The Beatles at their late best – on 1968's self-titled set – now immortalized as The White Album! The White Album capped offed a period of intense creativity for the band with a double that's as freewheeling as anything they'd ever release. It's got raw rockers with wry lyricism, tender acoustic balladry, psych blues jams and some flat out weird bits. As was always the case, John's and Paul's songs cover the majority of the sides, but The White Album also features what's arguably George's most vital moment as a Beatle with "While My Guitar Gently Weeps". Other tracks include "Back InThe USSR", "Dear Prudence","Ob-La-Di, Ob-La-Da", "Happiness Is A Warm Gun", "Martha My Dear", "Rocky Raccoon", "Why Don't We Do It In The Road", "Julia", "Yer Blues", "Sexy Sadie", "Helter Skelter", "Revolution 1", Good Night" and more. LP, Vinyl record album

The Beatles live at the BBC – heard here in a host of rare recordings that were done between March 1962 and June 1965 – pulled from the vaults of the legendary radio station, and with a few cool dialogue bits too! The versions here were all played live on the air, and make for some much-needed alternate takes on the big hits by the Fab Four – and a few American numbers that really show the influence of other styles on their early sound. And since the recordings were done in a top-shelf studio, they're not muddy concert recordings – but actually feel more like some lost EMI studio material from the same period. 71 titles in all – including "Nothin Shakin", "The Hippy Hippy Shake", "Glad All Over", "Rock & Roll Music", "Ticket To Ride", "Ooh My Soul", "Don't Ever Change", "Slow Down", "Matchbox", "I Forgot To Remember To Forget", "The Honeymoon Song", "Lucille", "Can't Buy Me Love", "Taste Of Honey", "From Us To You", "I Got A Woman", "I'll Be On My Way", "Shot Of Rhythm & Blues", "Some Other Guy", "Soldier Of Love", and "Clarabella". CD

William Bell was one of the singers who first helped the Stax label get going at the start of the 60s – but during the second chapter of Stax, when they broke from Atlantic, his contributions were maybe even more amazing – as his voice had matured wonderfully, and he was able to handle a range of sensitive themes that went even farther than before! The music here is southern soul at its most mature and sophisticated – heartbreaking vocals, but moving past some of the more oft-tread territory of the 60s – as Bell rose in pride and power during the new generation of Stax, with results that are completely sublime throughout! This side of his work isn't nearly as well-known as the first, but is even better to our ears – presented in a string of singles, both a and b-sides, with detailed notes on this really special period in his career. Titles include "I Forgot To Be Your Lover", "Happy", "Born Under A Bad Sign", "A Smile Can't Hide A Broken Heart", "Lonely Soldier", "Let Me Ride", "Save Us", "All For The Love Of A Woman", "The Man In The Street", "Penny For Your Thoughts", "Get It While It's Hot", "Nobody Walks Away From Love Unhurt", "Getting What You Want", "You've Got The Kind Of Love I Need", "If You Really Love Him", "Lovin On Borrowed Time", "Bring The Curtain Down", and "My Whole World Is Falling Down". CD

Drummer Louis Bellson grooves it nice and hard in this excellent session from his early 50s Verve years! The record kicks off with the tremendous "Skin Deep" title cut – a number that features Louis really going to town in an extended drum solo that must be one of the longest ever recorded during the period – maybe even the "Moby Dick" of its time! Other titles include "Loris", "Claxton Hall Swing", and "Phalanges" – and though the notes don't name any of his hard swinging side men, the group's billed as his big band, and the set more than lives up to it's name! LP, Vinyl record album

Bruno Berle's titled this album in a way that's similar to his debut – but it's way more than just a "part 2", as the Brazilian singer has really grown a lot since that release! There's a rock-solid sound to the record that takes us back to some of our favorite MPB work of the past – not just the 70s, but also that late 90s/early 00s period when it seemed like all these new ideas were coming together in Brazilian music, with a way of pushing the best bits of the past forward into a restyled vision for the future! The instrumentation here mixes lots of acoustic touches on percussion and guitar with just the right use of electronics – delivered on a number of cuts by Batata Boy, who co-produced and arranged the album with Bruno. There's a few other singers along the way, too – and titles include a beautiful remake of Arthur Russell's "Love Comes Back", plus "Sonho", "Margem Do Ceu", "E So Voce Chegar", "Dizer Adeus", "New Hit", and "Te Amar Eterno". CD

Bruno Berle's titled this album in a way that's similar to his debut – but it's way more than just a "part 2", as the Brazilian singer has really grown a lot since that release! There's a rock-solid sound to the record that takes us back to some of our favorite MPB work of the past – not just the 70s, but also that late 90s/early 00s period when it seemed like all these new ideas were coming together in Brazilian music, with a way of pushing the best bits of the past forward into a restyled vision for the future! The instrumentation here mixes lots of acoustic touches on percussion and guitar with just the right use of electronics – delivered on a number of cuts by Batata Boy, who co-produced and arranged the album with Bruno. There's a few other singers along the way, too – and titles include a beautiful remake of Arthur Russell's "Love Comes Back", plus "Sonho", "Margem Do Ceu", "E So Voce Chegar", "Dizer Adeus", "New Hit", and "Te Amar Eterno". LP, Vinyl record album

Bruno Berle's titled this album in a way that's similar to his debut – but it's way more than just a "part 2", as the Brazilian singer has really grown a lot since that release! There's a rock-solid sound to the record that takes us back to some of our favorite MPB work of the past – not just the 70s, but also that late 90s/early 00s period when it seemed like all these new ideas were coming together in Brazilian music, with a way of pushing the best bits of the past forward into a restyled vision for the future! The instrumentation here mixes lots of acoustic touches on percussion and guitar with just the right use of electronics – delivered on a number of cuts by Batata Boy, who co-produced and arranged the album with Bruno. There's a few other singers along the way, too – and titles include a beautiful remake of Arthur Russell's "Love Comes Back", plus "Sonho", "Margem Do Ceu", "E So Voce Chegar", "Dizer Adeus", "New Hit", and "Te Amar Eterno". LP, Vinyl record album

