The coolest record so far from this totally great combo – a live recording done on the home turf of the Greg Foat Group – the Playboy Club in London! The retro venue really fits the slinky, sexy vibe of the group's music – and although we already loved these guys before, this album has a really special sort of feel – with loads of wonderful keyboard lines from Greg on Hohner Electra piano, Elka Rhapsody, Hammond L 100, and Mutron Phaser – almost always distorted with a nice degree of fuzz, but still a straight ahead approach, and some great undercurrents of fuzz too! The group also features tenor and trumpet – which sometimes sound distorted, ala Varitone modes – and the overall sound feels like some lost jazzy club combo from the late 60s, really tripping out in a very comfortable space. We'd easily stack this one next to our favorite funky Fender Rhodes records from back in the day – and titles include "By The Grace Of God I Am", "Ingen Reklam", "Funky Fanfare", "Madrid", and "Mr Minor". CD features two bonus tracks – "Finky Minky" and "Papa's Got A Brand New Pigbag". CD

Dave Frishberg's always getting some fun out of life – given the way he pens these witty little tunes, and sings them with a hell of a lot of charm! And this album's one to feature Frishberg at all his charming best – still with the jaunty, edgey qualities we love so much in Oaklahoma Toad, but turned back more towards more traditional jazz elements too – all set nicely into a small combo jazz mode, with help from Bob Findley on trumpet and Marshall Royal on alto – both horn players who give the album a fleshed-out feel that's a nice change from some of Dave's more piano/vocal-based records. A number of the tunes are instrumental – with Frishberg on piano – and titles include "Lotus Blossom", "Dear Bix", "Violet Blue", "Old Man Harlem", "Save It Pretty Mama", "Alligator Crawl", and "In A Mist". CD

The cover image is a bit different than the modernist images usually used for records by Italian maestro Gerardo Frisina, and the sound is a bit different too – maybe less Latin or Brazilian than some of his previous records, but still filled with lots of percussion at the core! There's plenty of live drums and percussion next to the rhythm patterns created by Gerardo – and the percussion is especially strong throughout, really grounding the tunes nicely, often with strong conga work – amidst other instrumentation that includes vibes, flute, trumpet, and Fender Rhodes! The album has some slight use of kora, which is great – and the whole thing is another groovy feather in the mighty cap of a musician who's been giving us great records for many years. Titles include "Nahi's Son", "Damay", "Desencanto", "Kerewan", "Que Dilema", "Vicky", "Nahi", "Cuiaba", and "Foresta Esotica". CD features the bonus track "Mwanga". CD

A standout classic from trumpeter Luis Gasca – and a set that may well be the artists' most complete musical vision of the 70s! The group here is larger than on previous records, and Gasca's dropped a bit of his Latin roots in exchange for a soaring, slightly spiritual sound put together by arranger Don Menza – who's really at the top of his game here! There's a perfection and poise that's almost like CTI or Kudu at their best – almost a bit above the usual Fantasy Records session like this from the 70s, too! Other players include Bobby Hutcherson on vibes, Menza and Hadley Caliman on reeds, Patrice Rushen on keyboards, and Harvey Mason on some mighty nice drums – which makes for more than a bit of funk in the mix. Titles include the sweet vibes/Rhodes number "Kathy", the stepper "Sara", and the tracks "Visions", "The Way I Feel Sometimes", "Patrice", "Collage", and "Night People". CD

One of the greatest solo albums ever issued by Latin jazz trumpeter Luis Gasca – a set that really expands on his debut for Atlantic Records, and which brings in a whole host of early 70s west coast Latin influences! The style here is very laidback and open – a bit like some of the Chicano funk coming out of the LA scene at the time, but a fair bit more jazz oriented overall – with long lean solos from both Gasca on trumpet and Joe Henderson on tenor sax, set up in a half-electric set of rhythms laid out on guitar, organ, keyboards, bass, and plenty of percussion! Other players here are all top-shelf too – and include Carlos Santana, George Cables, Stanley Clarke, Coke Escovedo, and Lenny White. The album features 4 long tracks – "Spanish Gypsy", "Street Dude", "La Raza", and "Little Mama". CD

One of the greatest solo albums ever issued by Latin jazz trumpeter Luis Gasca – a set that really expands on his debut for Atlantic Records, and which brings in a whole host of early 70s west coast Latin influences! The style here is very laidback and open – a bit like some of the Chicano funk coming out of the LA scene at the time, but a fair bit more jazz oriented overall – with long lean solos from both Gasca on trumpet and Joe Henderson on tenor sax, set up in a half-electric set of rhythms laid out on guitar, organ, keyboards, bass, and plenty of percussion! Other players here are all top-shelf too – and include Carlos Santana, George Cables, Stanley Clarke, Coke Escovedo, and Lenny White. The album features 4 long tracks – "Spanish Gypsy", "Street Dude", "La Raza", and "Little Mama". CD

A trio of albums from one of our favorite trumpeters on the European scene! First up is Portrait – a set that stands as a tribute to trumpeter Dusko Goykovich's 70 years on this planet – and a record that features him in a variety of settings too! Other players include Ferdinand Povel on flute and tenor, Tony Lakatos on tenor, Steve Gut on trumpet, Isla Eckinger and Ray Drummond on basses, Abraham Burton on alto, and Kenny Barron and Tommy Flanagan on pianos – on titles that include "Recado Bossa Nova", "Balkan Blue", "Adriatica", "One For Klook", and "Inga". Next is Swinging Macedonia – a legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". Brandenberg Concert features one of the greatest trumpeters on the European scene of the past few decades – heard here in a completely sublime setting! Dusko Goykovich has played in many styles and many ways, but hasn't ever done a date with full strings before – a long-overdue placement for his wonderful tone on trumpet – shimmering out front of a larger ensemble, in the manner of classic "with strings" dates by Dizzy Gillespie or Art Farmer! Altoist Peter King arranged the album – and titles are all originals by Dusko, some of which you might know from earlier records – reworked here beautifully for the new setting. King also solos on a handful of tracks too – a rich voice that provides a nice balance with Dusko's trumpet. Strings are never overdone, and the album's always got a nice swing from a core rhythm trio that features Renato Chicco on piano. Titles include "Good Old Days", "Handful O Soul", "Danca Comigo", "St Germain Des Pres", "Adriatica", "In My Dreams", and "I Miss You So". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD features 3 bonus alternate takes! CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". Features bonus tracks – two takes of "Riot", and an alternate of "Goodbye To Childhood". CD

Fantastic French grooves from the end of the 60s – a killer set of jazz-based tracks recorded by trumpeter Ivan Jullien, with help from funky arranger Michel Colombier! Jullien recorded a fair bit of jazz and studio work around the time, and his playing here is razor-sharp – and supported by Colombier grooves that rival his best soundtrack material, his experiments with Pierre Henry, or his backings for singers like Serge Gainsbourg or Brigitte Bardot! Colombier also plays keyboards on the record, as does the great Maurice Vander – amidst a host of other great French jazzmen who include Pierre Gossez on sax, Roger Guerin on additional trumpet, and Eddie Louiss on organ. Drums are nice and funky on most cuts – and the whole thing kicks even more than most funky big band records on MPS! Includes the great break cut "I Remember Otis" – plus "Sonoro", "The Looser", "Talk", "An Oscar For Eddy", "Wake The Monster", "Edith", and "Crescendo". CD

The icy voice of Norwegian singer Karin Krog is a perfect match for Dexter's deep soulful saxophone, and the two of them perform wonderfully together in this rare set of tracks recorded in 1970 with Kenny Drew on piano and Niel Henning Orsted-Peterson on bass. Krog has always been tremendously respectful of the players that she records with, and unlike other jazz vocal recordings, where the soloists take back seat to the singer, her recordings have them coming out front, and really sharing the spotlight – both in solo space, and in the interplay between the singer and musicians. Tracks include "Blue Eyes", "How Insensitive", "Some Other Spring", "Blue Monk", and her "Tribute To Jimmy Scott". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

