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An overlooked gem from the sublime Artists House series of the 70s – a rare chance to hear Jim Hall in a really stripped-down setting! The record features spare duets between Hall's guitar and the acoustic bass of Red Mitchell – both players who worked together on the LA scene of the 50s, but who've matured tremendously here, and really know how to take advantage of a setting like this. Hall's well-pointed notes are always a treat in this sort of format, but Mitchell's also especially nice – playing with warmly-rounded tones that are really great. Titles include "Big Blues", "Waltz New", "Fly Me To The Moon", "Blue Dove", and "Osaka Express".

Sweet and subtle genius from two of the most understated players in jazz – a really great little record that makes the best of the CTI sound without tricking up the players too much! Art and Jim play in a quintet with vibes by Mike Mainieri – in a style that eschews the electric funk of other CTI records, but has a nice sense of space, sound, and rhythm overall. Tracks are quite long, and the two leaders effortlessly craft notes that magically hang in space with an airily soulful feel. Titles include wonderfully reworked versions of "Whisper Not", "A Child Is Born", and "Pavane For A Dead Princess".

A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them!

One of the hippest albums we've ever heard from guitarist Jim Hall – a set of free-thinking, open-ended tracks that show him really expanding his horizons at the end of the 60s! The album's drenched in Jim's warm, chromatic tones – whether gently played on a few mellow numbers, or falling over themselves like cascading water on the more upbeat tunes. The record's got some great drums and percussion from Airto, plus piano by Benny Aronov, who also plays electric on a few tracks as well. Titles include a great version of "Vera Cruz", plus "Minotaur", "Simple Samba", "Careful", "Wehre Would I Be", and "Goodbye My Love".

A cool jazz classic from altoist Paul Desmond and guitarist Jim Hall! The album was recorded under Desmond's name, but Hall's the guitarist throughout, and his playing lends an indescribably wonderful edge to the set, making the album a real team effort! Unlike other RCA sides by Hall and Desmond, this one features the pair with larger string backings by Bob Prince, which create a dreamy pillow for alto and guitar to solo across. Titles include the Desmond originals "Late Lament" and "Desmond Blue" – plus "Ill Wind", "My Funny Valentine", and "Like Someone In Love".

A magnificent set from the team of Art Farmer and Jim Hall – one of those rare pairings in jazz that somehow comes off sounding even way better than the sum of its parts – and that's saying a lot, given that the parts here are already pretty darn great! Farmer's flugelhorn and Hall's guitar create these wonderful shapes in sound – softly coming together with a vibe that's very modern, yet also soulful – gently swinging while still experimenting – with a combination that's completely wonderful! Think of Bob Brookmeyer and Clark Terry, or Bill Evans and Jim Hall – and you'll be somewhere in the territory of these magically unique sounds – augmented with some gentle rhythm work by Steve Swallow on bass and Walter Perkins on drums. Titles include "By Myself", "Days Of Wine & Roses", "Sometime Ago", and "My Kinda Love".

A beautiful bit of lost Getz from the 60s – a record of incredible depth that's somehow gotten lost in the shuffle of time! The album has Stan playing at Tanglewood with a core group that includes Gary Burton, Jim Hall, Steve Swallow, and Roy Haynes, plus musical backings by the Boston Pops – conducted by Arthur Fiedler in a style that's somehow without any of the hoke of his other recordings of the time, and which manages to give Stan some of the best "with orchestra" backings he's ever gotten! There's none of the overwrought modernism of some of the other Getz/orchestra collaborations that we never seem to like as much – and Stan's in incredible Spring Rain-like tone on the whole thing – blowing magically through both the lush and grooving numbers alike! Titles include "Tanglewood Concerto", "Where Do You Go", "Three Ballads For Stan", "A Song After Sundown", and a great orchestral take on "Girl From Ipanema".

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

One of Chico's earliest albums for Pacific Jazz – a set of tightly arranged tracks with a cool chamber feel to them – featuring a lineup that includes Buddy Collette on reeds, Fred Katz on cello, Jim Hall on guitar, and Carson Smith on bass. Collette, Katz, and Hall are at the height of their powers here – a bit restricted, perhaps, but in the way that Hamilton was using to craft some of the more creative sounds of the 50s LA jazz scene – perfectly shaped and formed throughout! Just about every band member contributed a song and an arrangement to the album – and titles include "The Ghost", "Chrissie", "Jonalah", "Sleepy Slept Here", "Drums West", "The Squimp", and "Sleep".

An obscure release by Chico Hamilton – but with some really great moments that more than rival his famous sides for Pacific Jazz in the 50s! The set was issued on the obscure Crown label, and is a bit short on notes – but side one features work by Chico's early trio – a cool group with either Howard Roberts or Jim Hall on guitar, and George Duvivier on bass – really sounding open and airy, yet swinging too – on titles that include "Nutty", "Skinned Strings", "Street Of Drums", and "Blues On The Rocks" – played by a group that seems to feature bass, drums, and guitar. Even better, though, is side two, which features the more complicated "Suite For Horn" – a long piece built around the flute work of Paul Horn – presented here with a shorter track called "Montuna", which is mostly just heavy percussion, bass, and very noisy cello from Fred Katz!

