Moody work by Paul Horn – with a focus more on "images" of Brazil, than on the Brazilian jazz you might expect from the title! Like much of Horn's work from the time, the recording is very spacious – with Paul blowing on flute in a style that's as much about exploring space as it is creating a tune – working with a small group that includes percussion and acoustic guitar, plus a few additional percussion bits from Airto. Titles include "Amazonia", "Brazilian Images", "Streets Of Sao Paulo", "Mulher Solitaria", "Sambinha", and "Funky Town". CD

Fiercely funky Freddie Hubbard – a late 70s live date, but one that has the same bold power as his early 70s albums for CTI! Like those classics, the tracks here are all quite long – and served up in this beautifully flowing mix of acoustic and electric elements – Freddie on trumpet, Hadley Caliman on tenor and flute, Billy Child on piano and keyboards, Larry Klein on bass, and Carl Burnett – a group that works together so beautifully in the live environment, you'd think their performance was the process of multiple takes! We love the spiritual energy that Hubbard can get in such a setting – and most of the record stretches out with very long tracks, including two that go past the 20 minute mark. Titles include "Take It To The Ozone", "Little Sunflower", "One Of A Kind", "Here's That Rainy Day", "Blues For Duane", and "Love Connection". CD

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

Long, live, improvised duets between drummer Kim Dae Hwan and trumpeter Choi Sun Bae – the latter of whom also blows a bit of harmonica on the set! Yet mostly, Bae is blowing trumpet – and he's got this earthy, raspy tone that's great – very mouthy at points, then shifted into bolder, more distinct phrasing – a balance that's really great for the work of Hwan on drums – which is sometimes tentative and spacious, sometimes very full on and dynamic! The set features three selections, each of differing lengths – and the recording quality is wonderful, with a great sense of "room" that seems to recreate the spontaneous interaction between the players. CD

Great solo piano work from Abdullah Ibrahim – and a set that's put together a bit differently than some of his other records of this nature! Often, solo Ibrahim sides are quite long and extended – but this time around, most of the tracks are quite short – some around three minutes, some almost only 60 seconds – making for a really fresh approach to the solo piano genre, and one that almost has Abdullah painting these wonderful little pictures in sound! The brevity of the tunes is no reflection of their depth – as Ibrahim really packs a lot into the small space focusing his ideas wonderfully, and moving through some dark themes that really hold us in rapt attention throughout. Titles include "Jabulani", "Mamma", "Bayana Children Of Africa", "In The Evening", "Ocean & The River", "Blue Bolero", "For Coltrane", "Dust", "Tookah", and "Blues For A Hip King". CD

Pianist Masaru Imada picks up some keyboards for this sweet 80s set – still keeping things in that warmly soulful style of some of his previous albums, but also opening up the groove too – thanks to some excellent guest work from Japanese jazz heavyweights Kazumi Watanabe on guitar and Toshiyuki Honda on alto, soprano sax, and flute! The set's got more of a fusion vibe than some of Masaru's 70s material, but still also has an acoustic ear at the heart – a sense of warmth and lyricism that holds strong throughout, on titles that include "On The Waves", "Sunshine Blvd", "Marine Diving", "Mad Riding", and "Pretty Skip". CD

Really lovely piano work from Masaru Imada – a player who's a bit gentler than some of his Japanese contemporaries of the early 70s, but who also works with this wonderfully lyrical tone! Imada does a great job of balancing a sense of flow with a punctuated approach to the keys – never overdone, and often with this spacious sensibility – but more pointed than a Bill Evans style as well. The first half of the album is solo material, and the second features a trio – bass is by Isoo Fukui and drums are by Mashiko Ozu – both players who step into Imada's world in a way that's subtle, but extremely effective. Titles include "Poppy", "Sea Weeds", "Ascent", "Left Alone", and "When Sunny Gets Blue". CD

Really lovely piano work from Masaru Imada – a player who's a bit gentler than some of his Japanese contemporaries of the early 70s, but who also works with this wonderfully lyrical tone! Imada does a great job of balancing a sense of flow with a punctuated approach to the keys – never overdone, and often with this spacious sensibility – but more pointed than a Bill Evans style as well. The first half of the album is solo material, and the second features a trio – bass is by Isoo Fukui and drums are by Mashiko Ozu – both players who step into Imada's world in a way that's subtle, but extremely effective. Titles include "Poppy", "Sea Weeds", "Ascent", "Left Alone", and "When Sunny Gets Blue". CD

