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A Latin monster – and one of our favorite albums from the New York scene! The record is the only one we've ever seen from pianist Earl Coleman – and it's a groove-happy fiesta that's every bit Spanish Harlem at its best. Earl's piano is flowing and free, and the band grooves through tracks that dip, turn, and soar like some of the best hard-jamming numbers from Joe Cuba, Ray Barretto, or Joe Bataan from the time. Some tracks feature soulful English vocals, and the titles alone should give you the feel of the set – "Hippy Heaven", "Latin Love-In", "Banana-Loo", and "What You Gonna Do".

Earl Coleman was a syrupy voiced jazz vocalist – in the tradtion of Billy Eckstine or Johnny Hartman – and when he recorded this album for Atlantic in the late 60's, he'd already been kicking around the jazz scene since the days of bebop. The set is probably the best jazz session he ever cut, and is a nice set of mellow tracks that feature a group led by Billy Taylor, and which sound like some of Johnny Hartman's work from the same time. Titles include "Charade", "When Did You Leave Heaven", "I Wish I Knew", "Day In the Life Of a Fool", and "I Won't Tell A Soul".

Although we've been fans of Andy Bey for years (ever since his early 60s recordings with Andy & The Bey Sisters), we've got to admit that we're stunned at how successful his recent revival has been! This CD is probably the main reason for Andy's success – as it's a compelling batch of jazz vocal tracks that show Andy reinventing himself for a whole new generation of jazz listeners. The backing's by a nice small group that includes Gary Bartz, with whom Andy recorded extensively in the 70s – and the album includes a haunting reworking of Nick Drake's amazing song "River Man", plus a version of Dori Caymmi's "Like A Lover", Monk's "Straight No Chaser", and the moody "Dark Shadows", which was a page from Earl Coleman's songbook.

An amazing album – and a really unique slice of the underground of jazz in the 60s! The session was put together in 1963 by Walt Dickerson, and was conceived as an attempt to draw attention to the incredible amount of great jazz players who were then currently serving time in prison for trumped-up drug charges. The players were culled from New York's Riker's Island, and the mix is a strange and wonderfully surprising blend of musicians that includes Hope, John Gilmore, Ronnie Boykins, Philly Joe Jones, and Earl Coleman. The quality of the work and writing is superb, and not only is the record a high point in Hope's all-too-short career, but it also features some excellent non-Sun Ra work by Gilmore! Titles include "One For Joe", "Three Silver Quarters", "Kevin", "Trippin", and "It Shouldn't Happen To A Dream".

An amazing album – and a really unique slice of the underground of jazz in the 60s! The session was put together in 1963 by Walt Dickerson, and was conceived as an attempt to draw attention to the incredible amount of great jazz players who were then currently serving time in prison for trumped-up drug charges. The players were culled from New York's Riker's Island, and the mix is a strange and wonderfully surprising blend of musicians that includes Hope, John Gilmore, Ronnie Boykins, Philly Joe Jones, and Earl Coleman. The quality of the work and writing is superb, and not only is the record a high point in Hope's all-too-short career, but it also features some excellent non-Sun Ra work by Gilmore! Titles include "One For Joe", "Three Silver Quarters", "Kevin", "Trippin", and "It Shouldn't Happen To A Dream".

A stunner from Bill Barron! The set's one of the few rare sides that Barron cut as a leader during the early 60s – and it ranks right up there with work by Ornette Coleman or Joe Harriott for sheer raw modern power! The group's a quintet – with Barron and Booker Ervin on tenor, Larry Ridley on bass, Kenny Barron on piano, and Andrew Cyrille on drums – and the warm interplay between Ridley's bass and Barron's piano provides a striking contrast to the sharp-edged horn of Barron and the adventurous drumming of Cyrille. Tracks chop around in a modal groove, but still also retain a bit of soul jazz flair – and like all of Barron's best work, they never forget how to swing, and swing they do! Titles include "Bill's Boogie", "Groovin", "A Cool One", "Playhouse March", and "Work Song". 80's pressing, with previously unissued track "Billie's Bounce".

Cindy Blackman's looking a bit foxy on the cover, but her sound here is solidly soulful – a forceful batch of tunes that really match the best energy of the Muse Records soulbop scene of the early 90s! There's a nice blend of modern ideas and straight jazz energy here – sounds that grow strongly from the contributions of quintet members Steve Coleman on alto, Wallace Roney on trumpet, Kenny Barron on piano, and Lonnie Plaxico on drums – almost all Muse Records labelmates of Blackman, working here with energy that reminds us a lot of Roney's excellent sides for the company at the time. Blackman's the real boss, though – guiding things forcefully with her work on drums, and contributing a wealth of original numbers to the set – tunes that include "Code Red", "Anxiety", "Green", "Face In The Dark", and "Circles".

Possibly the first true moment of genius from Paul Bley – a key indie standout after a few years working for bigger American labels! By the time of this early ESP album, Paul Bley was no stranger to the American scene – having recorded a few records for different labels in the 50s, and making some surprise appearances on other sessions in the early part of the 60s. But by the time of this mid 60s set, Bley was really coming into his own – working in a style that would have a huge influence on the style of jazz piano for the next few decades, and which was one of the first strong statements of modernism from the Canadian scene. Here, he's working with Steve Swallow on bass and Barry Altschul on percussion in a trio format, working through a great batch of tracks by then wife Carla – like "Ida", "Start", "Closer", "Batterie", and "Sideways In Mexico" – as well as versions of Ornette Coleman's "Crossroads", Annette Peacock's "Cartoon", and his own "Figfoot".

