A fantastic live set from 1968 – recorded after Blakey's classic Blue Note years, but with a group of fantastic players that includes a young Billy Harper on tenor, Ronnie Matthews on piano, and Julian Priester on trombone. Harper alone is worth the price of the CD – as his firey solos are great, and the whole album's an excellent peek at his early career! There's a sense of open freedom here that's quite different than the earlier Jazz Messengers groove – and this European date is a great complement to the better-known US live recording with the same group from the time. The set features a number of nice long tracks – like Slide Hampton's "Slide's Delight", Billy Harper's "Blues For Eros", Bobby Timmons' "Moanin", and the Jazz Messengers' standard "You Don't Know What Love Is". CD

A wonderfully hard-storming set – and a record that not only firmly put the Jazz Messengers on the map, but also set a whole new standard for live jazz recording! The group here is the early version of the Messengers – almost co-led by drummer Art Blakey with pianist Horace Silver – and featuring Clifford Brown on trumpet, just a few months before his early death – plus Lou Donaldson on alto and Curley Russell on bass. The presence of alto instead of tenor makes the sound slightly different than later incarnations of the group – and the overall approach is one that virtually defines the shift from straight bop to hardbop in the 50s – a mode that both Blakey and Silver were key in creating. Tracks include "Split Kick", "Quicksilver", "Mayreh", and "A Night In Tunisia". CD features 2 bonus tracks, and great remastering! CD

Art Blakey's soundtrack to this fantastic French film is one of his best non-Blue Note albums ever – and it's got the additional bonus of featuring performances by the great French tenor star Barney Wilen! The tunes here are way more than just short scene-setting soundtrack numbers – and are instead some incredibly memorable numbers from these great years of the Jazz Messengers – handled with all the fire of their Blue Note sides. The date was recorded in New York – with Wilen on tenor, Lee Morgan on trumpet, and Bobby Timmons on piano – and the tracks are a great mix of hardbop riffs and very catchy jazzy themes for the soundtrack. Titles include "No Problem", "Weehawken Mad Pad", "Valmontana", and "Miguel's Party". LP, Vinyl record album

A landmark concert from the mid 80s – one held to honor the resurrection of the Blue Note label, featuring a wealth of some of the best players for the label – from the 80s back to the 50s bebop years. This is the third of 4 LPs, issued both separately and in a box set format. This volume features an all-star line-up with Art Blakey, Freddie Hubbard, Johnny Griffin, Curtis Fuller, Walter Davis Jr., Jimmy Smith, Stanley Turrentine, Lou Donaldson, Kenny Burrell, Reggie Workman, Grady Tate, and Grover Washington Jr. Tracks include "Moanin'", "A Child Is Born", "The Jumpin' Blues", "Summertime", "I'm Glad There Is You", and "Medley: Blues Walk/Getting' Sentimental Over You". CD

Terence Blanchard on trumpet, Branford Marsalis and Sam Newsome on tenor saxophone, Bruce Barth on piano, Rodney Whitaker on double bass, and Jeff Watts and Troy Davis on drums. CD

Four fantastic albums from Bobby Bland – all brought together in a single package for the first time! First up is Come Fly With Me – great work from Bobby Blue Bland – one of the few artists to rise up at the end of the 50s, and still find a way to chart their own path forward in soul with fresh material like this! Bobby's voice is still incredible here, and he works with production from Al Bell and Monk Higgins, the latter of whom arranged – in this cool style that's a bit like some of the territory that Tyrone Davis was taking on at Columbia Records during the second half of the 70s – fuller arrangements that bring some sophisticated soul touches to the music, but in ways that never lose the core of Bobby's genius! Titles include "Lady Lonely", "Night Games", "You Can Count On Me", "Love To See You Smile", "Come Fly With Me", and "To Be Friends". The next album is I Feel Good I Feel Fine – and Bobby Bland sounds pretty good too – thanks to arrangements from the great Monk Higgins, who does a perfect job of mixing Bland's trademark vocals with some sweet late 70s arrangements! The sound is upbeat, but never in a cliched disco mode – more in the territory that you'd hear Johnnie Taylor using over at Columbia Records – maybe a good comparison, given the Memphis roots that both artists shared – as both also evolved a lot to shift their sound with the changing modes of the time. And as with Johnnie, Bobby never loses the core that makes him great – as you'll hear on titles that include "Tit For Tat", "Soon As The Weather Breaks", "In His Eyes", "Someone To Belong To", "I Feel Good I Feel Fine", and "Little Mama". Sweet Vibrations is a real gem from the start of the 80s – arranged by Monk Higgins, who co-produced the set with Al Bell – a duo who'd already given Bobby some great records before, but who really knock it out of the park with this one. There's an extra-special quality going on here – maybe a slight reintroduction of blues roots, but still with a very contemporary spirit – set up to superb backings throughout. Titles include "Soul With A Flavor", "Hollywood Woman", "You'd Be A Millionaire", "Sweet Vibrator", "Special Kind Of Fool", and "A Real Woman Is What It Takes". Try Me I'm Real is record with a title that certainly fits the bill – as the amazing voice of Bobby Bland is as real here as it ever was, and blended with superbly soulful backings that take the singer's sound forward for a whole new generation! Some of Bobby's contemporaries were content to just stick in a straight blues mode – but Bland really grew and developed a lot as an artist, thanks in part to Monk Higgins and Al Bell – who are both at the production helm of the record, and balance the bluesy roots of Bobby with some richer soul backings that really knock the whole thing out of the park! We love Bobby Blue Bland during his early Duke Records years – but we love him equally as much for music like this, on titles that include "But I Do", "What A Difference A Day Makes", "Givin Up The Streets For Love", "A Song For You My Son", "Just You Just Me", and "Love Is Where It's At". CD

A record with a title that certainly fits the bill – as the amazing voice of Bobby Bland is as real here as it ever was, and blended with superbly soulful backings that take the singer's sound forward for a whole new generation! Some of Bobby's contemporaries were content to just stick in a straight blues mode – but Bland really grew and developed a lot as an artist, thanks in part to Monk Higgins and Al Bell – who are both at the production helm of the record, and balance the bluesy roots of Bobby with some richer soul backings that really knock the whole thing out of the park! We love Bobby Blue Bland during his early Duke Records years – but we love him equally as much for music like this, on titles that include "But I Do", "What A Difference A Day Makes", "Givin Up The Streets For Love", "A Song For You My Son", "Just You Just Me", and "Love Is Where It's At". LP, Vinyl record album

