Not the Broadway record that you might guess from the title, but a great showboat for the hipper talents of trumpeter Kenny Dorham! The album is made up of tunes from the famous show, but the presentation here is quite strongly hardbop – blown by Kenny with the same mix of sweet and modern you might hear on his Blue Note records, but a bit looser too – almost with the rougher edges of a Prestige date. Other players include Jimmy Heath on tenor, Kenny Drew on piano, Jimmy Garrison on piano, and Art Taylor on drums – one hell of a great group – and although the titles are familiar – "Can't Help Lovin Dat Man", "Ol Man River", "Why Do I Love You", and "Nobody Else But Me" – they're recast by Kenny as thoughtful little showpieces, rich with imagination, and played as if they were his own compositions. CD

A hell of a package – two key albums from Gang Of Four, plus lots of other rare material from these crucial years! At the core of the package is the classic album Entertainment – one of the greatest debut albums of all time – a record that hit the world like a comet when it was released, and which will continue to burn brightly for many decades to come! There's few groups who get things so right as Gang Of Four on this set – balancing the sharp edges of UK punk with a deeper political sense – but one that puts its message across in these short, sharp, shocks that are often given an extra punch by some surprisingly strong basslines! The mix of rawness, message, and surprising groove really sets this one apart from the pack – and that includes the work by legions of groups who've tried to imitate it over the years. Tracks include "Ether", "Natural's Not In It", "Not Great Men", "Damaged Goods", "Return The Gift", "Guns Before Butter", "Glass", and "Contract". Solid Gold is a stunning second set from the mighty Gang Of Four – and a record that's got all the power and politics of their famous Entertainment debut! The set's got some wonderfully heavy basslines amidst the scratchy guitar that makes the group so great – but nothing's too polished, certainly not as in their crossover club modes to come – and the call/response vocal style of Andy Gill and Jon King is tremendous – a very fresh way to deliver the message, and one that's still never been matched all these many years later. Titles include "Paralyzed", "What We All Want", "Why Theory", "If I Could Keep It For Myself", "Cheeseburger", "The Republic", "Outside The Trains Don't Run On Time", "In The Ditch", "A Hole In The Wallet", and "He'd Send In The Army". Next, you get an exclusive Singles album – the first-ever LP collection of all the early singles and b-sides – including tracks from the EP releases Yellow, Damaged Goods, and Another Day Another Dollar. Next is an another exclusive vinyl release – the 2LP set recorded Live At The American Indian Center 1980. Plus, the box features a 100 page full-color, hardcover book – with rare photos, contributions from group members, original artwork, and rare posters – plus essays from Greil Marcus, Michael Stipe, Jon Langford, and others. Also includes posters, flyers, and ephemera! CD

The amazing first album from Gentle Giant – a crucially overlooked group from the key years of the UK jazz-rock scene! The album definitely comes at things from a rock perspective, but there's a hell of a lot of fusion in the mix too – especially in the guitar and keyboard parts, which jump around with these sharp edges that rival some of the more jazz-based fusion from the European scene of the 70s – played to perfection, even amidst some of the record's higher-concept lyrics – which themselves kind of fall into a King Crimson camp. In fact, the mix of lyricism and all-out jamming makes the record a good comparison to the Crimson camp of the time – yet for some reason, these guys have never gotten as much cred over the years as that group. Titles include "Nothing At All", "Isn't It Quiet & Cold", "Why Not", "Giant", and "Funny Ways". CD

Guru's second foray into the jazz/rap crossover world, with a huge amount of guest stars, and a little bit less of Guru. In parts, it actually seems to work better than the first one. Why? Because there's not as much of a forced effort to bring jazz and rap together in an obvious way, which leaves guests like Ramsey Lewis, Jamiroquai, Ronny Jordan, Donald Byrd, Kool Keith, Reuben Wilson, Bernard Purdie, and The Solsonics more room to do their thing. Includes "Lifesaver", "Looking Through The Darkness", " Respect The Architect", "Choice Of Weapons", "Count The Blessings", "Lost Souls", "Watch What You Say", and more. CD

Beautiful late Blue Note work from vibist Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – a great mix of vibes and keyboards that's wonderful throughout! But all other players are wonderful too –including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Titles include a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good". CD

One of those records that we remember dismissing at the time – but honestly, it really lives up to repeated listenings in later years! Sure, Michael Jackson's no longer working with Quincy Jones – and instead goes for Teddy Riley and some other (then) contemporary producers – but that all makes for a very solid 90s crossover vibe – perfect for radio play a the time, not to mention heavy video rotation too – and definitely still another jewel in the crown of the King of Pop! Titles include "Remember The Time", "Why You Wanna Trip On Me", "In The Closet", "Jam", "Dangerous", "Gone Too Soon", "Will You Be There", "Black Or White", "She Drives Me Wild", and "Can't Let Her Get Away". CD

One of those records that we remember dismissing at the time – but honestly, it really lives up to repeated listenings in later years! Sure, Michael Jackson's no longer working with Quincy Jones – and instead goes for Teddy Riley and some other (then) contemporary producers – but that all makes for a very solid 90s crossover vibe – perfect for radio play a the time, not to mention heavy video rotation too – and definitely still another jewel in the crown of the King of Pop! Titles include "Remember The Time", "Why You Wanna Trip On Me", "In The Closet", "Jam", "Dangerous", "Gone Too Soon", "Will You Be There", "Black Or White", "She Drives Me Wild", and "Can't Let Her Get Away". CD

An album named after a genre, but one that offers up the very special focus that BB King brought to blues music – especially in these early years of his career! King's a giant at this point – a hell of a singer, with a sound that's a key bridge between gospel and soul – and a equally solid guitarist, able to grace his tunes with searing solos, but in a way that's never as showy or overcrowded as all the later bluesmen who tried to copy his act! Instead, King's balance here is perfect – and often set to romping backings that link his approach not only to a postwar R&B tradition, but maybe even to the jazz world as well – with a vibe that's a lot less downtrodden than you might expect from a record called "the blues". If you've never dug BB at this early point in his career, you'll find plenty here to love – and titles include "When My Heart Beats Like A Hammer", "What Can I Do", "Troubles Troubles Troubles", "Early In The Morning", "You Don't' Have To Cry", and "Why Do Everything Happen To Me". CD features bonus tracks – "Sweet Little Angel", "Tickle Britches", "I'm In Love", "Bye Bye Baby", "Don't Keep Me Waiting", and "Don't Break Your Promise". CD