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque".

Probably the best-ever album by this obscure bluesy singer from Chicago! Jimmy Giuffre handled the arrangements, and the record has a bit more polish than some of her other albums. The tracks feature some very nice jazzy arrangements – with Jim Hall on guitar, Jimmy Jones on piano, and Harry Edison on trumpet. Lurlean's voice is deep and rich, with a sound that's a mix of Ella Fitzgerald and some of the icier singers, like Chris Connor or June Christy. Tracks include "Blue Turning Grey Over You", "Just Imagine", "My Kinda Love", "As Long As I Live", and "The Song Is You".

Great recent work from legendary bassist Chuck Israels – a player known for his famous work with Bill Evans, but a musician who's just kept on growing over the years! This set's got a great 50s modern jazz vibe – bass by Israels and guitar from co-leader Axel Hagen – in a setting that also features drums from Peter Kahlenborn and tenor and clarinet from John Ruocco. The bass and guitar often take the lead – in ways that echo the vibe of an older Jim Hall-styled session – and when clarinet's in the mix, there's a wonderfully open style to the record – not exactly the Jimmy Giuffre trio on Atlantic, but not far off either! Titles include "Koko", "Slow Freight", "The Boy Next Door", "Chaconne A Son Gout", "The Sweetest Sounds", and "Minor Tributary".

One of Quincy Jones' best for Mercury Records in the 60s – a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man".

Classic Quincy Jones from the 60s – a pair of records that really show why his jazz skills were unlike anyone else! Quincy Jones Plays Hip Hits is a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man". Golden Boy is a sweet bridge between Quincy's big band recordings and his groovier soundtrack work of the mid 60s – as the record combines straight jazzy grooving with some of the cooler elements of Quincy's soundtrack scores, like stepping strings, wordless voices, and a breathy mellow groove that floats across the disc in a wonderful way! Aiding Quincy in the album are a host of top-line jazz players – including Eddie Lockjaw Davis, Jerome Richardson, and Phil Woods on saxes – plus Freddie Hubbard on trumpet, Al Grey on trombone, and Jim Hall on guitar! Although titled after the show Golden Boy, only a few cuts here are from that musical – and the rest include Quincy Jones originals and some cool covers, given the Q twist. Titles include "Seaweed", "The Witching Hour", "Hard Day's Night", "The Sidewinder", and "Theme From Golden Boy", done in 2 versions, both great!

Way more than just "abstractions" – as the set's a very focused batch of some of the larger ideas that John Lewis had about jazz – explored beautifully here away from the Modern Jazz Quartet! The album has Lewis working with frequent partner – and fellow third stream conceptualist – Gunther Schuller – and also features great guest work from Ornette Coleman on alto, Joe Wilder on trumpet, Jim Hall on guitar, and Scott LaFaro on bass – all very different talents at the forefront of jazz at the time, helping bring a wider range of voices than you might normally get on a John Lewis project. Titles include "Abstraction", "Variants On A Theme of Thelonious Monk", and "Piece For Guitar & Strings".

One of the strongest sessions recorded by pianist John Lewis in the 50s – a date that shows depths of his talents that run even greater than his work with the Modern Jazz Quartet, quite possibly because is work on piano is at the forefront of the record throughout! There's a sense of darkness here that really fits the image on the cover – a style that's stated clearly on piano lines that are often as spacious as they are gentle, but which also have a moodier undercurrent below, thanks to Lewis' careful choice of keys and notes. The backing is often quite spare – Lewis sometimes plays just with Connie Kay's drums, or the guitar of either Jim Hall or Barry Galbraith – and at its fullest, the record features 2 trio numbers with the bass of Percy Heath and drums of Connie Kay. Tracks are lyrically and thoughtfully composed – and titles include "Two Lyric Pieces", "Harlequin", "D&E", "Little Girl Blue", and "Warmeland".

A wonderfully moody session from Helen Merrill – and an obscure one too! The album was recorded in New York in 1965 – with pianist Dick Katz leading an off-beat group that featured Thad Jones on cornet, Jim Hall on guitar, Ron Carter on bass, and Pete LaRoca on drums – a combo that has equal talents for modern moments and more sensitive moods. The groove is much more fragmented than on some of Helen's earlier records for Mercury – with a jagged edge that works perfectly with her strangely detached style of presenting a lyric – a way of looking at familiar tunes almost from the outside, in ways that really come up with something new. Titles include "Baltimore Oriole", "Here's That Rainy Day", "Day Dream", "The Winter Of My Discontent", "What Is This Thing Called Love", and "Deep In A Dream".

A standout session from Jack Montrose – one of the most overlooked players on the west coast scene of the 50s! Montrose's tenor work is always a treat, but here, he's playing in an unusual setting that includes Red Norvo on vibes, Joe Maini on alto sax, and Jim Hall on guitar – all working with Jack on a set of tunes that have the tight arrangements of his work on Atlantic and Pacific Jazz – yet which also open up with some interesting instrumental twists that break the mold a bit! Side one of the set features the 18 minute tune "Concertino Do Camera" – a nicely extended track that offers plenty of room for solo work – and the other shorter tracks still offer up strong solos too – on titles that include "Bernie's Tune", "A Dandy Line", "Bockhanal", and "For The Fairest".