An incredible record from Bobby Blue Bland – and quite possibly the greatest one he ever made! The set's got an amazing something special that's unlike most other material of the time – a bit blues, but a lot of soul too – still with some echoes of R&B in the jazzier charts used for the backdrop, but presented with a rock-solid style that definitely points the way towards many sounds and styles to come in the 60s. And although Bland recorded many of these tracks as separate singles, there's a way they're put together here that makes the whole thing sound completely marvelous together – a really well-conceived track list that shows that Bobby's an even greater artist in the space of a full record. The arrangements are perfect, and Bobby's rough soulful voice is blended in this amazing way with killer horn arrangements that are far more sophisticated than most stuff that ever came after this, and which never get in the way, but only back up his deep emotion. The album's a motherlode of classics by the man, with gems that include "Two Steps From The Blues", "Cry Cry Cry", "I Don't Want No Woman", "I'm Not Ashamed", "Don't Cry No More", "Lead Me On", and "I Pity The Fool". And hell, even his version of "St James Infirmary" is pretty wonderful – something we never thought we'd say about that song. CD

Killer work from this funky Finnish combo – a group who celebrate a strong decade in music with this really wonderful set! The Blassics bring in all the right sort of influences from African funk of years back, especially Ethiopian music – and they spin out tracks that are often nice and long, and which feature some tremendous jazzy solos from the horn section – players stepping out from the ensemble for individual expressions, and not just vamping with the rhythms! The rest of the instrumentation is great too – well-crafted, and shaded with all sorts of tones that really deepen the music in personal ways, and don't just echo styles of the past. Titles include "Afrohustler", "Special Occasion", "Ruff Strut", "West Side Glory", "Swazi Funk", "Yeketema Set", and "Hagerun Geleba". CD

Players include Andy Sheppard, Steve Swallow, Lew Soloff, Gary Valente, Victor Lewis, and Wolfgang Puschnig. CD

Pianist Paul Bley played famously with Ornette Coleman in his earliest years – and here, he gives a nod to that special time in his career, while also working in a style that's very much his own! All tracks are famous originals penned by Ornette, but delivered in very different trio readings by Bley, along with help from Jay Anderson on bass and Jeff Hirshfield on drums – in readings that are neither the harmelodic territory of Coleman during his classic years, nor some of the airy modernism you might know from Bley either. There's a surprising amount of lyrical beauty in the performances, as Paul opens up great new currents in these tunes – titles that include "Crossroads", "Turnaround", "Compassion", "When Will The Blues Leave", and "Lorraine". LP, Vinyl record album

Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". CD

A survey of The Music Scene through the eyes, mind and fingers of longstanding hip hop and spacey beatcraft guru Blockhead! Blockhead's way with a sample has been one of the reasons we've been on board so long, and it's as unpretentiously hypnotic as ever here – staying defiantly headnodding in a groove – while subtly innovating and floating in myriad stylistic variations without hitting you over the head with them. Solid stuff. Titles include "It's Raining Clouds", "The Music Scene", "Only Sequences Change", "Which One Of You Jerks Drank My Arnold Palmer?", "Attack The Doctor", "The Prettiest Sea Slug", "The Daily Routine", "Pity Party", "Farewell Spaceman" and more. CD

The biggest sounding Blondie album by far – and a radical leap from New York new wave scene band to a wildly ambitious pop pastiche machine! The band always had a fearless way of filtering far-reaching pop sounds into their material, even when they were still on the CBGBs scene, and while their stylistic reach grew with each successive album, Autoamerican really takes it to extremes. It's somewhat notorious for favoring session players over the core band, but given how crazy the stylistic breadth is – no disrespect to that incredible core band – it's a creative win, as much BECAUSE they bit off more than they could chew production wise, as it is despite that. It's most famous (or infamous, depending on who's talking about it) for "Rapture", and other tracks include "Europa", "Live It Up", their classic, breezy cover of "The Tide Is High", "Here's Looking At You", "Faces", "Follow Me" and more. LP, Vinyl record album

... 7-inch, Vinyl record

A really cool project, and one that's even cooler than you might guess from the title – as the graphic novel is a very well-done exploration of key strands of electronic music – starting with the early years, moving through disco, Chicago House, Detroit Techno, and beyond – all with individual chapters that really do a great job of telling the story! At some level, the book is a bit like the hip hop history of Ed Piskor, but there's a different approach to storytelling too – as the scenes are interwoven with more personal, reflective elements – almost a Harvey Pekar quality at times, which really makes the narrative come alive. The artwork is great – mostly black and white, but with some color as things move to the 21st Century – and we're really pleasantly surprised at how enjoyable the book is, and especially proud of the way it handles Chicago. Harcover edition is 239 pages, with images throughout – and a smaller text section at the end. Book

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

This Blue Cheer record, their first of 2 in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". CD

This Blue Cheer record, their first of two in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". LP, Vinyl record album

Blue Effect are down to a trio for this early 80s album, but that smaller lineup seems to allow even more space for instrumental interplay and well-crafted solos – served up by Radim Hladik on guitars, Vladimir Cech on drums and percussion, and Lesek Semelka on Moog and Korg keyboards, plus vocals as well! The production is clean, but never commercial – just really letting the longform tunes spin out with plenty of well-played lines – on titles that include "Triatricet", "Obcasna Panska Jizda", "Kohoutek Kamaradstvi Dokapava", and "Avignonske Slecny Z Prahy". CD features 6 bonus tracks – including "Nezna", "Zahada Jmeli", and "Doktor". CD

A prog classic from the Czech scene at the start of the 70s – music from a moment when things were really pushing the cultural barriers in the new freedoms of the time! Blue Effect blend core jamming with some larger arrangements that appear from time to time – all given a sense of power and majesty that really transcends the boundaries of language, soaring out with a vibe that's right up there with the best non-English work on the Euro scene at the time! The set was issued with translated lyrics in some territories, but this is the original album – with titles that include "Osamela Ulice", "Kamenne Blues", "Destivy Den", "Kde Je Ma Hvezda", "Fenix", and "Pamet Lasky". CD features 5 bonus tracks – including "Grave Of The Sun", "Life", and "Gray Hair". CD

