All Categories — CDs  

A landmark set from the German prog scene – the first amazing utterance of Ash Ra Tempel, and a standard-setting album that few others could ever hope to match! The sound here builds beautifully – coming out of abstract, noisy territory, then finding shape as the record goes on – a perfect blend between the instruments and new studio modes that really help the textures and tones come to the forefront! The group features Klaus Schulze on drums and electronics, Manuel Gotsching on guitar, and Hartmut Enke on bass – and Conny Plank worked the knobs, to help the whole thing come together like magic! Each song takes up a side of the record – and titles include "Amboss" and "Traummaschine".

2CDs worth of previously unissued material! Both records – Cymbals and Crystal Spears – were originally due to be released on Impulse during the same stretch that the label was repackaging older Saturn albums, but were never issued because of all the messed up relations that quickly terminated what should have been a much longer deal. (Some of this is nicely outlined in the good set of notes that go with the set.) Cymbals features 3 tracks that did appear on a Saturn album called Deep Purple, plus 2 titles that were never issued before – and the set features Ra on organ Rocksichord, vibes, and organ – playing very out and raucously with a group that includes Danny Davis, John Gilmore, and Akh Tal Ebah. Crystal Spears is a lot more introspective, and takes us back to earlier years of the Arkestra. Ra's on organ, marimba, mini moog, and vibes – and the rest of the group's playing a variety of horns and percussion. Tracks include "Crystal Spears", "Sunrise In The Western Sky", "The Embassy Of The Living God", "Thoughts Under A Dark Blue Light", and "The Mystery Of Two".

Previously unissued work by Sun Ra – tracks recorded during the sessions for his Heliocentric Worlds 2 album for ESP, but lost to the sands of time for nearly 40 years! Like that previous album, this one features a smaller version of the Arkestra than usual – an octet that has Ra working with core hornmen Pat Patrick, John Gilmore, Marshall Allen, Walter Miller, and Robert Cummings – supported by a rhythm section that includes Ronnie Boykins on bass and Roger Blank on percussion. Apart from a lot of added percussion by various members of the group, the instrumentation overall is relatively straightforward – even if Ra's compositions are not. The set kicks off with the 17 minute "Intercosmosis" – a relatively free, stretched-out tune – then is followed by shorter numbers that travel along darker, more introspective pathways. These titles include "World Worlds", "Interplanetary Travelers", "Mythology Metamorphosis", and "Heliocentric Worlds".

Landmark work from Sun Ra – a rare 1964 performance that features some very early work from Pharoah Sanders, a good deal of which is appearing here for the first time ever! The material was recorded at Judson Hall, and only half the tracks came out on a rare Saturn LP – making this CD collection that first time that all 11 titles appear in their entirety. Ra and the group recorded the set on New Year's Eve, 1964 – at a time when John Gilmore had left the Arkestra to work with Art Blakey – leaving Pharoah Sanders to come and take his place on tenor. Also noteworthy is the presence of Black Harold (Harold Murray) on flute – blowing with a dark edge alongside other group members who include Al Evans on trumpet, Teddy Nance on trombone, Marshal Allen on alto sax, Pat Patrick on baritone sax, and both Alan Silva and Ronnie Boykins on bass. The performance starts with a relatively fierce sound, but then moves into some beautifully lyrical moments – and titles include "Gods On A Safari", "The New Tomorrow", "The Second Stop Is Jupiter", "Cosmic Interpretation", "The Other World", "Dawn Over Israel", and "Space Mates".

Landmark work from Sun Ra – a rare 1964 performance that features some very early work from Pharoah Sanders, a good deal of which is appearing here for the first time ever! The material was recorded at Judson Hall, and only half the tracks came out on a rare Saturn LP – making this CD collection that first time that all 11 titles appear in their entirety. Ra and the group recorded the set on New Year's Eve, 1964 – at a time when John Gilmore had left the Arkestra to work with Art Blakey – leaving Pharoah Sanders to come and take his place on tenor. Also noteworthy is the presence of Black Harold (Harold Murray) on flute – blowing with a dark edge alongside other group members who include Al Evans on trumpet, Teddy Nance on trombone, Marshal Allen on alto sax, Pat Patrick on baritone sax, and both Alan Silva and Ronnie Boykins on bass. The performance starts with a relatively fierce sound, but then moves into some beautifully lyrical moments – and titles include "Gods On A Safari", "The New Tomorrow", "The Second Stop Is Jupiter", "Cosmic Interpretation", "The Other World", "Dawn Over Israel", and "Space Mates".

A landmark set from the German prog scene – the first amazing utterance of Ash Ra Tempel, and a standard-setting album that few others could ever hope to match! The sound here builds beautifully – coming out of abstract, noisy territory, then finding shape as the record goes on – a perfect blend between the instruments and new studio modes that really help the textures and tones come to the forefront! The group features Klaus Schulze on drums and electronics, Manuel Gotsching on guitar, and Hartmut Enke on bass – and Conny Plank worked the knobs, to help the whole thing come together like magic! Each song takes up a side of the record – and titles include "Amboss" and "Traummaschine".

One of the best early albums from Ash Ra Tempel! Here they bring vocals into to the mix for the first time, though it's still a spacious blend of slow-building atmosphere and spare dynamics that evolve into more feverish and intense maelstroms. The vocals of John L are another instrument, really – with gruff screams and moodier howls that echo the instrumentation impressively. The drums and percussion and incredible, with sax, organ, guitar and electronics. Work that bridges earlier psych to later experimental rock pretty fearlessly! Includes the "Light And Darkness" suite of " A) Light: Look At Your Sun" and "B) Darkness: Flowers Must Die" (originally spanning a side), plus the Schwingungen side "A) Suche" and "B) Liebe".

Mindblowing music from Sun Ra & The Arkestra – sounds recorded during the same marathon session that gave the world the records Other Planes Of There, When Sun Comes Out, and When Angels Speak Of Love – but titles that are much more obscure overall! The initial release of the material featured very misleading notes, but the true details of the session are even more impressive – as Ra plays a variety of unusual instruments alongside piano – including the piano strings, space organ, and clavioline – alongside some sublime straight horn work from John Gilmore on tenor, Marshall Allen on alto and oboe, Pat Patrick on baritone, Danny Davis on alto and clarinet, Walter Miller on trumpet, Robert Cummings on bass clarinet, and Ali Hasaan on trombone! The lineup here has that raw power the Arkestra first unleashed after their initial move to New York – almost a sense of new freedom in the new environment – even at a time when they weren't clicking on a financial level, but still continued to push forward with new ideas in music! Some passages have this great approach that links the cosmic ideas of the Arkestra with older traditions of jazz soloing – while others reflect the growing concern of the group with new textures and sounds – making for some very impressive elements on both the horns and percussion. The group is completed by Ronnie Boykins on bass, Art Jenkins on space voice and percussion, and Tommy Hunter on drums, percussion, and some mighty nice reverb – and titles include "Biosphere Blues", "Intergalactic Research", "Earth Primitive Earth", "New Planet", and "Continuation To Jupiter Festival". Beautiful 2CD reissue features sublime sounds from the original tapes, remastered – plus a full bonus CD of unreleased tracks that include "Blue York", "Conversation Of The Universe", "Red Planet Mars", "Cosmic Rays/Next Stop Mars", "The Myth", "Meteor Shower", "Infinity", "The Beginning Of", and "Endlessness".

One of the best-remembered Sun Ra albums from the 70s – a really cool little session that features Ra playing the unusual "rocksichord" all the way through! The instrument's a very weird one – kind of like a messed-up electric piano, with lots of cool broken notes and a weird fuzzed-out tone – one that almost feels like a guitar's being fitted into a keyboard, with almost psychedelic results! Ra's use of the rocksichord gives the album a really eerie, outer spacey sound – one that mixes strongly with more familiar jazz lines from John Gilmore on tenor, Marshall Allen on alto and flute, Danny Thompson on baritone, and Ahmed Abdullah on trumpet. Titles include "The Mystery Of Two", "Interstellar Low Ways", "Cosmos", "Moonship Journey", "Neo-Project #2", and "Jazz From An Unknown Planet".

Sun Ra's really moving forward with this classic set – refining the sound of his Chicago-based Arkestra, and reaching for new territory that moves him way past familiar jazz modes! The cover bills the group as playing "music from tomorrow's world" – and you can definitely hear that on some titles here, including one number that features Ra on some really haunting celeste, and another that features Marshall Allen making weird noises with his mouthpiece! The group is all greats from the old days – John Gilmore on tenor, Marshall Allen on flute, Pat Patrick on baritone and flute, James Spaulding on alto and flute, Hobart Dotson on trumpet, Charles Davis on baritone, and Ronnie Boykins on bass – and titles include "Hours After", "Saturn", "Ancient Ethiopia", and "Blues At Midnight".

