade plays drums – another great player from the South African scene – and titles include "Nordic Light"," Ababhemu", "Blauzac", "Reconciliation", "Ukubuyisana", and "Eva Johanna". CD

Sublime solo piano from the great Dave Burrell – maybe one of his best records ever! CD

The legendary Kenny Burrell played often at the Village Vanguard over the years – and this sweet set from later years has the guitarist really stretching out in the familiar setting – hitting some surprisingly deep, strong lines throughout – all with effortless ease! The record's a great reminder that Burrell kept on growing over the decades, and never seemed to lose his power as both a leader and a soloist – something we've been reminded of in his many records after this early 90s set – and the younger combo here really seems to bring out a fresh fire in Kenny, with work from James Williams on piano, Peter Washington on bass, and Sherman Ferguson on drums. Titles include the originals "Then Along Came You", "Good News Blues", and "Maya's Dance" – plus "Fungi Mama", "Lament", and "Black & Tan Fantasy". CD

Important early work from Jaki Byard – one of his first records as a leader, and a wonderful set of quirky piano trio tunes! Jaki's working here with Ron Carter on bass and Roy Haynes on drums – in a format that's similar to other trio records of the time, but which is really pushed to the limit by Byard's unique conception of the keys, and his unabashed ability to play well and whimsical at the same time! And by "whimsical", we're not saying "goofy", or "silly" – but really just are referring to Jaki's clearly unabashed love of all things musical – a joyous celebration of many strands of jazz, all coming together in a sound that's all his own! (Jaki worked often with Roland Kirk – and that's a good point of comparison.) Titles include "Cinco Y Quatro", "Giant Steps", "Garnerin A Bit", "To My Wife", and "Mellow Septet". CD

A hell of a set from the comeback years of tenorist Fred Anderson on record – a date that has Fred on tenor with familiar drummer Hamid Drake – joining pianist Marilyn Crispell during a special live performance on a visit to Chicago! The set's very much in the Crispell mode – produced and presented in a manner that's more like some of her records than Fred's – and the freewheeling piano work of the legend really seems to push Anderson on to even bolder moments than some of his other records from the time, but always balanced with the kind of sensitivity that makes him so great, easily echoed by Drake's work on percussion – and balanced out with that sense of space that has always kept us interested in Crispell's music over the decades. The album features six numbered pieces, each titled "Destiny". CD

Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". CD features 1 bonus track – "Serene". CD

A lost Duke Ellington gem from the late 50s – a session that has a decidedly different look than some of his other records of the time! We don't know if the Duke was into Sun Ra – but it almost seems like he was copping his thunder with this title and band name – a fair bit more flashy than the usual presentation for the Ellington group! The record's not nearly as trippy as you'd expect – but it's still a prime set of Ellingtonia from those key late 50s years – material played by a smaller group of "Spacemen" than Duke's fuller orchestra – with a bit more room for small group interaction, almost in a Verve mode. Players include Jimmy Hamilton on clarinet, Clark Terry on trumpet, Paul Gonzalves on tenor, Quentin Jackson on trombone, and Jimmy Woode on bass – and titles include "Avalon", "Midnight Sun", "Spacemen", "Bass-ment", "Early Autumn", and "Jones". CD also features a bonus alternate take of "Jones". CD

Two great albums from 1959! The first features John Coltrane playing with the Adderley group, recorded in Chicago when they were stopping through the city with Miles Davis' combo at the time! In fact, since the rhythm section includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – and since Coltrane's sitting in with Cannon – the album's essentially a Kind Of Blue-era Miles album, recorded without Miles on trumpet, and grooving in a slightly more soul-based Adderley mode. Given the presence of Coltrane, there's a bit less of the gutbuckety soul jazz that Cannon was cutting in his own Quintet – but that's more than ok with us, as the Coltrane solos more than make up for that difference! The set's got 2 great originals by Coltrane – "The Sleeper" and "Grand Central" – plus the cuts "Wabash", "Limehouse Blues", "Stars Fell On Alabama", and "Weaver Of Dreams". Cannonball Takes Charge is a hardbop classic – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. Titles include "If This Isn't Love", "Serenata", "Poor Butterfly", "I Remember You", and "I've Told Ev'ry Little Star". CD

