All Categories — All Formats  

Young & Company were an obscure New Jersey group who struck big momentarily with the single "I Like What You're Doing To Me", and got a brief chance to cut this one and only album for Brunswick as a follow-up. The album's an interesting one, because it came at a time when the last-gasping Brunswick was showing a real talent for cutting underground cuts – mostly issued on 12" singles, and rarely drawn out to a full LP like this. There's kind of a strong roller skating groove on the best cuts – moving along at a good midtempo pace with compressed instrumentation on guitar and keyboards, never too over the top, and definitely not disco. You can hear that to best effect on the big hit "I Like What You're Doing To Me", but the album's got plenty of other nice cuts, like "Strut Your Stuff", "Checking You Out", "Love Me All Night", and "Mellow Mood".

Young & Company were an obscure New Jersey group who struck big momentarily with the single "I Like What You're Doing To Me", and got a brief chance to cut this one and only album for Brunswick as a follow-up. The album's an interesting one, because it came at a time when the last-gasping Brunswick was showing a real talent for cutting underground cuts – mostly issued on 12" singles, and rarely drawn out to a full LP like this. There's kind of a strong roller skating groove on the best cuts – moving along at a good midtempo pace with compressed instrumentation on guitar and keyboards, never too over the top, and definitely not disco. You can hear that to best effect on the big hit "I Like What You're Doing To Me", but the album's got plenty of other nice cuts, like "Strut Your Stuff", "Checking You Out", "Love Me All Night", and "Mellow Mood".

Amazing work from guitarist Charlie Christian – an artist who only recorded for a few short years before an untimely early death – but a player whose work went onto have a huge impact on both the guitar and jazz music in general for years to come! Charlie's playing has a sharp edge that's undeniable – an approach to the guitar that's definitely jazz, yet also finds a place for bluesy inflections too – in styles that no doubt influenced later players like Grant Green or Tal Farlow – and which may have also been an inspiration to electrified bluesmen in the 50s, too. This package brings together a huge amount of Christian's crucial sides for the Columbia label – material that features his raw electric instrument in the company of the Benny Goodman sextet, where Charlie could really shine – and a bit in Benny's larger group too. The package also features raw material that has Christian playing with Count Basie & Lester Young, and the Metronome All Stars – plus detailed notes too. 98 tracks in all – and a much better design than the previous box – with each CD in a smaller sleeve inside the box.

An excellent collection of Billie's 30s work for Columbia Records – featuring 3LPs worth of material, represented with much better sound than the original 78 rpm release of the songs. Billie's in the company of a host of great jazzmen – including Count Basie, Lester Young, Teddy Wilson, Charlie Shavers, Artie Shaw, Cozy Cole, Roy Eldridge, Red Allen, and countless others. 48 tracks in all – with titles that include "Your Mother's Son In Law", "Riffin The Scotch", "Them There Eyes", "Without Your Love", "Swing Brother Swing", "Back In Your Own Back Yard", "You Go To My Head", "Long Gone Blues", "I Can't Get Started", "All Of Me", "God Bless The Child", and "Gloomy Sunday".

Just Wailin is right – as the album's a real cooker in the classic Prestige mode of the late 50s – and a record that shows lots of early bite from a young Herbie Mann! Mann's in the frontline, working alongside the heavy tenor of Charlie Rouse – and in company like that, it's hard not to sound great – especially when other group members include Kenny Burrell on guitar, Mal Waldron on piano, George Joyner on bass, and Art Taylor on drums. The album's got a tighter groove than a blowing session date – with lots of focused energy from all group members – yet more than enough breakout solo space for the stars. Titles include "Minor Groove", "Blue Echo", "Blue Dip", "Jumpin With Symphony Sid", "Trinidad", and "Gospel Truth".

Music that really made the career of drummer Paul Motian – work that firmly established his power as a leader in the 70s, and showed the world that he had a huge range of music to offer beyond his initial fame with Bill Evans! Motian works here both on percussion and a standard drum kit – often in ways that intertwine rhythmic and melodic elements, in the freer structures that ECM helped unleash in the 70s – modes that often show a spiritual side to Paul's music that would have been unexpected a decade before – wrapped up in the company of some fresh young talents from the underground! Players on the dates include Keith Jarrett on piano, Leroy Jenkins on violin, Becky Friend on flute, Charles Brackeen on tenor and soprano sax, Joe Lovano on tenor, Bill Frisell on guitar, Billy Drewes on alto and tenor, David Izenzon and Charlie Haden on bass, and Sam Brown on guitar – and the 6 CD set features the full albums Conception Vessel, Tribute, Dance, Le Voyage, Psalm, and It Should've Happened A Long Time Ago.

