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One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

A stone killer from the early Blue Note years of tenorist Joe Henderson – a key example of why the label had so much faith in him right from the start, and why Henderson's horn was quite different than so many other players of the 60s! There's a sharp edge here, but there's also a soulful sense of swing – that balance that Joe had more than most of his contemporaries – and which he only continued to develop as the years went on. Echoes of "new thing" modes lie in the background of the record, but upfront things have a sharp 60s Blue Note punch – thanks in part to a great lineup that also includes Kenny Dorham on trumpet, McCoy Tyner on piano, Richard Davis on bass, and Elvin Jones on drums. Henderson's tone is rough and young – but in a great way, one that's perfect for the exploratory nature of his original tunes on the set, and which matches the mood of Dorham's compositions as well. Tracks include "In N Out", "Short Story", "Brown's Town", and "Punjab".

A modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur and Bobby Hutcherson. 3 of the 4 long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate".

One of the greatest Stanley Turrentine albums ever – a hard-blown session that's been one of our favorite Blue Notes for years! Turrentine's tone here is amazing – really raspy and earthy, with a quality that never shows up much in later recordings – a mode that's incredibly focused, yet deeply personal – stepping out with equal parts of gritty groove and creative imagination. The group's a perfect one too – with Horace Parlan really setting fire to the keys of the piano, and the team of George Tucker on bass and Al Harewood on drums giving Stan some super-tight rhythmic backing. The record is incredible, and the kind that keeps us hanging for every moment that it's on – and titles include "Journey Into Melody", "Return Engagement", "Little Sheri", "Tiny Capers", "Minor Chant", and "Look Out". CD features 3 bonus tracks – "Tin Tin Deo", "Yesterdays", and a 45 take of "Little Sheri".

A monster! This is one of the rare few albums that tenorist Harold Vick ever cut as a leader – and it's pretty darn great all the way through! Vick is probably best known as the sax player with Jack McDuff during his mid 60s glory years – and this album captures him a similar mode, working hard and fast in an organ combo with Big John Patton at the keys, Grant Green on guitar, and Ben Dixon on drums. The group's augmented by Blue Mitchell, who solos in the front with Vick – and the album includes a great version of Vick's "Our Miss Brooks", plus "Steppin Out", "Vicksville", and "Trimmed In Blue".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

An excellent Hank Mobley session – with an unusual twist that takes it past his earlier work! The lineup's great all the way through – with Woody Shaw on trumpet, George Benson on guitar, and Billy Higgins on drums – and the addition of Benson's guitar gives the tracks a groovily swinging edge that really makes them dance nicely! The set's got 4 originals – "Good Pickins", "Up Over & Out", "Beverly", and "Lookin East" – and 2 soul covers – "Reach Out" and "Goin' Out Of My Head" – and Mobley never misses a beat. Mobley was so great during this period, and we always mourn the fact that he hardly recorded much afterward!

The one and only album we've ever seen from The 13th Floor – a hip little combo from St Louis, produced here by Oliver Sain in a great blend of jazz, soul, and funk! There's a depth here that goes way beyond the average outing of this type – as the group clearly have some sort of an ear for more spiritual jazz, yet are also comfortable working in a more focused, groove-based mode too! Saxophonist Lionel Greene is at the head of the group, and also sings a bit – but our favorite tracks are the instrumental ones, played by the combo in a sweet, tight blend of guitar, bass, drums, and sax. There's a nicely compressed groove here that almost hits some spacious Roy Ayers styles at times – but the overall sound is much more varied, and even hits some harder funk moments from time to time too, letting the guitar and bass step out more than the sax. Titles include "Rise", "Get Up", "Sweet Lovely Girl", "Time & Place", "Sweet Thang", "Hang Loose", "Steppin Out", and "Teffany".

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

A jazzy portrait of Cannonball Adderley in his early soul jazz prime – oddly one that doesn't feature his regular quintet lineup, but which more than makes up for that lack with a batch of players that includes Blue Mitchell on trumpet, Bill Evans on piano, Sam Jones on bass, and Philly Joe Jones on drums! Given the personnel, the record's almost kind of a transition from Cannon's brief time with Miles Davis into his tighter more soul-inflected group to come – and Evans' piano provides an especially spacious sensibility here, one that marks the time spent with Miles nicely. Titles include "Nardis", "A Little Taste", "Minority", and "Blue Funk". CD features 3 bonus tracks!

A sweet Japanese set from Toshiko Akioshi – recorded at the Blue Note in Tokyo, with a group that really replicates the sound of her big band from the 70s! Key partner from those years – Lew Tabackin – is in the group playing loads of great tenor and flute solos – and other players include a range of younger Americans, including Jim Rotondi on trumpet and Jim Snidero on alto and flute – all working in that great Akioshi/Tabackin formation – tight head arrangements, but lots of room to soar out on solos on the longer tracks! Terumasa Hino also guests a bit on trumpet – and titles include "Hirohiko's Delight", "The Village", "Lady Liberty", "Unrequited Love", and "Hope".

Toshiko Akioshi makes a trip back to the Japanese jazz scene in the early 60s – for this great little session that has her meeting up with "old pals" from previous years – including Sadao Watanabe on alto sax, Akira Miyazawa on tenor, and Hideo Shiraki on drums! The reunion is a really great one – just the kind of session that stands out as special in the careers of all artists involved – especially Toshiko, who seems to have hit a new level of maturity in her work! The style here is essentially hardbop, but brought together with some well-penned head arrangements that hint at the more sophisticated directions Akikoshi would take in her later years – yet still preserve all the boppish spontaneity of her youth. The set's on a par with the best on Blue Note or Impulse in the US at the time – and is key proof that at the right moments, the Japanese jazz scene of the early 60s was really something to rave about! Titles include "Quebec", "Old Pals", "Watasu No Biethovin", "So What", and "The Night Has A Thousand Eyes".

Amazing work from a legendary Peruvian guitarist – an electric player who works here with a really wonderful sense of groove – and often an echoey tone that's completely sublime! Most numbers have this bouncy, tropical sort of vibe – but the guitar really gives them all an edge, and seems to underscore the strong percussion work that really gets things moving – a balance that's a bit like champeta at times, but maybe a bit more unique! Teo's instrument is often recorded with a style that's more 60s surf than you'd guess from the date of the sessions – and that echo trips things out nicely, and almost brings a spacey edge to some of the best numbers on the set. The package features a bonus insert with notes and images – and titles feature Teo in a number of groups – "El Sha La La" by Cielo Gris, "El Rey Loco" by Los Blue Kings De Nana, "Mi Orgullo" by Los Sanders De Nana, "El Borrachito Peruano" by Conjunto Luz Roja, "Los Hombres Tambien Lloran" by Los Jharis De Nana, and "La Tanga Carioca" by Costa Azul.