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

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

A great title, and a great little album to match – one that features two guitars, plus bass and drums – in an open-ended style that's mighty nice on the ears! The set's got a lean kind of sound – as you might expect from the lineup – and Japanese players Shoji Yokouchi and Toru Konishi really explore some great territory in jazz with the format. Some numbers actually have a fair bit of a groove – with one guitar playing rhythm, and the other doing solos – while others have more of a spacious, more contemplative feel – a bit like some of the 70s work of Jim Hall. There's definitely a Hall-like sense of space and timing going on here, but as with many Three Blind Mice sessions from the time, the album's also filled with surprises too. Titles include "The Night Comers", "Swingin On A Camel", "Blonde On The Rocks", "Softly As In A Morning Sunrise", and "Message".

A legendary performance from the 1986 Montreux Jazz Festival – recorded by Blue Note at the height of the pianist's greatest fame, and mostly featuring duets with guitarist Jim Hall – plus guest sax work by Wayne Shorter on 3 of the album's 7 tunes. Titles include "Careful", "Bimini", "Morning Blues", "Limbo", and "Waltz New".

Pure genius throughout – two great albums on a single CD! Trombone Jazz Samba is an overlooked gem from Bob Brookmeyer – and a set that fits in strongly with the other Verve Records bossa nova albums of the 60s! Bob's the center star on valve trombone, but the record's awash in work from other great Verve talents too – a tight small group that features Gary McFarland on vibes, Jim Hall and Jimmy Raney on guitars, and Willie Bobo on drums – alongside some added percussion that really helps keep the bossa spirit strong! Tunes have that spare, soulful crackle that you'd find in the Stan Getz bossa sessions for Verve – except that trombone is the lead solo instrument here – and titles include "A Felicidade", "Col Bogey Bossa Nova", "Blues Bossa Nova", "Qual E O Po", "Chara Tu Tristeza", and "Samba De Orfeu". Samba Para Dos is a great lost groover on Verve – recorded during the heyday of the label's bossa years with Stan Getz! The record features Bob Brookmeyer fronting a large group arranged and conducted by Lalo Schifrin – soloing over the top, while Lalo comes up with sparkling bossa-tinged grooves that are in the spirit of his best soundtrack work of the mid 60s. Brookmeyer's playing is great too – very different than his sparer, modernist work on other records – and very much in the tradition of Brazilian trombone players who were a key force in bossa jazz at the time. The set includes one long original, "Samba Para Dos", plus shorter standards like "My Funny Valentine", "What Kind Of Fool Am I", and "I Get A Kick Out Of You" – all taken in great jazzy bossa versions!

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Pulthi sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life".

A real lost slice of work from the career of Chico Hamilton – recorded for the short-lived Dig label, owned by R&B artist Johnny Otis in the mid 50s! The group here is slightly different than Hamilton's quintet that recorded for Pacific Jazz – in that it's got a sound that's a bit less arranged, and which often opens up into some more freewheeling jazz styles at times. Buddy Collette and Jim Hall are on the session from Chico's regular group – and Buddy's really the co-leader of the set, and contributed some fantastic original tunes that are perfect for his colorful work on reeds. And the group's also got Curtis Counce on bass and Gerald Wiggins on piano – bringing a decidedly heavier groove to the record than on most 50s Hamilton work – one that's topped off by the trumpet of John Anderson, often muted but still powerful enough to make its presence known on the set. Titles include the Collette originals "It's You", "Green Dream", "Jungle Pogo Stick", "Tanganyika", and "A Walk On The Veldt" – plus other session originals "And So Is Love", "Wagnervous", and "The Blindfold Test".

The first big Paul Desmond solo album of the 60s – and a standout set that's very much in the tradition of his best work on RCA! This rare side was cut for Warner Brothers during a time when they were taking a brief dip into jazz – and it's a rarely-heard set that features Jim Hall on guitar, Connie Kay on drums, and Percy Heath on bass, all backing up Paul with a spare "after hours" sound that's a marked change from his tightly woven work with Brubeck. Desmond's alto is full of possibilities here – working wonders with familiar tunes like "Greensleeves", "You Go To My Head", "Time After Time", and "East Of The Sun" – as well as with the John Lewis modern number "2 Degrees East, 3 Degrees West".

An amazingly seductive album from Stan Getz! The record features Getz's tenor blowing breezily away, amidst sophisticated arrangements with touches of dark easy scoring, post-bossa Brazilian writing, and early CTI production. Claus Ogerman arranged the whole set, and the overall feel is very similar to From The Hot Afternoon, which has Paul Desmond blowing in a similar style to arrangements by Don Sebesky. The core group features some hip players – like Herbie Hancock, Jim Hall, and Ron Carter – and the larger backing has the "voices" you'd guess from the title. Tracks include "Once", "Darling Joe", "Midnight Samba", "Little Rio", "Infinidad", and "Where Flamingo's Fly".

