A strong quartet set from Cedar Walton – with Bob Berg blowing on tenor, recalling the feel of the older Walton/Hank Mobley sides in the same manner, and featuring a lithe rhythm section of Sam Jones and Billy Higgins. The set was recorded live at Club Montmartre in 1977 – and Walton is, as ever, fully in command of his soulful talents. Titles include "Fantasy In D", "Bolivia", and "Angel In The Night". CD

The first in a trio of excellent (and numbered!) trio sides that Cedar Walton cut for Red Records in the 80s – and a great start to the whole series! The album's got an open, fluid feel that almost seems ready-made for the CD generation – Walton stretching out in those longer takes that soon became the norm in the later years of his life – working here with David Williams on bass and Billy Higgins on drums, and getting plenty of space to muse openly on the keys of the piano. The instrument used for the record seems to be a big "grander" than usual for Walton – as the tones ring out and resonate strongly, furthering the flow of the music – on cuts that include "Lover Man", "Holy Land", "Voices Deep Within Me", "My Ship", and "Every Time We Say Goodbye". CD

Cedar Walton on solo piano. CD

The US debut of Italian tenorist Piero Odorici – a player who gets off to a tremendous start, thanks to help from the Cedar Walton trio! Walton's warm, rich tones grace the record right from the very first note – giving it a soulfulness that's a perfect foil for Odorici's well-blown tenor lines! But Piero also brings a lot to Walton, too – as his presence here makes for one of the most focused Cedar Walton albums in years – a set that's got all the dynamic energy of his best recent trio dates, yet which also benefits strongly from the added tenor voice too. Titles include "Casadias", "Tin Tin Deo", "Native Son", "Willie's Groove", and "If I Should Lose You". CD

A relatively mellow set of trio tracks, recorded by Walton on the west coast – with an excellent group that features Buster Williams on bass and Billy Higgins on drums, plus a guest appearance on one track by Bobby Hutcherson. Tracks have a long, soulful, flowing quality – and titles include "Midnight Waltz", "Without A Song", "Off Minor", "For All We Know", and "My Foolish Heart". CD

A wonderful trio set from pianist Cedar Walton – recorded around the same time as his excellent sessions for the Red label in Italy, and with a similar mix of groove and lyricism! The trio here features Walton's frequent and well-matched partners – the mighty Billy Higgins on drums and David Williams on bass – both players whose sense of melodic swing works perfectly with Cedar's piano, and also maybe even encourages him to have a bit more bite here than usual, especially on his attack, which creates a lot of subtle fire on the record! Titles include "Voices Deep Within", "Third Street Blues", "Magical Lady", "Short Comings", and "Bleeker Street Theme". CD

The second trip into the studio for Cedar Walton's mighty Eastern Rebellion ensemble – and every bit as great as the first! This time around, the lineup's a bit different – with Bob Berg in on tenor, and Curtis Fuller expanding the group on trombone – but the groove is still the same – wonderfully in the pocket soul jazz, swinging with a gentle and fluid glide that's really tremendous. The work ranks up there with the best of Walton's recordings ever – and the tunes are all originals with a rich imagination for tone, soul, and color – and plenty of space for strong solo work. Titles include "The Maestro", "Sunday Suite", "Ojos De Rojo", "Fantasy In D", and "Clockwise". CD

A strong quartet set from piano genius Cedar Walton – with Bob Berg blowing on tenor, recalling the feel of the older Walton/Hank Mobley sides in the same manner – but with the Eastern Rebellion vibe that you'd get from Sam Jones on bass and Billy Higgins on drums! The set was recorded live at Club Montmartre in 1977 – and Walton is, as ever, fully in command of his soulful talents. Titles include "Off Minor", "For All We Know", and the great Walton originals "Holy Land" and "Ojos De Rojo". CD

Features Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. Tracks include "St. Thomas", "I Mean You", "Afternoon In Paris", and "There Is No Greater Love". CD

One of the last great albums that Hank Mobley ever cut! Although Mobley's 70s output was nothing compared to his 60s Blue Note work, this 1972 session for Cobblestone/Muse is a winner, and features the aging tenorist co-leading a crack quintet with Cedar Walton, and featuring Billy Higgins, Sam Jones, and Charles Davis. The set's freer than Mobley's Blue Note work, but the group's right on the money – and the record is dominated by fierce soulful solos. Walton plays both acoustic and electric piano, at times, the record feels as if it might have been issued on the Black Jazz label. Tracks include "Sabia", "Breakthrough", "Early Morning Stroll", and the beautiful "House On Maple Street". CD

