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A great overseas date from trumpeter Bill Coleman, one that also features Ben Webster on tenor on most tracks, plus Jim Douglas on guitar and Fred Hunt on piano.

Includes "Tiger Rag", "After You've Gone", "I'm Just Wild About Harry", and "St Louis Blues".

Includes historical mono recordings of Elgar's "Symphony No 1 In A Flat (Falstaff)", "Symphony No 2 In E Flat" with rehersal sequence and both versions of the Rondo, "The Dream Of Gerontius (excerpts)", "Civic Fanfare & National Anthem", and "The Music Makers (excerpts)".

Also included are Elgar transcriptions of Bach's "Fantasia & Fugue In C Minor" and Handel's "Overture In D Minor".

BB King in London – not playing live, but working in the studio with a host of British musicians he'd inspired over the years! The lineup varies from track to track, giving a nice sort of variety to the album – and the overall feel is a bit like some of the Chess London sessions of the time – but maybe more blues overall! Features work by Peter Green on guitar, Steve Marriott on harmonica, Alexis Korner on acoustic guitar, Gary Wright on electric piano and Hammond, Ringo Starr on drums, and The Mystery Shadow on Hammond – and titles include "Ghetto Woman", "Wet Hayshark", "Part Time Love", "We Can't Agree", and "Blue Shadows". CD also fetaures the bonus track "May I Have A Talk With You".

A rare live session from Julie London – surprising in that most of her classic work for Liberty was put together with some real studio magic! Yet this time around, the live setting's a real charm – one that makes for a whole new side of London's personality – showing the singer to be much more of an entertainer than we would have expected. The solitary sultriness of Julie's studio albums is really on the backburner – at least in the overall feel fo the recording, with its pronounced audience noise, oft-swinging arrangements, and male vocal quartet in the mix – although when London starts to sing, things often hit that familiar mode, too. Titles include a very boozy version of "Daddy" – almost drunken, we'd say – plus "Lonesome Road", "Send For Me", "Gotta Move", "I Love Paris", "Cry Me A River", and "By Myself".

One of the greatest early albums by Julie London – a record that features sublime jazz backings from the Jimmy Rowles Orchestra, in a mode that gets way past the "breathy girl with subtle guitar" sound of her first few for Liberty! Rowles' backings bring in some really nice horn work – inflecting the tunes with subtle solos and shadings of color that deepen them past London's spare and sexy presentation of the tunes – but which also don't go too far, or force Julie to do things she's not ready to do. Bobby Troup produced, and the record's got all the subtle wit of his own best efforts – and titles include two Troup numbers, "Daddy" and "Free & Easy", plus "Somebody Loves Me", "For You", "Midnight Sun", "All My Life", "Bye Bye Blackbird", and "Dream Of You".

A landmark album in 50s vocal jazz – spare, moody, and evocative tunes from Julie London – sung in a stripped-down setting that few other singers would dare at the time! The sound of the set is as sexy as the cover – intimate, personal, and breathily sung in a mode that comes across with a brashly adult presentation of the material. Backing only features Barney Kessel on guitar and Ray Leatherwood on bass – leaving Julie plenty of room to take over the record with her vocals – a real masterpiece of understatement, given the setting! Titles include her famous version of "Cry Me A River" – virtually THE version of the tune – plus "I Should Care", "Say It Isn't So", "Gone With The Wind", "Laura", and "Can't Help Loving That Man".

Looking like she does on the cover, it's hard to imagine Julie London being a lonely girl – as she's very seductively posed, with that slinky bare shoulders look that no doubt helped many of her early Liberty sides sell so well! But apart from the cheesecake, the record's one of Julie's perfect late 50s sides for Liberty – spare, moody, and very smoky – all set to mellow accompaniment, and backed by some nice guitar work by Al Viola. Tracks are short and sad, and titles include "Fools Rush In", "What'll I Do", "Lonely Girl", "When Your Lover Has Gone", and "Mean To Me".

