The trio here is a great one – Mulgrew Miller on piano, Reggie Workman on bass, and Freddie Waits on drums – joined by some great alto from Oliver Lake! CD

The trio here is a great one – Mulgrew Miller on piano, Reggie Workman on bass, and Freddie Waits on drums. CD

Some of the best work ever recorded by bassist Paul Chambers – one of the greatest bass players in jazz! This excellent 3CD box set features the bulk of albums that Paul Chambers recorded for Blue Note as a leader, plus an earlier gem recorded for the Imperial label, and another session for the Transition label. Together, the records give an incredible picture of Chambers' work – showing why most jazz players of the 50s regarded him as one of the most important forces on his instrument, and why Chambers had some unique talents that made him one of the few bassists to regularly record albums as a leader. Players on the albums include John Coltrane, Kenny Burrell, Donald Byrd, Clifford Jordan, Pepper Adams, and Curtis Fuller – and the albums include Chamber's Music, Whims Of Chambers, Paul Chambers Quintet, Bass On Top, and Transition Session. 32 tracks in all! CD

3 rare hardbop sides – issued together as one great 2 CD set! The album features work from 3 records first issued by the short-lived Transition label from Boston – Byrd's Eye View and Byrd Blows On Beacon Hill, both by Donald Byrd (in case you couldn't guess!), and Watkins At Large, one of the few albums ever issued by hardbop bassist Doug Watkins. The feel of the material is great – totally on a par with the Blue Note hardbop work of the late 50s, and featuring many players in common with those recordings – Hank Mobley, Horace Silver, Art Blakey, Duke Jordan, and Art Taylor. The 2CD set features 17 tracks on all, and it's the first time the material's been made available to the US market at an affordable price! Titles include "Return To Paradise", "El Sino", "Doug's Blues", "Crazy Rhythm", "If I Love Again", "What's New", "More Of The Same", and "Phinupi". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

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

One of the best pre-1960 sessions by Cecil Taylor, recorded in Boston in 1956, and originally issued on the totally rare Transition label in a very small pressing! Taylor's playing here with the great bassist Buell Neidlinger, one of his prime compatriots in the early days, plus the great drummer Dennis Charles – and a young Steve Lacy also adds to the group on a few tracks, making one of his most striking early appearances on record! The session's a great way to hear Taylor's development at the beginning, as it includes a number of jazz standards – like "Azure", "Sweet & Lovely", and "Bemsha Swing" – all given an off-kilter twist by Taylor and group. This is probably best heard on one of the album's highlights – a nine minute solo reading of Cole Porter's "You'd Be So Nice To Come Home To", with a quality that's unlike anything else we can think of! CD also features 3 bonus tracks recorded live at the Newport Jazz Festival in 1957 – "Nona's Blues", "Tune 2", and "Johnny Come Lately" – all nice and long, and all representing Cecil Taylor at a similar point in his career! CD

Something of a "lost" album from Sun Ra – material initially intended as his second album for Transition records in the 50s, but not issued until a decade later when Delmark Records was first putting the Chicago underground on the map! The sound here steps out nicely from the first Transition session – and Ra is already a bit bolder, not just in his structure of the songs, but in the way he handles his piano – with some darker notes and tones, more exotic phrasing, and even some very early use of electric piano – already with the haunting qualities that would show up more strongly in the Saturn years. Every member of the group is wonderful too – each with their own voice, spoken strongly and freely – in a lineup that includes Art Hoyle and Dave Young on trumpets, Julian Priester on trombone, Pat Patrick on alto and baritone sax, John Gilmore on tenor, Charles Davis on baritone, Victor Sproles on bass, William Cochran on drums, and Jim Herndon on tympani and timbali. Titles include "El Is A Sound Of Joy", "Overtones Of China", "Ankh", "Two Tones", "Saturn", "Reflections In Blue", and "Planet Earth". CD features 2 bonus tracks – "As You Once Were" and "Dreams Come True" – with vocals by Clyde Williams. CD