A mix of moods, colors, and feelings – handled with the full range of talents of David Amram, who's one of the few composers who could pull this one off! A number of the tracks have weird instrumentation that gives them a sound that's almost "eastern", and certainly exotic – and they're mixed here with some lightly jazzy touches, and a few mellower, more tender tunes that offset the rest of the album nicely. Titles include "Other Dreams", "Definitely Blue", "Anatolia", "Old Country Soul", "Sunny Days", "Blue Tomorrow", and "Love Is Never Out Of Style".

Joan Baez, back when she was really pretty darn amazing – a young, fresh, powerful force in 60s folk music! The set features Baez on vocals and guitar – with additional electric guitar on a few tracks, a bit of mandolin, and some bass. Includes great readings of Dylan tunes "Farewell Angelina", "It's All Over Now Baby Blue", "Hard Rain's Gonna Fall", and "Daddy You Been On My Mind" – plus Donovan's "Colours".

Spacey fingerstyle guitar meanderings from Robbie Basho – a contemporary of John Fahey who helped create the genre of tripped out, open tuning excursions! This album was recorded after Basho's early work for the Takoma label, and it's got a bit less Native American imagery than before – replaced with more of a sense of Eastern mysticism for inspiration that also features some vocals alongside the guitar! Titles include "Venus In Cancer", "Eagle Sails The Blue Diamond Waters", "Kowaka D'Amour", "Song For The Queen", "Cathedrals Et Fleur De Lis" and "Wine Song (Sweet Wine Of Love)".

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". CD features bonus singles too – 6 more tracks that include "Thinkin", "Go Ahead On", "How Much I Do Love You", "What'm I Supposed To Do", and "We're So Much In Love".

Pretty mellow stuff from George Benson, but with some nice moments! Don Sebesky handled the arrangements for this set of larger backings – but Benson's guitar is right out front, hitting some super-dope lines at the best moments, stretching out from the warm Fender Rhodes or horn heavy backings. Highlights include "No Sooner Said Than Done", which has some very weird processing on the guitar; "Full Compass", which has some nice hard drums; and "Summer Wishes, Winter Dreams", a mellow moody track. CD also features 3 bonus tracks – the previously unreleased "From Now On", and new mixes of "Serbian Blue" and "Take The A Train".

Quite an unusual record from Art Blakey – a rare big band session, recorded with a lineup that's quite different than the usual Jazz Messengers! Turns out, Blakey's quite good in this setting – and has the same firey energy to direct a larger ensemble that he has when working with a smaller quintet. The added players here really help him express some new musical ideas with greater depth – almost like the added percussionists on some of his drum-heavy Blue Note dates of the late 50s. Members of the group include John Coltrane and Al Cohn on tenor, Sahib Shihab on alto, Donald Byrd and Idrees Sulieman on trumpet, Melba Liston on trombone, and Walter Bishop on piano – and titles include "Last Date", "The Outer World", "Midriff", "Tippin", and "Pristine".

Pounding! This is the long-awaited re-release of a lost session that Blakey recorded in 1958, with a triple-drum rhythm group that included himself, Philly Joe Jones, and Roy Haynes – plus some additional conga work by Ray Barretto. Unlike other Blakey "drum orgy" sessions, though, this one's got a much straighter jazz feel – with plenty of solo space for trumpeter Lee Morgan and pianist Bobby Timmons. The drums work together in fantastic interplay – with Haynes' lyricism, Blakey's crackle, and Jones' raw power all providing perfect complement to each other while Morgan solos freely out front as the only horn (a role that he rarely ever got to take!) The set also includes 2 amazing other tracks that feature only bass and drum (not drum n bass!) interplay between Blakey and the late Paul Chambers – making for a total of 8 incredible tracks in all, with titles that include "Lee's Tune", "Blakey's Blues", "Lover", and "Drums In the Rain". Great stuff, and with notes by Kenny Washington, too!

An excellent live set by the Jazz Messengers – recorded in Paris in 1958, but with a hard heavy groove that's right up there with their best Blue Note work. The group at this time – Blakey, Bobby Timmons, Lee Morgan, Benny Golson, and Jymie Merritt – plays hard, heavy, and straight ahead, with no other interference from outside players – and the track list is a batch of classic Jazz Messenger standards, stretched out a bit longer than usual, with plenty of solo space! Titles include "Moanin", "Justice", "Whisper Not", "Blues March", and "I Remember Clifford".

A reissue of one of Blakey's best non-Blue Note sides from the late 50s, a killer album that sports a great lineup of the Jazz Messengers that included Jackie McLean, Johnny Griffin, Bill Hardman, Sam Dockery and Spanky DeBrest. The three of them sparkle and shine with the sort of brilliance that Blakey's leadership brings to the group, and they wail their way through a 13 minute long reading of "Night In Tunisia", with excellent solos all around, and the other cuts "Theory Of Art", "Couldn't It Be You?", "Evans", and "Off The Wall". This reissue adds the bonus number "Social Call" recorded for RCA at very nearly the same time, but with a larger group that features Wynton Kelly in place of Sam Dockery, plus the addition of Lee Morgan, Sahib Shihab, Melba Liston and Cecil Payne in the horn section.

Boy, does the heavy slab psychedelic sludge grooves of Blue Cheer ever sound wonderful, even more than 40 years since it originally walked the earth! Outsideinside hit not too long after the classic Vincebus Eruptem, and damned if we can determine why it's not as celebrated as the debut. That fuzzed out stomp of a sound is back in full effect, as are the titanic drums and an overall sound that uses an electric blues influence as a springboard into heavy cosmic space. Includes their ferocious cover of "(I Can't Get No) Satisfaction" plus "Feathers From Your Tree", "Just A Little Bit", "Gypsy Ball", "Come And Get It", "The Hunter", "Babylon" and "Magnolia Caboose Babyfinger".

A long-overdue look at one of the most important groups to grace the British jazz scene of the 60s and 70s – the legendary Blue Notes, a group of South African expatriates with an undeniably huge influence on the music of their new homeland! The ensemble featured key players who went onto do some amazing work on their own, but first came together in this group – trumpeter Mongezi Feza, saxophonist Dudu Pukwana, pianist Chris McGregor, bassist Johnny Dyani, and drummer Louis Moholo – all players as dynamic together and important on their own as the members of the Art Emsemble of Chicago from the US. The set finally brings out all of the group's key albums for the Ogun label, plus some great bonus material too – a rich tapestry of work that shows the combo's evolution from African-tinged jazz of the 60s to some much more farther-reaching sounds in the 70s – all beautifully packaged, with each album presented on its own inside a larger slipcase! The set features The Blue Notes Legacy, a live date in South Africa from 1964; Blue Notes For Mongezi, a double-length set recorded after the passing of group trumpeter Mongezi Feza; Blue Notes For Johnny, a date recorded after the passing of bassist Johnny Dyani; and Blue Notes In Concert, a great live date recorded in 1977. There's a wealth of wonderful music here – and along with the bonus tracks, the set also features a great booklet of remembrances and vintage photos!