A pair of modern moments from George Russell – back to back on a single CD! Stratusphunk is not "phunk", in the way you might think of "funk" – but an album that sets a whole new standard for modern jazz in the 60s – thanks to the fresh ideas of George Russell! Russell's in his best modal mode here – and there's a highly rhythmic construction to most tunes – layers that build beautifully, and which have a sharper edge than some of George's earlier work in the 50s – a balance that's better heard than described by our words, and which is completely compelling right from the start. The vibe is modern, but things still swing beautifully – and players are mostly younger musicians eager to follow Russell's leadership on piano – Dave Young on tenor, David Baker on trombone, Alan Kiger on trumpet, and Chuck Israels on bass. Titles include "Lambskins", "Stratusphunk", "New Donna", "Kentucky Oysters", and "Bent Eagle". Stratus Seekers is key work from the guy who put the "modern" in modern jazz – the great George Russell, heard here in the company of some younger players who definitely help him seek out some new territory in music! The record's got a wonderful balance between sharp edges and swing – a sound that few others could handle so well as Russell – and which bears some links to George's bigger concept albums in the 50s, but comes across with a sound that's much leaner, and which easily makes this record one of the most striking modern sides on the Riverside label at the time! Players are all great – and include Don Ellis on trumpet, Paul Plummer on tenor, John Pierce on alto, and Steve Swallow on bass – plus Russell on piano and Joe Hunt on drums. Titles include "Stereophrenic", "Pan Daddy", "Kige's Tune", and "Blues In Orbit".

Quite possibly the greatest music that Nina Simone ever recorded – brought together beautifully in one compact yet complete set! Nina Simone recorded some great music before she hit the RCA label in the late 60s – but her time at that company really saw a flowering of her unique talents – a way of hitting a vibe that went way beyond familiar jazz vocals – stretching out into something more righteous, more powerful, and more moving than had ever been recorded before – a wealth of great sounds represented beautifully on the albums in this package! The set begins in familiar territory of her Philips Records years – jazz vocals, but with a folksy depth, and political undercurrent. Yet as things move on, the tunes open up, often get longer, and Simone's vocals get bold and powerful – sometimes with key help from a young Weldon Irvine – who wrote some of the best original tunes, and also worked with Nina on keyboards. The package features the full albums Nina Simone Sings The Blues, Silk & Soul, Nuff Said, Nina Simone & Piano, To Love Somebody, Black Gold, Here Comes The Sun, Emergency Ward, and It Is Finished – all in cool LP-styled sleeves, with a bonus booklet too!

2 classic Stitt albums back to back – Turn It On and Black Vibrations, both recorded during his early 70s funk years at Prestige! Turn It On is very firmly the funky Prestige sound of the early 70s – complete with Idris Muhammad on drums, organ by Leon Spencer, guitar by Melvin Sparks, and trumpet by Virgil Jones. After years of noodling around on the Varitone, never quite hitting his right moment, Stitt breaks out nicely in the company of these hot young funky players. The record's got a few mellow moments that point towards his older ballad style, but the funky numbers are the best. Titles include "Turn It On", "The BBQ Man", and "Miss Riverside". On Black Vibrations, Sonny Stitt joins up with a tight group of prime Prestige funky players – like Idris Muhammad, Leon Spencer, Melvin Sparks, and Virgil Jones – for a sound that's much funkier than some of his other records for the label. The set's got a good set of modern funk tracks, with all the quality moments you'd expect from these top-notch players. Titles include "Goin' To DC", "Calling Card", "Them Funky Changes", and "Black Vibrations".

An amazing set of modern jazz – penned by Italian film composer Piero Umiliani, but also played by a very hip group headed by a young Gato Barbieri! Although Gato's probably best known for his late 60s appearances on the American scene, and his 70s dates for Impulse and Flying Dutchman – his earlier work in Italy is all pretty darn great, and this set shows the budding modernist to be in very strong company with a lineup that includes Enrico Rava on trumpet and Franco D'Andrea on piano, plus bass and drums. Side one of the record features full orchestrations by Umiliani – still plenty jazzy, with some great horn passages and cool use of vibes. Then side two features Umiliani's music played by the small group with Gato in the lead – a really great mix of modes that make the soundtrack a real standout, both in the Italian jazz and film scenes of the 60s. Titles include "Jazz Alla Vivaldi", "Ballata Della Bassa Padana", "Brass Fugato", "Una Bella Grinta", "Lontananza", "Sequenze Autostrata", "Free Theme", and "Hammond Blues"

