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Early work by Groove Holmes – the one organist who showed the scene that the west coast could boast a Hammond player as strong as the giants emerging from the east during the early 60s. The set features tracks recorded during the 1960s for the Pacific Jazz label, with Groove in groups that feature players like Teddy Edwards, Gene Ammons, Ben Webster, Joe Pass, and Les McCann. There's a total of 11 tracks in all – and titles include "Groovin Time", "Sweatin", "The Wailer", "This Here", "High Blues Pressure", "Comin Through The Apple", "Morris The Minor", and "That Healin Feeling".

Easily one of the best of Monty Alexander's early albums – and a nicely-grooving set of soul jazz numbers with a bouncy, bass-y finish! The core group on most of the set features Paul Humphrey on drums and Victor Gaskin on bass – but a few cuts have some added guitar, used mostly for rhythm, in a way that expands the groove nicely. There's some really great numbers on the set that rank with Alexander's most soulful work, and which have a rhythmic comping that makes them instantly captivating – and titles include "Spunky", "Rattlesnake", "Taggie's Tune", "Little Children Of Peru", "Spirit Of Foo Foo", and "Jamaican Shake".

Although the "with brass" tag of this one might make you think it's a hokey big band album, the record is actually a far-reaching modernist session that has Book's edgey tenor fronting a large-ish group filled with some of the best trumpet and trombone players of his generation – including Freddie Hubbard, Charles Tolliver, Richard Williams, and Johnny Coles. The rhythm section is pretty darn great too – and includes Lenny McBrownie, Reggie Johnson, and Kenny Barron. The presence of all of these soul jazz modernists keeps the set from falling into any of the cliches you might expect, and the album's an extremely fresh batch of tracks that is one of the last albums Booker ever recorded. Titles include "LA After Dark", "I Lost My Sugar In Salt Lake City", and "Baltimore After Dark". This CD also includes 2 alternate takes of "LA After Dark".

One of Booker Ervin's last sessions – quite different than some of his earlier work, and a great indication of the way that he was stretching his style in the years before he left us forever! The group's a committed band of modernists, and includes a young Charles Tolliver on trumpet, plus John Hicks on piano and Lennie McBrownie on drums. The tracks are short, but they're a compelling mix of Booker's searching tenor lines with warm lyrical accompaniment. Titles include "Boo's Blues", "Franess", "Stolen Moments", "Berkshire Blues", and a great reading of "Dancing In The Dark". It includes 4 bonus tracks carried over earlier, out of print CD versions – alternate takes of "Franess" and "Deep Night", plus versions of "White Christmas" and "Shiny Stockings".

An amazing debut from pianist Clare Fischer – an artist who went onto have a subtle, but immediate influence upon both the American and Brazilian jazz scenes of the time! Fischer's got a lyrical approach to rhythm that's simply amazing – modern, but never cold and academic – and instead always freely dancing around, in a way that gives equal melodic roles to the bass and drums in his trio. There's a clear bossa nova inspiration here, but keep in mind that Fischer's sensibility was also a big influence on the bossa players of the time. The whole session sparkles with a fresh genius that still beats the work of most players still recording today – and Fischer's piano is accompanied by equally free-thinking work on bass by Gary Peacock and drums by Gene Stone. Most titles are originals, and tunes include "Toddler", "Stranger", "Nigerian Walk", "Afterfact", "Free Too Long", "Piece For Scotty", and "Blues For Home".

Early trio work from pianist Clare Fischer – definitely surging ahead at this point in his career! The set's got a bit more of a freewheeling sound than some of Fischer's later, more arranged material – lots of tight piano from Clare in the lead, swung with a good blend of soul jazz energy mixed with Latin and Brazilian influences – with support from a few different rhythm teams, players who include Gary Peacock, Ralph Pena, and Albert Stinson on bass – and Gene Stone, Larry Bunker, and Colin Bailey on drums! Some of the tracks are a bit longer than you'd expect for such a record – taking things nicely past conventional trio expectations – and titles include "Billie's Bounce", "Way Down East", "Davenport Blues", "Strayhorn", "This Can't Be Love", and "Without A Song".