Sun Ra's first album as a leader – originally issued on the Transition label, but presented here in its better-known incarnation by Delmark Records! Even at this early point, Ra had a sound unlike any of his contemporaries – large group and modern, but not in a way that showed any similarities to work going on in New York or LA – a voice that was all his own, and already quite boldly stated, even in these early years! The format might be somewhat familiar – an ensemble with horns and rhythm – but the overall execution really starts to open up as the album moves on – with odd phrasings, timings, and unusual moments that live up to all the promise you might expect from Ra. Even Mingus and some of his better-known contemporaries weren't heading in these directions in the mid 50s – and the record is a proud showcase of the freedoms that players were often accorded in the less-trafficked Chicago scene of the time. Horns include Art Hoyle & Dave Young on trumpets, John Gilmore on tenor sax, Pat Patrick on baritone, Julian Priester on trombone, and James Scales on alto sax – and rhythm includes Jim Herndon on tympani, Robert Barry on drums, Wilbur Green on electric bass, and a young Richard Evans on acoustic bass! Titles include "Brainville", "Call For All Demons", "Transition", "Lullaby For Realville", "Street Named Hell", "New Horizons", "Fall Off The Long", "Possession", and "Future". This CD reissue is really well-done too – with pages of writings by Ra, including some poetry! Also features the bonus track "Swing A Little Taste". CD

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

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Spiritual, soulful, and oh, so beautiful! This record captures Earth Wind & Fire at a perfect transition moment – when they've still got some of their avant jazz roots, but are leaning towards the smooth soulful funk sound that put them on the charts a few years later. The whole thing's a wonderful mix of spiritualism and funky jazz – and it includes their massive cover of "Mighty Mighty", plus a lot of tracks with cool instrumentation, like "Kalimba Story", "Drum Song", and "Caribou". Great jazzy groovers, all of them! Contains 4 previously unissued tracks – "Ain't No Harm To Moan", "Step's Tune", "Dreams", and "Fair But So Uncool (Walkin In N'Awlins mix)". CD

A seminal record in the transition from the funky 45 underground to the world of the full length LP – a record we'd put right up there with early classics by The JBs and Kool & The Gang! As with the latter, Fatback Band grew up first getting some great play on instrumental 45s – and right out of the gate, they set this on fire with the same sort of energy – impeccable instrumentation that needs to be heard to be believed – all live, all pre-sampling, but with a quality that's gone on to transform the worlds of funk, soul, and hip hop over the decades! Every cut is great, and the album's a non-stop party – with titles that include "Nija Walk", "Fatbackin", "Soul March", "Soul Man", "Kiba", "Clap Your Hands", "Gotta Have You", and "Baby Doll". CD

This series keeps on getting better and better – and this fourth installment may well be the best illustration to date of the birth of soul music! As hinted by the title, the collection features tracks from the late 50s and early 60s that marked a key transition from earlier R&B and blues into soul music – work that pulled a bit more strongly from the church than some of its predecessors, and which also put over a groove that was a bit more sophisticated, sometimes a bit more polished – all to set the stage for the huge soul music explosion to come later in the 60s! A number of the artists here are familiar from R&B years, but they're represented by tracks that show a real change in their styles – and others are known from later successes, but stand out here with early work that's a lot more formative – making them a perfect choice for the collection. CD features 24 tracks in all – including "Come On & Stomp" by Marv Johnson, "Lil Valley" by The MMs & The Peanuts, "Bossa Nova Baby" by Tippie & The Clovers, "Irresistible You" by Bobby Peterson, "Take Your Heart" by Betty Willis, "Puff" by Kenny Lynch, "Jack Be Nimble" by The Intruders, "A Clock That's Got No Hands" by Della Reese, "I Came Running" by Wade Flemons, "You'd Be Crying Too" by The Matadors, "The Gypsy Said" by The Fiestas, "Please Don't Cry Anymore" by Ketty Lester, "Pretty Little Girl Next Door" by Bobby Day, and "Trouble I've Had" by Clarence Ashe. CD