A real mind-trip – and an incredible document of the times – not just ideas floating around in the late 60s, but also new ways of making records too! The album is loosely based around ideas and writings from The Medium Is The Massage – McLuhan's important 1967 book, co-written with Quentin Fiore – and represented here as a wild sound collage that blends together music, sounds, media snippets, and readings by McLuhan, Fiore, and a host of other voices! The album's actually much more of a "happening" than a spoken word album – a real studio party that's cut up and messed up by all the added effects, sounds, and music – genius that comes from Jerome Agel, who put the whole project together – and delivered it to the loving hands of John Simon, who produced some other wonderful records of this nature for late 60s Columbia. A real delight throughout – and the kind of an album we wish people still kept making! Great reissue package – in a gatefold LP-styled sleeve, with additional artwork, rare photos, full notes on the sessions, and more! CD

A long overdue return to duet formation for Joe McPhee and Hamid Drake – the duo who played together so beautifully on the Emancipation Proclamation album! This set is maybe even more personal, and more open – with Drake working some incredible magic on the drum kit, creating sounds that so many others would only get from a huge variety of percussion instruments – while McPhee blows both alto sax and pocket trumpet – sometimes with an intensity that makes it hard to believe the record's not some lost session of his from the 70s! If you think that you missed out on all the famous improv records the first time around, then think again – because this one's an instant classic. Titles include "Endangered Species", "Medgar/Malcolm/Martin", "Keep Going", "Lord Don't Let Them Drop Them Goddamn Nukes On Us Lord", "Sojourner's Truth", "Morning Star", and "Time Was". CD

An amazing slice of rare work from pianist Misha Mengelberg – caught her early in his career, but already an important modern jazz force on the European scene! The set's a live one – featuring a very sharp-edged combo with Misha on piano, Piet Noordjik on alto, Rob Lengereis on bass, and Han Bennink on drums – plus guest trumpet from Ted Curson on two long tracks! As you can imagine, we love the Curson material – and Ted always seems to sparkle in a fresh setting like this, drawing new energy from less familiar players – and stretching things out to the height of his free-thinking talents of the time. But Noordjik is wonderful, too – really hanging nicely in a balance between soulful and modern with his horn, and easily matched by Mengelberg's piano – really great to hear in a more structured setting than his later, freer records. Titles include "Driekusman Total Loss", "The Leopard", "Sugar N Spice", "Journey", and "Peer's Counting Song". CD

The title's an apt one, because after frustrations experienced working for Columbia and other labels, Mingus is finally allowed the freedom here to present his own ideas in all their unfettered glory – working with a bracingly tight quartet that features Eric Dolphy on alto and bass clarinet and Ted Curson on trumpet! A number of the tracks here are familiar in their titles from other records, but the versions here stretch out far longer – moving past 10 minutes on 2 of the album's 4 tracks, and approaching that limit on others. But even more noticeable is the spareness of the sound – as the smaller group versions allow for a tremendous amount of solo space, really letting the focus fall on the two horn players, with the bass of Mingus and drums of Dannie Richmond shading in the space behind and beyond. Titles include "Folk Forms No. 1", "All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother", and the original uncensored version of "Faubus Fables". CD

A great counterpart to the two famous Charles Mingus albums for the Candid label – really a third "lost" Candid album, recorded at the time of those sets, but never issued until many years later! As with those great dates, the work here is filled with righteous anger, unbridled emotion, and some of the most passionate jazz work of the 20th Century – directed by Mingus with unfailing energy on the bass, and featuring solo work from players who include Eric Dolphy on alto and bass clarinet, Booker Ervin on tenor, Charles McPherson on alto, Ted Curson and Lonnie Hillyer on trumpets, Jimmy Knepper on trombone, and Paul Bley on piano – all giants in their own right, most of whom gave the world some fantastic records under their own leadership too! Tracks are all nice and long, mostly from the November 11, 1960 date that featured two different groups – titles that include "Bugs", "R&R", "Reincarnation Of A Lovebird (2nd version)", "Body & Soul", and "All The Things You Are (all)". CD

Lyrical beauty from trumpeter Blue Mitchell – one of those records that really has him coming into his own, sounding fantastic on Blue Note in a way he never did on his earlier albums as a leader! it's clear that Blue learned a lot while playing in the group of Horace Silver – a way of balancing rhythm with warmer emotion – and moving past more standard hardbop into the more sophisticated territory you'll hear on this set. A young Chick Corea is on the set on piano, shading the tunes with some slightly Latin touches – and fitting in surprisingly well with a quintet lineup that also includes Junior Cook on tenor, Gene Taylor on bass, and Al Foster on drums. Cook is great too – matched with Mitchell as on some of the Silver sessions – and titles include an early version of the Terumasa Hino tune "Alone Alone & Alone", plus "One Shirt", "March On Selma", and "Samba De Stacy". CD

Lyrical beauty from trumpeter Blue Mitchell – one of those records that really has him coming into his own, sounding fantastic on Blue Note in a way he never did on his earlier albums as a leader! it's clear that Blue learned a lot while playing in the group of Horace Silver – a way of balancing rhythm with warmer emotion – and moving past more standard hardbop into the more sophisticated territory you'll hear on this set. A young Chick Corea is on the set on piano, shading the tunes with some slightly Latin touches – and fitting in surprisingly well with a quintet lineup that also includes Junior Cook on tenor, Gene Taylor on bass, and Al Foster on drums. Cook is great too – matched with Mitchell as on some of the Silver sessions – and titles include an early version of the Terumasa Hino tune "Alone Alone & Alone", plus "One Shirt", "March On Selma", and "Samba De Stacy". CD

A set that's especially sexy, and especially jazzy too – as Jun Miyake works here with a whole host of American fusion players – a really great lineup who make the record soar! Jun's definitely in the more fusion-oriented side of his music here – blowing trumpet and flugelhorn, and handling keyboards too – with a shifting array of great sidemen who include Michael Brecker on tenor, David Sanborn on alto, Victor Bailey on bass, and Poogie Bell on drums – plus some especially nice work from guitarist Bobby Broom, who's very much in the mode of his best Arista records, and even sings a bit on one cut too! Titles include "JFK Express", "Becoming To You", "Wish", "June Night Love", "Twist To Open", "Crossing", and "Sea Born Mind". CD

A real treasure from the great tenorist Hank Mobley – and a record that shows him really opening up his sound in his later years at Blue Note! The album's got some key rhythmic elements that come both from the drumming of Billy Higgins and piano of Cedar Walton – both players who bring in a sense of lyricism that really opens up Hank's horn, and which also sets the trumpet of Donald Byrd free as well – in territory that really resonates with some of Donald's own excellent Blue Note material from the mid 60s! The album's one of those great Blue Note dates that was recorded in the 60s, but not issued until many years later – and really makes for a richer side of Mobley's catalog – a new great level amidst all those already wonderful records. Titles include "Bossa For Baby", "Soul Time", "No Argument", and "A Dab Of This & That". CD

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up! CD

Trumpeter Farnell Newton has been making music for a number of years – but he really seems to be taking off and finding his groove on recent albums for the Posi-Tone labels – records, like this one, that really have Newton demonstrating his strong ear for phrasing, and his ability to come up with just the right sort of a tune for both his solos and his sidemen! Here, the group features core work from a great quartet – Art Hirihara on piano, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a lineup that features shifting contributions from Jaleel Shaw, Patrick Cornelius, and Braxton Cook on alto saxes – plus Brandon Wright on tenor and Michael Dease on trombone! Just about every tune has an additional horn joining Newton in the lead, and the sense of interplay is what really makes the record special – tight, but very personal solo work from all involved – on titles that include "Affectionately Roy", "Feel The Love", "A Child Not Born", "The Bluest Eyes", "Pale", and "Laws Of Motion". CD

Sweet electric funk – and a really great, long-lost Japanese fusion session from the 70s! The album's headed up by Japanese trumpeter Shunzoh Ohno, but it also features work by American players like Reggie Lucas on guitar, Sam Johnson on keyboards, and Roy Haynes on drums – all of whom contributed a really solid rhythm approach to the album, and give it some really funky grounding! The style kind of starts at CTI, but then really stretches out with a more unique appeal – still soulful, and never as rockish as other fusion records from the US – but still with a far-reaching sort of vibe overall. Titles include "Bubbles", "Don't Get Down", "Song For My Kid", and "Bullfight". CD