A set that has Julie London still working in the breathy and mellow style of her late 50s classics – with very spare backings that really let Julie's vocals take center stage, and often a nice guitar line in the front of the mix, picking its way through the tunes right behind Julie's voice! Titles include "My Heart Reminds Me", "Love Letters", "Broken Hearted Melody", "Fascination", "Never On Sunday", "Hey There", "I Miss You So", and "Come On-A My House".

Hard to imagine that Julie London would ever have to ask anyone to make love to her – at least not when she looks as sexy as this on the cover! The album's a key early classic for Liberty – still very fragile, personal, and up-close enough to make you think you might just be able to jump inside the cover and spend the night with Julie! Russ Garcia handles the backings with great care – a bit of gentle strings here, some light jazz there – but always letting London's breathy vocals come up very high in the mix. Titles include "Go Slow", "Lover Man", "Body & Soul", "Snuggled On Your Shoulder", and "Make Love To Me".

Sweet, sophisticated musings from Julie London – a set that has her taking on some of the coolest tunes from the first half of the 60s – including a fair bit of soundtrack themes too! Backings are by Richard Wess and Ernie Freeman, who each have their own distinct flavor – and help give the record a nice sort of balance between mellow and upbeat. There's loads of groovy tunes on the set – and London does a wonderful job with "Theme From A Summer Place", "More", "Never On Sunday", "An Affair To Remember", "Boy On A Dolphin", "The Second Time Around", "Charade", and "Wives & Lovers".

On Sophisticated Lady, Julie London's got her hair up, and is wearing a classy gown – so you can bet that the feel of the record definitely follows through with the "sophisticated" promise of the title! Things are as mellow as on London's early classics for Liberty, but there's a bit more of an orchestrated feel too – fuller backings that couch her lovely vocals in a near-perfect array of strings – usually quite gentle, and often breaking away to give Julie that personal, solitary space that usually has her singing at her best. Titles include "Make It Another Old Fashioned Please", "Sophisticated Lady", "Remind Me", "You're Blase", "Spring Can Really Hang You Up The Most", and "Absent Minded Me". For The Night People is mature, mellow, and totally wonderful – clear proof that Julie London was still making great music well into the 60s! The album's got a simple, unassuming charm – very much in the late nite mode you'd guess from the title, with spare backings from Don Bagley that often have a key guitar line in the mix – working along with London's vocals in the same style as the mid 50s – but with a different feel overall – a bit more mature and world-wise, which makes for a perfect fit for tunes that include "I Got It Bad", "Here's That Rainy Day", "Am I Blue", "I'll Never Smile Again", "Can't Get Out Of This Mood", and "When The Sun Comes Out".

That's London, Ontario – not London, England – which means that the group have an even more far-flung sound than you might expect! The album's a brilliant and overlooked gem from the Canadian scene of the 70s – really mindblowing music by a group who are equally great at grooving, and at taking things very far outside – mixing together modes that are sometimes highly rhythmic, other times very loose and freewheeling! We're really not familiar with any of the players from later projects at all – but they're clearly a very hip batch of younger musicians who come together and sparkle brilliantly for this rare set – with a mix of soprano and alto sax, wood flute, cello, piano, bass, funky drums, vibes, and even some other cool effects that really make the record a treat throughout! Titles include the funky gem "Destroy The Nihilist Picnic", plus much more outside material that includes "Time Is Of The Essence", "Edible Wallpaper", "Ron Martin Special With Mustard", "Spain Is For Old Ladies", and "Jazz Widow Waltz". CD also features the bonus track "The Potential Of Something Exquisite".

A lively band of young British players, packed into a large group with a tight swinging sound that evokes some of the better continental bands of the sort at the time – like the Clarke-Boland Ensemble, the Johnny Dankworth group, and even bits of Mike Westbrook's early work. The set list is a nice group of lesser-known titles – like "Who-Wray?", "Full House", "Spaghetti Junction", "Marianne", "Eleven Plus", and "Legs Eleven". Orchestra directed by Bill Ashton, and the set was recorded at London Weekend Television in 1975. And if it sounds drippy, give it a chance – as there's more than a few nice cuts here that feel like they're lifted off a compliation like Jazz Biznezz, or some of those other hip European sets!