Raucous, rumbling and hard-charging Chess rhythms, rock and roll by Chuck Berry – his legendary After School Session – and possibly his greatest album ever! It features not only some of Chuck Berry's most famous material, but some of the best early rock songs, period –particularly the revolutionary "Brown Eyed Handsome Man" – plus"Berry Pickin", "Deep Feeling"," School Day", "Too Much Monkey Business", "Roly Poly", and "No Money Down". 3 bonus tracks on the CD: The fierce"Thirty Days", "You Can't Catch Me" and the uber-legendary "Maybelline". CD

A great package – one that features some wildly experimental work from French electronics whiz Philippe Besombes! First up is the album Libra – tripped out electronics meet progressive rock jamming – all in a weird and wonderful film score from the early 70s! The record's one of the best by French experimentalist Philippe Besombes from the time – and it's got a style that sort of starts in the territory of Francois De Roubaix similar electronic work for film – but gets a lot darker and noisier right away! There's a textural depth here that's really great – almost a pre-industrial music exploration of sounds – but the work's also not that over-indulgent, either – and Besombes always has a great way of getting back to a tune, especially on the shorter tracks. Titles include "La Plage", "Rugby", "Ceremonie", "Hache 06", "La Ville", "Les Cosmonautes", "Tis A Song", "Boogimmick", and "PJF 261". Next is the record Esombeso – also release as Ceci Est Cela – a strange mix of sound library electronics and much more experimental work from Philippe Besombes – a set that carries echoes of some of the best Italian soundtrack electronics of the 70s, but which also features much darker, more turgid moments as well! The album collects some of Besombes' performances for ballet and other settings – and stands as an even starker document of his talents than some of the other albums issued under his name in the 70s. Titles include "Pawa"," Geant", "Seul", and "Ceci Est Cela". Next are two more albums done under the name Hydravion – both of which show Besombes turning his electronics into tighter, more song-based territory – although not without some noise from time to time – shorter tracks that sometimes get a bit tuneful, but which are still light years from mainstream music of the period. CD set also features bonus tracks for the first two albums – 8 more numbers that include "L'Or Des Fous", "Traversee", "Trio", "Piano Prepare", "Orgue Hache", and "Chocolate Cream". CD

The dawn of the 90s debut of the Black Crowes! This is a record that really stood out at the time, a strange period in mainstream rock between the hard rock/hair metal of the late 80s and the moodier alternative rock to come – and here was the Crowes, carrying a torch for the old school swagger of the Rolling Stones and especially the Faces – and doing a pretty damn convincing job! Includes "Twice As Hard", "Jealous Again", "She Talks To Angels", "Struttin' Blues", "Stare It Cold", "Hard To Handle" and more. CD

A funky update from New Orleans soul legend Eddie Bo – a set recorded during a brief by great period of funk revival albums by the Soulciety label in Germany – the same imprint who brought back Fred Wesley and Bobby Byrd for some excellent records at the same time! There's a bit less grit in the grooves than some of Eddie's funky 45s of the 60s, but the style's definitely more funk-based than his more bluesy material from the 80s – set loose with tight drums and nice combo backings, and plenty of piano, Rhodes, and vocals from Eddie himself! Titles include "Back Up This Train", "Sister Lucie", "You Got A Hole In It", "It Must Be Love", "Louberta", and "Blackbird". CD

A key blend of two chapters in David Bowie's career – his guitar-heavy groove with the Spiders From Mars, and his 60s roots in mod London! The tracks here all date from the mid 60s, and are Bowie's homage to that period in his life – but they're all played with a glammish 70s sensibility, and some definite Ziggy Stardust elements in the way the guitars come into the mix. Given Bowie's rise as a key songwriter of his time, the step back to an album of all covers is a surprising, but genius move – and the execution of the tunes here comes off brilliantly – with plenty of personal spirit that keeps them from being simple rehashes of hits! Tracks include "See Emily Play", "Friday On My Mind", "I Can't Explain", "Everything's Alright", "Don't Bring Me Down", "Shapes Of Things", and "Here Comes The Night". LP, Vinyl record album

A key blend of two chapters in David Bowie's career – his guitar-heavy groove with the Spiders From Mars, and his 60s roots in mod London! The tracks here all date from the mid 60s, and are Bowie's homage to that period in his life – but they're all played with a glammish 70s sensibility, and some definite Ziggy Stardust elements in the way the guitars come into the mix. Given Bowie's rise as a key songwriter of his time, the step back to an album of all covers is a surprising, but genius move – and the execution of the tunes here comes off brilliantly – with plenty of personal spirit that keeps them from being simple rehashes of hits! Tracks include "See Emily Play", "Friday On My Mind", "I Can't Explain", "Everything's Alright", "Don't Bring Me Down", "Shapes Of Things", and "Here Comes The Night". LP, Vinyl record album

A great late 70s performance from Bobby Bradford and his Extet – a group that wasn't nearly as well documented as his combo with John Carter, but one that's almost equally great! The material here is from a 1977 radio broadcast, and is very well recorded – quite open and unrestrained, with lots of space for the group to open up in a range of new ideas! Bradford's in the lead on cornet, and other members include James Newton on flute, Richard Rehwald on bass, and John Goldsmith on drums – the latter two of whom we don't know at all, but both players who really hold their own in the company of these horn heavyweights. Newton's flute has a nice degree of bite, and matches the fire in Bradford's horn nicely – and like other records of the time from Bobby, there's a nice sense of soul and structure – a bit more tightness than work of the period from the east coast, and a somewhat spiritual undercurrent, even when things get a bit free. Titles include "Improvisation #12", "Blue Monk", "She", and "Comin On" – and the CD also features the bonus track "She", recorded in 2003 as a duet between Bradford and Vinny Golia. CD

One of those rare Blue Note sessions from tenorist Tina Brooks – originally recorded for the label in 1960, but never issued at the time – yet easily on a par with their more famous work of the period! Brooks' horn has a nice hard edge here – that sharp-edged modernism you'd hear with Jackie McLean, who makes a key appearance here on the album's famous "Street Singer" track. Jackie's not on the rest of the record, but that's fine with us – because other players are all equally great, and include Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass, and Art Taylor on drums. Apart from "Street Singer", other titles include "The Ruby & The Pearl", "Back To The Tracks", "For Heaven's Sake", and "The Blues & I". CD

