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Few people could make a session cook like Johnny Griffin in his early years – and this late 50s sextet date is great proof of that fact! The album's a relaxed, open, almost unstructured set that might be dubbed a "blowing session", were it not for the tightness of the players and the relatively unified feel of the date. Griffin's tenor is very firmly in the lead, and he's very clearly the leader here – helping shape the sound of the group that includes Donald Byrd on trumpet, Pepper Adams on baritone, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. There's some really hard-wailing extended numbers that come across as full-on hardbop workouts – really driving things along as you might guess with a rhythm section like that in action – but other tunes show some more fully-fleshed sounds from the group – that slight undercurrent of modern expression that was always present in Griff's music. Titles include "Johnny GG", "Catharsis", "Stix Trix", and "What's New" – plus a take on "Woody N You" that just has Griffin wailing along with the rhythm section!

One of the late 50s Jazz Archive LPs on Riverside – in which they dig through older sides, and issue the material in LP format with nice notes. Most of the material here is from the pivotal late 20s years, milestones in the formation of the American female blues singer! Also features work by Sara Martin, Trixie Smith, Mary Johnson, and Hociel Thomas.

Brooklyn synth explorer Daniel Lopatin, aka, Oneohtrix Point Never is on the cover – plus features on avant bassist Joshua Abrams' work with gimbri tones, Gnawa rhythms and other North African inspiration, the Amsterdam sonic innovators at STEIM (STudio for Electro-Instrumental Music), Berlin minimalist techno master Ricardo Villalobos in the Invisible Jukebox, the Global Ear on the Soviet Georgian electronics scene in Tbilisi and more – plus dozens of reviews!

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian".

Stunning funk from the great Dizzy Gillespie – light years away from his early bop recordings! The album's a slammin batch of 70s instrumentals – Dizzy's trumpet firmly in the lead over electric backings that have more than a bit of funk in them. The bass is the main driving factor of the tunes – played either by Phil Upchurch or Chuck Rainey – and the tracks bounce along with a fierce and righteous groove that also includes hard riffing on guitar and some sweet piano lines. Players include Mike Longo, James Moody, and Bernard Purdie – and tracks include "N'Bani", "Matrix", "Soul Kiss", "Ding A Ling", and "Alligator". Great stuff, and a crucial album in Dizzy's lost career! Damn funky, too.

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian".

A cool European set from Lee Konitz – quite different than some of his other material recorded overseas at the time, with a swinging, upbeat feel that's totally great! The group's a nonet – a large ensemble that features Lee on alto and soprano sax, with Ronnie Cuber on baritone, Kimmy Kneper on trombone, Red Rodney on trumpet, and Sam Burtis on bass trombone. The arrangements for the horns are really wonderful – kind of echoing an older west coast mode, but with lots of the new modernisms that Konitz picked up during the late 60s and 70s – forged into some beautiful tunes that sparkle with fresh changes, great solos, and a compelling dynamic energy. Rhythm is from Ben Aronov on electric and acoustic piano, Ray Drummond on bass, and Billy Hart on drums – and titles include "Moon Dreams", "April", "Who You", "Without A Song", "Times Lie", and "Matrix".

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