A trio of classic albums from Don Cherry – packaged in a heavy book-like cover, with lots of new notes too! On the first part of the set, Cherry really breaks out on his classic Mu sessions from France – using the new freedoms of post-68 Paris to explore themes at a level that would set the tone for generations to come! The album's very spare, and very improvised – with Cherry on pocket trumpet, piano, and wooden flute – plus a bit of percussion too – alongside drummer Ed Blackwell, who's equally unbridled – showing a huge evolution since the time both he and Don spent in the group of Ornette Coleman! There's a few echoes of the global elements that Cherry would later embrace more strongly in the 70s – but the core energy here is mostly improvised jazz, handled at a level that really makes a lot better use of the freedom than some of Don's contemporaries. Titles include "Total Vibration", "Sun Of The East", "Brilliant Action", "Terrestrial Beings", "Bamboo Night", "The Mysticism Of My Sound", "Psycho Drama", "Smiling Faces Going Places", "Teo Teo Can", and "Dollar Brand/Spontaneous Composing/Exert Man On The Moon". Orient is a beauty from Don Cherry – and one of his rarest records! This set was originally only ever issued by the Japanese branch of BYG Records in the early 70s, and it features 2 live performances from France, both of them great! Don's in a spare trance-like mode here – working with one trio comprised of bassist Johnny Dyani and percussionist Okay Temiz; and another trio with Han Bennink on percussion and Moqui on tambura. Tracks from both sets are very long and stretched-out – a mixture percussion, trumpet, flute, piano, and occasional vocals, often done in a globally expansive style. Titles include "Si Ta Ra Ma", "Orient", "Eagle Eye", and "Togetherness".

A key album for any fan of classic Ornette Coleman – a 1971 Atlantic release that pulled together tracks from the late 50's and early 60's that didn't make it onto Ornette's earlier records for the label! Why these tracks weren't released at the time is a mystery to all, because the material is great, and ranks with some of his best stuff – and over the years, the value of the album has grown even more within the early Ornette oeuvre – as it contains key tracks that have come to define his edgiest moments of the early 60s . The LP includes "First Take", a 17 minute earlier version of the material the ended up on Free Jazz, plus additional quartet recordings with Don Cherry, Charlie Haden, and Ed Blackwell – on titles that include "Check Up", "Little Symphony", and the wonderful "Joy Of A Toy".

One of the few truly strong and original jazz LPs on the Charlie Parker label – and one of the best early sides by Slide! Despite a hokey title and cover image, the record really has a lot going on – and shows Slide stretching out as an arranger from his days at Atlantic. Side one features the extended "Cloister" dance suite – a 4 part work composed and arranged by Slide, showing his more expansive approach to jazz, one that he'd realize more strongly in European settings of the 60s and 70s. Players include Willie Thomas, Hobart Dotson, Benjamin Jacobs-El, and George Coleman – and the piece comes off wonderfully, very hip, but still swinging and soulful. Side two features shorter numbers – all Gershwin, like "Summertime", "I Loves You Porgy", "It Ain't Necessarily So", and "Bess You Is My Woman".

An amazing set throughout – not just for the musical growth of Coleman Hawkins, but also for the development of the tenor sax in jazz, too! These sides could very well be said to be THE seminal recordings for tenor – the records that helped transform the instrument from a bit of a trick noisemaker into one of the most dominant voices in jazz during the 20th century – the beginning of a rich legacy that went onto encompass Lester Young, Stan Getz, John Coltrane, and so many others! The package captures Coleman Hawkins right at the start of his career – with vital early 78rpm recordings that move from trad to swing to some of the modern combo sounds that Hawkins would blow in the postwar years. And the range of settings is amazing, too – not a loose collection or mish-mash of material, but a really thoughtful progression that has Hawkins working with Mamie Smith, Fletcher Henderson, Clarence Williams, The Chocolate Dandies, and McKinney's Cotton Pickers in the early years – then moving up to work as a leader on his own – as well as material with Lionel Hampton, Benny Goodman, Benny Carter, and Count Basie. Most of the later material is for small labels – like Baronet, Cont, Meritt, Neatwork, and others – and the early sides are for Okeh, Columbia, Vocalion, Brunswick, and other smaller imprints. Features 190 tracks in all, and very copious notes, too – an amazing package from Mosaic!

An obscure session that was nearly lost, because it was issued on a cheapo label – but which features some really great work from Coleman Hawkins! The format is small combo, with long tracks that really open up – and Hawk is blowing in that fantastic mode that he began to use a lot around the end of the 50s. His tone is incredible – at once deep and soulful, but also touched with some raspiness and a bit of a biting reed approach – almost a bit of Sonny Rollins at times, with a sound that really makes us want to listen to more work from this fruitful (and overlooked) time in Hawk's career! Players include Thad Jones on trumpet, Eddie Costa on piano and vibes, George Duvivier on bass, and Osie Johnson on drums – and titles include "Bean In Orbit", "Stalking", "Moodsville", and "Hassle".

A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really surprising – especially on the longer numbers, which unfold with some playful instrumental twists that seem to come especially from trumpeter Idrees Sulieman and trombonist JJ Johnson – both of whom are great on the record. Other players include Hank Jones on piano, Barry Galbraith on guitar, and Oscar Pettiford on bass – and titles include "Juicy Fruit", "Think Deep", "Blue Lights", "Sanctity", and "Chant".

