An incredible record from reedman Harold McNair – one of the key Jamaican jazz players who hit the London scene in the same post-colonial wave as Joe Harriott and Shake Keane – and maybe our favorite of the bunch! Harold's a hell of a talent on both tenor and flute – and although he might be best known for his background work on late 60s Donovan albums, he really soars here as a soloist – working with Ornette Coleman group members David Izenzon on bass and Charles Moffett on drums – both of whom swing wonderfully in McNair's company! The album bills Izenzon and Moffett strongly on the cover – as if they're one of the main attractions – but what's most compelling is the way that McNair and pianist Alan Branscombe bring the American musicians into their own sort of groove – a modal, soulful style that's completely sublime – and which makes the album a killer all the way through. Titles include the original "Affectionate Fink" – plus great takes on "I Love You", "O Barquinho", "You Stepped Out Of A Dream", and "Here's That Rainy Day" – all soulful swingers. CD

Fantastic solo work from Ginger Baker – a musician who only seemed to get better and better the farther he moved away from Cream and Blind Faith! A set like this really gives Ginger a chance to open up and explore all the many musical currents that were grabbing his interests – served up here in a mix of jazz, funk, rock, and soul delivered by a lineup who are every bit as stunning as the music on the album! In addition to plenty of work from Baker on drums, the set features jazz contributions from the excellent Harold McNair and Chris Wood, who both play saxes and flute – plus drums from the legendary Phil Seamen – as well as a heck of a lot more sax and organ from Graham Bond, plus bass from Ric Grech, guitar and vocals from Denny Laine, organ and vocals from Steve Winwood, percussion from Neemoi Acquaye, and lots more contributions from a lineup that's almost too big to mention. The results are wonderful – and titles include "Toady", "Let Me Ride", "We Free Kings", "12 Gates Of The City", "Do U No Hu Yor Phrenz R", and "Sweet Wine". CD

Beautiful early work from Jethro Tull – a formative set that really has the group deepening both their themes and their music! There's still a bit of blues rock at the core – but also some richer, more lyrical modes too – and Ian Anderson does a perfect job of bridging both worlds with his sublime work on flute – an instrument that must have seemed like an odd lead for a rock group at the time, but which is no surprise in the same generation that artists like Herbie Mann and Roland Kirk were making their own hip records – not to mention the great Harold McNair, who was a UK contemporary of Andreson. The whole thing's great – a record that's ripe for rediscovery, and which really gives back year after year – and titles include "A New Day Yesterday", "Back To The Family", "Fat Man", "Reasons For Waiting", "Nothing Is Easy", and the classic instrumental "Bouree". LP, Vinyl record album

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". LP, Vinyl record album

Easily one of Donovan's most successful albums – but also a brilliant blend of folk and jazz that forged a bold new sound in the 60s! Part of the strength of the set comes from arranger John Cameron – an artist that we love for his jazz and easy work of the late 60s, and who's working here with players that include British jazzmen Phil Seamen, Tony Carr, Ronnie Ross, and Harold McNair! The instrumental component of the album alone is worth the price of admission – as Cameron gently blends together moddish and trippy styles, alongside some folksier vocals and guitar from Donovan. But it's also Donovan's own extrapolation of styles of the time that really makes the album a masterpiece – a strange post-folk mode of expression that's almost a British counterpart to the genius of Simon & Garfunkel, but which is arguably darker and more intellectual. Apart from classic hits like "Museum" and "Mellow Yellow", the album also features some moodier brilliance on tracks that include "The Observation", "Hampstead Incident", "Sunny South Kensington", "Writer In The Sun", "Sand & Foam", and "House Of Jansch". LP, Vinyl record album

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

Out of the wreckage of Cream came some very hip grooves! Ginger Baker was the hippest of the group's 3 members – and although he's often credited by soul fans for his work with Fela, he should also get hats off for his work with the group Air Force. At its base, the group's in the jazz rock mode – with players that include Brit jazz luminaires Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long groovers in a post-beat group mode – and the best tracks have a jamming sound that's pretty over the top. Titles include "Da Da Man", "Aiko Biaye", "Do What You Like", "Doin It", and "Don't Care". LP, Vinyl record album

2 lost jazz rock classics from Cressida – back to back in a single package! While decidedly more rock-oriented than some of their progressive contemporaries in the UK jazz rock scene, Cressida still had a great approach to rock that used a lot of jazz-based chords and rhythms, in the manner that was being explored by other bands at the time – like Colosseum or Nucleus. On the self-titled Cressida album, the general instrumental mix features hard drums, organ, and guitars – plus vocals that are very much in a Moody Blues tradition, but which seem to have more of an early King Crimson approach to lyrics, touched by some of the Nick Drake chord progressions on guitar. A hard one to pin down, but surprisingly enjoyable today – and the kind of record that lives way way past its noodly progressive roots! Titles include "Lights IN My Mind", "The Only Earthman In Town", "To Play Your Little Game", "Time For Bed", and "Down Down". Asylum has an even fuller, more ambitious feel than the first album – and the lineup is expanded slightly to make some great room for the legendary Harold McNair on flute! Tracks are bold and focused – with great lead vocals from Angus Cullen, who sometimes sings in a jazzy mode – but other times comes off with a raspy, heartfelt quality – and there's almost a Moody Blues-esque sense of mysticism going on with some of the best tracks. Titles include "Munich", "Asylum", "Goodbye Post Office Tower Goodbye", "Let Them Come When They Will", "Summer Weekend Of A Lifetime", and "Survivor". CD

