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One of the first albums ever from the team of Jackie Caine and Roy Kral – and one of the best, too! The album's got a relaxed, open-ended approach to jazz vocals that already carries all the hallmarks of the Jackie & Roy style – wordless scatting on some tunes, playful lyrical interplay on others, and a focus on Jackie's ballad talents on some of the gentler numbers – all wrapped up in small combo backing that's sensitive, creative, and modern – yet never in a way that overwhelms the vocals. It's hard to match the poise, class, and cleverness of this one – and the album easily set a new standard for vocal jazz in the 50s! Titles include a few great early tunes by Tommy Wolf – the songwriter who would become so important for the pair – and backing is by Roy on piano, Barney Kessel on guitar, Red Mitchell on bass, and Shelly Manne on drums. Titles include "Let's Take A Walk Around The Block", "You Smell So Good", "Listen Little Girl", "Spring Can Really Hang You Up The Most", "Bill's Bit", "Dahuud", "I Wish I Were In Love Again", and "Lover".

A rare European set from one of the greatest violinists in jazz – recorded at Café Montmartre in 1965, with a nicely swinging group that includes Kenny Drew on piano, Niels Henning Orsted-Pederson on bass, and Alex Riel on drums. Tracks have a similar groove to Stuff's 50s work on Verve, but perhaps have a bit more of an edge – as the whole thing's caught live, and with a good degree of spirit on the solos. Titles include "Blues For Timme", "My Blue Heaven", "Take The A Train", "C-Jam Blues", and "Mack The Knife".

It's hard to go wrong with Jackie & Roy at this early point in their career – and the sound here is completely sublime – unlike anything else we can think of! The album has the pair coming off their seminal early work with Charlie Ventura – working in a mode that's deeply informed by bop, and which has the singers hitting vocal lines that only the hippest of the 50s could match! Yet there's also a sweetness too – a style that sets them apart from the work of Eddie Jefferson, King Pleasure, or Jon Hendricks – especially given that some of the tunes have Jackie & Roy taking the lyrics straight, instead of riffing with an instrumental solo-inspired sound. Some cuts feature scatting, others vocalese, and still others offer great straight-up readings of the lyrics – and backing is by a small combo that features Roy on piano, Barry Galbraith on guitar, Bill Crow on bass, and Joe Morello on drums. Titles include "Slowly", "Thou Swell", "I Didn't Know What Time It Was", "Cheerful Little Earful", "Hook Line & Sinker", and "Yesterdays".

Rare work by Charlie Parker, recorded at Storyville Nightclub in Boston in 1953 – originally broadcast on radio station WHDH, and featuring Bird in a more open, relaxed style than his studio sessions. The recording quality is a bit dated, but the quality of the playing isn't – with extremely fresh solo work by Parker, and great supporting work by players that include Herb Pomeroy, Red Garland, Roy Haynes, Kenny Clarke, and Sir Charles Thompson. Titles include "Cool Blues", "Dancing On The Ceiling", "Groovin High", "Out Of Nowhere", "Moose The Mooche", and "I'll Walk Alone".

A great high-concept composition from Duke Ellington – one that rivals the earlier brilliance of his Liberian Suite! Like that one, vocals are a key part of this long-form work – a special performance done for the Century Of Negro Progress Exposition in Chicago in 1963 – with an all-star cast that includes Jimmy Jones both at the piano and conductor's stand; Joya Sherrill on vocals with the Irving Bunton Singers, Jimmy Grissom, Jimmy McPhail, and Lil Greenwood; Billy Strayhorn on celeste, Juan Amalbert on conga, and other familiar Ellingtonians in the larger group! The tunes have a mix of gospel and folk roots, turned towards more modern Ellington compositional modes – and almost all numbers feature vocals, including one with narration by Ellington himself. Titles include "Will You Be There", "Come Sunday", "David Danced", "Montage", "My Mother My Father", "My People", "The Blues Ain't", and "What Color Is Virtue". CD features 25 tracks in all – the first-ever appearance on CD of the entire performance!

A great great session from reedman James Spaulding – and way more than you'd guess from the title! Sure, the tunes are all Ellington numbers – but they're swung by James and a very hip group, in ways that are more open and soulful than most readings of the tunes – given a slight 70s spiritual undercurrent, as you might expect from the cover! Spaulding plays tenor flute, bass flute, piccolo, soprano, and tenor – the last two of which especially beautifully – and the group also features Cedar Walton on piano, Steve Nelson on vibes, Sam Jones on bass, Billy Higgins on drums, and Mtume on percussion! With a lineup like that, it's hard to miss – and the use of vibes is especially nice, and really helps shade in the tunes with some unique colors. Titles include "Lucky So & So", "I Love You Madly", "In A Sentimental Mood", "Come Sunday", "Sophisticated Lady", and "Caravan".