Amazing work from Sun Ra – record that really features a great range of sounds and styles, and a heck of a lot of soul as well! Ra plays some especially nice rocksichord on the set – that freaky, fuzzy keyboard that comes off sounding like a guitar, even though it's played with keys – and there's some spiritual undercurrents to the set that are different than some of Ra's other albums with the instrument – some deeply feeling rhythms and soulful, spiritual expressions that really belie the Space Is The Place generation in which the album was cut. A few recitations imbue the record with a bold sense of poetry, which seems to be carried through strongly in the instrumentation too – especially on John Gilmore's tenor lines, which almost have a Shepp-like quality at points. Other players include Marshal Allen and Danny Davis on alto, Ahk Tal Ebah on trumpet, Clifford Jarvis on drums, and Sly on electric guitar – and titles include "Song No 1", "There Is Change In The Air", "Antique Blacks", "Would I For All That Were", "Ridiculous I & The Cosmos Me", and "This Song Is Dedicated To Nature's God".

An expanded version of the material that originally appeared on the Nothing Is album – stretched out here into a 2CD set that features loads of extra unreleased cuts from the recordings! The core album is one of the best non-Saturn Sun Ra albums of the 60s – material recorded live on a tour of New York colleges in 1966, and very much in a spirit that captures the Arkestra at their best! Longer tracks are juxtaposed nicely with shorter ones – in a way that has the group running very outside one minute, yet stepping soulfully back to the center the next – never schizophrenicly, but in a mode that really displays the full range of energy pulsing in the group. Interesting instrumentation on the set includes Ra on clavoline, plus Carl Nimrod on the beautiful-sounding "sun horn" – and other players include Marshall Allen on alto, John Gilmore on tenor, Pat Patrick on baritone, and James Jacson on log drum and flute. This 2CD version features both a first and second set, with even a bit of material from a soundcheck, too – a total of 25 titles that include "Theme Of The Star Gazers #2", "Is Is Eternal", "The Exotic Forest #2", "Space Aura", "Velvet", "Dancing Shadows", "Next Stop Mars", "Outerspaceways", "Shadow World", and "Sun Ra and His Band From Outer Space".

One of Sun Ra's best non-Saturn live sets of the 70s – a nice little record that shows the group mixing it up with equal parts avant garde and straight ahead jazz, all handled in that ever-growing large group style that made them a real force to be reckoned with in a concert setting! The album was recorded during the 1976 Montreux Jazz Festival, and has a bit more focus and polish than some of the other Arkestra live material from the time – a mature, coherent sound that almost points the way towards some of their work to come in the 80s – when Ra and the group were finally reaching the wider audience they deserved. The set's a double-length one, and features players who include John Gilmore on tenor, Marshall Allen and Danny Davis on alto and flute, Pat Patrick on baritone, Ahmed Abdullah on trumpet, Craig Harris on trombone, and James Jackson on Ancient Egyptian Infinity drum – which is always a treat. Ra plays solar organ and moog, as well as piano – and titles include "Of The Other Tomorrow", "On Sound Infinity Spheres", "El Is The Sound Of Joy", "Gods Of The Thunder Realm", "Gods Of A Thunder Realm", "The House Of Eternal Being", and "Lights On a Satellite".

A set of varied moods and settings – yet one that really does a wonderful job of fleshing out the Sun Ra aesthetic during these crucial years when Ra dubbed himself the "King Of The Sub Underground"! That humorous title is a reference to the fact that Ra and the Arkestra were still working with largely little mainstream exposure – despite the big growth of avant jazz at the time – and were instead working on beautiful recordings like these, often made without any thought of a larger market at all! The CD brings together material from albums originally issued with Sub-Underground in the title – also under other names as well, including Temple U – and the tracks represent the Arkestra really hitting some of their creative heights in a mix of live, studio, and rehearsal recordings. Titles include the brilliant "World Of Africa", recorded in 1968, but with a chunky groove and weird piano that almost feel like a precursor to Fela Kuti; the sublime "Love Is Always" and "Song Of Drums", recorded live with a spare group in a beautifully echoey setting; surprisingly great takes on "What's New" and "Autumn In New York", played by a small group with Ra on a slightly off-tune upright piano; the long "Cosmo Earth Fantasy" suite, with some very fierce sounds; and a nice live take on "Space Is The Place/We Roam The Cosmos", which jumps right into the groove at the start – with a pretty offbeat feel, and lots of cool vocal interplay!

The rare Space Probe sent out to the cosmos by Sun Ra in the mid 70s – with material recorded from the early 60s onward – the heart of it being Sun Ra's first ever recordings on a moog synthesizer in 1969, and it's one heck of a trip! This excellent edition on Art Yard includes the material from the original Saturn release – the epic, nearly 18 minute interstellar trip that is the title track – with Sun Ra crafting hallucinatory moog magic throughout it. He shifts gears on "Earth Primitive Earth" (the complete version), an earlier recording, as much influenced by ancient sounds as futuristic ones, with hand drums for the beat and bass clarinet by John Gilmore. The closing "Conversion Of JP" is the other holdover from the earlier Space Probe LP and it's another gem steeped in primitivism, believed to feature Marshall Allen on flute (sure sounds like him to us). Art Yard includes some really incredible unissued material here from sessions that produced the Secrets Of The Sun and When Sun Comes Out sets – titles including "Solar Symbols II", "Dance Of The Wind", "Recollections Of There" and "Destiny". Other players include James Jacson on log drums, Nimrod Hunt on hand drums and vocalist Thea Barbara.

Tremendous lost work from Sun Ra – recorded live in Detroit at the start of the 80s, and only ever issued briefly on a limited Saturn Records pressing! Given the show's setting in the Detroit underground, the material has an especially hip sound to it – a return to some of the more righteous modes of the early 70s – both in the group's use of electronics, and in the chanted soul-based lyrics on the album's great version of "Rocket Number Nine"! Ra himself is playing organ and synthesizer – using both in ways that are really eerie and other-worldly – often with spooky tones and these highly metallic notes that make it really difficult to figure out which instrument is which. Overall, the tunes are adventurous, but never too far outside – often quite introspective, and even slightly groove-based, as on the record's great take on "Romance On A Satellite". Other members of the group for this date include Marshall Allen, John Gilmore, Craig Harris, June Tyson, and James Jacson – who plays "Ancient Egyptian Infinity Lightning Drum". CD also features the whole performance that was recorded – material that originally appeared on the Saturn albums Beyond The Purple Star Zone and Oblique Parallax. Other titles include "Beyond The Purple Star Zone", "Planetary Search", "Vista Omniverse", "Celestial Realms", "Journey Stars Beyond", and "Immortal Being".

One of the most soulful Sun Ra albums ever – very much on the Lanquidity tip, and done with a great mix of electric and acoustic instrumentation! The vibe here is really mellow, spiritual, and warm – and the album actually feels a lot more like a session recorded for the Strata East label than it does for Saturn! Keyboards pervade the session – electric piano and organ drifting around in moody, laidback lines – augmented by occasional vibes, bits of guitar, and some wonderfully well-blown sax solo work by Marshall Allen and John Gilmore! The title track "Sleeping Beauty" runs for all of side two of the album – and it's an amazing little number that mixes instrumental passages with some great mellow Roy Ayers-styled vocals. "Door Of The Cosmos" is a bit of a groover, and even gets a bit funky at times – and the album also features the laidback spacey number "Springtime".

The "Sunrise" in the title here is especially well-placed – because this live performance by Sun Ra has a beautifully glowing quality – one that unfolds musically as the set rolls on, moving through a day's course of music in different moods and dimensions! Ra initiates the proceedings with some gentler inside piano, but as the set gets moving, the other group members leap into the fray – pushing a tremendous energy into some of Ra's original compositions – then stepping back for a more peaceful, contemplative exploration of older themes in jazz – played in that "across the 20th century" mode that took hold of The Arkestra strongly during this decade. Group members here include Marshall Allen, John Gilmore, Noel Scott, Michael Ray, and Danny Thomas – and the concert is very well recorded, with numbers that include "Cocktails For Two", "Lightnin", " "Light From A Hidden Sun", "Pin Points Of Spiral Prisms", "Silhouettes Of The Shadow World", "Queer Notions", "Big John's Special", and "A Helio-Hello & Goodbye Too".

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole".

Badu is back with some of the deepest, funkiest and best music of her career – a mindblowing treatise for a New Amerykah – and what we'll consider an instant classic whether the world at large catches on or not! Erykah steps up this time with a set that balances the wilder impulses of her criminally underappreciated Worldwide Underground and more of a hip hop based, righteously grooving style – but still bursts with a freshness that's unrivaled to say the least. From free spirited soul, to sparse hip hop funk this record is both blunt and beautiful – with a slow-building emotional resonance that'll reach the most jaded souls. Modern soul music of the first order that gives us goosebumps from the first spin to the last beat! The album kicks off with Erykah riffing on and remixing Ramp's "American Promise" as an intro – and it just gets deeper from there. Producers/collaborators include Madlib, Sa-Ra, Karriem Riggins, James Poyser and ?uestlove. Amazing!!! Titles include "The Healer", "Me", "My People", "Soldier", "The Cell", "Twinkle", "Master Teacher", "The Hump" and "Telephone". The 9th Wonder produced single "Honey" is an unlisted bonus track.

