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A sweet blend of west coast jazz and Brazilian rhythms – and one of our favorite records ever from trombonist Raul De Souza! The session's got a more soulful, jazzy feel than some of Raul's other dates from the 70s – not nearly as tight as his sets for Capitol, with an earthy undercurrent in the music, thanks to the production efforts of Airto, who spearheads the session. Horns are by JJ Johnson, with some slight echoes of his soul soundtrack work of the period – and other players include Ted Lo on keyboards, Richard Davis on bass, and Jack DeJohnette on drums – plus a bit of guest alto sax from Cannonball Adderley on a few tunes. Titles include "Water Buffalo", "Dr Honoris Causa", "Canto De Ossahna", "Nana", "Festival", and "Chants To Burn".

Lovely 60s girl pop from Lesley Gore – the sweet, soaring, brightly sunny Magic Colors album – released in full for the first time ever – and with a huge assortment of bonus tracks, too! Magic Colors should have come out on Mercury in 1967, but it wasn't to be. Well, better late than never, right? It's fluffy, but fun – with sweet vocals by Leslie and with arrangements by Bob Crewe, Jack Nitzsche, Gamble & Huff, Thom Bell and others. The album tracks include "It's A Happening World", "Magic Colors", "Brink Of Disaster", "I'm Fallin' Down", "To Sir With Love" and more. Includes a whopping 15 bonus singles: "Summer And Sandy", "Small Talk", "I Can't Make It Without You", "Summer Symphony", "One By One", "Wedding Bell Blues" and more. 25 tracks in all!

Hard to believe how important this soundtrack was, back in the day. One of the first good hip hop soundtracks, and a motherlode of great cuts like "Paid In Full (7 minute Cold Cut remix)" by Eric B & Rakim, "Butcher Shop" by Kool G Rap, "Colors" by Ice T, "Mind Is A Terrible Thing To Waste" by M.C. Shan, and "Go On Girl" by Roxanne Shante. More by Salt N Pepa, Big Daddy Kane, 7A3, and Rick James. Marley Marl produced the motherlode of these cuts, and this was the early days of the Cold Chillin/Warner alliance.

A definite soul based session for Donald Byrd – and that's saying a lot here, because his previous decade's worth of work had all had some sort of R&B focus! The main force behind the set here is Isaac Hayes – who's producing, arranging, and playing most of the keyboards on the album. Oddly, Ike's not singing at all – and vocals are instead handled by Rose Williams, Diane Davis, Pat Lewis, and Myra Walker – plus the Hot Buttered Soul group on backing vocals. Most tunes have such a strong vocal focus that Byrd's horn gets far less solo space than before – but overall, the album's still got a nice mix of funky jazz and modern soul, and grooves a lot better than most other efforts of this nature from the time. Great, long overlooked grooves from Byrd! Titles include "Sexy Dancer", "Midnight", "High Energy", "Star Trippin", "Forbidden Love", and "Everyday".

A nice Miles Davis t-shirt that features a barred color close of portrait of Miles – on a black shirt, over the text Miles! written in white. 100% pre-shrunk cotton in Extra Large.

Great stuff from Elzhi of Slum Village – sharply produced by Black Milk! Detroit hip hop worthy of the classic legacy of the city, Slum Village and MC Elzhi. The "Colors" remix is produced by DJ Spinna.

God, we love James Moody! He's a total genius, waiting to be fully rediscovered – and this album is a perfect place to start! The record features James playing soprano and flute over some incredible arrangements by Tom McIntosh, the hip 60s composer/arranger who worked on some of Moody's best work – and who here shifts between a slightly funky mode, and one that's got some rich tonal colors and shapes, all of which brings out the most expressive side of Moody's playing, especially on the soprano sax tunes, which have all the soulful depth of the best work of Pony Poindexter. Tracks include a funky version of Ellington's "Main Stem", plus the tracks "A Statement", "Savannah Calling", "You Got To Pay", "Gone Are The Days", and "Everyone Needs It".

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole".

A mix of moods, colors, and feelings – handled with the full range of talents of David Amram, who's one of the few composers who could pull this one off! A number of the tracks have weird instrumentation that gives them a sound that's almost "eastern", and certainly exotic – and they're mixed here with some lightly jazzy touches, and a few mellower, more tender tunes that offset the rest of the album nicely. Titles include "Other Dreams", "Definitely Blue", "Anatolia", "Old Country Soul", "Sunny Days", "Blue Tomorrow", and "Love Is Never Out Of Style".

Previously unissued material from the great Harry Arnold – excellent mid 60s big band sessions, as creative as they are hard-swinging! Arnold's group here is at the top of its form – working together with a rich array of tones and colors that show the best legacies of 50s modern jazz in the large ensemble idiom – yet with a lean quality that really allows lots of voice from the soloists, too – a lineup that includes Arne Domnerus, Jan Johansson, Lars Farnlov, Bengt-Arne Wallin, and Georg Riedel! Arrangements are by Wallin, Pete Jacques, and others – but it's Arnold who clearly knows how to make the whole thing hold together this well. Titles include "It's In The Bag", "Margie", "Blues For Nathan", "Cheryl", "Tina", "Per Spelman", "You've Got It", "I Knew It I Knew It", and "King Valiant".

A rare treasure from the Art Ensemble Of Chicago – recorded as a supposed third album for Atlantic records in 1974, but unissued for years until the group released it on their own! The session is a live one, recorded at the Montreux Jazz Festival – and features the unique addition of Muhal Richard Abrams on piano, making for the group's first session ever with the instrument! Muhal's work nicely colors in the spare spaces on the set – giving a soaring, lyrical quality to a few of the numbers – and really standing in stark contrast to the freer solo work of the other players. At times, Abrams is playing these longer lines that almost have a McCoy Tyner sort of energy – directing the set with a tremendous searching vibe – and at other times, he joins the group in their sparer exploration of sound and space – in a mode that's similar to some of their Parisian recordings. Titles include "Sun Precondition One", "Kabalaba", "Kaba Song", "Mal's Delight", and "Improvization A2".

Sweet electric keys from Kenny Barron – and one of our favorite 70s albums by him! The record has Kenny playing electric on most of the set – working with musicians that include Sonny Fortune, Buster Williams, Jimmy Owens, and Ben Riley to craft long tunes that are warmly spiritual and deeply soulful. At some level, the work on the set surpasses the quality of his sides for Muse – as the tracks have a freer, more open, and almost indie soul jazz sort of approach on some of the best tracks. And as always with the electric piano, Kenny hits some wonderful notes, colors, and tones that make us wish he used the instrument all the time. Titles include "Sunshower", "Innocence", "Bacchanal", and "Nothing To Fear".

The sun shines brightly on Mario Biondi – really making this record sparkle with a charm that goes way beyond Mario's previous albums – a quality that's less retro than before, and which shows Biondi as a growing soul star with really universal appeal! There's still some of the old school jazz in the mix that we love from Mario's Schema work – but the album's also got a fuller production style at times, one that really expands the palette of Biondi's colors, and which has him working here with help from key guests who include Omar, Leon Ware, Al Jarreau, Incognito, and Chaka Khan – and even a bit of organ from the James Taylor Quartet! Jean-Paul "Bluey" Maunick helped co-write a good number of tracks on the set – and titles include "Shine On", "Come To Me", "Woman Woman", "What Have You Done To Me", "Never Stop", "La Voglia La Pazzia L'Idea", "Girl Blue", "Light To The World", and "Catch The Sunrise".

Groundbreaking work on vibes by Gary Burton – recorded in a setting that's live and open, yet quite groovy too! There's a rhythmic freeness that marks the set from the very first note – lessons learned from the generation of Ornette, yet taken in new direction – and definitely into new colors and tones – thanks to Burton's amazingly chromatic vibes, and the vivid guitar of Larry Coryell – not to mention the unusual rhythms from Steve Swallow on bass and Bob Moses on drums. These youthful players push the envelope even more than on some of Burton's other RCA albums of the time – going for a groove that's much more open and abstract, and which puts Coryell's guitar in a role that's as important as Burton's vibes in the set. Titles include "Wrong Is Right", "Walter L", "Lines", "The Sunset Bell", and "Blue Comedy".