An incredible look at an obscure Detroit soul label – a tiny little company, but home to some really great funk and soul! The Big Mack label ran somewhat sporadically through the 60s and into the early 70s – but during that time, it managed to cut some incredible tunes with a really unique feel – work that had a rougher edge than most of the Detroit soul on the bigger labels and indies – often with an earthy quality that's miles and miles from Motown! Label owner Ed McCoy had a great ear for male singers, instrumental combos, and vocal groups – but as the 60s rolled on, he also picked up a few hip female acts as well – and throughout the whole stretch, he had a way of producing a tune that we can only describe best as slightly messed up – a sound that's often slightly tripped up, oddly spacious, and which makes the elements of the music fall into each other with a crashingly intense kind of sound! Far from being a mess, this approach only seems to cook things up more – giving an edge to tracks that might have sounded more lackluster with conventional production – and further electrifying these obscure utterings from the Detroit underground. As with other Numero collections, the work here is wonderfully worth discovering – and presented with full notes, photos, and a history of the label. CD features 19 tracks that include "Bui Bui" by L Hollis & The Mackadoos, "Get It Right" by Soul President, "Crooked Woman" by Edd Henry, "Fever" by Essence, "If You Feel It" by Ms Tyree Sugar Jones, "The Feeling Is Mutual" by Manhattens, "I See Her Pretty Face" by The Grand Prix's, "Let's Give Our Love A Try" by Mae Young, "I'll Be On My Way" by Bob & Fred, "Mini Skirt" by The Sleepwalkers, "Monkey Time Shine" by L Hollis & The Mackadoos, "The Man Puts Sugar In My Soul" by Mae Young, "You Drive Me Crazy" by The Grand Prix's, "Got To Have It" by Soul President, and "Your Replacement Is Here" by Edd Henry.

An incredible look at an obscure Detroit soul label – a tiny little company, but home to some really great funk and soul! The Big Mack label ran somewhat sporadically through the 60s and into the early 70s – but during that time, it managed to cut some incredible tunes with a really unique feel – work that had a rougher edge than most of the Detroit soul on the bigger labels and indies – often with an earthy quality that's miles and miles from Motown! Label owner Ed McCoy had a great ear for male singers, instrumental combos, and vocal groups – but as the 60s rolled on, he also picked up a few hip female acts as well – and throughout the whole stretch, he had a way of producing a tune that we can only describe best as slightly messed up – a sound that's often slightly tripped up, oddly spacious, and which makes the elements of the music fall into each other with a crashingly intense kind of sound! Far from being a mess, this approach only seems to cook things up more – giving an edge to tracks that might have sounded more lackluster with conventional production – and further electrifying these obscure utterings from the Detroit underground. As with other Numero collections, the work here is wonderfully worth discovering – and presented with full notes, photos, and a history of the label. LP features 20 tracks that include "Bui Bui" by L Hollis & The Mackadoos, "Get It Right" by Soul President, "Crooked Woman" by Edd Henry, "Fever" by Essence, "If You Feel It" by Ms Tyree Sugar Jones, "The Feeling Is Mutual" by Manhattens, "I See Her Pretty Face" by The Grand Prix's, "Let's Give Our Love A Try" by Mae Young, "I'll Be On My Way" by Bob & Fred, "Mini Skirt" by The Sleepwalkers, "Monkey Time Shine" by L Hollis & The Mackadoos, "The Man Puts Sugar In My Soul" by Mae Young, "You Drive Me Crazy" by The Grand Prix's, "Got To Have It" by Soul President, and "Your Replacement Is Here" by Edd Henry. LP also features a bonus track not on the CD – "I'll Be On My Way (inst)" by Bob & Fred.