Great material from the 78rpm years of Savoy Records – early singles by Coleman Hawkins, Ben Webster, Illinois Jacquet, Ike Quebec, and John Hardee – sides that nicely skirt the worlds of bop and swing!

A fantastic sextet session recorded in 1961, shortly before Booker Little's death – and filled with all the promise and power he ever packed into his playing! There's a sharp, angular groove to many of the numbers here – that mix of modern and hardbop that was cresting best in the early 60s Blue Note generation – and which echoes some of the work that Little had done with Max Roach in the years before this date. The lineup's filled with great players to help Book realize his strongest musical vision – Julian Priester on trombone, George Coleman on tenor, Don Friedman on piano, Reggie Workman on bass, and Pete LaRoca on drums – and although the set's issued on the sometimes-staid Bethlehem label, it's got all the sharper edges of an early 60s date on a label like Impulse or Candid! Titles include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow". CD features two bonus tracks – alternate versions of "Looking Ahead".

A sweet Atlantic soul groover from Brother Jack McDuff – and a set that has him tightening up his Hammond sound from his earlier years at Prestige Records! The tunes here are short and punched-up – almost instrumental soul numbers in their construction, but still filled with plenty of jazz – thanks to Jack's mad solos on organ, and some killer drums from Joe Dukes and Bernard Purdie! Other players include George Coleman on tenor, Cornell Dupree on guitar, and Buddy Lucas on baritone sax – and arrangements are by JJ Jackson and Jack himself. Titles include "Hotcha", "Down In the Valley", "Same Old Same Old", "No Tears", "What'd I Say", "Gonna Hang Me Up A Sign", and "Minha Saudade".

Some very groovy work – played by an LA septet with Mike Melvoin on organ and piano – plus Tom Scott on saxes, Gary Coleman on vibes, and Hal Blaine on drums! Also features work by Dennis Budimir on guitar, Larry Knechtel on bass, and Jim Horn on sax – on titles that include "Figures", "Vehicle", "Make Me Smile", "Little Green Bag", "Hum A Song", and "Love Me Or Le Me Be Lonely".

One of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell".

One of the grooviest takes on The Beatles we've ever heard – served up by a hip group of LA players led by pianist Don Randi! The style here is very hard and percussive – more soulful and swinging than the original tunes on the Rubber Soul album, and often done with a tightly vamping set of rhythms that are halfway between instrumental soul and early funk! The rest of the players include the Hal Blain and John Clauder on drums, Julius Wechter on percussion, Tommy Tedesco on guitar, Gary Coleman on vibes, and Hal Gordon on congas – all coming together in a soulful blend that really transforms these tunes. The overall feel is a bit like other piano-heavy soul jazz groovers from the LA scene of the 60s – particularly the work of the Harold Johnson Sextet – and Randi's piano is recorded way upfront in the mix, really dominating the tunes with a strongly rhythmic quality. Titles include "Norwegian Wood", "It's Only Love", "Run For Your Life", ""Think For Yourself", "You Won't See Me", "The Word", and "I'm Looking Through You".

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes".

An amazing document of righteous soul jazz – the full recordings for Horace Silver's United States Of Mind trilogy – done in collaboration with singers Andy and Salome Bey! The sound is completely different from Silver's work of the 60s – very righteous and message-oriented, with lyrics that often express social and political issues of the time – but which are delivered by the singers in a hip style that takes them far beyond their era – so much so, in fact, that all three albums are really only being appreciated to their fullest years later! Most of the recordings feature smaller combo instrumentation from groups that have Silver playing mostly electric piano – alongside musicians that include Randy Brecker, George Coleman, Houston Person, Idris Muhammad, Harold Vick, and Cecil Bridgewater – and overall, the tunes almost feel more like work that would have been issued on the Strata East label, instead of the usual Blue Note grooves of the time. Wonderful to have back out again – especially in this complete version, which features 28 tracks on 2CDs! Titles include "Big Business", "The Happy Medium", "Won't You Open Up Your Senses", "Soul Searchin", "All", "From The Heart Through The Mind", "Total Response", "Cause & Effect", "Wipe Away The Evil", and "Peace".

Prime Jimmy Smith material from his earliest years at Blue Note – hidden here under some more modern 70s cover art! The work here is very much in the best long-blown, open-ended style of Smith's jam session sides for the label – and the album features Jimmy's Hammond in the company of two different groups – one with George Coleman on tenor, Lee Morgan on trumpet, and Curtis Fuller on trombone – the other with Lou Donaldson on alto, Tina Brooks on tenor, and Morgan on trumpet! Kenny Burrell plays guitar, and all tracks are nice and long, with plenty of room for solos! Titles include "Cherokee", "What Is This Thing Called Love", and "Confirmation".

One of the Jimmy Smith "jam session" Blue Notes, with a large group that includes Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, and Art Blakey – nearly all of whom take long solos and dig deep to compete with each other. 3 long tracks, "The Sermon", "JOS", and "Flamingo" – and a hard-wailing, jam session, cutting contest, blowing session feel all the way through!

An interesting tribute to the passing of pianist Eddie Costa – mostly because the overall feel is much more in a soulful hardbop mode, quite different than the modern and chamber sides that Costa cut during the 50s! Side one features work by the Clark Terry quartet – with Terry on trumpet, Dick Hyman on piano, Art Davis on drums, and Osie Johnson on bass – and side two features and even better group led by Coleman Hawkins – with Hawk blowing in that great late solo style of his, alongside players that include Sonny Clark, Roy Haynes, and Chuck Israels. Tracks on the album are all long and intimate – mellow, but soulful, with plenty of interesting solo space. Titles include "The Simple Waltz", "Just You Just Me", "I'm Confessin", and "Things Ain't What They Used To Be".