A beautiful session of spiritual soul jazz – and one of the rarer albums on the legendary Strata East label! The obscure combo is led by drummer/percussionist John Betsch – and instrumentation includes guitar, piano, electric piano, and reeds – all used with plenty of warm touches, and a few sharp edges – all very much in the best Strata East mode of the time! The tracks have a soaring sort of sound – similar to some of the Keno Duke material on the label, but also touched with some trippier edges too – a great blend that really brings a lot of depth to the session, and which has made this one of our favorite Strata sides over the years. Titles include "Song For An Untitled Lady", "Ra", "Get Up & Go", and "Ode To Ethiopia".

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

A trio of classic albums from Don Cherry – packaged in a heavy book-like cover, with lots of new notes too! On the first part of the set, Cherry really breaks out on his classic Mu sessions from France – using the new freedoms of post-68 Paris to explore themes at a level that would set the tone for generations to come! The album's very spare, and very improvised – with Cherry on pocket trumpet, piano, and wooden flute – plus a bit of percussion too – alongside drummer Ed Blackwell, who's equally unbridled – showing a huge evolution since the time both he and Don spent in the group of Ornette Coleman! There's a few echoes of the global elements that Cherry would later embrace more strongly in the 70s – but the core energy here is mostly improvised jazz, handled at a level that really makes a lot better use of the freedom than some of Don's contemporaries. Titles include "Total Vibration", "Sun Of The East", "Brilliant Action", "Terrestrial Beings", "Bamboo Night", "The Mysticism Of My Sound", "Psycho Drama", "Smiling Faces Going Places", "Teo Teo Can", and "Dollar Brand/Spontaneous Composing/Exert Man On The Moon". Orient is a beauty from Don Cherry – and one of his rarest records! This set was originally only ever issued by the Japanese branch of BYG Records in the early 70s, and it features 2 live performances from France, both of them great! Don's in a spare trance-like mode here – working with one trio comprised of bassist Johnny Dyani and percussionist Okay Temiz; and another trio with Han Bennink on percussion and Moqui on tambura. Tracks from both sets are very long and stretched-out – a mixture percussion, trumpet, flute, piano, and occasional vocals, often done in a globally expansive style. Titles include "Si Ta Ra Ma", "Orient", "Eagle Eye", and "Togetherness".

A rare and beautiful treasure from Chicago's Phil Cohran and his legendary Artistic Heritage Ensemble – material recorded at the end of the 60s, but only issued here for the first time ever! The sound on the record is amazing – much deeper, and more forceful than anything else we've ever heard from Cohran – almost in Sun Ra Arkestra territory at times, given the group's out-there playing, and bold collective action! The lineup is similar to other Cohran recordings from the time – Phil on cornet, Henry Gibson on congas, Pete Cosey on guitar, Louis Satterfield on bass, Charles Williams on alto, Don Myrick on tenor, Charles Handy on trumpet, Willie Woods on trombone, and Aaron Dodd on tuba – a group that's a wonderful bridge between the two important Chicago generations headed by Sun Ra and Earth Wind & Fire. Armageddon is an extended piece, divided up into five different musical acts – conceived by Cohran in the late 50s, and recorded here in 1968 – with some great help from The Spencer Jackson Family on the leadoff track "Motherless Child". Other titles include "Creation Of The Beast", "The Warning", "The Window", and "Armageddon" – a clear reference to the power of the atom bomb!

Great lost work from the legendary Phil Cohran and his Artistic Heritage Ensemble – a composition that was recorded during the group's late 60s years on the Chicago scene – but which has never been released until now! The album stands beautifully alongside the group's self-titled classic and their tribute to Malcolm X – and like those amazing records, this one has a feel that's all its own – an exploration of Moorish elements in Spanish culture – which comes off as a Latin-inflected sound with African roots! The lineup here is similar to other Cohran classics – Donald Myrick on baritone sax, Charles James Williams on alto, Eugene Easton on tenor, Charles Handy on trumpet, Willie Woods on trombone, Aaron Dodd on tuba, Pete Cosey on guitar, Henry Gibson on congas, and Louis Satterfield on bass – a mix of musicians that includes members with Sun Ra and Earth Wind & Fire listed in their resumes! Cohran's vision in the suite is wonderful – and the music has all the depth and righteous energy of his self-titled record, but a bit more Latin fire too – a beautiful blend that really makes us appreciate his genius even more than before, and which finally gives us another record of his to love after all these years.

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville", "Cuernavaca", "Ancestral", "Spin", "Zincali", "Apsara", and "Frankincense & Myrrh".

A brilliant tribute to the late Malcolm X – served up by Chicago's legendary Artistic Heritage Ensemble! The record's got an even farther-reaching sound than the group's self-titled effort – a flowing style that unfolds as their tribute to Malcolm rolls on – starting spare and earthy at first, then picking up a fuller, prouder, much more righteous groove as things really get going! As before, there's plenty of heavy percussion at the bottom of most tracks – topped by complicated horn passages that often verge on the exotic – and which have a tremendously captivating sound. The ensemble's led by the great Phil Cohran, who played with Sun Ra for a bit, and also plays cornet on the record – the rest of the group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey, Henry Gibson, Willie Woods, and Aaron Dodd – a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire! The LP's a suite of 4 tracks dedicated to Malcolm X, each capturing a period of his life, "Malcolm Little", "Detroit Red", "Malcolm X", and "El Hajj Malik El Shabazz".

Amazing work from the legendary Phil Cohran – and a much-needed collection of his rare singles on the Zulu label! The work here is contemporary to the sides issued by Phil's Artistic Heritage Ensemble on their two famous records – but the sound is often a bit tighter, and funkier too – kind of the 45 distillation of sounds the group was working out in larger format on the full albums! As with those classics, the approach is amazing – a hip blend of jazz, soul, and African elements – very much in the spirit of Sun Ra, Cohran's predecessor on the Chicago scene – but often with a lot more groove, and a lot less avant garde elements. Players on the set include Charles Williams on alto, Don Myrick on baritone, Charles Handy on trumpet, Louis Satterfield on bass, Pete Cosey on guitar, and Henry Gibson on timbales and conga – all working at a level that easily rivals the best from Ra, Salah Ragab, Mulatu, and other space jazz legends from the time! Titles include "The African Look", "Loud Mouth", "New Frankiphone Blues", "Frankiphone Blues", "Detroit Red", "El Hajj Malik El Shabazz", and "Black Beauty".

A roots-oriented 70s classic from Willie Colon – one of his standout albums of the decade! Willie continues his "life of crime" approach for the early 70s – moving into an old west look on the cover, and matching that with a slightly rootsier sound on the album! The real difference is the presence of Yomo Toro – who plays cuatro on the album, and gives it a sound that stretches back to earlier Afro-Cuban styles – a groove that's a lot more rootsy, mixed in with the soaring salsa style of Colon in the 70s. Lead vocals are by Willie, Hector Lavoe, and Ruben Blades – and arrangements are by Marty Sheller and Willie. Tracks include "Toma", "Dona Tona", "Potpourri III", "Cua Cua Ra, Cua Cua", "I Feel Campesino", and "Que Bien Te Ves".

Beautifully mature work from Brazilian piano legend Joao Donato – an album that draws on his rich legacy of musical expression from the bossa years onward, presented here with a few surprising twists and turns! The core format is piano trio – Joao on the acoustic keys, with Luiz Alves on bass and Robertinho Silva on drums – yet the sound is quite changed from the early days when Donato recorded heavily in this way, inflected with some really complicated rhythms at points, and turned towards these soulful undercurrents we especially love. Instrumentation includes a bit of guest strings on one track – plus vocals from Zeca Pagodinho, flute from Ricardo Pontes, and cavaquinho from Paulinho Soares – artists who each appear on a track in the set. Titles include "Sambolero", "E Menina", "A Ra", "Jodel", "Sambou Sambou", "Amazonas", "Quem Diz Que Sabe", "Surpresa", and "Brisa Do Mar".

The most amazing record to date from Rob Mazurek's Exploding Star Orchestra – just the kind of cosmic, spiritual session you'd expect from the group's name – perfectly placed in a Chicago lineage that includes Sun Ra's Arkestra and the best years of the AACM! The group's got all the collaborative spirit of the latter reference – a largeish ensemble made up of some of the city's most important avant musicians in recent years – including Nicole Mitchell on flute, Jeb Bishop on trombone, Jason Adasiewicz on vibes, Josh Abrams on acoustic bass, Matt Bauder on clarinet and tenor, Jason Stein on bass clarinet, and Mike Reed and John Herndon on drums – all players who know each others strengths through countless gigs together – coming together under the visionary leadership of Rob Mazurek on cornet. There's some slight electro-acoustic elements, which further complicate the sound of the record – but all without ever taking it off base – and the whole thing's got a righteous sort of energy that makes us mighty proud that sounds this great came from our hometown. Titles include "ChromoRocker", "Impression #1", "Ascenscion Ghost Impression #2", and "Three Blocks Of Light".