One of those rare Blue Note sessions from tenorist Tina Brooks – originally recorded for the label in 1960, but never issued at the time – yet easily on a par with their more famous work of the period! Brooks' horn has a nice hard edge here – that sharp-edged modernism you'd hear with Jackie McLean, who makes a key appearance here on the album's famous "Street Singer" track. Jackie's not on the rest of the record, but that's fine with us – because other players are all equally great, and include Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass, and Art Taylor on drums. Apart from "Street Singer", other titles include "The Ruby & The Pearl", "Back To The Tracks", "For Heaven's Sake", and "The Blues & I". CD

Blam is right – an all-out batch of funky tracks from The Brothers Johnson – captured here right in the middle of their classic period with Quincy Jones! The Q's at the helm on production for the set, and the record's a great extension of their earlier efforts with the man – but a bit more Johnson-tuned (if we can say that in mixed company) – with the bass upfront on some of the best numbers, and a surprisingly strong male ballad approach on some of the gentler tunes. There's a slightly jazzy undercurrent at times, and tracks include "Rocket Countdown/Blastoff", "Ride-O-Rocket", "Streetwave", "Blam", "So You Won't Stay", "Ain't We Funkin Now", and "Mista Cool". LP, Vinyl record album

A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

A pare of rare European sessions from saxophonist Marion Brown – back to back on a single set! First up is Gesprachsfetzen – a really wonderful collaboration between alto saxophonist Marion Brown and vibist/reedman Gunter Hampel – a set that's maybe one of the sharpest to come out of their work together! The music has maybe even sharper edges than some of Brown's previous records – a dose of some of the European modernism in which Hampel was steeping himself, but also with some more organic, spiritual qualities on the solos – not just Brown's, but the work of trumpeter Ambrose Jackson – who's pretty great here too. AACM legend Steve McCall is also in the group on drums and percussion, along with bassist Buschi Niebergall – and the set was recorded live, with titles that include "Gesprachsfetzen", "Exhibit A", "Babudah", "Tomorrow Is The Beginning Of The End Of Yesterday", and "Aba". In Sommerhausen is one of the key records that alto saxophonist Marion Brown made while working on the German scene at the end of the 60s – an incredibly fruitful period that seemed to unlock all this new energy in Brown's music in a mode that was similar to what happened when Don Cherry started making time on the European scene! Brown's key partner here is Gunter Hampel – who plays vibes, bass clarinet, and percussion – the latter of which is handled by the other members of the group too – a lineup that includes Ambrose Jackson on trumpet, Daniel Laloux on bass, and Steve McCall on drums – playing here before his better-known work with the AACM. Jeanne Lee brings some lovely vocalizations to the set – and titles include "Dance No 1", "Exhibit B", "Il Ne Chant Pas", "The Sound Of A Song", and "Malipieros Midnight Theater". CD

Stunning duets from these key improvisers – a set recorded in Paris, and done with a stripped-down and freely playful vibe that's very much like some of the best AACM material of the time! Wadada Leo Smith blows trumpet, Marion Brown is on alto – and both players bring percussion into the mix too – as they shift between shorter and longer improvisations, all handled with that special ear for sonic textures that makes them such subtle giants in their field! The style is very different than the more spiritual vibe of some of Brown's larger group performances from the period – and very much in the spirit of more intimate improvisational recordings that Wadada would issue more often in years to come. Titles include "Rhythmus 1", "Centering", "And Then They Danced", and "Njung Lumumba Malcolm". LP, Vinyl record album

If anyone deserved the name of Miss Rhythm in the 50s, it was the great Ruth Brown – as the singer was one of the most hard-hitting, sock-solid talents around – and really helped pave the way for the deeper styles of soul to come in the 60s! This album's filled with great Atlantic Records material from Brown – and also nicely moves past the bigger hits of the period – to show Brown really mixing it up in a great way, with the sort of diversity that Etta James wouldn't find in her own career until her later move to Chess Records. Tracks include "This Little Girl's Gone Rockin", "Somebody Touched Me", "I Hope We Meet On The Road Some Day", "Why Me", "Just Too Much", "Book Of Lies", "One More Time", "Jack O Diamonds", "I Can See Everybody's Baby", and "I Can't Hear A Word You Say". LP, Vinyl record album

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao". CD

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao". LP, Vinyl record album

A great little album by Jerry – recorded during a period where he was using his fame (and cash!) to showcase younger talents in soul music. In this case, the younger talents include Terry Callier – who contributed two songs to this album, including his semi-hit "Ordinary Joe", which Jerry does in a nice groovy style. Other tracks include "You & Me", "Real Good Man", "Life's Unfortunate Sons", "No Money Down", and "Winter Of A Loving Heart". LP, Vinyl record album

A legendary funk set from late 70s Chicago – served up by our own Captain Sky, aka Daryl Cameron – an imposing figure who often worked in the same space-themed territory as the P-Funk empire in the mid 70s! The difference here, though, is that Cameron wrote, produced, and put the whole thing together himself – with help from a few friends in the studio – making the album a great homegrown attempt to rival the strength of the bigger funk ensembles of the period – something The Captain and crew do pretty darn well throughout! There's lots of heavy bass on the set – a strong precursor of modes to come – mixed with riffing guitar, sweet keyboards, and plenty of tight rhythms – on cuts that include the famous sample cut "Super Sporm" – a killer extended track with a great conga break, and a tight old school sample sound – plus "Now That I Have You", "Saturday Night Move-Ease", "Wonder Worm" and "Can't Stop Now". CD

Walter Carlos (now Wendy) performs electronic versions of many classics on the Moog. If nothing else, this is an interesting period piece, though on a certain level we're quite fond of it, oth in it's performance and it's motivation. Moogy takes of Monteverdi's "Orfeo" suite, several Scarlatti sonatas, Handel's "Water Music", Brandenberg's "Concerto no 4 in G Major" and Monteverdi's "Domine Ad Adjuvandum". LP, Vinyl record album