Early and mid 70s big band masterpieces from Charles Tolliver for Strata East – plus a brilliant batch of German recordings from 1979 with Hamburg's great NDR group that was never legitimately issued before now – in an amazing 3CD set from Mosaic! Disc One features the classic Impact – the first album by his legendary group on Strata East – a core quartet that features Tolliver on trumpet, Stanley Cowell on piano, Cecil McBee on bass, and Jimmy Hopps on drums and percussion – all augmented by some larger backings for the session! The core sound is amazing – with free lines that trade back and forth wonderfully, filled with life and a great lyrical sense of energy that Tolliver never had on some of his later sessions. The larger group hardly gets in the way at all – and they're mostly there just to shade in the background, but often drop out during the solos – giving full center stage exposure to Tolliver and Cowell! Tracks include "Ruthie's Heart", "Abscretions", "Household of Saud", and "On the Nile". Disc Two features Impact – an amazingly spiritual effort that really brings together the best strands of sounds running through the underground at the time! The format's a bit similar to Music Inc – with lots of strong lead action from Charles on trumpet, and Stanley Cowell on piano. But this time around, the larger group seems to be more fully integrated into the tunes – there not just to support the soloists, but to rise up with a full, proud sense of majesty that's really amazing. Other players include Cecil McBee and Reggie Workman on basses, Billy Parker and Warren Smith on percussion, Jon Faddis and Jimmy Owens on trumpets, John Gordon and Garnet Brown on trombones, and Charles McPherson, George Coleman, Harold Vick, and Charles Davis on saxes! Titles include great versions of the Tolliver classics "Plight" and "Impact" – plus "Mother Wit", "Lynnsome", and "Grand Max". Disc Three is a hidden gem from Tolliver's career – 1979 radio broadcast sessions with the NDR big band that includes Benny Bailey on trumpet, Herb Geller on alto, Wolfgang Dauner on piano, Lukas Lindholm on bass and Alvin Queen on drums. Here Tolliver plays some of the Strata material with these great European players who really seem to relish the opportunity – with each contributing brilliant solos. Includes "Ruthie's Heart", "Mother's Wit", Grand Max", "Impact" and more.

Arguably one of the greatest albums ever cut by Jimmy Witherspoon – recorded live at an early Monterey Jazz Festival, and done in a style that shows the strong link between jazz and blues in Jimmy's work! The group on the set includes Ben Webster, Roy Eldridge, Coleman Hawkins, and Woody Herman – and the longish tracks on the set give them all more than enough room to solo alongside Jimmy's bluesy vocals. The album's also one of the first to be produced by a young David Axelrod – and shows a clear respect for both the singer and the musicians, in a combination that would come out even more strongly on Axe's later productions for Capitol. Titles include "No Rollin Blues", "Big Fine Girl", "Good Rockin Tonight", "Ain't Nobody's Business", and "When I Been Drinkin".

A rare soul jazz session from alto saxophonist Leo Wright – a player that we mostly know from his bossa work of the early 60s! The session's extremely noteworthy as being one of the few to feature female organist Gloria Coleman – a player with whom Wright worked on her classic 1963 date Soul Sisters, and who returns here in a very similar hard-wailing sax-and-organ mode! Wright's work on alto is incredibly deep – with a sharper bite than much of his other 60s sessions, and a gutsy down-n-dirty quality that makes the record feel like one of the best organ jazz albums at the time from Prestige. Coleman's approach to the Hammond is great too – freely skipping around with a liberated sense of rhythm, in a way that matches Wright's every twist and turn with ease – and throws a few of its own into the mix as well! The group's completed by Kenny Burrell on guitar (also sounding harder here than usual!) and Frankie Dunlop on drums – and titles include some fresh originals "Poopsie's Minor", "State Trooper", "Blue Leo", "Blues Fanfare", and "Soul Talk".

It's a little-known fact that Memphis had a huge influence on the sound of late 50s/early 60s soul jazz – probably because most of the city's best players had to leave and go either to Chicago or New York to make their name. This set's a great reminder of that fact, as it brings together an important batch of players, most of them only freshly departed from Memphis at the time of the session – an assemblage that includes Frank Strozier, Phineas Newborn, Booker Little, Louis Smith, George Coleman, and Calvin Newborn. The tracks are long open-ended blowing session tunes – very different than the usual format for just about every player involved, which also makes for quite a striking record. Titles include very long takes on "Blue N Boogie", "Star Eyes", "After Hours", and "Things Ain't What They Used To Be".

Includes performances by Sidney Bechet, Charlie Parker, Coleman Hawkins, Art Tatum and others.