Cedar Walton on piano, Dale Barlow on tenor saxophone, Billy Higgins on drums & Dave Williams on bass. CD

Ron Carter on bass, Billy Higgins on drums, and Cedar Walton on piano. CD

Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. CD

A great set from Japanese vocalist Kimiko Kasai – recorded live with spare backing by the Cedar Walton trio, in a mode that's quite different than her better-known 70s electric set with Herbie Hancock! If anything, Kimiko's sound here is more dynamic than the Herbie session – as the Walton trio's backing is often light and airy, so that Kasai is hanging out there on her own a lot, really filling the tunes with a warmth and dynamic range that's incredible. Tunes shift from groovers to mellow numbers effortlessly – and Cedar Walton, Sam Jones, and Billy Higgins exercise their talents with amazing understatement, but also just enough soul to kep keep the spirits of the session nice and strong. There's plenty of great numbers here – including the jazz dancers "Sad Song" and "No Tears", plus "Dat Dere", "Jazz Ain't Nothin But Soul", "I Am The Girl", and "Moondance". CD

A sextet session with Eddie Henderson on trumpet, Grover Washington Jr. on soprano sax, Joe Lovano on tenor, Cedar Walton on piano, Peter Washington on bass, and Billy Higgins on bass. CD

Warm, wonderful work from pianist John Hicks – stretching out here in a trio set that also features some vibes from Bobby Hutcherson! The best tracks here have that great Hicks groove – a style that's not really funky or modal, but leaping forward with a warm approach to the rhythms – almost like Cedar Walton at his best, but a bit more exploratory, too! The rhythm section is sweet – with Walter Booker on bass and Idris Muhammad on drums – and although Hutcherson doesn't play on every track, he really brings some nice energy to the record. Titles include "Soul Eyes", "Pas De Trois", "Paul's Pal", and "Say It". CD also includes bonus tracks "Take The Coltrane" and "Oblivion". CD

A record that certainly makes us smile – as it's got the fantastic cornet of Terumasa Hino in a group that features Cedar Walton on piano, David Williams on bass, and Michael Carvin on drums – all working together as almost a "Walton plus one" sort of date – but with specially sparkling solos from the leader! The mix of Walton and Hino is one that we never would have thought possible 20 years before – but here, the maturing players come together wonderfully with energy that's very intuitive, as they make their way through the set of mellow ballads you might expect from the title. Tunes include the original "Blue Smiles", plus "Alfie", "My Funny Valentine", "Smile", "You Are So Beautiful", "Unforgettable", and "My One & Only Love". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD also features a bonus alternate of "Plexus". CD

A nice little live set from Freddie – open and free, with a soulfully-blown spirit that reminds us of his best live recordings of the 60s! The group's a quintet with some especially strong work from Don Braden on tenor and Ronnie Matthews on piano – and the tracks all stretch out at lengths that go well past the 10 minute mark – allowing Hubbard, Braden, and Matthews to really hit some great moments in their solo work. Titles include "Dear John", "All Blues", "God Bless The Child", and a really strong take on Cedar Walton's "Bolivia"! CD

A great live date – recorded in Tokyo with Jackson on vibes, Teddy Edwards on tenor, Cedar Walton on piano, Ray Brown on bass, and Billy Higgins on drums. Tracks include "Killer Joe", "All Blues", "St. Thomas", "The Prophet Speaks", and "Stolen Moments". CD

Features Houston Person and Cedar Walton. CD

A strong 70s recording by a group that was mostly known as the Cedar Walton trio – the group of Sam Jones on bass, Walton on piano, and Billy Higgins on drums – recorded only for the Japanese market, and a heck of a record! The set's got one standout feature that sets it apart from some of the other sides by the Walton group at the time – the use of a string quartet on a few of the tracks, which creates some great interplay between the core trio and the augmented strings. This is hear to especially great effect on Walton's classic "Holy Land", as well as on the tracks "Le Maestro" and "I Didn't Know What Time It Was". The set also features 3 great tunes by Jones – "Blues For Amos", "Seven Minds", "Miss Morgan". CD