One man psychedelic funk jams from Blue and his Bluefunks project – bass player for the ATL's hip hop funk band (who backed Outkast live) – doing his own thing here on HomeCookedTapeHissInfestedFunks! Blue's heavy bass groove leads the way, boundlessly straddling genres and making his own style out of it all. He plays all the instrumentals on the set and does the singing – it's his show all the way. You hear his love of classic raw funk rock and psych soul throughout. Creative energy permeates the home spun vibe in away that reminds of Cody Chesnutt, but Blue's sound is all his own. "Nay...Na-Na", "Moments Golden", "See Thangz", "Act A Fool", "On The Wall", "Watcha Wanna Do", "Step It Up", "Feenin'" and more.

Sublime sounds from Booker T & The MGs – the group's first five albums, laid out in one totally package! The progression in Memphis soul here is wonderful – as the package starts with the initial Green Onions set – a record that grew out of a famous jam from Book and the group in the studio – then moves through Soul Dressing, And Now, Hip Hug Her, and Doin Our Thing – records that get funkier and funkier at each new spin – showing how the group really tightened up their style, and helped transform the sound of instrumental soul in the process! Loads of great Hammond from Booker T, mixed with killer guitar from Steve Cropper – and a motherlode of great cuts that include "Green Onions", "Comin Home Baby", "Can't Be Still", "Home Grown", "Think", "Soul Jam", "Taboo", "One Mint Julep", "Plum Nellie", "Outrage", "Night Owl Walk", "Double Or Nothing", "Sunny", "Pigmy", "Slim Jenkins Place", "Hip Hug Her", "Soul Sanction", "The Beat Goes On", "Blue Or Green", "Ode To Billie Joe", "Never My Love", and "I Can Dig It". All albums in tiny LP sleeves too!

One of the greatest albums so far from mighty Chicago reedman David Boykin – and easily a set that lives up to the rich legacy of avant jazz in the Windy City! There's a depth to the record that comes through right from the very first note – a sense of history and feeling that shows just how much Boykin's developed as a player over the past decade or so – a tenorist with a done that's right up there with Archie Shepp or David Murray at their creative best – really stretching out on some wonderful solos that never fail to dim in imagination or new ideas. The group's a trio – with Alex Wing on bass and James Woodley on drums – which gives the recording an almost ESP Records sort of vibe – and Boykin's the shining star throughout, really knocking us over with his solos on the well-recorded set! Titles include "Blast Off For Love", "Walk Turn Bat Shimmy", "Try Harder", "Blue Lotus", "Star Book", and "Late Night With The David Boykin Trio Theme".

One of the greatest albums so far from mighty Chicago reedman David Boykin – and easily a set that lives up to the rich legacy of avant jazz in the Windy City! There's a depth to the record that comes through right from the very first note – a sense of history and feeling that shows just how much Boykin's developed as a player over the past decade or so – a tenorist with a done that's right up there with Archie Shepp or David Murray at their creative best – really stretching out on some wonderful solos that never fail to dim in imagination or new ideas. The group's a trio – with Alex Wing on bass and James Woodley on drums – which gives the recording an almost ESP Records sort of vibe – and Boykin's the shining star throughout, really knocking us over with his solos on the well-recorded set! Titles include "Blast Off For Love", "Walk Turn Bat Shimmy", "Try Harder", "Blue Lotus", "Star Book", and "Late Night With The David Boykin Trio Theme".

Seminal work from The Brecker Brothers – 6 of the group's best albums, plus the two Blue Montreux live albums – packaged together in one very cool set, in tiny LP-like sleeves! The self-titled Brecker Brothers album is the first super effort from the team of Randy & Michael Brecker, whose twin-horn frontline forged a very popular sound in the mid 70s – some really well-crafted numbers, done with a strong smooth approach that still sits well after all these years! Back To Back features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sung on the album along with Patti Austin. The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound! Don't Stop The Music is a stone classic from The Brecker Brothers – working with touches of club and disco grooves to give an even smoother edge to the jazz funk of the pair. And thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! Heavy Metal Be Bop is tight and funky jamming, with a bit more guitar here than on some of their other records – hence, possibly, the title! Keyboards and guitar jam strongly, but Randy and Michael still get in plenty of space for their solos – pushing their jazz licks with the jamming intensity that might normally be relegated to guitar heroes in the rock world. On Detente, the Brecker's are still rooted in jazz, but definitely step out with plenty of soul in the mix too – vocals from DJ Rogers, Carl Carlwell, Luther Vandross, and others – all of whom really add a lot to the set! On Straphangin, the BBs manage to groove with a sharpness and depth that most of their smoother fusion contemporaries just weren't hitting – an edge that reminds us of the deeper roots these guys had before they started hitting the mainstream! Last up are the live fusion classics Blue Montreux Vols 1 & 2 – both recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The group's an octet, but plays together in differing formations throughout the record – with Warren Bernhardt on keyboards, Michael Brecker on saxes, Randy Brecker on trumpet, Steve Jordan on drums, Steve Khan and Larry Coryell on guitars, Tony Levin on bass, and Mike Maineri on vibes – the last of which really make for some of the best numbers on the album!

Features very early work with Chris Powell & His Blue Flames – on "Ida Red" and "I Come From Jamaica" – plus 3 longer Philly sides from 1956, with Billy Root on tenor and Sam Dockery on piano – on titles that include "Walkin", "Donna Lee", and "Night In Tunisia".

A stone classic from Brother James – a wonderful 60s album built around the incredible track "Cold Sweat", served up here in a massive two-part version, and surrounded by a good range of material that really show James in a great variety of styles! The Godfather's vocals burst out nicely with some wonderfully soulful overtones, no matter what the tune – and titles include "Fever", "Good Rockin Tonight", "Back Stabbin", "Mona Lisa", "Come Rain Or Come Shine", "Nature Boy" and "I Want To Be Around" – as well as "Cold Sweat (parts 1 & 2)".