A rare performance from trumpeter Don Cherry – caught here at a key experimental moment in the 60s, when he was working with his Complete Communion lineup! The group are a trans-Atlantic quintet – with a young Gato Barbieri on tenor sax, Karl Berger on piano and vibes, Bo Stief on bass, and Aldo Romano on drums – all players who'd make even bigger waves in years to come – but who already step out boldly under the leadership of Cherry on cornet! The tracks are relatively free and open – as on Cherry's Blue Note material from the same period – but the live performance seems to bring in even more fire, especially from Berger's vibes and the excellent tenor of Barbieri – which has all the sharp edges we love when he's at his best. Titles include "UT", "Elephantasy", and a really freewheeling take on "Orfeo Negro". LP, Vinyl record album

A rare slice of work from trumpeter Don Cherry – music that's every bit as forward-thinking as his three classic 60s albums on Blue Note! The session is a live one, but the sound is quite strong – recorded up-close, and with great focus on Cherry's incredible horn work – as well as the efforts of the rest of the group, which includes Gato Barbieri on tenor, Karl Berger on vibes, Bo Stief on bass, and Aldo Romano on drums. There's a definite "new thing" vibe going on here – a style that's similar to some of Archie Shepp's work of the period, or that of some of Cherry's Blue Note contemporaries. Tracks are all long, and titles include "Complete Communion", "Neopolitan Suite", "Cocktail Piece", and "Free Improvisation Music Now". CD

Some of the most striking work we've heard from Neneh Cherry in years – and a great follow-up to her previous project with The Thing! This set has Neneh working with producer Kieran Hebden – who returns Cherry to the offbeat, arty sound of her early years on the British scene – particularly her excellent work with Rip Rig & Panic! As with that period, the rhythms here are key – but are also rhythms that really veer from the usual – odd basslines and beats that provide a jagged bottom underneath Cherry's soulfully flowing vocals – a sense of counterpoint that really gives the album a lot of power. Titles include "Naked", "Spit Three Times", "Blank Project", "Cynical", "422", "Out Of The Black", "Dossier", and "Everything". CD

Some of the most striking work we've heard from Neneh Cherry in years – and a great follow-up to her previous project with The Thing! This set has Neneh working with producer Kieran Hebden – who returns Cherry to the offbeat, arty sound of her early years on the British scene – particularly her excellent work with Rip Rig & Panic! As with that period, the rhythms here are key – but are also rhythms that really veer from the usual – odd basslines and beats that provide a jagged bottom underneath Cherry's soulfully flowing vocals – a sense of counterpoint that really gives the album a lot of power. Titles include "Naked", "Spit Three Times", "Blank Project", "Cynical", "422", "Out Of The Black", "Dossier", and "Everything". CD

A nice funky electric groover from Stanley Clarke's mid 80s R&B years! Time Exposure has a lot of period electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout! A brilliant mix of 80s fusiony future funk with jazz precision – definitely a funky highlight from this period in Clarke's career – and those bass lines are just unreal! A pretty eclectic roster of guest musicians play on this one, including tenor sax player Ernie Watts, fellow bassist Louis Johnson of Brothers Johnson, singer Howard Hewitt and rock guitar guru Jeff Beck. Titles include "Play The Bass 10", "Are You Ready (For The Future)", "Heaven Sent You", "Time Exposure", "Speedball", "Future Shock", "Spacerunner", "I Know Just How You Feel" and more. LP, Vinyl record album

Rare Belgian avant jazz from the start of the 70s – and material that has the same sort of freewheeling, openly creative vibe of some of our favorite French work from the time! The style here isn't as sharp-edged as German work of the period – and has a creative warmth that's really great – swinging and rhythmic at most points, yet relatively open and very different than jazz of the decade before – with occasional vocals from a lovely female singer who has a breezy way of moving with the grooves, almost in a style that recalls Blossom Dearie, but in French – served up in a lineup that also includes some great Fender Rhodes, vibes, and guitar. Titles include "Achille", "L'Admirable Amas Cellulaire Orange", "Fanfan La Tulipe", and "La Partie D'Echecs". LP, Vinyl record album

Rare late 60s work from guitar genius Jerry Cole – and even more compelling than his famous records from earlier in the decade! This collection unearths a lost side of Jerry's career – tripped-out psych instrumentals from 1967 and 1968, recorded under a variety of different aliases – like The Generation Gap, Projection Company, Stone Canyon Rock Group, and T-Swift & The Electric Bag – all groups that didn't exist in real life, but were album-based studio projects by Cole! Jerry's brought a lot more fuzz to the sessions than on his surf and hot rod instrumental tracks – but the groove is mighty tight throughout, with almost a funky undercurrent to some of the best tracks – kind of an American equivalent to the UK freakbeat modes of the period, served up by Cole and a host of tight LA studio musicians. Great stuff throughout – all pulled from the Custom Records catalog – and titles include "Tune Out Of Place", "Fool's Luck", "Wild Times", "Hard Times", "What's Your Bag", "Our Man Hendrix", "Red Eyes", "I Love You I Do", "Expo In Sound", and "The Stinger". CD

We'll be honest with you – we love this stuff! Sure, Ornette made some great recordings for a number of other labels – but as a whole, his Atlantic stuff is some of the greatest modern jazz ever recorded, and no other period of an artist is more worth collecting and having in a complete format than this one! The package is unbelievably thorough – and includes not only all the tracks from classic albums like Change Of The Century, This Is Our Music, Free Jazz, Shape Of Jazz To Come, Ornette!, Ornette On Tenor, The Art Of The Improvisors and Twins – but also 6 previously unreleased tracks, and rare material like Ornette's Japanese-only LP To Whom Who Keeps A Record plus 2 selections from Gunther Schuller's Jazz Abstractions featuring Ornette! There's 6CDs in all – packaged in a great case with a well annotated booklet. Titles include "Proof Readers", "Revolving Doors", "Joy Of A Toy", "Cross Breeding", "Variants On A Theme Of Thelonious Monk", "Eos", "Focus On Sanity", "Una Muy Bonita", "Lomely Woman", "Little Symphony", "The Circle With The Hole In The Middle", "Beauty Is A Rare Thing", "Folk Tale", "The Face Of The Bass", "Brings Goodness", "Rise & Shine", and lots and lots more! CD