A nicely bold record from pianist Masaru Imada – one of his most strongly-grooving records of the 70s, and a set that features some great hork work as well! The core trio features Kunimitsu Inaba on bass and Fumio Watanabe on drums – both of whom bring out a more soulful groove than on some of Imada's other albums of the time – which then gets really expanded by some excellent work from Seiichi Nakamura on tenor and Shigeharu Mukai on trombone – both very welcome players here, who really make the album shine! Titles include "Seeking Blue", "Piko", "Wake Up", and "Morning Sunrise". CD

A really lovely album from pianist Masaru Imada – a set that has some elements of the great Japanese fusion scene of the time, but a record that also has some warmer more acoustic moments too! Imada does a great job of balancing between upbeat groovers and some more personal, lyrical songs – and although he plays a bit of keyboards, most of his work is on acoustic piano – in a lineup of players that also includes Grovewr Washington Jr on soprano sax, Steve Khan or Kazumi Watanabe on guitar, Michael Brecker on tenor, and Steve Jordan on drums. There's some great interplay between the American and Japanese players – and titles include a version of Azymuth's "Carnival", plus "Morning Dream", "Blue Marine", "Secret Sounds", "Jumpin Dolphin", and "Andalusian Breeze". CD

A great second album from In The Tradition – a wicked combo from contemporary Detroit, and one who play with some incredibly righteous styles! The group's got some great percussion at the bottom – djimbe and conga from Kefentse Chike – and some tight horns on the top – a mix of reeds from songwriter Olujimi Tafatoana, plus trumpet and trombone – all given energy by piano from a few different players, and a bit of guitar as well. The set features a version of Horace Silver's "Mother Nature", but most other cuts are originals – one with a bit of vocals, the rest instrumental – on titles that include "Libation/For Nkrumah", "Blessed Blackness", "It's A Black Thang", "Children Of The Sun", and "In The Tradition". CD

A nice back to basics session from jazz singer Etta Jones – recorded with backing by a small combo that includes Houston Person on tenor – and done in the laidback style that always seems to bring out the best in her singing. Other players include Idris Muhammad, Jimmy Ponder, and Sonny Phillips – and tracks include "The Way You Look Tonight", "Be My Love", "Don't Misunderstand", and "Gloomy Sunday". (Vocalists, Jazz) CD

One of our favorite Japanese pianists of the 70s, working here with two younger players who really help preserve the mix of lyricism and groove that made his earlier records so great! Fumio Karashima plays both acoustic piano and keyboards here – the latter in the range of a Fender Rhodes, if not exactly that instrument – alongside the snapping drums of Nobuyuki Komatsu, and quick-stepping bass of Satuski Kusui, both of whom come into especially strong focus on the more upbeat numbers. The gentler cuts allow Fumio to really hit those poetic, introspective modes we love on the piano – and titles include "Who Cares", "Sun Rise", "Late Autumn", "Mr JH", and "Head Start". CD

Excellent early work from guitarist Ryo Kawasaki – a set that's got a leaner, meaner feel than some of his more polished later work – at a level that really lets Kawasaki shine throughout! The vibe is maybe a bit like CTI, but looser and more free – with wonderful colors and tones from Kawasaki as he finds his way on the album through a surprising range of styles – with great accompaniment from keyboardist Phil Clenninn, who plays Fender Rhodes, clavinet, and even some noisier Arp at times! The group also features Herb Bushler on bass, Buddy Williams on drums, Abdullah on percussion, and a young Steve Turre on shells – and titles include "Bridge Moon", "Bridge Sun", "Angana", and "Joni". CD

A great little session from Wynton Kelly – one that has him breaking out of the lyrical roots of his trio work, and hitting some harder notes as a leader of a larger hardbop group! The album features Kelly working in both trio and sextet format – the latter with players who include Nat Adderley, Bobby Jaspar, and Benny Golson; and the former with Paul Chambers and Jimmy Cobb (who also play with the sextet). The sextet tracks are the ones that we really love here – as they tend to feature 2 long original numbers by Kelly – much more open than usual, and in a mode that was rarely captured as well on Wynton's albums as a leader. The trio sides are still nice too, though – although a bit more like some of his other sides – and the album features 6 tracks in all, titles that include "Kelly Blue", "Softly As In A Morning Sunrise", "Green Dollphin Street", "Keep It Moving", and "Old Clothes". CD