... LP, Vinyl record album

Really stunning work from John Blum – one of his few efforts as a lead act, and one that has us wondering why he hasn't given the world a lot more tremendous albums like this! Blum's got this way of attacking the piano that's definitely in the school of Cecil Taylor, an old mentor – yet the recording also has this way of working the sound of the room into the blend of the work on the keys of the piano – this kind of echoey brilliance that almost seems to absorb some sonic ideals of avant composition as much as it does explode with the energy of free improvisation! Titles the set features nine tracks in all – each numbered "River" selections. CD

The first-ever musical meeting of these three great players on record – and a set that seems to unlock very different qualities in their work! The music is often fiercely improvised, with drum work from Chad Taylor that resonates with all those tremendous talents that have only grown in recent years – but which are pushed to limits at points here – while David Murray delivers solos that are sometimes straight and soulful, but often have the sharper edges of his earlier material – especially when the piano of John Blum really seems to spur him on! In fact, it may well be Blum's presence here that's really guiding the group – and titles include "Germination", "Monk's Door", "Passage", "Hidden Thorns", "Creatural", and "Fractals". CD

There's a really hypnotic blend of sounds going on here – the always-strong alto work of Arthur Blythe, whose solos are a key part of the strength of the set – matched with a super-strong lineup that includes Hamiet Bluiett on baritone sax, Kelvin Bell on guitar, Gust William Tsilis on vibes, Arto Tuncboyaci on percussion, and Famoudou Don Moye on drums! There's a slight crackle of electricity at times, but never in a way that dampens the soul, especially that of a leader – and while earlier efforts of this sort might have gotten mired in too much criss-crossing of modes, this set comes off perfectly – a fresh entry in Blythe's wonderfully storied career. Titles include "Miss Eugie", "Hipmotism", "My Son Ra", "Bush Baby", "Dear Dessa", "Cousin Sidney", "Shadows", and "Dance Benita Dance". CD

A wonderful record from saxophonist Arthur Blythe – a set that features his group working through a number of tunes by Thelonious Monk – but with very different arrangements and instrumentation that change things up completely! The set came at a time when Monk was receiving a lot of new attention in the world of jazz, and at a time when Arthur's star had risen too – and the meeting of forces is wonderful – as Blythe brings all sorts of new rhythms and tonal combinations to play with familiar tunes that really transform in the process. The group is a familiar one for Blythe – and features Abdul Wadud on cello, Kelvyn Bell on guitar, Bob Stewart on tuba, and Bobby Battle on drums! And while you might scratch your head at the tuba, the instrument is often used in ways that might follow older bassline styles – but with a quality that bridges the alto and cello in a great way. Titles include "Nutty", "Coming On The Hudson", "Light Blue", "Epistrophy", and "We See". LP, Vinyl record album

Includes "Stomp Your Stuff", "Alley Rat", "Sweet Papa", "Shake Your Shimmy", and "Wild Man Stomp". 7-inch, Vinyl record

A great collection of funky New Orleans genius from the legendary Eddie Bo – an artist who made music in many different modes over the years in Nola, but who comes across here with a sound that's definitely in the funkiest side of his spectrum! There's lots of cuts on the collection that were only issued as funky 45s – the kind of deeply funky numbers with heavy drums that made Bo such an early favorite for the sampling scene, and which continue to give his work such a sense of urgency over the years! This isn't the slow-rolling, head-nodding side of Crescent City soul, and instead is its much funkier cousin – as you'll hear on tracks that include "Hook & Sling", "Check Your Bucket", "Funky Yeah", "The Thang (parts 1 & 2)", "If It's Good To You It's Good For You", "Sissy Walk", "Eddie's Rubber Band", and "Hey Mama Here Comes the Preacher". CD

A percussion record, but one with a very different twist – as the set was done both in collaboration with dancer Tonny Kennybrew, and based on his sense of motion – and it was done at the end of the 80s, and features a very cool mix of both acoustic and electric instrumentation! Percussionist Jean-Pierre Boistel handles a nice array of instruments at the core – kalimba, quinto, congas, bass tambours, bells, berimbau, shakers, and many other percussion elements – and at times, he uses computer-assisted programs to help line up the acoustic sounds, but in ways that hardly make them sound like some lame drum machine beats at all. Instead, there's a richly organic quality to the record – spare and lean, but nicely focused too. Titles include "Vas Y Peter", "C'Est A Sete", "A Capucine", "Des Perce Boys", and "Dans Le Secret & Clepsydre". LP, Vinyl record album

Rare soundtrack work from French composer Claude Bolling – best known for his "jazz meets classical" recordings, but equally great at penning a compelling score! The tracks on the set have a mix of styles that includes some Mexican-styled instrumentals mixed with more dramatic orchestral themes, some of which feature some incredible piano work from Bolling himself. Tracks include "La Plaza", "Karpoff", "Noches Mexicanas", "Pop Mod", and "Tatiana". LP, Vinyl record album

... LP, Vinyl record album

A pair of classic albums, served up here in a single set! First up is the sound of Angola, circa 1972 – served up here in a beautiful album of songs from Bonga! The music is relatively spare – mostly just lead acoustic guitar, bass, and percussion – the latter of which is played by Bonga himself, almost always with this lively quality that really matches his vocals – which themselves are filled with all these fantastic inflections that almost remind us of salsa singers of the time – no surprise, given how much Latin music styles were hitting the scene in West Africa during the 60s and 70s. But the style here is very different, too – as Bonga's richly expressive in the way he uses his voice – almost more folkloric, given the acoustic guitar instrumentation – yet surprisingly powerful too, despite the spareness. Titles include "Ku Tando", "Balumukeno", "Uengi Dia Ngola", "Paxi Ni Ngongo", "Muimbo Ua Sabalu", and "Muadikime". Angola 74 is a beautifully sophisticated setting for the voice of Bonga – as he works here with lively small group backings, and a bit of larger orchestrations as well! There's this fantastic blend of folk roots and modernism in the music – maybe a bit like some of the more experimental work from Havana at the time, but a bit like some Brazilian projects too – as the enigmatic vocal inflections of the leader mix with his own percussion – all given nice shadings in color by acoustic guitar. Titles include "Venda Poro", "Kubangela", "Ma Kongo", "Kinga Kueta", "Ghinawa", "Roots", and "Marika". CD