A richly complex album from vibist Teddy Charles – easily one of his greatest albums ever, and certainly one with the boldest sound! The groups here are filled with hip players – all working under Charles' direction in a set of tracks that shimmers with dark sounds and moody colors – often as textural as it is jazz-based – with a level of sophistication that goes beyond even Charles key modernist work from the early 50s. Teddy's on vibes, alongside Art Farmer on trumpet, Eddie Bert on trombone, Hal Stein on alto, Don Butterfield on tuba, George Barrow on baritone, Hall Overton on piano, and Jimmy Raney on guitar – and while some tracks feature a tentet, 4 of the album's numbers feature a smaller quartet with Charles Mingus on bass! Titles include the 10 minute composition "Word From Bird" – plus "Blue Greens", "Laura", "Showtime", and "Just One Of Those Things".

One of the greatest long-form albums from the Clarke Boland Big Band – a sophisticated suite that not only shows off the writing ability of Francy Boland, but also demonstrates the group's ability to swing like a mofo, even when things are serious! The album's a jazz suite written by Boland, and dedicated to the great prisons of England – where Johnny Griffin was once kept "At Her Majesty's Pleasure", due to non-payment of some income tax. The experience of Griffin led Boland to explore the idea of the British penal system with a number of powerful emotional themes, and the result of this writing is one of the CBBB's best albums of the late 60s – filled with rich colors and tones that go far beyond the earlier modes of the group, but without some of the too-complicated elements that sometimes show up in later suites. A good part of the album's success comes from the strength of the soloists – players who include Johnny Griffin and Ronnie Scott on tenor, Tony Coe on clarinet, Sahib Shihab on flute and soprano, Kenny Wheeler and Benny Bailey on trumpets, and Ake Persson and Nat Peck on trombones. Titles include "Pentonville", "Wormwood Scrubs", "Doing Time", "Broadmoor", and "Going Straight".

Beautifully icy vocals from the amazing Chris Connor – the kind of record that set a new standard for vocal jazz back in the 50s! The session's a small group one – with Chris singing intimately alongside backing from Herbie Mann on flute and tenor, Kai Winding and JJ Johnson on trombones, Joe Puma on guitar, and Ralph Sharon on piano – all lightly arranged to allow Connor's vocals prime placement in the record, while shading in the spaces with some nicely modern colors. Titles are mostly familiar, but wonderfully transformed into Connor's own personal statements – and tracks include "Ridin High", "It's All Right With Me", "Someone To Watch Over Me", "All Dressed Up With A Broken Heart", "All This & Heaven Too", "Trouble Is a Man", "Blame It On My Youth", and "The Thrill Is Gone".

Amazing images from the universe of Sun Ra – a mixture of rare photographs and mural images painted by Aye Aton – sometime percussionist with the Arkestra, and a heck of a great painter too! The book begins with these stunning full color photographs of Ra on the set of Space Is The Place – images from 1972 that echo the cover of the album of the same name, but which feature a costumed Ra in a number of different settings – including a few parking lot shots that make him look like a true visitor from the cosmos, briefly walking on our planet! The bigger second half of the book features photographs of murals painted by Aton (who's also known as Robert Underwood) – all of them spacey and trippy, and in a similar spirit to the Saturn Records album covers – except these were all painted on walls and ceilings, in very vivid colors. Aye painted many images in the Arkestra commune in Philly – and other paintings appear to be from the south side of Chicago – and all work here is seen by the wider public for the first time ever. Archivist John Corbett provides an essay with the book to situate the work – and the whole thing's a vivid visual treat for any fan of Sun Ra!

An overlooked late 60s treasure on Blue Note – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four".

Sublime soprano sax duets from the team of Lol Coxhill and Michel Doneda – both playing at a level that's almost more about sound overall than just notes and music – that great ear for textures and shapes that have made us love Coxhill's work since the 70s! The tracks are mostly long, and clearly improvised – very well-recorded live performances that really capture the subtle sounds and lower-end moments, then burst into bright colors when more tunefull passages appear. Doneda really echoes the inherent warmth of Coxhill's horn – and the set features four duets, plus a solo track each from Lol and Michel.

The great altoist Sonny Criss is one of our favorite-ever reed players, and this beautiful session from his late 60's "comeback" period is a loving portrait of the wide range of his deep deep talents! On the surface, the record is deceptively simple, and only features Criss' work on alto sax, alongside with a piano trio led by Walter Davis. On hearing, though, the album is a rich tapestry of many soulful colors, all wrought by Sonny in a tone that had travelled the world – and which had been beaten down by years of struggle. All tracks are great, and titles include "On A Clear Day", "Blues In The Closet", "Wee", and "A Million Or More Times".

A quadruple-header of a set – four great albums together in one cool box! First up is the first album from the great Special Edition group of drummer Jack DeJohnette – a wickedly sharp record that's as equally tight on the reeds as it is on the drums! The album features brilliant work on tenor and bass clarinet from David Murray, and equally nice alto from Arthur Blythe – both criss-crossing and soaring out effortlessly in each others' company – amidst complex rhythmic impulses from DeJohnette on drums, and both bass and cello from Peter Warren. Jack also plays a bit of piano and melodica as well – and titles include "One For Eric", "Zoot Suite", "Central Park West", "India", and "Journey To The Twin Planet". On Tin Can Alley, the great Chico Freeman really shines with drummer Jack DeJohnette – lending his tenor, flute, and bass clarinet to the album – and helping make it a really reed-heavy affair! John Purcell's also in the frontline with Chico – playing alto, baritone, and flute – and in addition to Peter Warren's bass and cello, the album Jack DeJohnette also plays drums, congas, piano, and organ too! The range of instrumentation almost echoes some Chicago AACM roots at times – but with that tighter focus that musicians like Jack were bringing to their work at ECM – and titles include "Riff Raff", "The Gri Gri Man", "I Know", and "Pastel Rhapsody". Inflation Blues is a record that bristles with energy right from the start – spurred on by the creative rhythms that have always made Jack DeJohnette one of the most inventive drummers of his time! The group features a triple-threat lineup with Baikida Carroll on trumpet, Chico Freeman on tenor and soprano sax, and John Purcell on alto, baritone, flute, and clarinet – especially nice at points when the reedmen shift and turn with sharp edges learned from the earlier avant years, yet given a nice focus here under DeJohnette's leadership. Jack penned all original tunes for the set, and there's a depth to his writing that really marks a move forward – possibly some of his richest musical statements on record ever! Titles include "Ebony", "Inflation Blues", "Slowdown", and "The Islands". Album Album is a record that really dives deep with a rich mix of creative rhythms and inventive horn lines! The album still has Jack staying true to his more avant roots – working with tenor from David Murray, alto and soprano sax from John Purcell, baritone and tuba from Howard Johnson, and bass from Rufus Reid – a lineup that's a bit bigger than on other Special Edition albums, and which is used to fill in even more colors and deeper elements than before. Some of the tunes are wonderfully vivid in approach – and titles include "Festival", "Third World Anthem", "Zoot Suite", "Ahmad The Terrible", and "New Orleans Strut".

Another great achievement from this groovy Italian group – an album that's head and shoulders above anything they were doing just a few short years ago! The Dining Rooms deep to deepen their sound more and more with each new record – hitting a range of tones and colors that take them far beyond their initially simple rhythms, and into a space that's filled with thoughtful lyrics and sensitively-penned tunes! Most of the tracks here hit a groove that's somewhere between mid and downtempo – about half of which feature vocals by guests who include Toco, Dodo Nkishi, Sean Martin, Renaud Chaure, and George Anne Kalweit. There's a fair bit of Fender Rhodes sliding through the tunes, and some warm acoustic basslines as well – really grounding the music in a classic sort of style, even though the overall execution is fairly contemporary. Titles include "Ceremony", "Free To Grow", "Thank You", "Fatale", "Ink", "Cobra Coral", "On The Beach", "Hear Us Now", "Etage Noir (parts 1 & 2)", and "Appuntamento A Trieste".