Mighty recordings from the funk years of King Records – amazing grooves that follow the initial inspiration that James Brown gave to the label – but take things into wild new territory too! The late 60s & early 70s were kind of a strange and tumultuous time at the longtime Cincinnati operation – which was adapting to the changes in funk, soul and R&B music that James Brown almost single-handedly ushered in – at King and throughout the entire culture! What's most impressive here, beyond the exceptional quality of each song and performer, is the diversity – as the set's not all front-to-back JB-style funk – and also features some funked up bluesy soul, strains of gospel, the convincing move towards funk from veterans such as Hank Ballard & Bill Doggett – all topped off with righteous storytelling, sweet female soul leads, and some amazing grooves down at the bottom! Titles include "Getting Down (With Hoss)" by Kastle, "Love's Sweet Water" by Barbara Burton And The Messengers, "Baby Don't You Know" by The Brownettes, "Clay Tyson (Man On The Moon)" by Clay Tyson, "Cool Jerk" by The Coasters, "The Boo Boo Song" by King Coleman, "Unwind Yourself" by Hank Ballard, "Steal Away" by Leon Austin, "Peter Rabbit" by The Presidents, "Lookin For A Woman" by Robert Moore, "Push & Shove" by Willy Wiley, "Ball Of Fire" by Connie Austin, "Sad But True" by Elaine Armstrong, and "You Keep Me Hanging On" by Bonnie & Sheila.

The Sounds of Al-Mashriq – Middle Eastern folk and funk with raw percussion, street sounds and a wealth of surprising samples and other stylistic twists and turns – all respectful to and evocative of the culture! The set was put together by Coleman for Mochilla – the adventurous label and loose collective of global music-reverent DJs/producers/artists. The Sounds Of Al-Mashriq set follows the Mochilla team's visits to Lebanon, Jordan and Egypt – and it's a continuous mix of regional music, plus some subtle blends with hip hop beats and other eclectic flourishes. Nearly an hour-long continuous mix by Eric Coleman.

Ornette's masterpiece for Flying Dutchman – and a great set that features Charlie Haden, Dewey Redman, Ed Blackwell, and assorted unnamed "Friends & Neighbors". The majority of the tracks on the LP – "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow" – feature prime playing in the Ornette late 60s/early 70s mode, with a slight bit of a spiritual bent that marks the material from the rest of his work. The group is incredibly tight, and Blackwell and Haden have never sounded better. The title cut, though, is the real mind-blower. It's in 2 parts, with vocal accompaniment by the unnamed mass of "extras", and a tight pulsing groove, with what sounds like an electric bass, and Ornette wailing away on violin. Great stuff, and a record that we hardly ever see in the original!

Quite an interesting record – one that was sort of a jam session party, starring most of the leading lights of Flying Dutchman during their early days. Thiele broke the set into 4 sides – 1. A bunch of messed-up jazz tunes from the Tom Scott, Roger Kellaway, Howard Roberts camp; 2. The Jazz Story – tracing the development of jazz in the 20th century, and featuring Esther Marrow on one track, plus some modern performances by John Carter, Bobby Bradford, and Horace Tapscott; 3. Dedication To John Coltrane – featuring work by the Elvin Jones Trio, The Ornette Coleman Quartet, and Joe Farrell; 4. A Few Thoughts For The Day, featuring some of the political spoken side of the label, with music by the Appleton Syntonic Menagerie. Very wild stuff overall – with more than a few great moments. Titles include "Lament For John Coltrane", "Head Start", "Freaky Zeke", "Lanoola Goes Limp", and "Jungle Sound".

An excellent collection of work by Coleman Hawkins – tracing his early amazing development of the use of the tenor in jazz, through his surprisingly modern sounds of the later years!

A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really surprising – especially on the longer numbers, which unfold with some playful instrumental twists that seem to come especially from trumpeter Idrees Sulieman and trombonist JJ Johnson – both of whom are great on the record. Other players include Hank Jones on piano, Barry Galbraith on guitar, and Oscar Pettiford on bass – and titles include "Juicy Fruit", "Think Deep", "Blue Lights", "Sanctity", and "Chant".

Spiritual soul and spoken word with instrumental inflections – a perfect illustration of the righteous sound of the Flying Dutchman label at the start of the 70s! The imprint was famously home to Gil Scott Heron, Lonnie Liston Smith, Leon Thomas, and other hip cats at the time – but also recorded a fair bit of work that was even more progressive and political – including key records from forces helping to carry the legacy of Civil Rights well into the 70s! This package offers up a perfect blend of those modes – great jazz tracks that carry the legacy of John Coltrane forth even further, and political records that were often more powerful than anything in the press at the time. Titles include "Sais" by Lonnie Liston Smith", "Nevertite" by The Esoteric Circle, "The Creator Has A Master Plan" by Louis Armstrong and Leon Thomas, "Lament For John Coltrane" by Bob Thiele Emergency, "Friends & Neighbors" by Ornette Coleman, "Sit Down" by Carl B Stokes with Oliver Nelson, "Echoes" by Leon Thomas, "The Giant Is Awakened"b y Horace Tapscot, "Gonna Get Some Right Now" by Chico Hamilton", and "We're Threatening The Oppressors" by Angela Davis.

Seminal sounds from cornet player Bobby Bradford – a date recorded in the UK in the early 70s, but with all the free-thinking and imaginative energy as his best sessions in LA! The group pits Bobby's horn against three young modernists – Trevor Watts on alto and soprano sax, Kent Carter on bass, and John Stevens on drums – all working in these long-flowing, very rhythmic numbers that lie somewhere between Bradford's work with John Carter, and the early 60s sound of Ornette Coleman. The alto/cornet interplay is especially nice – very mesmerizing over the course of the album's very long tracks – and Watts turns out to be a great musical partner for Bobby. Titles include "Love's Dream", "Coming On", and "Roswita's Dance". CD features bonus tracks ""She", "HM Louis 1", and an alternate take of "Coming On".