For some odd reason, the Collectables label chose to release albums by two different artists on one CD. We should be mad at them for that, but we can't get that angry, since we're extremely happy to have this Jimmy Giuffre album back in print again! Travelin' Light is one of Giuffre's best albums of all time, and the record is a perfect realization of his piano-less/bass-less trio style. The group is simply Bob Brookmeyer on trombone, Jim Hall on guitar, and Giuffre on reeds – and the sound is amazing! Notes hang in mid-air, slowly sliding around one another, flying freely from the players, yet still managing to swing in a beautiful way. The titles are a mix of standards and originals – but all tracks sound completely unique, with a sound unlike anything else we can describe. Cuts include "Swamp People", "Lonely Time", "Green Country", and "Travelin Light". The Mabel Mercer album? Consider it a bonus!

Way more than just "abstractions" – as the set's a very focused batch of some of the larger ideas that John Lewis had about jazz – explored beautifully here away from the Modern Jazz Quartet! The album has Lewis working with frequent partner – and fellow third stream conceptualist – Gunther Schuller – and also features great guest work from Ornette Coleman on alto, Joe Wilder on trumpet, Jim Hall on guitar, and Scott LaFaro on bass – all very different talents at the forefront of jazz at the time, helping bring a wider range of voices than you might normally get on a John Lewis project. Titles include "Abstraction", "Variants On A Theme of Thelonious Monk", and "Piece For Guitar & Strings".

One of the most sublime Jimmy Giuffre albums of all time – and a perfect realization of his piano-less/bass-less trio style! The approach here is really revolutionary, especially for the time – as the group simply features Bob Brookmeyer on trombone, Jim Hall on guitar, and Giuffre on reeds – working with no other rhythm at all, and coming up with this incredible approach to music that's as breathtaking as it is groundbreaking! Notes hang in mid-air, slowly sliding around one another, flying freely from the players, yet still managing to swing in a beautiful way. The titles are a mix of standards and originals – but all tracks sound completely unique, with a sound unlike anything else we can describe – and titles include "Swamp People", "Lonely Time", "Green Country", and "Travelin Light".

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. Titles on this volume include "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris" and "Blue 'N Boogie".

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 17 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me".

Tried-and-true underground hip hop mixed with more experimental beathead touches from Blu – with collaborations and production by Exile, Shafiq Husayn, Flying Lotus, Dibia$e, Daedalus and more – plus appearances by U-God, J*Davey, Co$$, Pac-Div and more. Titles include "Doin Nothing" with U-God, "Everything OK" feat Ms Jack Davey, "Everybody Nose" feat Sa-Ra & Nola Darling, "Hours", "Annie Hall" feat Chop, Cherry Pop & Tiombe Lockhart, "Tags" feat Exile, "Spring Summer Winter Fall" feat Jimetta Rose, "Down To Earth" feat Donel Smokes, Definite & Double Oh, "Keep Pushinn", "Doin Something" feat Pac Div, U-N-I, J*Davey, Tiron & Ayomari and more.

Previously unreleased material from the duo of Bobby Bradford and John Carter – two players who created ferocious energy together in their famous LA quartet of the late 60s and early 70s, but who here get at a completely different sound of their talents! In a way, the record really represents the growth that Carter had as a musician by this time – his wonderfully lyrical, evocative work on clarinet – which carries some echoes of Jimmy Giuffre's freeness on the instrument, but a more deeply personal quality as well – quite earthy and organic at times, with these really beautiful tones! Bradford's cornet really seems to follow suit strongly – beautifully blown, but at a level that's more intimate than we've heard from Bobby before – really wonderful phrasing that's free, but still always quite tuneful too. The set features a few tracks with solo clarinet, and one solo cornet – and titles on this second volume include "Woman", "Woodman's Hall Blues", "Sweet Sunset", "Swiss Account", "Les Masses Jigaboo", and "And She Speaks".

An obscure record with a silly title – but a seminal batch of southern soul instrumentals, recorded at the height of the Muscle Shoals scene! The record's a really odd one in the Chess catalog – because it's got the feel of a record that should have come out on Atlantic or Capitol, or more appropriately Fame – as Rick Hall arranged and produced the record, and it features instrumentation by all his best Fame Studios session players, including Charlie Chalmers and Andrew Love on tenor, Gene Miller and Wayne Jackson on trumpet, Jimmy Johnson guitar, Spooner Oldham on piano, Carl Banks on organ, and Roger Hawkins on drums. Chalmers handles the main solo lines on tenor – cutting nice King Curtis-y lines over some well crafted southern soul grooves with a strong funky 45 feel. There's some particularly great cuts on the album – and titles include "Night Rumble", "Velvet Soul", "Groovin", "Soulin", "Two In The Morning", and "Poppin".

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

A posthumous collection of material that Sam recorded for RCA before his untimely death – not really a greatest hits collection, but a lot better than the usual "house cleaning" type of record that gets issued in this sort of situation! Arrangements are by Stan Applebaum, Jimmie Haskell, and Rene Hall – and titles include "Feel It", "One More Time", "Soothe Me", "I'm Gonna Forget About You", "I Ain't Gonna Cheat On You No More", "Sugar Dumpling", and "Wonderful World".