One of the greatest contributions made by the 32 Jazz label so far has been the rich amount of classic Roland Kirk material they've released on the market. The best of Kirk's work has been out of print for years, and like the folks at 32 Jazz, we think that's a darn shame – which is why we're extra-excited about a set like this! This nicely (and strangely) packaged 3 CD set features 2 CDs worth of previously unreleased live material – recorded in the years 1964 to 1975, by jazz recordist/archivist George Bonafacio. The material is amazing, and definitely gives proof to the claim that Kirk's live sets were even more amazing than his studio recordings. There's a wealth of great stuff here that really opens up an understanding of Kirk's 60s and early 70s years – and titles include "Rahsaantalk", "Misterioso", "Jammin With A Wolf", "Sister Sadie", "Blues For Alice", and a very groovy "Multi-Horn Medley". And if that's not enough, the 3rd CD of the set features the totally rare Natural Black Inventions album, which Kirk recorded for Atlantic. The record's got an amazing sound: Roland plays solo (mostly), and without the aid of overdubbing, to create these amazing soundscapes of multiple horns and circular breathing. It's filled with these fantastic throbbing pulsating reed lines, with one horn blowing rhythm, and one playing an adventurous solo – and both being blown live a the same time! Tracks include "Black Root", "Raped Voices", "Day Dream", and "Something For Trane That Trane Could Have Said". 3 great CDs of material by one of our favorite-ever reed players – and nicely priced, if we do say so ourselves! CD

Insanely beautiful work from the great Joe McPhee – an album that was recorded and intended to be issued during his groundbreaking stretch with Hat Art Records – but which never saw the light of day at the time! Why that happened, we're not entirely sure – because the album is tremendous right from the very first note – as McPhee blows alto, tenor, and pocket cornet alongside the work of Andre Jaume on alto, tenor, and bass clarinet – in a set of horn-only performances that are breathtaking from start to finish! Jaume's a great player too – and his work of the time, especially on Hat Art, is a masterpiece of subtlety and soul – and he balances McPhee perfectly here, often with some deeper currents that create a beautifully organic energy between the two. Jaume's got this way of handling his reed that's amazing – and, of course, Joe's phrasing is as incredible as always. Titles include great reworks of modern jazz classics – including "Pithecanthropus Erectus", "Self Portrait In Three Colors", "Evidence", "Chelsea Bridge", and "Lonely Woman" – plus the originals "Nuclear" and "Rue St Jaume". CD

Last Train From Overbrook, a wonderful album from Moody – one of his "comeback" albums for Chess/Argo, recorded after his release from the Overbrook institution, hence the title. By this point, Moody was writing and playing with much more of an edge than during his bebop days – and the record certainly shows that – not only on the title track "Last Train From Overbrook", a jumpy little number that became one of the big new tunes in Moody's book, but on the whole album, which features some well-conceived large charts written by Johnny Pate. Pate and Moody wrote the bulk of the songs, too – and titles include "Yvonne", "Brother Yusef", "The Moody One", "There She Goes", "Tico Tico", and "Why Don't You". Flute N The Blues is one of James Moody's first albums for Argo – and an album that features him shifting from tenor sax over to flute – and playing in a slyly seductive way that would have great implications for generations of soul jazz musicians for years to come! The sound here is never sleepy – and instead shows the flute to be a perfect vehicle for creating more sensitive colors and tones in jazz – in a way that's also offset by a bit of work on alto and tenor on the album as well. The group features some excellent work from trumpeter Johnny Coles and baritonist Pee Wee Moore – plus some sparkling arrangements from pianist Jimmy Boyd – and Eddie Jefferson joins in on 3 great vocal numbers. Titles include "Birdland Story", "I Cover The Waterfront", "Breaking The Blues", "Easy Living", "Richard's Blues", and "Boo's Tune". 20 tracks in all. CD

An amazing set by Lee Morgan – and one that was recorded in the 60s, but not issued until many years later! The album has this really weird sound, which is a combination of Morgan's trumpet, Wayne Shorter's tenor, Herbie Hancock's piano, and Bobby Hutcherson's vibes – the last of which gives the record a uniquely angular quality, and a stark modernist sound that's different from other Lee Morgan albums. This odd sound is possibly one reason why Blue Note didn't release the album at the time – and it's also a quality that makes the finally-issued record a real treasure – an even more wonderful chapter in the great later years of Morgan's all-too-short jazz career! The title track "The Procrastinator" is amazing – and other titles include "Soft Touch", "Dear Sir", "Stopstart", and "Rio". CD

Prince got tagged to do the music for the big breakout Batman film from Tim Burton – and the performances here are definitely not the stuff of The Dark Night – and in fact, maybe nothing like you'd expect from Batman at all – even though the music does make a nod or two towards the cowled crusader with some samples! It's clear that Prince just had a fun time putting the whole thing together – and like many other star soundtracks from the 90s, the feel of the music is very much its own thing – which is probably why the record was such a hit, and maybe has had a lot more endurance than the film! Titles include "The Future", "Electric Chair", "Vicki Waiting", "Partyman", "Scandalous", and "Batdance". CD

One of Nina's first for RCA – a mixture of jazz and soul tunes handled with some classy arrangements by Sammy Lowe, most of which feature nice electric bass work at the bottom by Gene Taylor! Taylor's bass gives the tracks a nice "dip" that's not exactly funky, but does provide a strong kick that keeps things moving along nicely – in a way that points towards the direction Nina would take in the 70s, and which makes this album a fair bit hipper than some of her Philips work! Nina's not as over the top as on other records, but still lays it out quite hiply – and tracks include "Consummation", "Go To Hell", "Love O Love", "It Be's That Way Sometime", "Turn Me On", and "Some Say". CD features bonus tracks "Save Me" and "Why Must Your Love Well Be So Dry". CD

