Funky blues treasures from the late 60s & early 70s – a once-scoffed at movement from a period when aging blues stars and purist blues fans alike were hesitant to accept their beloved style modernized in a funky fashion – but the best of it stands up today as some of the coolest and most unique funk, blues and soul of the era! BGP does a terrific job here of digging a bit deeper then some the more famous blues funk fusions, with numbers by Slim Green, Al King, Icewater Slim, Little Milton, The Johnny Otis Show, Al King, Big Daddy Rucker, Buddy Guy and more. 21 tracks in all: "Shake 'Em Up" by Slim Green, "It Took A Long Time" by Finis Tasby, "I'm Not The Best" by Buddy Guy, "Tough Competition" by Ray Agee, "Eli's Pork Chop" by Little Sonny, "Playing On Me" by Albert King, "Good Feeling" by Freddy Robinson, "Welcome Home" by Lowell Fulson, "Comin' At Ya Baby" by The Johnny Otis Show, "That's What Love Will Make You Do" by Little Milton and more. CD

An insane package – one that features the material from the 6CD Complete Concert Wattstax set, plus 5 more CDs from Summit Club Recordings in 1972, plus one more CD of additional material too! First up are 6 CDs that feature a stunning presentation of the legendary Wattstax concert – that huge moment of pride and power when the folks at Stax Records filled up the Los Angeles Coliseum with one of the most memorable shows of the 70s! The meeting of talents here is the stuff of legend – and this great package brings together the complete show in running order – really building up excitement as the concert progresses – with different acts each bringing their own sort of fire to the stage, culminating in a fantastic long finale by Isaac Hayes! The presentation is different than the two double albums that Stax issued back in the 70s – and this expanded package features a number of unreleased tracks in place of material the label later added – such as work from Richard Pryor and The Emotions. There's a whole instrumental section at the start, and more spoken links between some parts – and new material includes unissued work from Kim Weston, Freddie Robinson, Ernie Hines, Eric Mercury, Tommy Tate, Billy Eckstine, and Isaac Hayes – in addition to famous performances by The Soul Children, Jesse Jackson, Rufus Thomas, Albert King, Carla Thomas, William Bell, The Bar Kays, David Porter, The Temprees, Eddie Floyd, and David Porter – plus plenty more from Isaac Hayes too! Great package – with a full color book with new notes and essays, and plenty more too. The Summit Club material follows on five more CDs – material that was partly issued on some other reissues by individual artists, but augmented here with a wealth of unreleased material too! There's a a full show of work from Johnnie Taylor and Rufus Thomas – the latter of whom even does some comedy bits – plus some extra funky performances from The Sons Of Slum, heavy blues from Little Milton, great soul from The Emotions, and a huge amount of never-issued work from the great duo Mel & Tim – arguably better here than on their Stax studio sessions. CD12 features additional recordings that were layered into some of the LP releases issued under the Wattstax name – 15 more tracks that include titles by The Emotions, Isaac Hayes, The Dramatics, Staple Singers, and Eddie Floyd – plus some comedy routines by Richard Pryor. CD

A deep soul take on the sound of Christmas – served up here in a range of classic Holiday cuts from the legendary Stax Records! The set's nicely different than the previous Stax Christmas set, and features some tunes from later in the label's run – some of those cool singles that they continued to issue for the 12th month of the year, at a label that maybe had them matching Motown as one of the few soul labels really dedicated to putting out a Holiday tune! The package includes a previously-unissued alternate mix of "Merry Christmas Baby" by Otis Redding", and a version of "Blue Christmas" by Carla Thomas" – plus the tracks "Season's Greetings" by Cix Bits, "I'll Be Your Santa Baby" by Rufus Thomas, "Who Took The Merry Out Of Christmas" by The Staple Singers, "Winter Wonderland (take 2)" by Booker T & The Mgs, "Santa Claus Wants Some Lovin" by Albert King, "That Makes Christmas Day" by Rufus & Carla Thomas, "White Christmas" by Rance Allen Group, "The Mistletoe & Me" by Isaac Hayes, "It's Christmas Time Again" by The Temprees, and "What Do The Lonely Do At Christmas" by The Emotions. CD