A sweet live set from Dave Brubeck's early years on Columbia Records – recorded in New York, but with all the calculated cool and modern tones Brubeck first forged in the San Francisco scene of the 50s! Paul Desmond's on board on alto sax – really getting a lot of space to stretch out on the album's extended performances, with a haunting, floating tone that really sends us. Remaining members include Bob Bates on bass, and Joe Dodge on drums – and tracks include "Lover", "Love Walked In", "The Duke", "Little Girl Blue", and "Fare Thee Well Annabelle".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Easily the crowning moment of genius for the legendary Dave Brubeck Quartet – the moment when all things came together magically, and the group somehow elevated themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul Desmond, and the rest had already been making plenty of waves with their creative yet swinging approaches to modern jazz – heard on a number of successful albums for Fantasy and Columbia in the 50s. But with this record, they really knocked one out of the park – blending Desmond's cool alto, Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene Wright's pulsating bass into a waltzing, almost modal groove that crossed over to many camps at the time! The classics "Take Five" and "Blue Rondo Ala Turk" were both hits on their own – but all titles are great, and include "Kathy's Waltz", "Strange Medow Lark", "Everybody's Jumpin", and "Pick Up Sticks".

One of the best Kenny Burrell albums ever! Kenny's in fine form in this rare live set, recorded in 1959 at the Five Spot with a group that includes the legendary Tina Brooks on tenor, plus Bobby Timmons or Roland Hanna on piano, Ben Tucker on bass, and Art Blakey on drums. The band is more firey than some of Kenny's other recordings – and that seems to drive him onto harder solos than usual, as you'll hear on tracks like "Birk's Works", "36-23-36", and "Hallelujah". Nice stuff!

Quite a surprising pairing of talents – and a set that shows that at in the right settings, Stephane Grappelli's still got plenty of modern moments! The core group is really that of vibist Gary Burton – with Steve Swallow on electric bass and Bill Goodwin on drums – both players with an open, spacious feel that's quite different than the usual rhythm group for a Grappelli record – which really opens up the legendary violinist, and has him stretching out wonderfully – especially on some of the more contemporary numbers. Burton's vibes are great at this point – sharp toned, yet incredibly warm too – and titles include "Daphne", "Blue In Green", "Sweet Rain", "Coquette", and "Arpege".

Excellent transitional album by Byrd – transitional in that it marks the difference between his hard soul jazz funky recordings from the 60's and his easier electric recordings from the early 70's. Donald's playing in a sweet mellow style, with beautiful strident reaching solos that float over soul jazz arrangements for a larger group that includes Duke Pearson on electric piano, Frank Foster on tenor, Jimmy Ponder on guitar, and Joe Chambers on drums. 4 long tracks – "Weasil", "I Love the Girl", "Fancy Free", and "The Uptowner".

A beautifully sensitive album from Donald Byrd – quite a change from his better-known jazz funk work of the 70s and early 80s – and part of a back-to-basics move he made in part of that latter decade! The album's very much in the best straight mode of the Landmark Records label scene of the time – Byrd blowing strong and soulfully in the company of a key combo that features Kenny Garrett on alto, Mulgrew Miller on piano, Rufus Reid on bass, and Marvin Smitty Smith on drums – all players who really bring a lot of fire to the record, and almost push Byrd back to his pre-electric 60s years on Blue Note. Mike Daugherty plays synth on two tracks – using the instrument in gentle, string-like ways – but overall the record is proudly acoustic at most moments. Titles include "Harlem Blues", "Fly Little Byrd", "Voyage A Deux", "Sir Master Kool Guy", and "Blue Monk".

Donald Byrd's second foray into the "with voices" genre – done with the same arranging talents of Coleridge Perkinson, the lyrical modernist who made Donald's A New Perspective such a success! The group that plays with Byrd is excellent, and includes Freddie Roach, Herbie Hancock, Stanley Turrentine, and Grant Green – all of whom blend beautifully with the choir, and know when to lay back, and when to come out strong with hard rhythm playing and good solos. Donald Byrd and Duke Pearson wrote all of the tunes, and the set's got some beautiful shimmering solos by Byrd which just float dreamily over the album's gorgeous orchestrations. With the tracks "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home".

Beautiful bass work from 50s LA player Red Callender – heard here on this classic side recorded for the Modern imprint. Swingin Suite is easily one of Red's tightest sessions – a date that has Callender's basslines strongly leading a nonet of players that includes Harry Jones on trumpet, John Ewing on trombone, Willie Green on alto sax, and Buddy Collette on flute and tenor. Collette's lines have a nice sharp edge throughout, and soar out beautifully amidst the bigger backings – and although a "suite", the whole session's got a much more relaxed feel than that compositional title might make you think. Tracks include "On Again", "Greenery", "Pastel", "Dancers", "October Blue", "Bihari", "Skyline", and "Outlines".

Can opens up a bit with Unlimited Edition – expanding upon their earlier Limited Edition compilation – fleshing out that set of archival Can errata into a sprawling, boundless 70+ minute set of brilliant, yet largely unused genius from the group's earlier archives! Can is legendary for constructing their greatest studio material out of freewheeling studio experimentation, so it stands to reason that there was a whole heck of a lot of worthy material left out. Boy, was there ever! It's got bits from both the Mooney and Suzuki periods, as well as spacious Can instrumental material. It's made up largely of brief bits that didn't find their way into a whole piece, but there's some longer numbers, too – and one epic: the 17+ minute "Cutaway". Titles icnlde "Gomorrha", "Doko E", "The Anpress And The Ukraine Song", "TV Spot", "Mother Upduff", "Connection", "Fall Of Another Year", "Transcendental Express", "Ibis", "Blue Bag (Inside Paper)", "Musette", "EFS No. 10", "I'm Too Leise" and more.

A couple of lost proggy and surprisingly funky early 80s albums by keyboardist Tony Carey – his Explorer and Yellow Power LPs – together in cool 2LP gatefold set from Medical Records! Just a few years earlier, Carey was playing with Ritchie Blackmore in Rainbow – but the sound of this solo material is a world away! It carries a bit of a late era Euro disco vibe – mixed with some starker, more walloping sounds that are more indebted to new wave. It's got hypnotic keyboard grooves, compelling beats and cosmic atmosphere to spare – the kind that'll be welcome to connoisseurs of artists as varied as Giorgio Morodor, Alexander Robotnick, John Carpenter and Devo! Explorer is the slightly sparer record and Yellow Power is the more polished one -which features alternate versions of the majority of the Explorer songs and some completely different titles, too– and it ultimately serves as a more fleshed out version of the preceding LP. Both were recorded in 1982 at Hotline Studios in Frankfurt. Really cool, mostly instrumental grooves! Explorer includes "Enjaw J", "Transit To Nowhere", "Megawar", "Blue Fusion", "No. 8", "No. 14", "Rabbits" and more. The Yellow Power LP includes "Hai Samurai", "Tojo", "Queen Of Scots", "Blue Fusion", "Peking Duck", "Radio Tokyo", "Dynamite" and more.