A huge run of records from Yma Sumac – presented here in a box that collects just about everything she recorded for Capitol Records in the 50s! First up is Voice Of The Xtaby – legendary vocal work from the postwar years – some of the earliest recordings from the enigmatic Yma Sumac – an artist whose records really laid the groundwork for an entire generation of exotica records to come! Sumac's authenticity has been debated over the years – but there's no denying that she's got this incredible vocal range – a many-octave approach that almost makes her sound like a human theremin – as she works with exotic backings from Les Baxter to offer up a take on Peruvian roots, styled towards a 50s bachelor pad listener! Titles include "Xtaby", "Wayra", "Taita Inty", "Monos", and "Tumpa". Legend Of The Sun is early work from Yma Sumac – with that moody mix of other worldly vocals and semi-Latin instrumentation that made her a popular one with the early exotic crowd. Yma runs up and down the vocal scale, while Moises Vivanco leads the band in a set of crashing dramatic orchestrations with a Peruvian feel. Tracks include "Sunray Surita", "Mamallayi", "No Es Vida", "Ccori Canastitay", and "Kon Tiki". The package features selections from the album Flahooley – one of the more obscure Yma Sumac albums from the 50s – a Broadway production with a larger cast – and much more of a musical than Sumac's other records. Yma really stands out in the show, though – singing a few special numbers with music by Moises Vivanco – but the rest is familiar Broadway modes of the early 50s, penned by Sammy Fain & EY Harburg. Sumac titles include "Najala's Song Of Joy", "Najala's Lament", and "Come Back Little Genie Birds". Mambo is quite possibly our favorite album ever by the enigmatic Yma Sumac – thanks to some lively arrangements by Billy May, who gives the set a swinging jazzy groove! As you might guess from the cover, the style here is more in a Latin jazz mode than some of Yma's other more ethereal work – and that style turns out to be a wonderful fit for Sumac's incredible vocals – creating a batch of driving tunes that swing nicely, yet still have a spooky exotic sound on the top! Titles include "Bo Mambo", "Taki Rari", "Goomba Boomba", "Malambo No 1", and "Five Bottles Mambo". Inca Taqui is an early 10" LP – on which Yma Sumac sings chants of the Andes – and authentic or not, the sound's pretty darn great! The record's in the same format as her other early work for Capitol – tunes written by Moises Vivanco, who also conducts the backings in a dramatic early 50s style that's perfect for Yma's wonderful voice! And whether or not these tunes are actually the ones that all the cats in Peru were singing up in the mountains, they still sound pretty darn great as a key part of postwar exotica! Titles include "Incachao", "Llulla Mak'Ta", "Chuncho", "K'Arawi", and "Cumbe-Maita". Legend Of The Jivaro is one of Yma's more "historical" records – and the notes say that the album is "the rare plum of authenticity". We don't know if we'd go that far, but we can tell you that the record features Yma performing songs of the legendary Jivaro headhunters! Supposedly, Yma learned them in her "South American jungle-home", but we keep wondering why the headhunters took the time to teach her, when they could have been shrinking her head. Tracks include "Yawar", "Shou Condor", "Aullay", "Sumac Soratena", and "Hampi". Last up is Fuego Del Ande – one of the most obscure albums by vocalist Yma Sumac – and one of the most compelling too! The album has Yma working in the Andean style of her earlier 10" albums for Capitol – working with Moises Vivanco on a set of tunes that have a much more traditional and almost folkloric style than some of her work with Les Baxter. Titles include "Clamor", "Dale Que Dale", "Llora Corazon", "Gallito Caliente", "La Molina", and "Flor De Canela". CD

A massive collection of Tortoise rarities – including work from non-US releases, tour-only EP material, compilation tracks and more – plus the long out-of-print, heavily sought after Rhythms, Resolutions And Clusters remix album – all at a great price! You really couldn't ask for a better collection of errata from the celebrated group. It features some of the best work the collective and individual members (Jeff Parker ('97-present), John Herndon, John McEntire, Doug McCombs, Dan Bitney, David Pajo ('95-'97) and Bundy Brown ('91-'94)) have ever done! Rhythms, Resolutions And Clusters – featuring adventurous re-imaginings by such a diverse roster as Casey Rice, Steve Albini, Brad Wood, Jim O'Rourke and Mike Watt – is possibly the face value boon of the collection given it's known "legendary lost" status, but pretty much everything here is just as tough to find, if not literally impossible! The set contains 3CDs and a DVD, which features most of Tortoise's music videos and extensive rare live performance footage. Frankly, we'd have paid $20 just for a CD single with "Gamera", and that's just the kick off track on disc 1! Other tracks on disc 1 include "Blackbyrd", "Sex For Elizabeth", "To Day Retrieval", "Whitewater", "Autumn Sweater", "A Grape Dope", "Blue Station" and more. Disc 2 includes "Madison Area", "TNT (Nobukazu Takemura remix)", "Why We Fight", "CTA", "Adverse", Cliff Dweller Society" and more. Disc 3 (Rhythms, Resolutions And Clusters) includes the tracks "Alcohall", "Your New Rod", "Cobwebbed", "The Match Incident", "Tin Cans", "Not Quite East Of The Ryan", "Cornpone Brunch" and more. DVD includes the videos for "Salt The Skies", "Dear Grandma And Grandpa", "Seneca", and more, plus live footage from Toronto in '96, the Deutches Jazz Festival in '99, Chic-A-Go-Go in '05 and the Burn To Shine project in '04. CD

Weezer's second album – nearly ignored by fickle alternative rock radio programmers and Mtv after their debut was such a surprise smash – and now rightly remembered as a classic! Much has been made over the years about the sadder, angrier songs on Pinkerton, as well as the occasional keyboards and fuzzier, less glossy sound. Still, it's Weezer, therefore catchy as hell, and not without a sense of humor, even if it's outwordly sad and a little cynical. Tracks include "Tired Of Sex", "No Other One", "Getchoo", "The Good Life", "El Scorcho", "Falling For You", "Butterfly" and "Why Bother". (PS: If there's a better 90s rock loser anthem than "Why Bother", we haven't heard it.) CD

If we had a shop like this in our neighborhood – we'd be broke! Fatback are (of course) the legendary 70s funk group whose records we've loved for decades – but what's not as well known is that they also ran a little storefront office known as the House Of Fatback, located in Queens, and home to some really funky music! The office not only served as headquarters for the group, but was also a place where they caught new talent, and kept one ear to the street for other artists to work with. In the years before Fatback themselves broke big, the group ran a label – also called Fatback – and recorded some excellent local talent on the New York scene – a mix of soul and early funk acts, handled with a level of quality that ranks right up there with the best indie soul of the late 60s. This great set features 16 tracks from the Fatback label, along with great notes that really get at their story – and contains a wonderful range of tunes that are all winners all the way through! Titles include "The Cat Walk" and "Little Bit Of Soul" by Gerry & Paul & The Soul Emmisaries, "You're My Everything" and "Who Will It Be" by Mary Davis, "Right Or Wrong" and "I Need You" by The Puzzles, "Why Don't You Let My Love Go" and "Got To Find A Way" by Jimmy Williams, "Put It In" and "Keep On Brother Keep On" by Johnny King & Fatback Band, and "Quiet Waters" by GP & The Soul Emissaries. CD