Late Kenton on Capitol – but great Kenton too! In a way, Stan was almost best when he was working with standards – as on a set like this, he has an incredible way of transforming the sound of familiar numbers into something dark, moody, and modern. It's amazing to hear the way he raises the edge of tunes we thought we'd already heard too much of – and working with players like Charlie Mariano, Don Sebesky, and Rolf Ericson, Stan's in perfect company to really work magic with the material. Titles include "Django", "Willow Weep For Me", "I Get Along Without You Very Well", "The Thrill Is Gone", and "When Sunny Gets Blue". CD features the bonus track "Lazy Afternoon". CD

Sunny Kim on voice and live processing, Vardan Ovsepian on piano and keyboards, and Ben Monder on guitar. CD

A beautiful large concept work from UK saxophonist Cassie Kinoshi – one that features a rich array of players, all folded together in a warmly spiritual sound! There's echoes of some of the other mellow work on the International Anthem label here, but also more of the righteous currents of artists on the Gondwana label – all pushed even farther into more sophisticated territory with the larger arrangements in the music – which echo a Charles Stepney sort of majesty! Kinoshi leads the group on alto sax, and the lineup features trumpets, tenor, trombone, piano, guitar, bass, and drums – mixed with light strings, and even some flute and turntables too. The album's one long work that progressed beautifully in six parts – and is completed by another live recording from Total Refreshment Centre, "Smoke In The Sun". CD

Great double album live set with Roland leading a tight group through a long and varied set of material, all of which showcases the odd goofy sound of his music, and his offbeat approach to more familiar tracks. He talks a bit, makes the odd joke about being blind, and never ceases to amaze with his playing. A bit of vocals too, but sung in such a heartfelt way that you've gotta love 'em! Tracks include "Pedal Up", "Clickey Clack", "Prelude To A Kiss", "Bright Moments Song", "If I Loved You", and "Jitterbug waltz". CD

Beautiful early work from John Klemmer – one of the most under-rated talents of his generation, and a great player who frequently gets overlooked because of his later, smoother work. This album is Klemmer's first – recorded with a soulful Chicago tenor sound, touched with some of the freedoms of the late 60s Cadet Records scene. The approach is a bit like Eddie Harris at his best – with Klemmer rolling out soulful, stretched out notes over backing by a Harris-inspired rhythm section that includes Melvin Jackson on bass, Wilbur Cambell on drums, and Jodie Christian on piano. The groove is very solid, very in the pocket – and Klemmer blows in a tradition that includes Frank Strozier and Eric Alexander – 2 other players who've made a strong contribution to the Chicago scene. Titles include "My Blues", "Will N Jug", "Passion Food", "Stand In the Sun", and "Later With Them Woes". CD

A soul jazz treasure from the LA scene of the early 80s – a fantastic record that we'd rank with the best Strata East sides of the time! The group's led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that's infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly's vibes are really great – sparkling underneath solos by Komolafe that remind us a lot of Gary Bartz's earliest work – and titles include "Calvary", "Speak No Evil", and "Hassan's Walk". CD

A slightly different album than usual for Lee Konitz in the 50s – one that's got a bit harder edge, and which has Lee working in a group with a trumpet! The set's performed by a quintet that includes Konitz usual suspects Sal Mosca on piano and Peter Ind on bass, along with Shadow Wilson on drums and Don Ferrara on trumpet. Ferrara's presence in the group gives the tunes a bit more of a punch than usual for a Konitz album of the period, and Lee responds by getting a bit edgier on some of his solo work – never too modern, and still "cool" enough to be in keeping with the title – but with a more unsettled sound that we like a lot! Titles include "Sunflower", "Movin Around", "Kary's Trance", "Crazy She Calls me", and "Billie's Bounce". Great cover, too, with Lee looking out through a bunch of ice! CD