Clifford Jordan certainly leaves us Spellbound with this set – playing with an amazing tone that's arguably one of his deepest on record from the early days! The set's got a relaxed, open feel that really points the way towards the growth Jordan would experience in the 70s – and his solos, while bold and soulful in the Chicago school mode, also show a sensitivity that's even more amazing – a sense of voice, balance, and presence that rivals that of John Coltrane at the same point in his career – yet in ways that aren't Trane-like at all. The group's a quartet, with later frequent partner Cedar Walton on piano – probably a big part of the sensitivity here – plus Spanky DeBrest on bass and Albert Heath on drums. Titles include "Spellbound", "Toyu", "Moon-a-tic", "Last Night When We Were Young", and "Hot Water". CD

With Cedar Walton on piano! CD

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". CD

A great 80s showcase for the piano of Ronnie Mathews – captured here at a really under-recorded point in his career! The album's got Ronnie leaping into the fray right from the start – with some of those harder edges from his 60s years, mixed with lots more of those lyrical lines that have kept him a favorite of ours for years – a mix of hard edge and warmer, soulful elements that's right up there with some of Cedar Walton's best trio material – and matched by some great work from Ray Drummond on bass and Kenny Washington on drums! Tracks are nice and long – and titles include "Song For Leslie", "Once I Loved", "I Should Care", and "Susanita". CD

One of the greatest sessions ever recorded by Ronnie Mathews – an excellent soul jazz pianist who's working here in a mode that's similar to that of Kenny Barron, Cedar Walton, or other 70s lyrical giants! Mathews' touch on the keys is incredible – at one moment extremely sensitive and pensive, at another racing forward with a searing searching spirituality that's driven on by the bass of Yoshio Suzuki and the drums of Louis Hayes – a great rhythm duo who really help give the record a very special, unique feel. The album features the original compositions "Ichiban", "K's Waltz", and "Jean-Marie" – plus a great version of "Manha Do Carnaval", which features Mathews on Fender Rhodes! CD

A real treasure from the great tenorist Hank Mobley – and a record that shows him really opening up his sound in his later years at Blue Note! The album's got some key rhythmic elements that come both from the drumming of Billy Higgins and piano of Cedar Walton – both players who bring in a sense of lyricism that really opens up Hank's horn, and which also sets the trumpet of Donald Byrd free as well – in territory that really resonates with some of Donald's own excellent Blue Note material from the mid 60s! The album's one of those great Blue Note dates that was recorded in the 60s, but not issued until many years later – and really makes for a richer side of Mobley's catalog – a new great level amidst all those already wonderful records. Titles include "Bossa For Baby", "Soul Time", "No Argument", and "A Dab Of This & That". CD

One of those rare treasures that was recorded by Blue Note in the 60s, but not issued at the time – a great late Hank Mobley set from 1967 that only saw the light of day in 1980! The album's got Hank really opening things up – using some of those more inventive rhythms and articulate phrasing that really graced his late years at Blue Note – a bold step forward, given his already-great run of material for the label! The core group is a quintet – with Lee Morgan on trumpet and Cedar Walton on piano – both of whom add to the lyrical edge of the playing – and most tracks feature additional work from James Spaulding on alto and flute, and the wonderful Sonny Greenwich on guitar – a player whose unique phrasing really helps shape the record's sound! Rhythms are from Walter Booker on bass and Billy Higgins on drums – again both great choices for the sometimes-modal qualities of the record – and titles include "Don't Cry Just Sigh", "Steppin Stone", "Third Season", "Boss Bossa", and "An Apertif". CD features one bonus track – an alternate of "Don't Cry Just Sigh". CD

A sweet quartet date – with cedar Walton on piano, Buster Williams on bass, and Billy Higgins on drums! CD

Frank Morgan on alto saxophone, Cedar Walton on piano, Ray Brown on bass, and Billy Higgins on drums. CD

One of our favorite Lee Morgan albums, and one of his least known – a set recorded in the crucial last five years of his life, and a sparkling mix of hard bop, soul jazz, and slight bits of modernism – that magical mix that Lee was hitting as he reached farther and farther with his music – an amazing legacy in jazz that has us loving every Morgan session from 1965 onward! Lee's playing in very comfortable territory, with a group that includes Bennie Maupin on tenor, Cedar Walton on piano, Reggie Workman on bass, and Billy Higgins on drums – but that doesn't mean that the proceedings are relaxed at all, because the interplay between the players is flawless, and they use their familiarity as a great springboard to soar off into rich new territory. Lee wrote all the tunes on the record – like "Caramba", "Suicide City", and "Soulita". An excellent record throughout, and one that we'd never part with! CD