Remixes and rare tracks from the mighty Gerardo Frisina – easily our second favorite Italian groover next to the mighty Nicola Conte! The set's a great counterpart to some of Frisina's other full albums on Schema – because it not only presents a few previously unreleased tracks, it also offers up some of Gerardo's great remix work for other artists in recent years! Frisina's got a great way of imbuing a current track with a classic Latin vibe – mixing acoustic percussion, driving rhythms, and jazz-based instrumentation together with incredible sharpness and energy – a no-nonsense approach to a groove that shows that's almost a distillation of the best older elements. This approach is heard wonderfully on Gerardo's own tracks "Tokyo's Dream (07 version)", "Alborado", "Es Diferente", "Calle De Candela (vibes version)", and "Zanja" – but it also comes through on remix tracks that include "Swing Low Sweet Cadillac (G Call remix)" by Dizzy Gillespie, "Dis-ka-ndombe" by Jorge Graf, "Black Forrest Stomp" by Hipnosis, "Windly Coast" by Idea 6, "Guarapiranga" by Toco, "Stardust From Tomorrow (dissociated mood version)" by Sun Ra, and "Ghetto Stomp" by Combo Moderna.

Truth in album titles from Manuel Goettsching – inventive soundscapes from the Ash Ra Tempel founder – played entirely on electric guitar, though it's all about hypnotic layering and effects. It's amazing stuff, evolving guitar notes manipulated into the studio. "Echo Waves" is a 17+ minute, uber-hypnotic piece that's another case of material living up to the title, one that reminds us a bit of some of Tangerine Dream's soundtrack work of a decade later. "Quasarsphere" is atmospheric and spacey, a shorter piece. "Pluralis" is the 20+ minute epic closer, very much akin to "Echo Waves".

An amazing album – and a really unique slice of the underground of jazz in the 60s! The session was put together in 1963 by Walt Dickerson, and was conceived as an attempt to draw attention to the incredible amount of great jazz players who were then currently serving time in prison for trumped-up drug charges. The players were culled from New York's Riker's Island, and the mix is a strange and wonderfully surprising blend of musicians that includes Hope, John Gilmore, Ronnie Boykins, Philly Joe Jones, and Earl Coleman. The quality of the work and writing is superb, and not only is the record a high point in Hope's all-too-short career, but it also features some excellent non-Sun Ra work by Gilmore! Titles include "One For Joe", "Three Silver Quarters", "Kevin", "Trippin", and "It Shouldn't Happen To A Dream".

It always feels like we're waiting a long time for a new record from Hypnotic Brass Ensemble – but it's always well worth the wait! This time around, they've found a way to focus their energies even more than before – still sticking strongly in the horn-heavy groove that we love, but also opening things up a bit more on the rhythm tip, too – and going for production that, if anything, makes them sound even more earnest, honest, and spontaneous than before! The record really preserves the live energy that makes the group so compelling – that razor sharp criss-crossing of jazz traditions and styles – steeped in a Chicago legacy that includes Sun Ra and Phil Cohran, but coming across with a hell of a lot more groove than either of them too. Titles include "Touch The Sky", "Kryptonite", "Pluto", "Black Boy", "World Champions", and "Starfighter".

Later than Tim Maia's classic soul years, but a set with a nice focus on older bossa material – sung to backings by a small group arranged by Almir Chediak, and featuring Antonio Adolfo on piano and Wilson Das Neves on drums! Given the richness of Tim's vocals, there's a style here that's quite different than other bossa revival sessions – as the Maia sound still goes deep and soulful, even on the mellower cuts. Titles include "Folha De Papel", "Minha Namorada", "Wave", "Samba De Pergunta", and a great 2 part reading of Joao Donato's "A Ra" – plus an English language version of "Inutil Paisagem (Useless Landscape)".

An album that definitely packs a powerful punch – thanks to a compelling blend of sounds from both London and Kenya, brought together in a whole new formation of African groove! The album's a wicked reworking of an older aesthetic – in a spirit that's similar to the really inventive changes that Tony Allen brought to his music on the Paris scene in the late 90s – but with a fresh, crisp sort of energy that really lives up to the group's placement on the Brownswood label! Electric and acoustic elements are wrapped together beautifully – so that both act very organically in the music – and the vocals work in a similar way – never totally out front, but instead a strong part of this wonderful hybrid. Titles include "Sunken Wrecks", "Owiny Techno", "Norbat Okelo", "Nagalo Ni Piny Odag", "Yukimwi", "All Together", and "Jonny Ra Ha".

A totally great little set from Sign Of Four – a project of Miles Newbold from the Natural Yogurt Band – served up with an approach to exotic jazz funk that's even trippier than his previous work! Miles plays a load of live instruments here – vibes, flute, guitar, percussion, and keyboards – all sifted and filtered together with some cool studio work to sound very vintage, and very offbeat – like some weird Eastern take on American soul jazz of the 60s, or like a garage band trying their best to sound like Sun Ra! The music is some of the best new work we've ever heard on the Jazzman label – and really feels a lot more like some lost exotic record from years back – with titles that include "Samba Moderno", "Morocco", "Topsy Turvy", "Mirage", "Morphine", "Fruit Juice For Everyone", and "Sun Suite Humulus Lupulus". 11 tracks on the CD.

We love Frank Strozier – and think he's one of the greatest talents in jazz – period! This long-overdue CD brings together two of Frank's early 60s sessions for the Jazzland label – both of them gems that have lain under-discovered for years. Long Night is an excellent example of the maturity and modernism that was coming out of the Chicago jazz scene as it hit the early 60s – and it features Strozier's soulful alto in the company of some of the city's best players, like pianist Chris Anderson, drummer Walter Perkins, bassist Bill Lee, and baritonist Pat Patrick, playing here away from Sun Ra's group! The title track alone is an incredibly fantastic composition, full of moodiness and incredible reed work – but the rest of the record's great, too, and features excellent originals like "The Need For Love", "The Crystal Ball", and "Pacemaker". March Of The Siamese Children continues the trend – with a sound that goes far beyond the hardbop and soul jazz in which Strozier first cut his teeth – into a mode that's angular and exploratory, yet also still warmly expressive – filled with a richness of sound that holds up fantastically year after year. Titles include "March Of The Siamese Children", "Our Waltz", "Hey Lee", "Lap", "Extension", and "Something I Dreamed Last Night".

Way more than just an introduction – and instead, an amazing collection of bossa nova gems – 48 tracks pulled from the vaults of the legendary EMI/Odeon label – home to some of the best bossa work ever recorded in Brazil! The package is a treasure through and through – filled with key classics, overlooked gems, and the kind of weird and wonderful bossa numbers that never made it here to the US – but which have made digging for Brazilian records a favorite pastime of ours for decades. Most tracks here are from the 60s, and the set runs from straight bossa numbers to others that use bossa as a starting point, then take off into great new territory. Titles include "Ao Amigo Tom" by Doris Monteiro, "A Resposta" by Marcos Valle, "Voce" by Milton Banana Trio, "Deixa Eu Dizer" by Claudia, "A Ra" by Joao Donato, "Eh Mundo Bom Tai" by Johnny Alf, "Agua De Beber" by Neco, "Onde Anda O Meu Amor" by Bossa Tres, "Fotografia" by Sylvia Telles, "Por Causa De Voce" by Marisa, "Outra Vez" by Elizeth Cardoso, "Inutil Paisagem" by Dick Farney, "Ho Ba La La" by Norma Benguell, "Estamos Ai" by Leny Andrade, "So Tinha De Ser Com Voce" by Eumir Deodato, and "Misturada" by Quarteto Novo.

One of the best Luv N Haight compilations, probably our favorite in their eclectic series that set a benchmark for so many funky compilations to follow! There's 8 tracks in all, covering lots of ground, all of it groovy, including the hard to get Sun Ra cut "Where Pathways Meet" from his Lanquidity album on Philly Jazz, Bobby Forrester's "Uncle Funky", "Hector" by the Village Callers, "Brotherhood" by Kamal & the Brothers, "Salsa De Santa Rosa" by Quintessence, "Too Soon Your Old" by Penny Goodwin, "Ronco Da Cuica" by Viva Brazil, and "For The Love Of Money" by Elliot Fisher.