A deep soul take on the sound of Christmas – served up here in a range of classic Holiday cuts from the legendary Stax Records! The set's nicely different than the previous Stax Christmas set, and features some tunes from later in the label's run – some of those cool singles that they continued to issue for the 12th month of the year, at a label that maybe had them matching Motown as one of the few soul labels really dedicated to putting out a Holiday tune! The package includes a previously-unissued alternate mix of "Merry Christmas Baby" by Otis Redding", and a version of "Blue Christmas" by Carla Thomas" – plus the tracks "Season's Greetings" by Cix Bits, "I'll Be Your Santa Baby" by Rufus Thomas, "Who Took The Merry Out Of Christmas" by The Staple Singers, "Winter Wonderland (take 2)" by Booker T & The Mgs, "Santa Claus Wants Some Lovin" by Albert King, "That Makes Christmas Day" by Rufus & Carla Thomas, "White Christmas" by Rance Allen Group, "The Mistletoe & Me" by Isaac Hayes, "It's Christmas Time Again" by The Temprees, and "What Do The Lonely Do At Christmas" by The Emotions. LP, Vinyl record album

A mountain of funk from one of the greatest soul labels of all time! Stax is known round the world over for their soulful work – by singers like Otis Redding or Carla Thomas, and instrumental tunes by Booker T & The MGs – but the label was also quite a funky powerhouse – especially as the 60s drew to a close, and the management of the company got a lot hipper, and a heck of a lot more musically open-minded! This killer batch of tracks features 21 numbers from those days – including many obscure and funky tunes that only ever came out on singles, or which were recorded by artists that never made it as big as Stax stars from earlier years. The result of all that obscurity is an extremely fresh selection of tracks – plenty of down-n-dirty funky 45 numbers, played by hip Memphis combos, and featuring some really deep soul vocals. Titles include "Dark Skin Woman" by Sir Mack Rice, "Ain't No Sin" by John Kasandra, "Bump & Boogie" by The Wrecking Crew, "Shame On The Family Name" by Calvin Scott, "Cool Strut" by Bernie Hayes, "Bump Mean" by Sir Mack Rice, "Soul Machine" by Reggie Milner, "How Can You Mistreat The One You Love" by Katie Love, "Cold Blooded" by The Bar Kays, "Do The Side Saddle" by Rufus Thomas, "Stay Away From That Monkey" by Jimmy McCracklin, "Them Hot Pants" by Lee Sain, "Devil In A Man" by Stu Gardner, "Circuits Overloaded" by Inez Foxx, "From Toys To Boys" by The Emotions, "Got It Together (parts 1 & 2)" by Rudy Robinson & The Hungry Five, and "Crosscut Saw" by Albert King. CD

A mountain of funk from one of the greatest soul labels of all time! Stax is known round the world over for their soulful work – by singers like Otis Redding or Carla Thomas, and instrumental tunes by Booker T & The MGs – but the label was also quite a funky powerhouse – especially as the 60s drew to a close, and the management of the company got a lot hipper, and a heck of a lot more musically open-minded! This killer batch of tracks features 21 numbers from those days – including many obscure and funky tunes that only ever came out on singles, or which were recorded by artists that never made it as big as Stax stars from earlier years. The result of all that obscurity is an extremely fresh selection of tracks – plenty of down-n-dirty funky 45 numbers, played by hip Memphis combos, and featuring some really deep soul vocals. Titles include "Dark Skin Woman" by Sir Mack Rice, "Ain't No Sin" by John Kasandra, "Bump & Boogie" by The Wrecking Crew, "Shame On The Family Name" by Calvin Scott, "Cool Strut" by Bernie Hayes, "Bump Mean" by Sir Mack Rice, "Soul Machine" by Reggie Milner, "How Can You Mistreat The One You Love" by Katie Love, "Cold Blooded" by The Bar Kays, "Do The Side Saddle" by Rufus Thomas, "Stay Away From That Monkey" by Jimmy McCracklin, "Them Hot Pants" by Lee Sain, "Devil In A Man" by Stu Gardner, "Circuits Overloaded" by Inez Foxx, "From Toys To Boys" by The Emotions, "Got It Together (parts 1 & 2)" by Rudy Robinson & The Hungry Five, and "Crosscut Saw" by Albert King. LP, Vinyl record album