Amazing sounds from Ram Jam Holder – an artist unlike anyone else we can think of! Black London Blues is a brilliant British set from Holder – not really blues at all, but a cool kind of crossbreeding of styles in the 60s London scene – almost the same mad mix of modes you might hear in The Equals! There's plenty of funk on the record – some great drums, bouncing basslines, and an overall tightness that's more gritty soul than blues – although there's definitely a bluesy bent at times too! Titles include "Brixton Blues", "Too Much Blues", "Pub Crawling Blues", "Wimpy Bar Blues", and "Hampstead To Lose The Blues". Bootleg Blues has a groove that's really wonderful – definitely blues, but with lots of other elements mixing through the music too – kind of that criss-crossing of styles you'd find in San Francisco music of the late 60s – but given a particularly London twist here – with some folksy elements, soulful phrasing, and even some echoes of the mod 60s scene in the way the organ and grooves come across. The album's a great one – and titles include "Saturday's Child", "Bed Sitter Girl", "London Paris Rome Blues Express", "Freedom I'm Ready", and "Low Down In Paris".

Elis Regina hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

2 amazing albums from Elis Regina – back to back on a single CD! First up is Elis Como Et Porque – one of our favorite albums ever from the incredible Elis Regina – a record that really has her hitting new levels in her style – moving past simple bossa into a realm of music that's all her own! The backings are arranged by Roberto Menescal, who also moves into some great new territory here – a soaring, spacious mode that's way different than his gentler bossa – and which really has some of the growing complications that were showing up in Brazilian music at the end of the 60s. There's a fair bit of jazz in the mix, but also a fair bit of majesty too – and the tunes soar out with a much livelier feel than some of Regina's later albums. Titles include amazing renditions of "Canto De Osssanha", "O Barquinho", "Giro", "O Sonho", "Casa Forte", and "Vera Cruz" – plus a tasty version of Michel Legrand's "Recit De Cassard", from Umbrellas Of Cherbourg. On Elis Regina In London, Elis hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that Really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

Swinging British pop tracks by two of England's loveliest ladies of the 60s – neither of which is well known as a singer, but both of whom sound pretty darn groovy here! The first 4 tracks on the CD are from a 1966 EP by Twiggy – recorded early in her fame as a model, and with some especially nice backings from Johnny Hawksworth! Twiggy's vocals are surprisingly nice – kind of sweet and light, but also with a sense of darkness that we like a lot – but the Hawksworth arrangements are what really make the album groove, as they're filled with the weird touches we've come to love over the years in Johnny's own instrumental work. Twiggy tracks include "When I Think Of You", "Beautiful Dreams", "Over & Over", and "I Need Your Hand In Mine". Linda Thorson's probably best known as the actress who followed Diana Rigg's run on The Avengers, but here she emerges as a groovy little singer in her own right – working in late 60s Brit female modes that clearly borrow from Dusty Springfield, Sandie Shaw, and others – and which actually have some surprising soul-based touches as the set rolls on. And while we're not about to say that Linda's vocals are as strong as Dusty or Sandie's, we can say that the album's thoughtful arrangements from Kenny Lynch keeps things on very solid footing – pushing the tunes forward with a mixture of baroque, mod, and swinging styles that should have gotten Thorson another date or two in the studio. Titles include "Here I Am", "Better Than Losing You", "Wishful Thinking", "Pick Up My Heart", "You Will Want Me", and "Bad Time To Stop Loving Me".

"The London Suite" is broken up into six pieces – "Picadilly", "Chelsea", "Soho", "Bond Street", "Limehouse", and "Whitechappel".