A rare early trio set from Jim Hall – especially noteworthy because Jim rarely worked in the format as a leader! The album's got Hall working with Carl Perkins on piano and Red Mitchell on bass – in a mode that slightly recalls some of Barney Kessel's mid 50s recordings over at Contemporary Records, but which also has that airier style that was Hall's first great calling card on his instrument. Some of the best cuts really have the notes hanging in air with incredible grace and a very subtle sense of swing – and titles include "This Is Always", "Look For The Silver Lining", "Stella By Starlight", "Deep In A Dream", "Seven Come Eleven", and "Thanks For The Memory".

Sublime early soul jazz from the Jazz Crusaders – a seminal set that really has the group taking off right away! The use of "freedom" in the title is well placed – as the set definitely shows the players stretching out a bit on their solos – hinting at the magic that would move even more forward during their Lighthouse recordings – while still hanging onto the great groove that took them from Texas to the top of the LA scene! Every player's got a key presence here – Wilton Felder on tenor, Wayne Henderson on trombone, Joe Sample on piano, and Stix Hooper on drums – and the set also features some guest rhythm work from Jimmy Bond on bass and Roy Gaines on guitar, both of whom bring a nice pulse to the set. Titles include "The Geek", "Freedom Sound", and "Coon".

The landmark first album to feature the Jazz Crusaders playing live at the Lighthouse in Hermosa Beach – the start of a great run of albums that would go onto help redefine the sound of soul jazz in the 60s! Although the group was already plenty darn great on their studio sides, working at the Lighthouse seemed to allow them to open up even more – work in a slightly longer, more spacious setting than in the studio – with more room for creative solos and a sound that was often more deeply soulful overall! In fact, the Jazz Crusaders association with the club helped turn the sound of the Lighthouse away from the "cool" reputation it got from Lighthouse All-Stars albums of the 50s – and open the place up as the more righteous venue for jazz expression to come from players like Lee Morgan, Grant Green, and Elvin Jones on Blue Note! The lineup here is classic Crusaders – with plenty of searing tenor work from Wilton Felder, slidingly soulful trombone from Wayne Henderson, storming piano by Joe Sample, and tight tight rhythm from Victor Gaskin on bass and Stix Hooper on drums. Tracks include some great originals, like "Congolese Sermon", "Cathy's Dilemma", and "Scandalizing", plus a great version of Jackie McLean's "Appointment in Ghana".

Killer Jazz Crusaders material – exactly the kind of record that really had the group coming into their own in the second half of the 60s – finding a rich new groove that few other combos could match! The record captures the group at a perfect time – a point when they were breaking past the tighter shorter formula of earlier material, and moving into a slightly more spiritual conception – yet one that still had a hard swing and a deeply soulful vibe! The record's a prime example of the never-ending energy held by the band – near-perfect on every track, and played with a sense of creative expression that easily puts them at the top of the soul jazz scene in the late 60s! Titles include "Night Theme", "Air Waves", "Uh Huh", "Watts Happening", and "Ice Water".

Remarkable Carmell Jones, indeed – and one of the few albums ever cut as a leader by this up-and-coming force on the LA scene at the start of the 60s! Jones was a player who really showcased something new on the west at the time – a move away from cool jazz, and the start of a deeper, headier generation of musicians – the bold power that would come from cats like Lou Blackburn, Horace Tapscott, and Jimmy Woods. This date's an early entry into that legacy – and has a tight approach to hardbop with plenty of modern elements – a bit like the shift that Curtis Amy was making at the time. In addition to Jones on trumpet, the album also features Harold Land on tenor, Frank Strazzeri on piano, Gary Peacock on bass, and Leon Pettis on drums – all working with a careful blend of soul jazz and modern influences, on a wonderful batch of well-written tunes. Titles include "I'm Gonna Go Fishing", "Night Tide", "Sad March", and "Stellisa".