The complete presentation of a legendary live performance, and one that's often billed as a high moment in the history of bebop – a special concert-only group that brings together five key bop heavyweights – Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums – all coming together in a unique one-off performance! The set was recorded up in Canada, and represents one of the first widely-circulated live recordings of a straight bop set – different than some of the mix of styles you'd get on a JATP record, with long tracks that really show the nonstop creative energy that shifts between the players. The original vinyl release broke the concert out into two records – both of which are united here with additional material! The set features two takes on the Quintet material – without overdubs, and with them added – on titles that include "Night In Tunisia", "Perdido", "Salt Peanuts", "All The Things You Are/52nd Street Theme", "Wee", and "Hot House". The package then also adds in the second half of the concert – a set that features the core rhythm trio, without Charlie Parker and Dizzy Gillespie – a killer lineup that has Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums! The tunes are a bit shorter than on the quintet sides, but maybe that's because Powell can always pack so much into such a short space – and Mingus has plenty of sharp small group imagination here, while Roach is a young genius, really breaking out here too. Titles include "Sure Thing", "Lullaby Of Birdland", "Jubilee", "Cherokee", and "Embraceable You". Plus, the set features a stunning solo drum performance by Max Roach – "Drum Conversation". CD

A legendary live performance, and one that's often billed as a high moment in the history of bebop – a special concert-only group that brings together five key bop heavyweights – Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums – all coming together in a unique one-off performance! The set was recorded up in Canada, and represents one of the first widely-circulated live recordings of a straight bop set – different than some of the mix of styles you'd get on a JATP record, with long tracks that really show the nonstop creative energy that shifts between the players. The original vinyl release broke the concert out into two records – and this is the quintet material, with titles that include "Perdido", "Salt Peanuts", "All The Things You Are", "Wee", and "Hot House". CD

A legendary live performance, and one that's often billed as a high moment in the history of bebop – a special concert-only group that brings together five key bop heavyweights – Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums – all coming together in a unique one-off performance! The set was recorded up in Canada, and represents one of the first widely-circulated live recordings of a straight bop set – different than some of the mix of styles you'd get on a JATP record, with long tracks that really show the nonstop creative energy that shifts between the players. The original vinyl release broke the concert out into two records – and this is the quintet material, with titles that include "Perdido", "Salt Peanuts", "All The Things You Are", "Wee", and "Hot House". CD

Sweet funky jazz with some really wonderful keyboards – a double-length set that brings together two rare albums from Argentine combo Quinteplus! The group here clearly have a love of the Cannonball Adderley style of soul jazz – particularly that Cannon groove as the 60s wore into the 70s, and his quintet began to open up their rhythms a bit more. Most numbers have some very sharp trumpet and tenor in the frontline, directed strongly by electric piano lines that step out spaciously with a wicked blend of funky and modal inspirations. The drums and bass are pretty great too – tightly punched, yet often with a nice sense of space that almost recalls the brilliance of the Adderley group when David Axelrod was handling them on Capitol Records! The package features 2 full albums – Quinteplus and En Vivo – with titles that include "Ode To Billie Joe", "Jose Blues", "Pochoclito", "Blackman El Justiciero", "Zamba De Mis Pagos", "El Marques", "Loberman El Hombre Loco", and "Los Ejes De Mi Carreta". CD

Fantastic material from Sun Ra – a never-heard 1972 performance at Slugs, and one that captures the group at their most spiritual point! The core of the set is the track "I Roam The Cosmos" – one of the more obscure Ra compositions, and a title that appears here for the first time on any record – folded together with bits of "Astro Black" and "Discipline 27 II" – in a wonderfully extended single musical performance – stretching for 51 minutes long, and filled with righteous vocal moments alongside some great solos too! The groove is great – kind of a slow dipping and turning rhythm – showcasing recitations by June Tyson and Sun Ra – with lots of room for soulful work from Marshall Allen on flute and alto, Danny Davis on alto, John Gilmore on tenor, Kwame Hadi and Akh Tal Ebah on trumpets, and Danny Ray Thompson on baritone – plus lots of drums and percussion. Really beautiful stuff – as deeply spiritual as the best of the Impulse Records artists, circa 1972 – and appearing here for the first time ever! CD

Three classic albums from Redbone – served up in a single set! First up is Potlatch – a killer album from Redbone – one that has the group really hitting on all burners – using that strongly solid groove that Pat and Lolly Vegas first forged through years on the west coast club scene, and turning it into a more powerful message that made the group such a top-shelf act at the time! And sure, most folks remember Redbone as being a crucial first nation group – but there's a quality to the music here that instantly pushes them into competition with the best of the mainstream too – a sharp, soulful sound that comes on strong right from the start – on tunes that include "Without Reservation", "Maggie", "Light As A Feather", "Drinkin & Blo", "Bad News Ain't No News At All", and "Alcatraz". Message From A Drum is great – a record that has Redbone opening the door to a bit more elements from their roots than before, but also while expanding their sound in all these ways that are completely unexpected too! The approach is great – and almost as if Pat and Lolly Vegas had shown to the rest of the world that they could conquer mainstream rock at the start of the 70s, then felt free to experiment a bit more with the overall shape of their sound – using some rootsy elements that echo the drum in the title, but also tripping things out a bit too – often with a heady vibe that makes the album one of their best. Titles include "The Witch Queen Of New Orleans", "The Sun Never Shines On The Lonely", "One Monkey", "Chant 13th Hour", "Jericho", "Niji Trance", "Message From A Drum", and "Fate". Cycles is a bit later, from 1977 – and is a record that's maybe a bit more soulful than usual for Pat and Lolly Vegas – thanks to production from Linda Creed – who gives the pair a groove that's a nice change from their early 70s records, and underscores some of the more soul-based modes that were always lurking in their music! There's some warm keyboards on the record, and some very nice grooves that never try to change up the group at all – but instead open these currents of funk and mellower soul that turn out to be a great showcase for the vocals of the Vegas brothers! Titles include "Cycles", "Open", "Gamble", "Dancing Bones", "Funky Silk", "Don't Say No", and "Give Your Our Love Another Try". CD

One of three incredible albums cut by trumpeter Dizzy Reece for Blue Note Records – all a bit unusual, in that Dizzy was a key part of the scene in London at the time, and not part of the regular New York group that were so important to the Blue Note roster at the end of the 50s! Yet despite that difference, Reece fits into the groove perfectly – with a bold sound on trumpet that's a nice change from the usual – set up in a classic hardbop lineup that includes Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums. Mobley's playing is fantastic – as on all of his Blue Notes – and his presence alone takes the set into another level. His solos on the harder tracks are all great, and played with a razor-sharp edge that opens up Reece a lot more than usual too – very different than some of his work recorded in the UK. Tracks include "The Rebound", "Groovesville", "The Rake", and "A Variation On Monk". Great stuff, and a true classic lost Blue Note! CD

The second chapter in the soul career of the great Rockie Robbins – two albums on a single CD! I Believe In Love is one of the strongest albums by Rockie Robbins – and they're all pretty darn great – thanks to some sweet production and arrangements from the team of Skip Scarborough and Jerry Peters! Skip and Jerry bring a nice sense of smoothness to Rockie's Chicago-forged sound – expanding his sound with fuller arrangements than before, and creating a style here that's tight and professional, yet never slick or poppy. Titles include "Time To Think", "I Believe In Love", "My Old Friend", "Look Before You Leap", "Give Our Love A Chance", "An Act Of Love", "I'll Turn To You", "For You For Love", and "Talk To Me". On his self-titled set from 1985, Rocky's definitely hitting the 80s groove a lot harder than on some of his earlier albums, but the record still features work by Richard Evans – whose arrangements and production made some of Rocky's earlier records so nice! Evans handles about half the record, and the other half's in the hands of Wardell Potts and Dana Meyers. Tracks include "Caught In The Act", "I Found Love", "We Belong Together", "You Finally Found The One", "I've Got Your Number", "Stay With Me", and "Work For Love". CD