A wonderfully wide-ranging tribute to the great John Coltrane – served up here in a whole host of tracks recorded after his too-early death, each of which take his musical message in different directions! The sound is certainly spiritual – in keeping with the different volumes in this long-running series – but there's a nice mix of expressions and instrumentation, offering up a journey into John Coltrane's important influence on so many different spheres of jazz – far more than you might expect! And this isn't just a set of Coltrane remakes or covers, either, as new songs are mixed with familiar ones – in a well-chosen batch of tracks that includes "Trane" by Carmelo Garcia, "Transition" by Malachi Thompson, "John Coltrane" by Clifford Jordan, "Naima" by Darwin Strickland Trio, "Terre Engloutie" by Gilles Torrent Jazztet, "To Trane" by Carsten Meinert Kvartet, "Welcome" by Norman Connors, "Ole" by Sonny Fortune, and "Naima" by Jack McDuff. CD

A seminal collection of work by one of the earliest figures in southern soul of the 60s – the amazing Arthur Alexander, a key link between 50s R&B and many years of great music to come! The CD features most of Alexander's early 60s recordings for Dot Records, including previously unissued numbers – some of the first soul sides to come out of the Muscle Shoals scene, most of which were recorded by a young Rick Hall. Alexander's voice is quite different than many other southern singers in years to come – but that's the great thing about these recordings, as they allow you to hear the genre in transition – with a sound that didn't just leap out of the minds of a few talents at Stax or Atlantic. CD features 21 tracks in all – titles that include "Black Cat", "You're The Reason", "Anna", "After You", "Where Have You Been", "A Shot Of Rhythm & Blues", "Detroit City", "Go Home Girl", "Keep Her Guessing", and "I Hang My Head & Cry". CD

Three late recordings by the classic quartet – Coltrane on tenor, McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Titles include "Transition", the 20-minute-plus "Suite", and "Untitled Original 90314". CD

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". CD

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

The classic quartet of John Coltrane, certainly the classic quartet of the 60s jazz scene and perhaps the classic jazz quartet of all time, compiled in one box set with all of their studio recordings! John Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones set so many benchmarks for jazz with their envelope pushing style, recording and performances that it's impossible to overstate their importance in the modern musical oeuvre. This set features all of the LPs Coltrane, Ballads, Impressions, Live At Birdland, Crescent, A Love Supreme, The John Coltrane Quartet Plays, Kulu Se Mama, Transition, Sunship, Infinity and First Meditations, plus a number of tracks issued on compilations. 66 tracks in all, spread out over 8 CDs, in a beautiful bookbound package with a metal slipcase and extensive liner notes. The titles are too numerous to list here, but the set includes "Big Nick", "Soul Eyes", "Miles' Mode", "Tunji", "After The rain", "Lonnie's Lament", "The Drum Thing", "Wise One", "Crescent", "A Love Supreme", "Nature Boy", "Brasilia", "Song Of Praise", "Dear Lord", "The Last Blues", "Living Space", "Dusk Dawn", "Dearly Beloved", "Attaining", "Ascent", "Amen", "Love", "Compassion", "Joy", "Consequences", and "Serenity". CD

A nice set – despite being kind of a put-together batch of tunes! The album's titled "The Last Trane" because it represents the last material that Prestige Records had in its vault from the time that John Coltrane was recording for the label in the late 50s. Titles were recorded on 3 different dates from 1957 and 1958 – mostly with Red Garland on piano, and also featuring some additional horn work by Donald Byrd on 2 tracks. The album's got a great spare track called "Slowtrane" – one that features Coltrane playing with only bass and drums for accompaniment – and which recalls the genius of some of his sessions for Transition or Imperial. Byrd's blowing alongside the tenor on versions of "Lover" and "Come Rain Or Come Shine" – and the set's rounded up by a nice open-ended track called "By The Numbers", which has a warm bluesy solo by Trane! CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD

The first-ever CD issue of a range of material from this ultra-hip group – all tracks that originally appeared on vinyl-only releases, now making their CD debut in an overstuffed collection that features 24 tracks in all! The vibe here is great – that Karl Hector & The Malcouns mix of deep funk instrumentation and various global elements – almost an imagined version of 70s sounds from Africa and the Mid East, but served up with the sensibilities of a deep funk combo – which is what they are, given that the group is just the Whitefield Brothers and Poets Of Rhythm, working here under another one of their many names! Yet the instrumentation is quite different than those other acts, too – much more rootsy and filled with a lot of organic percussion and other global elements – as you'll hear on titles that include "Shangold", "Leealah", "Roads Of Otumpa", "Tamanrasset", "JB Rip", "Irtijal", "The Cave", "Orange", "Transition X", "Medium Rare (part 1)", "Beyond Squares", and "Coomassi". CD