A pair of classic albums, served up here in a single set! First up is the sound of Angola, circa 1972 – served up here in a beautiful album of songs from Bonga! The music is relatively spare – mostly just lead acoustic guitar, bass, and percussion – the latter of which is played by Bonga himself, almost always with this lively quality that really matches his vocals – which themselves are filled with all these fantastic inflections that almost remind us of salsa singers of the time – no surprise, given how much Latin music styles were hitting the scene in West Africa during the 60s and 70s. But the style here is very different, too – as Bonga's richly expressive in the way he uses his voice – almost more folkloric, given the acoustic guitar instrumentation – yet surprisingly powerful too, despite the spareness. Titles include "Ku Tando", "Balumukeno", "Uengi Dia Ngola", "Paxi Ni Ngongo", "Muimbo Ua Sabalu", and "Muadikime". Angola 74 is a beautifully sophisticated setting for the voice of Bonga – as he works here with lively small group backings, and a bit of larger orchestrations as well! There's this fantastic blend of folk roots and modernism in the music – maybe a bit like some of the more experimental work from Havana at the time, but a bit like some Brazilian projects too – as the enigmatic vocal inflections of the leader mix with his own percussion – all given nice shadings in color by acoustic guitar. Titles include "Venda Poro", "Kubangela", "Ma Kongo", "Kinga Kueta", "Ghinawa", "Roots", and "Marika". LP, Vinyl record album

An amazing second chapter for The Music Machine – working here with the last name of leader Sean Bonniwell in their name – in a groove that's even weirder and wilder than before! The group take on an odd new sound here – still the heady brew of fuzz and Hammond on their original garagey recordings from LA – but with a mode that also really lets Bonniwell's offbeat character come to the forefront – both in the odd lyrics, and his stark presentation in the lead – a Sunset Strip sense of personality that's almost up there with Kim Fowley at times! The record's definitely one of the weirder, more edgey sides cut for Warner Brothers in the mid 60s – and titles include "Astrologically Incompatible", "Double Yellow Line", "The Trap", "Soul Love", "Bottom Of The Soul", "Me Myself & I", and "The Eagle Never Hunts The Fly". CD features an insane 49 tracks in all – the full 14 track album, other Warner singles, and demos and rare material that includes solo tracks by Sean Bonniwell too! CD

The instrumental/dub versions of all the tracks from the Criminal Minded LP – one of the most important albums in the history of hip hop – the first full LP from KRS One, and a landmark batch of tracks recorded with the late Scott La Rock! The track list alone is a full chapter in the hip hop book of legends – with tunes like "Poetry", "Elementary", "South Bronx", "Super-Hoe", "Bridge is Over", and the "P is Free" remix – plus "Criminal Minded", "Dope Beat", and "9mm Goes Bang" CD

The second comeback effort from Booker T Jones for Anti-! All around, it's a more sharply-honed and classics-steeped set than its solid, but more southern rock-inflected predecessor – one the finds the Stax organ titan backed by co-producers ?uestlove & Rob Schnapf, Dennis Coffey and others on the sessions, and allstar guest vocals on a few numbers! It's really well done and a worthy effort from a true giant! The heart of the album is the loosely grooving organ soul instrumentals – with a quite a bottom end wallop, thanks to ?uesto, and the incomparable Booker T in great form – but the handful of guest vocalists include Sharon Jones, Jim James of My Morning Jacket, Lou Reed, Matt Berninger and Booker T himself. Titles include "Walking Papers", "Crazy", "Progress", "Down In Memphis" with Booker T on vocals, "Representing Memphis" with Sharon Jones & Matt Berninger, "The Bronx" with Lou Reed (weird, but it kinda works!), "The Vamp", "Harlem House" and "Rent Party". CD

A sublime second chapter of work from Booker T & The MGs – pulled from a time when Stax Records was stepping out of the influence of Atlantic, and really opening the door to a wide variety of new soul sounds! That approach is definitely in place here – as the tracks really evolve past the early hits of the group – with more unusual rhythmic patterns, laid down by the great Al Jackson on drums and Donald Duck Dunn on bass – while Steve Cropper provides all the riffing genius on his guitar, and Booker T pushes things over the top with completely sublime work on organ! All players are really changing up their groove, especially as the singles here progress from the 60s into the 70s – and the package features a-sides and b-sides, and even a few post-Booker T cuts by the MGs. Titles include "Kinda Easy Like", "Melting Pot", "Sunday Sermon", "Something", "Fuquawi", "Sugarcane", "Blackside", "Neckbone", "Soul Clap 69", "Slum Baby", "Meditation", "Johnny I Love You", "Time Is Tight", "Jamaica This Morning", "Over Easy", "Heads Or Tails", "Mrs Robinson", and "Soul Limbo. LP, Vinyl record album

Booker T's definitely getting a bit funky with this one – stepping off with the incredible title cut, a tune which really complicates the groove from the earlier years! The sound is still solid Memphis soul, with a raw instrumental vibe – but the grooves are even better than before, and the set includes loads of great original number written by the group – the kind of cool tunes they most likely cooked up while jamming live in the studio! These gems include the seminal "Hip Hug Her" – plus "Carnaby Street", "Booker's Notion", "Soul Sanction", "Double Or Nothing", and "Slim Jenkins' Place". But the covers are groovy too – and include a version of "Pigmy", plus "Groovin" and "Sunny". LP, Vinyl record album

One of the greatest albums ever from Booker T & The MGs – and very different than their early work! The record has Book & Co taking off with a stretched-out jazzy sound – carving expanded grooves that are filled with sweet organ solos, choppy guitar riffs, and some incredibly tight rhythm lines – more than enough to make this set a standout in the collection of any beat digger! Includes the massive "Melting Pot" – an oft-sampled jam that runs for over 8 minutes long – plus "LA Jazz Song", which features amazingly tight guitar work from Steve Cropper, and the nice cuts "Fuquawi" and "Chicken Pox". Other titles include "Back Home", "Sunny Monday", and "Hi Ride". LP, Vinyl record album

A sweet set of 70s spiritual jazz from Argentine tenor player Chivo Borraro – one of his best albums of the time, and a really wonderful session with lots of nice touches! The record features Borraro playing keyboard effects, in addition to his usual tenor – and it also features some additional keyboards by Fernando Gelbard, who plays both Fender Rhodes and ring modulator on the album, working things wonderfully as he did on his own albums of the time. This wealth of keyboards gives the album a spacious feel – keys soaring out into space, creating platforms for solo work on sax, and a space to showcase the talents of Stenio Mendes, who plays the 12-stringed craviola on the album. There's lots of post-Coltrane exploration to the record – and titles include "Mi Amgio Tarzan", "Cancion De Cuna Para Un Bebe Del Ano 2000", "Lineas Torcidas", and "La Invasion De Los Monjes". CD also features two bonus tracks – "Intro/Mi Amigo Tarzan" and "Mi Amigo Tarzan (alt take)". CD