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing trumpet in a cool tone that's a perfect offset to Cannonball's more soulful style on alto sax – also different than the sound of his brother Nat, who was Adderley's more frequent partner on records. The rest of the group includes Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", "Autumn Leaves", "Love For Sale", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle". CD

A real mindblower from the Japanese scene of the 70s – a perfect illustration of why that world of records was so incredible during the decade! The music here is spiritual, but also somewhat free – served up by musicians who'd clearly been inspired by John Coltrane and the Impulse Records generation, but who've clearly moved to their own plane of existence as a unit – really feeling each others' impulses automatically, and creating this cohesive vision of music that's simply fantastic from start to finish! All tracks are long, and often quite spiritual too – especially when the tenor and soprano sax of Kyoichiroh Morimura soar out in the lead – driven on by the fantastic piano of leader Tohru Aizawa, and the bass of Kohzoh Watanabe and drums of Tetsuya Morimura. None of the players achieved the same fame as some of their bigger contemporaries, but really sound wonderful here – on titles that include "Dead Letter", "Sacrament", "Philosopher's Stone", and a great version of the Chick Corea tune "La Fiesta". CD

We're not entirely sure what happened to saxophonist JD Allen in recent years – but he's become an even bolder, more experimental player in his music – really augmenting an already-great legacy of albums with fresh new projects like this! The album continues that darker, more powerful approach that Allen has brought to recent records – and also takes it into new territory too, as he works in a lean trio with Gwilym Jones on drums and Alex Bonney on electronics and effects – the latter of which are used in these ways that are really subtle, but really great – shaping things almost in the background while Allen delivers searing tenor parts over the top! The set was recorded in London, and maybe catches some fire from the current experiments on that scene – on titles that include "The Revelator", "Know Dogs Allowed", "The Night Of Swords", "See It Say It Sorted", "Boom Bap", and "This". CD

A beautiful little record from this overlooked Windham Hill team – pianist Barbara Higbie and violinist Darrol Anger – working here in an open live setting that really lives up to the best spirit of the label! Both instruments are used in very fresh ways – moving through that new acoustic underground generation into modes that are more open to new phrasing and concepts, yet without any of the colder, quieter styles you'd hear from ECM records of a similar generation. Instead, there's this subtle sense of brightness, but one that's never too cloying or sentimental – as the players work with a quintet that also includes Mike Marshall on mandolin and guitar, Todd Phillips on bass, and Andy Narell on a bit of steel drums. Titles include "Egrets", "Egypt", "Brann St Sonata", "Pumpkin Time", "Duet", "Tideline", "Near Northern", and "Daughter Of Cups". CD

Piano and violin come together beautifully here – the former by Barbara Higbie, the latter by Darrol Anger – who also plays mandolin and cello as well! There's an acoustic balance here that's more jazz than some of the other Windham Hill albums of the time – especially in the music's sense of rhythm and phrasing – and the rich acoustic tones of both players get wonderfully past some of the new age cliches that are too-often wrongly associated with the label – and remind us that at their best, records like these offer up a key flowering of the acoustic underground of the 70s. Mike Marshall plays guest mandolin on one title – and tracks include "Movie", "Tideline", "Above The Fog", "True Story", "Onyame", and "Gemini". (Folk/Country, Jazz) CD

Unissued live material from a great stretch in the career of Count Basie – that time when he was turning in some excellent concert performances for Roulette Records, material that's got very similar charms to the music on this set! As with most of Roulette Basie, that revived sense of timing from Neal Hefti is very strongly in play – that magnificent sense of space between the notes that made this period of the Count's ensemble such a great one – with a rhythmic focus that's brilliant, and which opens up with even more excitement when a key soloist steps in! Players include Thad Jones and Snooky young on trumpets, Henry Coker and Benny Powell on trombones, Frank Foster and Eric Dixon on tenors, Freddie Green on guitar, Marshall Royal on alto, and Frank Wess on flute and alto – and there's a bit of vocals on a few tracks from later soul singers OC Smith and Irene Reid. Titles include "Segue In C", "Why Not", "Easy Money", "Backwater Blues", "Lil Darlin", "Easin It", "April In Paris", and "Cute". CD