The Movers were one of the all-time great groups on the South African scene at the start of the 70s – a tight little combo who originally began with an organ-heavy groove, then one who picked up some mighty soulful singers as the years went on! At the start, the group were maybe a South African take on territory of The Meters and Booker T & The MGs, but within a few short years they also hit more righteous territory that had them stepping out to be a voice of pride and power on the scene – a transition that's captured perfectly here in a really well-chosen array of cuts! Analog Africa really outdid themselves here – going to great lengths to tell the group's story, and provide some of their best cuts from the first years of their existence – in a smoking set list that includes "Soul Crazy", "Give Five Or More", "Gig Soul Party", "Hot Coffee", "Kudala Sithandana", "Oupa Is Back", "Ku Ku Chi", "2nd Avenue", "Six Mabone", "Plenty Time", and "Soweto Inn". CD

A key moment of transition for Prince – a set that's got him toning down the longer-haired look of previous records, and going for the new wave sense of style that would help him cross into many audiences in years to come! Controversy still has Prince singing to the already-converted, but the record's full of moments of stardom to come – blending the open sexuality of his previous records with an even sharper sense of hook and tunefulness! There's a slight touch of politics here, hinted at by the cover – but the driving force is the desire of the man himself, as he performs and produces himself on titles that include "Controversy", "Jack U Off", "Do Me Baby", "Let's Work", "Annie Christian", "Ronnie Talk To Russia", and "Sexuality". CD

A beautiful soundtrack to the dark British comedy of the same name – starring a young Michael Caine! You might expect it to be a bit schmaltzy, but it's pure jazz all the way through, and features strong inside playing by Rollins over lively orchestrations by Oliver Nelson – filled with moody colors, great changes, and a vibrant sense of energy that's far deeper than the actual film! The group includes Phil Woods, Kenny Burrell, and J.J. Johnson, and they swing hard on all tracks. Titles include the 10 minute workout of "Alfie's Theme", plus a shorter "Differently" version" – plus "On Impulse", "Transition Theme", and "He's Younger Than You". Nice stuff throughout, and much more of a jazz album than a soundtrack! CD

Features Seamus Blake on tenor saxophone. CD

Featuring Tiffany Austin and Mads Tolling CD

... CD

One of Art Blakey's first true moments of genius! This transitional version of the Jazz Messengers included two parts – Lee Morgan and Bobby Timmons – of the holy Morgan/Shorter/Timmons trilogy, and it's also got the added bonus of Benny Golson on tenor, who was at the height of his power at this point. The record really shines in ways that few Blakey albums shone since his days with Horace Silver – in that it's a forum for fresh new writing, most importantly Golson's landmark compositions "Blues March" and "Along Came Betty", and Timmons' instant classic "Moanin". The whole album's wonderful, though, and Golson's edgey modernism adds a strong dimension to the group's usual soulful romping groove! (And in fact, as a tribute to the group's success, the album was initially named Art Blakey & The Jazz Messengers, but quickly retitled Moanin in this version, after the big hit single!) CD also features a bonus version of "Moanin". CD

The second of Dio's twin masterpieces – a second album knockout that followed Holy Diver by a single year! The biggest difference this time out is the addition of full time keyboard player Claude Schnell to the band, making Dio a quintet – but what the keyboards do NOT do is air out the heaviness. This remains a headbanging classic, with songs as heavy as any in the Dio canon. Like they did on Holy Diver, the band balances a melodic sensibility with heavy rock in a way that would prove hugely influential – we can't imagine the quietly melodic to massively heavy transitions on Metallica's Master Of Puppets LP could've been what they are without the opening minute of the title track here, but this whole thing is a win – with "We Rock", "Mystery", Breathless", "I Speed At Night", "One Night In The City", "Evil Eyes", "Eat Your Heart Out" and "Egypt (The Chains Are On)". CD