An interesting little record – with kind of a crossover California soul feel overall – recorded with Rene Hall arrangements that echo a few rootsy modes at times, mixed in with fuller orchestrations that step a bit back towards Jackie's earlier years on Imperial – a surprisingly nice blend, with a fresh sound for the 70s. The album features a number of great tracks co-written with Jimmy Holiday – a fellow Imperial talent – and titles include "Mediterranean Sky", "Sooner Or Later", "What Was Your Day Like", "Livin On The Easy Side", "Brighton Hill", and "When Morning Comes Again".

Wonderful early work by Stan – originally recorded for the Roost label, then compiled here for the Jazztone LP series. The sides are by Getz's quartet or quintet, the groundbreaking assemblage that featured Jimmy Raney on guitar, whose icy clear tone was a perfect counterpart for Getz's sweet breathy work on the tenor. The quality of the material is really great – and other sidemen are also first rate, including Horace Silver, Al Haig, Tommy Potter, Roy Haynes and Walt Bolden. 12 tracks in all, including "Yvette", "Wildwood", "Melody Express", "Penny", "Potter's Luck", "Split Kick", "Rubberneck", "Mosuito Knees", "Sweetie Pie", "Hershey Bar", "Tootsie Roll", and "For Stompers Only"

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you had to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all fell just right, and the Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you had to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all fell just right, and the Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you wanted to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all feel just right. Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you wanted to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all feel just right. Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

Classic piano work by Eddie Heywood – a 50s jazz player who crossed over to the pop instrumental realm often, but not on this album! The set's a relatively straight jazz trio session – with Wendell Marshall on bass and Jimmy Crawford on drums – and titles include "So Little Time", "Old Fashioned Walk", "Secret Love", "Hey There", and "You Never Gave It A Try".

Early genius from Eddie Higgins – a pianist who was a big thing on the Chicago scene of the 60s, but is probably best known to most folks for his revival records of the past decade or two! The younger Higgins has more of an edge than the later one – and this self-titled debut is a cooker of a hardbop album – thanks not only to work from Eddie's core trio, but also some great horn interplay from Frank Foster on tenor and Paul Seranno on trumpet! Eddie wrote some of the best cuts on the record – some really fresh numbers – and he gets rhythmic help from either Richard Evans or Jim Atlas on bass, and Marshall Thompson on drums. Higgins titles include "Foot's Bag", "Zarac The Evil One", and "AB's Blues" – and the album also features versions of "Blues For Big Scotia" and "Falling In Love With Love".

A pretty bold assertion from Peggy Lee on the title – but she backs it up nicely in this obscure album of "guy" songs from the end of the 50s! There's a playful feel to the music that fits Lee's vocals very well – as do the bouncy arrangements from Jack Marshall, who turns out to be one of the best musical partners that Peggy could ever hope for! The set's got that nice jazzy groove that really makes Lee's return to Capitol Records so great – and titles include "Good For Nothing Joe", "Charley My Boy", "Jim", "Bill", and "It's So Nice To Have A Man Around the House".

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!

A classic indie cooker from Sugar Billy – a bit funky, a bit clubby – and a really great batch of grooves done in a pre-disco mode! The tracks are all pretty darn upbeat – somewhat warmer than the funk of Fatback or Kool & The Gang, but still with a nicely rough-edged feel overall – one that mixes snapping rhythms with Billy's slightly raspy vocals – all in a groove that's somewhat unique, and which is almost a hybrid of southern soul modes and some of the indie styles bubbling out of the New York scene in the early 70s. Arrangements are by Jimmy Roach, who definitely helps the group groove – and a young Marcus Belgrave is actually in the group on Trumpet! Titles include the classic "Super Duper Love (parts 1 & 2)", plus "Treat Me Like You Don't Know Me", "Love Bug", "Sugar Pie", "Too Much Too Soon", and "Believe In Me". CD also features a great bonus track – the single-only "Freak & You Shall Find", presented in the long version!

A rare full album from The Tradewinds – a wonderful harmony pop group with a Sunshine Pop feel! The Tradewinds have a style that's heavily in a Beach Boys mode – sunny California harmonies on the vocals, and a sort of post-Pet Sounds approach to songwriting – one that makes for some really compelling songs in the set! The group's best known for their "New York's A Lonely Town" hit, but the whole album is great – filled with inventive songs, compelling vocals, and cool arrangements from Jimmy Wisner and Artie Butler – two very groovy talents. Titles include "Mind Excursion", "Bad Misunderstanding", "Only When I'm Dreamin", "Small Town Bring Down", "To Be With You", "Little Susan's Dreamin", and "Huggin In The Hall". CD also features 2 bonus tracks – "That's When Your Heartaches Begin" and "Hard Life".