Trumpeter Jim Rotondi's in a classic pose on the cover – an image that shows just how much he brings to his music at a visual level, even though his sound seems so effortless and clear from an audio perspective! The set's filled with the kind of well-executed work on trumpet and flugelhorn that always makes Rotondi's records so great – especially in the past decade or so – music that's full of feeling, but which never seems forced or overstated – qualities that also come through in the rest of the group too, a lineup that features Rick Margitza on tenor, Danny Grissett on piano, Joshua Ginsburg on bass, and Vladimir Kostandinovic on drums. Rotondi's been recording for the Criss Cross label for years – but the record also really shows a great evolution and development from those early sides too – especially on original material that includes "Pete's 32", "Voice", "Leemo", "Father John", "Happy Feet", and "Jim's Blues". CD

A pretty obscure late 60s set on Capitol Records – by one of those great bands who briefly got the chance to record for the label, then never showed up again! The Serfs have a lot going on for such a relatively unknown group – a sound that's partly folk, partly roots, and with some groovier touches too – even a bit of jazz inflections at points, in ways that remind us a bit of The Shades Of Joy on Fontana. Instrumentation includes congas, vibes, organ, tenor, and trumpet. Production is by Tom Wilson – the force behind so many great records at the time – and titles include "Evil Days", "Early Bird Cafe", "All Blue", "Leda", "I'm A Man", and "Prologue & Mechanical Man". CD

A rough-edged batch of spiritual jazz tracks from trumpeter Charles "Cha Cha" Shaw (not to be confused with Charles "Bo Bo" Shaw) – recorded in an open-ended loft jazz mode with a really open, echoey feel! The album's a rare 70s jazz date on the Folkways label, and it's almost got the freer, open sound of an ESP session from a decade before – experimental jazz that's very much at the fringes, but also played with some of the spirituality of the post-Coltrane generation. Shaw's trumpet has a really earthy sort of feel – blown with a great sense of personality, and a sound that's almost heart-wrenching at times – especially on some of the more modal numbers. Other players include Brian Ross on tenor, Billy Lyes on piano and guitar, and Ronnie Boykins on bass. Boykins is really the only player we know here from other records – and titles include the nicely grooving "KZ", plus "Juggety", "Super Slik", and "Eternal". CD

Key early work from trumpeter Jack Sheldon – a set that captures his talents at their most basic and most stripped-down – very much in the spirit of the best LA jazz coming out on the Pacific Jazz label at the time! If the cover makes the set look a bit like a Chet Baker album, that's because there's a bit of the Baker approach here – one that's simple and focused, with a strongly melodic style that comes through beautifully on Sheldon's shimmering horn. But there's also a bit more of an edge, too – thanks to bold piano work from Walter Norris, and the addition of Zoot Sims on a number of tracks – and unlike Baker (or Sheldon on later records), there's no vocals here at all – just a strong instrumental groove. Titles include "Beach-Wise", "Groovus Mentus", "Dozo", "Jack Departs", and "Palermo Walk". CD

Key early work from trumpeter Jack Sheldon – a set that captures his talents at their most basic and most stripped-down – very much in the spirit of the best LA jazz coming out on the Pacific Jazz label at the time! If the cover makes the set look a bit like a Chet Baker album, that's because there's a bit of the Baker approach here – one that's simple and focused, with a strongly melodic style that comes through beautifully on Sheldon's shimmering horn. But there's also a bit more of an edge, too – thanks to bold piano work from Walter Norris, and the addition of Zoot Sims on a number of tracks – and unlike Baker (or Sheldon on later records), there's no vocals here at all – just a strong instrumental groove. Titles include "Beach-Wise", "Groovus Mentus", "Dozo", "Jack Departs", and "Palermo Walk" – plus three bonus tracks! CD

One of the more avant-oriented 60s sessions cut by Wayne Shorter for Blue Note – a record that's not entirely part of the "new thing" generation, but which definitely has Shorter pushing the boundaries from his previous records for the label! The lineup here is a key batch of players who can handle both sides of the fence – inside and outside – Freddie Hubbard on trumpet, Grachan Moncur on trombone, Herbie Hancock on piano, James Spaulding on alto, Ron Carter on bass, and Joe Chambers on drums – all players who were really breaking their own boundaries at the time. The set also features work from Wayne's Brother on one track – avant trumpeter Alan Shorter, who's only known for a few records under his own name, and who really brings a great sound to play here. At times, the record builds into a sound that's freer and more challenging than on some of Shorter's other albums from the time – but less in a free jazz mode, than with an overall sense of purpose that really keeps the message clear. Features all original compositions by the Shorter brothers – and cuts include "Chaos", "Face Of The Deep", "Mephistopheles", and "Genesis". CD

A wonderfully sensitive record from the legendary St Louis saxophonist Luther Thomas – very different than some of his larger group material, and in a really great way! The record features Thomas in duets with Luther C Petty – the leader on alto sax, Petty on flute, and both musicians on a variety of "small instruments" – used in these openly creative ways throughout the set as the pair improvise together with a sense of spiritual engagement that's really wonderful! The set's got that vibe from the moment when some of the energy from the New York loft jazz scene was almost hitting a sort of more personal, almost pastoral expression on some records – really pushing forward experiments first started in the AACM at a very individual level on records like this. Despite the "suite" of the title, tracks are each singular and on their own – titles that include "11th Street Fire", "Charge & Discharge", "Dormin", and takes on "Since I Lost My Baby" and "The Fire Just Keeps On Burning". CD

Great spiritual grooves from Web Web – a group who've always had a warm blend of electric and acoustic elements, but who take things further in this second collaboration with Max Herre – who brings in all sorts of keyboards and drum machine bits to the music! The core style is still jazz, with excellent tenor and flute from reedman Tonk Lakatos, whose presence really gives the album a soulful vibe – next to the core leading energy of Roberto Di Gioia, who works on a whole host of instruments – organ, mellotron, trumpet, guitar, piano, and even harp! There's other percussion in the group, warm basslines from Christian Von Kaphengst, and guest performances from a variety of others – including the great Carlos Nino on two tracks – all in a style that's got more of the warmth of Schema Records than the usual Compost sound. Titles include "La Planete Fantastique", "The Source Of All Things", "Perennial Journey", "Olobo", "Artist Unknown", "Look Beyond The Sun", and "Zutuma". CD

A great look at an obscure indie soul label from the Cleveland scene at the end of the 60s – and a company that's definitely a cut above, given that it released some early O'Jays singles in the years before their crossover fame in the 70s – and members of that group also wrote a fair bit of singles for the label too! Besides a tie to the O'Jays, the Saru label also had a tight, well-chosen roster – one that really helped make Cleveland a hotbed for sweet soul at the time – easily competing with the hippest singers and groups from Philly, New York, and New Jersey – thanks to a string of excellent 45s on both the Saru imprint, and related Horoscope Records! As usual with Numero, the whole package is filled with fantastic details and photos that are as compelling as the music itself – and as for the music, this time around the Numero folks really get to the heart of the matter with a non-stop array of excellent material – not unreleased tapes, but killer 45s that really show Saru as a hell of a great soul label during its short run of records. Titles include "For The Rest Of My Life" and "Tears Don't Care Who Cry" by The Out Of Sights, "I Believe" and "Are You Man Enough" by Sir Stanely, "Stand In For Love" and "Love's Needed" by Pandella Kelly, "Come Back Boy" and "The Last Time" by The Ba-Roz, "Bound" and "I Remember You" by Ponderosa Twins, "Just To Be With You" and "Got To Make It Right" by Elements, "Can't Make It Without You" by Michael Bell, "Got To Get My Broom Out" by David Peoples, "Just To Be With You" by Bobby Dukes, and "Now He's Home" and "Shattered Man" by The O'Jays. CD

