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Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

Bruce Barth is a pianist who always knows how to open up and run – making him an excellent choice for the Smalls Live series – easily some of the best-recorded live jazz CDs in recent years! Barth's touch on the keys is amazing – very fluid, and a mixture of sharp tones and gentler elements – always incredibly well-conceived, and really holding up in the space of the album's extended tunes – which also are almost all original compositions as well! The trio features Vincente Archer on bass and Rudy Royston on drums – and titles include "Yama", "Almost Blues", "Oh Yes I Will", "Afternoon In Lledia", and "Wilsonian Alto".

A great blend of Brazilian roots and piano jazz – played here by a trio that's all-solid, all the way through – serving up some really wonderful music that never relies on bossa cliches, or any sort of tricks and gimmicks! Instead, there's a really rich mixing of modes – one that's so deep down, it comes through with its own fresh flavor out on the top – thanks to magically fluid work from the trio of Helio Alves on piano, Nilson Matta on bass, and Duduka Da Fonseca on drums! There's plenty of sets out there that boast titles and concepts like this one – but trust us when we say that this trio's really head and shoulders above most of the rest. Titles include "Embalo", "O Cantador", "Cosntelacao", "O Boto", "Luiza", "Bolivia", "Isabella", and "Quebra Pedra".

One of the few albums ever cut as a leader by pianist Ronnell Bright – a player best known for his accompaniment behind famous vocalists, like Sarah Vaughan and Nancy Wilson! This rare date was cut in Paris – at a time when Bright was visiting the city with Vaughan – and it's a stripped-down trio date with a nicely relaxed feel – one that has Bright really opening up on the keys, in ways you don't always hear on his material with singers. Other players in the trio include Richard Davis on bass and Art Morgan on drums – and titles include "Johnnie Pate's Blues", "Sail Em", "Doxology", "Chasing Sarah", and "R&R Groove".

Great work from Ron Carter's Golden Striker trio – a group with a really unique sound that comes from the careful balance of Carter's bass, Mulgrew Miller's piano, and Russell Malone's guitar! All three players have just the right amount of individuality and maturity to work together perfectly on the set – creating interplay that really makes you feel as if the trio belongs to no core musician – and instead is one of those rare moments then the three pointed star really shines equally brightly from all corners! Miller's piano is wonderfully restrained at points, yet still full of feeling – and titles include "Candle Light", "Saudade", "Samba De Orpheu", "The Golden Striker", and "My Funny Valentine". Also features a bonus DVD – with one extra song, "Laverne Walk" – and a DVD audio sampler of other releases.

Very nice, warmly toned guitar trio with saxophone.

One of the few albums as a leader from Mighty Mike Cuozzo – a tight tenor player with a great sort of 50s swing! The set's the kind of no-nonsense, well-blown effort you might expect from Sonny Stitt or Seldon Powell at the time – tunes that pack in plenty over a relatively short space – really transformed by Mike's deft talents on the tenor, with a surprising degree of soul in the mix as well! Rhythm is by Eddie Costa on piano, Vinnie Burke on bass, and Nick Stabulas on drums – and the whole thing's got the solid feel of a lost Roost session. Titles include "Blue Jeans", "Bounce For Mike", "Ten AM", "Lover Man", and "That Old Feeling".

Exactly the kind of record to show why we love Japanese piano trio sessions so much – a sweet 80s date from lyrical genius Iwasaki Daisuke! The album's got a relatively understated feel at first, but really grabs us once it gets going – with a mix of complicated solo lines and subtle, soulful warmth – a gentle balance that's clearly inherited from the legacy of Bill Evans – yet pushed into richly expressive directions here of its own! Daisuke's a hell of a painter on the keys – poetic, yet never with too many flourishes – and working with a subtle sense of darkness that's echoed by the bass of Hideo Kanazawa and drums of Hideaki Sekine. Titles include "Mass Ave 5am", "Tiny Souvenir", "Never Say Goodbye", "Star Crossed Lovers", and "Surf Mail".

One of the most obscure 60s jazz sessions on ESP – a really free outing from pianist Lowell Davidson, working here in a trio that includes Gary Peacock on bass and Milford Graves on drums! Davidson's approach to the keys is quite far out, especially for the time – very much in the mode of Cecil Taylor, but possibly even more open-ended than Taylor's work up to this point. He doesn't get lost in the open spaces, though, thanks in no small part to the intuitiveness of his players. Really wonderful stuff that's loose, angular and engrossing all the way! Tracks are all longish originals – and titles include "L", "Ad Hoc", "Strong Tears", "Stately 1", and "Dunce".

Classic trio work by Davis, recorded here with Shirley Scott on organ and Joe Newman joining in on trumpet! The cover's got a picture of Joe standing next to Basie, but the set's all Joe's –although it's also very much in a Basie bag. The tunes are all organ/tenor drivers – with short format and tight hooks – of the sort that would have been popular with Roulette's Birdland crowd. Titles include "Farouk", "Lock Up", "Telegraph", and "A Misty One".