A much-needed look at the incredible German music scene of the 70s – a sprawling landscape of prog, fusion, electronics, and more – all put together beautifully here with the usual completeness we've come to expect from Soul Jazz! Many of the names are familiar – the sorts you've either passed by in the record racks, or seen priced up high in the collectible imports up on display – and if you've never dipped into these grooves, this set is a perfect way to start – as the folks at Soul Jazz have really tuned their ears well, to pick out key tracks that really resonate strongly with music of the 21st Century – a good deal of which was influenced by these groundbreaking acts. Some cuts are long, but never too overindulgent – and the instrumentation and production techniques are really mindblowing – extremely creative, and often presented here in their most open, honest form. As usual with Soul Jazz, the notes are wonderful – and titles include "Devotion" by Between, "Dino" by Harmonia, "This Morning" by Gila, "Rambo Zambo" by Kollektiv, "La Chasse Aux Microbes" by Michael Bundt, "It's A Rainy Day Sunshine Girl" by Faust, "Hallo Gallo" by Neu, "Rheinita" by La Dusseldorf, "Morgengruss" by Popul Vuh, "Fly United" by Amon Duul II, "Soham" by Deuter, "I Want More" by Can, "Geradewohl" by Roedelius, "No Man's Land" by Tangerine Dream, "Daydream" by Ash Ra Tempel, "High Life" by Ibliss, and "Heisse Lippen" by Cluster.

A much-needed look at the incredible German music scene of the 70s – a sprawling landscape of prog, fusion, electronics, and more – all put together beautifully here with the usual completeness we've come to expect from Soul Jazz! Many of the names are familiar – the sorts you've either passed by in the record racks, or seen priced up high in the collectible imports up on display – and if you've never dipped into these grooves, this set is a perfect way to start – as the folks at Soul Jazz have really tuned their ears well, to pick out key tracks that really resonate strongly with music of the 21st Century – a good deal of which was influenced by these groundbreaking acts. Some cuts are long, but never too overindulgent – and the instrumentation and production techniques are really mindblowing – extremely creative, and often presented here in their most open, honest form. As usual with Soul Jazz, the notes are wonderful – and titles include "Devotion" by Between, "Dino" by Harmonia, "This Morning" by Gila, "Rambo Zambo" by Kollektiv, "La Chasse Aux Microbes" by Michael Bundt, "It's A Rainy Day Sunshine Girl" by Faust, "Hallo Gallo" by Neu, "Rheinita" by La Dusseldorf, "Morgengruss" by Popul Vuh, "Fly United" by Amon Duul II, "Soham" by Deuter, "I Want More" by Can, "Geradewohl" by Roedelius, "No Man's Land" by Tangerine Dream, "Daydream" by Ash Ra Tempel, "High Life" by Ibliss, and "Heisse Lippen" by Cluster.

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. 23 pivotal tracks on 2CDs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop, "Attica Blues" by Archie Shepp, "Peyote Song No III" by Horace Tapscott & Pan Afrikan Peoples Arkestra, "Freedom Time" by Pharoahs, "Black Survival" by Roy Brooks & Artistic Truth and more.

"Expanse" is a mighty big name for the group that David Boykin uses on this record – especially given that the combo's only a quintet – but that's ok with us, because the sound here is more than large enough to warrant the name! Boykin's working with a great batch of players from the Chicago scene here – including frequent musical partner Nicole Mitchell on flute, sliding wonderfully alongside David's saxophones – plus Jim Baker on piano, Josh Abrams on bass, and Mike Reed on drums. The album features two longish tracks, both composed by Boykin with a vision that's freely expressive, yet never too free – a perfect balance that reigns things in wonderfully, and which shows him to be one of the key current heirs to a Chicago tradition that runs back to the early AACM and Sun Ra! Titles include "Nuance" and "47th Street Ghost".

One of the few albums ever from percussionist Francisco Mora Catlett – a player with a decades-long legacy of performances with jazz legends Max Roach and Sun Ra, as well as Detroit electro genius Carl Craig! The album's got a wonderful sound that links together these 2 sides of Catlett's career – righteous acoustic jazz at the core, but augmented with bits of electronics, some of which are played by Carl Craig on synth and "space programming"! Arkestra member Marshall Allen is also in the group – playing alto and flute – and other instrumentation features twin trumpets from John Douglass and Dwight Adams, keyboards from Craig Taborn, and lots of percussion from Francisco himself. The sound is outside at some points, but always swings back to a warmly spiritual vibe – and Catlett's compositions are as ambitious as the performances on the set. Titles include "Baba Lu Aye", "Suny", "La Luu Banche Barasuayo", "Space Chord Progression", "Voodoo Papa Legba Mapotelo", "Saints At Congo Square", "Pa'Los Mayores", and a Carl Craig/Craig Taborn mix of "Baba Lu Aye".

An excellent CD of contemporary spiritual jazz excursions from this former member of Sun Ra's Arkestra. While Catlett's earliest pedigree is in Latin jazz, his many years spent with Ra have infused his music with a far reaching sensibility, well understood by his bandmates Craig Taborn and Rodney Whitaker on this disc, who are also joined by many of Detroit's other young lions to fill out some of the larger arrangements on a few numbers. Taborn is at his most Tyner-esque in these post-Coltrane lyrical numbers, 13 in all, including "Iron Master", "Vital Force", "The Other Side Of The Mask", "Cultural Warrior" and "El Morro".

Quite possibly our favorite album ever from pianist Andrew Hill – a really unique outing that features the vibes of Bobby Hutcherson and a rare non-Sun Ra appearance by tenorist John Gilmore! The presence of Hutcherson brings a real "new thing" energy to the album – a feel that's similar to Bobby's classic Dialogue album, of which Hill was such an important part. But the searching tenor of Gilmore also brings a striking new level to the session as well – and his solos open up with a raw, earthy quality that really shades in the album with a great deal of feeling. Gilmore's role here is a bit like that of Joe Henderson on his freer Blue Note material – but his sound still undeniably unique, at a level that really makes us wish he'd recorded more albums like this at the time. The tracks are all originals by Hill, and include the titles "Duplicity", "Black Monday", "The Griots", and "Le Serpent Qui Danse". CD features 2 bonus alternate takes too!

A previously unissued performance by the Brotherhood Of Breath – recorded at a time when the group was at the height of their early powers! Some of the styles here are in the straighter, South African-inspired jazz of pianist Chris McGregor's roots – but other tracks get far more experimental, and show the new ideas and levels of expression that some of the players were adopting at the time – a great criss-crossing of cultural modes as the London jazz scene absorbed ex-colonial artists from South Africa and the West Indies. The lineup here includes Dudu Puckwana and Mike Osborne on altos, Alan Skidmore and Gary Windo on tenor, Harry Beckett and Marc Charig on trumpet, Nick Evans and Malcolm Griffiths on trombone, Harry Miller on bass, and Louis Moholo on drums – all coming together with a sense of magical creativity that we'd reserve for a rare few groups – like the Sun Ra Arkestra! Titles include "Nick Tete", "Restless", "Do It", "Eclipse At Dawn", "The Bride", and "Funky Boots March".

The genius of the Chicago collective scene is firmly back in action – on this stunning second CD from Nicole Mitchell! The record is incredible – light years ahead of her debut, and a rich tapestry of sounds and colors performed by a large group that features some of the best underground musicians in the city's soulful avant scene. From the first moment of the set, the music grabs you with the depth and intensity of some of the best work of the 70s Strata East era – and it stands proudly in a tradition of work that includes the collective projects of the AACM, and groups like the Sun Ra Arkestra and Artistic Heritage Ensemble. Mitchell's writing is wonderful – stretching out on a Coltrane-like journey of discovery and spiritual expression – and her playing on the set is interwoven with some beautifully vocalized passages. Titles include "Afrika Rising Trilogy", "Peaceful Village Town", "Emerging Light", "Bluerise", "Goldmind", and "Wheatgrass".

Rosemary's got a sound that's a lot groovier than her look on the cover might imply – a mature female 70s sort of pop – served up in a blend of Brazilian and European influences! The arrangements are by Ze Roberto and Jan Guest – and often have a slightly slinky quality that's really great – a gentle groove with a bit of keyboards, guitar, or flute at the background, all of which offset Rosemary's lightly breathy vocals nicely. There's a slight groove on a few tracks – but a very mellow one – and titles include "Viva Bem", "Quero Ser Sua", "Tema De Adao", "Fechei A Porta", "De Mim P'Ra Voce", and "Uma Nova Vida".

A great album from McCoy Tyner – a set that's steeped in the modal soulfulness of his years with John Coltrane, but also handled in a way that really has him breaking away from the pack a bit! Half the album's played with a trio that features Jimmy Garrison on bass – but the strongest cuts feature a sextet with John Gilmore on tenor (making a rare non-Sun Ra appearance), Frank Strozier on alto, Thad Jones on trumpet, Butch Warren on bass, and Elvin Jones on drums – all working beautifully together in an early example of the soulful group groove that Tyner would hit even more strongly in the post-Coltrane years. Titles include "T 'N A Blues", "Three Flowers", "Contemporary Focus", and "Night In Tunisia".