An overlooked gem from keyboardist Joao Donato – cut in a mid 80s stretch when he was hardly doing any recording at all! The set's almost more of a jazz record than some of Donato's previous work – recorded with a warm vibe that's right up there with the best Brazilian fusion of the time – and by that, we mean the real deal coming from Brazil – not the American variant! Donato's still got a wonderful way of handling the keys – coming up with these subtle turns of phrase and gentle colors that hold us spellbound throughout – alongside other instrumentation that includes Mauro Senise and Ze Carlos on saxes, Serginho on trombone, and Paulinho on trumpet. Joao sings just a bit at a few points, but the overall vibe is instrumental – kind of a nice extension from the mellow cuts on the Quem E Quem album. Titles include "Leila XIII", "Leila VIII", and "Leila VI (Lua Dourada)".

Wonderfully sensitive work from the quartet of pianist Axel Donner – a group who play here with a timeless quality that makes the record feel like some lost indie American album from the 70s! Donner can have a sharp tone when he wants, but he's also penned some really wonderful tunes for the set too – numbers that serve up sublime colors, not just from his own piano, but from the tenor and flutes of Thomas Klemm! The rest of the combo features Wolfgang Musick on bass and Diester Ehrhardt on drums – and the set also features guest flughelhorn from Joachim Hesse and percussion from Mario Wurzebesser – both of whom nicely expand the sound on a few key cuts. Titles include "Samba", "Latin Eyes", "Fur Michele", "Silver Mood", "St Michel", and "Fast Live".

Quite a compelling project from trumpeter Dave Douglas – a record that has him working strongly with singer/guitarist Aoife O'Donovan, whose presence really helps transform the sound of the set! Aoife's got a folksy touch on her vocals, and colors things in with some great earthy tones that are a surprisingly good fit for Douglas' lines on trumpet – sometimes jazzy, sometimes sparkling with a rich sense of American history – yet delivered in a subtle, linear way. The blend works a lot better than it sounds on paper – thanks to help from other musicians who include Jon Irabagon on tenor, Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums. Titles include "Barbara Allen", "Living Streams", "Be Still My Soul", "High On A Mountain", "God Be With You", and "This Is My Father's World".

One of the grooviest shirts we've ever offered – a peek into a late night recording session, captured in all its retro glory – all served up in colors we can guarantee that you don't already have in your wardrobe, and which makes the shirt stand out even more! 100% cotton – whatta deal!

The new Dusty Groove logo – on a spanking new shirt as well! This may well be the most colorful short we've ever sported – a fresh update of the Dusty Groove image, served up in red, white, and brilliant blue! The colors look great together – and are silkscreened beautifully on a heavy-duty shirt – preshrunk to fit – and 100% cotton as well. A smaller version of the logo is on the flipside, completely in red – and with the website address too – in case you forget where we live!

The new Dusty Groove logo – on a spanking new shirt as well! This may well be the most colorful short we've ever sported – a fresh update of the Dusty Groove image, served up in red, white, and brilliant blue! The colors look great together – and are silkscreened beautifully on a heavy-duty shirt – preshrunk to fit – and 100% cotton as well. A smaller version of the logo is on the flipside, completely in red – and with the website address too – in case you forget where we live!

The new Dusty Groove logo – on a spanking new shirt as well! This may well be the most colorful short we've ever sported – a fresh update of the Dusty Groove image, served up in red, white, and brilliant blue! The colors look great together – and are silkscreened beautifully on a heavy-duty shirt – preshrunk to fit – and 100% cotton as well. A smaller version of the logo is on the flipside, completely in red – and with the website address too – in case you forget where we live!

The new Dusty Groove logo – on a spanking new shirt as well! This may well be the most colorful short we've ever sported – a fresh update of the Dusty Groove image, served up in red, white, and brilliant blue! The colors look great together – and are silkscreened beautifully on a heavy-duty shirt – preshrunk to fit – and 100% cotton as well. A smaller version of the logo is on the flipside, completely in red – and with the website address too – in case you forget where we live!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A bird in a tree, tied to a turntable by a set of headphones! Don't ask us to explain it – but we love the image, and think you will too – one of the most creative we've ever gotten in our t-shirt design contest! The shirt's printed on brilliant white, which really makes the playful colors pop out nicely – and the back shoulders carry the Dusty Groove website address – so you can let everyone behind you know where you shop! The toddler tee is 100% cotton, from Precious Cargo – and at the very least, this it should ensure you've got the hippest gift at your sister-in-law's baby shower this spring!

A bird in a tree, tied to a turntable by a set of headphones! Don't ask us to explain it – but we love the image, and think you will too – one of the most creative we've ever gotten in our t-shirt design contest! The shirt's printed on brilliant white, which really makes the playful colors pop out nicely – and the back shoulders carry the Dusty Groove website address – so you can let everyone behind you know where you shop! The toddler tee is 100% cotton, from Precious Cargo – and at the very least, this it should ensure you've got the hippest gift at your sister-in-law's baby shower this spring!

An album of explosive power and imagination from Don Ellis – a set that shows him very firmly shaking off the more academic mode of earlier years, and heading into hipper, more youth-oriented directions! The group's still a bit band on most numbers – but it's one with a lean, well-crafted sound that's not really big band jazz, and which also features some elements of later soundtrack scoring. Players on the date are all great – and include Frank Strozier, John Klemmer, and Ira Schulman on saxes – plus Pete Robinson on clavinet, piano, and electric piano! The set begins with the beautiful extended "Variations For Trumpet" – a suite-type number that has plenty of great colors from Ellis, plus loads of other horn work too. Other titles include "Indian Lady", "Pussy Wiggle Stomp", "Scratt & Fluggs", and "Child Of Ecstasy".

A really great album from Fire – a set that has the trio expanded way more than usual, into jazz orchestra form – and working here in a style that's wonderfully soulful and spiritual overall! The set isn't just a spiritual jazz outing – as it's got these really unique flavors and colors that still echo the intensity of the previous Fire trio outings, but which spread the energy out over the larger ensemble, then give it a lot more focus too – less improvisation, and instead some really visionary arrangements that make the whole thing shine brilliantly from start to finish. There's a bit of vocals, which are tremendous too – almost echoing some of the Fontella Bass work with the Art Ensemble Of Chicago, but darker too. Mats Gustafsson conducts the group – and really blows us away with his efforts – and the set features one long two part composition – with performances by Sten Sandell on piano and electronics, Mariam Wallentin and Sofia Jernberg on voice, Magnus Broo and Emil Strandberg on trumpet, Jonas Kullhammar on bass sax, Fredrik Ljungkvist on baritone and clarinet, and Mats himself on tenor and live electronics!

A crucial piece of plastic that you'll treasure for years! This 45 adapter may be tiny, but it provides a key function when you're out spinning in clubs – as it easily allows you to slide 45s on and off a conventional turntable, thanks to its unique cone-shaped top! The adapter fits on the spindle of any regular turntable (even those old-fashioned ones with the drop-type in the middle) – and its size and design make it a lot easier to switch 45s back and forth than most other adapters on the market!

Lean, righteous blowing from the legendary Frank Foster – one of a handful of extremely hip sessions he cut in the 60s under his own name! The album's the only record Foster ever did for Blue Note – and we dare say it's even better than his previous 60s work on Prestige and Impulse – with a quality that's even darker, even deeper, even more advanced from his earlier years with Basie. There's a rolling, joyous groove to many numbers – that late 60s take on soul jazz that made for so many great tracks on albums by Hank Mobley or Lee Morgan near the end of the decade. Foster keeps things tight, but he's also got an expansive vision too – an edge in the horns that points the way towards some of the chances he'd take in the 70s, but which is still wrapped around a leanly leaping soul jazz groove! Foster wrote 5 of the 6 tracks on the album, and he's working here with a sextet that includes Garnett Brown on trombone, Marvin Stamm on trumpet, and Richard Wyands on piano, who brings in some offbeat notes and colors throughout. Rhythm is by the excellent team of Bob Cranshaw on bass and Mickey Roker on drums – and titles include "Seventh Avenue Bill", "Stammpede", "Little Miss No Nose", "Manhattan Fever", and "Loneliness".