Familiar numbers – but done quite nicely, thanks to the warm early talents of Kenny Drew! The style here is a bit more lyrically evocative than some of the other Riverside piano work of the time – less modern-tinged, but still in a really expressive way that unlocks new corners of these great numbers from the original Rogers & Hart score to the musical Pal Joey! Drew's compadres for the session are Wilbur Ware on bass and Philly Joe Jones on drums – both of whom help illuminate the tunes with sly, but subtle touches. Titles include "Bewitched, Bothered & Bewildered", "Happy Hunting Horn", "What Is A Man?", "Do It The Hard Way", "I Could Write A Book", and "My Funny Valentine".

An amazing lost recording from Kahil El'Zabar – and a Ritual Trio record to rival the great sessions cut for the Sound Aspects label in the 80s! As on some of those records, this one features Kahil's beautiful percussion blended with the bass work of Malachi Favors and trumpet of Lester Bowie – both players who step out here in ways that are even more soulful and spiritual than their performances with the Art Ensemble of Chicago! The tracks are very lean, organic, and build beautifully during the course of the recording – these thoughtfully-flowing numbers that are a perfect summation of the essence that Kahil was trying to get at with the Ritual Trio – almost a more spiritual, righteous take on the Great Black Music ideas forged by the AACM – taken to territory that was even more naturalistic than before. Favors' playing is amazing – and the recording is a perfect example of why his work on bass has always been so revolutionary – and Bowie is really at his best too, with none of the hoke that he could sometimes pick up in his later years. Titles include "Inner Sanctum", "Ju Ju Call", "In The Belly Of Now", "Dawning Of The Aware Ones", "The Ancestors Are Among Us", and "Celestial Dance".

A great little set from Alan Evans – better known as the drummer in Soulive, but equally smoking out here on his own! Alan doesn't always record on his own, but when he does, it's usually a great thing – and this cooking little album definitely lives up to the funky tightness we'd expect! In addition to drums, Evans also plays guitar and bass on the record – and other instrumentation includes more guitar and lots of Hammond too – but used in a style that's very different than Soulive – still funky, but a bit spacey and cosmic too – a bit in keeping with the image on the cover! Evans also sings a bit, with this great raspy style buried down amidst the groove – and titles include "Hotcakes Meltdown", "Thor", "Cosmic Hazel Dust", "Who Dare Knock", "They Call Me Velvet", "Have You Seen Him", and "Biscuits".

A great little set from Alan Evans – better known as the drummer in Soulive, but equally smoking out here on his own! Alan doesn't always record on his own, but when he does, it's usually a great thing – and this cooking little album definitely lives up to the funky tightness we'd expect! In addition to drums, Evans also plays guitar and bass on the record – and other instrumentation includes more guitar and lots of Hammond too – but used in a style that's very different than Soulive – still funky, but a bit spacey and cosmic too – a bit in keeping with the image on the cover! Evans also sings a bit, with this great raspy style buried down amidst the groove – and titles include "Hotcakes Meltdown", "Thor", "Cosmic Hazel Dust", "Who Dare Knock", "They Call Me Velvet", "Have You Seen Him", and "Biscuits".

Sublime sounds from the later years of Bill Evans – and a recording that shows just how perfectly his piano talents were finding new heights of timing and tone! Many of the tracks here are relatively mellow, and often somewhat dark as well – moody, but not in a way that's negative at all – and instead a real showcase for the darker tones and deeper feelings that Evans continued to evolve into his music in these final stretches – carried off with superb sensitivity by Marc Johnson on bass and Joe LaBarbera on drums. The recording quality is wonderful – just perfect to capture the special quality of the performance – and titles on this first volume include "Stella By Starlight", "Gary's Theme", "MASH", "We Will Meet Again", "Letter To Evan", and "Noelle's Theme".

Tremendous work from Bill Evans – one of his rare non-trio sides of the 60s – and a stunning batch of tunes with backings from the mighty Claus Ogerman! Most of the tunes here are of classical origin, but they're recast by Evans and Ogerman with almost a soundtrack sensitivity – Bill's piano up front, moving spaciously at very much its own pace – none of the too-virtuoso styles of other 60s jazz-meets-classical players. And Ogerman's backings are also great too – hardly ever strong, and more just light shading amidst the notes of Bill's piano – beautifully sliding in to bring a nice level of warm to the tunes. Titles include a sublime reading of "Pavane", plus the tracks "Granadas", "Time Remembered", "Blue Interlude", "Elegy", and "My Bells".

Titles include "West Side Story Medley", "Funky Night", "Without You I'm Nothing", "Teacher's Blues", and "Taunting Scene".

A killer album of soul jazz piano instrumentals – produced by James Brown! The Dee Felice Trio were a groovy combo from Cincinnati, and James Brown took a shine to them at some point in the late 60s. They backed James on one record, but their big moment was this album – which had James producing, and the group grooving nicely on some hard piano jammers! The sound's a lot more stripped-down than usual for James, but the groove is very nice! Includes an excellent funky version of "There Was A Time", a great cover of Marcos Valle's "Crickets Sing For Anamaria", and the tracks "Summer In The City", "In Heat", "Both Sides Now", and "Never". Darn hard to find, too!