An explosion of music from the legendary ESP Records label – a 50th Anniversary tribute to all the genius that made the imprint so wonderful back in the day – and easily one of the most important jazz labels in America! The set here focuses heavily on ESP's contribution to avant jazz – and the tracks feature the cream of the crop of the east coast scene at the time – particularly the groundbreaking New York players who were running forward with the experiments of the "new thing" generation, and starting to forge the first space for free jazz in the US! Titles include "Burn Baby Burn" by Norman Howard, "No 6" by New York Art Quartet, "The Lady" by Frank Wright, "Cocktail Piece" by Don Cherry, "Metamorphosis" by Sonny Simmons, "Other Worlds" by Sun Ra, and "Batterie" by Paul Bley.

Tripped out jazz and funk! This great little set features some gems from the late 60s/early 70s years at Atlantic, Warner, and Elektra – and has a focus on tunes that draw more than a bit of influence from the fuzzed-out, long-haired late 60s scene. You're bound to recognize a few of the names on the set – but what you'll really appreciate is the way the tunes come together, grooving hard with a mixture of heavy jazz and trippy elements – staying soulful in most parts, and even hitting a bit of funk at just the right moments! Titles include "Back Home" by Yusef Lateef, "Threnody For Sharon Tate" by Freddie Hubbard, "Smoke Signals" by Eddie Harris, "Sorcery" by Charles Lloyd, "Mirror" by Charlie Mariano, "Raymond Winchester" by Yusef Lateef, "Freaks For The Festival" by Roland Kirk, "Vibrafinger" by Gary Burton, and "Spontaneous Simplicity" by Sun Ra.

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

Not the full story of Bossa Nova (for that, we might suggest the Trip To Brazil CD) – but a good compilation of rare tracks from the EMI/Odeon catalog, home to some of the best work ever recorded in Brazil! The set's got more than a few hits, but it also features a number of tunes that we've not had easy luck finding on CD – and at this price, the 20-track set's a great little set of bossa tunes whatever way you slice it! Titles include "Voce" by Milton Banana, "Samba De Verao" by Marcos Valle, "Corcovado" by Joyce with Gilson Peranzzetta, "Fotografia" by Sylvia Telles, "Copacabana" by Nana Caymmi, "Se Todas Fossem Iguais A Voce" by Lucio Alves, "O Barquinho" by Pery Riberio, "A Ra" by Joao Donato, "Vivo Sonhando" by Marcos Valle, "Ao Amigo Tom" by Doris Monteiro, "Meditacao" by Luiz Eca & Astor, "Amor Em Paz" by Dick Farney & Claudette Soares, "Samba De Uma Nota So" by Walter Wanderley, "Chega De Saudade" by Lelia Pinheiro, and "A Felicidade" by Agostinho Dos Santos.

One of the most beautiful albums we've ever heard from Mario Adnet – a set done with some great expanded orchestrations – and key help from guests who include Roberta Sa, Monica Salmaso, and Lenine! The tunes have this spacious, expansive feel that really lives up to the Amazon promise of the title – beautifully poetic, but with the orchestrations, full of fire too – in ways that really take us back to some of the best Brazilian scoring of the early 70s – especially that time when folks like Tom Jobim and Edu Lobo were really hitting their most sophisticated levels. Many numbers have vocals – from Roberta Sa, Vincente Nucci, Monica Salmaso, Lenine, and Mario himself – and titles include "Boto", "Rio Amazonas", "Canoa Canoa", "Trilhas Da Floresta", "Borzeguim", "Saci", and a killer vocal reading of Joao Donato's "A Ra".

A rare and beautiful treasure from Chicago's Phil Cohran and his legendary Artistic Heritage Ensemble – material recorded at the end of the 60s, but only issued here for the first time ever! The sound on the record is amazing – much deeper, and more forceful than anything else we've ever heard from Cohran – almost in Sun Ra Arkestra territory at times, given the group's out-there playing, and bold collective action! The lineup is similar to other Cohran recordings from the time – Phil on cornet, Henry Gibson on congas, Pete Cosey on guitar, Louis Satterfield on bass, Charles Williams on alto, Don Myrick on tenor, Charles Handy on trumpet, Willie Woods on trombone, and Aaron Dodd on tuba – a group that's a wonderful bridge between the two important Chicago generations headed by Sun Ra and Earth Wind & Fire. Armageddon is an extended piece, divided up into five different musical acts – conceived by Cohran in the late 50s, and recorded here in 1968 – with some great help from The Spencer Jackson Family on the leadoff track "Motherless Child". Other titles include "Creation Of The Beast", "The Warning", "The Window", and "Armageddon" – a clear reference to the power of the atom bomb!

The return of Demigodz – with guests Open Mic, Termanology, Scoop Deville, Panchi of NYGz, Planetary of Outerspace, Eternia and RA The Rugged Man. 16 tracks in all: "Demigodz Is Back", "Dumb High" feat Open Mic, "Never Take Me Out" feat Termanology, "Just Can't Quit" feat Scoop Deville, "Worst Nightmare", "Can't Fool Me" feat Eternia, "Dead In The Middle", "Raiders Cap", "Fallen Angels", "Tomax & Xamot", "Captain Caveman" feat RA The Rugged Man, "Audi 5000" and more.

The 3rd album by The Dining Rooms (in case you couldn't guess by the title!) – and the best so far! These guys have really matured from earlier outings – moving into a sophisticated realm of downtempo soundscapes crafted with a great deal of care, and which are put together with a lot more than simple tricks and gimmicks. There's loads of really solid tunes in here – sly numbers that sneak up on you with a subtle approach to the craft, gently burrowing in and taking root – somehow making the album that much more compelling overall. A number of tracks have some wonderfully languid vocals, some male and some female – and these tunes fall nicely next to instrumental numbers with a very evocative approach. Titles include "Anima Per Amarti", "Tunnel", "La Citta Nuda", "Fluxus", "Flamenco Sketches", "Dreamy Smiles", "You", "African Loungesters", and a nice cover of Sun Ra's "Astro Black"!

A gem of a record from trumpeter Jeremy Pelt – and like some of his other brilliant albums, a set that really has him sparkling alongside some sweet Fender Rhodes! Pelt's trumpet has always been great – but here, in the company of keyboardist David Bryant, it really seems to find some rich new colors – almost as if the keys open up a layer of Pelt that's been hiding for years – set free to really soar and flow here. Bryant also plays some Hammond and clavinet as well, and other Fender Rhodes and keyboard work is by Frank LoCrasto – and the group also features Roxy Cross on soprano and tenor, Burniss Earl Travis on bass, Dana Hawkins on drums, and Jeffrey Haynes on percussion. Both Ra Re Valverde and Angela Roberts each sing on a track – and titles include "Reimagine The World", "Boom Bishop", "Butterfly Dreams", "Pieces Of A Dream", "Meditations On A Conversation We Had", and "Mystique".

One of the boldest albums ever recorded by trumpeter Dizzy Reece – a session recorded in Paris in 1970, with some amazing tenor sax from the great John Gilmore! The pairing of Reece and Gilmore is a bit of a surprise – a strikingly avant choice for the former, and a rare date away from Sun Ra for the latter – but the album really has the players coming together wonderfully, in ways that really spark a whole new sense of sound from Dizzy! The trumpeter's solos are filled with fire and imagination – really stretching out here in ways that aren't as totally free as the BYG/Actuel French work of the time, but which definitely leans that way in spirit. Other players include Siefried Kessler on piano, Patrice Caratini on bass, and Art Taylor on drums – and the tracks are all long, and plenty darn driving! Titles include "Summit", "Krisis", "Communion", and "Contact".

An amazing look at the earliest years of one of our favorite jazz musicians ever – a massive 4CD set that goes way beyond Pharoah Sanders' famous first album for ESP! The box is filled with great music, but is also an historical document too – as it offers up some interview snippets, alongside material that has Sanders working in the Don Cherry Quintet, the Sun Ra Arkestra, the Paul Bley Quartet, and his own group as well! CD 1 features material from January 1, 1963 – recorded with a Don Cherry group that features Sanders on tenor, Joe Scianni on piano, David Izenzon on bass, and JC Moses on drums – plus a May, 1964 date with a Paul Bley group that features Sanders, Izenzon, and Paul Motian on drums! CD 2 features a famous group led by Sanders – with Jane Getz on piano, Stan Foster on trumpet, William Bennett on bass, and Marvin Patillo on drums – on the titles "Bethera" and "Seven By Seven". CDs 3 and 4 feature material from December 30 and 31st, 1964 – a famous performance with Sun Ra and Black Harold – one that seems to be expanded from the previous release, presented with both mono and stereo tracks. Titles include "The Second Stop Is Jupiter", "We Travel The Spaceways", "Dawn Over Israel", "Gods On Safari", "Space Mates", and "The Voice Of Pan". And yes, some of this stuff's been on the market before – but the package also features interviews with Sun Ra, Pharoah Sanders, and Don Cherry – plus a nice booklet too!