A killer live set by Les McCann – and one that actually him playing with some horns! The record was cut early in McCann's career, with his Ltd trio that had Herbie Lewis on bass and Ron Jefferson on drums – plus some great guest work by Blue Mitchell on trumpet, Stanley Turrentine on tenor, and Frank Haines on tenor. We can't stress how much these players add a groove to Les' group – as we always enjoy his piano playing, but find most of his trio sets a bit sleepy. Instead, this one grooves like a rare Blue Note – and the tracks are long with plenty of great solo interplay. Titles include "Cha Cha Twist", "Chip Monck", and "Maxie's Changes".

A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue".

A real cooker – and a stone soulful set that works some real magic at so many levels! First off, the record brings together two of the hottest talents on the west coast scene of the 60s – pianist Les McCann, and the firey young Jazz Crusaders – who are really burning here with a tightness and sense of energy that's amazing. But more than that, the record also features Les hitting some keys alongside his usual piano – both electric piano and Hammond, which come off here with a great sound – especially alongside Joe Sample's additional work on acoustic piano and organ. Horn solos are great – with tight work from Wilton Felder on tenor and Wayne Henderson on trombone – and titles include "Big City", "Spanish Castles", "Damascus", "Blues For Yna Yna", "This Here", and "All Blue".

One of the best records we've ever heard by The Montgomery Brothers – an album that's combined from 2 different sessions, but which has quite a unified feel! Monk Montgomery plays Fender bass – and both groups feature work by Buddy and Wes Montgomery – Buddy on piano and Wes on guitar, of course! But almost even more exciting are the horn players – as one of the sessions features Pony Poindexter on alto, the other Harold Land on tenor – and both of them add a nice depth to the tracks that you don't always hear on other of the horn-less Montgomery Brothers sides – an edge, or "bite" that makes the album one of the most soulful Montgomery outings ever recorded. Tracks include "Renie", "Far Wes", "Lelia", "Wes Tune", and "Monk's Shop".

A killer date from two of the hippest tenors of the west coast scene in the 50s – Bill Perkins and Richie Kamuca – both musicians who worked in the cool school, but could also come across with plenty of soul! The album's got both tenors working head on – hitting counterpoint modes at times, but also opening up more freely at others – showing the balance between composition, arrangement, and improvisation that made the scene so great at the time – yet executed with a bit more depth of feeling, as we'd expect from Perkins and Kaumca. Rhythm is from the trio of Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums – and titles include "Spain", "Pick A Dilly", "Oh Look At Me Now", "Don't Be That Way", and "Blues For Two".

Although Buddy's always been a bit laughable, he was always trying to keep his bag moving, and his band of the late 60s included some pretty darn nice players. The group on this session includes Ernie Watts and Bobby Shew, and the band wails hard and fast in a live setting with lots of tight little numbers. Tracks include "Wack Wack", "Norwegian Wood", "The Beat Goes On", and "Mexicali Nose".

A masterpiece through and through from arranger Gil Evans – a record of swinging modern backdrops, used to showcase both the solo talents of a young Cannonball Adderley, and the dynamic energy of Evans himself! Cannon's sharp-edged early tone is a really great sound for the record – far more modern than you might expect from later funk and soul sides of the 60s – and perfectly poised next to Gil's larger back drops to reignite a host of older tunes with new energy! And while the titles are familiar, the readings certainly are not – as the Evans pen has really changed things up beautifully – as you'll hear on numbers that include "St Louis Blues", "King Porter Stomp", "Willow Tree", "Struttin' With Some Barbeque", "Lester Leaps In", "Round About Midnight", "Manteca", and "Bird Feathers".

A rare early trio set from Jim Hall – especially noteworthy because Jim rarely worked in the format as a leader! The album's got Hall working with Carl Perkins on piano and Red Mitchell on bass – in a mode that slightly recalls some of Barney Kessel's mid 50s recordings over at Contemporary Records, but which also has that airier style that was Hall's first great calling card on his instrument. Some of the best cuts really have the notes hanging in air with incredible grace and a very subtle sense of swing – and titles include "This Is Always", "Look For The Silver Lining", "Stella By Starlight", "Deep In A Dream", "Seven Come Eleven", and "Thanks For The Memory".