One of the coolest collections we've heard from Keb Darge in years – not the funk and soul he first gave us when he started putting compilations together, nor the rockabilly and R&B from more recent years – and instead a fantastic array of rare late 60s garage rock and freaky fuzz singles! The set's tone in collaboration with Cut Chemist – another DJ we'd never expect to know this music so well – and together, the pair turn their talent for rare record digging to an arena that never seems to get old – the under-underground of the pre-hippy years, with a stunning selection of tracks by artists who worked in the deep shadows beneath bigger acts like Count Five, The Seeds, or Standells. Half the record is collected by Cut Chemist, the other by Keb – and the package features a whopping 30 tracks in all, most of which we'd never heard before! Titles include "Cry" by The Malibus, "Cuttin Grass" by Caretakers Of Deception, "Project Blue" by The Banshees, "Slander" by Ty Wagner, "Suzy Creamcheese" by Teddy & His Patches, "Nowadays People" by Captain Crunch & The Crew, "Go On Leave" by Red Beard & The Pirates, "In & Out" by Larry & The Blue Notes, "Why Am I Alone"by The Choab, "Can It Be" by The Savoys, "Modman" by The Spacemen, "Baby Go" by The Avantes, "Just Let Me Be" by The Outsiders, and "Come On Baby & Stick Around" by Al's Untouchables. CD

A tremendous recording from the Art Ensemble Of Chicago – done during the same Paris stretch as their Great Black Music classics on the BYG/Actuel label – and a set that easily matches, if not tops, those classics! You can really hear the group finding their own space here – taking some of the free jazz explorations of the Chicago scene in the late 60s, and forging them with an even earthier use of both percussion, and the more offbeat sonic possibilities of their own instruments – often with a sense of surprise that you don't always get from some of their later albums. Titles include the side-long "The Spiritual" – plus "Toro", "Lori Song", and "That The Evening Sky Fell Through the Glass Wall and We Stood Alone Somewhere?" (And they wondered why they never got their songs on the radio!) CD

A classic early set featuring the Jazz Messengers back when the group was less of an Art Blakey project, and more of an all-around affair – as you might guess from a lineup that also includes Horace Silver on piano, Kenny Dorham on trumpet, Hank Mobley on tenor, and Doug Watkins on bass! The live set is one of the earliest and purest versions of Blakey's hardbop vision, touched with the slightly exotic lyricism of Silver, which gives the tracks a wonderful edge. The playing is excellent throughout – and the album's the kind of live stormer that shows why the group were such a huge draw right out of the box, and why they performed as well (if not better) in a live setting than they did in a studio one! Tracks on this second volume include "Sportin Crowd", "Avila & Tequila", "I Waited For You", and "Yesterdays". CD

A landmark album that forever changed the face of live recordings – and soul music too! As has been told and retold often, King records not only had the genius idea of bringing recording equipment into the Apollo Theater to catch James in a smoking live setting – the sort of show that really set his fans on fire – but they also went out of their way to record and re-record the audience, creating a wonderful interplay on the record between James and the crowd. The result is the stuff of legend – and the record's filled with loads of nice tracks like "I'll Go Crazy", "Try Me", "I Don't Mind", "Lost Someone", "Think", "Night Train", and the massive medley featuring "Please Please Please/You've Got The Power/I Found Someone/Why Do You Do Me/I Want You So Bad/I Love You Yes I Do/Strange Things Happen". CD

One of the coolest albums ever from organist Milt Buckner – a set that not only features his own great work on Hammond, but also some excellent vibes from Gene Redd! This isn't the Redd that was a member of Kool & The Gang, but his pops – and Gene works with Buckner here on arrangements to craft a sound that's much hipper and more soulful than usual for Milt – quite a change from some of his dates for other labels, especially some of the overseas ones. The rest of the group features Bill Willis on bass and Phil Paul on drums – and tunes are awash in cool tones and unusual sounds – handled very differently than in other versions. The album includes nice versions of "Take Five", "Fly Me To The Moon", "All Blues", and "Why Don't You Do Right" – all with a lot more of a soul jazz groove than you'd expect! CD

Includes the songs "Just What I Needed", "My Best Friend's Girl", "Good Times Roll", "You're All I've Got Tonight", "Don't Cha Stop", "Moving In Stereo", "Take Me Now", "Cool Fool", "Let's Go", "Candy-O", "Dangerous Type", "Double Life", "Got A Lot On My Head", "It's All I Can Do", "Nightspots (Early Version)", "Slipaway", "That's It", "Panorama", "Gimme Some Slack", "Don't Go To Pieces", "Touch And Go", "Don't Tell Me No", "Shake It Up", "Since You're Gone", "I'm Not The One", "Cruiser", "The Little Black Egg", "Funtime", "You Might Think", "Drive", "Magic", "Hello Again", "Why Can't I Have You", "Breakaway", "Tonight She Comes", "You Are The Girl", "Strap Me In", "Door To Door", "Leave Or Stay (1977 Demo Version)", and "Ta Ta Wayo Wayo (1977 Demo Version)". CD

One of the best records ever cut by jazz vocalist Betty Carter! Why? Well, because the session's got a tight stripped-down feel – but not as stripped down as some of Carter's mellower records – and it's also one of the first to show her in the straight jazz setting that would become her dominant format in the 70's and 80's. Unfettered by larger studio arrangements, Carter's at her jazzy best, and brings a rich amount of emotion and imagination to her interpretations of tracks like "This Is Always", "Some Other Time", "Something Big", and "There Is No Greater Love". The set also includes a phenomenal original composition – the captivating "Open The Door", which is one of Carter's best songs – and it's also got 7 tracks that weren't on the original album! CD