Massive keyboard work from Ronnie Foster – one of his sweet funky 70s sets for Blue Note – and a killer all the way through! Ronnie plays a host of cool keys – Hammond, clavinet, and moog – and he's working here with tight production from George Benson, who really helps find a new soulful edge for Foster's music – plus great horns from Alfred Ellis, who helps bring a bit of his James Brown influence into the mix! Some of the best cuts feel like blacksploitation funk – with Foster taking long solos over some great instrumental grooves – often with the same offbeat twists and turns, and cool colors he brought to his Two Headed Freap album. Titles include "On The Avenue", "To See A Smile", "First Light", "Serenade To A Rock", and a nice version of Stevie Wonder's "Golden Lady".

Wonderful work from this hip Japanese ensemble – a largeish group who draw on big band modes from earlier generations, yet find a youthful way to create rich new colors, tones, and timings! The set's got a really beautiful reed-heavy approach – one that has all the poetry you might expect from the title – with echoes of Kenton or Gil Evans sorts of arrangements, yet often turned towards the sharper tones of the post-Coltrane generation – and mixed with offbeat rhythms that further push the edges of the tunes. There's also a good number of trumpet and trombone parts, plus lots of great percussion – and titles include "Ladiga", "Divine Gift", "Trivial Chief", "Never Say Die", and "Bold & Able". 2CD set features 7 more bonus tracks too!

Some of the earliest music we've ever heard from British pianist Michael Garrick – a sublime session cut with Peter Shade on vibes in the late 50s – quite different than some of Garrick's better-known music of the 60s, but equally amazing! The sound here is quite modern, but also nicely straight ahead – as most cuts have a swinging sound, amidst the brilliant mix of tones and colors from the piano and vibes! In addition to Shade's vibes and Garrick's piano, other instrumentation includes Paul Hemmings on bass and Brian Barnes on drums – and Barnes also vocalizes on two tracks, and Josephine Stahl sings on two more. Titles include "A Welter Of Phenomena", "Silhouette", "I'll Never Be The Same", "Threesome", "I Saw Stars", "Angel Eyes", and "Willow Weep For Me".

A pair of bossa classics – back to back on a single CD! The first Jazz Samba set is one of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". Jazz Samba Encore is hardly an "encore" of the first Stan Getz Jazz Samba album – as this set's got a slightly different feel, and lots of great elements that make it really unique! This time around, Brazilian musician Luiz Bonfa is on guitar – already a skilled proponent of the bossa by the time of the record, and arguably one of the few who really got it going back home in Rio. Stan's tenor sounds wonderful – as carefully and soufully blown as on the first set, but also with some new colors and tones too. Bonfa's wife Maria Toledo sings a bit on the record – hinting at Stan's work to come with Astrud Gilberto (this album was cut right before the Getz/Gilberto collaboration) – and the record also features added work on piano and guitar from the great Antonio Carlos Jobim – more than enough proof that the album's got a pure bossa pedigree! Titles include "Menina Flor", "Ebony Samba", "Saudade Vem Correndo", "Sambalero", "Samba De Duas Notas", and "Mania De Maria".

A very different record than the first collaboration between Stan Getz & Joao Gilberto – but that's also one of the things that makes it great! The album's more of a split LP than a shared one – as side one features a live performance from the great mid 60s Stan Getz quartet that featured Gary Burton on vibes – a wonderfully cool combo that was very under-documented on record, and which makes a key appearance here. The combination of Burton's vibes and Stan's tenor is pure genius – a sound that's got all the subtle hues and cool colors of the Getz bossa recordings, but which is quite different overall. Stan's tone is amazing on these tunes – and titles include "Here's That Rainy Day", "Tonight I Shall Sleep With A Smile On My Face", "Grandfather's Waltz", and "Stan's Blues". Side two features Joao Gilberto without Stan – playing in a very groovy trio that's more straight bossa than most of his other US recordings – cool small combo grooving that's totally great! The lineup features Gilberto on guitar and vocals, Keeter Betts on bass, and Helcio Milito on drums – all working in a sweetly grooving mode on titles that include "Samba De Minha Terra", "Meditation", "Bim Bom", "Rosa Moreno", and "O Pato". CD also features 5 bonus tracks with vocals from Astrud Gilberto – "It Might As Well Be Spring", "Only Trust Your Heart", "Corcovado", "Garota De Ipanema", and "Eu E Voce" – all from the Getz Au Go Go album.

An amazing record by Jimmy Giuffre – one that he uses to replicate the "4 Brothers Sound" of the years when he played with Woody Herman as one of a group of four saxophonists blowing together – but done here by Jimmy himself on all 4 horns, using early overdubbing techniques that let him play four tenor sax parts at once! The sound is wonderful – filled with complex colors, tones, and changes you won't find on Giuffre's other albums of the time – and Jimmy's backed by usual trio-mates Brookmeyer and Jim Hall – with Brookmeyer on piano, swinging things a bit more than usual next to Hall's guitar. The 4-tenor frontline is wonderful, and titles include "Four Brothers", "Ode To Switzerland", "Space", "Blues In The Barn", and "Memphis In June".

An excellent soundtrack to this early 70s thriller that starred George C Scott! Jerry Goldsmith has come up with some strong action themes that are very much in a Lalo Schifrin mode – mixing guitar, electric harpsichord, and strings with a harder-edged groove so that there's a lot of space in the overall blend of elements – allowing each one to step out nicely, identified on its own! Even the mellower tracks are great – with an airy feel that recalls some of Michel Legrand's best action scores at the end of the 60s – with colors that flow out and really give the record a sense of soul! Steve Lawrence sings "The Last Run" in a mode that recalls Matt Munro's performances on other thriller soundtracks – and other titles include "Claudie's Stockings", "The Trap", "Border Crossing", "Rickard Escapes", and "Double Cross".

A surprisingly huge soundtrack from the 60s – thanks partly to the main title theme, which is a variation on the same "Amen" theme that Curtis Mayfield would make big with The Impressions! Most of the record is prime Jerry Goldsmith scoring, though – wonderful instrumentals that have this complicated blend of tones and colors, yet still some folksy undercurrents too – almost a Copeland-like point in Goldsmith's pantheon, with the mix of majesty and humanity that reference implies! Titles include "Homer Returns", "The Roof", "Homer Awakes/Breakfast", "The Contractor", "Out Of Bricks", "Amen", "No Hammer/Return Of The Prodigal", and "Feed The Slaves/Drive To Mass".

Matthew Herbert never fails to amaze our ears, but he does so even more than ever on this stunning Big Band set! The album's more dynamic, more creative, and more experimental than any of Herbert's other work – hardly the slower, cinematic modes of some recordings – or the jazz-meets-groove styles of others – and instead a rich new palette of musical colors, one that pushes Matthew far far from the mainstream! The work's more orchestral than big band – complicated in tone and rhythm at times, but always finding a space for soul – either in solo instrumental passages, or in the great vocals on the record – sung by Eska Mtungwazi in a really beautiful style, echoing out brilliantly over the larger orchestrations – which themselves were recorded in the House Of Commons and London City Hall. Titles include "Pontificate", "The Yesness", "Battery", "Regina", "One Life", "Just Swing", "The Rich Man's Prayer", and "The Story".

