The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". CD

Early 70s magic from Sonny Stitt – two albums recorded in 1972 for the Cobblestone label! First up is Tune Up – a great one from Stitt's post-Prestige years, and a real back-to-basics effort that recalls the genius of his work on Roost! The format is straight and simple – Stitt's tenor and alto fronting a quartet that includes Barry Harris, Sam Jones, and Alan Dawson – all playing in a way that puts Sonny in command on all tracks, blowing with an amazing tone that makes us want to throw away all his funk, organ, and electric outings, and just concentrate on these straight acoustic sides. Stitt has a way of blowing the reed like he's got his whole mouth moving into the sax – an earthy, human, and personal feel that first came out strongly in his work during the late 50s, but which has grown even more by this point – even if you couldn't hear the development on other sets. And given our love of funk and electric sides, we're honestly surprised we find ourselves championing a record like this from the early 70s – but it's a great one, and not to be missed if you remotely dig Stitt! Titles include "Tune Up", "Idaho", "Just Friends", "Groovin High", and "Blues For Prez & Bird". Constellation is all bop and all soul all the way through, and recorded with a tight quartet that features Barry Harris on piano, Sam Jones on bass, and Roy Brooks on drums! The style's a bit like Sonny's work of the late 50s, but there's also a fluidity to the rhythm section that makes it a bit different too – a sound that's warm, open, and soulful – creating a space into which Stitt settles nicely and blows like mad. There's no gimmicks at all, just solid classic jazz skills – and titles include "Casbah", "Constellation", "By Accident", "Webb City", and "Topsy". CD

The first album in many many years from Bobby Pierce – an organist who recorded briefly for Cobblestone and Muse in the early 70s, then seemed to drop out of sight altogether! The passage of time hasn't dimmed Bobby's skills a bit – as he plays the Hammond here just like he did back in the day – with a classic 60s-styled approach to soul jazz, one steeped in plenty of Don Patterson-like lines – and recorded with a similar open sort of flow. Like Patterson, Pierce gets some great work on guitar for the date – played by Frank Potenza, who manages to rhythmically groove in just the right way. Other players include Ricky Woodard on tenor and Clarence Johnston on drums – and titles include "One For Duff & Dink", "The Long Road Back", "Frenchie", "Bobby's Back", "The Good Life", and "Invitation". 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