We'll be honest with you – we love this stuff! Sure, Ornette made some great recordings for a number of other labels – but as a whole, his Atlantic stuff is some of the greatest modern jazz ever recorded, and no other period of an artist is more worth collecting and having in a complete format than this one! The package is unbelievably thorough – and includes not only all the tracks from classic albums like Change Of The Century, This Is Our Music, Free Jazz, Shape Of Jazz To Come, Ornette!, Ornette On Tenor, The Art Of The Improvisors and Twins – but also 6 previously unreleased tracks, and rare material like Ornette's Japanese-only LP To Whom Who Keeps A Record plus 2 selections from Gunther Schuller's Jazz Abstractions featuring Ornette! There's 6CDs in all – packaged in a great case with a well annotated booklet. Titles include "Proof Readers", "Revolving Doors", "Joy Of A Toy", "Cross Breeding", "Variants On A Theme Of Thelonious Monk", "Eos", "Focus On Sanity", "Una Muy Bonita", "Lomely Woman", "Little Symphony", "The Circle With The Hole In The Middle", "Beauty Is A Rare Thing", "Folk Tale", "The Face Of The Bass", "Brings Goodness", "Rise & Shine", and lots and lots more! CD

Set of material from the mid 80's – one featuring Ornette reunited with his classic quartet of Don Cherry, Charlie Haden, and Billy Higgins; the other with his Prime Time group that included Bern Nix, Jamaaladeen Tacuma, and Denardo Coleman. The whole set's a "30 Years Of Harmelodic Music" tribute, and includes the tracks "Space Church", "In All Languages", "Latin Genetics", "Peace Warriors", "Music News", and "Feet Music". Some tracks are done by both bands, and are a good illustration of how Ornette's style had grown in the 30 year period. CD

Two generations of Ornette Coleman – making incredible music here together! The album's a freewheeling late 60s outing from the senior Ornette – who plays alto, violin, and trumpet here – working with his young son Ornette D Coleman on drums, just 12 years old at the time – but a surprisingly strong free jazz player overall! Heavyweight help comes from Dewey Redman on tenor – really tremendous here, with energy that's up there with Albert Ayler or Archie Shepp at their 60s best – plus Charlie Haden on bass, really coming strongly back into the music at this point in his career. The album's quite free overall – similar to some of Coleman's Blue Note work of the period – and titles include "COD", "Rainbows", "New York", and "Bells and Chimes". LP, Vinyl record album

A pair of overlooked albums from Ornette Coleman – back to back on a single CD for the first time ever! Crisis is a record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". CD

One of the best American psyche albums we've heard from the late 60s – a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here – a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times – and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin". CD

Four late 60s gems from Perry Como – all records that really have him pushing beyond his pop style of the 50s! First up is Lightly Latin – one of the most sublime albums we've ever heard from Perry Como – a set that definitely takes its Latin lightly, and instead really goes for the best sort of mellow side of the Como sound! There's definitely a few bossa touches in the mix – a bit of acoustic guitar or light percussion – but they're added in very sparely, and couched with a beautifully subtle wall of sound from arranger Nick Perito, who works here with a lot more understatement than on some other records. Como's vocals are very far from pop – and the album brings out his maturing style wonderfully with a spacious, soft-toned style of production. Titles include "Dindi", "Once I Loved", "Stay With Me", "How Insensitive", "The Shadow Of Your Smile", "Baia", and "Manha De Carnaval". Next is Perry Como In Italy – one of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei". Look To Your Heart is the kind of record that moves so far beyond familiar pop vocalizations, it's almost like Perry's in a universe all by himself! The words seem to just be sneaking out of the singer's voice – these mutterings that are almost to himself, which makes his readings of the tunes feel even more personal than you might expect – even amidst larger backings from Nick Perito – like Como is off to the side of the room, ruminating on love lost and life lived! That quality comes through tremendously on the eerie "Father Of Girls" – a tune that's worth the price of admission alone – and other titles include "Try To Remember", "Look To Your Heart", "In These Crazy Times", "Sunrise Sunset", and "When You're In Love". Seattle is a record that has Perry Como taking on a bit of a country tinge at times – working with Chet Atkins production that almost seems as if the singer is trying to match the Dean Martin spirit of the late 60s, right down to phrasing that feels a bit like ol Dino himself! A few other cuts have more familiar Como modes, with backings by Nick Perito – and titles include the lively title cut "Seattle", plus "Happiness Comes Happiness Goes", "Together Forever", "Sunshine Wine", "Deep In Your Heart", "Hearts Will Be Hearts", "Turnaround", and "Beady Eyed Buzzard". CD

Nice material from a very under-recorded period in Chris Connor's career – with arrangements by Pat Rebillot and Alyn Ainesworth – on titles that include "The Long & Winding Road", "Hit Em In The Head With Love", "Time & Love", "Buy & Sell", "More Today Than Yesterday", and "Ten Cents A Dance". LP, Vinyl record album

Excellent material from Sonny Criss' late 60's comeback period! By this point, Criss had a sound, style, and maturity that was unmatched by any of his LA contemporaries – a way of blowing the alto that was neither boppish, nor cliched in R&B modes – and instead burst forth with a sense of soulful sophistication that was quite unique! Sonny's sound here is incredible throughout – a clear, clean approach to his instrument that is quite different than his style of a few years before – and he's set up in a great little combo that includes Hampton Hawes on piano, Monty Budwig on bass, and Shelly Mann on drums. Titles include the killer "California Screamin" – plus "I'll Catch The Sun", "Blue Sunset", "Cry Me A River", and "Don't Rain On My Parade". CD