A stunning presentation of the legendary Wattstax concert – that huge moment of pride and power when the folks at Stax Records filled up the Los Angeles Coliseum with one of the most memorable shows of the 70s! The meeting of talents here is the stuff of legend – and this great package brings together the complete show in running order – really building up excitement as the concert progresses – with different acts each bringing their own sort of fire to the stage, culminating in a fantastic long finale by Isaac Hayes! The presentation is different than the two double albums that Stax issued back in the 70s – and this expanded package features a number of unreleased tracks in place of material the label later added – such as work from Richard Pryor and The Emotions. There's a whole instrumental section at the start, and more spoken links between some parts – and new material includes unissued work from Kim Weston, Freddie Robinson, Ernie Hines, Eric Mercury, Tommy Tate, Billy Eckstine, and Isaac Hayes – in addition to famous performances by The Soul Children, Jesse Jackson, Rufus Thomas, Albert King, Carla Thomas, William Bell, The Bar Kays, David Porter, The Temprees, Eddie Floyd, and David Porter – plus plenty more from Isaac Hayes too! Great package – with a full color book with new notes and essays, and plenty more too. LP, Vinyl record album

A stunning presentation of the legendary Wattstax concert – that huge moment of pride and power when the folks at Stax Records filled up the Los Angeles Coliseum with one of the most memorable shows of the 70s! The meeting of talents here is the stuff of legend – and this great package brings together the complete show in running order – really building up excitement as the concert progresses – with different acts each bringing their own sort of fire to the stage, culminating in a fantastic long finale by Isaac Hayes! The presentation is different than the two double albums that Stax issued back in the 70s – and this expanded package features a number of unreleased tracks in place of material the label later added – such as work from Richard Pryor and The Emotions. There's a whole instrumental section at the start, and more spoken links between some parts – and new material includes unissued work from Kim Weston, Freddie Robinson, Ernie Hines, Eric Mercury, Tommy Tate, Billy Eckstine, and Isaac Hayes – in addition to famous performances by The Soul Children, Jesse Jackson, Rufus Thomas, Albert King, Carla Thomas, William Bell, The Bar Kays, David Porter, The Temprees, Eddie Floyd, and David Porter – plus plenty more from Isaac Hayes too! Great package – with a full color book with new notes and essays, and plenty more too. CD

A landmark double-live album that was easily one of the most important soul record moments of the 70s! The concert was an all-star event held in LA to celebrate the anniversary of the Watts riots – but it features a killer lineup of talent from the roster of Stax Records – by then a proud independent with more than enough power to spread a nationwide message from Memphis to Los Angeles without any trouble! The record is nicely segmented – so that it offers up mini "sets" by each artist – really recreating the feel of the event, at a level that lived on in countless living rooms long after the concert was over. Titles include "Son Of Shaft/Feel It" and "I Can't Turn You Loose" by The Bar-Kays; "Ain't No Sunshine" by Isaac Hayes, "I Don't Know What This World Is Coming To" and "Hearsay" by The Soul Children, "I Like What You're Doing To Me" and "Gee Whiz" by Carla Thomas; "The Breakdown" and "Do The Funky Penguin" by Rufus Thomas, "Killing Floor" and "Angel Of Mercy" by Albert King"; "Respect Yourself" and "I'll Take You There" by The Staple Singers; and "Knock On Wood" by Eddie Floyd. Also includes 2 studio tracks recorded after the show – "Oh La De Da" by The Staple Singers, and "Lay Your Loving On Me" by Eddie Floyd. LP, Vinyl record album