Not as guitarry or AM-pop heavy as the group's earlier classics, but still a pretty nice little record nonetheless – filled with the kind of playful McCartney tunes that we've always loved, and carried off with an undeniable charm. Includes the hit "With A Little Luck", plus "Famous Groupies", "Deliver Your Children", "London Town", "Café On The Left Bank", "I'm Carrying", "Backwards Traveller", and "Cuff Link".

Think that groovy sounds in London only started with the acid jazz scene at the end of the 80s? Think again – because in the years before, The Bass Clef was a real hotspot of cross-cultural activity – helping to spark the fire that would burn strongly in the Dingwalls years and beyond! This excellent set provides a rare look at London's Latin and African grooves in the mid 80s – featuring not just local players, but groups from outside the UK who were making a big impact at the time – yet who also seemed to pick up some of London's great ear for funk and soul as well. Titles include "Amata" by Somo Somo, "Wosa Wena" by District Six, "Batucada" by London School Of Samba, "Cafe De Paris" by Cayenne, "Dos Labrimas" by El Sonido De Londres, and "Entre Rejas" by Barrio Latino.

A totally groovy batch of mid-to-late 60s London rock– wonderful work by Small Faces, Chris Farlowe, Billyy Nicholls, Australian Playboys, Amen Corner and more – plus loads of period interviews and soundbites from hipsters, movers and shakers of the era! The whole thing has the feel of a soundtrack, of a time and place rather than from a film – with classic tunes and some lesser known gems as well! A groovy throwback to 60s swinging London! Titles include "Itchycoo Park" by Small Faces, "Night Time Girl" by Twice As Much, "Out Of Time" by Chris Farlowe, "Portobello Road" by Billy Nicholls, "I'll Go Alone" by Humble Pie, "Alfred Bell" by Duncan Browne, "If Paradise Is Half As Nice" by Amen Corner" and more – plus bits of dialogue, interviews and statements from Mick Jagger, Andrew Loog Oldham, Allen Ginsberg, Michael Caine and more!

Includes works by Tchaikovsky, Rubinstein, Saint Saens, Luigini, Kreisler, Krupinski and others.

A wonderful follow up to one of our favorite compilations in recent years! London Is The Place For Me compiles the stylistically varied music coming from the emergent West Indian and African communities of 50s and 60s London – far more than just the topical, and often quite whimsical calypso tunes of the era! Calypso is well represented, but the set includes strains of jazz, percussive instrumentals that veer towards native Trinidad and Nigeria, and loads of Caribbean grooves! It's all exceptionally bright – with some lovingly, and knowingly, naive vocals that are as sweet as they are wise. A truly wonderful compilation. Essential! 20 tracks in all: "Calypso Be" by Young Tiger, "Yolanda" by Ambrose Campbell, "Calypso Blues" by Mona Baptiste, "My Wife's Nightie" by Lord Kitchener, "Ominara" by West African Rhythm Brothers, "Gerrard Street" by King Timothy, "ET Mensah's Rolling Ball" by West African Swing Stars, "West Indian Drums" by Russ Henderson, "Gbonimawo" by Rans Boi's Ghana Highlife Band and more!

The 4th entry in the amazing London Is The Place for me – a collection of incredible work from the postwar, post-colonial years in the UK! As with other volumes, there's an array of Carribean and African influences at work here – often highly rhythmic and performed with lots of percussion, but also served up in ways that has the original modes coming into contact with more contemporary UK styles! Most of the work here was recorded in London, but overflowing with global styles that include mentos, high life, calypso, Latin, and even a bit of jazz – played by an array of artists who all found new means of expression in the capital. Titles include "Mambo Indio" by Shake Keane, "Alphonso In Town" by Lord Kitchener, "Give Her The No 1" by Eric Hayden, "Khauleza" by Dorothy Masuka, "Chicken & Rice" by Young Tiger, "Egyptian Bint Al Cha Cha" by Ginger Johnson, "Don't You Go Away" by Cab Kaye, "Highlife Piccadilly" by The African Messengers, "Darling Don't Say No" by Nat Akins, "African Jazz Cha Cha" by Ginger Johnson, "Piccadilly Folk" by Lord Kitchener, and "Ilu Oyinbo Dara" by Victor Coker.