One of our favorite albums from Lee Morgan – a soaringly soulful session that was recorded in the mid 60s, and finally issued by Blue Note at the end of the decade! The vibe here really follows from the lyrically inventive, post-Sidewinder mid 60s Morgan years – with a spirit that's similar to Lee's work on the albums Gigolo or Tom Cat, in a style that mixes in a fair bit more modal and Latin influences to the rhythms. The lineup is totally great too – a sextet that features Hank Mobley, Jackie McLean, Cedar Walton, Paul Chambers, and Billy Higgins – the last of whom provides tremendous rhythms that are as fluidly inventive as Morgan's playing and the writing of Hank Mobley, who contributed most of the tunes to the set. Titles include "Hey Chico", "The Double Up", and "The Murphy Man" – and the record also includes a nice version of Duke Pearson's "Sweet Honey Bee". CD

David "Fathead" Newman on alto and tenor saxophone and flute, Cedar Walton on piano, Bryan Carrott on vibraphone, David Williams on bass, and Kenny Washington on drums. CD

Naoki Nishi's not the biggest name from the glory days of the Japanese piano trio scene, but he's a great musician, and one with a lyrical quality that really links his style to that of important American greats from the time – maybe some of the warmth of Hank Jones, but mixed with some of the longer form ideas of Cedar Walton too! There's also a nice sense of space between his notes, but not in a Bill Evans way, as the through line is always clear – and given nice support here from Osamu Kawakami on bass and Michael Reznikoff on drums. Titles include the originals "A Little Song", "Monstar", "Dewdrops", and "Giant From The West" – plus versions of "Ugestu" and "On Green Dolphil Street". CD

Features work from Eric Alexander on tenor, Joe Beck on guitar, and Cedar Walton on piano! CD

A smoking little bop set from Sonny Stitt – recorded live at the Keystone in 1981, as sort of a "summit meeting" of horns – one that features Richie Cole and John Handy in the frontline with Sonny! The rhythm section alone is enough to cook this one up nicely – with Cedar Walton on piano, Herbie Lewis on bass, and Billy Higgins on drums – and the sextet is expanded by Bobby Hutcherson, whose vibes seem to bring an even deeper level of soul to the set. But the main focus here is on the horns – and it's a focus that's well-kept, especially on the longer tunes, which really sparkle in the range of tone and mood expressed. Highlights include an extended "Ballad Medley" and versions of "Wee", "Lover Man", and "Star Eyes". (And by the way, that's "bad", as in "good" – in case you couldn't guess from the title!) CD

One of the greatest all-star groups in jazz – a short lived sextet that featured some of the best players working for Timeless Records – and a group that recalls the brilliance of the early recordings of Harold Land and Bobby Hutcherson! Both Hutcherson and Land are part of the group – as are Cedar Walton, Curtis Fuller, Buster Williams, and Billy Higgins – and the amazing thing about the set is the way that such top-shelf players can come together, yet manage to work in a mode that's far greater than the sum of its equally great parts! CD

Plenty of life here – as pianist Tsuyoshi Yamamoto gets some wonderful rhythm accompaniment from Sam Jones on bass and Billy Higgins on drums – both of whom make the record flow like the best Cedar Walton trio sides from the time! Yamamoto's definitely got his own touch on the keys, though – a sometimes-sensitive style that's especially nice on the ballads, which he has a very contemplative way of handling. The album's one of Yamamoto's best from the decade – a real treat that seems to draw plenty from the work of Jones and Higgins – and titles include "Billysam Blues", "When I Fall In Love", "Green Dolphin Street", and "What Are You Doing The Rest Of Your Life". CD

Dave Young with Oscar Peterson, Cedar Walton, Tommy Flanagan, John Hicks, and Mulgrew Miller. CD

Kenny Burrell on guitar with Gene Ammins, Ray Brown, Donald Bgyrd, Paul Chambers, John Coltrane, Bill Evans, Art Farmer, Tommy Flanagan, Coleman Hawkins, Joe Henderson, Philly Joe Jones, Wynton Kelly, Jackie McLean, Jimmy Smith, Arthur Taylor, Stanley Turrentine, Mal Waldron, Cedar Walton, and others. CD