A landmark double-live album that was easily one of the most important soul record moments of the 70s! The concert was an all-star event held in LA to celebrate the anniversary of the Watts riots – but it features a killer lineup of talent from the roster of Stax Records – by then a proud independent with more than enough power to spread a nationwide message from Memphis to Los Angeles without any trouble! The record is nicely segmented – so that it offers up mini "sets" by each artist – really recreating the feel of the event, at a level that lived on in countless living rooms long after the concert was over. Titles include "Son Of Shaft/Feel It" and "I Can't Turn You Loose" by The Bar-Kays; "Ain't No Sunshine" by Isaac Hayes, "I Don't Know What This World Is Coming To" and "Hearsay" by The Soul Children, "I Like What You're Doing To Me" and "Gee Whiz" by Carla Thomas; "The Breakdown" and "Do The Funky Penguin" by Rufus Thomas, "Killing Floor" and "Angel Of Mercy" by Albert King"; "Respect Yourself" and "I'll Take You There" by The Staple Singers; and "Knock On Wood" by Eddie Floyd. Also includes 2 studio tracks recorded after the show – "Oh La De Da" by The Staple Singers, and "Lay Your Loving On Me" by Eddie Floyd. LP, Vinyl record album

The title's almost redundant – as the words "Westbound" and "Funk" mean virtually the same thing! From the late 60s through the mid 70s, Westbound was one of the key record labels in the sound of raw heavy funk – working with hit groups like Funkadelic and the Ohio Players to craft a sound that laid the blueprint for countless other groups of the time, and also featuring a wealth of obscurer artists with an even harder-hitting sound! The key styles of Westbound and related jazz label Eastbound were heavy and fuzzy ones – picking up off the heady and trippy styles of the late 60s Detroit scene, mixing things up with MC5 guitars, Norman Whitfield bass, and deep underground Tribe-styled jazz touches. This 20 track masterpiece is a brilliant summation of the important Westbound sound – and includes a few hits, some funky 45 classics, and an even bigger number of tracks we might not have heard otherwise! The notes are great, the tunes are super-funky, and the whole thing's one of the best funky collections you could ever hope to purchase. Titles include "You're Messing Up My Mind" by Albert Washington, "Back To Funk" by Robert Lowe, "You Caught Me Smilin" by The 19th Whole, "Conga Man" by King Errison, "Shake Your Head" by Spanky Wilson, "I Love You" by The Motivations, "I Don't Know What It Is But It Sure Is Funky" by Mighty Elegant, "Crazy Legs" by Donald Austin, "Stone Thing (part 1)" by Alvin Cash, "RPM" by Boots, "Funky World (part 1)" by Silky Vincent, "Get Funky Sweet A Little Bit" by Jackie Harris & The Exciters, "I'll Bet You" by Funkadelic, and "Why Not Start All Over Again" by The Counts. LP, Vinyl record album

A seminal early moment from the legendary Albert Ayler – an important session recorded overseas in Copenhagen – where enthusiasm for Ayler's music caught fire more strongly than in the US! The group's got an edge that's maybe even sharper than some of Ayler's ESP material, but no less powerful – with Don Cherry on cornet, Gary Peacock on bass, and Sunny Murray on drums – working through tremendous readings of six Ayler classics that include "Ghosts", "Children", "Holy Spirit", "Vibrations" and "Mothers". A wonderful precursor to the ESP years – and equally great! CD

A seminal early moment from the legendary Albert Ayler – an important session recorded overseas in Copenhagen – where enthusiasm for Ayler's music caught fire more strongly than in the US! The group's got an edge that's maybe even sharper than some of Ayler's ESP material, but no less powerful – with Don Cherry on cornet, Gary Peacock on bass, and Sunny Murray on drums – working through tremendous readings of six Ayler classics that include "Ghosts", "Children", "Holy Spirit", "Vibrations" and "Mothers". A wonderful precursor to the ESP years – and equally great! LP, Vinyl record album

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

One of the deepest albums that Count Basie ever recorded – thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions – and although the record doesn't have the same sort of star soloist in the lead, the Basie band members do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair – and work on electric bass grooves that push the set farther than the usual Basie outing of the time – with a flavor that's right up there with the hippest Nelson sessions for Flying Dutchman, and maybe even a bit like spiritual ensemble material too. Titles include versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". CD

One of the deepest albums that Count Basie ever recorded – thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions – and although the record doesn't have the same sort of star soloist in the lead, the Basie band members do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair – and work on electric bass grooves that push the set farther than the usual Basie outing of the time – with a flavor that's right up there with the hippest Nelson sessions for Flying Dutchman, and maybe even a bit like spiritual ensemble material too. Titles include versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". CD