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".

One of the most obscure of the Paul Chambers albums on Blue Note – and one of the most interesting as well! Although best known for his solid rhythm work on late 50s hardbop recordings, Chambers breaks out here with a more introspective, more exploratory style on the bass – using the instrument "on top", as a lead solo force in a group with Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. The sound is surprisingly soulful, and modern yet swinging – in the manner of Oscar Pettiford's best sides of this style. Titles include "Yesterdays", "You'd Be So Nice To Come Home To", "Confessin", and "The Theme". CD also features the bonus track "Chamber Mates"

The Chambers Brothers may not actually be playing on Mars for this set, but they've definitely got a spaced-out sound – a freaky electric groove that goes even farther than some of their other studio work of the 70s! The set has some of the earthy soulful moments from the group's earliest years, but it also brings in blend of electric guitar too – extended the styles first explored at Columbia in the freer space of the live setting here. Steve Cropper joins the group for the performance, and you can definitely hear some of his grit in the grooves – and some tracks are quite long and jamming, even more so than we might have expected from the group! Side two features a 17 minute medley of "Stealing Watermelons" and "Mama Your Daughter (Is Hot Enough To Burn Water)" – and side one features "Me & Your Mother", "Superstar", and "Midnight Blue".

Easily one of the most powerful albums ever cut by Don Cherry – a searing set of tracks done for Blue Note in the late 60s – and featuring some tremendous tenor work by Pharoah Sanders! There's a tightness and level of energy here that surpasses even Cherry's other excellent Blue Note sessions – a rawness that recalls the style forged often on key ESP albums of the 60s, but honed here into a slightly tighter mode. Sanders' horn is especially well-placed in the set – and pushes Cherry past the spacier notes of other recordings, in a way that unlocks fire from the years with Ornette – but which opens up into a much freer groove. The rest of the group includes Henry Grimes on bass and Ed Blackwell on drums – both a perfect match for the quartet – and titles include the 17 minute "Unite", plus "There Is A Bomb", "Awake Nu", "Taste Maker", and "The Thing".

A killer hardbop session from the early 60s – one of Sonny Clark's later sides for Blue Note, and an album that features a great lineup of players that includes lesser-known Blue Note hornmen Charlie Rouse and Tommy Turrentine! The record crackles with the energy and imagination of Clark's best work for the label – leaping and loping along the grooves with a free-thinking approach to the tunes, and coming up with some exotically-tinged takes on the hardbop sound of the time – yet still allowing plenty of space for searing solo work. Ike Quebec joins the group on a few tracks as well, and titles include some of Clark's best compositions – like "Melody for C" and "Voodoo" – as well as the tracks "Eric Walks", "Midnight Mambo", and "Deep In A Dream".

A great collection of material from Sonny Clark – recorded in 1958, but not issued at the time, most likely because Sonny was already releasing so many other albums for Blue Note! The CD features 14 tracks in all – all played in trio format – and all tunes are standards, as you'd guess from the title. Tracks include "Black Velvet", "Ain't No Use", "Blues In The Night", "I Cover the Waterfront", "The Breeze & I", and "Can't We Be Friends".

A great slice of work from trumpeter Bill Coleman – an American player by birth, but one who became a key part of the French jazz scene in the postwar years – thanks to a big move overseas! Yet the sides here show Bill in an even fresher setting – not just a UK venue, but also working in more of a bop-oriented mode – which is a change from the trad and swing of some of his better-known albums from France! Coleman's trumpet has plenty of charm – a raspy, soulful approach that really makes his swing sessions sparkle – but which turns out to work equally well on some of the more hard-driving tracks here – which, mixed with the gentler lines, almost feel like some great lost 50s Verve album. The set features a lineup of players who include Lou Hooper on tenor, Alan Littlejohn on additional trumpet, Tony Millener on trombone, Ron Matherson on piano, Ron Rubin on bass, and Johnny Richardson on drums – and titles on this second volume include "Impulsive You", "Jam", "Theme Song", "Take The A Train", and "Blue Turning Grey".

A long overdue testament to the live genius of the mighty John Coltrane Quartet – captured at the legendary Half Note club in NYC – disc 1 recorded on a date in March 1965 and disc 2 on a date in early May of the same year! The set finds Coltrane plus McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on the kit working in a far more adventurous guise than many of the 60s studio sessions – stretching out incredibly on the half hour epic workout "One Up, One Down" and a beautifully loose run of "Afro Blue". The stylistic themes are carried through similarly on the second disc's long grooving "Song Of Praise" and an amazing "My Favorite Things", but stretching near or past the 20 minute mark. These long bootlegged recordings are now available on CD officially for the first time ever – complete with the original radio introductions and announcements!

Some incredible early work from John Coltrane – 3 sessions recorded under the leadership of Paul Chambers, and even done before Coltrane's more famous work with Miles Davis! First up is material from the Imperial album Chamber's Music – led by Chambers, and one of the earliest small group sessions with Coltrane – a very spare batch of bass-heavy tracks with an incredibly relaxed groove. Chambers is at the full peak of his youthful talents, and solos quite a bit next to spare piano fills by Drew. Trane's tone is loud and raw, with more bluesiness than you'd expect – and we mean that in a good way! Titles include "Dexterity", "Trane's Blues", and "Eastbound". Added to these are 3 more tracks from a really wonderful Massachusetts session in 1956 – recorded for Transition Records – and featuring Coltrane and Chambers with Pepper Adams, Roland Alexander, and Donald Byrd – playing, long, bluesy, almost-improvised tunes that include "Trane's Strain", "High Step", and "Nixon Dixon & Yates Blues". Last up are more tracks from the album Whims Of Chambers – again recorded under Chambers' leadership, this time for Blue Note in 1956 – with a group that includes Donald Byrd, Kenny Burrell, and Horace Silver. The writing is great, and the group has a nice dark edge that gives the session a slightly different sound than other Blue Note albums from the time. Chambers leads off with the bass on most tracks, kind of putting the work at an off-center pace that really gives it a fresh feel – and which makes it different from the straighter bop sound of his albums as a leader on Vee Jay. Tracks include "We Six", "Dear Ann", "Tale Of The Fingers", and "Omicron". CD features 11 tracks in all – quite possibly not all of the tracks from the albums, but the important Coltrane ones.

