Three groundbreaking albums from reedman Jan Garbarek – packaged in a single set! First up is Sart – a great example of the way that ECM helped to bring the voice of the Scandinavian jazz underground to the world at large – as the album's a key showcase for the talents of budding young modernists Jan Garbarek, Bobo Stenson, Terje Rypdal, and Arild Andersen! The record's got a really unusual quality that's quite different from the more jamming fusion or freer jazz of the mid European scene – a sense that plays with space between the notes as much as it does the sounds of the individual instruments, and which seems perfectly cast for the newer style of jazz recording pioneered by ECM. Garbarek plays tenor, bass, and flute on the record; Stenson is on electric and acoustic piano; Rypdal on guitar, Andersen on acoustic (but amplified?) bass, and Jon Christensen is on drums. Titles include "IRR", "Song Of Space", "Close Enough For Jazz", "Sart", and "Fountain Of Tears". Witchi Tai To is warm and wonderful sounds from Garbarek – and a record that brings together so many strands at once! There's of course the obvious atmospherics you might expect from a 70s set on ECM – but there's also some sharply modern moments too – that harder sound that the label was endorsing while helping to shape the world of European jazz on both sides of the fence. And there's even some surprisingly soulful moments, too – not just from Jan's work on tenor and soprano sax, but also from the piano of Bobo Stenson – which rings out wonderfully amidst subtle bass from Palle Danielsson and drums from Jon Christensen. Titles include a great version of Jim Pepper's "Witchi Tai To", plus "Hasta Siempre", "AIR", and "Desireless". Dansere is one of the highlights of saxophonist Jan Garbarek at ECM – and a set that has him working with the well-matched lineup of Bobo Stenson on piano, Palle Danielsson on bass, and Jon Christensen on drums! The shape of the songs is a bit looser than before, but Garbarek and Stenson turn out to be perfect in the setting – opening up, stretching out, and breaking down convention – yet also never losing themselves in self-indulgence either. Titles include "Dansere", "Lokk", "Fris", "Til Vennene", and "Skrik & Hyl". CD

A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate". CD

A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate". CD

An incredible album from Bill Evans – and maybe THE record you need in your collection if you're trying to understand his contribution to jazz! The album's one of Evan's first sides from the Village Vanguard – and features the legendary trio that included Scott LaFaro on bass and Paul Motian on drums – both players who could shake free from conventional rhythmic roles in a piano trio, yet who also support Evans' lyrically modal playing here beautifully! The tracks are a bit longer than Bill's studio sides from the time, allowing for even more magical interplay on the keys – and titles include "My Foolish Heart", "Waltz For Debby", "Detour Ahead", "My Romance", "Some Other Time", and "Milestones". Features bonus tracks – "Porgy", plus alternates of "Waltz For Debby", "My Romance", and "Detour Ahead". CD

The greatest moment ever from the legendary Bobbi Humphrey – a funky, soulful flute player who had more than her share of great moments over the years! This set may well be the summation of all the genius that Humphrey had to offer – a collaboration with genius producer Larry Mizell, at a level that matches is Blue Note classics with Donald Byrd, or the Music Is My Sanctuary album with Gary Bartz – a groundbreaking blend of jazz instrumentation and studio technique! The sound is never smooth, nor commercial – and instead, Bobbie's flute and vocals soar out majestically on these long tracks with building keyboard lines, subtle chorus parts, and touches of bass that really transform the rhythms past conventional soul fusion of the period. Every track is a winner – purely fantastic stuff – and classics include "Chicago Damn", "Jasper Country Man", and the genius "Harlem River Drive". CD

A beautifully bracing title from this hip Scandinavian trio – one of the best recent releases on the mighty Jazzland label – very much up to the high standards of the imprint! The group here is a slightly unusual one – a trio with violin from Ola Kvernberg, plus bass and drums – all played in a way that's quite different than other violin jazz on the European scene – much more sound-based and textural, with the violin working in a way that's still melodic, but not in conventional ways. The bass here is especially strong – a richly pulsating sound from the hands of Steinar Raknes, which really pushes most tunes forward into very dark space – and the drums aren't bad either, done by Erik Nylander, with a spare snap that further echoes out the space. Kvernberg also sings, howls, and claps a bit – but his main contribution is violin – on titles that include "Lament", "Song Before Breakfast", "Music For A While", "Octacgon", "Haifas Steps", and "Adaptation Suite". CD