By this time, the Mothership had just about completely crashed out – at least on record, as George shows us here. (Live, Clinton had no trouble keeping up the groove – as he could always start a party funk fire going in concert, no matter how he was sounding on record.) The record was cut for Prince's Paisley Park label, and definitely has some Prince funk in the grooves – if not the titles of the album's songs, which include "Serious Slammin", "Why Should I Dog U Out?", "Tweakin", "Airbound", "Goin On", and "French Kiss". CD

Freddy Cole serves up a tribute to his famous brother Nat – in a small combo set that also features some nice tenor work from Houston Person and Harry Allen too! Cole's a singer who's ultimately had a lot more of a career than Nat – and we're not entirely sure why he's so often lumped together in settings like this – but the record's a real testament to Freddy's talents in the way he doesn't slavishly repeat Nat's phrasing, and instead makes these classic Cole tunes very much his own. The more jazz-based presentation helps a lot with that – and in addition to the tenor solos, the record also features work from Joe Magnarelli on trumpet, Josh Brown on trombone, Randy Napoleon on guitar, and John DiMartino on piano. Titles include "Love Is The Thing", "Jet", "Exactly Like You", "That's My Girl", "The Best Man", and "Maybe It's Because I Love You Too Much". CD

Darkly brooding work from John Coltrane's early years as a leader on Prestige – a very unique little record that features twin baritone sax support from Pepper Adams and Cecil Payne! Both players are wonderfully hip here – more than enough to match Trane's unique musical vision for the group's format – and the sound of the session is much edgier than some of his other Prestige work – which may be why the label chose not to issue it until 1963, even though it was recorded back in '57. There's a nice roughness here – the same inspirational early sound you'll get on Coltrane's early sides for Savoy or Imperial – and other players include Mal Waldron on piano, Doug Watkins on bass, and Art Taylor on drums. Titles include "Cat Walk", "Dakar", "Route 4", "Velvet Scene", and "Witches Pit". CD

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal". CD

Maybe the most striking work we've heard from all the players in the group – and that's really saying a lot, given how many stunning records they gave us back in the 70s! The music here is wonderfully free and improvised, but also has a way of focusing on a specific element too – sometimes the piano pulsations of Keith Tippett, sometimes the very organic bass work of Chris Laurence, or the soulful alto sax work of Elton Dean, or intuitive percussion of Louis Moholo! The qualities are a bit hard to describe in words, but there's a vibe to the set that really shows why key players of the British 70s scene were often so different than their European counterparts – this mix of humanism and instrumental progressivism, sometimes a bit warmer than at other points – but balanced with freer flights of creativity. Titles include "Naima", "Dede Bup Bup", "Overdoing It", "Not Too Much", and "Nancy". CD features in four unissued bonus tracks, the most striking of the bunch – "Edeeupub", "Here's That Rainy Day", "Attic", and "Echoes". CD

A really wonderful recording from percussionist Kahil El'Zabar and his Ritual Trio – a set that features our favorite incarnation of the group – with the mighty Malachi Favors on bass, and Ari Brown on both soprano sax and piano! Tracks are all nice and long, and build in that beautifully spiritual style that made Kahil one of the real standouts on the Chicago scene in the period – one of the few cats who didn't just go avant for freedom's sake, and instead worked in this open, flowing, soulful style that nobody else was touching at the time! The title cut's a great illustration of this approach – a really beautiful 16 minute cut that draws gentle modal energy from interplay between bass and kalimba, then lets Brown really stretch out over the top – and the other tracks follow strongly, with a wonderfully organic approach. Titles include "Alika Rising", "Why Not", and "Where Do You Want To Go". CD

An early moment of genius from The Electric Prunes – and exactly the kind of record that shows why they were a cut above their contemporaries, and why Warner really backed them strongly right from the start! There's a depth here that rivals some of the group's Sunset Strip contemporaries – and although David Axelrod's not working with them on the record, there's still lots of dark corners and sharp edges – really thoughtful sounds that are spun out wonderfully on fuzzy guitars and organ, with some nicely subtle drums in the rear. Tracks include "I Has Too Much To Dream (Last Night)", "Try Me On For Size", "Get Me To the World On Time", "About A Quarter To Nine", and "Luvin". CD

Never-heard studio work from the great Bill Evans – not another one of those many (and great) live performances from overseas – but a well-conceived, beautifully recorded set of tracks that were done for MPS Records in their famous studios in the Black Forest! The group here is Evans sublime trio with the great Eddie Gomez on bass and a young Jack DeJohnette on drums – perfect players for completely reworking the sound of the jazz piano trio, with all the new ideas that Bill had bursting forth at the time – and this material is the only studio session by the group, recorded right after their famous live appearance at Montreux in 1968 (documented on a well-known album on Verve.) The set's a double-length outing – recorded with the kind of crisp, clear sound that MPS brought to its other classic piano albums of the time by artists like Hampton Hawes or Tete Montoliu. The whole thing's wonderful – and Gomez has a wonderful presence in the mix – as the trio really shines on titles that include "Wonder Why", "Green Dolphin Street", "These Foolish Things", "Walkin Up", "Turn Out The Stars", "Very Early", "You Go To My Head", "Lover Man", and "Baubles Bangles & Beads". CD

Genius live work from tenor saxophonist Jonas Kullhammar – working here in trio formation with bass and drums, freely creating on the fly – and evoking the power of Sonny Rollins live classics for Blue Note and RCA! We've raved elsewhere on these pages about Kullhammar's tone and musical vision on the tenor – but it steps out even more strongly on this set, thanks to firm support from drummer Daniel Fredriksson and bassist Torbjorn Zetterberg – who both match Jonas' inventive energy on the record. As with Sonny Rollins Vanguard recordings for Blue Note, there's a tremendous depth of spirit and sound here, and one record is not nearly enough to capture the scope of talent – which is why we're happy they've decided to issue 3 albums worth of material from this date! Titles on this first volume include "One Down One Up", "Have Horn Will Blow", "Apex", and "Blessing In Disguise". CD

Genius live work from tenor saxophonist Jonas Kullhammar – working here in trio formation with bass and drums, freely creating on the fly – and evoking the power of Sonny Rollins live classics for Blue Note and RCA! We've raved elsewhere on these pages about Kullhammar's tone and musical vision on the tenor – but it steps out even more strongly on this set, thanks to firm support from drummer Daniel Fredriksson and bassist Torbjorn Zetterberg – who both match Jonas' inventive energy on the record. As with Sonny Rollins Vanguard recordings for Blue Note, there's a tremendous depth of spirit and sound here, and one record is not nearly enough to capture the scope of talent – which is why we're happy they've decided to issue 3 albums worth of material from this date! Titles on this second volume include "Inchworm", "Sweet Georgia Bright", "J Blooz", "You Don't Know What Love Is", and "Oleo". CD