A killer album of soul jazz piano instrumentals – produced by James Brown! The Dee Felice Trio were a groovy combo from Cincinnati, and James Brown took a shine to them at some point in the late 60s. They backed James on one record, but their big moment was this album – which had James producing, and the group grooving nicely on some hard piano jammers! The sound's a lot more stripped-down than usual for James, but the groove is very nice! Includes an excellent funky version of "There Was A Time", a great cover of Marcos Valle's "Crickets Sing For Anamaria", and the tracks "Summer In The City", "In Heat", "Both Sides Now", and "Never". Features 3 bonus tracks too – "Nightingale", "Little Liza Jane", and "There Was A Time (single version)".

It's been many years since we've last heard from keyboardist Xaver Fischer – but it's been well worth the wait! Fischer's got a sweet way with a keyboard like that few others can match – and this set smokes like the best of the 70s – maybe even more so at times, given that the trio setting is a lot more stripped-down than most keyboards were using back in the day! All music is played live – with bass and drums alongside the keys – and that gives the whole thing a spontaneous, loose sort of energy that's quite different than other keyboard records of this nature. A few rhythms show a new love of 80s modes, but these are nicely placed amidst some earlier modes – and as before, there's a great mix of spacey and warm throughout. Titles include "Dumdidum", "Concerto For Square Wave", "The Day Before Tomorrow", "Surf N Turf", "Nemo's New Portable Organ", "Saws & Noises", and "The Last Blues".

Great work from the trio of singer Francoise-Franca Cuomo – a singer with a great blend of experimental modes and European inflections – easily one of the freshest jazz vocalists we've heard in years! The instrumentation here is very spare – just bass and piano – both played with evocative shifts in tone and timing, to match Cuomo's inventive style of singing – a blend that, all together, reminds us somewhat of the more experimental spare Sheila Jordan sessions from years back – although there's also some spoken passages here in French, which definitely give the record a different feeling, and an influence from blues that's bubbling underneath. Music includes a fair bit of songs from rootsy sources, turned towards more offbeat phrasing – and titles include "Alabama Blues", "Le Blues", "Viens Baby", "No Images", "Dealer/Harlem", "Speech", "Vietnam Blues", and "Black Brown & White".

A rare Spanish session from trumpeter Dusko Goykovich – and easily one of the most soulful albums he ever recorded! The set's got a warm, laidback vibe – very much in keeping with the title and cover image – as Dusko blows some great open-ended solos with rhythm from the trio of pianist Tete Montoliu – working here as a great accompanist to the leader, with flowing lines that perfectly match Dusko's energy! Tracks are longish, with a very relaxed vibe – and the rest of the group features Robert Langereis on bass and Joe Nay on drums – helping Gokovich hit a very different sound than on some of his more exotic albums of the time. Titles include "Blues To Line", "I Remember OP", "Old Fisherman's Daughter", and "The Child Is Born".

One of the only albums as a leader from bassist Henry Grimes – a hell of a great player who'd made his name working with Sonny Rollins, but who steps out here into much freer territory! The group features Grimes at the helm on bass, but also features killer contributions from Perry Robinson – playing outside clarinet here at a level that's even more farther reaching that Jimmy Giuffre at his 60s heights. The group's completed by drummer Tom Price, who really spurs the combo on strongly – as they work with a very raw, free sound that features tremendous interplay between all three instruments. One of our favorites on ESP – with titles that include "Fish Story", "Walk On", "The Call", and "Son Of Alfalfa".

Great early work from the amazing Vince Guaraldi – an album issued in the 60s on the wave of his rising fame, but which was most likely recorded a few years earlier! The group here is Vince's key early trio with Eddie Duran on guitar – grooving with Vince in drumless splendor that takes most of its rhythmic cues from Guaraldi's inherent sense of groove on the keys of the piano – a simple, spacious touch that's almost more magnificent here in its early simplicity than it is in later years. There's a slight influence of 50s modernism on the keys – bits of John Lewis or Bill Evans – but the warmth and lyricism of the overall set mark the record clearly as Vince's own musical vision. Titles include "Autumn Leaves", "Fenwyck Farfel", "Yesterdays", "Room At The Bottom", and "A Flower Is A Lovesome Thing".

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues".

'Leaping brilliance on the keys from a young Hampton Hawes – a player who makes this record bristle with excitement from the very first note! The format is simple, but the presentation here is breathtaking – a rock-solid trio performance that shows why Hawes was one of the greatest talents on the keys to come out of the west coast in the 50s – one with the fluidity of some of the better-known crossover players of the era, but the harder edge and sharper notes of the boppers, plus just a touch of nascent soul jazz in the rhythms. Backing is by Red Mitchell on bass and Chuck Thompson on drums – and titles include "Hamps Blues", "Carioca", "What Is This Thing Called Love", "Blues The Most", "Easy Living" and "All The Things You Are".

