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A flurry of early harmonica jazz recordings from the early 50s – mostly by a young Toots Thielemans, but also featuring a number of tracks from the lesser-known Les Thompson as well! The tracks by Toots are mostly European recordings, done at a time when he was first feeling out a space for his instrument in jazz – and years before he became THE player on his instrument, used in countless sessions, studio work, and soundtracks. All recordings were done in Europe, and include material by Toots' own group, plus performances under the leadership of Zoot Sims and Benny Goodman. Titles include "Nalen Boogie", "Red Devil's Boogie", "Harmonica Rag", "Toots Blues", "Happy Go Lazy", and "All The Things You Are". The last 8 tracks on the set all feature Les Thompson working during a live Gene Norman Presents date in Pasadena in February 1952 – most of which also includes performances by Conte Candoli, Dexter Gordon, and Wardell Gray – on titles that include "Undecided", "Lady Be Good", "I'm In The Mood For Love", "Stardust", and "Hot Harmonica".

A one of a kind record that still sparkles as brightly today as it did back in the late 60s – an amazing collaboration between Brazilian vocalist Elis Regina and Scandinavian jazzman Toots Thielemans – done in a style that easily makes it one of the best records ever from both artists! Elis is at the height of her jazzy late 60s powers here – working in a soaring, breezy sort of style – but one with a lot more depth and soul than some of her contemporaries. She brings a great deal of feeling to the tunes, but always without doing too much – and this leaves plenty of space for Toots to add his touches – on harmonica, guitar, and even a bit of whistling – which really sits in nicely with the grooves. The production and overall sound is sublime – one of those never matched again sort of studio dates – and titles include great versions of "Canto De Ossanha", "Wave", "Voce", "Wilsamba", "Five For Elis", "Volta", and "O Sonho".

A hip little rock group from the upstate NY scene – and heck, they had to be hip, to record on the Just Sunshine label! The sound here has a bit of a funky rock approach, colored by a Band-like hominess – but thanks to some strong famous guests on the session, the instrumentation steps out way past the vocals on the best numbers – with help from a crack lineup that includes Toots Thielemans, Tito Puente, David Sanborn, and the Brecker Brothers! The core group are great, too – with the same sort of tight rhythms and soulful vocals we loved from their previous release – and titles include "Vicious Circle", "Freewheelin", "Down To The City", "What Becomes Of Your Life", "Do It Like Ya Mean It", and "Whitecaps".

A real step forward for Quincy Jones – a record that really shows the jazzman moving into sophisticated new territory – a sound that's just right for the CTI generation! The album's got a vibe that's a bit similar to Quincy's Walking In Space album, but it's a lot deeper too – touched with some of the African elements you might guess from the title – arranged in ways that are often quite spacious, so that the tunes really take some time to find just the right groove! Backings are large, but show the leaner elements that Jones was bringing to his soundtrack work – and instrumentation includes vibes from Milt Jackson, marimba from Don Elliott, flute from Hubert Laws, soprano sax from Jerome Richardson, trumpet from Freddie Hubbard, trombone from Al Grey, and guitar from Eric Gale. Keyboards figure strongly – played by Herbie Hancock and Bob James – and special features include a bit of guitar and whistling from Toots Thielemans, plus some soulful vocals from Valerie Simpson. "Gula Matari" is an incredible 12 minute tribal groove – and other titles include a killer take on Nat Adderley's "Hummin", plus "Walkin" and "Bridge Over Troubled Water".

Definitely somethin groovy from Peggy Lee – thanks to backings from Ralph Carmichael, and instrumental solos from Toots Thielemans!

A really great, oft-overlooked album from the best period of Quincy Jones! This album is quite possibly Quincy's most farthest-reaching – as he works in an array of styles that really shows his growing genius in the studio – not just jazz and soundtrack modes, but more soul-based ones, handled with work from a great array of guest stars who really expand the sound. There's loads of nice bits – like a version of "My Cherie Amour", done with vocals by Leon Ware and Minnie Riperton; a new take on "Bluesette", redone with Toots Thielemans; and the original "Beautiful Black Girl", which features rapping by The Watts Prophets! Other tracks include "Paranoid", "Cry Baby", "Tryin To Find Out About You", and "Listen (What It Is)".

A great cubop revival date – one that has Mongo Santamaria working with the great Dizzy Gillespie – all really opening up on some long live tracks that go quite a bit farther than bop/Latin sets like this from the late 40s! The tracks are all nicely extended, with lots of room for solos – and other players include Toots Thielemans on harmonica, Doug Harris on tenor and flute, and Allen Hoist on alto flute and baritone – all great players who really make a lot out of the energy set down by Mongo. Titles include "Summertime", "Afro Blue", "Virtue", and "Mambo Mongo".

A great musical mystery – and one of Raymond Scott's jazziest albums of the 50s! The group on the session is Scott's "Secret 7" – a batch of unnamed jazz musicians, most likely playing here out of contract with other labels, hence the secret nature of their work on the album! In keeping with the nature of the original album, the players also aren't listed here – save for one undeniable talent, the mighty Toots Thielemans, who contributes some great sounds to the combo grooving on the set. The format is kind of a mixture of Scott's wilder arrangements from previous years, with some of the small chamber jazz work that was coming out of the east coast at the time – and although the record was originally issued on Top Rank, it's got a feel that's very much in keeping with much of the RCA sessions of the time. There's a few nice sound effects and studio tricks, but overall the real strength of the set comes from the instrumentation used – including Thelemans' harmonica, plus vibes, flute, and other more standard jazz instrumentation. Titles include "Waltz Of The Diddles", "Temptation", "In The Beginning", "A Message From Where", and "Quiet Entrance".

John Williams come back! All is forgiven! We'll hardly complain anymore about all those overblown top-selling scores after hearing this gem from the early 70s! The record is a treasure – completely unlike any work that Williams did in later years – quite possibly because the film itself is a quirky little love story, starring James Caan and Marsha Mason in the sort of offbeat "when losers meet" sort of film that could have only been made in the early 70s. Some of the tunes on the set are nicely funky – almost in a Lalo Schifrin way – and others are mellow, but nicely moody, in a really understated scene-setting style that's great. Toots Thielemans plays some great harmonica on a few of the mellower cuts, and Paul Williams sings vocals to 3 of the tracks on the set, all contributed by him. Titles include "Wednesday Special", "New Shooter", "Boxing Montage", "The Ferry Ride", "Neptune's Bar", "Nice To Be Around", and "Maggie Shoots Pool".