Classic Art Pepper material, recorded in one of his comeback periods, and featuring the famous Richard Claxton photo of Art Holding his horn next to a tree. There's several different lineups featured, with a coupl of quintet and quartet sides, and a few with larger horn section, and the sidemen are the cream of the West coast jazz crop, including Bud Shank, Chet Baker, Curtis Counce, Leroy Vinnegar, Mel Lewis, Stan Levey and Lawrence Marable. 9 numbers in all, with rousing takes on standards like "What Is This Thing Called Love" and "A Foggy Day" and Pepper originals "Diane A Flow", "Zenobia", and "Powder Puff".

A stellar set from one of the most underrated reed players of all time – a brilliant bit of searching soul jazz, cut at a time when Curtis Amy was leaving behind his Texas roots for the new sounds of the Coltrane generation! The album's quite different than the organ and tenor dates that Amy had previously cut with Paul Bryant – and instead, is put together with a nascent spiritualism that's really wonderful – a sound that definitely lives up to the bold title and cover image, with lots of modal moments in the rhythms! The group features some equally under-acknowledge geniuses – including trumpeter Dupree Bolton, pianist Jack Wilson, and guitarist Ray Crawford – all coming together perfectly with Amy's work on tenor and soprano sax. The best tunes here are originals by the group members – including "Lonely Woman" (not by Ornette), "Katanga", "Native Land", and "Amyable".

Looking for classic Chet Baker vocal tracks? This is the stuff! 14 tracks of haunting vocals by a young Chet, sung with small groups from the LA scene, and featuring trumpet solos next to his vocals. Titles include "That Old Feeling", "Look For The Silver Lining", "There Will Be Another You", and "I Get Along Without You Very Well". Every track is great, and these are the original vocal recordings that put Chet on the map!

A crazy collection of poetry and jazz – but one that doesn't come from as much of the sort of hipster/beat angle as one would expect from this sort of project! Instead, the interpreters take the high art road – with John Carradine, Hoagy Carmichael, Ben Wright, Roy Glenn and Bob Dorough all reading selections penned by Walt Whitman, Dylan Thomas, William Carlos Williams, Langston Hughes, Lawrence Lipton, Philip Whalen, and Lawrence Ferlinghetti. The music is very progressive and expressionistic for the period – performed by the Chico Hamilton Quintet, the Gerry Mulligan Quartet, the Ralph Pena-Bob Dorough Quintet, or a special group put together for this recording called the Jazz Canto Ensemble – which features Jack Montrose, Larry Bunker, Paul Horn, Buddy Collette and other west coast players from the LA scene. The sound is a bit more serious than some of the Fantasy Records jazz-meets-poetry experiments of the same time – and titles include "Poets To Come", "Tract", "In My Craft Or Sullen Art", "Night Song For The Sleepless", "Lament", "Dog", "Young Sycamore", "Three Songs", and "Big High Song For Somebody".

An early moment of genius from the young Clare Fischer – one of his first sets for a larger ensemble, and the start of years of great work to come! Previous Pacific Jazz sessions featured Fischer in a piano trio – but this album lets Clare loose on a host of his own inventive arrangements – a set of charts and compositions that easily move between the modern and the groovy – sometimes using offbeat tones and sounds that rival the best that Ellington or Gil Evans had to offer – other times coming across with this fluidity that's a perfect summation of the way that Fischer pulled together all of the California cool of the 50s, and managed to come up with something completely fresh for the 60s! The modern edges will come as a real surprise to those who only know Fischer's more easygoing work – and in addition to Clare's own work on piano and organ, the record also features Jerry Coker on tenor, Gary Foster on tenor and clarinet, Jack Nimitz on bass clarinet and baritone, Sam Most and John Lowe on flutes, and Don Shelton on alto – all working with reed interplay that's completely sublime. Titles include "Bittersweet", "Igor", "Canto Africano", "Extension", "Passacaglia", and "Ornithardy".

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud".