Ravi Coltrane's first album for Blue Note – put together here with production help from Joe Lovano, who also plays a bit of guest tenor too! The album's got a really dark edge – and really works strongly in those edgier sides of the spectrum – those modes that Coltrane's developed best in the past decade or so – which are almost more saxophonic elements of a maturing Wayne Shorter than they are those of his famous father! Ravi's got a good sense of space between his notes – never bridging the gaps with flurries of sound, and instead making these bold statements that swing together nicely, with help from a lineup that includes Geri Allen and Luis Pedromo on piano, James Genus and Drew Gress on bass, and EJ Strickland and Eric Harland on drums. In addition to tenor from Lovano on two tracks, the set also features some guest trumpet from Ralph Alessi – on titles that include "The Change My Girl", "Spirit Fiction", "Klepto", "Roads Cross", "Cross Roads", "Yellow Cat", and "Check Out Time".

A gem of a set from a singer who should have been much bigger back in the 50s – served up with the same sort of small combo backings you'd get on the Chris Connor albums for Bethlehem! Marlene Cord is a hell of a singer on her own – with a voice that's never hokey, yet full of feeling – and able to inflect things with a knowledge of jazz, but in ways that never go too far over the top – just perfectly balanced with a subtle power that's really amazing. Yet she sounds even better alongside the music on the date – creative Chicago backings from a quartet that features Dick Marx on piano, Johnny Frigo on bass, Mike Simpson on flute, and Jerry Slosberg on drums. The flute's an especially great element – underscoring the vocals with some great blue tones – and titles include "I'm Thru With Love", "I Remember You", "I Got It Bad", "Lights Out", and "This Love Of Mine".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A cool step sideways for the great Don Covay – a set that still holds onto all the soul of his earlier work for Atlantic – but one that also has Don hitting a rootsier, bluesier mode too! The combo's definitely a blues group at their core, but apart from some harmonica and a bit more twang in the guitar, they come across more like a rough soul combo behind Covay's lead – a quality that comes through especially strong on some of the points where the drums step out a bit more than usual. Our hat's off to Don for making this move – as the record really shows a whole new side of his vocal talents, and has a deeper vibe than he'd go for in his later crossover soul of the 70s. Titles include "Homemade Love", "Steady Roller", "Four Women", "Mad Dog Blues", and "Shut Your Mouth".

Rich, proud work from Randy Crawford – sung with the mature mix of jazz and soul that made her one of the more sophisticated mainstream singers of her generation! The album's heavy on mellower cuts, but it's never too sleepy – thanks to a slow-burning sensibility that Randy uses to keep things cooking on the low burners – a style that brings out some good vocal force even when the backings are somewhat gentle. Production's by Tommy LiPuma, and somewhat slick, and tracks include "You Might Need Somebody", "That's How Heartaches Are Made", "Two Lives", "You Bring The Sun Out", "Rio De Janeiro Blue", "Time For Love", "Trade Winds", and "When I Lose My Way".

Fantastic work from one of the most overlooked alto talents of all-time! This beautiful CD features tracks from Sonny's 3 rare albums on Imperial – Jazz USA, Go Man, and Plays Cole Porter. The records were all recorded in 1956 – and they feature some of the strongest bop playing to ever come out of LA, total proof that that city wasn't always noodling around with cool jazz during the 50s! Sonny plays alto so well you want to cry – and every note is perfectly placed, with just the right mix of technical skill and warm soulful humanity. Most of this material has only ever been reissued in Japan – and the CD includes wealth of excellent cuts like "If I Had You", "I Love You", "Wailin With Joe", "West Coast Blues", "Criss Cross", "Ham's Blues", and "Blue Friday" – but the whole thing's great!

Eddie Lockjaw Davis swings way out here – working in that cool cooking mode from the 50s, with organist Shirley Scott a very important partner on the date! The group's got a larger sound than usual – thanks to the addition of trombonist Steve Pullman – a player we don't know much, but who shifts the groove nicely away from some of Davis' more staid cookbook albums. Rhythm is by George Duvivier on bass and Arthur Edgehill on drums – and titles include "Bahia", "Foxy", "Bingo Domingo", and "Can't Get Out Of This Mood".

An incredible collection of work from the vastly-overlooked Geater Davis – and a set that definitely lives up to its title! Geater Davis is a tremendous singer from the south – but one who barely ever got his due back in the 70s – even though these recordings for the tiny House Of Orange label are every bit as amazing as work coming out for bigger labels like Stax or Hi Records! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's got a deep-burning soul that never lets up. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

Rare lost work by Miles Davis – recordings from 1951 broadcasts from the legendary Birdland nightclub, restored here with surprisingly good fidelity! The recordings are interesting for a number of reasons – first, because the tracks are longer than usual for Miles – certainly longer than some of his shorter LP recordings of the time – and second, because the assortment of players really pushes past the usual suspects! 7 of the tracks feature a sextet that includes Kenny Drew, Sonny Rollins, JJ Johnson, Tommy Potter, and Art Blakey – and then the remaining 3 tracks feature an even more compelling group that includes Eddie Lockjaw Davis, Billy Taylor, Charles Mingus, Blakey, and the legendary Big Nick Nicholas on tenor! Titles include "Move", "The Squirrel", "Lady Bird", "Out Of The Blue", "Half Nelson", and "Down".

A session of "collectors items" that Miles Davis recorded for Prestige in the 50s – both dates that were too short to be issued as albums by themselves, combined here into one full length record! The first batch of material is from 1953 – and features Davis working with Sonny Rollins and Charlie Parker (playing here under his "Charlie Chan" session name) – all in a mode that steps off a bit from the boppishness of Davis' Blue Note recordings. Titles include 2 takes of "Serpent's Tooth", plus "Round Midnight" and "Compulsion". The second half of the record is from 3 year later, 1956 – and again features Rollins, plus Tommy Flanagan on piano, Paul Chambers on bass, and Art Taylor on drums. Tracks are a bit longer and more mature in the Davis idiom – and titles include "In Your Own Sweet Way", "Vierd Blues", and "No Line".

One of the greatest albums we've heard from Ernest Dawkins in years – and one of the straightest, too! The set's got a hardbop fury we've not always heard from Dawkins – a tight, soulful energy that's spun out beautifully by the local group in the set – a lineup that includes Ernest on alto and tenor, Corey Wilkes on trumpet, Willerm Delisfort on piano, Junius Paul on bass, and Isaiah Spender on drums. Other tracks add in bits of percussion, and Hammond on one tune – and while the music still has all the sharp edges you'd know from Dawkins' time in the AACM, the overall execution feels more like a killer Blue Note or Prestige date from the 60s – particularly in the interplay between trumpet and sax. Titles include "Afro Straight", "United", "Central Park West", "Footprints", "Old Man Blues", and "Juju".