A nice little cooker from Junior – with no pun on the artist or title intended! The album's one of Cook's few sets as a leader, and arguably has an even better focus than most of the rest – thanks to strong production from Cedar Walton, who's also backing Junior for the record with his trio of Billy Higgins on drums and Buster Williams on bass. The groove is nice and fluid – in the best Walton way that combines warmth with a sense of free-soaring energy – and Junior's solos seem a bit more hard-bitten than before, but still with that sense of lyrical warmth that he developed with Horace Silver. Titles include "Chi Chi", "Hindsight", "Heavy Blue", "Illusion Of Grandeur", "Fiesta Espanol", and "Detour Ahead". CD

A fantastic album from Sonny Criss! The record is one of his excellent late 60s "comeback" sides for Prestige – and it features incredibly solid, confident, and hard alto solos, blown with a tremendous amount of imagination. Bob Cranshaw and Alan Dawson provide excellent rhythm accompaniment, and Cedar Walton's a genius on piano, providing just the right touches to give the album a sense of mature whimsy that makes the selection of tracks work perfectly in a jazz setting. There's a lot of room here, and him and Sonny intertwine constantly in a beautiful lyrical way that never gets too sentimental. Titles include "Ode To Billie Joe", "Somewhere My Love", "The Beat Goes On", and "Georgia Rose". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

Joined by Cedar Walton on piano, Ray Brown on bass, and Connie Kay on drums. CD

One of the first albums to really show Blue Mitchell's genius as a leader – recorded past the more formulaic bop modes of some of his other Riverside sessions, and handled with a lyrical edge that really gets at the best aspects of his playing. Of course, part of the reason for this is that Blue's in the company of some of his Horace Silver bandmates – including drummer Roy Brooks, tenorist Junior Cook, and bassist Gene Taylor – but even more than that, the presence of a young Cedar Walton on piano really makes the set sparkle, as does the choice of some extremely strong material – such as "The Cup Bearers" and "Capers", both written by that young and glowing jazz compositional lumiary, Tom McIntosh, and the tunes "Turquoise, written by Walton, and "Dingbat Blues", written by Charles Davis. Forgive the long sentence, but the quality of this one's best expressed in a single breath! CD

One of those rare treasures that was recorded by Blue Note in the 60s, but not issued at the time – a great late Hank Mobley set from 1967 that only saw the light of day in 1980! The album's got Hank really opening things up – using some of those more inventive rhythms and articulate phrasing that really graced his late years at Blue Note – a bold step forward, given his already-great run of material for the label! The core group is a quintet – with Lee Morgan on trumpet and Cedar Walton on piano – both of whom add to the lyrical edge of the playing – and most tracks feature additional work from James Spaulding on alto and flute, and the wonderful Sonny Greenwich on guitar – a player whose unique phrasing really helps shape the record's sound! Rhythms are from Walter Booker on bass and Billy Higgins on drums – again both great choices for the sometimes-modal qualities of the record – and titles include "Don't Cry Just Sigh", "Steppin Stone", "Third Season", "Boss Bossa", and "An Apertif". CD

One of our favorite Lee Morgan albums, and one of his least known – a set recorded in the crucial last five years of his life, and a sparkling mix of hard bop, soul jazz, and slight bits of modernism – that magical mix that Lee was hitting as he reached farther and farther with his music – an amazing legacy in jazz that has us loving every Morgan session from 1965 onward! Lee's playing in very comfortable territory, with a group that includes Bennie Maupin on tenor, Cedar Walton on piano, Reggie Workman on bass, and Billy Higgins on drums – but that doesn't mean that the proceedings are relaxed at all, because the interplay between the players is flawless, and they use their familiarity as a great springboard to soar off into rich new territory. Lee wrote all the tunes on the record – like "Caramba", "Suicide City", and "Soulita". An excellent record throughout, and one that we'd never part with! Also features one bonus track on this CD, "Baby's Smile", which was written by Cal Massey. CD

Beautiful late work from Lee Morgan! The last five years of Lee's life saw him really stretching out to do some fantastic writing, playing, and leading – and this record stands today as one of the best examples of that period – a pure act of genius, with a sound that really takes off from Lee's earlier Blue Note albums. The styles are a unique blend of soulful hardbop and the more stretched-out spiritualism that would later emerge in the early 70s soul jazz scene – and players include the lesser-known Frank Mitchell on tenor, plus Jackie McLean on alto, Cedar Walton on piano, Victor Sproles on bass, and Billy Higgins on drums – the last of whom provides an amazingly lyrical approach to rhythm, the sort that was key to some of Lee Morgan's best work of the time! Titles include "Afreaka", "Short Count", "The Cry Of My People", "Anti Climax", and "Psychedelic". Plus, this CD reissue also features 3 unissued bonus cuts – "Extemporaneous", "Mickey's Tune", and "Leebop"! Very nice! CD