A soulful smoker from the west coast scene – and some of the only work as a leader we've ever seen from pianist Joe Castro – a player with just the right sense of rhythm and soul to live up to the title! In addition to this rare appearance by Joe, the set's also noteworthy for some great tenor from Teddy Edwards – working here in a setting that's maybe even looser than some of his Contemporary Records dates of the same time – with great rhythmic help from the team of Leroy Vinnegar on bass, and Billy Higgins on drums. The record's more like a soul jazz side for Pacific Jazz, than a typical Atlantic Records date from this time – and it's got some tasty mellow groovers, like "Groove Funk Soul", "That's All", "Yesterdays", and "Play Me The Blues".

A powerful set of free jazz that definitely lives up to its title – a hell-bent session of unbridled energy from this west coast quartet! Vinny Golia contributes some wonderful tenor, soprano sax, sopranino, and bass clarinet to the record – these deft, deep tones that really give the album a heck of a lot of soul – especially on some of the sparer moments, which have the spiritual feel of a 70s loft jazz session. Lisa Mezzacappa's basslines are often a key complement to Golia's reedwork – and the set also features some equally nice alto sax lines from Marco Eneidi, who definitely has the right feel for the record. Vijay Anderson completes the group on drums – and titles include "Lop-Sided Heels & Frayed Shoes", "Meteorites", "Inessential Melancholies", "Pendulum", "Deformities & Dischords", and "Everything Imaginable Can Be Dreamed".

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall".

Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s. The group also features some great guitar by Dennis Budimir and cello by Nathan Gershman – but the real standout aspects of the set come from Dolphy's work on flute, alto, and bass clarinet. Titles include "Where I Live", "Passion Flower", "Tuesday At Two", "Nature by Emerson", "Far East", and "Good Grief, Dennis".

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

One of the best records that Chico Hamilton cut during the 50s – and one that features Eric Dolphy, who was with Chico's group for a short while! The record's got the quintet (which also includes the excellent Dennis Budimir on guitar) fronting larger string arrangements by Fred Katz (no longer their cellist, but still a key force here) – and the approach is a great expansion on the earlier styles that Chico forged for Pacific Jazz. The strings here are never sleepy, and instead have a dark and modern feel overall – similar to Ralph Burns' best work of the time, but a bit more restrained – and Eric Dolphy's reed work really keeps things interesting, with sharp-edged notes give most of the tracks a fair bit of depth. Titles include "Modes", "Strange", "Don's Delight", "Andante", "Fair Weather", "Something To Live For", and "Pottsville USA".

A jazz soundtrack double-header – one that features both the small combo and larger band version of the soundtrack to The Sweet Smell Of Success! The first half of the CD features the Chico Hamilton Quintet's album of music – a wonderful bit of cinematic jazz from the 50s. The combo was a key part of the LA scene at the time, but are oddly featured as a regular club act in the movie's New York setting – but we'll gladly forgive that geographic error, given that the music on the set is so great. The quality's a bit like some of the Hamilton Quintet work on World Pacific – but there's a slightly freer, more urgent feel here too – work that's sometimes somewhat driving, and beautifully blended from the guitar of John Pisano, clarinet of Paul Horn, cello of Fred Katz, piano of Carson Smith, and drums from Chico. Side one features a lot of short incidental cuts – like "Susan", "Cheek To Chico", "Jam", and "Night Beat" – and side 2 is an extended "Concerto Of Jazz Themes From The Soundtrack Of Sweet Smell Of Success". The second half of the CD features the full orchestral version of the Sweet Smell Of Success soundtrack – but done in a style that's almost as jazzy and swinging as the small combo one! Elmer Bernstein's at the helm here – and the music's a wonderful pastiche of modes that's right up there with his sublime score for The Man With The Golden Arm – done in a similar blend of driving jazz, somber moments, and some slightly more raucous touches! As with that album, the players are all great – and soloists on the album include Pete Candoli, Ted Nash, and Shelly Manne – west coast players despite the New York setting of the film, and playing here with a fair bit of grit in their groove. Titles include "The Street", "Hot Dogs & Juice", "Toots Shor's Blues", "Nite Spot Rock", "Love Scene", and "Out Of Darkness".