An amazing record – one that we'd never part with! The session is one of Blossom Dearie's greatest records ever – a sublime set of tunes recorded in London, at the end of the 60s, with larger arrangements than usual, and a feel that's almost psychedelic. Backings were arranged and conducted by Brian Gascoigne – with a host of Brit underground jazz players that include Harold McNair, Ian Carr, Kenny Wheeler, and Ray Warleigh. More incredibly than that, though, is the set of tunes that Blossom wrote and chose for the record – tunes that have really dark edges, playful turns, and which go past the simplicity of some of her other work. The whole thing's truly amazing – really – and is a record that we've been coming back to again and again and again over the years! Titles include "I Know The Moon", "Long Daddy Green", "Hey John", "That's Just The Way I Want To Be", "Dusty Springfield", "Will There Really Be A Morning", and "I Like London In The Rain". CD

An amazing record – one that we'd never part with! The session is one of Blossom Dearie's greatest records ever – a sublime set of tunes recorded in London, at the end of the 60s, with larger arrangements than usual, and a feel that's almost psychedelic. Backings were arranged and conducted by Brian Gascoigne – with a host of Brit underground jazz players that include Harold McNair, Ian Carr, Kenny Wheeler, and Ray Warleigh. More incredibly than that, though, is the set of tunes that Blossom wrote and chose for the record – tunes that have really dark edges, playful turns, and which go past the simplicity of some of her other work. The whole thing's truly amazing – really – and is a record that we've been coming back to again and again and again over the years! Titles include "I Know The Moon", "Long Daddy Green", "Hey John", "That's Just The Way I Want To Be", "Dusty Springfield", "Will There Really Be A Morning", and "I Like London In The Rain". LP, Vinyl record album

An amazing record – one that we'd never part with! The session is one of Blossom Dearie's greatest records ever – a sublime set of tunes recorded in London, at the end of the 60s, with larger arrangements than usual, and a feel that's almost psychedelic. Backings were arranged and conducted by Brian Gascoigne – with a host of Brit underground jazz players that include Harold McNair, Ian Carr, Kenny Wheeler, and Ray Warleigh. More incredibly than that, though, is the set of tunes that Blossom wrote and chose for the record – tunes that have really dark edges, playful turns, and which go past the simplicity of some of her other work. The whole thing's truly amazing – really – and is a record that we've been coming back to again and again and again over the years! Titles include "I Know The Moon", "Long Daddy Green", "Hey John", "That's Just The Way I Want To Be", "Dusty Springfield", "Will There Really Be A Morning", and "I Like London In The Rain". CD features the bonus tracks "Feelin Groovy" and "Hey John (mono)". CD

One of our favorite tunes ever from Jethro Tull – a cool jazzy number that's almost more Herbie Mann or Harold McNair than the usual Tull groove! The bluesy bottom really drops out of the group's sound – and instead a hip bassline sets the tune up nicely for some sweet solo flute, and these catchy lyrics that are some of the most hook-heavy that Ian Anderson's ever sung! 7-inch, Vinyl record

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". LP, Vinyl record album

An incredible collection of work from the great John Cameron – kind of a secret hero on the British scene of the late 60s and early 70s – as most of his work was done for bigger artists at the time, or came out on obscure sound library sessions! Yet despite that obscurity, Cameron was a true hero of the time – a jazz musician who was able to bring a fresh sensibility to the studio when supporting the work of key artists on their important records – maybe most famously in collaboration with Donovan, but heard here working with a variety of different rock, folk, soul, and other artists – all of whom really benefit from the John Cameron touch! We've always loved Cameron's work in the studio, are always thrilled to see his name on a record – and this collection is maybe the first to really showcase his contributions to the world in a really unified way – all with the usual Ace Records strong attention to details and great liner notes too. Titles include "Barnes Bridge" by Harold McNair, "Willow's Harp" by World Of Oz, "Boat Trip" by Gordon Haskell, "Ding Dong The Wicked Witch Is Dead" by Julie Felix, "The Observation" by Donovan, "Avenues & Alleyways" by Tony Christie, "Everybody Needs Somebody" by The Fascinations, "Isn't This Where We Came In" by Lionel Bart, "A Road To Nowhere" by Lesly Duncan, "Open Your Window" by Ella Fitzgerald, "Primrose Hill" by Kathe Green, "Cleopatra Jones" by Bobby Harrison, and "Brother" by CCS – plus "Half Forgotten Daydreams", "Heat Haze", and "Kes" by Cameron himself. CD

There's two stylish British hipsters on the cover, but the album's filled with classic American jazz tracks – each hand-picked by Martin Freeman and Eddie Piller, and served up with plenty of soul! The work here begins in hardbop territory, and moves through 60s soul jazz and more righteous moments in the 70s – and while there's a few more recent tracks, the vibe of the record is very vintage throughout – and really reflects that longtime London love of obscure American records – sounds from a scene that has really taught us a lot over the decades! There's a few tracks here we haven't seen in years, and some great old favorites too – and titles include "Now At Last" by Blossom Dearie, "Trees & Grass & Things" by Charles Williams, "The Hipster" by Harold McNair, "Chains" by Blacks & Blues, "Bend Your Head Down Low" by Geoffrey Stoner, "Sphynx" by Brand New Heavies, "Look At Me Look At You" by Marlena Shaw, "Get Up Off Your Knees" by David Axelrod, "Psychedelic" by Lee Morgan, "Terra Firma Irma" by Joe Gordon,"The Rhythm Changes" by Kamasi Washington, "Just In Time To See The Sun" by Leon Thomas, "Mother Of The Future" by Norman Connors, and "Mi Hermano" by Blue Mitchell. LP, Vinyl record album