A massive assortment of tracks that go way past the familiar – not a collection of standard classics from Blue Note, Impulse, or Prestige – and instead a whole host of jazzy groovers that we'd never have discovered otherwise! This volume of the series does a great job mixing in contemporary cuts with rare nuggets from years past – in ways that never make you notice the passage of years, as almost all of this work is rooted in a solid blend of tight rhythms and inventive improvisation – heavy on acoustic instrumentation, but with occasional electric moments too! Imagine the kind of groove that Gilles Peterson used to turn us onto years back, when he was spinning rare jazz records, and you'll get the vibe here – served up on titles that include "Tape Your Beat" by Born 74 & Onj, "Still In Love" by GeeW, "46 To Somewhere" by The Sultan's Swing, "Unreachable Galaxy" by Stefano Di Santis, "Movin" by Charro Band De Emilio Guerro, "Caught In A Fever" by Moreen Meridian, "Mr Fool" by Alonson Gonzalez & Jazz Latino, "Cla Samba" by Juju, "I Face East" by Mary Greer Mudiku, "Mende" by Jacques Schwarz Bart, "Mother Of The Future" by Venus Dodson, "Wanting Touch (inst)" by Juju, "Mambo De Papi" by El Caballo Y Su Orquesta, "Ponteio" by Miho Nobuzane, "Samba De La Cruz" by Tres Men, and "I'll Bet You Thought I'd Never Find You" by Lifetime. CD

Two early calypso albums on Capitol Records – both pretty unique! First up are some of the first-ever recordings by Harry Belafonte – material recorded in 1949, with Pete Rugolo backings that are really amazing – as jazzy and modern as anything Rugolo did for other singers of the time, with only a hint of calypso in the rhythms. Belafonte sounds quite different on the sides than in later years – still with those tremendous vocals, but almost more of a jazz singer at points – which is a really surprising discovery! This aspect's supported strongly by the choice of tunes – which includes "Deep As The River", "Farewell To Arms", "Close Your Eyes", "The Didn't Believe Me", and "I Still Get A Thrill". Next up is a full album of straighter calypso material by Lord Flea & His Calypsonians – but one that also has a bit of a Capitol Records groove! Flea plays acoustic guitar and sings, and percussion is nice and tight – but there's also a fuller sense of space on the record, one that really sets it apart from other 50s efforts of this type – kind of a Capitol clarity that really adds a lot of charm. Titles include "Out De Fire", "Mister Give Me De Rent", "It All Began With Adam & Eve", "Jump In The Line", "Run Run Run", "Love", and "Monkey". CD

A smoker from Art Blakey's later years – a killer session that features a reunion of past Jazz Messengers, with a cast that includes Freddie Hubbard on trumpet, Curtis Fuller on trombone, Benny Golson on tenor, and Walter Davis Jr on piano! Buster Williams is on bass, and he brings a nice degree of soul to the set – rounding and warming things to give the album a progressive soul jazz approach that we really love – a dose of the slightly more righteous side that Blakey hit during his early 70s Prestige Records years. The group comes together with a magical flourish – moving past simple "here's my solo" styles, into a unified ensemble that really sounds special here. Titles include the excellent "Dana's Dance" – penned by Davis, and a really fresh choice for a date like this – plus "Uranus", "Ala Mode", and "Just By Myself". CD

A pare of rare European sessions from saxophonist Marion Brown – back to back on a single set! First up is Gesprachsfetzen – a really wonderful collaboration between alto saxophonist Marion Brown and vibist/reedman Gunter Hampel – a set that's maybe one of the sharpest to come out of their work together! The music has maybe even sharper edges than some of Brown's previous records – a dose of some of the European modernism in which Hampel was steeping himself, but also with some more organic, spiritual qualities on the solos – not just Brown's, but the work of trumpeter Ambrose Jackson – who's pretty great here too. AACM legend Steve McCall is also in the group on drums and percussion, along with bassist Buschi Niebergall – and the set was recorded live, with titles that include "Gesprachsfetzen", "Exhibit A", "Babudah", "Tomorrow Is The Beginning Of The End Of Yesterday", and "Aba". In Sommerhausen is one of the key records that alto saxophonist Marion Brown made while working on the German scene at the end of the 60s – an incredibly fruitful period that seemed to unlock all this new energy in Brown's music in a mode that was similar to what happened when Don Cherry started making time on the European scene! Brown's key partner here is Gunter Hampel – who plays vibes, bass clarinet, and percussion – the latter of which is handled by the other members of the group too – a lineup that includes Ambrose Jackson on trumpet, Daniel Laloux on bass, and Steve McCall on drums – playing here before his better-known work with the AACM. Jeanne Lee brings some lovely vocalizations to the set – and titles include "Dance No 1", "Exhibit B", "Il Ne Chant Pas", "The Sound Of A Song", and "Malipieros Midnight Theater". CD

A really unusual album from the mighty Chick Corea – a set recorded at the end of the 60s, at a time when Chick's star was just beginning to rise – but in a style that's both very different than his famous material of the 70s, and his avant fame as part of the group Circle! Chick's definitely got some of the harder, freer tones that he brought to Circle – but overall, there's more of a sense of spiritual jazz to the record – as Chick plays acoustic throughout, in a wonderful lineup that features Woody Shaw on trumpet, Hubert Laws on flute, Dave Holland on bass, and both Jack DeJohnette and Horacee Arnold on drums! The whole thing's got a vibe that's a lot more like Strata East than most other records that Sonny Lester ever produced – and titles include "The Brain", "Song Of Wind", "Converge", and "Sundance". CD

A trio of albums from this famous Brazilian trombonist – all of them great! First up is Sweet Lucy – a wonderful album from Raul De Souza, cut during the height of his fame on the California scene! Like Raul's other work for Capitol, this record really sparkles from tight help from George Duke – who handles production, and some of the arrangements – and really helps De Souza find a tight jazzy groove! The instrumentation is a bit leaner than some of Raul's other records of this nature, which is a nice thing – as you get to hear plenty of keyboards from Patrice Rushen, Fender Rhodes from Dawilli Gonga, trumpet from Freddie Hubbard, and percussion from Airto. There's a bit of chorus vocals at times, but the main focus is on Raul's trombone solos – and cuts include of Joao Donato's "Banana Tree", plus "Sweet Lucy", "New Love", "Wild & Shy", "Bottom Heat", "Wires", and "At Will". Don't Ask My Neighbors is a tremendous moment for trombonist Raul De Souza – working here in a style that's light years past his roots in bossa nova! The set's got a heavy California vibe – a late 70s blend of jazz and soul handled by producer George Duke, who also arranges many tracks on the record – but still leaves plenty of room for Raul to step out strongly in the lead! Things are never too overdone, and handled with that sunny style that players like Duke did so well – lots of warm jazzy elements in the backings, coming from Fender Rhodes by Bobby Lyle, percussion from Airto, and drums from the great Harvey Mason – who really brings an edge to some of the groovers. Titles include a killer cover of the Skip Scarborough tune "Don't Ask My Neighbors" – plus "La La Song", "Overture", "At The Concert", "I Believe You", and "Jump Street". Til Tomorrow Comes is filled with soaring sounds from Raul De Souza – a Brazilian musician who first recorded under the name of Raulzinho during the bossa nova years – but one who's at the height of his powers here working on the Cali scene at the end of the 70s! Raul manages to blend his lead instrument with fuller arrangements from Arthur Wright – who brings in plenty of the best elements from contemporary R&B, adds in some backing vocals, yet never diminishes Raul's presence on the record at all! Instead, De Souza seems to draw all sorts of energy from the folks around him on the sessions for the record – really stepping out with the best sort of jazz funk grooves that Capitol Records were laying down at the time – as you'll hear on cuts that include "Up & At It", "Self Sealing", "Pleasurize", "Fe No Me Nol", and "Til Tomorrow comes". CD features bonus tracks – single versions of "Til Tomorrow Comes", "Sweet Lucy", and "Daisy Mae". CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