One of the dueling cover story ssues of Wax Poetics – headed by great features on classic rap legend Big Daddy Kane, blue-eyed soul hero Daryl Hall, upstart hip hop gamer Joey Badass and progressive jazzy soul singer Jose James! Solid, worthy choices one and all – and pretty much every artist featured in Issue 54 could just as easily be on the cover! Includes interviews with Steely Dan's Donald Fagen, an extremely rare interview with Jimmy Spicer, plus pieces on Laura Nyro, Ghetto Brothers, Bobby Caldwell, Clams Casino, Nosaj Thing and Keyboard Kid. As always, it's got both both classic and comparably rarely seen photos, shots of old school cover and inner label art and more. Another essential issue!

Sublime soul all the way through – really tremendous little tracks that are just waiting to be discovered – and none of them the kind of mainstream grooves you might expect from the "crossover" in the title! Instead, these tracks have a power that really helps shift perception of a genre – almost a bridge between upbeat 60s Northern Soul and smoother 70s modern – with a warmth that's undeniable, and a groove that never lets up! The vocals are sublime, and the production is perfect – totally tight, but never slick at all – just perfect for the arrangements that really help these tunes soar! The set features a whopping two dozen tracks in all – and in addition to some real gems by lesser-knowns, there's also some great overlooked tracks by bigger names too – titles that include "I'm Not Ready" by Ujima, "The Common Broken Heart" by Lou Courtney, "Let's Try It Over Again" by Willie Hutch, "Midnight Sunshine" by The Soul Children, "It's Gonna Be Alright" by Maxine Brown, "One Step Ahead" by Aretha Franklin, "Fool's Hall Of Fame" by Ike Lovely, "Wait Till I Give The Signal" by The Shirelles, "Sweeping Your Dirt Under My Rug" by Ann Bailey, "Main Squeeze" by Syl Johnson, "Satisfactorise Your Mind" by Africano, "Trapped In A Love" by Barrino Brothers, and "I Gotta Keep My Bluff In" by Freddie Hughes.

Massive sounds from the Dopebrother Studio – home to some of the funkiest Kenny Dope productions of the past few years! The grooves here are mostly older nuggets from the 70s – rare funk, soul, and club numbers – mixed by Kenny and the Undercover Brother in ways that really bring up the funkiest energy of the tunes – lots of hard drums, great breaks, and crisp instrumentation that actually sounds way more dope than if you were spinning a copy of an original funky 45! Most tracks on here have only ever been issued as singles, so the full length collection makes for a great way to dig into all these massive grooves in one place – at a price that's pretty damn hard to beat. Plus, there's even a few unreleased tracks on here too – sure to please even the folks who already own a few of the singles! Titles include "How You Gonna Do It (Undercover Brother edit)" by Lenis Guess & The Raw Soul, "Foxfire (Dopebrother rmx)" by Kenny Smith & The Fox Fire Band, "Party & Get On Down (Undercover Brother edit)" by BAB, "Creative Happiness" by Steve Marshall, "I Can't Dance (Undercover Brother edit)" by Jimmy James Thomas, "We Got To Get Together" by The Masterminds with Lady Bianca, "Your Chicken Ain't Funky Like Mine" by Dirty Red Morgan Group, "Skunkie (Undercover Brother edit)" by Kenny Smith & The Maximum Feeling, "Waiting At The Station" by Jimmy James Thomas, "Do What You Like (Undercover Brother edit)" by 400 Years Of What, and "It's Over Now (Undercover Brother quiet storm mix)" by Manzel.

The deepest set so far in this excellent series – a package that goes way beyond the gritty sound of most funky 45 collections, and brings in a wealth of obscure soundtrack, folk funk, and European grooves! The style here is almost more soul-based than funk-based at times – going for tunes that have strong hooks, good structure, and a really coherent sound that's not just the result of an accidental strong drum break or short burst of skittish guitar. Most numbers are vocal ones too – coming from surprising sources that aren't the usual 70s soul territory for crate diggers – but alongside the vocals are always great instrumental passages as well, with more than enough funk at the bottom to warrant inclusion in the 45 Kings series! Titles include "If I Could" by Enrica, "Romantic Attitude" by John Fitch, "Wanderin Soul" by Gary Atkinson, "Lay It On Me Baby" by Mike Harper, "Crescent Boogie" by Soul On Delivery, "Some Kind Of Fever" by Maxine Sellers, "Be That Way" by Jimmy Gray Hall, "All I Dream" by Estelle Levitt, "Starin At The Wall" by Lilly, "Lookin Back" by Rainbow Crunch, and "Frantique" by Nino Nardini.

A love letter to the legendary Fame Records – filled with unissued tracks and rare gems from the vaults! Fame was one of the great ones back in the day – the driving force behind Muscle Shoals soul music, and a company that helped really redefine the sound of the music in the 60s – thanks to incredible production, and a tight cast of studio musicians who knocked it out of the park on nearly every session! 21 of the set's 24 tracks have never been issued before – and, even more compelling, none were featured on the similar 7" box set from Ace – making the package a treasure trove of music, even for the serious soul collector. Titles include "Tell It Like It Is" by Big Ben Atkins, "Almost Persuaded" by Jackie, "You're So Fine" by James Barnett, "I Do" by June Conquest, "Your Helping Hand" by Otis Clay, "In The Heat Of Love" by Marjorie Ingram, "Steal Away 67" by Jimmy Hughes, "You Really Know How To Hurt A Guy" by Ralph Soul Jackson, "Let's Do It Over" by Travis Wammack, "For You" by George Jackson, "Baby Come Back" by Bobby Moore & The Rhythm Aces, "Keep On Talking" by Prince Phillip, "It Ain't No Harm" by George Byrd & The Dominoes, "Blind Can't See" by Richard Earl & The Corvettes, and "I Need Someone" by The Entertainers.