Deep deep soul – from an almost unlikely source! In the early 60s, the Old Town label was mostly known as the home to some top-shelf R&B, pop-oriented doo wop, and classier vocals – but as the decade rolled on, Old Town started to move into styles that included a fair bit of harder deep soul, and which included a fair number of tunes the label purchased from other sources in the south! This side of Old Town has often been under-acknowledged next to the company's more famous doo wop output – but it's wonderfully brought back to light here, through a wonderful set of notes and fantastic track selection that easily makes the set one of the best deep soul CDs we've heard in a while! Some of the work here is by artists who sung more famously for other labels, but who come off especially nicely here – and other tracks are by virtual unknowns who were lost to the shifting fates of the record business, given Old Town's decline at the time. But whatever the case, the collection's an excellent one – filled with 24 deep soul tracks that include "I Won't Give Up My Man" and "Never Leave Me" by Thelma Jones, "I Got The Right" and "Stop" by Lester Young, "Nobody Knows" by The Flambeaus, "Sugar" by Bobby & Betty Lou, "She's A Woman" by Jesse Gee, "It Ain't Right" by Roscoe & Barbara, "Heartbreak Avenue" by Bobby Long & The Dealers, "Crazy Little Girl" and "I'll Never Forget You" by Donald Height, "I'm Sorry For You" by Frank Howard & The Commanders, and "Just Loving You" by Irene Reid.

Funky breaks from the Stax Records – the legendary Memphis label that's had as much of an influence on the sound of hip hop as any northern company! The set brings together 19 tracks that are immediately recognizable for their use in modern hip hop – all heavy funk numbers with a solid southern groove – filled to the brim with burning horns, searing guitars, rumbling bass, and heavy funky drums! Tracks on the set have been sampled over the years by the likes of Wu Tang, Brand Nubian, Dilated Peoples, De La Soul, and others – but they also stand out equally well as funky tunes on their own, whether or not you've got an ear for who used them later. Great funky southern soul all the way through – with tracks that include "Our Generation" by Ernie Hines, "Black" by The Mar-Keys, "Tramp (inst)" by Otis & Carla Band, "Make This Young Lady Mine" by The Mad Lads, "The Devil Is Dope" by The Dramatics, "In The Hole" by The Bar-Kays, "I'll Play The Blues For You (part 1)" by Albert King, "Soul Girl" by Jeanne & The Darlings, "Itch & Scratch (part 2)" by Rufus Thomas, "Drumbeat" by Jim Ingram, "Crop Dustin" by Steve Cropper, "After Laughter" by Wendy Rene, "Memphis Sunrise" by The Bar-Kays, "Girl I Love You" by The Temprees, and "As Long As I've Got You" by The Charmels.

Nice batch of classic New Jersey soul singles from one of our favorite labels of the 70's. 16 tracks in all "Pillow Talk" and "Sweet Stuff" by Sylvia, "Hey There Sexy Lady" by Hank Ballard, "In The Bottle" by Brother To Brother, "I'll Erase Away Your Pain" by The Whatnauts, "Sexy Mama" and "Look At Me" by The Moments, "Hey Girl" by George Kerr, "Where Did Our Love Go?" by Donnie Elbert, "(Sending Out An) SOS" by Rhetta Young, "More Shame" by Seldon Powell, "I'm Needing You, Wanting You" by Chuck Jackson, "Your Precious Love" by Linda Jones, "Shame, Shame, Shame" by Shirley & Company, "Beautiful Woman" by Derek Martin and "7-6-5-4-3-2-1 (Blow Your Whistle)" by the Rimshots.

An excellent early Nat Adderley record that has the funky trumpet player groovin' in the company of a number of bright young players from New Orleans, including Nat Perrilliat on tenor, Ellis Marsalis (yes, that one) on piano, and James Black on drums. Sam Jones plays funky bass, and brother Cannonball joins on on alto for a nice set of groovers that includes "In The Bag", "Sister Wilson", "Low Brown", and "New Arrival". Nice stuff, and we don't really see this one that much these days.

Blistering work from drummer Barry Altschul – working here in the company of bold young tenorist Jon Irabgon, and matching his youthful energy at every step! The set's easily one of the most driven we've heard from Altschul in many years – a trio date that also features the bass of Joe Fonda, but which really draws most of its magic from Irabgon's horn, and the way that Barry reaches out strongly to provide just the right vibe. Tunes are almost all originals from Altschul – and titles include "Natal Chart", "A Drummer's Song", "Papa's Funkish Dance", "Be Out S'Cool", "Oops", and "Just A Simple Song".