Essential stuff! This is one of Ornette Coleman's greatest albums – and it was recorded during a period when he just couldn't miss! The group features Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins on drums – working here with a lively dancing sound on the kit, one that works perfectly for Ornette's jaunty compositions. The chopped-up modal groove is in full effect here – making the record a treasure trove of angular, highly rhythmic numbers that are easily some of Coleman's best-remembered tunes! Titles include the classics "Ramblin" and "Una Muy Bonita" – performed in original early versions – plus "Free", "The Face Of The Bass", "Bird Food", and "Change Of The Century".

A landmark in modern jazz – from the stark stares of the band on the cover, to the starkly haunting music in the grooves! Ornette, Don Cherry, Charlie Haden, and Ed Blackwell make severe statements about the future of modern music in tracks like "Humpty Dumpty", "Beauty Is a Rare Thing", and "Kaleidoscope" – bouncing the efforts of the whole group off the beat, in a way that's both challenging and groove-heavy at the same time, a key summation of the genius of Ornette's early vision!

One of Slide Hampton's greatest records of all time – a totally hip batch of tracks recorded with a large group that reminds us of some of Max Roach's ensembles of the early 60s! No surprise, Roach is a key part of the album – pounding away with frenzy on Hampton's 5-part "Drum Suite", and working well here on other tracks with players that include Yusef Lateef and George Coleman on tenor, Freddie Hubbard and Hobart Dotson on trumpet, Tommy Flanagan on piano, Eddie Khan on bass, and both Hampton and Benjamin Jacobs-El on trombones. There's a righteous, majestic energy to most of the tracks – not just the pivotal "Drum Suite" in five parts, but also the originals "Gallery Groove" and "Fump" – plus versions of "Lover", "Our Waltz", and "Stella By Starlight".

Great later work from this tenor giant – some of his sublime and surprisingly modern work for the Moodsville label!

2 rare large group sets – back to back on one CD! First up is Saxes Inc – a unique sax-heavy session done by Warner Brothers, and a blaring batch of tracks played by an all-star all-sax group that includes Herb Geller, Phil Woods, Gene Quill, Al Cohn, Zoot Sims, Seldon Powell, Hal McKusick, and Georgie Auld! Bob Prince arranged and conducted, and the approach is surprisingly modernist, with the saxes carrying the bulk of the rhythm and melody, as well as the solos – a really great approach that makes for plenty of unique moments – all handled with a sound that's a lot more fluid than you might expect! Titles include "Four Brothers" (of course!), "The Gypsy", "Night In Tunisia", "Jumpin With Symphony Sid", and "Axmobile". The second album here is the even rarer 1956 set Trombone Scene – a session done with a much smaller group arranged by pianist Elliot Lawrence, and featuring the talents of four key trombonists – Eddie Bert, Jimmy Cleveland, Urbie Green, and Jimmy Knepper. The sound isn't nearly as full or wide as other records of the type – and there's almost a style that's similar to the JJ Johnson/Kai Winding four trombone project for Debut – except that this one's a bit more tightly arranged. Tracks are shortish, but feature plenty of personality from all players – and titles include "Plungin In", "Hackin Around", "Slim Jim", "Sorta Rumbish", "Hambone", "Sonny's Side", and "Up & Out".

A nice live set – put together by Norm Granz, as a tour of the JATP all stars in Europe. The group brings together the hottest jazz stars of the day, and onthis volume itincludes Dizzy gillespie, Cannonball Adderley, JJ Johnson, Coleman Hawkins and Roy Eldridge. There's a great jamming take on "Bernie's Tune" and a sidelong riffing version of "All The Things You Are".

A fantastic sextet session recorded in 1961, shortly before Booker Little's death – and filled with all the promise and power he ever packed into his playing! There's a sharp, angular groove to many of the numbers here – that mix of modern and hardbop that was cresting best in the early 60s Blue Note generation – and which echoes some of the work that Little had done with Max Roach in the years before this date. The lineup's filled with great players to help Book realize his strongest musical vision – Julian Priester on trombone, George Coleman on tenor, Don Friedman on piano, Reggie Workman on bass, and Pete LaRoca on drums – and although the set's issued on the sometimes-staid Bethlehem label, it's got all the sharper edges of an early 60s date on a label like Impulse or Candid! Titles include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow".

Great stuff, and one of the few albums that features pianist Harold Mabern getting down and dirty as a leader! This one's a quintet affair – with Leo Morris (Idris Muhammad) on drums, Virgil Jones on trumpet, George Coleman on tenor, and Buster Williams on bass. Mabern plays a bit of electric piano, but the bulk of the groove is in that hard Prestige soul jazz mode of the mid 60s – less funky than the early 70s years, but actually much higher on the jazz chops. Titles include "Strozier's Mode", "Waltzing Westward", "A Time For Love", and "Blues For Phineas".

Lost genius from trumpeter Lee Morgan – a session recorded for Blue Note in 1967, but not issued until the late 70s – and even then, only for a very short time! The session has Morgan moving into that wonderful last stage of his career – working in tight formation towards a sound that still had that groovier hardbop styles of earlier recordings, but which also unfolds towards a more ambitious spiritual jazz mode. The writing on the session is superb – original tunes that crackle with energy in a surge of dark notes and shadowy moods, inspiring the soloists to express themselves at levels that rank with their best work of the time! The group features David Newman on tenor – sounding completely different, and far more righteous, than on his Atlantic sides of the 60s – plus Cedar Walton on piano, Ron Carter on bass, and Billy Higgins on drums. A great sound overall – right up there with Tom Cat or The Gigolo for lyrical modernism – and with titles that include "Sneaky Pete", "The Mercenary", "Sonic Boom", and "Mumbo Jumbo". Plus, the album is expanded here by 6 more tracks – all recorded in 1969, and only briefly issued on a 2LP late 70s album called The Procrastinator. These tunes have a slightly different, almost sadder feel – with a group that includes Julian Priester, George Coleman, and Harold Mabern – on more wonderful originals that include "Cla Til Da", "Uncle Rough", "Mr Johnson", and "The Stroker".