The band may be riding in a carriage on the cover, but there's nothing old-timey about this set – as the record represents some of the best modern jazz on the Danish scene at the start of the 60s! The album's a rare gem from drummer Bjarne Rostvold – one of the key exponents of his scene at the time, working here in both trio and quartet formation – the former with Bent Axen on piano and Erik Moseholm on bass, the latter featuring the same group with the addition of trumpeter Allan Botschinsky! The quartet tracks lead off the set, and really sparkle nicely, thanks to Botschinsky's presence – a trumpet sound that's sharp-edged, but never too modern – muted at times, and blowing with echoes of the Pacific Jazz years of the LA scene. Trio tracks follow on the second half of the record, and showcase both the well-crafted piano lines of Axen and the round-toned bass of Moseholm – one of those players who contributed a lot to key sides back in the day, but who only now finally seems to be getting his due. Titles include "Mister Man", "Fluted Columns", "Autumn Leaves", "No Problem", and "Mister PC".

The band may be riding in a carriage on the cover, but there's nothing old-timey about this set – as the record represents some of the best modern jazz on the Danish scene at the start of the 60s! The album's a rare gem from drummer Bjarne Rostvold – one of the key exponents of his scene at the time, working here in both trio and quartet formation – the former with Bent Axen on piano and Erik Moseholm on bass, the latter featuring the same group with the addition of trumpeter Allan Botschinsky! The quartet tracks lead off the set, and really sparkle nicely, thanks to Botschinsky's presence – a trumpet sound that's sharp-edged, but never too modern – muted at times, and blowing with echoes of the Pacific Jazz years of the LA scene. Trio tracks follow on the second half of the record, and showcase both the well-crafted piano lines of Axen and the round-toned bass of Moseholm – one of those players who contributed a lot to key sides back in the day, but who only now finally seems to be getting his due. Titles include "Mister Man", "Fluted Columns", "Autumn Leaves", "No Problem", and "Mister PC".

A groovy soundtrack to this hip surf film directed by Bruce Brown – filled with great little instrumentals that go way past the obvious! Brown had previously used jazz players for some of his films – including Bud Shank, who cut some great stuff for earlier soundtracks – but this set's got him working with The Sandals, a younger guitar-driven group with a cool style of scoring – partly surf instrumentals, but partly mod and groovy too! The Sandals move way past the stock surf riffs of chart surf groups – and they really do a great job with the changing moods and scenes of the film – fitting the many scenes of surfing on the screen. Titles include "Jet Black", "TR 6", "Scrambler", "6 Pak", "Driftin", "Good Greeves", and "Decoy".

Bud Shank's second Beatles-titled album of the 60s – and a set that's even groovier than the first! The record features a wonderful jazz-based approach to "second chapter" Beatles – with arranger Bob Florence providing superb arrangements for post-Rubber Soul tunes, which are mixed in with some other hip 60s pop numbers too! Bud plays alto sax and flute – still in the lead on the solos – but also couched wonderfully in work from players who include Chet Baker and Gary Barone on flugelhorns, Herb Ellis and Dennis Budimir on guitars, and Victor Feldman on percussion. Titles include "I Am The Walrus", "Paper Cup", "Windy", "I Wanna Be Free", "Hello Goodbye", "Flying", and "Blue Jay Way".

Despite the "primitivist" sort of leanings you might expect from the "roots" in the title, this is actually a nice batch of tracks from the catalogs of Blue Note and World Pacific during the 60's – and they're all jazz tracks that have a slight Africanist influence, but which are certainly not African tracks themselves. The 13 tracks include loads of nice hard to find ones, including "Blue Dashiki" by Blue Mitchell, "Appointment in Ghana" by the Jazz Crusaders, "Marabi" by Cannonball Adderley, "Ghana Spice" Candido, "Zulu" by Randy Weston, "Zambia" by Lee Morgan, and "Follow Me To Africa" by Solomon Ilori & His Afro Drum Ensemble.