A brilliant album from Kaidi Tatham – deeper by far than anything we've ever heard from him, and way more than you might expect if you only know his singles from the London scene! This set's got a very strong jazz component – monstrous keyboard work from Kaidi that stretches and soars with the kind of sound you might expect from George Duke on MPS – coupled with some leaner, more rhythmic elements that show Tatham's strong ties to the London scene – yet still in ways that really break from its conventions! There's mostly a great groove to the tracks, but there's also a warmth, depth, and spirituality to the record that's really amazing – the kind of new territory that others have found on the excellent Freedom School label – a place that offers a rare outlet for creative expression in times like these. The whole thing's instrumental, and Kaidi played all instruments himself – mixing acoustic percussion with beats, electric keyboards with piano, and coming across with a sound that's far richer than the sum of its core elements. Titles include "Simiya", "I'm High", "So Amazed", "Swift Inspiration", "In Search Of Hope (part 1)", "Do What You Gotta Do", "On A Vibe", "These Things Will Pass", and "He Laughs She Cries". (New Grooves, Jazz) CD

An incredible album from Bill Evans – and maybe THE record you need in your collection if you're trying to understand his contribution to jazz! The album's one of Evan's first sides from the Village Vanguard – and features the legendary trio that included Scott LaFaro on bass and Paul Motian on drums – both players who could shake free from conventional rhythmic roles in a piano trio, yet who also support Evans' lyrically modal playing here beautifully! The tracks are a bit longer than Bill's studio sides from the time, allowing for even more magical interplay on the keys – and titles include "My Foolish Heart", "Waltz For Debby", "Detour Ahead", "My Romance", "Some Other Time", and "Milestones". Features bonus tracks – "Porgy", plus alternates of "Waltz For Debby", "My Romance", and "Detour Ahead". CD

2 amazing albums from the 2nd version of the Jimmy Giuffre 3! After working with his first combo of Bob Brookmeyer and Jim Hall during the late 50s, Giuffre hooked up with a pair of younger modernists – Paul Bley and Steve Swallow – reintroducing the piano and bass to his trio format, instruments that had been previously missing because Giuffre wanted to explore the possibilities of melodic composition freed from rhythmic constraints. With this trio, Giuffre was still working in that mode – as you'll hear on Bley and Swallow's incredibly free playing. The group's performances are not free jazz by any means, but they're a key link in that tradition – as Giuffre and crew do an excellent job of creating unconventional compositions, most of which feel like little sculptures in sound. There's a total of 20 tracks on 2CDs – and titles include "Cry, Want", "Trudgin", "Jesus Maria", "Ictus", "Sonic", "Whirrrrr", "The Gamut", "Herb & Ictus", and "Flight". Both records originally available on Verve, now repackaged by ECM. CD

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall". CD

This trio of key contemporary AACM musicians from Chicago pay tribute to the organization's fifty years of shaping the sound of jazz – in a set that features their own unique interpretations of older compositions by older AACM members! The trio setting really seems inspirational all the way around – and the album's maybe some of the most striking work we've heard from all players in the last few years – a set that's able to swing straight one minute, but rejoice in freedom the next – all with that balance of structure and improvisation that we love in the music of Mike Reed! Reed's wonderfully dynamic on the drum kit – he seems to get better and better every year – and Nicole Mitchell is amazing on flute, and really takes the instrument past both conventional expressions, and even some of her own previous work. Tomeka Reid rounds the group out on cello, playing with much more of an edge here than usual – and titles include "Bernice/Days Fly By With Ruby", "BK", "The Clowns", "Have Mercy On Us", "Light On The Path", "Munkt Munk", and "Composition 23B". CD