A wonderful meeting of two of the biggest 50s talents on the drums – and a session that's great not only for the expected firey percussion, but also for the horn work by other members on the set! Given the "drum battle" style of the record, the tracks are long and very open – done in a studio mode that recalls some of the Krupa/Rich meetings at JATP, and like the JATP sides, featuring plenty of space for players to take longer solos. Dizzy Gillespie, Illinois Jacquet, Flip Phillips, and Roy Eldridge get in some nice licks on the set – and other players include Oscar Peterson, Herb Ellis, and Ray Brown. Titles include "Gene's Blues", "Bernie's Tune", "Buddy's Blues", and "I Never Knew". CD also includes bonus tracks "Sunday" and "Monster". CD

Wonderful work from this really unique west coast combo of the 70s – a quartet that draws plenty from key contributions of each of its members – but which also has a very special sound in the acoustic guitar of Laurindo Almeida! Almeida's a player who'd already been working in LA for two decades or more, but finds a whole new way to express himself here – in the company of past partner Bud Shank on reeds – who really opens up with some soulful solos on the record, which step boldly past some of the guitar passages that sometimes lead off the tracks. Ray Brown's bass is wonderful too – well-shaped, and given some great space to help work alongside Laurindo's guitar – and the album's completed by some very sensitive work on drums by Shelly Manne. Titles include "Softly As In A Morning Sunrise", "Django", "Romance De Amor", and "Recipe Of Love". CD

How can we even begin to describe the genius of Lambert Hendricks and Ross? The group was a jazz vocal supergroup that merged three talents that had already made a big name in the bebop vocalese field – Dave Lambert, Jon Hendricks, and the lovely Annie Ross – and the project was an attempt to completely work the emerging vocalese style onto a full-blown jazz group. Previously, the singers had only sung vocal solos for one instrument – but with a trio of players, they were suddenly able to take over the solos of all the frontline instruments in a group, such as the piano, trumpet, and tenor solos in their incredible version of "Home Cookin". That track alone is a perfect summation of the group's genius – as it offers a true vocal interplay, with words in place of notes and changes, and opens the already great soul jazz classic into a whole new level of meaning and wonder. It also helps that that track, like most of the ones on this CD, features excellent rhythm backing by Gildo Mahones, Ike Isaacs, and Walt Bolden, plus the occasional alto solo by Pony Poindexter. Their Columbia work's always been their best – and this CD brings together all 3 LPs (Hottest Group In Jazz, Sing Ellington, and the amazing High Flying), plus 7 previously unissued tracks! There's a whopping 39 cuts in all – and the set's one of the best jazz vocal CDs you could ever buy! (Vocalists, Jazz) CD

A long-overdue look at the mini-soul empire of Leo Gooden – an tiny little enclave in East St Louis that was making some mighty hip music in the early 60s! Gooden wore many hats at the time – politician, club owner, and local businessman – but he also put together his own band and record label, and worked in a very hip mix of R&B and 60s soul jazz modes! Through his nightclub, The Blue Note, Gooden came into contact with a variety of great musicians, both national and local – and he brought their inspiration to play on sessions recorded here for his LG family of labels – issued on a handful of singles and two rare LPs. Although rough-edged at times, these tracks have a really great sound – kind of a grittier take on the Prestige Records groove of the 60s – helped out by musicians who include Oliver Nelson and Hamiet Bluiett – and singers who include Albert King and Charles Drain. The package is a bit loose on discographical details, but definitely includes all the best moments from these mighty years on the East St Louis scene – and the full story in the notes more than helps to fill in the gaps in Gooden's compelling tale. The titles by Leo's Five – Gooden's group – are all hip jazz instrumentals, often with a strong mix of Hammond, guitar, and tenor – and these titles include "Hold It", "Sunrise Serenade", "Something You Got", "Tippin", "Johnnie Come Marching Home (Country Style)", "Minor Over Matter", "Mop Water", "Fredrick's Dream", and "Cookin With Chezie Mae". Other cuts include "COD" and "Worsome Baby" by Albert King, "So Glad" and "Stop & Think About It Baby" by Charles Drain, "Winkee Do" and "Ugly Ugly" by Leo Gooden, and "Let's Do The Cat" by Jamie Ross. CD