Amazing live documents of Miles Davis and his incredible mid-to-late 60s quintet – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – complete concert recordings from Antwerp, Copenhagen and Paris on 3CDs seeing release for the first time ever, plus a DVD featuring the only known video footage of this group from the period! CD 1 features material from 10/28/68 in Antwerp, CD 2 on 11/2/67 in Copenhagen and 11/6/67 in Paris, with the latter concert continued on CD 3. This is landmark stuff here – a surprisingly rare opportunity to hear first rate live recordings of legendary material from the ESP, Miles Smiles, Sorcerer and Nefertiti albums – as well as brilliant revisits of vital earlier material. Includes live takes on "Agitation", "Foot Prints", "No Blues", "Gingerbread Boy", "On Green Dolphin Street", "The Theme", "Footprints", "Masqualero", "I Fall In Love Too Easily", "Walkin'" and more. The DVD starts with five numbers recorded on 11/7/67 in Karlzruhe, Germany: "Agitation", "Footprints", "I Fall In Love Too Easily", "Gingerbread Boy" and "The Theme". It concludes with material in Stockholm on 10/31/67: "Agitation", "Footprints", "'Round Midnight", "Gingerbread Boy" and "The Theme". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

A really beautiful little soundtrack from Francesco De Masi – scored with a depth of feeling that's really surprising, and which goes way past the obvious! There's some beautiful woodwind passages that arc and turn with a quality that's almost fragile – yet bold enough to paint a vivid picture of the western setting of the film – mixed with some more dramatic numbers that still have a relatively unusual feel – almost as if De Masi was working as hard as he could to create a soundtrack that was different from other westerns of the period – while still staying within a familiar instrumental structure. Maurizio Graf sings the driving title tune "Find A Man" – and the CD features a whopping 27 titles that include "Emily E Johnny", "La Medaglia", "Addio Orace", "Santana E Johnny", "L'Assalto Di Santana", "Paura Notturna", "Non C'E Scampo", "Passi Nel Tempo", and "Johnny Sulla Croce". CD

One of our favorite records of all time! We've got to admit, this one's an acquired taste, but if you dig cool LA studio pop from the early 70's, this record's a real treasure! Nick DeCaro was probably best known to the world as an instrumental arranger for A&M (he did a lot of the Claudine Longet albums), but this record from the early 70's has him singing in a set of cool spacey tracks that mix studio pop and jazz for a sound that's unlike anything else we've ever heard before. Nick's backed by a tight group that includes LA jazz players like Arthur Adams, Wilton Felder, Paul Humphrey, Harvey Mason, and David T. Walker – and the sound is very compressed, very laidback, and very very hip. Tracks include "Under The Jamaican Moon", "Wailing Wall", and great versions of "Getting Mighty Crowded" and Stevie Wonder's "Angie Girl". Remember, it's an acquired taste, but if you like stuff like middle period Steely Dan or Maria Muldaur, you'll really dig this one! LP, Vinyl record album

The title's no lie – because the album is one of the shining jewels of Lou Donaldson's legendary funk years for Blue Note – that second period when he returned to the label at the end of the 60s, and really helped redefine the sound of soul jazz at the time! The format here is very much the same as other Donaldson classics from the time – like Hot Dog or Possum Head – in that the tracks are long, open, and plenty darn grooving – locked in some funky rhythms that feature Idris Muhammad on some very heavy drums! Other players are great too – and include Blue Mitchell on trumpet, Melvin Sparks on guitar, and Lonnie Smith on Hammond – all cooking things up nicely on tracks that include "West Indian Daddy", "Donkey Walk", "Everything I Do Gonh Be Funky", and "Hamp's Hump". LP, Vinyl record album

Excellent middle period work by the Dramatics – recorded after their years at Stax, with a slightly smoother groove, and featuring some great tunes that really sparkle! By this point, the group were hitting a Detroit modern mode – with less of the rough edges of the Stax work, which meant that the harmonies were even tighter than ever – perfectly placed on the best cuts, with a precision you wouldn't have expected a few years earlier. Songwriting is still great – and this 16 track set features many fine numbers from their ABC LPs of the late 70s when the group were working with Don Davis. Titles include "Be My Girl", "Love Is Missing From Our Lives", "Door To Your Heart", "Stop Your Weeping", "Shake It Well", "You're Foolin You", and "Do What You Want Be What You Are", one of the greatest 70s ballad tracks ever! CD

Some great funky grooves by this legendary British ensemble – featuring excellent keyboard work by Brian Auger, recorded during the period when he was really beginning to stretch out a bit, and hit a much more open-ended kind of sound. Julie Driscoll is still on vocals, singing in her raw sound, but Brian's Trinity group gets a fair number of nice instrumental moments on the set – which are greatly appreciated! Titles include the classic and sample laden "Light My Fire", "Czechoslovakia", "Finally Found You Out", "In Search Of The Sun", "Ellis Island", "I've Got Life", and "Save The Country". LP, Vinyl record album

One of a few rare albums recorded as a leader from bassist Cleveland Eaton – a player who first rose to fame with Maurice White in the second Ramsey Lewis trio – and one who gave the world some amazingly hip records on the Black Jazz label in the 70s! This set is a unique effort for the label of Philly soul team of Gamble & Huff – yet the set was recorded in Chicago, and has a wickedly funky vibe that's very much like the coolest Chess/Cadet material of the period – nice fuzzy touches around the edges, and some righteous soul currents too! There's plenty of great Chicago players on the session – Odell Brown on Fender Rhodes, Artee Duke Payne on tenor and flute, and Morris Jennings on drums – on titles that include "Keep It Funky", "Slipping Into Darkness", "Here Comes Funky Lou", "Day Dreaming", "Ah Movin On", and a nice cover of "People Make The World Go Round". LP, Vinyl record album

Warmly mellow work from Steve Eaton – a singer with a nicely laidback take on blue-eyed soul, served up in some lean arrangements with a nice jazzy vibe – all a nice change from some of the bigger, more commercial work of the period! The indie approach of the set gives the whole thing the feel of a record from a half decade before – as Steve unabashedly puts himself forward vocally, while also handling both acoustic and electric guitar, keyboards, piano, and more – with support from some equally easygoing session musicians too! Titles include the wonderfully groovy "Without Out" and "All In Love Say I" – plus "Got Me Moanin", "Rakin Leaves In The Wind", "Hurricanes & Tornadoes", "You're Not A Hero", "Friendly Stealer", and "Old Smart Big & Kind". LP, Vinyl record album