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues".

A great collection – one that features a side of material from the album Soul, with piano by Ray Bryant; and another side of a set recorded with the Red Garland Trio. Also features the full album At Ease – wonderful late work by Coleman Hawkins – a player who was very much "at ease" with himself at the time, and opened up tremendously on albums like this. The format is beautiful – simple small group backings by Tommy Flanagan, Wendell Marshall, and Osie Johnson – with Coleman out front, blowing these deep and mellow tenor lines that could stop a locomotive in its tracks! Titles include "At Dawning", "I'll Get By", "For You For Me For Evermore", and "Mighty Lak A Rose".

Proof that this Smalls Live series really brings out the best in most players – as pianist Kevin Hays grabs our ears here more than ever! The set's got an open, spontaneous energy – lots of really long tracks from Hays and his trio of Doug Weiss on bass and Bill Stewart on drums. Yet there's also a great focus, too – and you can almost hear Hays mapping out his rich territory long in advance – moving across the keys of the piano with some warm, soulful undercurrents – and some surprisingly gutbuckety points mixed in with his more lyrical elements, too – showing there's always room for plenty of twists and turns in a setting like this. Tracks include "The Anniversary Waltz", "Loving You", "Sco More Blues", "Ludus Tonalis", "The Dreamer", and "Cheryl".

Groovy session of piano trio material, recorded in Chicago by the city's "great white hope" of the 60s: pianist Eddie Higgins. The set was recorded for the Dunwich production group (who gave the world The Shadows of Knight), but was licensed to Atlantic for final release. The group's a very tight trio, with Higgins backed by Richard Evans on bass and Marshall Thompson on drums – and the resulting sound is nice and soulful, in the same tradition of Chicago piano recordings by Ramsey Lewis and Ray Bryant. Titles include "Soulero", "Tango Africaine", "Mr. Evans", and "Shelly's World".

Tremendous sounds from Honey Cone – easily one of the most hard-hitting girl groups in soul music – thanks to some funky funky backings on these early 70s tracks! The trio work in a mode that was first forged by female soul groups in the 60s – yet really push things forward with a righteous groove that totally kicks ass – lots of funk at the bottom, burning soul at the core, and soaring vocals that really take off wonderfully throughout! And while there's been plenty of collections of Honey Cone work over the years, this one may well be the best – thanks to a massive 22 track set list, and a really well-chosen batch of tracks that includes "When Will It End", "Want Ads (long version)", "While You're Out Looking For Sugar", "Take Me With You", "If I Can't Fly", "Stay In My Corner", "Woman Can't Live By Bread Alone", "Innocent Til Proven Guilty", "Sitting On A Time Bomb", "Who's It Gonna Be", "Stick Up", and "The Feeling's Gone".

Some of the coolest work we've ever heard from Chicago flautist Nicole Mitchell – a really wonderful record that shows the full spectrum of her talents! The set's recorded with a trio that includes Hamid Drake on percussion and Harrison Bankhead on bass and cello – both players who can swing things inside one minute, then go freely outside the next! This approach is really important to the album's vibe – as some of the best tracks actually have a tight rhythmic pulse you might not find on other sessions from Mitchell – almost a bit funky at points, with a righteous groove – alongside other tracks that have a more open-ended, improvisatory feel. Bankhead's bass is especially nice – round and soulful throughout – and Mitchell plays flute, alto flute, and piccolo on the record. Titles include "Sho Ya Right", "Beloved's Reflection", "Affirmation Of The One", "Anaya With The Moon", "Wheatgrass", and "Song For Ma'at".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

The rare second album by the Jongo Trio – a fantastic bossa group who mixed together vocals and keyboards with stunning magic! The trio's approach is similar to that of the more famous Tamba Trio – in that the three members groove on keyboards, bass, and percussion – while also harmonizing vocals in a soaring, airy style that really adds a lot to the set. This album's got the group using a bit of organ and electric piano in addition to their usual acoustic keys – making for a bossa style that's slightly electrified, with great results on the album's overall sound. The set includes a really great uptempo version of "Aguas De Marco", plus the tracks "Alo Feveiro", "Quem Vem La", "Cavaleiro De Aruanda", "Sandalia De Prata", "Bate Barriga", "Feitinha P'Ro Poeta", and "Duas Contas".

Duke Jordan never made many albums as a leader back in the 50s – but all of them are great, including this classic set on Savoy! As you'd guess from the title, the record features Jordan in two different settings – trio and quintet – the former of which features Percy Heath on bass and Art Blakey on drums, working in warmly soulful formation with Duke on the first half of the record. The second half brings in Cecil Payne on baritone and Eddie Bert on trombone – a whole new approach to the music, and one that really shows the depth of Jordan's under-documented arranging skills – which here are almost in the territory of Gigi Gryce or Benny Golson. Titles include "Flight To Jordan", "Cu-ba", "Two Loves", "Scotch Blues", "Sultry Eve", "Night In Tunisia", "Summertime", and "Forecast".

