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One of the great ones! No kidding, Jaki Byard was an amazing talent in the 60s – and records like this one are rare treasures to be sought-after by any serious jazz fan. Byard had an incredible range of talents and influences – and, like his frequent bandmate Roland Kirk, he could often run through all of them in a very short stretch, packing each song with a wealth of feeling, technique, and sheer raw fun. This album's a darn tough one to find on vinyl – and it's reissued here with a previously unissued track. The group includes Byard on piano and alto, plus Jimmy Owens, Paul Chambers, and Billy Higgins. Tracks include "Spanish Tinge", "Olean Visit", "Geb Piano Roll", "Snow Flakes", and "On The Spot". Also includes the previously unissued "Snow Flakes".

Two rare albums from one of the greatest modern pianists ever! Jaki Byard With Strings is a wonderful album – and nothing like any other "with strings" album you've ever heard! Sure, the set does have some stringed instruments in the group – but it's a small combo session with bass, violin, guitar, and cello, not a large overly-orchestral affair. Byard's mad vision uses these strings wonderfully to carve out some oddly arranged tunes that mix together soul jazz grooving and a haunting spiritual approach to jazz that points at later work on labels like Strata East. Includes a sublime remake of "Music To Watch Girls By", "Falling Rains Of Life", "Cat's Cradle Conference Rag", and a long version of "How High The Moon". Solo Piano is an obscure set from 1969, featuring Byard's lonely musings on the keyboard on shorter tracks that reference a huge history of traditions. Titles include "Seasons", "Spanish Tinge 2", "Hollis Stomp", "Top Of The Gate Rag", and "Ray's Blues".

A trio session – but a killer! Unlike some of Byard's earlier trio work from the 60s, this one's a pretty compelling set – with some very trippy influences, and a strange mix of 60s grooving, Eastern rhythms, and trad jazz themes. Jaki plays piano (and guitar on one track!) – and his trio features Ornette's bassist David Izenzon on bass, plus Elvin Jones on drums and tympani! Titles include "Trendsition Zildijian", "Sunshine", "Cast Away", and "Chandra".

A treasure trove of lost material from Jaki Byard – recorded during a time when he was at the height of his powers! The 7 tunes on this set were originally cut for the 2 volume series of live recordings Byard did for Prestige in the mid 60s – and of those 7, only 1 was ever issued, and even then, never on CD. The work is quite striking – with Byard on piano, leading a quartet that features a very young Joe Farrell on tenor, soprano, and flute, with crack rhythm by the team of George Tucker on bass and Alan Dawson on drums. All the tracks were recorded during one set at Lennie's in Massachusetts in 1965, and overall, the performances have a longer, more unbridled feel than most of Byard's studio work of the time. The range of his work on piano is incredible – modern one moment, soulful another, and trad the next – and Farrell's playing is surprisingly strong for such an early point, especially on the longer tunes on the set, which really let him open up in exploratory solos. Titles include "Dolphy #1", "King David", "Twelve (alt)", "St Mark's Place Among The Sewers", and "Jaki Byard's Ballad Medley".

Rare duets from pianists Tommy Flanagan and Jaki Byard – recorded in San Francisco in the early 80s, and issued here for the first time ever! Both players are artists we love in a solo or stripped-down setting – where they really seem to open up and find all sorts of little corners and pockets of sound that they'd never hit in a trio or group – and the combination of both Flanagan and Byard together in one date is really something unique! Tommy's lyricism and Byard's modernity mix beautifully here – and really balance the sound between the players – allowing focus on the individual personalities of each, yet really setting fire in the spontaneous interactions betweent he pair. Titles include "Our Delight", "The Theme", "Land Of Make Believe", "Satin Doll", "Just One Of Those Things", and "Chelsea Bridge".

Beautiful solo work by pianist Jaki Byard – recorded in Paris in 1971, for the Swing Collector offshoot of the Futura label! The setting really gives Byard a chance to open up and stretch out – playing some numbers in the more traditional style that would show up on some of his 60s sessions – but in a way that also has clear modernist overtones, in that linking of traditions that was always a key factor to Byard's American recordings. Titles include "A Tribute To Jimmy Slide", "When Lights Are Low", "Willow Weep For Me", "Isle To Isle", "Dedicated To Bob Vatel Of The Ten Gallons", and "Going Home Blues". CD features one previously unissued title too – a 12 minute medley of "Mind & Soul", "Goin Out Of My Head", "Sunday", and "Besame Mucho".