The Electric Prunes are maybe best-remembered in terms of their collaboration with David Axelrod – but here, you'll hear the young group already sounding pretty dam great on their own – working with a set of their own arrangements, to create that moody, eerie vibe that instantly made the group one of the standout acts on the American scene of the psych generation! Few acts were able to capture this sort of energy on our side of the Atlantic – and the Prunes veer between madness and magic at a level that's more typical of some of the trippiest UK groups of the period – mixing freak and fuzz, fear and awe, on titles that include "The Great Banana Hoax", "Wind Up Toys", "Dr. Do-Good", "Hideaway", and "Capt Glory". LP, Vinyl record album

One of the tightest, grooviest albums on the short-lived rock years of the mostly-jazz Mainstream Records label – a treasure trove of tuneful tracks that spin out like some of the best late 60s work by The Zombies or The Left Banke! There's a starkness to the tunes that recalls some of the other Mainstream efforts of the period – although the overall sound is warmer, with great harmonies from two singers, in a way that really opens up the more melodic elements of the tunes, while still keeping some of that psychedelic edge that makes all the Mainstream releases from this time so wonderful. The album has a vibe that's all its down – definitely different than some bigger label effort or a more mainstream Cali production – and the quality of songwriting is superb throughout. Titles include "Seems I've Changed", "No Thanks Mr Mann", "Winner Loser", "Seven North Frederick", "Remembering Sunnybrook", and "Caught In The Rain". LP, Vinyl record album

The album's a bit less "historical" than you might guess from the title – at least at the time it was issued in the mid 50s! The material is from Chicago sessions recorded in 1956 – unusual non-Columbia material for the period, featuring the Ellington group working in a slightly older-styled mode. Much of the material is from the earlier songbook of the orchestra – but it's done here with some slight modern touches that show the 50s impulses of the group firmly in place. Players include Cat Anderson and Clark Terry on trumpet, Johnny Hodges on alto, Paul Gonsalves on tenor, and Harry Carney on baritone sax – and titles include "Midriff", "Ko Ko", "Lonesome Lullaby", "Upper Manhattan Medical Group", "Jack The Bear", "Stompy Jones", and "Creole Love Call". LP, Vinyl record album

The album's a bit less "historical" than you might guess from the title – at least at the time it was issued in the mid 50s! The material is from Chicago sessions recorded in 1956 – unusual non-Columbia material for the period, featuring the Ellington group working in a slightly older-styled mode. Much of the material is from the earlier songbook of the orchestra – but it's done here with some slight modern touches that show the 50s impulses of the group firmly in place. Players include Cat Anderson and Clark Terry on trumpet, Johnny Hodges on alto, Paul Gonsalves on tenor, and Harry Carney on baritone sax – and titles include "Midriff", "Ko Ko", "Lonesome Lullaby", "Upper Manhattan Medical Group", "Jack The Bear", "Stompy Jones", and "Creole Love Call". CD

The album's a bit less "historical" than you might guess from the title – at least at the time it was issued in the mid 50s! The material is from Chicago sessions recorded in 1956 – unusual non-Columbia material for the period, featuring the Ellington group working in a slightly older-styled mode. Much of the material is from the earlier songbook of the orchestra – but it's done here with some slight modern touches that show the 50s impulses of the group firmly in place. Players include Cat Anderson and Clark Terry on trumpet, Johnny Hodges on alto, Paul Gonsalves on tenor, and Harry Carney on baritone sax – and titles include "Midriff", "Ko Ko", "Lonesome Lullaby", "Upper Manhattan Medical Group", "Jack The Bear", "Stompy Jones", and "Creole Love Call". LP, Vinyl record album

Excellent Duke Ellington work from the late 50s – written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn – and dedicated to the Shakespeare Festival in Stratford, Ontario – but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington – with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto – and titles include "The Telecasters", "Circle Of Fourths", "Sonnet For Caesar", "Sonnet To Hank Cinq", and "Such Sweet Thunder". CD also features 3 previously unissued tracks, and a bunch of alternate takes and outtakes – for a total of 22 cuts in all! CD

Excellent Duke Ellington work from the late 50s – written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn – and dedicated to the Shakespeare Festival in Stratford, Ontario – but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington – with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto – and titles include "The Telecasters", "Circle Of Fourths", "Sonnet For Caesar", "Sonnet To Hank Cinq", and "Such Sweet Thunder". CD also features 3 previously unissued tracks, and a bunch of alternate takes and outtakes – for a total of 22 cuts in all! CD

A rootsy set with a jazzy vibe – a set that blends the wonderful vocals of Eloah with some heavy percussion, soaring horns, and other great instrumental touches – all in a blend of modes that's pretty darn unique! The album might belong in the school of samba, but it's got a much more ambitious vibe overall – as if those core samba inspirations were taken to new heights through some of the larger, fuller arrangements that were bubbling in the Brazilian scene of the period – as you might find in the music of Edu Lobo or Marcos Valle! Eloah's also got a power that's all her own, too – some of the soul of a singer like Elza Soares, but also the kind of majesty we love in the music of Zelia Barbosa – or in a male version, maybe Geraldo Vandre – who's an equally unique artist of his own. The whole thing's a real lost treasure – with a vibe that's more late 60s than late 70s, given the production and instrumentation – and titles include "Oxala", "Exu", "Ogun", "Xango", "Yemanja Berimbau", "Axe Opo Afonja Aluja", and "Logun Ede". CD

A previously-unissued live date from Bill Evans – recorded in Copenhagen right at the end of the 60s, in a very hip trio that features Eddie Gomez on bass and Marty Morell on drums! There seems to be a bit more force than usual in Bill's left hand – a pulse that comes through nicely on a few tracks in particular – offsetting the brilliantly understated lyrical modes that always makes his music from this period so wonderful. The set features nicely dark versions of "Nardis" and "Waltz For Debby" – plus "Time Remembered", "You're Gonna Hear From Me", "Round Midnight", "Our Love Is Here To Stay", and "Emily". CD