The striking debut of PJ Harvey – a record that not only has the British singer maybe topping any of the new generation of American female singer/songwriters that were emerging at the time – but also really showing the world her skills as a producer too! There's a ferocity to some of these songs, and open emotion throughout – a style that's often dark, but never too brooding or self-absorbed – which is maybe why Harvey's star rose so much with a record like this! Titles include "Oh My Lover", "Dress", "Stella", "Happy & Bleeding", "Sheela Na Gig", "Hair", "Joe", and "Plants & Rags". CD

An album that begins with a drumbreak, then features electric piano from George Cables – all at a level that almost feels like Eddie Henderson has gone back to those sublime funky years of the mid 70s! Back in the day, the trumpeter's spacious approach to jazz funk really marked the start of a new era for the music – and since that time, Henderson's only gotten better and better in an acoustic setting too – really developing strongly since his initial appearance on spiritual sessions for others, with a range of expression that's on full display here! The album moves from the electric start to more acoustic modes – sometimes swinging, sometimes intimate – and Cables is a superb accompanist throughout, on both electric and acoustic keys – in a group that also features Donald Harrison on alto, Gerald Cannon on bass, and Lenny White on drums. Titles include "Totem Pole", "Scorpio Rising", "Why Not", "It Never Entered My Mind", "I Am Going To Miss You My Darling", and "Freedom Jazz Dance". CD

The long-teased, finally delivered joint full length from Jay-Z and Kanye West. It's impossible to consider the music purely on its own terms given the outsized personalities and absolutely gigantic presences of both – which makes it pretty fascinating. It's definitely not on the level of the best solo albums by either force, but it's probably a whole lot better than it's being dismissed as in some circles. Bottom line – it's worth picking up. We'll see how history treats it. Includes "No Church In The Wild" feat Frank Ocean, "Lift Off" with Beyonce, "Ni**as In paris", the single "Otis" with that reanimated Otis Redding vocal, "Gotta Have It", "New Day", "That's My B**ch", "Why I Love Yu" feat Mr Hudson and more. The deluxe edition has 4 bonus tracks: "Illest M*****ker Alive" (with an intentional 3 minutes of silence), "HAM", "Primetime" and "The Joy". CD

Exactly the kind of record that shows why Kashif was one of the leading mainstream talents of the 80s – a set that not only has the artist really maturing as a singer, songwriter, and producer – but one that also has him reaching out to bring in a host of other talents from the time as well! The move is no surprise, given that Kashif had lent his talents to so many other artists' records in the past – and the favor seems to be returned by the album's work from Expose, Meli'sa Morgan, Doug E Fresh, Kenny G, Greg Phillinganes, and Whitney Houston – all of whom come across with a really organic feel that only seems to deepen the main sounds from Kashif. Titles include "Vacant Heart", "Fifty Ways", "Somebody", "Love Changes", "Loving You Only", "Love Me All Over", "Midnight Mood", "It All Begins Again", and "Who's Getting Serious". CD

Philly soul classics from The Manhattans – the mid 70s self-titled gem and After Midnight from the dawn of the 80s! The Manhattans album is one of their best of the 70s, and a record that showed that they were firmly out of the indie ghetto, and totally on top of their game! The record features arrangements and production by Bobby Martin and Bert DeCoteaux – bubbling along in that soaring style that you'd recognize best from Philly International albums of the time, but which also has some nice traces of the mellower ballad work that first put the group on the map. Every tune is perfect – the kind of sublime soul that easily explains why a record like this could be found in every single record collection of every single soul listener of the time – and titles include "La La La Wish Upon A Star", "We'll Have Forever To Love", "Take It Or Leave It", "Reasons", "Wonderful World Of Love", "Searching For Love", and the incredible "Kiss & Say Goodbye". Several bonus tracks, too! After Midnight is stellar Manhattans from the start of the 80s – and proof that the group could still hold strong, even at a point when soul music was really changing up around them! The sound is somewhat smoother than before, but never in a throwaway style – and as you might guess from the title, the record's a mostly-mellow affair that really hones in on the great ballad style that the group had perfected during their time at Columbia! The vocals are superb – not nearly as fragile as in the early days, but really still filled with a great sense of warmth and humanity – the group really maturing into a special space of their own. Arrangements are by James Mack, Benjamin Wright, Bert DeCoteux, and others – and titles include the hit "Shining Star", plus "It's Not The Same", "Just As Long As I Have You", "If My Heart Could Speak", "One Life To Life", "The Closer You Are", and "Girl Of My Dream". CD

We're not sure why Ennio Morricone is making the "shush" sound at us on the cover – as the set's such a wonderful celebration of his music, it makes us want to cheer! The performance here is all new – and features Morricone conducting the Czech National Symphony in a selection of tunes from his classic film scores – in a celebration of his 60 years of giving the planet some of the most beautiful music ever written! The orchestrations are great, and really live up to the spirit of the songs – and there's a recording quality here that's different than some of the other live Morricone albums, which can sometimes flatten the music, and not have that sense of separation and isolation that make the maestro's compositions so great. Titles include "Chi Mai", "Bestiality", "La Califfa", "Death Theme", "Deborah's Theme", "Metti Una A Sera A Cena", "Croce D'Amore", "The Fortress", and "The Man With The Harmonica". CD

Prince got tagged to do the music for the big breakout Batman film from Tim Burton – and the performances here are definitely not the stuff of The Dark Night – and in fact, maybe nothing like you'd expect from Batman at all – even though the music does make a nod or two towards the cowled crusader with some samples! It's clear that Prince just had a fun time putting the whole thing together – and like many other star soundtracks from the 90s, the feel of the music is very much its own thing – which is probably why the record was such a hit, and maybe has had a lot more endurance than the film! Titles include "The Future", "Electric Chair", "Vicki Waiting", "Partyman", "Scandalous", and "Batdance". CD