Some of the greatest Miles Davis material ever recorded – and not really ever officially issued as an album until this collection! The recordings are from the magical year of 1958, a time when Miles was working in the Kind Of Blue mode – on the album of the same name, one of his all-time standout classics. The work on this set is in a very similar spirit – recorded by a sextet that includes the rhythm section of Jimmy Cobb, Paul Chambers, and a young Bill Evans, who brings a magically modal feel to the album that really gives it an edge. Added to that are the saxophones of John Coltrane and Cannonball Adderley, blowing together in two ends of the soul spectrum, really stretching the color palette from Miles' usual work. Miles himself seems very inspired by the company, and works with plenty of space to allow the saxophonists to stretch out in wonderful solos – and Evans himself is simply amazing, working wonderfully in the setting, making us wish he'd recorded more group dates like this one! The first 3 tracks on the set were briefly issued on the flipside of the Jazz Track album (an obscure Columbia LP that also included 10 songs from the soundtrack to Ascenseur Pour L'Echafaud), and a few others on later live LPs – but this is the first time the material from that group has appeared together as a full album. Includes stellar versions of "Stella By Starlight", "Green Dolphin Street", "Fran Dance", "My Funny Valentine", "Oleo", and "Love For Sale".

One of Art Farmer's pivotal mid 50s sides – recorded in the company of altoist Gigi Gryce, a great player and a budding young arranger who helped Farmer really formulate the best side of his sound! The tracks are lyrically modern – but still have a nice dose of soul in them – a wonderful blend that really sets the stage for the move that Art was making away from earlier trumpeters in jazz – into that hip territory that was neither too cool, nor too overblown – and which would almost be known as "Farmer-like" in years to come! The album features Gryce and Farmer in 2 different groups – one with Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums – the other with Freddie Redd on piano, Addison Farmer on bass, and Art Taylor on drums. Titles include "Social Call", "Capri", "Deltitnu", "Stupendous Lee", and "Blue Concept".

The long-lost first album from Shoes – recorded at home, and even rawer than any later releases – appearing here on vinyl for the very first time! The group are already pretty amazing at this early point – right on the money, and almost with more of a punkish vibe at points – although other tunes have them ripping out these mean guitar lines that are definitely way too ballsy for early punk. The songwriting is superb – amazing considering how young the guys were, and that the record was really just recorded for their own initial interest – and not a bigger company looking for a hit. There's also more darkness than in later years too – not everywhere, but at key points that make for a nice edge to the record. Titles include "Pinheads", "Love Took A Turn", "Rock Your One", "Along With Love", "New Meat", "I'm Brazen", "The Atlantic", "My Anisette", and "Educated".

An amazing set of modern jazz – penned by Italian film composer Piero Umiliani, but also played by a very hip group headed by a young Gato Barbieri! Although Gato's probably best known for his late 60s appearances on the American scene, and his 70s dates for Impulse and Flying Dutchman – his earlier work in Italy is all pretty darn great, and this set shows the budding modernist to be in very strong company with a lineup that includes Enrico Rava on trumpet and Franco D'Andrea on piano, plus bass and drums. Side one of the record features full orchestrations by Umiliani – still plenty jazzy, with some great horn passages and cool use of vibes. Then side two features Umiliani's music played by the small group with Gato in the lead – a really great mix of modes that make the soundtrack a real standout, both in the Italian jazz and film scenes of the 60s. Titles include "Jazz Alla Vivaldi", "Ballata Della Bassa Padana", "Brass Fugato", "Una Bella Grinta", "Lontananza", "Sequenze Autostrata", "Free Theme", and "Hammond Blues"

Ronnie Cuber's an overlooked monster in jazz – a hell of a player, and has been for decades – and one of the last few cats who can really handle a baritone sax! Cuber was late in a legacy of baritonists that included Pepper Adams, Sahib Shihab, Cecil Payne, and Lars Gullin – a youngster when all those players were getting old, but more than able to swing with the lean energy that made the 50s baritone sax players as important as the giants on tenor! Here, Cuber really demonstrates that legacy strongly – picking up the giant horn and handling it with effortless ease – producing these beautifully-blown solo lines that are nice and long, and filled with imagination – in the company of a combo that features Kenny Drew Jr on piano, Ruben Rodriguez on bass, and Ben Perowsky on drums. The recent date is a great reminder that Cuber can still cook heavily – and titles include "Passion Fruit", "Coco B", "Perpetuating The Myth", "Tell Me A Bedtime Story", and "Arroz Con Pollo".

A brilliant showcase for the drums of William Hooker – ringing out loudly and proudly here in the company of younger players who really help support his energy! Hooker's got this sharp punch that comes through right away – that mixture of freewheeling rhythms and more expressive musical vision that's made so much of his recent work so great – given a slightly different spin here in the company of Dave Ross on guitar, Chris Di Meglio on trumpet, Adam Lane on bass, and Sanga on percussion. The passages that have interplay between Sanga and Hooker are especially great – and titles include "Character", "The Unfolding", "Thought & Intention", "Compelling Influences", "Three Hexagons", and "Connected".