One of the most striking, most unusual settings for the voice of Leon Thomas we've ever heard – a rare 1970 performance with the Brit group Nucleus – done right at the same time that Thomas was recording his classics with Pharoah Sanders! The initial approach is similar, and the songs are familiar – but the overall execution is quite different given the change in instrumentation – as the Nucleus lineup includes Ian Carr on trumpet, Chris Spedding on guitar, Karl Jenkins on piano and oboe, and Brian Smith on tenor, saxophone, and flute! Tracks are all nice and long, and rhythms begin with a slightly similar mode to Thomas' other records – but the use of Spedding's guitar is especially striking, as is Carr's trumpet – which has a very different quality than any American player that Thomas ever worked with. The sax and oboe lines are especially nice – often exotic, but in more of a European spiritual way than an American one – and throughout it all, Thomas really holds the course with some wonderful vocals – on long tracks that include "One", "Chains Of Love", "The Journey", "Echoes", "Damn Nam", and "The Creator Has A Master Plan". CD

A killer quartet session by Brit trumpeter Dizzy Reece, recorded as one of his three American albums for Blue Note during the late 50s! Unlike the other records, which featured larger groups, this album's done with a quartet – which gives Reece a chance to really take over on his solos – blowing with a sense of warm and lyricism that's not heard as strongly on the other records – really getting some great support from a rhythm trio that includes Walter Bishop Jr on piano, Doug Watkins on bass, and Art Taylor on drums. Quite different from some of Dizzy's London work of the time – and with tracks that include "A Ghost Of A Chance", "Our Love Is Here To Stay", "Blue Streak", "Eb Pob", and a nice version of "Yesterdays". CD

A tremendous document of a legendary group – one that was even better in a live setting than they were on record – and that's saying a hell of a lot, given the great records they left behind! The quintet here features trumpeter Woody Shaw at his most righteous – working alongside co-leader Louis Hayes on drums – at the head of a brilliant lineup that features Junior Cook on tenor, Ronnie Mathews on piano, and Stafford James on bass! At some level, the vibe here is a hipper 70s extension of ideas that Cook and Hayes worked on with Horace Silver in the 60s – but there's also a lot more of the spiritual fire that Woody was bringing to his groundbreaking albums for Muse Records – which is underscored both by James' ultra-heavy work on bass, and the skyward-reaching sounds of Mathews on piano. Cook has a brilliant edge on his tenor – sometimes missing from other records – and titles on this first volume include long takes on "Sun Bath", "Ichi-Ban", "Book's Bossa", "Obsequious", and "Invitation" – plus the requisite "Moontrane". CD

A double-length set of work from one of the greatest pianists of the 50s – both of his Atlantic albums together on a single CD! First up is the self-titled Lennie Tristano, from 1955 – darkly imaginative work from the great Tristano – and one of the few full albums he ever cut as a leader! The record features the incredible track "Turkish Mambo" – which has Tristano overdubbed 3 times in this dark modal way that's totally amazing, and which will hook you into his playing immediately! A number of other tracks feature a quartet with Lee Konitz – always a good match for Tristano – and a few others have a great trio that's completed by Peter Ind and Jeff Morton. Tracks include "Requiem", "East 32nd", "You Go To My Head", and "Line Up". New Tristano is an incredible record by Lennie – one that features him playing solo piano, but in a way that's so inventive, so creative, so pyrotechnic, that Atlantic Records had to include text on the back cover saying "No use is made of multi-tracking, over-dubbing, or tape-speeding." The album's also one of the last (the last?) that Lennie ever cut – and although many other players are kind of faltering in last sessions like this, Lennie's sounding better than ever – ready to take on a realm of new challenges in the 60s. Titles include "Love Lines", "G Minor Complex", "Becoming", and "Deliberation". CD

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing trumpet in a cool tone that's a perfect offset to Cannonball's more soulful style on alto sax – also different than the sound of his brother Nat, who was Adderley's more frequent partner on records. The rest of the group includes Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", "Autumn Leaves", "Love For Sale", and a nice moody take on "Dancing In The Dark". CD

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing trumpet in a cool tone that's a perfect offset to Cannonball's more soulful style on alto sax – also different than the sound of his brother Nat, who was Adderley's more frequent partner on records. The rest of the group includes Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", "Autumn Leaves", "Love For Sale", and a nice moody take on "Dancing In The Dark". CD

Way way more than you might guess from an album with Motown in the title – and instead, a set that may well be one of the best we've heard from Geri Allen in years! Yes, the tracks are mostly numbers from the classic years of the famous soul label – but the presentation is quite different – mostly solo piano, with Geri stretching out in these fluid, spiritual ways that go far past any familiar melodies, and which really make the songs deeply her own. Plus, the set also features some tremendous guest work from Marcus Belgrave on trumpet on three tracks – stretching out with the kind of righteous, expressive tones that have made us love him from the days of Tribe Records onwards. David McMurray also guests on alto on one track – but the bulk of album is solo piano from Allen, on titles that include "The Smart Set", "Space Odyssey", "Inner City Blues", "Stoned Love", "Itching In My Heart", "Tears Of A Clown", "That Girl", and "Grand River Crossings". CD

A huge chapter of work from the Art Ensemble Of Chicago – one that not only includes their own albums for the ECM label, but also related solo and side projects too! The set begins with four Art Ensemble albums – Nice Guys, Full Force, Urban Bushman, and The Third Decade – all of which came out as a statement of the group's strengths in the late 70s and early 80s – their first mainstream appearance after a few years of being very underground, and material that helped set a whole new standard for avant jazz expression in the generation to come! Next is the fantastic album Divine Love, by trumpeter Wadada Leo Smith – not necessarily an Art Ensemble album, but one that does feature great work from trumpeter Leo Smith – plus trumpeter Kenny Wheeler, bassist Charlie Haden, and vibist Bobby Naughton. Next are four albums by Lester Bowie – two smaller group, and two with his Brass Fantasy ensemble – the records The Great Pretender, All The Magic/The One & Only, I Only Have Eyes For You, and Avant Pop. Then, after Bowie's early passing, the Art Ensemble recorded their beautiful Tribute To Lester – as a trio lineup with Roscoe Mitchell, Malachi Favors, and Don Moye. Mitchell takes the helm next – on a surprisingly big flurry of projects for ECM – records that often show a deeper compositional strand in his music – on records that include Nine To Get Ready, Composition/Improvisation, Far Side, Bells For The South Side, and Boustrophedon – the last of which was led by Evan Parker, with Mitchell in the Transatlantic Art Ensemble. Last up are three records by drummer Jack DeJohnette for ECM – New Directions and New Directions In Europe, both featuring a group with Lester Bowie on trumpet – and Made In Chicago, which features Roscoe Mitchell, Henry Threadgill, and Muhal Ricard Abrams. Recordings were made between 1978 and 2015 – and comes in a box set with a big booklet of notes! CD

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

We're not sure what a neck-peckin jammie is, but drummer Cecil Brooks really makes us want to know more – as the sound of this set is solidly soulful, and way deeper than you might guess from the cartoony image on the cover! Brooks has some very sharp help here in the group – Craig Handy on tenor and soprano sax, Justin Robinson on alto, and Terell Stafford on trumpet – a really bold frontline that steps out beautifully with Cecil's strongly rhythmic insistence – supported even further in these efforts by Geoff Keezer on piano and Christian McBride on bass. Tracks are easygoing and soulfully flowing – just the sort of soul jazz that Muse Records always got so right – and tunes include "In Jody's Corner", "Hill District", "Yvette", "Creepin", "One By One", "Blues Citizens", and "Mood Swings". CD

The fluid trumpet of Clifford Brown – presented in a sparkling batch of master takes recorded for Emarcy Records in the 1950s! Brownie only made the scene a few short years, before his untimely early death – but while at Emarcy, he cut some truly revelatory music, the sort of trumpet-based jazz that went onto influence decades of later players, and which still sounds amazingly fresh and vibrant today! And although Universal issued a previous larger set of Brown's music, this 4CD set is nicely compact, and just focuses on the instrumental master takes – no vocal numbers, false starts, or alternates – pure classic Clifford all the way through. Titles are pulled from famous sessions with Max Roach, plus the classic Brownie With Strings album – although the main material here is pulled from seven albums that bore the Roach/Brown name, including tracks released after Clifford's death. 49 tracks in all, beautifully packaged with a 64 page book, in a limited edition tin cover! CD