One of the deepest albums that Count Basie ever recorded – thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions – and although the record doesn't have the same sort of star soloist in the lead, the Basie band members do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair – and work on electric bass grooves that push the set farther than the usual Basie outing of the time – with a flavor that's right up there with the hippest Nelson sessions for Flying Dutchman, and maybe even a bit like spiritual ensemble material too. Titles include versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". CD

One of the deepest albums that Count Basie ever recorded – thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions – and although the record doesn't have the same sort of star soloist in the lead, the Basie band members do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair – and work on electric bass grooves that push the set farther than the usual Basie outing of the time – with a flavor that's right up there with the hippest Nelson sessions for Flying Dutchman, and maybe even a bit like spiritual ensemble material too. Titles include versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". LP, Vinyl record album

One of the few sessions ever recorded by tenor player Walter Benton – a great talent with a very strong voice, coming out of a gutsier 50s era, and growing into a capable hardbop player by the time of this set. The album's got Benton playing in a quintet that features Freddie Hubbard on trumpet, Wynton Kelly on piano, Paul Chambers on bass, and either Jimmy Cobb or Albert Heath on drums – and although the group's clearly not Benton's working unit, the overall sound of the record is quite strong, with very capable rhythm playing, and some nicely arcing solos with spirit and surprising touches. Titles include "Iris", "Night Movement", "A Blues Mood", "Azil", and "Walter's Altar". CD

One of the few sessions ever recorded by tenor player Walter Benton – a great talent with a very strong voice, coming out of a gutsier 50s era, and growing into a capable hardbop player by the time of this set. The album's got Benton playing in a quintet that features Freddie Hubbard on trumpet, Wynton Kelly on piano, Paul Chambers on bass, and either Jimmy Cobb or Albert Heath on drums – and although the group's clearly not Benton's working unit, the overall sound of the record is quite strong, with very capable rhythm playing, and some nicely arcing solos with spirit and surprising touches. Titles include "Iris", "Night Movement", "A Blues Mood", "Azil", and "Walter's Altar". LP, Vinyl record album

Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Goodbye Porkpie Hat", "Ornithology", and "Marshmallow". LP, Vinyl record album

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Body & Soul", "Donna Lee", "My Funny Valentine" and "Half Nelson". LP, Vinyl record album

A legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". LP, Vinyl record album

A legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". CD has an insane amount of bonus tracks – 8 more than the original album – with titles that include "Old Man Joe", "Afra Jum", "Amazona", "Por Que Paro", and "El Morro". CD

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

Incredible work from Don Cherry – a previously unreleased live date from the 60s, but every bit as great as any of his better-known records from the decade! The sound here is really amazing – a hip blend of Cherry's trumpet with tenor from Gato Barbieri and vibes from Karl Berger – working here in a piano-less setting that has all three players snaking together beautifully as the tunes unfold – freed up a bit to explore some really bold new territory, yet always held together with the same sense of inherent rhythm you'd find on Cherry's Blue Note albums from the late 60s. Rhythm is by Bo Stief on bass and Aldo Romano on drums – both players who really help the tunes take on some great structures – especially during the group's extended take on "Orfeo Negro", a number taken in very similar ways to Archie Shepp's Fire Music version of "Girl From Ipanema"! Other numbers are great too – and include "Elephantasy", "Spring Is Here", "Suite For Albert Ayler", and "Complete Communion", done in a 22 minute take. 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 collection of Ornette Coleman albums from the end of the 60s – work from two key albums, plus some interesting bonus material too! First up is the album Ornette At 12 – a set that features 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". Next is Crisis – 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". The last two tracks are maybe the most unusual – originally issued only as a promo 7" single by Impulse Records, with the tunes "Man On The Moon" and "Growing Up" – recorded with a group that features Cherry on trumpet, Redman on tenor, Haden on bass, and Ed Blackwell on drums – plus electronics from Emmanuel Ghent on one track! CD

Fantastic early work from Albert Collins – almost as much of a funk album as a blues one! This set's not really funky in the same sense as many of Collins' contemporaries in the soul scene of the time – but it's got some great funky elements, especially in the drums and guitar, which is always razor-sharp. 12 numbers in all: "Jawing", "Trash Talkin", "Harris County Line-Up", "Conversation With Collins", "Grapeland Gossip", "Chatterbox", "Medley", "Lip Service", "Talking Slim Blues", "Back Yard Back Talk", "Tongue Lashing" and "And Then It Started Raining". LP, Vinyl record album