Lots of long tracks played with plenty of fire – just the kind of record to remind us again that David Kikoski's a hell of a pianist, especially in a setting like this! The album follows the format of the other excellent live dates on the Smalls label – lots of room for the artist to really express themselves in a setting that's quite well-recorded, yet without any frills at all – meaning that Kikoski's talents come through immediately, and are held with such focus that his invention and energy are even more breathtaking than usual. The trio also features Hans Glawischnig on bass and Obed Calvaire on drums – and titles include a great version of Joe Henderson's "Inner Urge", which really sums up the energy of the record – plus "Dirty Dogs", "Grey Areas", "7/4 Ballad", and "Billie's Bounce".

Great work by a great singer – the far under-recorded Irene Kral, a lovely lady who really bridges a number of different camps in the vocal jazz world! At one level, Irene's got the coolness of a Christy or Connor, but at another, she's got a more open, swinging, and soulful style – one that comes off with none of the hoke of Anita O'Day, and which is a perfect balance between class, cool, and easy going honesty. The trio of Junior Mance provides the backings, and titles include "Better Than Anything", "The Meaning Of The Blues", "Passing By", "No More", "Nobody Else But Me", "This Is Always", and "It's A Wonderful World".

A killer album of jazzy bossa grooves – originally recorded in France in the early 70s, and darn hard to find in any format! The record was cut for the tiny Saravah label – home to groovy French acts like Brigitte Fontaine and Areski, as well as an elite group of jazz and world musicians. The overall style is similar to bossa nova piano sessions coming out of Brazil in the 60s, but the groove is a lot freer, and the band has a nice rolling sound that might be compared to some of the MPS jazz/Brazilian crossover sessions. Fernando Martins is the pianist, and Edson Lobo is on bass. Titles include "Upa Neguinho", "Nascente", "Bia", "Noa Noa", "Samba Novo", "Berimbau", "Nao Tem Solucao", and "Muito A Vontade". Very nicely repackaged, too!

A killer live set from Ramsey Lewis and his classic early 60s trio – a record that's not nearly as well known as The In Crowd, but every bit as great! Drummer Red Holt and bassist Eldee Young really get in some great elements here – working with Ramsey's piano in a groove that's far more than the standard trio mode of the time – and much more in a triangulated exchange of energy that's filled with life and joy throughout! Side one begins with a 12 minute "West Side Story Medley" – one that starts slow, but really builds with excitement as the tune rolls on – and other tunes include a version of "My Babe", with some funky cello work by Eldee Young; a soul-stepping take on "Something You Got"; Ramsey's original "The Caves"; and versions of "People", "Fly Me To The Moon", and "The Shelter Of Your Arms".

Sublime electric work from Ramsey Lewis! Ramsey's working here with his hip 70s group that included Morris Jennings and Cleveland Eaton, and he's playing some fantastic electric piano – a blend of funky grooves and soulful spiritualism, stripped down into a sound that's one of his leanest and cleanest of the decade! The album's got some great funky covers, like "Collage", "Slipping Into Darkness" and "People Make the World Go Round" – plus the nice groover "Upendo Ni Pamoja".

With Maurice Malik King on alto, Qaiyim Shabazz on congas, and Zimbabe Nkenya on bass.

Sort of a repackaging of the Brasil '65 album on Capitol – done here in a pressing by Pickwick that features a very psychedelic cover! The record's a mixed bag of tracks that has some bossa piano trio stuff, plus some vocal cuts with Wanda De Sah, the alto and flute of Bud Shank, and the occasional guitar playing of Rosinha De Valenca. The album was recorded in LA by Capitol, and has a bright West Coast 60's feel that brings out the best of Sergio's style. Cuts include "Reza", "One Note Samba", "Berimbau", "So Nice", and "Consolacao".

One of the many very groovy albums cut by pianist/comedian/actor Dudley Moore. Unlike his films, the album's filled with a great range of emotion and talent – and the set features some stunning original by Dud, played with a nice lively groove by his classic trio. Includes the rolling groover "Amalgam", a tasty jazz dance number, plus "Bags Of Chris", "Chimes", and "120 Plus Optional Magic Exploding Cadence".

Searing 60s work from Dick Morrissey – a UK tenor player who only ever recorded a handful of dates as a leader! This smoking material features Dick at the top of his game – right up there at the same level as his classic early 60s sides, like Here & Now – blowing tight and soulfully, but also with this really dark edge in his horn – a perfect accompaniment for the piano of Michael Garrick, caught here at an early point in his career, but already with a voice on his instrument that's bold and righteous. The setting is simple – none of the higher concepts in some of Garrick's later work – but the power of the record is undeniable, even over the course of its short 20 minutes of music. Titles include "The Girl With The Brown Hair", "The Gypsy", "Blues", and "Autumn Leaves".