A beautiful session from Italian trumpeter Fabrizo Bosso and saxophonist Javier Girotto – one that's filled with all the Latin Moods promised in the title! The set steps nicely off some of Bosso's other recent work for Blue Note – with a sound that's evocative, but also pretty lively too – especially given the small combo setting for the date! Bosso's trumpet and flugelhorn come into great play with Girotto's soprano and baritone sax lines – dancing beautifully over some rhythmic backings shaded in with keyboards, piano, and electric bass. The large booklet features some poetic prose that really set the scene for each tune – and although there's a bit of vocals on the record, most numbers are instrumental. Titles include "Volver", "Matias", "Pescao Blanco", "Wide Green Eyes", "Ochenta", "El Cacerolazo", "African Friends", and "Penny". CD

There's a nicely narrative photo on the cover, and Antoine Bourachot seems to follow up that inspiration with some cinematic-styled jazz funk throughout – on a record that's even got a set of song titles that conjure up an imagined story as well! A few tracks here have vocals that bring a nice current of soul to the music – fleshing things out with contributions on three different tracks from Jim Grandcamp, Giacomo Lecchi D'Alessandro, and Irfane – who each have their own soulful shapes next to the overall vibe of the music, which is nicely unified, and heavy on warm keyboards, guitar lines, and larger arrangements. Shoko Igarashi plays soprano sax and flute on the record – and titles include "Resolution", "Action", "Miracle", "Fortune", "Bullet", and "Serenade". LP, Vinyl record album

Obscure British soul from Bovel – a Manchester singer from the mid 90s, and one who's got a vibe that's very different than the more popular London soul of the same time! Bovel clearly came up through the underground, and embraces a host of important musical currents here – while also working in a lean style that seems to refine her influences down into a special sort of essence through the DIY presentation of the album! This isn't soul that's trying to hit the charts or the clubs, but instead just stands as the very personal expressions of an artist who's at the crossroads of Northern England cultural currents. Titles include "Check 4 U", "Daydreamer", "Best Thing", "It's Not About Me", "Coming Back", "My Man", "Let Down & Liar", and "Life Changes You". CD

Obscure British soul from Bovel – a Manchester singer from the mid 90s, and one who's got a vibe that's very different than the more popular London soul of the same time! Bovel clearly came up through the underground, and embraces a host of important musical currents here – while also working in a lean style that seems to refine her influences down into a special sort of essence through the DIY presentation of the album! This isn't soul that's trying to hit the charts or the clubs, but instead just stands as the very personal expressions of an artist who's at the crossroads of Northern England cultural currents. Titles include "Check 4 U", "Daydreamer", "Best Thing", "It's Not About Me", "Coming Back", "My Man", "Let Down & Liar", and "Life Changes You". LP, Vinyl record album

Genius, pure genius from a young David Bowie – an album that we've always treasured as much as Ziggy Stardust! This set's pre-Hunky Dory, pre-Space Oddity – and it's an amazing little record that's almost completely devoid of guitars – instead using weird woodwinds (lots of oboe!), soaring strings, and offbeat orchestrations to carry off the tunes – all of which are as weird, mad, and wonderful as anything Bowie wrote in later years! The subject matter of the songs is almost a dark reflection of the picture postcard England that you'd find in work by The Kinks – the local pederast, weird guy who lives with his mum, old military geezer who can't get out of the past, cross-dressing soldiers, a gravedigger about to meet his death, and hip Londoners gallivanting all over town – all delivered with a sharpness that's stunning. We honestly think the record is flawless – incredibly complicated instrumentally, but incredibly groovy too – with all the edge you'll always love in Bowie, but in a fresh young flavor too. Years back, as young Bowie-heads, we always passed this one by – assuming it was unformed early roughness – but it's not, and is an incredible album that would have been more than enough for any other artist to build a career on. Titles include "Uncle Arthur", "Sell Me A Coat", "Rubber Band", "Love You Till Tuesday", "There Is A Happy Land", "When I Live My Dream", "Maids Of Bond Street", "We Are Hungry Men", "She's Got Medals", and "Please Mr Gravedigger". LP, Vinyl record album

The Thin White Duke turns to the east – and gets a whole new sound with help from Brian Eno! The album is an amazing departure from some of David Bowie's previous work – a set that's sparer, more spacious, and which is often instrumental – quite a statement, given Bowie's reputation as a songwriter at the time! It's almost like Bowie's shaking off all the confused stardom of the previous parts of the 70s – and is stepping forward as a new being from a new space – cleaner, leaner, and simpler than before – but hardly evacuated of soul at all, certainly not as much as you might guess from the Man Who Fell To Earth image on the cover. Titles include "Speed Of Life", "Be My Wife", "A New Career In A New Town", "Warsawza", "Art Decade", "Weeping Wall", and "Sound & Vision". LP, Vinyl record album

A key blend of two chapters in David Bowie's career – his guitar-heavy groove with the Spiders From Mars, and his 60s roots in mod London! The tracks here all date from the mid 60s, and are Bowie's homage to that period in his life – but they're all played with a glammish 70s sensibility, and some definite Ziggy Stardust elements in the way the guitars come into the mix. Given Bowie's rise as a key songwriter of his time, the step back to an album of all covers is a surprising, but genius move – and the execution of the tunes here comes off brilliantly – with plenty of personal spirit that keeps them from being simple rehashes of hits! Tracks include "See Emily Play", "Friday On My Mind", "I Can't Explain", "Everything's Alright", "Don't Bring Me Down", "Shapes Of Things", and "Here Comes The Night". LP, Vinyl record album

A key blend of two chapters in David Bowie's career – his guitar-heavy groove with the Spiders From Mars, and his 60s roots in mod London! The tracks here all date from the mid 60s, and are Bowie's homage to that period in his life – but they're all played with a glammish 70s sensibility, and some definite Ziggy Stardust elements in the way the guitars come into the mix. Given Bowie's rise as a key songwriter of his time, the step back to an album of all covers is a surprising, but genius move – and the execution of the tunes here comes off brilliantly – with plenty of personal spirit that keeps them from being simple rehashes of hits! Tracks include "See Emily Play", "Friday On My Mind", "I Can't Explain", "Everything's Alright", "Don't Bring Me Down", "Shapes Of Things", and "Here Comes The Night". LP, Vinyl record album