5 albums from Lee Morgan – one of the coolest cats to ever handle a trumpet for Blue Note! First up is Delightfulee – really unique album from the great Lee Morgan – a set that features the trumpeter in two different settings, but in a way that really works well together! Most of the album has Lee blowing in a very cool quintet – with Joe Henderson on tenor, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums – a group who maybe bring out a slightly hipper vibe that really points the way to the rest of Morgan's direction in the late 60s, when he was really letting some more spiritual currents loose. The other two tracks on the record feature a hip larger band directed by Oliver Nelson – swinging hard in a really soulful style! Nelson's arrangements on these two tracks are great – quite progressive, with a soul jazz big band style that seems to point the way towards the 70s – and the band provides a raging backdrop that lets Lee's trumpet soar over the top in beautiful crystal clear solos. Titles include "Nite Flite", "Delightful Deggie", "Ca-Lee-So", and "Zambia". Also features a few bonus tracks. The Cooker is a very appropriate title for a very cooking little album – one of Lee Morgan's first efforts as a leader, cut back during his first years of late 50s fame! The style here is a bit less Morgan-esque than some of Lee's later 60s classics – but the record is rock-solid throughout, and proof that Morgan was every bit as great a leader in a hardbop session as Hank Mobley or some of the other emerging heavyweights at Blue Note! The strength of the group really helps keep the fire stoked on the set – and Bobby Timmons turns in some amazing piano work alongside a lineup that includes Pepper Adams on baritone sax, Paul Chambers on bass, and Philly Joe Jones on drums. The Adams presence gives the record a bit of the feel of some of Pepper's sessions with Donald Byrd – but the sparkling, soaring sound of Morgan makes the record way more than just a copycat set. Titles include "New-Ma", "Night In Tunisia", "Lover Man", "Just One Of Those Things", and "Heavy Dipper". Lee Way is an undisputed masterpiece by Lee Morgan – and one of the first records in which he shed his straight bop sensibility, and began evolving into a soulful genius for the 60s! The album's got 4 long tracks that all build beautifully – really extended numbers that break the format of some of Lee's earlier work, and hint a bit at some of the more complicated touches he'd use on later sessions. All players are great – and include fellow Jazz Messengers Bobby Timmons on piano and Art Blakey on drums, plus Jackie McLean on alto and Paul Chambers on bass. Titles include the sublime "These Are Soulful Days" – a perfect model of soulful lyricism – plus "Midtown Blues", "Nakatini Suite", and "The Lion & The Wolff". Rumproller often gets too easily lumped next to The Sidewinder – because of an obvious title and cover similarity to that hit record – but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" – hard-wailing soul bop, in the manner of Lee's most popular work – but then it easily flows into more sensitive material that has a freer, lyrical feel – like the great original tune "Eclipso" and Wayne Shorter's "Edda" – both of which are superb. Lee is astounding, as always, on trumpet – and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. Search For The New Land is a brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keen poof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate". CD

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes". CD

A second great set of standards from Keith Jarrett – and like the first one, a great reminder to many that the pianist was still very strongly schooled in jazz! Although Keith really opened up ways for pianists to stretch out in the 70s, his move to material like this in the early 80s was a great one – as it moved Jarrett away from some territory that was a bit overly-trod, and managed to bring a new sort of sensitivity to his music! Of course, the whole trio here is really part of the success – bass from Gary Peacock and drums from Jack DeJohnette – both, like Jarrett, players who'd more than had their chance to stretch out, explore new modes, and were bringing all that freedom and experience to play here in a setting that's outwardly conventional, but still plenty darn fresh. Titles include "I Fall In Love Too Easily", "Never Let Me Go", "So Tender", and "Moon & Sand". CD