A pair of very different albums from John Tchicai – both hard to find, and brought together here on a nicely priced package! Strange Brothers is overlooked brilliance from reedman John Tchicai – a late 70s session recorded for the FMP label, and easily one of the most soulful sets on the imprint at the time! The album's a tremendous showcase not only for Tchicai's work on soprano, alto, and bamboo flute – but also for the hard-edged tenor of Simon Spang-Hanssen – a player we don't know well, but who really unfurls with a nice sense of force on the set – pushing John even more than usual! Rhythms are great too – very bold, but focused enough to provide a strong pulse on the record – almost a modal groove at times – thanks to work from Peter Danstrup on bass and Ole Romer on drums. Titles include "KW", "I En Kaelder", "Darktown Highlights", "Mao", "Increasing Cosmopo", and "Cloak N Dagger". Put Up The Fight is one of the most electric records we've ever heard from reedman John Tchicai – not on his own instrument, but in the use of guitar and keyboards in the set – sometimes in modes that are nicely rhythmic, other times quite abstract! Tchicai's tenor, soprano sax, and bass clarinet are definitely the main focus of the record – but the settings change nicely throughout, thanks to work from Bent Clausen on vibes, guitar, and keyboards; Peter Danstrup on electric bass and keyboards; and Ole Romer on drums, percussion, and more guitar! At some moments, there's almost a New York 80s avant vibe to the record – but at other times, things have the more soulful feel of Tchicai's older work. Titles include "Put Up The Fight", "Adieu Tristesse", "Mai Mai", "Yoke Them Johnny", "Colomentality", and "Barbe Better".

A beautiful little concept for a beautiful little album – a "duologue" in which Lee Wiley sings one track, then Ellis Larkins plays the next, and so on – making for a split LP, but one with a lot of variety along the way! Wiley sings on about two thirds of the tracks on the set – working with a small combo that features Jimmy Jones on piano, Ruby Braff on trumpet, Jo Jones on drums, and Bill Pemberton on bass – all of whom provide gentle accompaniment to Lee's traditionally styled vocals. Ellis Larkins plays piano on the rest of the tracks – solo, with that wonderful late nite style of his – an approach that's more complicated than cocktail piano, but a bit more laidback than straighter jazz. Wiley numbers include "My Heart Stood Still", "Give It Back To The Indians", "My Romance", "You Took Advantage Of Me", and "My Funny Valentine". Larkins numbers include "Perfume & Rain", "By Myself", "Looking At You", and "Then I'll Be Tired Of You".

Features Sahib Shihab on alto, soprano sax, and flute!

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions".

Hardly a prelude – as the album's a fully-formed, fully-stated set right from the start – easily one of the best moments ever for reedman John Stubblefield – and an overlooked spiritual classic from the 70s! There's a vibe here that rivals the Strata East scene at their best – no surprise, given that in addition to Stubblefield on tenor and soprano sax, the record also features Cecil Bridgewater on trumpet, Onaje Allen Gumbs on keyboards, Cecil McBee on bass, Joe Chambers on drums, and Mtume on percussion! The approach is quite different than the usual Storyville record of the 70s – with long-spun tracks all composed by members of the group – wonderful tunes that really give John a great chance to show the full range of his talents. Titles include "Song For One", "Minor Impulse", "Twelve For KD", and "What's Gonna Be Is Gonna Be".

A pair of overlooked trio dates from the 70s – packaged together here as a great little set! First up is the Prime Time album from Hugh Lawson – a killer date as a leader for this Detroit pianist we first came to love through his recordings with Yusef Lateef – an artist who possibly never got his due as strongly as so many others to come up in the late 50s/early 60s scene – but who sparkles here with a maturity that really comes through in his music! There's a deep feel to the record that really comes through in the choice of tunes – work by Charles Mingus, Clifford Jordan, and Sonelius Smith – not to mention a few of Lawson's own great tunes – and Lawson often has a Cedar Walton-like ability to play lyrically, yet still with a soaring sort of force. The trio features great rhythm from the team of Bob Cranshaw on bass and Ben Riley on drums – and titles include "Rip Off", "The Duke Ellington Sound Of Love", "The Highest Mountain", "Blue Bones", and "The Need To Smile" – plus some bonus alternate takes. Then Here & Now is a sparkling set from pianist Richard Wyands – and a great demonstration of that soulful flow he's really unfurled strongly in later years – captured here in an obscure trio outing from the late 70s! Wyands' is part of a small number of players who can be lyrical, yet forceful at the same time – a mode that we might link to the Cedar Walton school of piano – but which is voiced here with an individual approach that's definitely Richard's own – and swung with the perfect sort of groove by bassist Lisle Atkinson and drummer David Lee. Titles include the originals "Lenora" and "Yes It Is" – plus "Lament", "Never Let Me Go", and "Yesterdays" – plus some bonus alternate takes.

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions".

Beautifully moody work from singer Milli Vernon – a rare Storyville session from the mid 50s, cut with a relaxed, late nite feel – and backing from a small combo that includes Ruby Braff on trumpet, Jimmy Raney on guitar, and Dave McKenna on piano! The sound is very much in keeping with some of the better-known Storyville sessions of the period – done at a level that was quite similar to being in a small club in the wee hours, hearing a jazz singer open up in a relatively unfettered setting. Vernon's got a style that's somewhat mature and adult, but never too stodgy – and titles include "Moon Ray", "My Ship", "Spring Is Here", "Weep For The Boy", "This Year's Kisses", and "I Don't Know What Kind Of Blues I've Got".

Double drums – plus Wallace Roney on trumpet, Branford Marsalis on tenor and alto, Slide Hampton on trombone, and Donald Brown on piano!