A trio of albums from the great David Murray! Ming is beautifully arranged work from David Murray – an important early large group recording, one that really helped point the way to some of his later genius! The session features Murray leading an all-star octet that includes Henry Threadgill on alto, Olu Dara on trumpet, Butch Morris on cornet, George Lewis on trombone, Anthony Davis on piano, Wilbur Morris on bass, and Steve McCall on percussion. Tracks are a very hip set of original compositions that display an incredible range of soulful feeling and expression – and which open a door to a whole new chapter of Murray's career. Titles include "Ming", "Dewey's Circle", "Jasvan", "The Fast Life", and "The Hill". Sacred Ground is a beautifully spiritual set that really reminds us of the promise we first heard in his music decades ago! Murray's working here with a lean, soulful ensemble that includes Lafayette Gilchrist on piano, Ray Drummond on bass, and Andrew Cyrille on drums – all in a groove that has plenty of sharp edges, but which is also nicely inside – very focused, and with a sense of depth that's really wonderful! All tracks are originals by Murray – penned with the sensitivity of an older soul jazz recording – and two numbers feature lyrics by Ishmael Reed, sung by Cassandra Wilson on guest vocals. Titles include "Sacred Ground", "Transitions", "Family Reunion", "The Prophet Of Doom", "Believe In Love", and "Banished". Lucky Four is a gentler set than some of David Murray's other US dates from the time – but in a really great way that nicely gets at the more sensitive side of his work on tenor and bass clarinet! There's a bit of a hardbop groove to the album, but also a bit more freedom too – a style that never goes that far out, but which reminds us through subtle cues that most of these players have a longer legacy in more avant-oriented work. The group features Dave Burrell on piano, Wilbur Morris on bass, and Victor Lewis on drums – and Burrell especially echoes a range of influences here – almost pulling from older eras of jazz in the way that Jaki Byard used to – an approach that's often echoed by Murray in his horn. Titles include "Valley Talk", "Chazz", "As I Woke", "Abel's Blissed Out Blues", "Sharing", and "As I Woke". CD

A complete issue of a groundbreaking late 50s performance by Ornette Coleman – some of which has been released on the French album Fabulous Paul Bley Quintet, and other parts on albums under Ornette's name! The quality of the performance is amazing – some of the freshest jazz recorded in LA at the time, but still somewhat more inside than Coleman's work of the decade to come – a key transitional moment from Ornette, played by a group that features Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums – plus a young Paul Bley on piano, who makes for a very different rhythmic conception than some of the Coleman quartet albums of a year or two later! Given Bley's approach to the piano, even at this point, the sound is still quite different than most of what had come before – almost in the territory of some of Eric Dolphy's early albums for New Jazz. Titles include "Free", "The Blessing", "When Will The Blues Leave", "Ramblin", "Crossroads", "How Deep Is The Ocean", "Klactoveesedstene", and "I Remember Harlem". CD

One of the greatest albums we've heard from David Murray in many years – a beautifully spiritual set that really reminds us of the promise we first heard in his music decades ago! Murray's working here with a lean, soulful ensemble that includes Lafayette Gilchrist on piano, Ray Drummond on bass, and Andrew Cyrille on drums – all in a groove that has plenty of sharp edges, but which is also nicely inside – very focused, and with a sense of depth that's really wonderful! All tracks are originals by Murray – penned with the sensitivity of an older soul jazz recording – and two numbers feature lyrics by Ishmael Reed, sung by Cassandra Wilson on guest vocals. Titles include "Sacred Ground", "Transitions", "Family Reunion", "The Prophet Of Doom", "Believe In Love", and "Banished". CD

The "biggest" album of Lou Reed's career – in the grand sense – with epic production and a small army of superstar session players and production by spectacle specialist Bob Ezrin – but that's paired with arguably the darkest, gloomiest songcycle ever composed by Lou Reed! The dichotomy works, and Lou apparently agrees, having revisited the material in the mid aughties to great acclaim. Ultimately, this and the previous year's Transformer makes for one of the strangest and most incredible transitions over a short period of time in pop music history. Titles include "Berlin", "Lady Day", "Men Of Good Fortune", "Caroline Says" (I & II), "The Kids", "The Bed", "Sad Song" and more. CD