Brilliant work from Jimi Tenor and his Kabu Kabu group – an incredibly righteous set that's easily the best we've heard so far from the soulful ensemble! In addition to the spiritual jazz vibe of before, the group's also picked up some influences from African soul and jazz too – not just standard Afro Funk, but also some Ethiopian and Egyptian elements too – folded into Tenor's music like some mad meeting between Sun Ra, Fela Kuti, and Mulatu! Jimi's at the lead, handling tenor, flute, and a host of weird instruments – and the ensemble is heavy on percussion and horns, including some great trumpet work from Jukka Eskola of the Five Corners Quintet. Despite the monochromatic cover image, the album's got a really rich sound – a deeply soulful, deeply spiritual vibe that's totally wonderful – served up on titles that include "Grind", "Mogadishu Ave", "Mega Roots", "Aligned Planets", "Mystery Spot", "Floating Orange", "Fast Legs", "Higher Styx", and "Magical World".

A really cool compilation of late 50s outer space obsessive pop, rockabilly boogie, and groovy space age jazz numbers – wild numbers from the decade before we set down on the moon! The numbers are mostly from the end of the 50s – age of black & white flying saucer attack movies and cold war hysteria – and it's filled with seedy and spacey little numbers that clearly influenced a generation of cheeky rockers to come. Martian honky tonk numbers, theremin enhanced instros, early Sun Ra cosmic jazz, echoey surf rock, and so much more! 27 tracks in all: "Blast Off" by The Jimmie Haskell Orchestra, "Saturn" by Sun Ra, "In The Bible" by Flying Saucers, "Martian Band" by Wildtones, "Moon Moods" by Samuel J Hoffman, "Space Storm" by Col Frank Erhardt and more.

This is Soul Jazz's masterpiece suite of US independent soul jazz stuff from the seventies. This thing's a monster, and is almost a seventy minute non-stop ride through the heady side of American jazz by great artists like Sun Ra ("Space Is The Place"), Art Ensemble of Chicago ("Theme De Yoyo"), Steve Reid ("Lions of Judah"), and Marcus Belgrave ("Space Odyssey"). A compilation as legendary as the artists it includes.

A rare non-Sun Ra session from bassist Ronnie Boykins! Boykins was one of Ra's most long-term players – a key part of the Arkestra for many years – but on this album, he hits a totally different sound –and one that's somewhat spiritual as well! The group's got a great sax-heavy sound that comes from a trio of reedmen – Monty Waters, Joe Ferguson, and James Vass – handling alto, tenor, soprano, and flute between them – often in a tight line at the head, then breaking out into some wonderfully personal solos – played with such feeling that almost makes us think that Boykins was a much more sensitive musician than he ever got the chance to be with Sun Ra. The tunes have a really beautiful sense of structure and soul – and the reedmen explode beautifully with their work, alongside a remaining lineup that features Daoud Haroom on trombone, Art Lewis on percussion, and George Avaloz on congas. Titles include "Tipping On Heels", "The Third I", "The Will Come, Is Now", "Starlight At The Wonder Inn", and "Demon's Dance".

An excellent bit of funk that sounds a heck of a lot like early Kool & The Gang! It's no surprise, too, because the album was produced by Gene Redd, has a few Kool & The Gang covers (like "Funky Granny" and "Who's Gonna Take the Weight"), and was issued on the related Red Coach label. The group are head and shoulders above most other early 70s ensemble funk groups – and have a very tight instrumental approach that was only matched by a few other combos, like the early Fatback Band or K & The G. Tracks include "Gold Smoke", "Funky Granny", "Who's Gonna Take The Weight", "Mama Said-Papa Said", and "Funky Gene-Ra-Tion".

We've always loved the music of Paula Morelenbaum, but this time around she's really got something special going on – thanks to keyboards and vocals from the legendary Joao Donato! Most of the tunes in the set are Donato numbers – themselves already a treat, but given a little something extra when handled by the master – as Donato's playing both electric and acoustic piano on the set! But maybe even more special are Joao's wonderful vocals – heartfelt and nicely wizened with age – making for a warm contrast to the more youthful modes of Paula. The arrangements are in that perfect Donato mode – light and lively, but never too wispy – and titles include "A Ra", "Cafe Com Pao", "A Paz", "Tudo Tem", "Entre Amigos", "Mentiras", "Ahie", and "Lugar Comum".

An early gem from Ghana legend Ebo Taylor – a smoking little set with a really hypnotic feel overall! The tracks here are all nice and long – and build energy with kind of a minimal layering of sound – an approach that's different than some of the longer Nigerian jams you might know from the time, but with a style that's equally compelling – especially give the great use of guitar and keyboards! These instruments are heard to best effect on the sublime "Peace On Earth" – a tune that features this wonderful other-worldly electric piano – ringing out with tones that are almost vibes-like at times, and which almost have a Sun Ra-ish sort of quality. Also great is "Atwer Abroba" – a tune with some funky horns riffing along with the tight percussion, and captivating vocal refrains over the top. The title cut, "Twer Nyame", has wonderfully chromatic guitars – really let loose, and allowed to build slowly – creating this warm electric energy on the tune!

Moody mellow vocals and lots of spare sounds – a really compelling collaboration between singer Greta Aagre and keyboardist Erik Honore! Honore plays a variety of instruments on the record, but his best contribution here is "samples" – bits of sound that are usually filtered down from acoustic sources, and delivered with a slightly skittish feel – never over the top, but kind of textural – in a way that nicely offsets the warmer qualities of Greta's vocals. Most tunes are relatively atmospheric, and draw energy from contributions on trumpet, guitar, and percussion from a few different guest musicians – on titles that include "Rope", "Before Betrayal", "Year Of The Bullet", "Move To Strike", "Home", "Stateline", and "Birth Mark".

Spare sonic textures and mellow musical moments from Eivind Aarset – a great session for ECM, and maybe one of his most compelling records in years! This ECM album has a feel that's a bit warmer than some of Aarset's previous work for the Jazzland – not in a way that's commercial at all, given that the music is still pretty darn abstract – but just somehow more organic – in ways that almost feel acoustic at points, even though most of the instrumentation is electric – possibly because of these bass-heavy shapes that often move at the back and bottom of the mix. Eivind plays guitars, electronics, samples, and percussion – with help from Jan Bang on dictaphone and additional samples – on titles that icnlude "The Beauty Of Decay", "Homage To Greene", "Black Silence", "Close", "Reactive", and "The Whispering Forest".

Vintage work from this overlooked group from the New York scene of the 80s – an all-star lineup that features Ahmed Abdullah on trumpet, Marion Brown on alto sax, Billy Bang on violin, Sirone and Fred Hopkins on bass, and Andrew Cyrille on drums! The tracks are long, and there's a loose, open feel that recalls the loft jazz generation – but an overall sound that shows the new strength and focus that some of these players were really hitting at the time – that sharper vision that you'd get during the early years of Black Saint/Soul Note – yet presented here in a style that's much more spontaneous overall! Brown and Bang are especially nice – some of the sharpest corners of this sextet – and titles include a great reading of "Goodbye Porkpie Hate", plus "La Placita", "Shift Below", "Joann's Green Satin Dress", and "Amanpondo". Great booklet too – with loads of notes and historical information!

This former member of the Rena Rama group steps out in a loving tribute to Don Cherry – who was himself an importance force on the Swedish scene at the same time as Aberg's earlier fame! The album's got a slow-building quality that reminds us a fair bit of the Cherry of later years – a great sense of space and sound, and one that really benefits from an expanded lineup of musicians on the set. Some tracks are quite laidback and atmospheric, but the best ones are fuller and more driving – and apart from drummer Peter Erskine, Palle Mikkelborg also plays the role of Cherry on trumpet on a medley of tracks from Don's Relativity Suite! Titles include "Arthur", "Rain", "Amarone", "Kashmir", "Folkvisa", "In Memoriam", and "Tantra/Mali Doussn'Gouni/Desireless".

A beautiful second record from Abiah – warmly wonderful material that's as sensitive as a singer/songwriter set, yet also has a deep sense of soul as well! Vocals and piano are wonderfully intertwined – in a mode that has the depth of jazz, yet the focus of soul music as well – often handled at a gentle pace, but with a flow that really holds us rapt throughout – with an acoustic vibe that's somewhere in a space between Bill Withers and Joan Armatrading. Abiah is an artist who previously recorded for Universal under his first name, Jeremiah – but he sounds even more wonderful here, and the shift to using his last name is definitely a good choice for this next chapter in his music. Titles include "This Time", "Goodbye", "Foolish Heart", "September", "Turn The Light On", and "Life As A Ballad".

Mid 80s soul from Detroit's Colonel Abrams – One of the first artists to take the then burgeoning house sound into the mainstream – paired up with nicely grooving modern soul vibe! Includes the his "Trapped" and "I'm Not Gonna Let", with those bright and bumping synth melodies and relentless house influenced beats underneath vocals and songwriting that helped get it over with the chart ready contemporary soul scene – plus the solid ballad "Never Change", "Over & Over", "Speculation", "The Truth", "Table For Two" and more. This CD version includes 4 bonus tracks: 12" mixes of "Trapped", "I'm Not Gonna Let You", "The Truth" and "Over And Over" – plus the non album track "Music Is The Answer".