The first two volumes in this legendary series – back to back in one set! Volume 1 is an amazing collection – and one that really helped completely revise our understanding of Caribbean music! The collection features a fair bit of artists with roots in the West Indies, but who made a huge impact on London's postwar immigrant population – the new rise of non-native residents who were swelling the ranks of the city in the years after the way – bringing with them new cultures, new sounds, and new traditions – with all the requisite ideas and politics that might imply! The work here often has a subtle social agenda – working through themes important to these new Londoners, yet still echoing modes of the homeland as well – often with great musical backings that's heavy on percussion, jazzy instrumentation, and very upbeat rhythms. Titles include "London Is The Place For Me" by Lord Kitchener, "I Was There" by Young Tiger, "Some Girl Something" by The Lion, "No Carnival In Britain" by Mighty Terror, "Jamaica Hurricane" by Lord Beginner, "Birth Of Ghana" by Lord Kitchener, "Victory Test Match" by Lord Beginner, "Spanish Calypso" by The Lion, "Bulldog Don't Bite Me" by Timothy, "My Landlady" by Lord Kitchener, "If You're Not White You're Black" by Lord Kitchener, and "Aguiti" by Lord Invader. Volume 2 compiles the stylistically varied music coming from the emergent West Indian and African communities of 50s and 60s London – far more than just the topical, and often quite whimsical calypso tunes of the era! Calypso is well represented, but the set includes strains of jazz, percussive instrumentals that veer towards native Trinidad and Nigeria, and loads of Caribbean grooves! It's all exceptionally bright – with some lovingly, and knowingly, naive vocals that are as sweet as they are wise. A truly wonderful compilation. Essential! 20 tracks in all: "Calypso Be" by Young Tiger, "Yolanda" by Ambrose Campbell, "Calypso Blues" by Mona Baptiste, "My Wife's Nightie" by Lord Kitchener, "Ominara" by West African Rhythm Brothers, "Gerrard Street" by King Timothy, "ET Mensah's Rolling Ball" by West African Swing Stars, "West Indian Drums" by Russ Henderson, "Gbonimawo" by Rans Boi's Ghana Highlife Band and more!

Two groundbreaking collections in one cool package! Volume 3 is one of our favorite volumes in the London Is The Place For Me collection – and a brilliant batch of work that criss-crosses West African, West Indian, and postwar jazz styles! Most of the recordings here were done under the leadership of Ambrose Adekoya Campbell – a transplant to London from Lagos in the postwar year, and an artist who had a huge influence on the changing rhythms of his scene. Campbell mixed styles of his roots with those of the larger London community around him – in a way that let in more Latin and Caribbean influences to more traditional African styles – often using guitar in a high-life styled way, but also bringing in some key jazz phrasings as well. Titles include "We Have It In Africa", "Iku Koni Payin", "I Am A Stranger", "Lagos Mambo", "Ela Da Awa", "and "Calabar-O" by West African Rhythm Brothers; "The Wind In A Frolic" and "Unity" by Nigerian Union Rhythm Group; "Ibikunle Alakija" by Ayinde Bakare & His Meranda Orchestra; and "Late Ojo Davies" and "Geneva Conference" by West African Rhythm Stars. Volume 4 features a collection of incredible work from the postwar, post-colonial years in the UK! As with other volumes, there's an array of Carribean and African influences at work here – often highly rhythmic and performed with lots of percussion, but also served up in ways that has the original modes coming into contact with more contemporary UK styles! Most of the work here was recorded in London, but overflowing with global styles that include mentos, high life, calypso, Latin, and even a bit of jazz – played by an array of artists who all found new means of expression in the capital. Titles include "Mambo Indio" by Shake Keane, "Alphonso In Town" by Lord Kitchener, "Give Her The No 1" by Eric Hayden, "Khauleza" by Dorothy Masuka, "Chicken & Rice" by Young Tiger, "Egyptian Bint Al Cha Cha" by Ginger Johnson, "Don't You Go Away" by Cab Kaye, "Highlife Piccadilly" by The African Messengers, "Darling Don't Say No" by Nat Akins, "African Jazz Cha Cha" by Ginger Johnson, "Piccadilly Folk" by Lord Kitchener, and "Ilu Oyinbo Dara" by Victor Coker.