An incredible snapshot of the funky soul genius of Sly Stone in an early transitional period – featuring all the known recordings of his short-lived Stone Flower label and production house from 1969-1970! Sly was a rising star at this point, and while the Stone Flower Productions name had been established already for Sly & The Family Stone's work-to-date, there was a brief period when he and manager David Kapralik set out make Stone Flower an official management and production house – and recorded some great tunes with female vocal trio Little Sister, funky soul singer and harmonica player Joe Hicks and funk rock sextet 6ix – as well as some gems sung by Sly himself. Sly & The Family Stone were soon to take off in a really huge way, his business relationship with Kapalik was becoming strained, and other factors behind-the-scenes made it impossible for Stone Flower Productions to really take root, but this brief period is fantastic. We're so glad it's been dug up and collected here! The cuts are primarily written and produced by Sly Stone – with Sly out front on "Just Like A Baby", "Africa", "Spirit" and "Scared" – and other great tracks include "You're The One" and "Somebody's Watching You" by Little Sister, "Home Sweet Home (Part 2)" and "I'm Going Home (Part 1)" by Joe Hicks, "Trying To Make You Feel Good", "You Can, We Can" by 6ix and more. 18 tracks in all – with a nice booklet of notes by Alec Palao, and an interview with the elusive Sly Stone himself! CD

A classic set from one of the original kings of the dancehall, nicknamed for his sweet vocal style! While "River Jordan" and "Hard Time Pressure" were big singles in a singles-driven genre, this set's solid all the way through, with great backing harmonies from Don Carlos & Lacksley Castell among others, supporting Minott's groovy lead, that wouldn't be out of place on a Windy city soul side from the 70s. The rhythms are laid out by a crack young band including Gladdy, Bingy Bunny, Steelie & Horsemouth Wallace at Channel One, under Minott's crisp production, with half of the finishing touches laid on by Barnabas at Channel One and the other half by Jammy at Tubby's. 10 tracks of prime early 80s reggae representing the best of a key transitional period fro Jamaican music, including "Mankind", "Jail House", "I'm Gonna Hold On", "Opressors Oppression", "Two Time Loser", "Black Roots", "Clean Runnings" and "Mr Babylon Man". CD

One of Art Blakey's first true moments of genius! This transitional version of the Jazz Messengers included two parts – Lee Morgan and Bobby Timmons – of the holy Morgan/Shorter/Timmons trilogy, and it's also got the added bonus of Benny Golson on tenor, who was at the height of his power at this point. The record really shines in ways that few Blakey albums shone since his days with Horace Silver – in that it's a forum for fresh new writing, most importantly Golson's landmark compositions "Blues March" and "Along Came Betty", and Timmons' instant classic "Moanin". The whole album's wonderful, though, and Golson's edgey modernism adds a strong dimension to the group's usual soulful romping groove! (And in fact, as a tribute to the group's success, the album was initially named Art Blakey & The Jazz Messengers, but quickly retitled Moanin in this version, after the big hit single!) CD

A great set that brings together Eddie Lockjaw Davis' early Cookbook sessions – cut for Prestige in a key transitional moment, when Lock was trying to break past the R&B roots of earlier years, and emerge as a more sophisticated jazz soloist, capable of carrying an idea way past the short format of singles and jukebox sides. The sessions provide a perfect format for such an effort – as the tracks are long and open-ended, and match Eddie with a great quintet that includes Shirley Scott on organ and Jerome Richardon on flute. Includes the classic "The Rev", plus "Stardust", "The Chef", "In The Kitchen", "Three Deuces", "Skillet", and "The Broilers". CD

A key transitional record from Fatback – one that sits nicely between their earlier funk and later club years! The record clearly knows this aspect about itself – as side one is titled "Vintage – House Party", and features more longer-jamming takes on the grooves that group was beginning during their Event years – a tightening up of the rougher initial Fatback groove, with plenty of bass driving the bottom of the tracks and lots more guitar work over the top. Side two shifts the focus to the "Tasty – Disco Party" mode – a style that's not that different from the first, but which has some smoother touches overall. Great Fatback all around, and titles include "Funk Backin", "Master Booty", "The Man With The Band", "Mile High", "I Gotta Thing For You", "Midnight Freak", and "Zodiac Man". CD