One of the few 70s albums as a leader from reedman Ronnie Cuber – a player who'd already been making some great appearances on studio sessions with giants like George Benson, Mongo Santamria, and Lonnie Smith – as well as even a few Steely Dan records! But despite that ability to sound tight in the studio, Ronnie really shows a completely different side of his talents here – a hard-burning approach to baritone sax, with a deftness that rivals Pepper Adams in a similar setting – a quality that almost feels like a tenor at times, given Cuber's dexterity and speed of improvisation. The rest of the group's great, too – and includes Barry Harris on piano, Sam Jones on bass, and Albert Heath on drums – who really provide the right amount of soulful hardbop to keep things crackling. Titles include "Star Eyes", "Rifftide", "Tin Tin Deo", "Samba D'Orfeo", "Misty", "Sudwest Funk", and "Prince Albert". CD

One of the few 70s albums as a leader from reedman Ronnie Cuber – a player who'd already been making some great appearances on studio sessions with giants like George Benson, Mongo Santamria, and Lonnie Smith – as well as even a few Steely Dan records! But despite that ability to sound tight in the studio, Ronnie really shows a completely different side of his talents here – a hard-burning approach to baritone sax, with a deftness that rivals Pepper Adams in a similar setting – a quality that almost feels like a tenor at times, given Cuber's dexterity and speed of improvisation. The rest of the group's great, too – and includes Barry Harris on piano, Sam Jones on bass, and Albert Heath on drums – who really provide the right amount of soulful hardbop to keep things crackling. Titles include "Star Eyes", "Rifftide", "Tin Tin Deo", "Samba D'Orfeo", "Misty", "Sudwest Funk", and "Prince Albert". LP, Vinyl record album

One of the few 70s albums as a leader from pianist Albert Dailey – a player who was making great magic with Stan Getz at the time, but who also seems to have a completely different voice on his own! Dailey's got a way of being open, joyous, and very creative – but always in a style that's never too familiar, nor ever aping the modes of some of his more famous 70s contemporaries – which creates a very fresh sound to the whole record, that kind of special, stand-alone spirit that maybe graces some of the best of the Japanese-recorded trio dates of the 70s, and a rare few American sessions too. Accompaniment is superb – Buster Williams on bass and Billy Hart on drums – both players with more than enough imagination to both keep up with Dailey's creativity, and augment him in just the right way – on titles that include "Body & Soul", "Yesterdays", "Lover Man", "Music That Makes Me Dance", and "That Old Feeling". CD

A wonderfully free-thinking set by Kenny Dorham – and a record that really breaks from his earlier work! The album's not exactly experimental, but it features longer tracks with a looser approach than some of Dorham's sweeter shorter work – more in a rhythmically progressive mode that lets the soloists carve out their own space in the set. Joe Henderson joins Kenny on the frontline, and the rest of the group includes Tommy Flanagan on piano, Richard Davis on bass, and Albert Heath on drums. All titles are originals, with some great modernist inflections, especially in the changes – and titles include "The Fox", "Mamacita", "Tropeta Toccata", and "Night Watch". CD

A wonderfully free-thinking set by Kenny Dorham – and a record that really breaks from his earlier work! The album's not exactly experimental, but it features longer tracks with a looser approach than some of Dorham's sweeter shorter work – more in a rhythmically progressive mode that lets the soloists carve out their own space in the set. Joe Henderson joins Kenny on the frontline, and the rest of the group includes Tommy Flanagan on piano, Richard Davis on bass, and Albert Heath on drums. All titles are originals, with some great modernist inflections, especially in the changes – and titles include "The Fox", "Mamacita", "Tropeta Toccata", and "Night Watch". LP, Vinyl record album