A beautiful date from bassist Josh Abrams – a player who's lent his soulful talents to so many great Chicago sessions over the past decade or two – really coming into his own as a leader! Josh has this deeply spiritual approach to his instrument – a style that, back when he first started making waves in Chicago in the 90s, nobody else was really handling that well – a mode that goes back to older players like Malachi Favors, Larry Ridley, or even Bill Lee – all of whose 70s work would be a good comparison for Abrams' energy. Here, he really shows his rich vision, and unfolds some excellent original compositions – tunes that have an airy spirituality, and which are played beautifully with like-minded Chicagoans – a quartet with David Boykin on tenor, Jason Adasiewicz on vibes, and Frank Rosaly on drums. The vibes and bass are especially wonderful together – and titles include "Bottom Goes The Moon", "Unknown Known", "Settle Down", "Look Through It", and "Leavening".

One of the most beautiful albums ever recorded by this legendary AACM pianist! The album was a rare Japanese-only session from 1975, but recorded in Chicago – and it features Muhal playing solo – in beautifully warm spiritual tones that are very different from his playing on many other albums from the time. The work is wonderfully introspective, showing a whole new side to Abrams' genius – the sensitive, contemplative keyboardist who occasionally emerges during some of Abrams' larger group sessions, but who usually gets pushed back in the fray of larger instrumental interplay. The whole album's extremely beautiful, and it's darn near impossible to find in the original! Tracks include "Afrisong", "The Infinitive Flow", "Hymn To The East", "Roots", and "The New People".

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

The cover's a bit cheesy, but the record's a great one – stunningly spiritual jazz from saxophonist Idris Ackamoor, and a set that really lives up to his soulful fame from the 70s! The record has a similar vibe to some of Ackamoor's recordings with The Pyramids – very well-crafted work that's filled with a rich spirit and lots of freely creative energy – often moved by rhythms that are warm and flowing, and recorded with a sound that's much more 70s than you'd guess from the date of the recording. Idris plays alto sax, and other group members include Art Hirahara on electric piano, Baba Duru on percussion, Destiny Muhammad on harp, and Fred Harris on drums. Some tracks have vocals – sung beautifully, in a really Strata East sort of way – and titles include "Our Voices", "Beckoning", "Libation Song", "Island Dance", "Move Towards The Light", and "Centurian".

Wonderful work from Idris Ackamoor – a great indie set that we'd rank right up there with some of his best recordings of the 70s! The group here is only a quartet, but there's a richness to the sound that's really amazing – a soaringly soulful style that often feels like Idris is working with a larger group – especially given the bold, righteous sound of the music! The rhythm trio is wonderful – Fred Harris on piano, Mark Anthony Williams on bass, and Al Marshall on drums – and Idris plays alto sax throughout, with a sharp edge and fluid tone that shows lots of growth since the 70s. Daria Nile and Rhodessa Jones sing on a few tracks – bringing a nice sort of Strata East vibe to the record – and titles include "Idrissa's Dream", "Topanga", "You", "A Child's Lament", "Spiritual Rebirth", and "A Prayer For Changing Times".

A great group – much better than their name! Forget the "dub" part – because there's no reggae jams, or bargain basement Kingston sounds on here. Instead, the group's a really warm and jazzy combo – a quintet of 5 Japanese musicians, all playing in a lovely, laidback fashion. The instrumentation includes flute, violin, acoustic guitar, bass, and percussion – and the style is a gentle blend of bossa, jazz, and acoustic swing – really sparkling with a fresh take on all the genres, and coming together with a confidence that's really compelling. A really lovely little record – almost lost in the wash of current work – and packaged here with a bonus CD of remixes! Titles include "Ama No Hamaguri", "Sayonara No Kodoma", "Sabara", "Ham & Egg", "Musik Liebe & Daisy", and "Rensa Hannoh" – plus remixes by Daishi Hisakawa, Takeshi Habu, Gak Sato, and Paine.

Finally – the complete story of The Ad Libs – a group known for their classic singles of the 60s, but one who never issued a full-length album of their own! This great little set more than corrects that fact – by bringing together 9 rare singles for the Blue Cat label, plus another 14 previously unissued tracks – including some rare acapella demos, alternate versions, and tracks that never made it onto vinyl back in the 60s! The issued singles alone are great – a beautiful blend of one gal and four guy singers, handled with a style that's on the rougher edge of the New York style of soul at the time. And when you hit the demo material, the vocals really take off – since there's no studio instrumentation at all, and the harmonies are left to handle all the rhythm and melody chores as well. These demo tracks are really wonderful, with a feel that's almost like old school vocal harmony soul – and have us respecting the group even more than ever. Titles include "Kicked Around", "Ask Anybody", "On The Corner", "The Slime", "Johnny My Boy", "I'm Just A Down Home Girl", and "The Boy From New York City" – plus "You'll Always Be In Style", and demo versions of "Strange Things", "The Tide Has Turned", "Santa's On His Way", "Oo Wee Oh Me Oh My", "Come On & Help Me", and "Kicked Around".

An obscure late 50s gem from Pepper – a stripped-down quartet session that has him blowing in a very open-ended mode – quite a difference from some of his more tightly arranged sets! The feel's a bit like Pepper's work with Donald Byrd, but even more openly swinging – played by a quintet that includes Stu Williamson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass, and Mel Lewis on drums. Tracks are all long and fresh – and the record's almost got the feel of a great Prestige blowing session from the time. Pepper's work on baritone is jaw-dropping throughout – and titles include "Unforgettable", "Baubles Bangles & Beads", "Freddie Froo", and "Muezzin".

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

Excellent analogue electronics by this groovy modern combo! The record reminds us of some of our favorite late 60s compilations of tracks from the obscure electronic music centers of American universities – with loads of bubbling, fuzzing, and repetitive wave forms. Tracks include "Inevitable Fast Access", "Aphine Repetition", "A Very Uncomfortable Status", and "Meetings In Compact Boxes".

A totally great set by Cannonball Adderley – one of his funkiest albums ever, recorded live at Operation Breadbasket under the supervision of Jesse Jackson, and a session in which the band is cooking a lot more than on some of their other albums from the time! The set grooves hard with some tight electric piano from Joe Zawinul – amazing snakey lines that not only set the tone for the whole record, but which really make for a strong evolution from the Mercy Mercy Mercy era of the group a few years before. Cannon's alto and soprano work are beautiful – a masterpiece of soul jazz expression – as is the cornet from brother Nat – and the group's completed by bassist Walter Booker and drummer Roy McCurdy. The album's a bucketful of great jazzy sample tunes – and tracks include "Walk Tall", "Country Preacher", "Hummin", and the extended "Afro-Spanish Omlet".

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

A 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 in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – 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", and a nice moody take on "Dancing In The Dark".

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 in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – 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", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle".

4 early Cannonball Adderley albums on 2 CDs! The package is a brilliantly put-together look at Cannon's early style – forged at Mercury in the years before he settled into soul jazz fame in the 60s, a mix of hardbop styles that shows his genius even as a young player, working with players that include brother Nat Adderley, Junior Mance, Jimmy Cobb, and Sam Jones, as tight a combo as Cannon had in the 60s, and a bit more versatile too! The set features a total of 36 tracks, some great notes, and a wealth of excellent titles that will have you rediscovering why you like Cannonball Adderley all over again! Titles include "Bimini", "Porky", "Another Kind Of Soul", "Jubilation", "Our Delight", "Stay On It", "Fuller bop Man", "That Funky Train", "Sam's Tune", "Miss Jackie's Delight", and "Cobbweb".

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

A strong showcase for young Nat Adderley's talents on cornet – and an album that's got a different feel that his work with his more famous brother's combo at the same time! The style here is simple – Nat blowing with 2 different quartets – one with Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums (all from Cannonball's group) – the other with the rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Despite's Nat's reputation as a gutbuckety soul jazz player, he actually gets in some nicely lyrical licks in this set – blowing in a soulful modern style that almost recalls the work of Carmell Jones at times! Titles include "Chloe", "Images", "Scotch & Water", and "Naturally".

One of the best-ever Nat Adderley albums, and a damn funky set of tracks that has a tight soulful feel! The session's got a similar feel to some of the other rare late 60s Milestone albums (like the 2 killers by Bobby Timmons!) – especially in that it's got a group that plays with the fullness of a larger ensemble, and who race in and out nicely, to support the funky solos of the leader. Of course, some of the other players are pretty darn nice in the solo department too – like Joe Henderson on tenor, Jeremy Steig on fluge, and Joe Zawinu on piano – and they also manage to keep a tight rhythmic groove throughout. Titles include "The Scavenger", "Sweet Emma", "Rise Sally Rise", and "Menlat".