Killer work from Chico Hamilton – and a key batch of sides recorded between his 50s quintet sessions for Pacific Jazz and his later modal magic at Impulse! The work here was originally done for the Navy Swings series of radio shows – and features a Chico with the group that included Charles Lloyd on flute, tenor, and alto sax, Gabor Szabo on guitar, George Bohannon on trombone, and Albert Stinson on bass. The lack of piano and presence of trombone makes for a really unique feel to the group – one that's almost got extra bass at moments, thanks to the work of Bohannon – and which allows for some especially creative flourishes from Lloyd on sax – clearly opening up here, even at an early date. Tracks are short, but extremely creative throughout – and the 16 track set is filled with great originals by Lloyd that include "Vulture", "A Rose For Booker", "Transfusion", "Tales", "CL Blues", "One For Joan", "Homeward", and "Sun Yen Sen".

Sublime early work from Bud Shank – one of our favorite west coast players ever – captured here away from some of his better-known work on Pacific Jazz! There's a nicely rough edge to some of the material – with Bud really blowing alto strongly on some of the leadoff tracks – which feature a trio of trombones from Bob Enevoldsen, Maynard Ferguson, and Stu Williamson! These players get in a few solo licks – and rhythm is by Claude Williamson on piano, Joe Mondragon on bass, and Shelly Manne on drums – all working with Bob Cooper arrangements, on titles that include "Valve In Head", "Cool Fool", and "Mobile". A few more tracks feature the more playful side of Shank's horns – both alto and flute – in a cool quartet with Williamson on both piano and celeste, Don Prell on bass, and Chuck Flores on drums – on the titles "Tertia", "Theme", and "Have Blues Will Travel". One last track is especially great – "Blues In The Surf", which features a group with Billy Bean on guitar and Gary Peacock on bass – really opening up into some of the most creative modes Shank would showcase in the early 60s, before hiding out in larger arrangements.

Not so much an introduction to Latin jazz, as it a wonderful collection of Latin-tinged tunes from the mighty catalog of Blue Note Records – and not just New York and Cuban Latin grooves, but also a fair bit of bossa nova and Brazilian sounds too! The 3CD package is overflowing with goodness – and titles include a range of killer Blue Note gems from the 60s – plus related cuts from labels like Capitol, Liberty, and World Pacific. The groove changes nicely throughout the set, and the instrumentation is superb – as you'll hear on cuts that include "Sandalia Dela" by Duke Pearson, "Chitlins Con Carne" by Kenny Burrell, "Loie" by Ike Quebec, "Samba De Orfeu" by Charlie Rouse, "Bossa For Baby" by Hank Mobley, "South Of The Border" by Lou Donaldson, "Rhapsodia Del Maravilloso" by Sabu Martinez, "Minors Holiday" by Kenny Dorham, "Congalere" by Horace Parlan, "Ghana" by Donald Byrd, "Latin Fever" by Jack Costanzo, "No Problem" by Jerome Richardson, "Girl From Ipanema" by Lou Rawls, "Rojo" by Bobby Hutcherson, and "Thousand Finger Man" by Candido. 38 tracks in all!

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

A trio of early 60s gems from pianist Les McCann – all wrapped up here in a single set! First up is The Gospel Truth – a solid 60s smoker in which Les McCann really gets back to the roots of soul jazz – serving up the gospel-tinged truth promised in the title – and really linking his piano back to the pulpit in the process! Les has a wonderfully firm touch on the left end of the keyboard – which makes for a rollicking groove on just about every track, augmented by super-tight drum work from the great Paul Humphrey, who almost gets a tambourine vibe out of his snare and cymbal! Stanley Gilbert plays bass, and Charles Kynard plays guest Hammond on a few tracks – and titles include "Get That Soul", "The Preacher", "The Gospel Truth", "Oh The Joy", and "Didn't It Rain". Soul Hits is a really hard-hitting groover from the great 60s trio of Les McCann – a set that adds in some extra guitar from Joe Pass, who definitely sounds his most soulful on the set! Joe grooves perfectly with Les' piano – and has almost a Kenny Burrell-like depth in tone throughout – one that we're not as likely to hear on other Pass sessions of this vintage, possibly because of the excellent rhythms from Paul Chambers on bass and Paul Humphrey on drums! Tunes are definitely the soul hits promised in the title – mostly numbers that were brimming up big in the soul jazz generation of the time, but given a particular Les McCann twist. Titles include "Sister Sadie", "Bag's Groove", "Back At The Chicken Shack", "Work Song", "Sonnymoon For Two", "Groove Yard", and "Sack O Woe". McCanna is filled with a great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight".

