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Early samba work from the mighty Martino Da Vila – music recorded with help from some key contemporaries in the underground scene, in the years before his big albums of the 70s! The sound here is nice and raw – and very spontaneous, too – as the artists come together in a very festive style that's often quite intimate, even when the sound is frenetic – a wonderful blend of voices, percussion, and other instrumentation – all recorded with a nice undercurrent of darkness amidst the joy. Guests include Antonio, Zuzuca, Cabana, Brasil Ritmo 67, and Mario – and titles include "Berco Do Samba", "Ritmo", "Sou De Opiniao", "Se Eu Errei", "Pra Que Dinheiro", "So Deus", and "Deixa Serenar".

2 Eric Kloss albums back to back on a single CD – both under-discovered, and both totally great! Sky Shadows is one of the late 60s killers for Prestige by reedman Kloss – sublime material that was every bit as great as some of the bigger-name work for the label, but never really got its due! Kloss is sharper and more focused here than in later years – starting with a hardbop groove, but really reaching out with some inventive sounds of his own, and some great changes from the group! The inventive ensemble features Pat Martino on guitar, Jaky Byard on piano, Bob Cranshaw on bass, and Jack DeJohnette on drums – and titles include "Sky Shadows", "January's Child", "The Girl With The Fall In Her Hair", and "In A Country Soul Garden". In The Land Of Giants is a crackling bit of modernist free play, with a very soulful edge – and the group includes Booker Ervin, Jaki Byard, Richard Davis, and Alan Dawson all joining Kloss as he hits his mid-period "exploratory" stage. His alto is super-crisp here, and although he's reaching out a bit more than on earlier albums, he never manages to lose the swing that made him sound so great right out of the box. Tracks include "So What", "When Two Lovers Touch", and "Sock It To Me Socrates".

Compositions by Richard Wernick, Gunther Schuller, Augusta Read Thomas, Ralph Shapey, Richard Brodhead, and Donald Martino.

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together".

Pat Martino in one of his greatest settings – live, in front of the kind of an audience where he could really open up! The set's a great marker of the growth that Pat experienced as the 70s approached – taking all the lessons he'd learned from his years gigging it up in the soul jazz underground, and using them to forge a more expansive, more cosmic approach to jazz. The tracks on the set are all quite long – with backing by a trio that features electric piano from Ron Thomas, and an overall sound that's exploratory, but never too out or trippy. Titles include "Special Door", "The Great Stream", and an excellent reading of "Sunny".

A mix of older numbers from the Savoy and Muse Records catalogs – strung together to make a package of soul jazz numbers that jumps nicely between the 50s and the 70s and 80s! Most of the work here is from the latter two decades, recorded in that great back to basics mode that made Muse the key heir to Prestige Records at a time when few folks were cutting straight soul jazz. Titles include "Minor Inconvenience" by Richard Groove Holmes, "Dat Dere" by Woody Shaw, "Please Send Me Someone To Love" by Red Garland, "The Dozens" by Charles Earland, "At Last" by Sonny Stitt, "Another Real Good Un" by Jack McDuff, "Work Song" by Grant Green, "Blues In My Heart" by Sonny Criss, "Twelve Inch" by Curtis Fuller, "Whisper Not" by Bobby Hutcherson, "Road Song" by Pat Martino, and "The Breeze & I" by Willis Jackson.

A nice return to the soul jazz style of Willis' years at Prestige – after cutting a few too-smooth albums for bigger labels during the 70s! The style here is nice and easy-going – longish tracks, with a quintet that features Willis' old bandmate Pat Martino on guitar, plus Charles Earland on organ, Grady Tate on drums, and Buddy Caldwell on congas. There's no all-out funky tracks on the set, but the groove is nice and swinging on the best numbers – in a mode that's similar to Earland's own great sides for Muse at the time. Titles include "Hittin & Missin", "Move", "Nuages", and "Nothing Butt".