One of the few sessions ever cut as a leader by LA drummer Stan Levey – as tight a set of west coast bop as you'll ever find on the Bethlehem label – recorded with a really cooking sextet that includes Conte Candoli on trumpet, Richie Kamuca on tenor, Frank Rosolino on trombone, Leroy Vinnegar on bass, and Sonny Clark on piano – getting his start on wax here before his more famous Blue Note sessions in New York! The presence of Clark really gives the set a great deal of energy – of the sort that Sonny brought to his other key west coast contributions of the time – and both Kamuca and Rosolino serve up some especially sharp solos. Tracks are mostly all over five minutes long – and titles include "Hit That Thing", "Tiny's Tune", "Blues At Sunrise", "Grand Stan", and "Angel Cake". CD

A famous album – and for good reason too! The set's something of a landmark in spiritual jazz from the 60s – and it features a classic live performance from Charles Lloyd, recorded at the Monterey Jazz Festival – almost as a distillation and popularization of ideas that were brewing in the music of John Coltrane, Eric Dolphy, and others! The group here features a young Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all flowing magnificently with Lloyd's work on tenor and flute – in an open-ended groove that draws on modal rhythms for inspiration, and which features solos that stretch out, but never go "outside"! The classic performances of "Forest Flower" takes up all of side one – with a dreamy drifting quality that has Jarrett at his best – and side two features a version of his "Sorcery", plus McBee's "Song Of Her", and a version of "East Of The Sun". CD

A famous album – but for good reason! The set's something of a landmark in spiritual jazz from the 60s – and it features a classic live performance from Charles Lloyd, recorded at the Monterey Jazz Festival – almost as a distillation and popularization of ideas that were brewing in the music of John Coltrane, Eric Dolphy, and others! The group here features a young Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all flowing magnificently with Lloyd's work on tenor and flute – in an open-ended groove that draws on modal rhythms for inspiration, and which features solos that stretch out, but never go "outside"! The classic performances of "Forest Flower" takes up all of side one – with a dreamy drifting quality that has Jarrett at his best – and side two features a version of his "Sorcery", plus McBee's "Song Of Her", and a version of "East Of The Sun". Soundtrack features a similar line-up with Lloyd on tenor and flute, Keith Jarrett on piano, and Jack DeJohnette on drums – adding Ron McClure in place of Cecil McBee on bass. Titles include "Forest Flower 69", "Pre-Dawn", "Sombrero Sam", and "Voice In The Night". CD

Damon Locks and Rob Mazurek are no musical strangers to each other – their paths have crossed often on the Chicago and global scenes over many years of creative activity. Yet this project is also the first they've co-led, and it's an incredible document of how much both artists have grown in recent years – especially when they let their talents flow together on a project like this! At some level, the core of the work is the voice that both artists have discovered – Locks, his own more focused message and ability to find other voices to sample in with his own – Mazurek, a way of using his own voice more directly, in addition to his well-known work on trumpets and electronics. Both Rob and Damon are in the forefront here, criss-crossing electric and acoustic elements with voices live and sampled – mixed with guest voices from others, in a swirlingly creative project that not only lives up to the current legacy of International Anthem and the Chicago scene, but also advances it a few notches too. Titles include "Breeze Of Time", "New Future", "Yes", "The Sun Returns", "Future City", "Las Ninas Estan Escuchando", "Support The Youth", "10 Mins Past The Hour", and "Polaris Radio". CD

The great Harold Mabern kicks it hard with a key core group – then finds a way to open up with some surprise guest artists as well – including singers Gregory Porter, Kurt Elling, Jane Monheit, and Norah Jones! The core of the album features Mabern's piano rocketing out with rhythm from John Webber on bass and Joe Farnsworth on drums – and getting some strong tenor work from the mighty Eric Alexander – and as the set goes on, the group also brings in Jeremy Pelt on trumpet, Peter Bernstein on guitar, and Steve Turre on trombone. But the key force here is the singers – especially Porter and Elling, who seem to find an old school space with the group that really takes them back to their roots. Elling sings on "You Needed Me", "Portrait Of Jennie", and "Billie's Bounce"'; Porter sings on "Afro Blue" and "The Man From Hyde Park"; Monheit sings on "I'll Take Romance" and "My One & Only Love"; and Norah Jones sings on "Don't Misunderstand" and "Fools Rush In". CD also features Alexis Cole on "Such Is Life" – and the instrumental tracks "The Chief", "Mozzin", and "Bobby Benny Jymie Lee Bu". CD