A sprawling set that commemorates the Reggae Golden Jubilee– one that's beautifully put together by VP – and featuring 100 pivotal tracks from the early 60s to the late 00s! Selector Mr. Seaga does a pretty terrific job on the tracklist – which focuses as much on tracks that proved to be among the most trailblazing as it does on big hits. It touches on the styles and subgenres from throughout reggae's history – from ska, to rocksteady, reggae, dub, deejay, dancehall and beyond – with bellwether material by Theophilus Beckford, Higgs & Wilson, Skatalites, U-Roy, Peter Tosh, Jimmy Cliff, Yellowman, Third World, Dennis Brown, Maxi Priest, Sugar Minott, Beres Hammond, Sizzla, Shaggy and many, many more. "Dumplins" by Byron Lee & The Dragonaires, "They Got To Go" by Prince Buster, "Bring Home" by Justin Hines & The Dominoes, "Rough And Tough" by Stranger Cole, "Hypocrite" by The Heptones, "Occupation" by Don Drummond & The Skatalites, "Wear You To The Ball" by U-Roy & The Paragons, "The A Fi Get A Beatin'" by Peter Tosh, "Police And Thieves" by Junior Murvin, "Right Time" by Mighty Diamonds, "Uptown Ranking" by Althea & Donna, "Over Me" by Yellowman, "Pass The Dutchie" by Musical Youth, "Try Jah Love" by Third World, "Wild World" by Maxie Priest, "One Blood" by Junior Reid, "Murder She Wrote" by Chaka Demus & Pliers, "Putting Up Resistance", by Beres Hammond, "You Don't Love Me (No No No)" by Dawn Penn, "Untold Stories" by Buju Banton, "Black Woman And Child" by Sizzla, "Gimme The Light" by Sean Paul, "Pon De River, Pon De Bank" by Elephant Man, "Welcome To Jamrock" by Damian "Jr Gong" Marley, "The Harder They Come" by Jimmy Cliff and more.

A stunning look at a legendary London club of the 60s – presented here in a really well-done book-style package – with a CD that's brimming over with the American soul that made it groove so great back in the day! The set does a great job of showing the roots both of Northern soul, and the UK mod scene – as most of the work here is from that early cusp of soul – when R&B still figured strongly into the mix, and the groove also had some strong inflections from blues and jazz as well! The photos and images in the book are totally great – laid out over a full-color 24 pages – and the CD features 28 smoking tracks – including "Ain't That Loving You Baby" by Jimmy Reed, "Jaywalking" by The Upsetters, "Who Can I Run To" by Geri Hall, "I'll Take One" by Harold Burrage, "Song Called Soul" by Gene Chandler, "Let The Good Times Roll" by Alvin Robinson, "Question" by Roscoe Shelton, and "I've Got A Claim On You" by Betty Everett.

A very nice little Milt Jackson album – cut in the mode of some of his excellent soul jazz group sides from the mid 60s. This set pushes Milt past the format of much of his other work – especially that of the MJQ – as it features him in a very soulful sextet, working with Tommy Flanagan on piano, Kenny Dorham on trumpet, Jimmy Heath on tenor, Ron Carter on bass, and Connie Kay on drums. The presence of Dorham and Heath give the album a light lyrical swing that really opens things up – and there's a fair bit of modally-oriented tunes on the set that hint at the more soulful playing of most of the players in the 70s. Tracks include a great version of "Invitation", plus "The Sealer", "Poom A Loom", "Ruby", and "None Shall Wander".

A killer of an album from one of the best hardbop trombonists of the 50s! This side's always been wickedly hard to find, and it comes from that later period when the Bethlehem label was cutting records that had a lot more of a soulful groove than earlier years. Bennie's playing with a hip group of underground players that includes Jimmy Forrest on tenor, Lem Davis on alto, and Skip Hall on organ – and although the tracks are short, they've got a fire that gets the job done in double-time, and which makes you think you're hearing some session on Prestige. Titles include "Catwalk", "Dee Dee", "Dibblin & Dabblin", and "Groove One".

Fantastic photos of Johnny Cash – mostly 60s and 70s material, plus a few later bits too – all in stunning black and white, and collected here in a magnificent volume! Images include rare pre-show shots from the famous concerts at San Quentin and Folsom Prison, bits from the Johnny Cash Show, and even shots with Bob Dylan and Waylon Jennings – and the book also features an introduction by John Carter Cash, plus text from Kris Kristofferson and Billy Bob Thornton. 159 pages, black and white, and with a nice heavy softbound cover.