A great little soundtrack – as spooky as the show itself! The record's a mix of original tunes, plus a few standards, all performed in a manner that takes styles from the darker side of TV orchestration, and adds in some cool instrumental bits, eerie voices, echoey production, and even a bit of what we think are early electronics! The instrumentation's great – with lots of weird percussion instruments, and crazy things like tuned logs, Ondioline, bazzimba, Martinot, and more! Tracks include "Moon is Low", "Lost Weekend Theme", "The Unknown", "Forbidden Planet", and the "Twilight Zone Theme".

A key album in the shift in Pat Martino's sound at the end of the 60s – with one foot in the soul jazz camp in which he got his start, and the other in the freer, open-minded style he used a lot in the 70s! Pat's playing electric 12 string guitar on the set – really running up and down the fret in search of new sounds – and working with a quintet that includes Eric Kloss on soprano sax on one track, plus Eddie Green on electric piano, Tyrone Brown on electric bass, and Sherman Ferguson on drums and percussion. Tracks all have a nice exotic feel to them, and titles include "Express", "Dearborn Walk", "Blackjack", and "A Portrait Of Diana".

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together".

Spacey electric work from guitarist Pat Martino – a record that seems to be as concerned with sound overall as it is with the jazz stylings of Martino's guitar! The older modes of Martino's 60s soul jazz work are very far gone by now – but in their place is a new sense of space and tone, one that makes him a completely different player altogether! A few cuts get hard and funky – pairing Martino with the fierce keyboard work of Gil Goldstein – while others are mellower and atmospheric, with lots of moody sounds floating along. Titles include "Fall", "Nefertiti", "City Lights", "Blue Macaw", "Prelude", and "Masquerade".

One of his oft-overlooked 60's albums, and a nice batch of tracks with Bobby Hutcherson on vibes and Pat Martino on guitar. Some of the record's laid back, but some of it goes quite out, and has long tracks that let Handy wander around with nice soulful solos, while Hutcherson hits some very hard noisy notes on the vibes. Very moody, with a good mellow sound, and lots of intelligent twists and turns. Tracks include "Naima", "A Little Quiet", and "Tears Of Ole Miss (Anatomy Of A Riot)".

A fantastic session by Jimmy Heath – cut right at the time of his best 70s soul jazz work! This obscure set was recorded in New York in 1974, but not issued in this form until the mid 90s – and it features Heath with a stellar group that includes Curtis Fuller, Stanley Cowell, Mtume, Billy Higgins, and Pat Martino. The overall sound is modal soul jazz – in the style of the best work on Strata East, with a far-reaching spiritual approach that never goes too far outside, but which is ready to explore the farther aspects of jazz-based expression. Heath is incredible – leading the group on alto and soprano, blowing post-Coltrane lines that are supported by fantastic rhythm work by Cowell, Sam Jones, and Billy Higgins. Tracks include "The 13th House", "Time & The Place", "The Voice Of The Saxophone", and "No End".

Later work from Pat Martino, but a set that shows that the guitarist has lost none of his fire over the years! The set's done with a relatively freewheeling sound – not free, but open, as Martino spirals out wonderfully with some very creative solo lines – often quite extended, and filled with the sort of rapid-fire creativity we've always loved in his work. The group on the date is a quartet – with James Ridl on piano, Marc Johnson on bass, and Sherman Ferguson on drums – but most numbers feel very dominated by Martino's guitar, which is a good thing by us. Titles include "Black Glass", "Interchange", "Just For Then", "Blue In Green", and "Catch".

An excellent album from guitarist Pat Martino – caught here at a key point when he was breaking out of his earlier soul jazz roots, and going for a more complicated style that showed he was picking up a lot of spiritual influences from the Coltrane generation. The record's got a core group of players that includes Cedar Walton, Joe Farrell, Ben Tucker, and Walter Perkins – but it also features some extraordinary contributions from Dave Levin and Ray Appleton, who play some odd percussion on the title track "Strings". As a whole, the album's got some wonderful modal jazz moments – all acoustic, save for Martino's guitar, and nicely lyrical, without being too overindulgent. Titles include "Strings", "Minority", "Lean Years", and "Querido".