One of the few albums ever recorded by pianist Herbie Nichols – an incredible player with a sound and sense of modern expression that rivaled the best 50s work of Thelonious Monk and Elmo Hope! This session is Herbie's only one for the Bethlehem label – but it stands nicely next to his better-known sides for Blue Note – with a stark, sharp modernist approach that grabs you from the very first note! Nichols has a sharp and edgey sound throughout – and an incredible sense of invention that never fails to delight us, no matter how many times we return to the record! Titles include "Every Cloud", "S'Crazy Pad", "45 Degree Angle", "Beyond Recall", "Portrait of Ucha", and the beautiful title track "Love Gloom Cash Love".

The Mats Oberg Trio, even better than before – thanks to use of some sweet Fender Rhodes, in addition to the usual acoustic piano! Mats can play both soulfully straight, and sonically soaring – moving between inside and outside moments with his really well-matched group – Filip Auguston on bass and Sebastian Voegler on drums – both players who can be bold on rhythms when needed, yet really also lay back and let Oberg spin things out on the keys as well! The album's live – as you might guess from the title – which seems to give the music even more resonance than before – and titles include versions of Stevie Wonder's "They Won't Go When I Go" and Hermeto Pascoal's "Little Church" – plus the original titles "Only You", "Storpotaten", "Lullaby Of Nerdland", and "Windmills & Carrousels".

Two wonderful versions of the Gershwin classic "Summertime" – both of them very offbeat! The Old Metropolitan take has lots of horns, and a brooding bassline that really creates a lot of darkness – initiating the track for the first minute or so along with the vocals, before the horns blast out, and more towards trad jazz cacophony near the end! Dave Harris takes the tune with some soulful piano – stepping along the melody with a sweet waltz-like formation, to set up a great groove for sweet female vocals in the lead!

On the spot, and in the pocket – a tight trio with a wickedly funky feel – one that serves up plenty of Hammond organ over heavy drumlines! "Suction" doesn't suck at all – as it's a great groover with a really upbeat feel – and "Critically Acclaimed" is definitely the isht too – a vamping funky cut with almost a War-like vibe at times!

One of the classic Verve series of recordings from the 1957 Newport Jazz Festival, and an album that features one side of the Oscar Peterson trio with Ray Brown and Herb Ellis, plus a side of the trio joined by Jo Jones, Sonny Stitt and Roy Eldridge. 8 tracks in all, including "Will You Still be Mine", "Joy Spring", "Gal In Calico", "52nd Street Theme", "Monitor Blues", "Willow Weep For Me", "Autumn In New York" and "Roy's Son".

A near-lost gem in Oscar Peterson's mid-50s catalog for Verve – and a sparkling set of trio numbers recorded at the Shakespeare Festival in Ontario! Despite the literate setting of the recording, the work's never stuffy or academic – and Peterson swings things mightily with his trio that includes Herb Ellis on guitar and Ray Brown on bass. The recording quality is wonderful – deep, rich, and luminous – at a level that almost makes us say "why didn't they stop here, since Oscar sounds so perfect?" Titles include "Love You Madly", "52nd Street Theme", "Flamingo", "How About You", and "Noreen's Nocturne".

The title and cover are a bit gimmicky, but the album's a wonderfully solid effort from Italian pianist Andrea Pozza – easily one of the most lyrical players we've heard in years! Pozza's got this way of mixing depth with lightness – a quality that sometimes evokes that special mysticism of Horace Silver, especially on Andrea's original tunes on the record – which really sparkle with a sort of exotic quality. There's nothing ever too over the top about the set – yet the group really have a way of putting over something special, and with a bit more subtlety than some of Pozza's recent outings with singers for other labels. Titles include "Il Primo Dei Sette", "As Usual", "Tuttavia E Cosi", "Love Is The Way", and "Get Happy".

Really great vocals from Nina Ramsby – sung in Swedish, but in a cool way that really works wonderfully with the music! The trio of pianist Ludvig Berghe has always been a favorite of ours – and here, working with a singer, they find a sharp new space – soaring, soulful, and even more focused than before – as the lyrics from Nina help give their music a whole new direction, and pus things forward with lots of bold lines from Berghe's piano! Ludvig has a way of being soulful and sentimental at the same time – but never in a lachrymose way – and given that we can't actually understand Ramsby's words, her voice almost acts more like a fourth instrument in the group – at least to our English-restricted ears. The sound is wonderful – rich and warm, and very moving – and titles include "Har I Ljuset", "Tanker Att Jag Sager Dig", "Du Biter Ihop", "Det Jag Vet", "Upp Till Den Hojd", and "Vi Samlas Kring Hopp".

A tremendous live set from pianist Teru Sakamoto – a session that soars with all of the life, soul, and imagination of McCoy Tyner at his 70s best! The record's got a feel that's quite open – long tracks, with plenty of solo space for Sakamoto on the piano – but the sound is always inside, rhythmic, and focused – never too out or too experimental, just soaring up to the skies with a brilliant sense of expression. The trio features Takao Neichi on bass and Takeshi Watanabe on drums – and titles include a great modal take on "My Favorite Things", plus "Left Alone", "Yuyake Koyake", and "Autumn Leaves".