An early showcase for the talents of Japanese trumpeter Terumasa Hino – a smoking set that showcases his talents in two different settings! The album begins with a quintet that features Hino with Takeru Muraoka on tenor and Hiromasa Suzuki on piano – working through a great open-ended take on "Shadow Of Your Smile", with a long edgey solo from Hino! Next, the set features two larger ensemble numbers – with the core players of the quintet, plus added horns and guitar – all used together in some of Terumasa's best early style of arranging – complex and modern, yet never too far out – and instead a bold vision of jazz, filled with rich tones and colors – on versions of Hino's composition "Night Dreamer", and the tune "Slobber".

One of Bobby Hutcherson's most important albums ever – and an essential piece of "new thing" jazz that ranks up there with such key Blue note sessions of the genre as Tony Williams' album Life Time, Dolphy's Out To Lunch, and Jackie McLean's One Step Beyond! Hutcherson's sound on the vibes is amazing – metallic, yet melodic – in a sublime blend of the modern and the soulful, all wrapped up in tones and colors that few other players have ever managed to get from the instrument! All the other players on the session really rise to the occasion too – and the album features tremendous work from Sam Rivers, Freddie Hubbard, Andrew Hill, and Joe Chambers. Titles include "Ghetto Lights", "Catta", "Les Noirs Marchent" and "Idle While".

An amazing record – quite possibly the best ever by Chicago soul legend Leroy Hutson! The whole thing's a smooth soul masterpiece beyond compare – a stunning blend of great songwriting, sexy vocals, and buttery production that rank it up there with the best work of 70s giants like Marvin Gaye, Leon Ware, or Roy Ayers. Leroy's got a voice that's both warm and mellow, yet incredibly honest at the same time – and the songs on the record show a range of colors and emotions that perfectly fit his unique style. Features mellow "Cool Out", the funky "Lucky Fellow", the sweet "All Because Of You", and the sublime cuts "It's Different" and "Can't Stay Away". The whole thing's great – and is one of the crowning achievements of the Chicago soul scene!

Quite possibly our favorite-ever album by the Impressions! The record is a key transitional one – and it has them opening up the politics that were often hidden by spiritual metaphors on earlier ABC albums, into a righteous soul groove that hints a lot at the overblown direction Curtis Mayfield would take in the 70s, yet which still retains all the tightness of the group's earlier work. Nearly every single cut's a classic – and the group outdid themselves vocally, especially Curtis, who always makes our heart break on this one! Donny Hathaway and Johnny Pate handled the arrangements, and tracks include "Choice Of Colors", "The Girl I Find", "Mighty Mighty (Spade & Whitey)", "Soulful Love", and "Seven Years".

A spare and dramatic score for this film that starred Gregory Peck, Anthony Quinn, and Omar Sharif – penned by Maurice Jarre with some slight Spanish touches, to fit the setting of the narrative! Light guitar is used on many numbers – but with a very high-register sort of sound that almost feels like harpsichord at moments – and other tracks feature an isolated flute snaking along the tunes slowly, carving out some nice moods and colors with a fair bit of subtlety. Orchestrations are relatively subdued throughout – and for the time, the music is wonderfully understated – especially for Jarre! Titles include "Manuel In San Martin", "Paco Leaving Spain", "Spanish Street", "Manuel Studies Map", and "Father Francisco In Hospital".

A great little trio session from Keith Jarrett – still in the mode of some of his other ECM work, but almost a bit more back to basics as well! The group here features Gary Peacock on bass and Jack DeJohnette on drums – both working beautifully with Keith in a flurry of colors, tones, and pulsating rhythms – the latter of which really drive along the two-part composition "Flying", which takes up most of the set. The shorter "Prism" completes the record – a number that's a bit more contemplative overall, and which features some of those beautifully rounded tones that were virtually Peacock's trademark at the time.

Incredible work from the Jazz Crusaders – a brilliant album of longer tracks that has them working at their soulful, sophisticated best! The record's great proof that the Crusaders had a depth that many rarely gave them credit here – as they're working here in a complicated set of rhythms, tones, colors, and patterns that easily matches some of the best Blue Note mid 60s work by Hank Mobley or Lee Morgan! All tracks are recorded live, and in very long takes that show the combo effortlessly setting up the rhythms – then stepping out with extended solos that are surprisingly exploratory and modern-sounding. Titles include "Trance Dance", "Summer Madness", "Young Rabbits", and "Freedom Sound".

A brilliant collaboration between Clifford Jordan and Sonny Red! At the time of this recording, Jordan was one of a number of firey young tenor players from Chicago – all of them hard-blowing, with a nice soulful bottom that opened up a bop sound to more moods and emotions – but Jordan stood apart from most of them with an approach that was decidedly more complex and forward-thinking. As you'll hear on the album's tracks, he wasn't content enough to just blow off a riff – but had to twist things up a bit, working a tune for more shades and colors than it might yield with another player, pushing on the proceedings with an edge that works especially well for Red, who opens up here more than he does on some of his other sides from the time. Red's tone is excellent – a sharper one next to Jordan's more supple blowing – and the pair are a perfect team to lead off tunes like "Prints", "Hip Pockets", "A Story Tale", and "Defiance".

Great early work from Johnny Keating, not the hokey sound of the "high road" you might expect from the cover, and instead a well-crafted batch of large ensemble tracks that really shows Keating deepening his sound! There's echoes here of some of the best modern work on the west coast scene of the 50s – the legacy of Kenton's tones and colors, taking into nicely swinging territory – and tracks are played by differing groupings of Keating's players from cut to cut. Titles include "Loch Ness Monster", "Kiltie", "Double Scotch", "Tam O Shanter", "Headin North", and "Down South Blues" – all originals by Keating!

Damn great work from guitarist Volker Kriegel – a player who rose to prominence in the Dave Pike Set, then went onto make some wonderful records of his own! Volker plays both acoustic and electric guitar on the set, and works with a very hip fusion combo that features electric piano from John Taylor, soprano sax and flute from Stan Sulzman, bass and cello from Eberhard Weber, and electric violin from Zbigniew Siefert – all players who gell together perfectly, with this sublime MPS blend that's never too jamming or too rocking – a perfect balance that you'd hardly get from US fusion groups of the time! Tunes are a nice mix of funky and fuzzy numbers, with a dose of easternisms to round things out – and titles include "Lift!", "Forty Colors", "Electric Blue", "Lame Donkey", and "Blue Titmouse".

Sweet soulful fusion from guitarist Volker Kriegel – a player who's definitely tighter here than in his more psychedelic days – but who still has a wonderful sense of sound, space, and timing! The record features some great tones from Volker – sliding along with this slight undercurrent of spaciness, in a lineup that features keyboards from Rainer Brunighaus, trombone from Albert Mangelsdorff, and acoustic guitar, drums, and some mighty nice percussion! Players shift a bit throughout the session, giving the record a nice depth of flavors and colors – really fleshed out in a nice way that goes way beyond the usual fusion outing of the time. Titles include "Bahia Next Year", "Tribut", "Let's Say Windmill", "Saturnalia", "Circus Gambet", "Hallo Albert", and "Sister Matic".

A really wonderful album from Michel Legrand – one of his few jazz efforts to really capture the same dynamic charm of his soundtracks! The album was recorded live – with a mixed group of electric and acoustic players that includes Joe Beck, Randy Brecker, Ron Carter, Phil Woods, and Ron Carter – and the overall approach is spaciously baroque, setting up the tunes with the same clever care as Legrand's best scores, giving the soloists plenty of room to step out and paint strong colors and tones in sound. Legrand sings a bit on one track, and duets with vocalist Lary Shelly on the track "Pieces Of Dreams" – and other titles include "The Saddest Thing Of All", "Splittons", "One At A Time", and "The Friday Fugue".

A really wonderful album from Michel Legrand – one of his few jazz efforts to really capture the same dynamic charm of his soundtracks! The album was recorded live – with a mixed group of electric and acoustic players that includes Joe Beck, Randy Brecker, Ron Carter, Phil Woods, and Ron Carter – and the overall approach is spaciously baroque, setting up the tunes with the same clever care as Legrand's best scores, giving the soloists plenty of room to step out and paint strong colors and tones in sound. Legrand sings a bit on one track, and duets with vocalist Lary Shelly on the track "Pieces Of Dreams" – and other titles include "The Saddest Thing Of All", "Splittons", "One At A Time", and "The Friday Fugue".