A rare non-Blue Note outing from Lee Morgan – and a record that's sometimes mistaken as a large group effort because of the "twelve" in the title, but which is a tight small group set that's equally cooking as some of Lee's better known records! As with the best mid 60s Blue Note work from lee, the players here are both soulful and modern – able to shift easily into some of Lee's most complicated ideas of jazz expression, yet always doing so in ways that are never stiff or academic – but filled with life and spirit in every note! Clifford Jordan's tenor is a fantastic accompaniment to Morgan's trumpet in the frontline – and Barry Harris' piano has the warmth and flowing quality of a young Cedar Walton on most tracks. Bass is by Bob Cranshaw and drums are by Louis Hayes – and titles include "Lee-sure Time", "Second's Best", "Little Spain", and "Waltz For Fran". CD also features 1 bonus track! CD

Another great double release from the Muse vaults – both of which showcase Newman on a variety of reeds plus flute. Resurgence features a great group including Cedar Walton, Ted Dunbar, Marcus Belgrave, Buster Williams, and Louis Hayes. Still Hard Times features Howard Johnson on baritone, Charlie Miller on trumpet, Larry Willis on piano, and Steve Nelson on vibes! CD

Goodbye Yesterday, hello 70s – as Lucky Thompson plays wonderfully here in a mode that's quite different than his early years – working in a cool group that includes Cedar Walton on electric piano and celeste, Larry Ridley on bass, and Billy Higgins on drums! While most cuts are relatively straight, they've got an open soulful approach that's quite different from most of Lucky's other work – much more in the vein of recordings by Walton from the time, with an arch soul jazz righteousness to them, and a bit of an electric vibe when Cedar hits the keyboards. Titles include "Fillet Of Soul", "Back To The World", "Home Come'n", "Tea Time", and "Soul Lullaby". CD

Features Phil Woods on alto, Johnny Griffin on tenor, Cedar Walton on piano, Peter Washington on bass, and Ben Riley on drums. CD

One of the last times that Ammons and Stitt were reunited in a live setting – part of the famous series of recordings done by Baltimore's Left Bank Jazz Society, recorded with a core trio of Cedar Walton, Sam Jones, and Billy Higgins. Etta Jones sings on two of the album's seven tracks – and the twin tenors blow together on all tracks but one, a gentle reading of "Love Story", done by Walton, Jones, and Higgins. Titles include "Just In Time", "Autumn Leaves", "Blues Up & Down", and "They Can't Take That Away From Me" – all done in very extended versions! CD

A really unusual live set from the great Art Blakey – his only album for the United Artists label, but one that continues the tradition of the expanded group style he was starting to use at Blue Note! The lineup here is a sextet, one that's got even more power than the Jazz Messengers as a quintet – a group that bridges generations with older Messengers Wayne Shorter on tenor and Jymie Merritt on bass – alongside rising talents Curtis Fuller on trombone, Freddie Hubbard on trumpet, and Cedar Walton on piano – the last of whom leaves a key mark on the group's sound, through his mix of soulful groove and lyrical inflections! There's maybe even more searing energy here than on the previous live Blue Note albums from Blake. This first volume includes the version of "Three Blind Mice" that was sampled years ago by Gang Starr, plus the cuts "Plexis", "Children Of The Night", "Up Jumped Spring", and "Blue Moon". CD

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Puthli sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life". 2CD set also features all the material from the Broken Shadows album as well – plus 3 previously unissued bonus tracks. Other titles include "Happy House", "Elizabeth", "Good Girl Blues", "Broken Shadows", "Rubber Gloves", and "Written Word". CD

Kenny Dorham on trumpet, Sonny Red on alto saxophone, Cedar Walton on piano, John Ore on bass, and Hugh Walter on drums. CD

Gently graceful work from Art Farmer – and a wonderful example of the way he was expanding his talents in the 70s! The set's got a slow burning sensuality that seems to bring even more soul out of Farmer's work on flugelhorn than before – especially on the mellower cuts, which seem especially written as showcases for Art's masterful examples of understatement. But don't go thinking that the album's all ballads, because with a rhythm section that includes Cedar Walton, Sam Jones, and Billy Higgins, the tracks move along nicely, even when in a gentler mode. Titles include "The Summer Knows", "Ditty", "Manha Do Carnaval", and "When I Fall In Love". CD