Wicked jazzy bossa from 60s Brazil – a crackling early classic from pianist Dom Salvador! The group here is super-tight – a tremendous triangle of piano, bass, and drums – all grooving at equal pace, with a great deal of energy – and given a heck of a lot of soul from Dom's bold lines on the piano! There's a slight lyrical vibe at points, too – making for music that's mighty sweet, and very seductive – and the whole thing's right up there with some of the best bossa trio dates of the time. Trio features bass by Edson Lobo and drums by Victor Manga – and titles include "Arrastao", "Promessa", "Pro Batera", "Santarem", and "Tematrio".

Sweet Hammond grooving from the legendary Shirley Scott – a set that brings together two of her earliest albums for the Moodsville label at Prestige, both of which are in a soulful, mellow, late nite mode! The first album in the set is The Shirley Scott Trio – a date done for the Moodsville subsidiary of Prestige, with the laidback and mellow groove that was typical for the imprint at the time. Shirley actually plays a bit of piano on the record next to her Hammond – tinkling the ivories with a sound that's almost more lyrical than her work on organ. Bass is by either George Tucker or George Duvivier, and Arthur Edgehill is on drums – and tracks include "Gee Baby Ain't I Good To You", "Sweet Lorraine", "I Thought I'd Let You Know", "Spring Is Here", "I Should Care", and "Until The Real Thing Comes Along". Like Cozy is a very well titled little album – as the sound is nice and cozy – just Shirley Scott's organ with a bit of bass and drums, all stepping along in a mellow and soulful mood! The style is what you'd expect from the Moodsville label at the time – a more laidback, more intimate presentation of the talents of Scott – at least in comparison to some of her other work on the main Prestige label. The group here is a familiar one – with George Duviver on bass and Arthur Edgehill on drums – and titles include "My Heart Stood Still", "Once In Awhile", "Laura", "Like Cozy", "Little Girl Blue", and "More Than You Know".

An amazing chapter in the career of reedman Tony Scott – some key late 50s recordings done on the Swedish scene, issued here together for the first time, with a rare bonus track as well! Scott made some huge waves on the European scene in the 60s – thanks to important collaborations with overseas players, on work that ran from exotic to modal to world-jazz combinations – and this early set of performances really shows the birth of those more creative modes, as Tony's really working hard to break from some of the more boppish styles of his previous American albums! The core group is the trio of pianist Rune Ofwerman – with Gunnar Johnson on bass and Egil Johansen on drums – a combo with a fluid, open style that really sets Scott free on clarinet – a lot like his late 50s recordings to come with Bill Evans. Titles include "Blues For Ava" in both vocal and instrumental modes – plus "Swingin In Sweden", "Night In Tunisia", "Walkin", "I Can't Get Started", and "All The Things You Are".

A rare set from pianist Paul Smith – recorded after his classic 50s work on Capitol, and with a much more open-ended feel! The set features work written for the musical Saratoga – but Smith and his trio perform the tunes with a really fluid (liquid?) sort of approach – one that really relies heavily on Paul's lyrical work on the keys, but which gets some nice support from Jack Sperling on drums and Rolly Bundock on bass. Titles include "Petticoat High", "Saratoga", "Love Held Lightly", "The Man In My Life", "Dog Eat Dog", and "You For Me".

Very cool and groovy bossa piano jams, given a modern twist by this Japanese group with one foot in the past and one foot in the future. Includes their great remake of Sivuca's arrangement of "Ain't No Sunshine", plus "Bayu Bayu", "Call Me Mr. Vibes", "Mambo Parisienne", and lots lots more.

The title here is an apt one – as the SME is a trio on most of these recordings, but augmented by a nice range of players on two of the album's five tracks! The core group features John Stevens on cornet and percussion, Nigel Coombes on violin, and Roger Smith on guitar – working in some relatively subtle sonic space together on their own tracks – but really hitting their stride as the group expands! Added players include Jon Corbett on trumpet, Paul Rutherford on trombone, Trevor Watts and Lol Coxhill on soprano saxes, Howard Riley on piano, and Maggie Nicols on voice – and titles include "Triangle", "Reciprocal", "A Fragment Of Static", and "Newcastle 78A".

Sonny Stitt makes Oscar Peterson sit up and groove! The record's a great one, and uses the Peterson Trio as a perfect rhythm section for Sonny's confidently blown solos of the late 50s – in a way that pushes the combo past their usual safe area, and into more freewheeling territory to keep up with Stitt's sense of power and invention! The tunes on the set are every bit as great as those on Sonny's own albums as a leader for Verve – crisp, clear, and perfectly blown – a masterpiece of subtle creativity and one of the greatest tones to ever emerge from the saxophone! Titles include "Au Privave", "Scrapple From The Apple", "Moten Swing", and "Easy Does It".