Three full albums from this tremendous singer – all in a single set! Morning In Paris is very early work from South African singer Sathima Bea Benjamin – recorded in Paris in 1963, with backing by longtime partner Abdullah Ibrahim, plus additional piano and production by Duke Ellington! The album was cut around the same time as Ibrahim (Dollar Brand) did his famous Reprise album in Paris with Ellington – and it's got a similar mix of modern and moody styles – with Sathima singing in a mellower tone than we're used to from her later records, over extremely spare backing that often has the piano barely stepping in, and which also features some nice plucked violin work from Svend Asmussen – acting almost as the bass on a few tracks! Billy Strayhorn also sits in on this extremely unusual session – and titles include "The Man I Love", "Soon", "Lover Man", "I Should Care", "I Could Write A Book", and "Darn That Dream". Lovelight is always-great work from Sathima Bea Benjamin – one of the hippest jazz vocalists of the 80s, working here in a highly spiritual mode that sounds a lot more like records from many years past! There's a warmly gentle glow to the whole set – thanks to instrumentation from Larry Willis on piano, Buster Williams on bass, Billy Higgins on percussion, and Ricky Ford on tenor sax – all coming together in ways that are filled with unusual rhythms, odd turns of phrases, and just the right sort of unconventional accompaniment to fit the Africanist themes of Sathima's music at its best. A few numbers are more traditional, but even these have a nicely sensitive feel – and offer plenty of room for Willis to solo. Titles include "Winne Mandela Beloved Heroine", "African Songbird", "Gift Of Love – For Duke", "Music", and "You Are My Heart's Delight". Southern Touch is a set that's maybe a bit more of a straight jazz vocal record than some of Sathima Bea Benjamin's earlier material – but that might also be because the great Kenny Barron is part of the group on piano – supporting Sathima's great voice with the help of Buster Williams on bass and Billy Higgins on drums! Tunes are mostly standards, but it's great to hear them opened up with Benjamin's unique phrasing – that voice that was raised up on more righteous material in earlier years, and which still seems to bring some of that power to tunes that include "Street Of Dreams", "Lush Life", "One Alone", "I'm Glad There Is You", and "I've Heard That Song Before". (Vocalists, Jazz) CD

A pair of later jazzy vocal LP gems by Teresa Brewer, both backed by jazz greats – Songs Of Bessie Smith with Count Basie and Thad Jones, and It Don't Mean A Thing If It Ain't Got That Swing with Duke Ellington – both released by Flying Dutchman in 1973! Teresa's popularity peaked a couple decades earlier as a girlish pop singer, and she succeeds strongly on both records – not just because of the jazz heavies in the band, but because she has the pipes and genuine affection for the material to pull it off. It's lovely stuff! Songs Of Bessie Smith have the bluesy overtones necessary to make it work, without trying the hide Teresa's naturally softer approach. Basie on piano throughout, with arrangements by Jones, and a great big band on half and more intimate arrangements on the other half. It Don't Mean A Thing. . .works just as wel, with Duke Ellington and Ernie Wilkins arrangements, and great Flying Dutchman players that include Bernard Purdie, Joe Beck and Mtume. 20 tracks in all, including "Trombone Cholly", "Gmme A Pigfoot", "I Ain't Got Nobody", "St Louis Blues", "I Ain't Got Nothing But The Blues", "Mood Indigo", "I'm Beginning To See The Light", "I've Got To Be A Rug Cutter", "Tulip Or Turnip", "I'ts Kinda Lonesome Out Tonight" and more. (Vocalists, Jazz) CD

A 10th Anniversary performance by the Chicago Tentet – a wonderful group that's become the fruitful union of saxophonist Peter Brotzmann with a younger generation of players who were working heavily on the Chicago scene at the time! Back when the group first started, it was something of an experiment – but over the following decade, the ensemble won great attention for their playing, and for good reason too – considering the solo contributions of players like Ken Vandermark and Mats Gustafsson on reeds, Joe McPhee on trumpet and tenor, Johannes Bauer on trombone, Kent Kessler on bass, and Paal Nilssen Love on drums – all working under the visionary leadership of Peter Brotzmann! The tracks are all somewhat long and open-ended – almost more spacious than on other Chicago Tentet records, with a freely improvised feel. Titles include "Ten By Ten", "Little By Little", and "Step By Step". CD