A very different sound here than the first volume in the series – one that goes strongly for a later take on R&B influenced soul jazz! There's a strong groove here for the steppers on the Windy City scene – a blend of jazzy soul and smoother jazz that's set together nicely without the too-slick spots that always clutter up other collections – and which represents the few modern tracks that were able to penetrate the mostly-dusty steppers scene back in the day. Production and overall instrumentation is relatively electric, even in the percussion, but there's always a few nice acoustic touches to round things out on the best tracks. Titles include "Mama Dadu" and "L'Amour" by Vodu 155, "Piano Groove" by Piano Negro, "Can We Try Again" by Braxton Brothers, "Soul Manifesto" by Rodney Jones, "Tik Tok (inst)" by Lorenzo Smith, "Laid Back" by Jerald Daemyon, "Modern Life" by Tom Saviano, "Pacific Love" by David Patterson, "Cycles Of Re-Elevation" by Michael McEvoy, "Forever's A Long Long Time" by Orquestra Wax, "Groovin In The Midnight (inst)" by Maxi Priest, and "Does Anybody Really Know What Time It Is" by Grant Green.

Japanese grooves galore – and a great way to dip into these overseas goodies before spending a fortune on full length albums! The collection is wonderful – filled with funky jazz nuggets from the 70s that you'd never hope to find on this side of the Pacific – given that even back in the day, very few Japanese records of this nature ever got exported. Many of the tunes are electric – with at least a bit of guitar, bass, or keyboards – but there's also some brilliant acoustic soloing too, especially the horn parts. Titles include "No More Apple" by Takeo Moriyama, "Movement" by Ryusei Tomoyose, "Great Harvest" by Makoto Terashita, "Jumping Cats" by George Otsuka, "Dawn" by Mabumi Yamaguchi Quartet, "Wolf's Theme" by Seiichi Nakamura, "Soran-Bushi" by Norio Maeda, and "Moki" by Ryojiro Furusawa.

A really obscure little set from late 50s Brazil – and a record that's a key link between jazz and bossa nova! Singer Paulinho's got a style that's definitely rooted in jazz – as is the Pacifico Mascarenhas combo, which uses great piano lines to underscore the light rhythms on drums and percussion – but there's also an early bossa vibe going on here – one that borrows a bit from Latin piano combos from New York and Havana, but tunes them down and mellows them out – creating a sense of spaciousness that's perfect for the vocals. Paulinho's also got this light style that's more bossa than most Brazilian singers of the time – and titles include "Foi Assim", "Em Teus Bracos", "Vieram Me Contar", "Pam Pam Pam", "Por Favor Amor", and "Juras De Amor".

A groovy groovy groovy album that's been one of our favorites for years! The great Michel Legrand reprises material from 3 of his best soundtracks – Thomas Crown Affair, Umbrellas Of Cherbourg, and Young Girls of Rochefort – and Bud Shank plays some amazing tenor solos over Legrand's swirling beautiful arrangements. If you like the original soundtracks at all, this album is a perfect companion piece – as it's got stunningly arranged versions of the material, all with Legrand's imprint, and all with a nice nice jazzy feel. Titles include "Theme D'Elise", "I Will Wait For You", "Chanson De Solange", "De Delphine A Lancien", and "His Eyes, Her Eyes".

An early 90s classic that set a new standard for post-Daisy Age jazzy hip hop. Includes "Where I'm From", "It's Good To Be Here", "What Cool Breezes Do", "Time & Space (A New Refutation Of)", "Rebirth Of Slick (Cool Like Dat)", "Escapism (Gettin Free)", "Pacifics", "Appointment At The Fat Clinic", "Swoon Units", "Last Of The Spiddyocks", "Examination Of What", "Nickel Bags", and "Jimmi Diggin Cats".