On the one hand, our jazz snob side wonders why Diana Ross would be picked to star as Billie Holiday, but on the other, it makes perfect sense, as this soundtrack to the film was made during the early 70s, when she was at the top of her career, and one of the highest profile female soul singers. And she acquits herself quite well, with a solid performance that's more than respectable, helped along the way by sympathetic orchestral arrangements from Benny Golson and Oliver Nelson. While we may not turn to this recording over any of Billie's originals, it's a pretty remarkable turning point for Diana, establishing her "diva" status and helping to launch her solo career to new heights. 35 numbers in all, though many of them are dialogue or musical bits lifted from the film. Includes "All Of Me", "the Man I Love", "Ain't Nobody's Business If I Do", "Fine & Mellow", "You've Changed", "My Man", "Strange Fruit" and "God Bless The Child". CD

On the one hand, our jazz snob side wonders why Diana Ross would be picked to star as Billie Holiday, but on the other, it makes perfect sense, as this soundtrack to the film was made during the early 70s, when she was at the top of her career, and one of the highest profile female soul singers. And she acquits herself quite well, with a solid performance that's more than respectable, helped along the way by sympathetic orchestral arrangements from Benny Golson and Oliver Nelson. While we may not turn to this recording over any of Billie's originals, it's a pretty remarkable turning point for Diana, establishing her "diva" status and helping to launch her solo career to new heights. 35 numbers in all, though many of them are dialogue or musical bits lifted from the film. Includes "All Of Me", "the Man I Love", "Ain't Nobody's Business If I Do", "Fine & Mellow", "You've Changed", "My Man", "Strange Fruit" and "God Bless The Child". CD

A 21st Century date from Jimmy Scott – recorded live in Tokyo with small combo backing that almost gives him more of a groove than in some of his other late-life sessions! The band's billed as The Jazz Expressions – and features TK Blue on alto and flute, Jon Regen on piano, Hillard Greene on bass, and Dwayne Broadnax on drums – players who are clearly confident enough of their own talents to not be cowed in the presence of Scott – a fact that sometimes obscures the gentler sides of Jimmy's aging vocals, but which can also be appreciated in terms of the way they don't just lay back and go for a sleepy sort of set. Titles include "I'll Close My Eyes", "Why Was I Born", "I Cried For You", "Time After Time", "Pennies From Heaven", and "You Don't Know What Love Is". CD

There are plenty of Percy Sledge collections out there, but this is the one to own! Why? "Kind Woman". The cut's a monster, and to our knowledge it's not available on any other compilation of Percy's work. All the other great ones are here too, like "Cover Me", "Take Time To Know Her", "It Tears Me Up", "It's All Wrong But It's Alright", "Out Of Left Field", and of course "When A Man Loves A Woman" – as well as great readings of "Dark End Of The Street", "True Love Travels On A Gravel Road" and "Try A Little Tenderness". 23 songs in all! CD

Some of the greatest albums that Hammond organist Jimmy Smith issued at the start of the 60s – all records that completely cemented the role of the organ in jazz – and took the instrument out of the realm of back rooms and jukeboxes! That's not to say that the music here wouldn't play great on a jukebox, as some of the cuts here were issued by Blue Note as 45rpm singles, and went on to get a fair bit of organ play – but they're also mixed with longer cuts that really have Smith opening up on the Hammond – showing the world why his skills on the keys were so different than most that came before him! All the records here feature tight small combo backing – not the larger arrangements that Jimmy would later use at the Verve label – and the set features all albums in original artwork, in LP-styled sleeves – and includes the records Home Cookin, Crazy Baby, Midnight Special, Back At The Chicken Shack, and Softly As In A Summer Breeze! CD

A surprisingly groovy musical based on the film Some Like It Hot – one of the better of a slew of 20s-set musicals that played big on Broadway in the 60s! The music and lyrics are by Jule Styne and Bob Merrill, respectively – but the thing that really makes the soundtrack itself work is the lead performances by Robert Morse and Tony Roberts – the former always a charming presence on the stage, the latter a surprisingly good straight man. Elaine Joyce handles the Marilyn Monroe character – and the music sports some nicely jazzy arrangements by Elliott Lawrence. Titles include "It's Always Love", "Hey Why Not", "Sugar", "November Song", and "Sun On My Face". 2CD version features a full bonus mix of the score – remixed just for this release, with better sound than the original album! CD

The second album White Stripes and the first where they really start to show a ton of range, not that they were really as pigeonholed as garage rock and punk blues earlier on as some thought, but really doing a ton more here in both mood and instrumentation, without ever obscuring the rawer roots. If the hype got a little unbearable back in the day as the mainstream latched out with such a fury, in hindsight, they really were pretty incredible and worth getting excited about! Includes "You're Pretty Good Looking (For A Girl)", "Little Bird", "Apple Blossom", "I'm Bound To Pack It In", "Truth Doesn't Make A Noise", "Sister Do You Know My Name?", "Let's Build A Home", "Jumble Jumble", "Why Can't You Be Nicer To Me", "Your Southern Can Is Mine" and more. CD

A massive overview of the genius Chicago scene of the late 60s – and a set that's overflowing with some of the heaviest music ever recorded! The collection focuses on the most groundbreaking work from the later Chess years – particularly the funky blues, psychedelic soul, and tripped out jazz that was coming out of the Cadet Concept studios in the hands of producers like Charles Stepney, Richard Evans, and Marshall Chess! The Chess groups were ahead of their time by decades – blending together styles without a thought of simple genre restrictions, often forsaking chart fame and record sales in pursuit of an adventurous groove. And while some of the artists on the set may be familiar names, we can promise that most of them are presented in styles that you may not have heard before – as the collection features many unreissued numbers that are making their first reappearance here! CD set comes with a 40 page set of notes – and features 20 tracks in all, including "Please Newsboy" by Eve Barnum, "Burning Spear" by Soulful Strings, "More & More" by Little Milton, "Baltimore Oriole" by Lorez Alexandria, "Soul Vibrations" by Dorothy Ashby, "Evil" by Howlin Wolf, "Stereo Freeze" by The Stereos, "The Way I Feel" by Phil Upchurch, "Mama's Got A Good Thing" by Laura Lee, "The Wailer" by Sonny Cox, "Leave It In The Hands Of Love" by Fontella Bass, "Why Am I Treated So Bad" by The Majestic Choir & The Soul Stirrers, "She Suits Me To A Tee" by Buddy Guy, "Memory Band" by Rotary Connection, and "In My Body's House" by Gene Chandler. CD