An amazing departure for David Bowie – hardly the kind of record you would expect from his oboe-filled tunes of a few years before – and really the start of the groundbreaking, earthshaking, reinventionist era of his genius! There's a spacious, soaring quality to Space Oddity that's every bit the kind of magical music you might hope for in a set recorded at the close of the 60s – a shift into new modes, new sounds that seem to suck up all the best influences in rock from the previous few years, but fuse it into a new cosmic vision for the next decade. And while others might stumble on cliche with the weight of such a task, Bowie pulls it off brilliantly – mixing his fuzzier feelings with some of his more personal leanings – and showcasing a newly deep sense of songwriting here that's really amazing. Some tunes have the sensitivity of work on Hunky Dory, while others burn with the fire of Man Who Sold The World – all in a balance that never sounds schizophrenic at all. Titles include"Space Oddity", "Memory Of A Free Festival", "God Knows I'm Good", "Cygnet Committee", and "Unwashed & Somewhat Slightly Dazed". LP, Vinyl record album

Some of the earliest work ever recorded by Lester Bowie as a leader – and a set that stands in importance right next to the early Delmark AACM sides by Anthony Braxton and Roscoe Mitchell! Plus, the album's almost an early Art Ensemble of Chicago effort, given the lineup – which features Bowie on trumpet and flugelhorn; Roscoe Mitchell on alto, soprano, clarinet, and flute; Malachi Favors on bass; and Joseph Jarman on alto, sopranino, and clarinet!. This fantastic CD features all the material recorded at the initial sessions in 1967 – both trio and quartet material, with titles that include trio numbers "Warm Up", "Number 2", "Number 1", and quartet takes on "Number 2". CD

Ex-Yardbirds with singer John Fiddler, with guest appearances by Jeff Beck and Rory Gallagher! LP, Vinyl record album

That's the middle finger of David Boykin on the front cover – bidding a bold farewell to the year of 2016 – with a record that offers up some of the most soul-nourishing sounds we've ever heard from the reedman! The album's got a sharper, almost funkier sound than some of Boykin's other work – a double-length performance that features David on tenor, in a group that also has James Baker on a piano that sounds electric, and which is often played in these blocky chords that fit well with the bass of Alex Wing and drums of Isaiah Spencer – all working as a cohesive trio unity, while Boykin takes off with these searing, searching solos! The mix of spiritual reeds and chunkier rhythms is almost a bit like some of the early "funk" work of Joe McPhee – but Boykin's clearly got his own agenda in the music, and comes off with a mindblowing positive sound. All tracks are long, and titles include "Coronal Mass Ejection", "Wherever You At", "Make It Count", "You Know Who You Are", and "Jaglavak". CD

David Boykin works here in a very different guise than his usual role as a saxophonist – stepping out here with a range of different singers, in a set of tracks that showcase a whole new side of his talents! The music is a mix of modern jazz vocals and contemporary soul modes – different depending on the singers, who shift from cut to cut – at a level that sometimes echoes June Tyson or Abbey Lincoln, other times reflects more contemporary work from the underground! As always with Boykin's CDs, the notes are a bit spare, so it's hard to tell who did what in terms of the music – but we can say that the set features vocals from Abeeku, Consuela Ivy-Vaughn, Dark Mery, Liz Mputu, and Ugochi – on titles that include "Listen Up", "She Was Screaming", "What The Afrofuture Say", "Slow Sweet Burn", "Conspiracy", and "Of My Voice". CD

One of the most spiritual, most well-conceived sessions we've heard from reedman David Boykin in years – a single performance that runs for almost 30 minutes, featuring a totally hip lineup that includes Nicole Mitchell on flute, Joshua Abrams on bass, Jeff Parker on guitar, Eliel Sherman Storey on tenor, and Avreeyal Ra on drums! The key element here, though, is Lasana Kazembe – who delivers a powerful spoken passage at points – these righteous words about our fair city of Chicago, with a powerful message about the city and life within. Lawrence Jones adds congas to the proceedings, Zahra Glenda Baker sings a bit, and the whole thing resonates with a mix of jazz, spoken word, and spiritual message that takes us back to some of our favorite recordings of the 70s! CD

A huge book on the equally-huge creative legacy of bassist William Parker – a musician who first arose in the loft jazz scene in New York during the 70s, but who's gone on to be one of its greatest surviving players, and one who's transformed the inspirations of that world into so many different modes of expression over the decades! Author Cisco Bradley really digs deep – following Parker from his southern roots to his childhood in the South Bronx, to his strong contributions to avant scenes, first in New York, then around the globe – all with a sensitivity to community and context that shows that Parker isn't just some genius musician, but both an evolving participant in creative activity, and one whose contributions have transformed the landscape as well! The book is softcover, 402 pages, and has copious notes, a discography, and even some black and white images as well. Book

One of the most soul-based records we've ever heard from trombonist Jeff Bradshaw, and one of the best as well – a rock-solid set that really draws on all his many years of making music, and one that's put together with that effortless blend of jazz and soul that makes Bradshaw so unique! At some level, it's almost as if Jeff has perfectly adopted the mantle of jazzy soul from Wayne Henderson during that late 70s moment when Henderson was both working in The Crusaders and doing so much production work as well. But at another, Jeff's a clearly contemporary artist, and really speaks strongly to the best aspect of the neo soul scene – enforced here on collaborations with Eric Roberson, Raheem DeVaughn, Liz Vaughn, Mike Burton, and others. Titles include "How You Gonna Act Like That", "Make Some Time", "Carrie's Bread Pudding", "Young Broke & Brave", "Don't Wanna Wait", "The Maintenance Man", "Destiny", and "Dubai Voices". CD

Features Rubby Braff on cornet and piano, Gray Sargent and Jon Wheatley on guitar, and Marshall Wood on bass. CD

A pretty great album of mellow jazz tracks – recorded in a very spare setting that has trumpeter Ruby Braff playing with pianist Ellis Larkins, and no other accompaniment! The setting's quite unusual for the time, and it makes for a relaxed intimate meeting between two strong talents that really differs from the work that either of them were recording elsewhere. But even more incredible is the way that the two players come together without additional support – working beautifully in a format that would have others faltering – always swinging the tunes despite the lack of bass or drums, and clearly very at home here with the extra space that lets both of them open up creatively! Titles include "Where Or When", "I Could Write A Book", "The Girl Friend", "Little Girl Blue", and "Thou Swell". LP, Vinyl record album