Essential set that brings together all of Herbie's key transitional recordings for Warner Brothers! Herbie started his years for the label playing in a more straight-ahead funky style – with perennial sample fave recordings like "Wiggle Waggle", "Fat Mama", and "Tell Me A Bedtime Story". Soon, however, he moved into more spacey territory – of the sort that he would later examine fully on his Columbia recordings of the early 70s. Tracks in this vein include "Sleeping Giant", "Water Torture", and "Wandering Spirit Song". The whole set features 3 full albums – Fat Mama, Crossings, and Mwandishi – and it's a great 2CD set filled with hard to find jazz funk classics! CD

Killer work from Freddie Hubbard – some key transitional sides for Atlantic Records, and easily some of his most soulful work ever! Freddie started out as a bopper on Blue Note, but then made a great shift at Atlantic – exploring space and sound in a really wonderful way, and opening up towards some of the killer modes you'd know from his classics on CTI. There's just a bit of electricity in the mix here, as most cuts are acoustic – but they already stretch out in some hip, spiritual styles that are really great. Titles include "For BP", "Lonely Soul", "High Blues Pressure", "Midnite Soul", "Black Soldier", Interlude I", "Echoes Of Blue", "Threnody For Sharon Tate Comment", "Spacetrack", "Leap Frog", "Up Jumped Spring", "Latina", and "On The Quee Tee". CD

Prime weirdness from The Residents! It's fair to consider Fingerprince as a transitional effort from the group, though it's not a dismissible one – it's out there, exciting and may be easier to get all the way through than some of the more anti-pop experiments they delivered in the mid-to-late 70s. It's probably not as confrontational as Meet The Residents and Third Reich 'N Roll – or perhaps it just seems less vicious because the cover art isn't as confrontational. Side one has shorter pieces, which seem to be informed by vintage exotica and field recordings, though it sounds like nothing but the Residents. Side 2 is a single long suite. Titles include "You Yesyesyes", "Home Age Conversation", "Godsong", "March De La Winni", "Bossy", "Boo Who?", "Tournequit Of Roses" and the the 17+ minute, side-long "Six Things To A Cycle". CD

Expanded CD reissue of a famous session that Cecil recorded at the Cafe Monmartre in Copenhagen in 1962 – and which was originally issued on Debut Records. Cecil's playing with Jimmy Lyons and Arthur "Sunny" Murray, and the recording's a great document of a key transitional period in his career – as tracks are really getting out there, with a lot more freedom than on earlier American sessions, but still with a bit of a jazz-based pulse. All tracks are long, and titles include "Trance", "Call", "Lena", and "D Trad, That's What". CD also features a 2nd version of "Call". CD

Volume 2 of Lockjaw's classic early Cookbook sessions – cut for Prestige in a key transitional moment, when Lock was trying to break past the R&B roots of earlier years, and emerge as a more sophisticated jazz soloist, capable of carrying an idea way past the short format of singles and jukebox sides. The sessions provide a perfect format for such an effort – as the tracks are long and open-ended, and match Eddie with a great quintet that includes Shirley Scott on organ and Jerome Richardon on flute. Includes the classic "The Rev", plus "Stardust", "Skillet", and "The Broilers". Includes the bonus track "Willow Weep For Me". CD

The incredible lost album from the group Sisters Love – material slated for release in the early 70s, but never saw the light of day, save for a handful of singles – a mix of rootsier southern soul and impeccable west coast funk styles, finally brought to light and with bonus tracks, to boot! Sisters Love came to Motown/MoWest at a transitional time for the label(s), who sent the group on tour, released a rare few singles in the US & UK, but didn't get the group over into the public consciousness the way it deserved. Great songs that were written, produced & arranged by the cream of the crop of soulful talents – Willie Hutch, Hal Davis, Gene Page, Gloria Jones & Pamela Sawyer – but this is the Sisters Love show, and they shine brilliantly! Titles include the amazing "Fast Mack" (purportedly submitted for the soundtrack to The Mack – and it's funky enough!), "Communication", "Mr Fix-It Man", "You've Got My Mind", "Just A Little Understanding", "I'm Learning To Trust My Man", "Giving Up", "Do What You Gotta Do","You've Got To Make Your Choice", "Sweet Inspiration", "Give Me Your Love" and "Turn On Your Love Light". CD