Mindblowing work from French film composer Francois De Roubaix – an artist who's perhaps gotten more credit in recent years for his electronic sounds, but who's featured here in a fantastic batch of vocal numbers too! Many of these tracks have that great messed-up funky style of the era of Gainsbourg, Jean-Claude Vannier, and Michel Colombier – bouncing bass, psyche-inspired instrumentation, and lots of weird production that trips things out in these subtle, wild ways. Vocals are sung by a host of different artists, and the styles vary up nicely too – but the whole thing's really unified with that sense of madness we've always loved in the instrumental work of De Roubaix! Titles include "Les Poupons" by Olivier & Louis De Funes, "Le Rapace" by Los Incas, "Loin" by Joanna Shimkus, "Just Be Cool" by Fire Exit, "Mon Ami Thia" by Serge Reggiani, "Chacun Son Homme" by Brigitte Bardot & Annie Giradot, "Pour Qui Pourqui" by Nicoletta, "My Sky Is Blue" by Alice Herald, "Un Peu Beaucoup Passionnement" by Vaea Sylvain, "La Ballade Du Heros" by Farid, and "Avec Des Cubes" by Chapi Et Chapo. 24 tracks in all – and some very copious notes!

A pair of soundtracks for films by Jean-Pierre Melville – back to back on a single CD! First up is L'Aine Des Ferchaux – scored by Georges Delerue with a strong sense of drama, maybe even more than you're used to expecting from a Melville film – although given the need for "American" tones in the music, the drama's perhaps well-placed! Delerue's already got that great ear for rich feeling with very subtle tones – and balances things out nicely with a more more restrained, more "adult" numbers. Titles include "Manhattan Deux Hommes", "A La Dimitri", "La Route", "Slow Du Desespoir", and "Maudet Et Ferchaux". Un Flic is more the Melville you might expect – an excellent crime film from the early 70s, scored by Michel Colombier with a great mix of jazz and moodier, mellower elements! The score begins with a sweet vocal track – "C'Est Ainsi Que Les Choses Arrivent", sung by Isabell Aubret – then moves through some beautifully blue tunes that are simply tremendous overall. Titles include "Un Monsieur Distingue", "Chez Luce", "Night Club Trois Heures Du Matin", "Chaussee D'Antin", and "Pre Hold-Up".

A pair of late 60s albums from Martin Denny – back to back on a single CD! Exotic Love is an overlooked gem from Martin Denny – cut during a range of later sides for Liberty Records, but somehow a standout, thanks to some soulful undercurrents in the music! The arranger is billed as Harold Johnson – who may well be the same cat leading the groovy sextet over on Revue Records at the same time – and the record has this subtle groove that's mighty nice – definitely an ear for some of the more soul-based instrumental styles of the 60s, with a nice bounce on the bottom that might almost make some of these cuts just right for older-style steppers. Instrumentation has a few exotic touches, but more piano than anything else – and titles include "A Beautiful Morning", "Love Exotic Style", "I Say A Little Prayer", "This Guy's In Love With You", "Love Is All Around", and "Voodoo Love". Exotica Today is an album that signifies its style right from the first track – which echoes Martin Denny's classic "Quiet Village", but which then rolls into a set of sprightly arrangements from Julius Wechter – who almost brings an A&M Records vibe to the album! Tunes are mostly Denny remakes of 60s instrumental themes, plus a few originals co-penned with Wechter – and there's some nice percussion bits that lurk in the background next to Denny's piano – which mostly rings out in the lead. Titles include "The Shadow Of Your Smile", "Lara's Theme", "Strangers In The Night", "You Don't Have To Say You Love Me", "Patch Of Blue", "Promises", and "Snowflakes In Summer".

An album led by pianist Aaron Diehl – but a set that also features some especially great vibes from Warren Wolf – one of our favorite players on the instrument in the past decade or so! Wolf's tones ring out beautifully – with that richness he really brings to his own albums, and hasn't spared a bit with Diehl – a style that really has great ways of expanding out Aaron's initial impulses on piano, and giving the record a lyrical quality that almost takes us back to 60s collaborations between Jack Wilson and Roy Ayers! Other quartet members include David Wong on bass and Rodney Green on drums – and titles include "Generation Y", "The Cylinder", "Stop & Go", "Single Petal Of A Rose", and "Blue Nude".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Plenty of sass, and plenty of soul – a great mix of modes from the mighty Lou Donaldson! The set has Lou expanding his sound a bit from the harder funk of Blue Note dates from a few years before – working with arranger George Butler, who gives the record a cool electric vibe – almost like some hip early 70s soundtrack! Great proof of that is Donaldson's classic take on the "Sanford & Son Theme" – done here in a way that stretches out a lot more than the original – and other nice funky tracks include "Inner Space" and "Sassy Soul Strut".

One of our favorite albums ever by Kenny Dorham – and a really different session than his usual studio work! The album captures Kenny in a relaxed live setting, with a bit more dirt on his horn than usual – blowing with a tone that's much more open and a bit less poised – in the company of a really great group that features JR Monterose on tenor, Kenny Burrell on guitar, Bobby Timmons on piano, Sam Jones on bass, and Arthur Edgehill on drums. The CD features a total of 17 tracks in all – titles from the original LP, plus rare extra material, and some bonus alternate takes – all remastered by Rudy Van Gelder. Titles include Dorham's boppish "Mexico City", plus other enigmatic compositions like "Monaco" and "Hill's Edge", and tracks that include "Round Midnight", "Riffin", "My Heart Stood Still", and "NY Theme".

Arguably one of the most lyrical and expressive trumpeters in the history of Jazz, Kenny Dorham was unquestionably the one the foremost players of his generation. An absolute must own for all fans of the mid 50's to late 60's hard bop as defined by this side and many other contemporaneous selections from the Blue Note catalog, all the hallmarks of the classic "Blue Note" are embodied in this LP: hard, swinging blues, atmospheric modal pieces, and mellow, introspective playing. Titles include the great "Sunrise In Mexico", plus "Buffalo", "Sunset", and "Windmill".

This is the kind of CD that makes us love reissues! Why? Well, because it features 2 incredibly rare jazz albums – both of which never turn up on vinyl, and are lovingly packaged here on 1 CD filled with a dozen hard bop grooves. The album Matador was originally issued under Kenny Dorham's name, and Inta Somethin' was issued under Jackie McLean's name – but both players are sort of co-leaders on both albums, and it's fitting to pair the records together here because they represent the unique union of these two different players. Dorham's lyrical trumpet is an unlikely match for McLean's edgey alto, but the records work well, and with a modernist groove that's extremely compelling. Titles include "El Matador", "San Francisco Beat", "Prelude", and versions of "Una Mas" and "Melanie" – both of which were recorded later by the artists on Blue Note.