One of the most beautiful albums we've ever heard from saxophonist David Liebman – a set of solo numbers that build slowly, with this haunting, soulful sound that we've almost never heard from Liebman this well before! David uses soprano, tenor sax, and wooden flute on the date – and both of the saxes definitely seem to echo the "wood" in the flute – as they have this organic tone that's amazing – quite warm at times, yet sharp enough to display the edges that Liebman still brings to his creative solos. Titles include "The Loneliness Of A Long Distance Runner", "Colors Red Gray Yellow", "Petite Fleur", "Mother Father", "Peace On Earth", and "Time Immemorial Before Then Now After".

2 tasty gems from Johnny Lytle – one of the hippest soul jazz vibists you'll ever get a chance to hear! Both albums feature Johnny working in his famous trio with Milt Harris on organ and Peppy Hinant on drums, augmented on some tracks by Steve Cooper on bass and Ray Barretto on congas. The vibes and organ still dominate strongly – which is ok by us – and the sound is opened past Johnny's regular stepping groove into a mix of styles that shows him working in a variety of jazz-based moods and colors. Titles include a number of nice originals like "The House Of Winchester", "Moon Child", "Big John Grady", "Lela", "The Soulful One", and "The Moor Man" – plus groovy covers like "Work Song" and "A Taste Of Honey". 17 tracks in all – and very nice throughout!

Amazing work from French film composer Michel Magne – a set of more serious compositions, but all of which still have the great ear for odd sounds and subtle humor we love in his soundtracks! The centerpiece of the set is his "Musique Tachiste" suite from 1959 – an extended composition that features voices, instruments, and noises all coming together in a really wonderful way! Christiane Legrand handles the "voix chantee" – a wordless singing vocal – and Jaqueline Dano does the "voix expression", the more dramatic one in the set. Piano is by Paul Castanier, who figures heavily – and other instrumentation includes vibes from Geo Daly, plus some spare but effective use of odd noises that really come off well. After that selection, the CD moves onto a series of 1968 recordings in which pianist Martial Solal plays the music of Magne – set to arrangements from the legendary Jean-Claude Vannier! The sound is amazing – jazzy, but always veering outside – not just on Solal's trademark angular piano lines, but also in Vannier's complex shifting colors in the backdrops! Titles include "Air Liquide", "Rose Des Vents", "Clair Obscur", and "Organique". The CD features 2 more rare experimental works – "Echellses Mobiles" from 1970, and "Mozart En Afrique" from 1972. The whole thing's great – never too cerebral or academic, and always with a nice sense of wit.

Herbie Mann's really getting interesting here – stepping out from straight jazz flute, and moving into some more exotic territory that's mighty nice! There's a definite Latin bent to the album at times – thanks to conga work by Ray Barretto – but the tunes also bring in some other global elements too, partly through the variety of flutes used by Mann on the session – and partly from the vibes by Dave Pike, which always have a way of adding rich new colors to a record! The album's a great start down some of Herbie's more exotic paths – and titles include "Guinean", "The Puppet", "Shein Vi Di Levone", and "Moanin".

A pair of Mercury Records albums from Johnny Mathis – on CD for the first time ever! Tender Is The Night is tremendous work from Johnny's short years on Mercury – a set that has the singer hitting a new level of maturity in his music – thanks in part to arrangements from Don Costa! Costa's scored plenty of singers before this set – but with Johnny, he hits a level of sophistication that's really amazing – the depth of tones and colors that Frank Sinatra was getting on his late 60s years at Reprise – perfect for the new level of expression that Mathis was hitting in his vocals. There's loads of numbers here that go way beyond what you might expect from the usual hits from Johnny – and titles include "Laura", "No Strings", "A Dream Is A Wish Your Heart Makes", "Forget Me Not", and "Tomorrow Song". Wonderful World Of Make Believe features Mathis working with arranger Allyn Ferguson – who often gives Johnny the same sort of shimmering charts he might get from Glenn Osser, but who takes a bit more liberties here with the "make believe" modes promised in the title! Lots of the tunes are numbers from shows – but those of a whimsical, wistful variety – postwar tunes with a fantasy vibe that's perfect for the inherent sense of longing in Mathis' vocals. Titles include "Shangri La", "House Of Flowers", "Beyond The Sea", "Camelot", "I'm Always Chasing Rainbows", "Sands Of Time", and "When You Wish Upon A Star".

A beautiful set from Mulgrew Miller – one of his greatest albums as a leader, and exemplary of the kind of underground jazz that was still bubbling strong in the 80s! The set features Miller's quintet with Kenny Garrett on alto and flute, Steve Nelson on vibes, Charnett Moffett on bass, and Tony Reedus on drums – led by Miller in a range of expressive styles carried off with effortless ease. There's some really nice numbers on here with a gentle and soulful groove – mixing vibes, piano, and alto in wonderful shades of colors and tone. Titles include "Sonhos Do Brasil", "Wingspan", "One's Own Room", "The Eleventh Hour", and "Soul Leo".

Sweet guitar lines from Dom Minasi – a player who knows how to hit just the right sort of fluid vibe for this session! The album's got Dom soloing strongly over arrangements from Roger Kellaway, Byron Olson, and Bernard Ighner – all of whom bring some strong charts to the session, and give Minasi plenty of strong tones and colors to work with. The style shifts a bit throughout the record, but things are quite unified overall, with lots of compelling original tunes – and titles include "Moroccan Copper", "RK Bossa", "You've Been Away Too Long", "Sometime Boogie", "Bitzy", "Free", and "Theme From Prisoner Of Second Avenue".

An extremely well-titled set from the legendary Hank Mobley – one of his key Blue Notes of the 60s, and an album that glides along with an undeniable sense of joy, life, and soul! Mobley's really opening up his groove at this point – moving way beyond standard hard bop and soul jazz riffs, into a field of complicated rhythms – and a flurry of sound that features his mighty tenor atop a crack sextet that includes Blue Mitchell and Jackie McLean. John Hicks handles piano on the session – and brings in a beautiful range of colors and tones – and rhythm's handled by the skipping drums of Billy Higgins and the always-solid bass of Bob Cranshaw. Titles include "Two & One", "High Voltage", "No More Goodbyes", "Advance Notion", and "Bossa De Luxe".

An extremely well-titled set from the legendary Hank Mobley – one of his key Blue Notes of the 60s, and an album that glides along with an undeniable sense of joy, life, and soul! Mobley's really opening up his groove at this point – moving way beyond standard hard bop and soul jazz riffs, into a field of complicated rhythms – and a flurry of sound that features his mighty tenor atop a crack sextet that includes Blue Mitchell and Jackie McLean. John Hicks handles piano on the session – and brings in a beautiful range of colors and tones – and rhythm's handled by the skipping drums of Billy Higgins and the always-solid bass of Bob Cranshaw. Titles include "Two & One", "High Voltage", "No More Goodbyes", "Advance Notion", and "Bossa De Luxe".

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma".

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma".

A great addition to the Modern Jazz Quartet – as the clarinet of Jimmy Giuffre brings a sharp modern edge to the record! The album's similar to the other MJQ Music Inn date with Sonny Rollins – and shows how the addition of a reed player can really unlock new colors, tones, and possibilities in the sounds of the group. And in this case, given the Giuffre's at the height of his early powers – coming off some sublime trio dates for Atlantic – the pairing of players is completely sublime! Titles include "A Fugue At Music Inn", "Serenade", and "Fun".