Seminal Chicago sounds from cornetist Josh Berman – and a record that's not just a key example of his talents, but of the whole energy of the Windy City scene as well! There's a nice gag in the "His Gang" on the cover of the record – but it's also somewhat well put, too – as Berman's definitely got ears for the old-time sounds such a name might imply – yet always has ways of making those older modes come out with freshly modern energy! The balance is amazing – and really shows Josh's ear for trad jazz, mixed with his contemporary avant expressions – a pan-historical jazz mode that's hardly ever been handled this well – except maybe by Jaki Byard at a few moments. At some level, the instrumentation reads like an old trad band – cornet, clarinet, trombone, bass clarinet – but the sounds here are definitely 21st Century – played by a great "gang" that includes Guillermo Gregorio on clarinet, Jeb Bishop on trombone, Jason Stein on bass clarinet, Keefe Jackson on tenor, Jason Adasiewicz on vibes, Josh Abrams on bass, and Frank Rosaly on drums. Berman's arrangements are wonderful – very offbeat, but swinging too – and titles include "Sugar", "Mobile & Blues", "Liza", "Cloudy", "One Train May Hide Another", and "Jada".

Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". CD features 1 bonus track.

Mindblowing work from Booker Ervin – one of our favorite albums ever from his years at Prestige, and a record that really earns its haunting title and cover image! Book's definitely headed out to space on this one – working in a freer mode than on some of his Texas tenor-styled albums – and getting great accompaniment in his journey from Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. The Davis/Dawson team is a delight throughout – soulful and in the pocket, yet working with enough sense of space to allow Ervin and Byard to really take off on their solos! The album features 4 long tracks – and titles include "There Is No Greater Love", "Number Two", "Mojo", and "I Can't Get Started".

An amazing record from the legendary Booker Ervin – and a set that really does a great job of bridging his modernist tendencies and soul jazz roots! The title track – "The Trance" – is an amazing 20 minute number that takes up all of side one of the record – and features Ervin soloing in an incredibly imaginative way – not as boppish as on his set with Dexter Gordon, but more in the powerful-voiced style that he developed with Mingus. The rest of the group features Jaki Byard on piano (always a treat!), Reggie Workman on bass, and Alan Dawson on drums – and side two features a very moody take on "Speak Low", and a nice bluesy vehicle for Booker, entitled "Groovin At The Jamboree".

A nice bop revival session for Clifford Jordan – recorded with a style that takes us back to his first years on wax! The lineup includes Red Rodney on trumpet and flugelhorn, Jaki Byard on piano, and Vernel Fournier on drums – and the tracks are recorded with all the classic and loving touches of the best Beehive recordings. Titles include "Dr Chicago", "Something To Live For", "Zombie", "Touch Love", and "If I Had You".

A stone classic from Roland Kirk – and a record that beautifully balances his modern ideas and playful energy – as you might guess from the title! While posing as the "whistleman", Roland's also pushing the boundaries of jazz a few steps forward too – not just in modern terms, but in spiritual ones too – showing that there's a way of letting loose that doesn't always have to be cold or artsy, but personal and soulful too. There's still echoes of the hardbop of the Mercury years, and plenty of inventive reed work from Kirk – on tenor, alto sax, manzello, stritch, and even nose flute too. The album was recorded live with a very hip cast that includes Lonnie Smith and Jaki Byard on piano, Charles Crosby on drums, and Major Holley on bass – and tracks include "Roots", "Here Comes The Whistleman", "Step Right Up", and "Aluminum Baby".