A great set of trad jazz grooves from the Boston scene of the 50s – recorded with an easygoing groove that's totally great, and put together by George Wein in the same spirit as some of his better-known live events of the time! Players include Ruby Braff on trumpet, Vic Dickenson and Dick Lefave on trombones, Al Drootin on clarinet, Sam Margolis on tenor, Buzzy Drootin on drums, and Wein himself on piano – and the tunes are open-ended swing-based numbers, with titles that include "High Society", "You Took Advantage Of Me", "Swinging The Blues", "At The Jazz Band Ball", and "After You've Gone". LP, Vinyl record album

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A masterpiece of new music for guitar from the legendary Glenn Branca – a set that both draws on all the minimal experiments on the New York scene of the 70s, and the big wave of underground music at the end of the decade! Branca effortlessly fuses the rock and compositional communities here – working with Lee Ranaldo of Sonic Youth, and artist Ned Sublette – in a fierce set of tunes that blend four guitars, electric bass, and drums – all with an instrumental frenzy that matches some of the best early jams from Sonic Youth. Branca's approach is less freeform, but has very much the same intensity – and titles include "Lesson No 2", "Structure", "The Ascension", and "Spectacular Commodity". LP, Vinyl record album

Trumpeter Jaimie Branch has been giving us great music for a number of years – but honestly, she really knocks it out of the park on this live set – a record that's even more amazing than her previous two efforts with a similar title! The set's a double-length performance – and Branch's trumpet is really just a small part of the sound – as the quartet work together in these really amazing ways – with a well-blended sound that moves into all this sonic territory way more than familiar jazz – thanks to brilliant contributions from Chad Taylor on drums and mbira, Lester St Louis on cello and cymbal, and Jason Ajemian on bass – all players who really move around a lot, shift the sound of their instruments, and step into the brilliantly creative territory opened up by the leader! Titles include "Prayer For Amerikka (parts 1 & 2)", "Twenty Three N Me (Jupiter redux)", "Reflections On A Broken Sea", "Birds Of Paradise", "Leaves Of Glass", "The Storm", "Walzer", "Sun Tines", and "Theme 001". CD

A crowning classic from maestro Waltel Branco – a Brazilian talent who could be smooth and sophisticated, but also pretty darn funky too – especially on this famous album from this 70s! The set takes off in a large ensemble vein of Brazilian grooves from a few years before – kind of more of a kick to the Blue Brazil/Odeon generation, as Branco works with a large string and horn section, but also ensures lots of tightness in the rhythms, and sweet electric touches on keyboards. There's a bit of Brazilian percussion at times – which let you know you're not in familiar CTI territory – and as with so many other great Brazilian albums of the time, the production is superb – really different than on American records of this nature. Titles include "Lady Samba", "Jael", "Satiricon", "Walking", "Luar Do SErgao", "Petit Fils", and "Zoraia". LP, Vinyl record album

Dollar Brand playing solo – but with a vibrancy that hardly makes you miss the other instruments at all! Most of the record features solo piano, but there's also a bit of bamboo flute as well – leading off the set and establishing this great organic vibe to the whole thing, which is then followed by Brand's long-spun, completely hypnotic lines on piano! The recording quality is wonderful – very clear and strong, and quite resonant too – and the set features two side-long long suites – "Africa" and "Reflection" – with shorter passages that move through the warm range of moods you'd find in Brand's other strong work from the time. Titles include "Ancient Africa", "Msunduza", "Single Petal Of A Rose", and "African Sun". CD

A monumental piece of funk – and a record that came into the world at a time when it seemed like just about everyone had forgotten how to play real funky music! This set's the US version of the first album by London scenesters The Brand New Heavies – and although it came out in the states 2 years after the UK set, it's essentially the same record – just featuring new vocals by singer N'Dea Davenport in place of the original vocalist Jay Ella Ruth. Davenport's vocals transported the group from indie acid jazz obscurity into the US soul charts in a way that nobody ever expected – and the resulting album is a stone classic that's filled with excellent cuts like "Ride In The Sky", "Never Stop", "Dream Come True", and "Stay This Way". Great stuff all around – and one of the few classic soul albums of its generation! CD

One of the cuts that veered a bit more towards the mainstream than some of the earliest work by the Heavies, off their breakthrough Shelter album, with a post P-Funk/80s groove hook, that gets a tougher remix courtesy Ski, the man behind many of Jay Z's big hits. 12-inch, Vinyl record

A fantastic double-length set – two full albums of music, essential for any fan of Brazilian jazz – or even jazz in general! First up is Esperanto – an incredible album from one of Brazil's greatest reed players of the 70s – the mighty Victor Assis Brasil – a free-thinking spirit who really took Brazilian jazz in bold new directions at the time! The record shows Victor absorbing a lot of post-Coltrane influences, and blending them with a tight approach to rhythm – laid down here by Dom Salvador on piano (and organ), Edison Lobo on bass, and Edson Machando on drums. The group is completed by Helio Delmiro on guitar, and Claudio Roditi plays trumpet on one track – but the real highlight is the amazing reed work by Brasil, which is filled with soul and warmth, plus a deep sense of exploration. The whole session was put together by Roberto Quartin in 1970 – and it's still extremely fresh today. Titles include "Children", "Gingerbread Boy", "Senegal", and "Marilia". Next is Toca Antonio Carlos Jobim – a fantastic album from this legendary Brazilian saxophonist – and one that's way different than the usual instrumental reading of the music of Antonio Carlos Jobim! The setting is less of a bossa-inspired one than a post-Coltrane mode – as Victor Assis Brasil blows alto sax, and a bit of soprano – on long, stretched out versions of Jobim compositions – often given a bit of modal energy, thanks to the group's strong piano and organ performances by Dom Salvador. The rest of the players are all great, too – Helio Delmiro on guitar, Edson Lobo on bass, and Edison Machado on drums – all players who grew up in the bossa jazz years of the 60s, but who here are set free to explore new territory by producer Roberto Quartin. The whole thing's wonderful – and titles include "Bonita", "Wave", "So Tinha De Ser Come Voce", and "Dindi". CD also features two bonus tracks – alternate takes of "Ao Amigo Quartin" and "Marilla". CD

An excellent set of lively samba tunes – played with lots of jazzy flourishes, and instrumentation that includes trombone, guitar, and accordion. Our lack of understanding of Portuguese makes the liner notes a bit difficult to decipher – but it appears that Sivuca's playing and singing on the record, as well as Wilma Valeria and the Trio Fluminense. Tracks have a quality that mixes rootsy samba rhythms with some of the tighter big band styles of the Odeon label – a great mix of sounds, if you ask us! Titles include "Passa Passa Moreninha", "Kalu", "Fogo Pago", "So Uma Louca Nao Ve", "Para Dancar", "Moreninha Ta", and "Maracangalha". LP, Vinyl record album