An ambitious little set from Christian McBride – one that brings together 3CDs of music recorded over 2 nights of performance – all in a mode that shows McBride picking up plenty of funky touches! The group here features Geoffrey Keezer on keyboards, Ron Blake on saxes, and Terreon Gully on drums – really hitting the kit with a pounding intensity to match McBride's pulsating work on both acoustic and electric basses – jamming here a lot strongly than we remember from other studio sides. The expanded package is presented (amazingly) at the same price as a regular CD – and offers plenty of long tracks to really hear this great band stretch out in a space that's nicely between conventional jazz and some of the looser modes of the jamband underground. Guest appearances include Charlie Hunter, DJ Logic, Scratch, Eric Krasno, and Jason Moran – and titles include "Say Something", "Clerow's Flipped", "Lejos De Usted", "Sonic Tonic", "Hibiscus", "Sitting On A Cloud", "Mwandishi Outcome Jam", "Lower East Side", "See Jam Hear Jam Feel Jam", "E Jam", and "D Shuffle Jam". Lots of jams! CD

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

One of the most consistently creative piano trios in the world today – a group who are always pushing the boundaries of their sound, strongly keeping away from familiar territory and tradition – yet always with a sense of swing and lyricism that continue to appeal to fans of more conventional jazz! EST aren't really ever that "out", but they're always stepping into unexpected space – odd sounds from the piano, noises you can't really place, and ways of blocking out a tune that are quite different than a regular trio session – but which also don't have the tricks or easy gimmicks of some of the jamband-oriented side of the jazz spectrum. Titles include "The Goldhearted Minor", "Beggar's Blanket", "Goldwrap", "Dolores In A Shoestand", "Fading Maid Postludium", and "Slipping On The Solid Ground". CD

One of the most consistently creative piano trios in the world today – a group who are always pushing the boundaries of their sound, strongly keeping away from familiar territory and tradition – yet always with a sense of swing and lyricism that continue to appeal to fans of more conventional jazz! EST aren't really ever that "out", but they're always stepping into unexpected space – odd sounds from the piano, noises you can't really place, and ways of blocking out a tune that are quite different than a regular trio session – but which also don't have the tricks or easy gimmicks of some of the jamband-oriented side of the jazz spectrum. Titles include "The Goldhearted Minor", "Beggar's Blanket", "Goldwrap", "Dolores In A Shoestand", "Fading Maid Postludium", and "Slipping On The Solid Ground". CD

Sublime overseas work from these two legendary musicians – both players from different scenes in the US, and who never would have crossed paths back in the day – but who really sparkle here with a sense of brilliance that brings out the best in both artists! There's no other accompaniment at all – just the piano of Horace Parlan alongside the tenor and soprano sax of Archie Shepp – right at that point when Shepp was exploring more conventional structures of jazz, but with all the knowledge he'd learned from the avant scene – which makes for wonderfully soulful ballads here that are unlike anything you might expect. Parlan is great too – stretching out in the very resonant space of the recording – and titles include "Deep River", "Goin Home", "Amazing Grace", "Go Down Moses", and "My Lord What A Morning". CD

Stanley Turrentine's no spoiler here – as his tenor sax soars out over the top of some sweet larger group arrangements from Duke Pearson – all awash in a great sense of soul, joy, and life! The album's got a much brighter feel than you might guess from the cover – a vibe that's a bit similar to Stan's classic Joyride album, but a bit more open and free – thanks to the lyrical touches of Pearson on the charts. Other players include Blue Mitchell on trumpet, Julian Priester on trombone, James Spaulding on alto and flute, and Pepper Adams on baritone sax – plus rhythm from McCoy Tyner on piano, Bob Cranshaw on electric bass, Mickey Roker on drums, and Joseph Rivera on percussion. As on some of the other Pearson dates from the time – particularly those with Donald Byrd – the use of electric bass really opens things up, by creating a subtle rhythmic pulse that really drives most numbers along. And also in the Pearson mode, the added players aren't really a horn section in the conventional way – just a group of like-minded, top-shelf jazz players who egg on the main soloist with a great sense of enthusiasm for the music! Titles include "La Fiesta", "The Magilla", "Sunny", "Maybe September", "You're Gonna Hear From Me", and "When The Sun Comes Out". CD