The genius of Bird and strings is hard to describe – an edgey approach that really goes far past most other "jazz with strings" projects, not a ballad-driven one, but a tensely strained one that brings out some of Parker's best soloing, almost in a moody soundtrack-type way. The tracks are a lot freer and less bop-driven than some of Bird's normal work, and it's incredible to hear him soloing with such complexity – even more proof of the genius he clearly exhibited in relation to his contemporaries. LP features some of Bird's best work in the strings format – some tracks recorded in 1950 at Carnegie Hall, others arranged by either Jimmy Carroll or Joe Lippmann. Titles include "Repetition", "April In Paris", "Summertime", "I'm In The Mood For Love", "East Of The Sun", "I'll Remember April", and "Easy To Love".

One of the dueling cover story ssues of Wax Poetics – headed by great features on classic rap legend Big Daddy Kane, blue-eyed soul hero Daryl Hall, upstart hip hop gamer Joey Badass and progressive jazzy soul singer Jose James! Solid, worthy choices one and all – and pretty much every artist featured in Issue 54 could just as easily be on the cover! Includes interviews with Steely Dan's Donald Fagen, an extremely rare interview with Jimmy Spicer, plus pieces on Laura Nyro, Ghetto Brothers, Bobby Caldwell, Clams Casino, Nosaj Thing and Keyboard Kid. As always, it's got both both classic and comparably rarely seen photos, shots of old school cover and inner label art and more. Another essential issue!

A great book of vintage Bob Dylan photos – all in stark, statuesque and beautiful black & white – with shots by Barry Feinstein, Daniel Kramer and Jim Marshall – and featuring a forward by Arlo Guthrie! The photos are rich and evocative – very much reminiscient of Dylan's brooding Don't Look Back presence – with lots of shots from the earlier years when he was celebrated by the protest singer fanbase, to the early days of the misunderstood electric era and perhaps a bit beyond. Includes lots of shots from fateful UK tours, plus ones from the set of the Johnny Cash show, in the studio, on stage and behind the scenes.

A 70s double LP issue of a variety of sides Milt cut as a leader for Prestige and Riverside. The first batch of numbers were originally released as a couple of 10"s, then repackaged under various guises in LP format, and feature a slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". There's also 4 numbers with the same group adding Henry Boozier on trumpet, performing "Soma", "Buhaina", "Opus De Funk" and "I've Lost Your Love". The second LP is from almost a decade on, a very nice little Milt Jackson album – cut in the mode of some of his excellent soul jazz group sides from the mid 60s. This set pushes Milt past the format of much of his other work – especially that of the MJQ – as it features him in a very soulful sextet, working with Tommy Flanagan on piano, Kenny Dorham on trumpet, Jimmy Heath on tenor, Ron Carter on bass, and Connie Kay on drums. The presence of Dorham and Heath give the album a light lyrical swing that really opens things up – and there's a fair bit of modally-oriented tunes on the set that hint at the more soulful playing of most of the players in the 70s. Tracks include a great version of "Invitation", plus "The Sealer", "Poom A Loom", "Ruby", and "None Shall Wander".

A funky explosion of dancefloor grooves – key 70s club cuts from Capitol, Blue Note, and TK Records – all packaged together in a massively upbeat set! Most tracks here move at a pretty quick clip – and represent the funkier side of the 70s disco scene – cuts that draw more from tight instrumental jamming than from smoother tricks in the studio! Almost all numbers have some sort of lyrics, but they usually take second stage to the rhythms – and a fair bit of the numbers are long, with timings that move well past the five minute mark. Titles include "Changin" by Brass Construction, "Do What You Wanna Do" by T-Connection, "Is It In" by Jimmy Bo Horne, "Wrap Your Arms Around Me" by KC & The Sunshine Band, "Freak In Freak Out" by Timmy Thomas, "Singing Hallelujah" by Queen Samantha, "Caricatures" by Donald Byrd, "Pack It Up" by Gonzalez, "Do Ya Wanna Get Funky With Me" by Peter Brown, and "Time Is On My Side" by Maze.

A tiny label, but one with some really great sounds – a great slice of the late 60s Philly scene, and a pretty darn soulful one at that! The label started as Kayden in Philly, then moved across the river to New Jersey and switched to Merben – but had a really unified sound throughout their short run, so much so that even the few pop recordings here come across with a pretty soulful feel! Most numbers are upbeat, and move in a Northern-ish soul mode – and the male singers here are especially great, almost a bit more deep soul than usual for the Philly scene, especially some of the groups. CD features 24 cuts from both labels, including some unreleased material – and titles include "You're Gonna Miss A Good Thing Baby", "Help Me Pretty Baby", and "At The End Of The Day" by John Bowie, who's pictured on the front cover – plus "Stop Think It Over" and "A Place For Me" by Leverett Sisters, "I Wanna Know" by Bill Horton, "Seven Days Fifty Two Weeks" by Cody Michaels, "Ask Any Girl" and "What Am I Gonna Do" by Matt Sound, "Where Did You Leave Your Heart" by Sharon Marshall, "Shake Me Wake Me" by Natural Facts, "I Can Only Give You Everything" by Bram Rigg Set, "Why Did God Make Girls" by JD Rogues, "Tell Me" by Shags, "How Could You Have Known" by Bats, and "Paint It Black" by Jimmy Roma.