A crucial look at the Chicago scene in the 1980s – and the first collection to really get at the roots of that city's legendary house music scene! Although later labels – like Trax or DJ International – became known as global forces for dance music in the 80s, the big wave of new sounds from the Windy City was really started by a much smaller company – the tiny Mitchbal label, and related Chicago Connection Records! This wonderful package really does a great job of bringing the Mitchbal contribution to light – with lavish notes, almost Numero-style, that fully detail the way the label mixed unique strands on the scene – British imports, new wave rhythms, and a younger generation of soul musicians still looking for an outlet in the post-disco years. These forces, and more, all came together to make the mighty sound of Mitchbal – featured here in a collection of the label's rare singles, some unreleased tracks, and other essential bits. 3CD package features a full bonus mix CD, plus a whopping 24 tracks that include "Fantasy (inst)" by Z Factor, "Shake Your Body" by Jeanette Thomas, "When I Hear The Music" by Mitchbal & The Housemasters, "The House Is On Fire" by Dezz & Grant, "Do Dat Stuff (dance mix)" by Mitchbal & Larry Williams, "I Am Music (inst)" by Libra Libra, "That's The Beat" by Risque Rhythm Team, "Fast Cars" by Z Factor, "More Than Just A Dance (backyard mix)" by Rique Rhythm Team, "I Got Broke Breakdancing (inst)" by MC Ghee, and "I Can't Forget" by Mr Lee.

A crucial look at the Chicago scene in the 1980s – and the first collection to really get at the roots of that city's legendary house music scene! Although later labels – like Trax or DJ International – became known as global forces for dance music in the 80s, the big wave of new sounds from the Windy City was really started by a much smaller company – the tiny Mitchbal label, and related Chicago Connection Records! This wonderful package really does a great job of bringing the Mitchbal contribution to light – with lavish notes, almost Numero-style, that fully detail the way the label mixed unique strands on the scene – British imports, new wave rhythms, and a younger generation of soul musicians still looking for an outlet in the post-disco years. These forces, and more, all came together to make the mighty sound of Mitchbal – featured here in a collection of the label's rare singles, some unreleased tracks, and other essential bits. 2LP package features some of the best club cuts – 8 tracks that include "Fantasy (inst)" by Z Factor, "The Jackin Zone" by Risque Rhythm Team, "Fast Cars" by Z Factor, "I Got Broke Breakdancing (inst)" by MC Ghee, "Shake Your Body" by Jeanette Thomas, "I Am The DJ (jazzy mix)" by Z Factor, "Do Dat Stuff (dance mix)" by Mitchbal & Larry Williams, and "I Like It (club)" by Libra Libra.

The final Warner Brothers album from Dionne Warwick – and a smooth, sophisticated affair done with full arrangements from Michael Omartian! The sound's still not as pop disco as you might expect from the time, and Dionne's gentle vocals are often cast in backings that step along nicely with a mellow, midtempo groove – one that's a bit like some of the best Philly soul of the period, yet still with a bit more California polish overall. The album works surprisingly well as a soul record – and really puts Warwick in the company of a whole generation of younger singers who'd risen above her by this point in the 70s. Titles include "One Thing On My Mind", "Don't Ever Take Your Love Away", "Livin It Up Is Startin To Get Me Down", "Since You Stayed Here", "A Long Way To Go", and "Keepin My Head Above Water".

Killer work from the late 50's by Chet! Although Baker's trumpet playing in the early part of the decade became known as one of the trademark "cool" sounds of the west coast, he started to move towards a sound that was a lot more hardbop at the end of the decade – as you'll hear on this tasty album. The session's got a great (and unlikely) batch of players accompanying Chet – like firey young soul jazz pianist Bobby Timmons, modal grooving bassist Jimmy Bond, and cool tenorist Phil Urso. The set's a great one, and pushes Chet's sound way past the usual stereotypes. Titles include "Medium Rock", "Lucius Lu", "Revelation", and "To Mickey's Memory". Plus, this excellent reissue CD also adds a number of bonus tracks recorded by the same group, but not issued with the original album. Added titles include "Chippyin", "Line For Lyons (vocal version!)", and "Jumpin Off A Clef".