One of the Jimmy Smith "jam session" Blue Notes, with a large group that includes Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, and Art Blakey – nearly all of whom take long solos and dig deep to compete with each other. 3 long tracks, "The Sermon", "JOS", and "Flamingo" – and a hard-wailing, jam session, cutting contest, blowing session feel all the way through!

Important 70s work from Don Cherry – one of the first albums to bring his overseas experiments to a larger US audience! The set builds nicely off of styles that Don forged earlier in France and Scandinavia – a freer style of music than his work with Ornette Coleman, and a richly organic groove that builds up strongly from the bottom, often with elements of world music settled in alongside the jazz – but there's also some funkier moments here too, a bit like the Brown Rice album, but looser overall! The groups on most numbers are relatively large and spiritual – almost like Alice Coltrane at times, but a bit more electric and funky at others – and players include Collin Walcott on sitar, Michael Brecker on saxes, Cliff Carter on keyboards, Lenny White and Tony Williams on drums, Lois Colin on harp, and Raphael Cruz on percussion. Cherry himself plays conch shells, bells, and flute in addition to his usual trumpet – and he even sings a bit on a few numbers, in a soulful, scatting sort of groove. Narada Michael Walden produced, and the whole set's got a very righteous feel – with tracks that include "Universal Mother", "Buddah's Blues", "Eagle Eye", "Mahakali", "Karmapa Chenno", "Surrender Rose", and "Journey Of Milarepa".

A stunning session by Ornette, and one that always seems to get overlooked in discussions of his albums for Atlantic! His quartet here features the amazing Scott LaFaro on bass, and a young Ed Blackwell on drums – both of whom give the tracks an amazing pulse that brings new energy out of Ornette and Don Cherry's solos – working in a modal groove that's as catchy as it is modern! All tracks are named after initials of titles of books by Sigmund Freud, including "T & T" (Totem & Taboo), "C&D"(Civilization and Discontent), "W.R.U.", and "R.P.D.D.".

A really unique chapter in the career of Ornette Coleman – an album that he produced by himself in 1962, away from any other label – as an effort to showcase the newly freer sounds of his music! The recording's the first in a really groundbreaking stretch for the 60s – and it was fortunately finally issued by ESP Records a few years after the recording – providing a nice link between Coleman's earlier experiments and the sound of the younger generation usually showcased by the label. The group's a trio, with a sound that's quite different than the more rhythmic modes of Coleman on Atlantic Records – a freer, less structured lineup that features percussion from Charles Moffett and bass from David Izenzon. One track also adds in a string quartet – making the record one of Coleman's first experiments with this format – and titles include a 23 minute recording of "The Ark", plus "Doughnut", "Sadness", and "Dedication To Poets and Writers".

A fantastic album by Slide Hampton – one of his best, and one of his rarest! Like a number of other important players of his generation, Slide got his start on the American scene, but moved to Europe during the 1960s – where he really began to open up. This excellent session was recorded in Paris in 1962, and it features Slide leading an octet through some of the most complicated arrangements of his early years. Players include some great underground American players, like trumpeter Richard Williams, bassist Butch Warren, tenorist George Coleman, and trombonist Benjamin Jacobs-El, whose frequent co-tromboning with Hampton always made for an excellent sound. As on Slide's Atlantic sides, the group swings like a mofo – staying tight on the choruses, but really breaking out from the pack with some amazing solo work. Titles include "Star Eyes", "Straight No Chaser", "Confirmation", "Exodus", and "A Moment's Notice".

A previously-unissued performance from Joe McPhee – recorded in the early 80s, and a searing ensemble take on Ornette Coleman's "Lonely Woman"! The arrangements are beautiful – as the track retains some of the haunting melody of the original composition, yet has a loose, creative approach that also allows for lots of improvisation in the middle – stunning performances from Joe McPhee on pocket cornet, Andre Jaume on tenor, Daniel Bourquin on baritone, Michael Overhage on cello, Radu Malfatti on trombone, Raymond Boni on guitar, Irene Schweizer on piano, Francois Mechali on bass, and Pierre Favre on percussion – plus a bit of vocals from Tamia at one spot. The track only runs for 13 minutes, making this a mini-album of sorts – but it's a true treasure, finally unearthed!

If worktime was like this for us, you'd catch us showing up on the job early every day – but sadly, nothing at our office can match the brilliance of early Sonny Rollins here – a sharp-edged genius that perfectly illustrates why he was one of the greatest players on his horn for many decades running! There's a depth of tone on the record that rivals Coleman Hawkins or Lester Young – but a quickness of pace and imagination that shows a clear influence from Charlie Parker, and a deftness that few were bringing to the tenor at the time. The rhythm section here is super tight – and features Ray Bryant on piano, George Morrow on bass, and Max Roach on drums – all supporting Rollins' bold lead with lines that bristle with electricity, but still often fall back to let the sound of the tenor envelop the whole group. Tracks are longish, and titles include "Raincheck", "There Are Such Things", "Paradox", and "It's All Right With Me".