A wonderfully free-thinking set by Kenny Dorham – and a record that really breaks from his earlier work! The album's not exactly experimental, but it features longer tracks with a looser approach than some of Dorham's sweeter shorter work – more in a rhythmically progressive mode that lets the soloists carve out their own space in the set. Joe Henderson joins Kenny on the frontline, and the rest of the group includes Tommy Flanagan on piano, Richard Davis on bass, and Albert Heath on drums. All titles are originals, with some great modernist inflections, especially in the changes – and titles include "The Fox", "Mamacita", "Tropeta Toccata", and "Night Watch". CD

A wonderfully free-thinking set by Kenny Dorham – and a record that really breaks from his earlier work! The album's not exactly experimental, but it features longer tracks with a looser approach than some of Dorham's sweeter shorter work – more in a rhythmically progressive mode that lets the soloists carve out their own space in the set. Joe Henderson joins Kenny on the frontline, and the rest of the group includes Tommy Flanagan on piano, Richard Davis on bass, and Albert Heath on drums. All titles are originals, with some great modernist inflections, especially in the changes – and titles include "The Fox", "Mamacita", "Tropeta Toccata", and "Night Watch". CD

A mid 80s studio set from the Fania All Stars – and proof that the group was still going great at this time – almost reverting to their older modes of the early 70s, and shaking free of the more electric, more soul-based styles that group was using during their time at Columbia Records! The style here is very much in the spirit of the group's roots – long tracks that spin out with plenty of space for all the collaboration that made the Fania All Stars not only unique in Latin music, but a real model of artistic cooperation that other genres could certainly share! The group for this date includes vocals by Ismael Miranda, Celia Cruz, Adalberto Santiago, and Hector Lavoe – and titles include "Por Eso Yo Canto Salsa", "Usando El Coco", "El Rey De La Puntulidad", and "La Tierra No Es Pa La Guerra". LP, Vinyl record album

A great CD that combines most of the material on Art's two albums for Argo – Art (1960) and Perception (1961). Art is a beautiful album of understated brilliance – one of Farmer's early shifts into the sublime, an easily blown batch of trumpet tracks played with trio backing by Tommy Flanagan, Tommy Williams, and Albert Heath. The tracks are all in the four to five minute range, with Art crafting lyrically soulful lines over the top. Titles include "Who Cares", "Out Of The Past", "Younger Than Springtime", "That Ole Devil Called Love", and "Goodbye Old Girl". Perception is similar, an amazingly beautiful set of tracks from Art – playing with superb accompaniment from a young Harold Mabern, in a laidback quartet format that really lets Art open up! Art's playing is fresh and creative throughout – never over the top, with that subtle genius that he was bringing to his work in the 60s – and the choice of material includes Tom McIntosh's great composition "The Day After", plus Art's "Punsu" and "Kayin". One track from each album has been omitted to fit the material on one CD (which is BS, by the way, as the CD is only 64 minutes long!) – but if you can stand having the incomplete versions of the albums, this is a great deal for some rare material! CD

A lovely later recording from Stan Getz – very spare and spacious, and recorded with a casual approach that's quite striking, and really fresh! The album features Stan playing alongside pianist Albert Dailey – with no other rhythm accompaniment, just piano and tenor sax. The tunes are mostly familiar numbers, played in a relaxed, improvised mode that makes the whole thing feel like you're getting a lucky glimpse of Stan and Albert playing together in an after hours session or rehearsal. There's a bit of roughness in the recording, but given the depth of soul and color from both players, that quality also emerges as an honest humanity that only serves to make the recording more compelling! Titles include "Tune Up", "A Child Is Born", "Confirmation", "Round Midnight", and "Spring Can Really Hang You Up The Most". CD

A lovely later recording from Stan Getz – very spare and spacious, and recorded with a casual approach that's quite striking, and really fresh! The album features Stan playing alongside pianist Albert Dailey – with no other rhythm accompaniment, just piano and tenor sax. The tunes are mostly familiar numbers, played in a relaxed, improvised mode that makes the whole thing feel like you're getting a lucky glimpse of Stan and Albert playing together in an after hours session or rehearsal. There's a bit of roughness in the recording, but given the depth of soul and color from both players, that quality also emerges as an honest humanity that only serves to make the recording more compelling! Titles include "Tune Up", "A Child Is Born", "Confirmation", "Round Midnight", and "Spring Can Really Hang You Up The Most". CD