Sublime work from one of our favorite groups ever on Salsoul Records – the amazing harmony quartet Double Expsoure – soaring out here in a set of Philly gems produced by Norman Harris! The album's got a wonderful sound right from the start – rich in rhythms, yet also soaring on harmonies that few other Philly acts could even touch – especially at this point in the 70s, when the group sound seemed to be waning a bit on other fronts. In a way, Double Exposure really carry on the best tradition of the east coast scene with a set like this – pushing things forward with rolling grooves for the clubs, yet also showing that they still can have a special way with a ballad too – a blend that's maybe only matched by Teddy Pendergrass-era work by Harold Melvin & The Blue Notes. Titles include "Newsy Neighbors", "Perfect Lover", "There's Something Missing", "Handy Man", and "Why Do You Have to Leave". CD features bonus tracks – "Perfect Lover (orig single)", "Newsy Neighbors (unreleased 12" mix)", and "Newsy Neighbors (orig single)".

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

A great little shirt – one that looks like one of those old school posters that used to advertise record shows – complete with an image of a self-contained record player atop a row of record spines too! The whole thing really stands out – the kind of shirt that loudly proclaims your love for all things vinyl – and the flipside also carries the Dusty Groove website address! Printed in heavy colors on a 100% cotton Beefy T, in Natural!

Wicked stuff – and 2 tracks that offer a whole new take on the modern sound of deep funk! "Creation" is a weird little offbeat number that snaps along the beats, blasts them with horns, and almost goes for a Chicago Brunswick sort of style! There's a bit of strings lilting along with the grooves, and even some vibes that seem to sneak out from time to time! The vibes come in even more strongly on the flipside – making "Behind The Blue Curtains" sound somewhere between the work of Lionel Hampton on Brunswick, and some of the recent instrumental funk from the Madlib side of the spectrum!

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

The rare second set from First Class – and a set that's every bit as heavenly as the first! The album's a great slice of later New Jersey soul – still very much in the mode started by groups like The Moments or Whatnauts, but showing a stronger Philly influence on the groovers – which are mixed in here with gentler, mellower cuts that really show the group's great harmony talents! Although never as big as contemporaries like Blue Magic, First Class have a great approach that really holds on strong throughout the set – working here with production from George Kerr, Donnie Elbert, and Tommy Keith – all of whom know how to get the sound right for the feel of the tunes. Titles include "Give Me Lend Me", "Let's Make Love", "Coming Back To You", "Lucky Me", "Hypnotized", and "Going Out Of My Head". CD features four bonus tracks too – "It's Never Too Late", "Beginning Of The End", and "Don't Know What You're Doing" in both stereo and mono versions.

An amazing album by the great guitarist Eddie Fisher – and completely unlike his later funk records! Eddie plays stripped down jazz with a small combo that includes organ by Robert Selby, bass by Paul Jackson, and some rhythm guitar by Phil Westmoreland – and the twin-guitar approach creates this super-dope style that's light years ahead of its time, with a sophistication that points the way to later mid 70s work on labels like CTI and Kudu! Eddie's guitar work is an incredible exercise in spareness and soulfulness – best heard on the fantastic "Third Cup", a long drawn-out jazz stepper that's got to be heard to be believed. The cut's been a favorite on the Chicago jazz stepper's scene for years – and it alone is worth the price of the album. However, the record features some other wonderful stuff – like a sublime version of "Shadow Of Your Smile" that runs for a bubbling 12 minutes – plus the originals "Shut Up", "Scorched Earth", and "Two By Two".

The rare folksy psychedelic solo set from Tommy Flanders of the Blues Project – a fairly stripped down, acoustic guitar and misty-eyed vocals led set of tunes. Moonstone is fairly straight forward singer songwriter record in some ways, with lovelorn lyrics and laidback arrangements – but it has flashes of out there mysticism. The LA session players are impeccable, too! Titles include "Since You've Been Gone", "Blue Water Blue", "Morning Misty Eyes", "Purple And Blue", "Moonstone", "By The Mailbox We Stood", "Angel Of Mercy", "Boston Girls", "Sleepin'", "She's My Love" and more.

A crucial piece of aluminum that you'll treasure for years! This 45 adapter may be tiny, but it provides a key function when you're out spinning in clubs – as it easily allows you to slide 45s on and off a conventional turntable, thanks to its unique cone-shaped top! The adapter fits on the spindle of any regular turntable (even those old-fashioned ones with the drop-type in the middle) – and its size and design make it a lot easier to switch 45s back and forth than most other adapters on the market! Plus, this super-heavy aluminum version will always stay in place – and it's a solid piece of metal that can double as an extra weight in your hand when getting into an after-set brawl!

A crucial piece of plastic that you'll treasure for years! This 45 adapter may be tiny, but it provides a key function when you're out spinning in clubs – as it easily allows you to slide 45s on and off a conventional turntable, thanks to its unique cone-shaped top! The adapter fits on the spindle of any regular turntable (even those old-fashioned ones with the drop-type in the middle) – and its size and design make it a lot easier to switch 45s back and forth than most other adapters on the market!

2 killers from organist Caesar Frazier – back to back on one CD! Hail Ceasar is a monster bit of funky jazz – filled with long tracks that all jam mightily, all at a level that matches or tops the best work coming out of Prestige or Blue Note Records at the time! The set is one of the rare few on the Eastbound jazz subsidiary of Detroit soul powerhouse Westbound Records – and it's the first to feature organist Ceasar Frazier as a leader – really grooving hard here with a Prestige-styled combo that includes Idris Muhammad on funky drums, Melvin Sparks on heavy guitar, and Houston Person on soulful sax – all produced with a gritty gritty edge by the legendary Bob Porter! The whole album's great – filled with incredible cuts that include a version of "Hicky-Burr", the first Bill Cosby theme – plus the tracks "Make It With You", "Running Away", "Hail Ceasar!", and "See-F". Ceasar Frazier 75 is a tightly grooving set that expands his sound a bit from the first! All the best elements are still in place here – including funky organ from Ceasar, production from jazz funk maestro Bob Porter, and a hip range of players that includes Horace Ott, Wilbur Bascomb, and Bernard Purdie. But the overall sound is somewhat shifted too – brought more into the tightly jamming jazz funk mode of the mid 70s – a bit richer and fuller overall, yet never in a way that's slick or sloppy – just more like some of the best later sides on Prestige or Fantasy from the same stretch. The record features a crazy version of the "Mighty Mouse Theme", a mellow take on the Isley's "Summer Breeze", Stevie Wonder's great "Living For The City", and the original "Funk It Down".