A huge dip into the world of all-girl bands from the 60s – not sweet-voiced, teeny-bopping pop acts – and instead a host of raw, garagey groups that come across with a heck of a lot of power! There's some folks out there who might tag a famous 70s group or two as the first female rock band – but as the compilers of this long-running series know, the phenomenon goes way way back – so much so that there's no need to fuss and fight about any "first", and instead just dive in and enjoy all the wonderful music on the set! Production is nice and lean on most of these cuts – no added strings or orchestral sweetening – and these groups work in territory that's got all the raw power of any of the male groups to be tagged with the "garage" label over the years. Three tracks on the set are previously unreleased, the package has superb notes on the material, and titles include "Pink Dominos" by Chiyo & the Crescents, "I Don't Know Why" by The Wrong Black Bag, "Ask Me" by Debbie Williams & The Unwritten Law, "Dimples" by The Misfits, "Melvin" by The Belles, "Stardust Come Back" by Girls Take Over, "Really Gonna Shake" by Sandra Barry & The Boys, "Skinny Minnie" by The Beat Chics, and "Never Till Now" by The Bootles. CD

That's not a typo in the title – the compilation's a collection of tracks that all bear the mark of Phil Spector – Spector's Spectres, if you will! It's a well known fact that Phil had a monumental impact on 60s rock, pop, and soul music – as his "wall of sound" production style forever transformed the sound of the single back in the sixties. And although there's been lots of compilations that focus on Phil's own work, this is the first one we've seen to showcase his proteges and contemporaries – a surprisingly wide range of studio talents who all picked up on Phil's tricks and twists! The tunes on the set include some great 60s soul and pop numbers, and a bunch of the tracks are reissued legally here for the first time. Plus, the set's got some wonderful liner notes – really taking you through the tracks, and explaining the connection to Spector and the overall sound of the music. Features production work by Nick DeCaro, Van McCoy, Jan Davis, Abner Spector, Brian Holland & Lamont Dozier, Brian Wilson, Sonny Bono, and Jack Nitszche – and titles that include "When You Walk In The Room" by Jackie DeShannon, "When The Boy's Happy" by The Four Pennies, "Hang On" by The Wall Of Sound, "Tremblin" by Gene Pitney, "A Little Love" by Alder Ray, "On The Spanish Side" by The Corsairs & Landy McNeil, "Why Do Fools Fall In Love" by The Beach Boys, "Just You" by Sonny & Cher, "I Can't Make It Alone" by PJ Proby, "And That Reminds Me" by The Dolls, "You're So Fine" by Dorothy Berry, "Missing My Baby" by Clydie King, and "I Just Couldn't Say" by Lorraine & The Delights. CD

A beautiful bit of insanity that properly displays why we think Jaki Byard is one of the greatest overlooked talents of the 60's! Jaki plays here not just on his usual piano – but also electric piano, celeste, vibes, and even a bit of tenor – shifting wonderfully to match the spirit of his changing moods on the set – and working with superb backing from the team of Richard Davis (on both bass and cello) and Alan Dawson (on drums, vibes, and tympani). Junior Parker joins in on the record – singing on 2 tracks on the set plus playing the unusual "lagerphone" – and arrangements are very weird, with a memorable mix of modernist ideas, all handled with the down-to-earth sensibility that made Byard so great. Titles include "Ode To Prez", "Nocturne For Contrabass", "Freedom Together", and a great version of "Young At Heart", cut a few years before Muhal Richard Abrams did his nutty version! CD

An album of dark and subtle beauty – and still one of our favorite Miles Davis albums of all time! The set's not as earth-shattering as some of Davis' other work of the 60s, but that's why we like it so much – because the emerging genius of the group with Wayne Shorter, Herbie Hancock, and Tony Williams is held in a really special place here – one that ruminates quietly on space and soul, while Davis majestically directs tones and colors that he'd never gotten in a small group format before! Titles include the amazing "Iris", one of Miles' most haunting themes – plus "Little One", "RJ", "ESP", "Mood", and "Agitation". CD

Not the Broadway record that you might guess from the title, but a great showboat for the hipper talents of trumpeter Kenny Dorham! The album is made up of tunes from the famous show, but the presentation here is quite strongly hardbop – blown by Kenny with the same mix of sweet and modern you might hear on his Blue Note records, but a bit looser too – almost with the rougher edges of a Prestige date. Other players include Jimmy Heath on tenor, Kenny Drew on piano, Jimmy Garrison on piano, and Art Taylor on drums – one hell of a great group – and although the titles are familiar – "Can't Help Lovin Dat Man", "Ol Man River", "Why Do I Love You", and "Nobody Else But Me" – they're recast by Kenny as thoughtful little showpieces, rich with imagination, and played as if they were his own compositions. CD

Brilliant late work from Bill Evans – his last set of recordings from the Village Vanguard – recorded in the summer of 1980, nearly two decades after his first famous albums at the club! Evans here is a wealth of imagination – really stretching out in relaxed, fluid formation – gentler than before, but also with a deeper sense of feeling too – and getting some great support from trio members Marc Johnson on bass and Joe Labarbera on drums. Tracks mostly hover around the five minute range – but there's some key longer numbers too – and the whole thing's a perfect example of why live Bill Evans is often some of the best Bill Evans you can find! 58 tracks on 6CDs, packaged with a booklet – and titles include "Nardis", "Knight For Mary F", "Emily", "Minha", "My Romance/Five", "But Not For Me", "Bill's Hit Tune", "I Do It For Your Love", "Quiet Now", "Days Of Wine & Roses", "Your Story", "Tiffany", and "Re Person I Knew". CD

A beautiful example of why the west coast scene was great when it was working at its finest – that perfect blend of group formation and individual identity that could make a record like this so great! Tenor player Jack Montrose cut a rare few albums in the 50s, but this one's a gem – done with help from frequent partner Bob Gordon on baritone sax, and with other players that include Conte Candoli on trumpet, Paul Moer on piano, Joe Mondragon on bass, and Shelly Manne on drums – a well-matched group that definitely knows how to follow the course, and break off in individual directions when needed. The style is tightly arranged, but not too tightly that the band doesn't have room to swing – and the mix of Montrose's tenor and Gordon's baritone is sublime together! Titles include "Listen Hear", "Some Good Fun Blues", "Fools Rush In", "Speakeasy", "Pretty", "Credo", and "That Old Feeling". CD