Beautiful hardbop from Boston – and one of the first-ever albums recorded by trumpeter Donald Byrd as a leader! The set was originally done for the obscure Transition label – also home to inventive early recordings by Sun Ra and Cecil Taylor – and as with those records, there's a very special sort of sound going on here – as the date's a quartet outing, with a very unusual group – with Ray Santisi on piano, Doug Watkins on bass, and Jim Zitano on bass – all giving Byrd plenty of room to solo in the lead. The record features a very different side than some of Donald's other early two-leader sessions (such as the dates with Pepper Adams) – especially as he blows with a warmth and moodiness that we don't normally hear from him at this point – sounding fantastic on titles that include "Little Rock Getaway", "If I Love Again", "What's New", and "Stella By Starlight". CD

Sweet electric funk from trumpeter Donald Byrd – one of his first forays into an electric mode, and done in a style that's very different than his better-known soul fusion of the mid 70s! Before Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves on records like Blackbyrd and Street Lady – he recorded this gem, kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiraling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson on vibes, David T Walker on guitar, Harold Land on tenor, and Joe Sample on organ – a very cool combo that's got a cross between The Crusaders and the Hutcherson/Land quintet! We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work! CD

A brilliant celebration of Blue Note Records – one that features some key songs from the label's classic years, interpreted by a sharp-edged group of younger players! The lineup here is wonderful – Nicholas Payton on trumpet, Steve Wilson on alto and flute, Ravi Coltrane on tenor, Peter Bernstein on guitar, and rhythm from Bill Charlap on piano, Peter Washington on bass, and Lewis Nash on drums – all players who are great in their own right, but who really come together with a classic sort of sound here – a vibe that really respects the Blue Note leaders of years past, and which really gets their energy right! The rhythms are tremendous – no surprise, given how great Nash and Washington can be – and the tunes have a soulful, soaring quality that draws on all the joy Blue Note's given the world over the years – proclaimed boldly by the horn solos in the set. Titles include "Little B's Poem", "Inner Urge", "Mosaic", "Dolphin Dance", "Criss Cross", "Search For Peace", "The Outlaw", and "Idle Moments". Limited Japanese pressing contains a bonus CD – featuring the 8 original versions of the tunes by Art Blakey, Joe Henderson, Bobby Hutcherson, Grant Green, Horace Silver, and others! CD

An incredible tribute to the legendary Strata Records in Detroit – performed by Jazzanova with a host of other guests – and at a level that's maybe the greatest thing the group has ever given us on record! The vibe here is a lot more Strata and spiritual than the style you'd expect from Jazzanova – as they take on tunes by label legends like Lyman Woodard, Kenny Cox, Sam Sanders, Maulawi, and other talents from the same Motor City underground of the 70s that gave the world Tribe Records. Instrumentation is a blend of Fender Rhodes and lots of live jazz work on flute, tenor, trombone, and trumpet – sometimes topped with vocals from Sean Haefeli, who really helps open up the soulful side of the tunes! Wonderful throughout, better than we might have even guessed – with titles that include "Joy Road", "Face At My Window", "Ortotundes", "Loser", "Scorpio's Child", "Creative Musicians", "Lost My Love", "Inside Ourselves", and "Saturday Night Special". CD

A reverent snapshot of the spiritual & soul jazz emanating from the Mainstream label in the early 70s – a well curated set featuring great numbers by Frank Foster, Blue Mitchell, Hadley Caliman, Roy Haynes and other giants of the scene! The material comes from a time in Mainstream label history when it was essentially relaunched as a jazz label, following some the psyche era rock albums of the previous few years. Soulful jazz sounds from a spiritual realm as well as some in a jazz funk mode, and excellent material all the way! 12 great tracks in all: The sprawling opener "The Loud Minority" by Frank Foster, "Mi Hermano" by Blue Mitchell, "Up And Down" by Harold Land, "Watercress" by Hadley Caliman, "Kamili" by Buddy Terry, "Senyah" by Roy Haynes, "EW Beautiful People" by Frank Foster, "Little One" by Hadley Caliman and "Petits Machins" by Johnny Coles/ CD

Incredible funk from an almost-unlikely source – the legendary P&P family of record labels, mostly known for their groundbreaking disco work – but also home to some excellent funky tracks in the late 70s! Given that most of the focus on P&P reissues has often been on the label's club tracks, nearly all the tunes on this CD are reissued here for the first time – offering a completely fresh look at the sound of P&P – making the collection a totally essential set, and long overdue! Many of the tracks are instrumental, and have touches that clearly mark them as coming from the hands of Peter Brown or Patrick Adams – nice spacey bits in the keyboards, wickedly snapping rhythms at the bottom, and an overall sense of groove that's always yearning for something new. Titles include "I've Been Working" by Wild Honey, "Hooker (parts 1 & 2)" by Peter Brown, "I'm Gonna Fool" by Ella Hamilton, "Do The Funky Donkey" by Otis Turner, "Hitch Hike One More Time" by King David, "Long Time Ago" by Smokey Brooks, "New York Apple Jack" by Scott Davis & The Movements, "Solid Funk" by Flame & The Sons Of Darkness, and "Determination" by Eddie Owen. CD

Tremendous work from the mighty Sam Records – a New York indie that was born in the disco generation, but continued to keep great sounds going long after the crash! Sam started in the underground, and always kept a great ear to that scene, even when scoring big with hits – and the label's work often had all the polish of bigger companies, but a bit more bite as well – with all the right elements in all the right places, which has kept its music mighty strong over the years! There's no throwaway trash here, or easy dancefloor cuts – and instead the sound of Sam stays plenty strong from the earliest burst of disco through the big wave of indie club and old school in the early 80s. This massive 3CD package is shaped like a 7" single – and features 36 classic 12" singles and album cuts from Sam – titles that include "Kojak Theme" by John Davis Monster Orchestra, "Dreamin" by Greg Henderson, "Love Magic (disco version)" by John Davis Monster Orchestra, "Woman Of The Ghetto (UK 12" mix)" by Doris Duke, "Just A Groove" by Glen Adams Affair, "Come On Back To Mama" by Wardell Piper, "Begging For More" by Monica Neal, "Gotta Get Outta Here" by Lucy Hawkins, "I Found Love In You" by Rhyze, "Hold On (Jellybean mix)" by Kreamcicle, "This Best Is Mine" by Vicky D, "You Can't Stop (Shep Pettibone mix)" by David McPherson, "Don't Let Go Of Me (Shep Pettibone mix)" by Mike & Brenda Sutton, "Free (disco version)" by Rhyze, "Let's Love Dance Tonight (disco version)" by Gary's Gang, "Behind My Back" by Underground, "Just Let Me Dance (Jim Burgess mix)" by Scandal, "Don't Stop" by KID, "Can You Really See Me" by Sound Troupe, "Keep On Dancing" by Gary's Gang, and "Don't Give Your Love Away (Shep Pettibone mix)" by Steve Shelto. CD

Famous tracks from the legendary Miami Soul powerhouse TK Records – famous not because they were hits in the 70s, but because they were used in later years as hip hop samples – dug from the deep well of music that TK recorded back in the day, to lay the blueprint for a whole new generation! The set brings together 15 gems that are not only funky, and which have key elements that you'll know from hip hop songs – but which also stand pretty darn strongly on their own, as a fantastic overview of the care of creation that TK brought to its work in the studio. Titles include "Groove To Get Down" by T-Connection, "Dedicate All My Love" by Raw Soul Express, "Sweet Thang" by The 13th Floor, "Living Together Is Keeping Us Apart" by Clarence Reid, "Good Good Lovin" by Charles Johnson, "To Touch You Again/Lady Blue" by John Tropea, "Givin Me Your Love" by Facts Of Life, "Dance With Me" by Peter Brown, "Why Can't We Live Together" by Timmy Thomas, and both versions of "90% Of Me Is You" – one by Gwen McCrae, one by Vanessa Kendrick. Also features some J Rocc mixes – "I Get Lifted (J Rocc edit)" by George McCrae, "Keep It Up (J Rocc edit)" by Milton Wright, "I Love The Way You Love (J Rocc dub)" by Betty Wright, and "Clean Up Woman (J Rocc edit)" by Betty Wright. CD