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers, "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy.

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.

Rare English language recordings from the sublime Francoise Hardy – music that's every bit as wonderful as her famous French recordings – and even more compelling to our Anglo-styled ears! The vocals are wonderful – sung with this sense of darkness that's almost got an echo of Nico at points, given the accent – set to backings that balance this darkness with a bit more light, but never in ways that are overly poppy – and which definitely continue that more sophisticated style that Hardy always brought to her music! There's less "yeh yeh" to the tracks than a few years before – and Francoise is definitely digging deeper music at this point in her career – sometimes with a breathy brilliance that's a bit like Jane Birkin too. Titles include "Bown Bown Bown", "Till The Morning Comes", "Loving You", "In The Sky", "Midnight Blues", "Magic Horse", "Song Of Winter", "Strange Shadows", "Ocean", "The Garden Of Jane Delawney", "Sometimes", "Let My Name Be Sorrow", "Times Passing By", "I Just Want To Be Alone", and "Suzanne".

Features Hannibal Marvin Peterson on trumpet, Arthur Blythe on alto and soprano, George Dadams on tenor and soprano sax, Masabumi Kikuchi on organ, Pete Levin on clavinet and moog, and Gil Evans on electric piano!

Two rare ones from the 60s London jazz scene – back to back on a single CD! First up is a tremendous little record – a rare meeting between Ellington tenorist Paul Gonsalves and Brit reed genius Tubby Hayes – a set that's cut very much in the best spirit of some of Hayes' free-thinking classics on Fontana Records! The grooves are open, and beautifully-executed – and both sax players sound sublime – Gonsalves with that raspy tone that you'll know from Ellington dates, but cut loose much more here – and Hayes with that powerful sense of depth that's always made him one of our favorite saxophonists! The rest of the group is quite nice too – and players include Stan Tracey on piano, Jimmy Deuchar on trumpet, and Keith Christie on trombone. Titles include "Tupa", "Amber Mood", "Pedro's Walk", "Baby Blue", "Mini Minor", and "Souraya". Johnny Scott takes over the CD on the second half – turning in an EMI Studio 2 classic with London Swings – a date that's done with largeish charts, but a great sense of rhythm throughout! The players in clude Ian Hamer and Ray Davies on trumpets, Ronnie Ross and Duncan Lamont on saxes, John Marson on harp, Don Lusher on trombone, and Alan Branscombe on piano – and the tunes offer up a cascading mix of large charts and individual instrumental voices, occasionally filled in by a bit of strings. Titles include "London By Night", "Greek Street Soho", "Let's All Go Down To The Strand", "Chelsea Bridge", and "Knocked Em In The Old Kent Road".

An oft-overlooked gem from Julie London – a dreamy album of Cole Porter tunes, and one that has her singing with small group backing, very much in the mode of some of her best early work for the Liberty label! The group on the album's the Bud Shank Quintet – with Shank on alto and flute, Joe Pass on guitar, Russ Freeman on piano, Monty Budwig on bass, and Colin Bailey on drums – a great little combo who give the work a light, lyrical feel, and a bit less of the sadness of other London albums. Freeman did the arrangements, and titles include "So In Love", "Get Out Of Town", "Easy To Love", "At Long Last Love", and "In The Still Of The Night".

Money, minks, and a diamond tiara – whatever Julie wants, it's pretty well laid out in the album's cover image! The set's a slinky swinger that definitely follows in the spirit of the title track "Whatever Lola Wants" – that postwar vampy sort of groove that Peggy Lee was doing so well over at Capitol – a natural fit here for Julie London, given the naturally sensuous quality of her singing! The backings have just the right sort of sexy bounce for the themes – and London sexes it up even more than usual, really adding some great life to tunes that include "Love For Sale", "Why Don't You Do Right", "My Heart Belongs To Daddy", "Take Back Your Mink", "Diamonds Are A Girls Best Friend", and "An Occasional Man".