Mindblowing work from Roland Kirk – a record that really pushes the boundaries of his music even farther than some of his earlier, and excellent, albums for the Mercury label! Kirk's really stretching out here – finding a space in jazz that's uniquely his own – modern, yet playful – creative, yet never overindulgent – and perfectly balanced to find a whole new sound of soul for the 60s! Things never get too far outside, but Kirk's reedlines are always breaking out into fresh territory – incredible tenor parts, and also some amazing work on manzello and stritch too, both lesser-known reed instruments that Roland employs to incredible ends. Other group members fit his vibe perfectly – Jaki Byard on piano, Richard Davis on bass, and Elvin Jones on drums – each stepping quickly to catch the energy of each new twist and turn in Kirk's music. Titles include the sublime "From Bechet Byas & Fats" – plus "No Tonic Pres", "Rip Rig & Panic", "Mystical Dream", "Black Diamond", and "Slippery Hippery Flippery".

Mindblowing work from Roland Kirk – a record that really pushes the boundaries of his music even farther than some of his earlier, and excellent, albums for the Mercury label! Kirk's really stretching out here – finding a space in jazz that's uniquely his own – modern, yet playful – creative, yet never overindulgent – and perfectly balanced to find a whole new sound of soul for the 60s! Things never get too far outside, but Kirk's reedlines are always breaking out into fresh territory – incredible tenor parts, and also some amazing work on manzello and stritch too, both lesser-known reed instruments that Roland employs to incredible ends. Other group members fit his vibe perfectly – Jaki Byard on piano, Richard Davis on bass, and Elvin Jones on drums – each stepping quickly to catch the energy of each new twist and turn in Kirk's music. Titles include the sublime "From Bechet Byas & Fats" – plus "No Tonic Pres", "Rip Rig & Panic", "Mystical Dream", "Black Diamond", and "Slippery Hippery Flippery". This copy doesn't have the gatefold cover, but it's still got a nice textured one, and it's a second pressing from the 60's!

2 Eric Kloss albums back to back on a single CD – both under-discovered, and both totally great! Sky Shadows is one of the late 60s killers for Prestige by reedman Kloss – sublime material that was every bit as great as some of the bigger-name work for the label, but never really got its due! Kloss is sharper and more focused here than in later years – starting with a hardbop groove, but really reaching out with some inventive sounds of his own, and some great changes from the group! The inventive ensemble features Pat Martino on guitar, Jaky Byard on piano, Bob Cranshaw on bass, and Jack DeJohnette on drums – and titles include "Sky Shadows", "January's Child", "The Girl With The Fall In Her Hair", and "In A Country Soul Garden". In The Land Of Giants is a crackling bit of modernist free play, with a very soulful edge – and the group includes Booker Ervin, Jaki Byard, Richard Davis, and Alan Dawson all joining Kloss as he hits his mid-period "exploratory" stage. His alto is super-crisp here, and although he's reaching out a bit more than on earlier albums, he never manages to lose the swing that made him sound so great right out of the box. Tracks include "So What", "When Two Lovers Touch", and "Sock It To Me Socrates".

Fantastic – and one of Mingus' greatest albums ever! This one ranks right up with The Clown and Pithecantropus Erectus for sheer raw power and emotion – and Mingus' writing here is incredibly tight, giving soloists like Charlie Mariano, Jaki Byard, Richard Williams, and Jerome Richardson a real workout. The set's an extended suite of tracks with sort of a semi-ballet form. Don't let this fool you into thinking that the work's some sort of semi-classical snoozer, though – as Mingus uses the structure to hit some brilliant raw emotion, and the "dance" part of the piece gives the work a tight rhythmic form, pushing the soloists into raw urgent grooves, of a nature that never show up on Mingus' other work from the time. Titles include "Trio & Group Dancers", "Solo Dancer", "Group & Solo Dance", and "Duet Solo Dancers".