A magnificent little album – one of James Moody's first collaborations with arranger Tom McIntosh – one of the most sensitive jazz voices of his time. McIntosh works in a world of many tones and colors – and he really pushes Moody past straighter solo approaches, into a mode where he's shaping sound into complex emotion – hitting a level of soulfulness that might never been expected in earlier years! Moody plays both tenor and flute on the session, and rhythm is by a piano-less trio that features John Gray on guitar, Eldee Young on bass, and Clarence Johnston on drums. And if that's not enough, Eddie Jefferson joins in on vocals on 2 tracks – lending his own lyrics to Moody's great original "Last Train From Overbrook", and doing a great reading of "Summertime". Other tracks include "Stella By Starlight", "Indian Summer", "Please Say Yes", and "Blue Jubilee".

Two great examples of Gerry Mulligan's Concert Jazz Band – back to back on a single CD! First up is Concert Jazz Band 63 – the sound of Gerry Mulligan in the early 60s – and one of the best records by his larger than usual Concert Jazz Band! Given Gerry's piano-less experiments of the 50s, it's surprising to actually have him as the pianist on this session – hitting the keys with a nice light touch, so that the larger horn section can take over most of the tunes – a beautifully-arranged ensemble who have a feel that's lighter than some of the groups of the 50s – such as the Kenton ensemble – yet one that's equally modern at times! The lineup is wonderful – with Clark Terry and Nick Travis on trumpets, Willie Dennis and Bob Brookmeyer on trombones, and Gene Quill, Gene Allen, and Eddie Caine on saxes – plus guitar from Jim Hall, bass from Bill Crow, and drums from Gus Johnson. Titles include "Big City Life", "Bridgehampton South", "My Kind Of Love", "Pretty Gypsy", "Bridgehampton Strut", and "Big City Blues". The second album features great large group material from Gerry Mulligan – and a record that definitely defines the sound of his famous Concert Jazz Band of the early 60s! The group features a four part sax section – headed by Mulligan, with other players that include Zoot Sims on tenor, Gene Allen on baritone, Gene Quill on alto, and Dick Meldonian on alto – and the set also features work by Nick Travis and Conte Candoli on trumpets, and Bob Brookmeyer on valve trombone and trombone – shading in some nice colors to the group's tone-heavy approach! Titles include "Out Of This World", "Sweet & Slow", "Bweebida Bobbida", and "Manoir Des Mes Reves".

A vivid early score from Mario Nascimbene – exactly the kind of music that made him a key bridge between two generations of Italian soundtrack composers! Orchestrations are relatively lush, yet full of feeling – lots of these deep blue passages that are really wonderful – and some occasional lighter instrumental elements that include some excellent harmonica from Franco De Gemini! The 2CD set is overflowing with music – more than we might have ever expected – rich in tones and colors throughout, and as vivid a painting in sound as the image on the front!

The most spiritual album from Nostalgia 77 in years – a real return to some of the modes he was exploring with his octet a few years ago – especially some of the more jazz-based styles that really made those records sparkle! The album's all instrumental – quite a change from the previous highly vocal record from Nostalgia 77 – and instrumentation is a very righteous blend of the leader's bass, plus reeds, trumpet, percussion, and lots of Hammond and Fender Rhodes – used in these mellow-flowing styles that really further the exploratory style of the music. As before, Riaan Vosloo's got a really expressive style to his writing – rich colors that are completely sublime in the hands of the group – on titles that include "Algernon", "Zippy Slipper", "Angels & Demons At Play", "Sunrise In Mexico", and "The Taxidermist".

Bassist Linda Oh's really finding her voice here – a fresh, inventive approach to small combo work that bristles with energy right from the start! Oh's got a bold style of handling her instrument – especially the acoustic variant – in a way that means that even the gentler moments have a nice sort of punch – a quality that might, by some, be dubbed as a touch of funk in the bass – even though the use of the instrument here is far more jazz, and in a way that makes for so many rich colors from just a small amount of sound! The group is nicely compact – with Danya Stephens on tenor, and Fabian Almazan on piano and Fender Rhodes – and in addition to her own bass, Oh plays some bassoon – and gets some on the money drum help from Rudy Royston. Titles include "Little House", "Thicker Than Water", "Something's Coming/Les Cinq Doigts", "Ultimate Persona", "Mr M", and "No 1 Hit".

Long tracks, lots of open energy, and plenty of freewheeling solos too – just the sort of Japanese jazz album from the 70s we treasure so much! The group here is led by drummer George Ohtsuka – sometimes spelled Otsuka – and features Fumio Karashima on piano and Fender Rhodes – a great player who has a way of rolling things out with a hell of a lot of feeling – a mix of modal and lyrical energy that sets fire to each tune in a different way – and provides just the right colors of inspiration for Shoszu Sasaki to soar on soprano and tenor sax! The group also features Mitsuaki Furuno on bass and Norio Ohno on additional percussion – and titles include a take on Steve Kuhn's "Something Everywhere", Coltrane's "Miles Mode", Minnie Riperton's "Loving You", and the Karashima original "Little Island".

Incredible work from pianist Duke Pearson – a darkly-tinged album of grooves that surpasses all his other gems for Blue Note! The record showcases some great work from Bobby Hutcherson – slid into the mix in a really sly way, so that his jazzy vibes color all the tunes with an edgey feeling that's missing from most of Duke's other albums. The group's slightly largeish – with Jerry Dodgion on flute and alto, Sam Brown and Al Gafa on guitar, plus added Latin percussion on a number of tracks – but although the larger group format often made for softer edges on other Pearson sessions from the time, the mix here is quite different – at a level that works in complicated rhythms, rich colors and tones, and warm harmonics that have a slightly unsettling undercurrent. The album's worth it alone for the mighty title cut "The Phantom" – but the whole thing's great, and other tracks include "Bunda Amerela", "Say You're Mine" and "Blues for Alvina".

Deeply textural jazz work from saxophonist Chris Potter – working here in a group with Wayne Krantz on guitar, Craig Taborn on Fender Rhodes, and Nate Smith on drums! The sound's a bit similar to some of the recent Blue Note generation – soulful one minute, modern the next – with lots of sharp angles on some tracks, alongside deeper colors that sort of burn and bubble up from the bottom. Potter's tenor dominates most numbers, even when blown gently – and despite the presence of keyboards and guitars, there's more of an earthy feel to the set than you might expect. Titles include "Big Top", "The Wheel", "Next Best Western", "Nudnik", "Lotus Blossom", "Underground", and "Yesterday".

An excellent session of exotica-tinged Latin jazz – put together by pianist Don Ralke, and featuring some great work from flute player Buddy Collette – in a spirit that's very similar to Collette's own classic Jazz Heat Bongo Beat album! The set's also got some great bongo work by Jack "Bongo" Burger – plus congas from Tom Wofford – and although both players aren't the most autentico of Latin percussionists from the west coast scene at the time, they've got a really evocative approach here that makes for a great little set. Colette's flute is wonderful too – really shading in some great tones and colors –a nd titles are all fresh originals that include "Afro Mambo Alegre", "Mgombo", "Pasion Calienta", "Bembe Negro", "Calypso Cubano", and "Afro Bop".

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

One of the first really tripped-out albums from Todd Rundgren – a record that makes us think he must have been getting a lot into his head since the time in the studio for Something/Anything! While not a concept album, the record does have a clearly stated "quest for knowledge and quest for love" that kind of colors most of the set – a higher concept that's reached for in the album's array of shorter playful tunes, and ever-changing styles of music. As always, we're still most partial to the gentler, more personal numbers on the set – and these stand out as little oasis between numbers that have a more sonically experimental nature. Titles include a few weird little instrumentals with moogy bits – like "Flamingo" and "Tic Tic Tic It Wears Off" – plus vocal numbers that include "Sometimes I Don't Know What To Feel", "You Don't Have To Camp Around", "Never Never Land", "International Feel", "Just Another Onionhead", "Does Anybody Love You", "Hungry For Love", and "Is It My Name".