A real finger-popper from Japanese pianist Kunihiko Sugano – a sweet 60s album that has him playing like the best American players of the soul jazz generation! There's a boldness to the left hand that echoes bits of Ray Bryant or Junior Mance – yet Sugano can also tipple the keys with a lyrical sensitivity that's got a bit of Barry Harris or maybe even Ahmad Jamal – often complex, yet still swinging beautifully – always aware of the groove, yet never totally subsumed by it! The trio features Yoshio Ikeda on bass and Hiroshi Yamazaki on drums – and the album feels like some lost treasure on Argo or Prestige Records. Titles include "For Karl", "Finger Popping", "I Can't Get Started", "Barbados", and "Blues For Jiro".

Nearly 3 albums' worth of music from the legendary Tamba Trio – one of the grooviest groups in the 60s bossa years in Brazil! The trio are quite unique – in that they not only play upbeat bossa rhythms, but also harmonize along with their grooves – in a soaringly sublime quality that really electrifies the tunes! Most of their lyrics are jazzy and somewhat scatted – kind of an added layer of music on top of the core jamming of piano, bass, and drums – and the production on these key 60s sides really helps their sound hit just the right level – a heavenly sound that's occasionally augmented by added percussion, flute, or guitar. The CD is one of the best introductions to their work we've ever seen – as it features material from the 60s albums Tempo, Tamba Trio, and Avanco, plus the rare Brasil Saluda A Mexico single – a whopping 26 tracks in all, with titles that include "Reza", "Tamba", "Batida Diferente", "Influencia Do Jazz", "Nos E O Mar", "O Amor Que Acabou", "Tristeza De Nos Dois", "Negro", "Rio", "Yansa", "Moto Continuo", "Barumba", "Danielle", "Pregao", "Boranda", "Consolacion", and "Morte De Um Deus De Sal".

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao".

A sweet little trio set – one that's virtually unknown, given the limited pressing run of the original album – but which stands as one of the best recorded in Germany at the time! The group here have a cohesive focus that's mighty nice – an ability to let loose with open, flowing ideas – yet still retain a sense of swing – in ways that remind us a lot of the best French piano trios, but with a special quality that really makes this album unique! There's a sense of depth in the colors that we really love – a thoughtful sense of less-is-more – yet never delivered with the overdone cliches that sort of reference usually implies – again, because of the subtle swing that's going on. Klaus Treuheit plays piano, but the trio's very equally balanced with efforts from Christian Lachotta on bass and Hans-Gunter Brodmann on drums – on cuts that include "Blues Blue", "Lydia's Lament", "Herbstlaub", "Sidran", and "Winterlied".

Nothing fatal about these guys – given the really life-affirming quality of the music on the set! The group features a compelling blend of reeds, trombone, and drums – often used in these really evocative ways that mix the rhythmic with the lyrical! The trombone does a great job of bridging the space between rhythm and melody – played here by Francois Lemonnier, who's got a really compelling touch on his instrument – sometimes swinging, sometimes a bit more sonic overall. Biggi Vinkeloe handles the flute and alto sax on the record, and drums are by Peeter Uuskyla – on titles that include "Singing Softly", "Nordic Waves", "Escargoiseau Blues", "The Wind Is Dancing Over The Hills", and "Space Way Messenger".

A contemporary record, but one with a wonderfully ancient sound – unique interplay between Greek instrumentation and acoustic bass – used in ways that make the record feel like some lost bit of Balkan genius from years back! The trio features guitar, upright bass, and tzouras – the last of which is a small stringed instrument that has a very thin, human quality – not too far from a bouzouki, but played with a style that's a lot more complicated overall. The record has vocals, but the instrumentation often seems to be the strongest focus – and titles include "Andigonou", "Pame Sto Faliro", "In Da", "Noouneim", "Astiggana", and "Chemtrails".

A pretty cool little group from Cyprus – one who work here in a hypnotically stripped-down sound! The trio claim their style as "Greek blues" – but the overall sound is much more exotic – and the only bluesy element may well be in the way the music is recorded – with a hip grainy sound that almost feels like you've discovered a pile of lost 78s from the Balkans! Instrumentation is guitar, upright bass, and tzouras – and the vocals often take second place to the cool interplay of the stringed instruments. Titles include "Dervisiko Tsakali", "O Nikos O Trellakias", "Pente Magkes Ston Perea", "Tora Tin Kalokeria", and "Oli I Reggetes".

Very hip work from one of the coolest cats of the 50s – the amazing Bobby Troup, heard here at the height of his powers in a very sweet setting! The group's actually a quartet – given that Bobby's on piano, alongside Howard Roberts on guitar, Bob Enevoldsen on bass, and Don Heath on drums – and all players have a sweet, spare groove that leaves plenty of room for Troup's wonderfully charming vocals – sung in that uniquely personal way that always seems to transform a tune with its playfulness. Titles include "That's All", "I Get A Kick Out Of You", "Dream Of You", "The Hucklebuck", "Yes Sir That's My Baby", "Thou Swell", and "They Didn't Believe Me".