Completely haunting work from this legendary reedman – a set that features the first installment of his Lorraine Music series – served up over a massive 10CDs of music! The first six discs feature a very cool trio – with Susana Santos Silva on trumpet and Adam Matlock on accordion, plus Braxton on saxes and electronics. The use of accordion is fantastic, especially when mixed with Braxton's electronics – and Silva, as always, is tremendous. The remaining four CDs feature a different group, but one that's equally compelling – two bass players, Zach Rowen and Carl Testa – plus saxes from both James Fei and Braxton, the latter of whom also plays electronics again! CD

One of Braxton's first recordings of his work for larger ensembles, and a masterpiece that gives a good example of the kind of early ideas that have informed some of his recent work in the same style. The orchestras vary from track to track, but they all include excellent players like Roscoe Mitchell, George Lewis, Seldon Powell, and Cecil Bridgewater – players who are more than capable of meeting the demands of Braxton's writing, and who can bring a lot of their own to the session. Great stuff, and with a good set of notes. CD

Anthony Braxton heads up a saxophone quartet here, in case you couldn't guess from the title – and the group features some especially great work from Ingrid Laubrock, who blows soprano and tenor on three of the album's four CDs! The set features four different performances recorded in 2022, all live and in Europe – with a lineup that also features James Fei on sopranino and alto saxes, Chris Jonas on alto and tenor, and Andre Vida on baritone, tenor, and soprano on the one CD that does not feature Laubrock. The tunes are all Braxton compositions – numbered 436 through 439 – but as always with his work, the performances are very improvised and free, with some interplay between the reeds that goes way farther than earlier sax quartet modes! That is, nobody feels as if they have to provide rhythm or melody at all – and Braxton himself really lets loose – adding some electronics to his work on alto, soprano, and sopranino. 4CD set includes a great 40 page book, with photos and an essay on the music! CD

Anthony Braxton's reeds meet the piano and accordion of Ted Reichman – a player we don't really know at all, but who manages to craft some creative moments in the company of Braxton! There's moments at which it really seems like Anthony's reeds are taking center stage – but Reichman soon comes into the mix with his own angular lines too – and the use of accordion is especially nice, as it's made to breathe in these sharp, offbeat ways that really echo the saxophone passages. Titles include "No 168", "No 167", "No 101", "No 136", and "No 86". CD

A sweet mix of Brazilian grooves and New York attitude – an overlooked session from the end of the 90s – recorded in the US by Brazilian saxman Leo Gandelman, with soulful help from a variety of American players – including Reuben Wilson on organ and both Charlie Hunter and Grant Green Jr on guitar! There's a rich sort of 70s vibe to the record – a tight, funky blend of jazzy riffing and Brazilian percussion, all put together at a level that almost reminds us of Kudu Records at its best – lean, soulful, and surprisingly focused throughout – a great step forward for Gandelman, and for percussionist Juliano Zanoni, who co-arranged the set with Leo, and also wrote most of the tunes. Supposedly, the record never saw the light of day when it was recorded – making this sweet Far Out package its first-ever release! Titles include "Safari", "Pau Grande", "April 7th", "Dance", "Prince Samba", "Groove In The Head", "Pirulito", and "Charlie 1". CD

The film soundtrack version of this famous 60s musical, which was based around the sounds of Belgian singer Jacques Brel. The film version shares many similarities to the broadway one – translations by Eric Blau and Mort Shuman, vocals by Shuman and Elly Stone – but the overall sound is quite different, as the versions presented here are more subtle, less campy, possibly due to the freer range of expression allowed to the actors on a film soundstage. Plus, this version also includes a few of Brel's best songs that were left out of the original show – making for a total of 26 titles that include "The Bulls", "Sons Of", "The Desperate Ones", "Amsterdam", "The Statue", "Brussels", "Funeral Tango", "Bachelors Dance", "Carousel", and "Next". If you want Brel in English, this may well be the best way to get it – as nearly all other English language versions of his work (by Scott Walker, Marc Almond, and others) came from these translations. LP, Vinyl record album

Incredible early work from Brenda & The Tabulations – one of the best male/female soul groups of their era, yet one that's often sadly overlooked! This album will more than display why the group are so great – as they have a unique quality that's soft and sweet, yet also deeply soulful at the same time – making full use of the lead vocals of Brenda Payton, but supporting them with some rich male harmony backings from the rest of the Tabulations. And although the one gal, three guy format is one used by Ruby & The Romantics and Gladys Knight & The Pips, Brenda's take on the format is quite different – more like female soul outright, with some guy soul touches – and often done in a heartbreaking east coast harmony mode! Titles include the group's big early hit "Dry Your Eyes", plus other good originals like "The Wash", "Just Once in a Lifetime", and "Hey Boy". Also with "Stay Together Young Lovers", and "Who's Lovin You" – plus a wonderful remake of "God Only Knows". LP, Vinyl record album

A pair of later jazzy vocal LP gems by Teresa Brewer, both backed by jazz greats – Songs Of Bessie Smith with Count Basie and Thad Jones, and It Don't Mean A Thing If It Ain't Got That Swing with Duke Ellington – both released by Flying Dutchman in 1973! Teresa's popularity peaked a couple decades earlier as a girlish pop singer, and she succeeds strongly on both records – not just because of the jazz heavies in the band, but because she has the pipes and genuine affection for the material to pull it off. It's lovely stuff! Songs Of Bessie Smith have the bluesy overtones necessary to make it work, without trying the hide Teresa's naturally softer approach. Basie on piano throughout, with arrangements by Jones, and a great big band on half and more intimate arrangements on the other half. It Don't Mean A Thing. . .works just as wel, with Duke Ellington and Ernie Wilkins arrangements, and great Flying Dutchman players that include Bernard Purdie, Joe Beck and Mtume. 20 tracks in all, including "Trombone Cholly", "Gmme A Pigfoot", "I Ain't Got Nobody", "St Louis Blues", "I Ain't Got Nothing But The Blues", "Mood Indigo", "I'm Beginning To See The Light", "I've Got To Be A Rug Cutter", "Tulip Or Turnip", "I'ts Kinda Lonesome Out Tonight" and more. CD

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