Pat Martino tells his story – a wonderfully long run of jazz experience that starts in the heady days of the 60s soul jazz scene, moves into key psychedelic modes, suffers a bit of tragedy in later years, then springs wonderfully back more recently! Pat's got help from a co-writer on the book, who helps take his deeply personal musings, and give them some key narrative focus – laid out in a way that also introduces comments on Martino from some of his contemporaries and fellow guitarists – all of whom further illuminate the musical changes over Pat's years in jazz. The book is hardcover, 192 pages, and features some black and white photos.

Two organ and tenor classics – back to back on a single CD – with some bonus cuts too! Four Dimensions is sweet soulful work from the legendary Don Patterson – a great Prestige set that has tenorist Houston Person joining the organist's hip trio with Pat Martino on guitar and Billy James on drums! The tunes have that loping soul jazz sound you'd find in Person's best early work at the time – a groove that's got plenty of bottom, but also a nice dose of lyricism as well – and the use of Houston's horn here seems to bring out a different approach from Patterson than you'll hear on his sessions with Booker Ervin. There's a very slight hardbop element at times – and titles include "Sandu", "Freddie Tooks Jr", "Red Top", and "Last Train From Overbrook". Next up are most of the tracks from the album Hip Cake Walk – a massive pairing of the tenor of Booker Ervin and Hammond of Don Patterson – a record that's got a very famous cover image, and which marks for one of the greatest meetings of soul and modernism at mid-60s Prestige Records! There's no bass at all on the set – just lots of quick, tight rhythm lines from Patterson on the pedals of the Hammond – mixed with drums from Billy James, and served up with plenty of space for Ervin to open up on tenor – blowing with more soul than on some of his modernist sides of the time! Oddly, the CD does not include the title cut – "Hip Cake Walk" – but does include the other 4 tracks from the album, "Rosetta", "Sister Ruth", "Under The Boardwalk", and "Donald Duck". CD also features more Ervin/Patterson material from the same session – the tracks "Sentimental Journey", "Theme For Dee", and "Just Friends".

Diverse soundscapes from Tokyo Dawn – with strains of hip hop, spacey soul and bouncy electro-styled grooves – sharing a love for the future funky vibe born of the 80s – but down with timeless contemporary feel! Includes tracks by Erik Rico, Coco Solid, Positive Flow, Martino, Reeno, Blacktroniks, Yellowtail, Wagon Cookin, J-Felix, Rakotep (Stacy Epps & Astronote), "Colonel Red & Yam Who, Amalia & Reggie B and more. 17 tracks in all: "Wow" by Coco Solid, "Night Falls" by Kris Mars, "Back To The Melody (Opolopo Remix)", "Get It" by DJ Vadim with Pugs Atomz, "Electromagnetic" by Erik Rico, "Disco Technic (Lay-Far Remix)" by Stam Smith, "Children Of The Sun" by Positive Flow with Heidi Vogel and more.

Two Sonny Stitt dates with organ – both from different ends of the 60s! First up is Soul Shack – a mellow burner, and a real classic from the early 60s soul jazz years of Prestige Records! The album brings together the saxes of Sonny Stitt (both alto and tenor) and the Hammond of Jack McDuff – who's really coming into his own at this point, and has a lean, mean tone that's a perfect match for Stitt's horn. There's a bluesy undercurrent to the record, but without any of the cliches that might have crept in a few years before – leaving Stitt in the modern company you might expect, in ways that are similar to his dates with Don Patterson. Rhythm is from Leonard Gaskin on bass and Herbie Lovelle on drums – and titles include "Shadows", "Soul Shack", "Sunday", "Love Nes", "For You", and "Hairy". Night Letter is a great set of Varitone sax numbers from Sonny Stitt – recorded for Prestige with a bit more bite than some of his albums of the type for Roulette! The album's got a tight tenor/organ vibe throughout – thanks to work on Hammond from Gene Ludwig, working under the "nom de date" of Booker Patterson – bumped along strongly with some tight guitar from the great Pat Martino! Drums are by Randy Gelispie – and Stitt's electric horn melds in with the organ and guitar wonderfully – with a sound that's a lot deeper than other uses of the instrument at the time. Titles include "Loose Walk", "Night Letter", "Stringing The Jug", and "Blue String".