A pair of great Bill Evans albums for Verve – both a very good fit together! The cover of Empathy co-credits Bill Evans and Shelly Manne as the leader of the set – and that distinction's an important one – as the record has a slightly different feel than some of Bill's other 60s work for Verve! The sound is often a bit stronger, somewhat bolder – and although Manne's not a monster on the drums, he does have a way of directing the tunes that's a bit different than some of Evans' other piano-led albums. Bass is by Monty Budwig, who's nicely sensitive to the talents of both players – and there's almost an equally-weighted melodic feel to all three elements of the trio – which really rounds out the record nicely. Titles include "The Washington Twist", "Danny Boy", "Let's Go Back To The Waltz", "With A Song In My Heart", "Goodbye", and "I Believe In You". Simple Matter Of Conviction is a move into a more sophisticated vein than his earlier recordings! The album has him working with bassist Eddie Gomez, a hugely talented bassist that would be one of Bill's best partners during this period, and a player who added a nice dose of soul to the proceedings. The drummer is Shelly Manne, who's pretty nice, too – and really shows off some of his more sophisticated shadings here in the presence of Evans and Gomez – similar to his work on the great Empathy album. Tracks are shortish, but filled with imagination – and titles include "Unless It's You", "These Things Called Changes", "Stella By Starlight", and "A Simple Matter Of Conviction". CD

A tremendous comeback for the Art Farmer/Benny Golson Jazztet – recording here in the mid 80s with original members Farmer, Golson, and Curtis Fuller – plus tremendous rhythm support from the trio of Mickey Tucker, Ray Drummon, and Marvin Smitty Smith! The session has less of the tightly snapping groove that was the initial Jazztet calling card in the 60s – and comes across with some of the warmer, more chromatic tones that showed up on the group's last few recordings – and even more so in Art Farmer's work for many years to come. Tracks are all longish, and filled with many interesting twists and turns – and overall the album recalls the brilliant economy of Farmer's best work from the period, with some of the subtle soul that made Golson a player to keep an ear on strongly during the 80s. Titles include "From Dream To Dream", "Back To The City", "Vas Simeon", "Write Soon", and "Without Delay/Time Speaks". LP, Vinyl record album

Lovely lyrical sounds from Tommy Flanagan – a pianist who can be as deft as a bopper, but also bring in some richer currents of soul as well! Case in point is this great album from the late 70s – a time when Flanagan wasn't as much in the recording spotlight as the decade before, but a period when he'd actually matured a lot more as a player – able to step effortlessly between both his inclinations, especially when working with a group this great – a trio that features George Mraz on bass and Elvin Jones on drums! Tommy's got a touch on the keys that's subtle at times, but extremely powerful – a knowledge of notes and colors that's never overstated, but always right on the money. Titles include a great reading of the Tom McIntosh tune "Cup Bearers", plus "Maybe September", "Confirmation", "50 21", and "It Never Entered My Mind". CD

Wicked early 80s punk from The Flesh Eaters – with some fun nods to trash culture and B-movies in the cover art, song titles and lyrical imagery – but it's also some of most slyly ambitious sounds from the west coast scene of the time! It's clear from the first track they're going for something more instrumentally adventurous than others at the time, with sax and off kilter hand percussion all over it – but Chris D's vision and caterwauling presence as front man keeps it nice and raucous. X's John Doe and DJ Bonebrake are both Flesh Eaters in this peak period, along with sax player Steve Berlin, later to join Los Lobos – and even roots rock hero Dave Alvin – that's a hell of a punk band, right?! Titles include "Digging My Grave", "Satan's Stomp", "So Long", "Cryan De Berger's Back", "Divine Horseman", "See You In The Boneyard" and more. LP, Vinyl record album

A gem of a record from the Cali scene of the late 60s – even though it was recorded in LA by a band from Canada! 49th Parallel are one of the great lost groups from the time – a combo who've got a sound that's very fresh, very much their own, yet who also resonate with all the best elements of the period – as they weave their own unique blend of psych and sunshine pop styles through the music! There's occasional horns on the record at times, but never in a jazz rock way – just a touch of brass to give things a bit more punch, used lightly and rightly, and in a very groovy way. Sometimes the guitars get a bit freaky and fuzzy, but never in any style that's overblown to threaten the sweetness of the vocals – and titles include "Now That I'm A Man", "Get Away", "Eye To Eye", "Missouri", "Lazerander Flitchy", "Twilight Woman", "Close The Barn Door", and "The People". LP, Vinyl record album

Early early work from Aretha's foxy sister – recorded in a mode that's similar to some of Aretha's Columbia work from the same period! Erma's singing in a bluesier style than on her Brunswick recordings – working in an approach that's almost like Ruth Brown on Atlantic – singing with larger backings that occasionally have some backing singers and strings on some tracks, and which are more in a rocking soul mode on others. Titles include "Pledging My Love", "Don't Blame Me", "Hello Again", "What Kind Of Girl Do You Think I Am", and "Each Night I Cry". LP, Vinyl record album

A really great album from the LA scene of the early 90s – very different than most of the west coast work of the period, and much more in the spirit of some of the east coast work from the Native Tongues posse! The group features early work from Mikah 9, Self Jupiter, PEACE, and Aceyalone – all working in a really inventive mix of jazzy and inventive samples that come together in a great way – leaner than the layering of Q Tip, and not nearly as polished as work of its type would sound on bigger labels. There's almost a "what if" vibe to the record – glimpse at a less thuggish, posturing west coast that never full came to be – on titles that include "We Are The Freestyle Fellowship", "My Fantasy", "7th Seal", "Let's Start Over", "Sunshine Men", "Physical Form", "120 Seconds", "We Will Not Tolerate", "It's On", "Sike", "5 O'Clock Follies", "Legal Alien", "Convolutions", "Jupiter's Journey", "For No Reason", and "Here I Am". LP, Vinyl record album

An excellent serious score from Gerald Fried – very different than some of his sci fi or TV work, and handled with a depth that really fits the material! Fried's very much in the social realism mode of the period – not above using whimsy when needed for the lighter moments, but often going for some of the right light scoring with elements that are modern enough to evoke deeper emotion in a subtle way, very different from more mainstream Hollywood gloss. The film's a lost classic of American independent cinema, and Fried's score really fits the material – presented here in a package that includes 24 tracks in all – including a vocal performance of the theme "One Potato Two Potato" by Alan Arkin, and a short commentary by Fried. CD