Key moments in the career of Charles Mingus – all recorded during the crucial years of 1964 and 1965, and featuring the first-time release of a fair bit of live material too! The set represents the first full presentation of recordings that have appeared piecemeal on a handful of obscure releases – self-released records from Mingus himself – Town Hall, My Favorite Quintet, and Music Written For Monterey – all really expanded here with the full recordings of the tracks, and unreleased titles provided from the original tapes! Mingus was really on fire during these years – severed from most of his bigger label associations, and freely working on some of his most inventive ideas with various smaller groups of players – all fresh young talents who were key interpreters of Charles' ideas – including Johnny Coles and Lonnie Hillyer on trumpet, Jimmy Owens on trumpet and flugelhorn, Charles McPherson on alto sax, Clifford Jordan on tenor, Jaki Byard on piano, Eric Dolphy on alto, flute, and bass clarinet. The stalwart Dannie Richmond is on drums, and the sides represent some of Dolphy's last, and most important recordings on the planet – recordings done at Town Hall and in Amsterdam in April of 1964 – in addition to live material at Monterey in 1964 and 1965, in Minneapolis in May of 1965. Tracks are all quite long – some pushing the half-hour timing – and as with the best live Mingus, there's variations here that go way past any studio readings – really incredible solo flights that are still beautifully integrated with the ideas of the main group. Titles include "So Long Eric", "Orange Was The Color Of Her Dress Then Blue Silk", "Mingus Piano Solo", "Bird Preamble", "Themeless Blues", "Copa City Titty", "A Lonely Day In Selma", "Cocktails For Two", "Praying With Eric", "Parkeriana", "ATFW", "Meditations On A Pair Of Wire Cutters", and "Meditations On Integration". 7CDs, limited edition, and with a great book of notes too!

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs".

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs".

One of the most far-reaching, exploratory records cut by Booker Ervin during the 60s – a set that really lives up to the "freedom" in its title! The album really takes off from some of Ervin's other work of the time – and stands along next to the equally-great Space Book as a departure from his roots as mostly a Texas-styled tenorman. There's still a bit of Ervin's deeper soul in the mix, but the sound has more of the sharp edges that Booker was working on with Charles Mingus at the time – long solos filled with plenty of feeling, and a sound that's simply breathtaking throughout! The group's a quartet – especially well-matched with Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums – all perfect partners for the unique vibe going on for the session. All tracks are great, and titles include "A Lunar Tune", "A Day To Mourn", "Cry Me Not", "Grant's Stand", and "Al's In".

One of the most fantastic Booker Ervin albums from the sixties – a really soulful set that combines his gutsy tenor with some crackling fresh modern touches! Booker's working here with a larger group than usual – a sextet that creates a bit more of an ensemble feel than usual – with less of the space for Booker to stand alone on his solos, and a rolling groove overall that has traces of some of the best Blue Note work of the time. That group features Jimmy Owens on trumpet, Garnett Brown on trombone, and Jaki Byard on piano – plus some spectacular rhythm work from the team of Richard Davis on bass and Alan Dawson on drums. There's some wonderfully dark touches throughout – thanks to the players in the group – and titles include "Aluminum Baby", "Bachafillen", and "Not Quite That Way".

A CD of very long tracks from Booker Ervin – only 4 tunes in all, but each over 15 minutes long! First up is the album Setting The Pace – an album that's one of the most open-ended and jamming sets that Booker Ervin recorded for Prestige in the 60s! The album's a live date from Germany – featuring Dexter Gordon joining Ervin on the stage for some very long, extended solo work – the sort that Dex was starting to do heavily overseas at the time, and which is relatively new territory for Ervin – at least on record. Other players include Jaki Byard on piano, Reggie Workman on bass, and Alan Dawson on drums – but the clear starts of the set are Booker and Dexter – blowing in a range of modern and soulful modes throughout their extended solos. Album features 2 side-long tracks – "Setting The Pace" and "Dexters Deck". Next up is The Trance – an amazing record from the legendary Booker Ervin – and a set that really does a great job of bridging his modernist tendencies and soul jazz roots! The title track – "The Trance" – is an amazing 20 minute number that takes up all of side one of the record – and features Ervin soloing in an incredibly imaginative way – not as boppish as on his set with Dexter Gordon, but more in the powerful-voiced style that he developed with Mingus. The rest of the group features Jaki Byard on piano (always a treat!), Reggie Workman on bass, and Alan Dawson on drums – and side two features a very moody take on "Speak Low". Note that the CD omits the track "Groovin At The Jamboree" from The Trance – due to space restrictions.