Blearly-eyed bebop, smoky nightclub jazz from the weary hours, and boozy beat sounds from the early 60s on this no frills, but fun compilation – bits by Frosty & The Diamonds, Slim Galliard, Coleman Hawkins, Ada Moore, Moondog, Elle Girl & 7 Beat Sulks, Gil Melle, Kenneth Rexroth and others! It's a diverse roster, but the style flows pretty consistently and and definitely get the mood across! Includes "Destination Mars" by Frosty & The Diamonds, "The Gears" by Gil Melle, "Cockroach" by Jack Kerouac, "Go Go Kitty" by The New Bangs, "Like" by Jack Hammer, "State & 32nd" by Kenneth Rexroth and more. 25 tracks on the CD.

An amazing collection of music – some of the hippest jazz to ever come out of the west coast scene, and a legendary pairing of trumpeter Bobby Bradford and saxophonist John Carter! Both players have really gone onto leave their mark in later years – but honestly, they almost reached the peak of their powers with these incredible early recordings – beautifully bracing modern jazz, of a sort that somewhat follows an Ornette Coleman lineage, but which also opens up into the new spirituality that was hitting the LA scene in the post-Coltrane years – almost a bridge between the Coleman/Dolphy generation, and the later Nimbus scene that would rise in the west! The music here is stark, simple, and quite organic – yet has an energy that's all its own – an amazing progression of rhythms and horn sounds, wrapped together beautifully through a killer set of original compositions. Carter plays alto, tenor, clarinet, and flute; Bradford is on trumpet, and rhythm players include Nate Morgan and Bill Henderson on piano, Henry Franklin and Louis Spears on bass, and Bruz Freeman and Leon Ndugu Chancler on drums. The set brings together material originally issued on the Seeking and Secrets albums for the Revelation label – but then also features lots more previously unreleased tracks – making the set more than 50% new material! Most titles are of the 1969/Early 70s vintage of the Revelation albums – but the set also features some beautiful 1979 duets between Carter and Bradford, with no other instrumentation at all. 22 tracks in all – and an instant treasure!

A massive jazz book by Gary Giddins – author of the much respected Visions Of Jazz – and featuring more 140+ articles from a nearly 15 year period! Many of the articles here are from Giddins' Weather Bird column in The Village Voice – with pieces on Sonny Rollins, Ornette Coleman, Cassandra Wilson., Benny Carter, Lee Konitz, Rosemary Clooney, Herb Jeffries, Roy Hargrove, Marc Ribot, Terence Blanchard, David S Ware, The Bad Plus, Abbey Lincoln and many more. Hardcover, 632 pages.

A stunning early set as a leader from Elvin Jones – both a tremendous demonstration of the free energy he let loose after the passing of John Coltrane, and a set that's also still got some key Coltrane-esque elements! As with other Jones albums to follow, Elvin's got some key reedmen on hand – George Coleman on tenor, and Frank Foster on tenor, alto, and bass clarinet – both given plenty of room to run around with long solos on the open space of the record – yet without ever blowing off their heads as much as some of the younger players who'd work with Jones. There's no piano at all on the set – just the rock-slid bass of Wilbur Little, and additional congas from Candido next to Elvin's drums. The tracks have a haunting quality that mixes modal grooving with spare moments, and titles include "Simone", "5/4 Thing", "Shinjitu", and a nice version of "Yesterdays".

One of Lee Morgan's most sparkling sessions from the early years – a record that already shows a sense of depth and imagination that would take Lee way beyond simple hardbop solo work! There's a sensitivity here that owes something of a debt to Clifford Brown, yet which is much more modernist overall – touched, no doubt, by a set list that features tunes by Gigi Gryce and Benny Golson, and played in a spirit that's similar to the blend of soul jazz and modernism that both of those players were carving out at the time. Morgan's bandmates for the record include George Coleman on tenor and alto, Curtis Fuller on trombone, Ray Bryant on piano, Paul Chambers on bass, and Art Taylor on drums – all in tight formation, but with a sense of relaxed and easy flow that's rare, even in a Blue Note of this vintage! Titles include "You're Mine You", "Just By Myself", "Kin Folks", "City Lights", and "Tempo De Waltz".

A beautiful meeting of two major talents from the left end of jazz – recorded in the early 60's when both were working for Atlantic! Despite the "avant garde" title, this set is straighter than you'd expect – very much in the spirit of Coltrane's work for the label, but with perhaps some of the more angular styles that Cherry was laying down with Ornette Coleman at the time. The session has Coltrane joining Ornette's group of Don Cherry, Charlie Haden, and Ed Blackwell – save for a few numbers that feature Percy Heath on bass instead of Haden. The set includes great readings of Ornette's "The Blessing", "The Invisible", and "Focus On Sanity", and Coltrane plays both soprano sax and tenor!

Great later work from Bud Freeman – blowing here in a comfortable and relaxed setting that really fits the mood of the Swingville imprint – and getting equally great help from a small combo of players that includes Shorty Baker on trumpet, Claude Hopkins on piano, George Duvivier on bass, and JC Heard on drums. The feel is traditional, but never hokey or out of date – and there's some surprising modern currents to the phrasing of Freeman and the rhythms of Heard, almost in the way that Coleman Hawkins and Pee Wee Russell were hipping things up a bit during the same stretch. Titles include "S'posin", "I Let A Song Go Out Of My Heart", "March On March On", "Hector's Dance", and "Something To Remember You By".