Herbie Mann rides his Memphis Underground approach over to London – where he grooves nicely in a similar jazz funk take on that scene's biggest tunes of the time! The set was recorded in the UK, and features hip help from an assortment of rockers – including Mick Taylor and Albert Lee on guitars, Ian MacDonald on alto sax, and Aynsley Dunbar on drums – plus Herbie's frequent partner Pat Rebillot on keyboards. The sound is surprisingly laidback at times – warmly soulful, and a lot less rockish than you might guess for an album with two guitarists in the mix – and titles include "Bitch", "Spin Ball", "Mellow Yellow", "Paper Sun", "Layla", and Herbie's original "Memphis Spoon Bread & Dover Sole" – plus a great Fender Rhodes-heavy take on "You Never Give Me Your Money".

A pair of compelling British instrumental albums back to back – both of them with a really unique flavor! Russo In London is a rare British outing for Stan Kenton alumni Bill Russo – a date recorded at the legendary Lansdowne studios, and one that may well be one of Russo's greatest albums ever as a leader! The set's filled with material originally scored for the Kenton group – but served up here with really inventive arrangements from Russo – modern in tones, but soulful in colors – and filled with unusual changes that really keep things interesting, and a bit swinging too. Soloists include Johnny Scott on alto, Duncan Lamont on tenor, Keith Christie on trombone, and Leon Calvert on trumpet – and titles include "Frank Speaking", "Egdon Heath", "Portrait Of A Count", "Sweets", "Bill's Blues", and "Ennui". Blowing Up A Storm is a showcase for the trumpet talents of Kenny Baker – working here with his sprightly Baker's Dozen combo, on a date that was recorded by the legendary Joe Meek! Baker's horn isn't always out front, which makes for a nice focus on the overall sound of the ensemble – and titles include "Blowing Up A Storm", "Call Of The Flute", "Night Blooming Jazz Man", "Threesome", and "Sunrise Serenade".

Some of the most important recordings in the career of Sarah Vaughan – rich package of albums that really helped her refine her style strongly, and unlock an approach to jazz that nobody else could touch! Vaughan had always been a great singer, no matter what the setting – but here, she takes things a strong step forward – by mixing instrumental inspiration with careful lyrical delivery, all at a level that's quite different than Billie Holiday, Ella Fitzgerald, or any other contemporaries! Vaughan's got this mature approach that's never overdone, and never tries to call too much attention to itself – even though Sarah's singing in ways that are technically mindblowing, and set to the kinds of backings that never would have been so subtle a few years before. The beautiful package is a 7" square book – with heavy hardcovers, and lots of color images on the many pages inside – plus four CDs nestled alongside the words – containing the full albums Images, In The Land Of Hi Fi, Sarah Vaughan, At Mister Kelly's, After Hours At The London House, and No Count Sarah – plus 11 bonus tracks added to the Mister Kelly's album, and 5 more bonus tracks from the Swingin Easy record as well. 72 tracks in all – in a really lovely package!

Basie was getting all over the place during the 50s – and this set's a great little concert recorded in London! The album's classic Basie for Verve – with Joe Williams on vocals on 3 tracks, and a tight group that includes Thad Jones, Joe Newman, Benny Powell, Matthew Gee, and Frank Foster. Titles include "Flute Juice", "Nails", "Blues Backstage", "Corner Pocket", "Roll Em Pete", and "Well All Right Okay You Win".

A heavy duty 3LP vinyl box set of Cream's unlikely and incendiary reunion shows at Royal Albert Hall in 2005! Pressed on cream coloured vinyl and includes a book. Titles include "I'm So Glad", "Spoonful", "Politician", "White Room", "Sunshine Of Your Love" and more. 19 tracks on 3LPs.