A pair of compelling British instrumental albums back to back – both of them with a really unique flavor! Russo In London is a rare British outing for Stan Kenton alumni Bill Russo – a date recorded at the legendary Lansdowne studios, and one that may well be one of Russo's greatest albums ever as a leader! The set's filled with material originally scored for the Kenton group – but served up here with really inventive arrangements from Russo – modern in tones, but soulful in colors – and filled with unusual changes that really keep things interesting, and a bit swinging too. Soloists include Johnny Scott on alto, Duncan Lamont on tenor, Keith Christie on trombone, and Leon Calvert on trumpet – and titles include "Frank Speaking", "Egdon Heath", "Portrait Of A Count", "Sweets", "Bill's Blues", and "Ennui". Blowing Up A Storm is a showcase for the trumpet talents of Kenny Baker – working here with his sprightly Baker's Dozen combo, on a date that was recorded by the legendary Joe Meek! Baker's horn isn't always out front, which makes for a nice focus on the overall sound of the ensemble – and titles include "Blowing Up A Storm", "Call Of The Flute", "Night Blooming Jazz Man", "Threesome", and "Sunrise Serenade".

Plenty of drama here – in a vintage Italian peplum soundtrack from the great Carlo Rustichelli! Carlo's a composer who really knows how to bring a lot of feeling into his music – and here, he's definitely at the height of that power – scoring things with colors and tones so vivid, you almost don't need the images on the screen to tell what's going on! Some tunes have this dramatic progression that's almost narrative in scope – others move slower, as if Rustichelli's painting a musical picture of the backdrop for the movie. Reissue includes a whopping 28 tracks in all – all beautifully remastered!

Quite possibly the best-remembered album from Pharoah Sanders' legendary run at Impulse Records – a set that crossed over big, and sold to countless folks who might not have bought a jazz album this hip otherwise! The record was Sanders' first in the wake of Coltrane's passing – and it's a beautiful extended suite of tracks that flows with a sense of grace, power, and majesty that's simply breathtaking – a new level of expression in spiritual jazz – and virtually the blueprint for an entire generation to come! The album features the classic track "The Creator Has a Master Plan" – spanning a tremendous amount of space and time – and featuring Leon Thomas' classic vocals on the lyrics! Thomas also returns on the cut "Colors", which is a bit more outside, and quite free overall – and other players on the date include Lonnie Liston Smith on piano, James Spaulding on flute, Julius Watkins on French horn, Ron Carter and Richard Davis on bass, and Freddie Waits and Billy Hart on drums.

A wonderful tribute to Dizzy Gillespie – put together by trumpeter Arturo Sandoval – who can not only claim a big influence from Diz, but a number of past musical partnerships as well! The setting is great – not the simple bop mode that you'd usually get from other Diz tributes – and instead, a rich, vivid painting in jazz – full of thoughtful tones and colors that echo the Gillespie tradition, yet flesh things out into a much more vivid portrait of his spirit and soul! There's definitely a few Latin touches in the rhythms at times, mixed with some great larger horn passages that recall some of Dizzy's work with larger orchestras – yet handled here with a complexity that's more in a 21st Century mode. Gary Burton adds some nice vibes to the record – and other players include Bob Mintzer on tenor, Joe DeFrancesco on Hammond, and Shelly Berg on piano. Titles include "And Then She Stopped", "Birk's Works Ala Mancini", "Things To Come", "Con Alma With Soul", "Fiesta Mojo", and "Algu Bueno".

One of the best-ever Sonny Sharrock albums – and one of the few that really captures the fresh genius of his approach! The set was recorded in New York during the period when Sonny had just come out of Herbie Mann's group with Roy Ayers – but the sound is far far different than the lightly groovy records that Sonny cut with Herbie, more of a free expression of Sharrock's dark musical vision, filtered through the politics and progressive ideas of the time. The set was recorded in New York, with Dave Burrell on piano, Milford Graves on drums, and wife Linda on voice – and unlike on other albums, Linda doesn't get in the way too much, either, and her voice is a perfect accompaniment to the dark sound of the session. Side one features the tracks "Black Woman" and "Peanut", and side two has the band joined by Teddy Daniel on trumpet, and playing the tracks "Bialero", "Blind Willy", and "Portrait Of Linda In Three Colors, All Black".

An overlooked 60s gem from George Shearing – mellow and jazzy, and done with a slightly different style than usual! Deep Velvet takes Shearing's piano and vibes and backs them up with a 12-piece woodwind choir – one that creates a shimmering backdrop of colors and tones for the core sound of the Shearing quintet – and a mode that allows George's work on piano to explore with even more lyrical openness than before. The woodwinds occasionally step out a bit in some complicated passages of their own, but the real charm of the record, as always, is from the Shearing touch. Titles include "Passing By", "Would You Like To Take A Walk", "Signing Off", "One Love", "Slowly", "My Heart Stood Still", and "I Used To Be Color Blind".

A beautifully soulful set from Horace Silver – hardly the "with brass" session you might guess from the title, and instead a well-integrated album that really showcases a new level of arranging genius from Horace! The set is heavy on hip horns – with work from Oscar Brashear, Bobby Bryant, and Tom Harrell on trumpets – plus Frank Rosolinon on trombone, Jerome Richardson on alto and soprano sax, Buddy Collette on flute, and Bob Berg on tenor – but these instruments are often wrapped up in this warmly rolling groove driven by the bass of Ron Carter and drums of Al Foster – inherently funky, but much more complicated from a rhythmic perspective – and rolling out beautifully with a really imaginative vibe! Tunes are all originals by Silver – wonderful little numbers filled with passion and life – almost painting in sound, with really rich tones and colors throughout. Titles include "The Sophisticated Hippie", "Dameron's Dance", "Barbara", "Adjustment", "Mysticism", and "Kissin Cousins".

A beautiful, beautiful record from Horace Silver – one of his great 70s experiments for Blue Note – and a set that has him working in the same "jazz with voices" mode explored by Max Roach and Donald Byrd in earlier years! The core of the set is focused around the great work of Silver's combo – with Tom Harrell on trumpet, Bob Berg on tenor, Ron Carter on bass, and Al Foster on drums – a wonderfully cohesive unit that arcs and turns with all these sweet little shifts – keeping up with the creative rhythms directed from Silver, while cascading through a beautiful range of tones and colors as well! The vocals follow suit beautifully – directed by Alan Copeland, but with a much more soulful approach than his 60s material – bursting forth with this warmth and sense of tone that really matches the instrumentation. Titles include "I Will Always Love You", "Out Of The Night", "Incentive", "New York Lament", "Mood For Maude", and "All In Time".

A great late 60s gem from pianist Horace Silver – and a great bridge between his earlier soul jazz for Blue Note, and some of his more righteous work to come in the 70s! At one level, the sound here steps off from classics like Serenade To A Soul Sister or The Jody Grind – but at another level, there's a more open approach to the music – one that has Horace sliding into new tones and colors, with a slightly lyrical undercurrent as well. As on some of his later dates, the mellower moments are often the most compelling – showing a newly mature side of Silver's talents, and a new love of space between the notes that really helps to break the mode of previous recordings! The group here features the great Bennie Maupin on tenor and flute, Randy Brecker on trumpet and flugelhorn, John Williams on bass, and Billy Cobham on drums – and titles include "Lovely's Daughter", "Risin Sun", "You Gotta Take A Little Love", "Down & Out", and "Brain Wave".

A soaring stormer from the Spanish Harlem Orchestra – a contemporary group, but one who plays with some really classic Latin jazz modes! The group's always been great, but this may well be their best album to date – full of rich tones, bold colors, and tight rhythms that keep things lively throughout – all recorded in a no-nonsense way that reminds us of those excellent Latin jazz sessions we used to love from the Cubop label. Pianist Oscar Hernandez is at the head of a lineup that features two trumpets, two trombones, sax, flute, and plenty of percussion – on cuts that include "Linda", "Nuestra Cancion", "Si Me Quieres Te Quiero", "Son De Corazon", "La Salsa Dura", "La Fiesta Empezo", and "El Negro Tiene Tumbao".