Excellent stuff – and a classic concert performance recorded in Paris in 1964! The group features Eric Dolphy on flute, alto sax and bass clarinet, Clifford Jordan on tenor, Jaki Byard is on piano ,and Dannie Richmand is on the kit. The 2 CD set features some very long takes on Mingus standards, with some excellent hard soloing all the way through! Titles include "Fables Of Faubus", "Parkerana", "Orange Was The Colour Of Her Dress Then Blue Silk", "ATFW", "Sophisticated Lady" and Meditations On Integration".

The title's exploding with Mingus, and the album is too – a completely classic effort for Impulse Records that's easily one of Charles' best of the 60s! Things are reigned in somewhat from the Mingus years at Atlantic or Candid, but the sound is still great – almost more focused than before – with a sense of all the best qualities that Charles was finding in his music, laid out back to back in near-perfect formation! The group's full of great players – with reeds from Eric Dollphy, Booker Ervin, and Jerome Richardson – all of whom really contribute some deep tones to the album – and Jaki Byard's on piano, making one of his key Mingus appearances of the 60s. Titles include the massive "Better Get Hit In Yo' Soul" (the virtual Mingus "trademark" tune), plus the tracks "Celia", "Hora Decubitus", and "II B.S.". Plus, the CD features the bonus track "Freedom" – not on the original LP!

Eric Dolphy's first album ever as a leader – recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet – and the tracks include "245", "Miss Toni", "Les", and "GW".

A stone classic from Roland Kirk – and a record that beautifully balances his modern ideas and playful energy – as you might guess from the title! While posing as the "whistleman", Roland's also pushing the boundaries of jazz a few steps forward too – not just in modern terms, but in spiritual ones too – showing that there's a way of letting loose that doesn't always have to be cold or artsy, but personal and soulful too. There's still echoes of the hardbop of the Mercury years, and plenty of inventive reed work from Kirk – on tenor, alto sax, manzello, stritch, and even nose flute too. The album was recorded live with a very hip cast that includes Lonnie Smith and Jaki Byard on piano, Charles Crosby on drums, and Major Holley on bass – and tracks include "Roots", "Here Comes The Whistleman", "Step Right Up", and "Aluminum Baby".

Incredible work from the young Stanley Cowell – one of his first albums ever, but already a step ahead of most of his contemporaries! The set's a trio date, unlike some of Cowell's later albums for Strata East – and it's got a wonderful blend of soaring piano lines and more complicated rhythms – already showing some of the spiritual elements that Cowell would later craft into longer lines with Charles Tolliver – but possibly even more striking here in the looser space of a trio! Rhythms are sometimes quite fluid and free – almost in the vein of some of Steve Kuhn's most inventive late 60s work – but sometimes things echo previous generations as well, almost with a Jaki Byard vibe. In addition to Cowell's great work on acoustic and electric piano, the trio features wonderful drums from Jimmy Hopps and bass from Steve Novosel – both players who are at the top of their game here, and really help set fire to Cowell's music. Titles include an early take on "Travelin Man" – quite different from the later version on Strata East, but equally wonderful – plus "Blues For The Viet Cong", "Wedding March", "Photon In A Paper World", "Departure", "Sweet Song", and "The Shuttle".

A real musical discovery – not just for the fact that the CD represents a previously-unreleased concert by Charlies Mingus – but also because the sounds and styles here offer up a version of Mingus that's almost more adventurous than some of his other albums of the time! The sextet features some key work by Eric Dolphy on alto sax, flute, and bass clarinet – but all other players are wonderful too, and include Johnny Coles on trumpet, Clifford Jordan on tenor, Jaki Byard on piano, and Dannie Richmond on bass – all coming together with a sense of power and presence that matches that of a group double their size! The long tracks on the set allow plenty of space for individual expression – some stretched-out solos that really push the limits of the music, sometimes going farther outside than we might expect – almost in the manner of some of Coltrane's important live dates of the same year. Titles include "ATFW You", "Fables Of Faubus", "Take The A Train", "Orange Was The Color Of Her Dress", "Meditations", "So Long Eric", "Jitterbug Waltz", and "When Irish Eyes Are Smiling".