Rare Capitol country from the great Kay Adams – a female singer with a distinct love of trucking songs, and one who also hails from the Buck Owens side of the spectrum too! Kay only cut a handful of records over the years, and this set's a great addition to her catalog – as it features unissued cuts that were recorded live with backing from Buck's group The Buckaroos – all done at the Buck Owens Ranch Show, and with a sound that's very much like Owens' excellent work of the time – with some of the more truck-themed tunes you'd be likely to hear from labelmate Red Simpson. Titles include "Rocks In My Head", "Six Days A Waiting", "Roll Out The Red Carpet", "Little Pink Mack", "Bottle Baby", "I Let A Stranger Buy the Wine", "Down Down Down", "Loose Talk", and a duet with Dick Curless on "A Devil Like Me". CD features three bonus tracks too! CD

Two great albums from 1959! The first features John Coltrane playing with the Adderley group, recorded in Chicago when they were stopping through the city with Miles Davis' combo at the time! In fact, since the rhythm section includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – and since Coltrane's sitting in with Cannon – the album's essentially a Kind Of Blue-era Miles album, recorded without Miles on trumpet, and grooving in a slightly more soul-based Adderley mode. Given the presence of Coltrane, there's a bit less of the gutbuckety soul jazz that Cannon was cutting in his own Quintet – but that's more than ok with us, as the Coltrane solos more than make up for that difference! The set's got 2 great originals by Coltrane – "The Sleeper" and "Grand Central" – plus the cuts "Wabash", "Limehouse Blues", "Stars Fell On Alabama", and "Weaver Of Dreams". Cannonball Takes Charge is a hardbop classic – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. Titles include "If This Isn't Love", "Serenata", "Poor Butterfly", "I Remember You", and "I've Told Ev'ry Little Star". CD

A really fantastic little record – a set that shows a strong evolution of spiritual jazz styles into the 80s! The set was recorded at a time when the jazz underground was really getting a lot of exposure, and was bursting forward with a new sense of hope – a quality that you can really feel in the music, right from the very first note – as these tunes are joyous, yet highly rhythmic and spiritual too – a vibe that's maybe a bit like Pharoah Sanders on Theresa Records, especially on his classic "You Got To Have Freedom"! Most tunes here are upbeat and modal – driven by the rhythms of Ron Burton on piano, Abdu Wali on guitar, Sabu Adeyla on bass, Idris Muhammad on drums, and Abdus Saboor on percussion – and soaring with solos from leader Kamal Abdul Alim on trumpet, James Spaulding on alto and flute, and Bobby Watson on alto and soprano. The whole thing's wonderful – and titles include "Prayer", "Peace", "Al Nafs", "Dance", and "Brotherhood". CD

A lost fusion classic from the early 70s – one of the only records cut under the leadership of drummer Horacee Arnold, but a heck of a great little set with a soaringly righteous sound! The style here is plenty full-on, but a bit less rock-leaning than some of the other Columbia fusion of the period – thanks to a spacious vision on Arnold's part, and the inclusion of a fair bit of sounds from world music. Players on the set include Art Webb on flute, Sonny Fortune on soprano sax, John Abercrombie on guitar, David Friedman on vibes and marimba, Dom Um Romao on percussion, and Jan Hammer on moog and electric piano – and although there's a fair bit of guitar in the mix, the other acoustic elements are kept nice and high too – for a blend that's almost like some of the best Brazilian fusion from later years, touched by a slightly funkier sound! Tracks really stretch out nicely, allowing for plenty of solo space as they roll on, in a way that's almost a cross between Strata East and some of the more familiar mainstream fusion modes of the time. Very hip stuff, with titles that include "Benzele Windows", "Tales Of The Exonerated Flea", "Euroaquilo Silence", "Puppet Of The Seasons", "Sing Night Jar", and "Delicate Evasions". CD

A really wonderful album – timeless in sound and style, and a set that almost takes us back to the warmth of some of our favorite Brazilian records from the 70s! Bala Desejo have a way of mixing harmonies with lead vocals that's completely sublime – often set to light percussion, acoustic guitar, and other spare instrumental touches that glow as nicely as the vocals! If you've heard some of the 70s material from Quarteto Em Cy, you'll know part of the vibe here – but there's also maybe a more contemporary sense of songwriting too, which really keeps things fresh – on titles that include "Lua Comanche", "Nesse Sofa", "Chupeta", "Faixa Tecnica", "Chronofagia", "Muito So", "Dourado Dourado", and "Lambe Lambe". CD

Unissued live material from a great stretch in the career of Count Basie – that time when he was turning in some excellent concert performances for Roulette Records, material that's got very similar charms to the music on this set! As with most of Roulette Basie, that revived sense of timing from Neal Hefti is very strongly in play – that magnificent sense of space between the notes that made this period of the Count's ensemble such a great one – with a rhythmic focus that's brilliant, and which opens up with even more excitement when a key soloist steps in! Players include Thad Jones and Snooky young on trumpets, Henry Coker and Benny Powell on trombones, Frank Foster and Eric Dixon on tenors, Freddie Green on guitar, Marshall Royal on alto, and Frank Wess on flute and alto – and there's a bit of vocals on a few tracks from later soul singers OC Smith and Irene Reid. Titles include "Segue In C", "Why Not", "Easy Money", "Backwater Blues", "Lil Darlin", "Easin It", "April In Paris", and "Cute". CD

Keyboardist Julius Brockington really takes off here – in a style that's not quite funk, not quite jazz – and which has some of the unique sophisticated changes that Gene Harris was bringing to his Blue Note records in the mid 70s! Like Gene, Julius already has a strong background on the keys – and here, he's able to open up and create all sorts of new rhythms in his music – working on organ, piano, and even a bit of Arp – in a combo that features Steve Turner on alto and flute, Jim Wilson on trumpet, and Garry Langston on guitar! The vibe is great – sophisticated, but funky too – and very unusual compared to other albums of the time. All the material is original – and titles include "Gettin' Into It", "Lost Tribe", "Jaded Jackie", and "In the Back of the Churchyard". CD

Amazing sounds from drummer Roy Brooks – very spiritual work that's quite a change from his straighter soul jazz of the 60s! The album's right up there with Roy's better-known (though still rare) live performance at Town Hall – or his classic Free Slave session – and like those records, this one explodes with a raw power that's really amazing – heavy drums from Brooks, driving a collective of righteous musicians that really stretch out in the free space of the recording! The lineup shifts a bit from track to track, but there's a cohesive spirit to the record that comes from Brooks' bold spirit – a joyous, soulful, post-Coltrane sort of energy – let loose in the lead, to guide the talents of players who include John Stubblefield on tenor, Sonny Fortune on alto, Olu Dara and Cecil Bridgewater on trumpets, Hamiet Bluiett on baritone sax, Joe Bonner on piano, and Reggie Workman on bass. Eddie Jefferson makes an appearance on two tracks – singing much hipper than on any of his better-known recordings of the period – and titles include "The Last Prophet", "M'Jumbe", "Eboness", "The Smart Set", and "Eboness (Kwanza)". CD

An amazing collection – especially since Clifford Brown died before giving the world that many key records – which makes these French sessions from 1953 a very important part of his catalog! The set captures Brownie at his modern best – really making the move past straighter bop, into sparkling chromatic territory – mostly with alto sax genius Gigi Gryce at his side! Gryce first chose Clifford Brown as his main foil in trumpet/alto arrangements – before having to move on to Art Farmer, and then later Donald Byrd – and the sessions here feature groups with either Brown or Gryce as the leader, plus a few quartet sessions with just Brown – with Henri Renaud on piano. CD