An underrated 70s effort from Sonny Rollins, featuring him fronting a dynamite group with Stanley Cowell and Mtume at the height of their Afro-centric electric jazz period. Longtime sideman Bob Cranshaw plus David Lee round out the rhythm section, and this is one of Rollins' LPs featuring the excellent Japanese guitarist Masuo, plus Rufus Harley guests on one number, so you can guess this is one righteous affair. Rollins sounds awesome, laying extended solos over some tremendous funky vamps by the group on numbers like "The Cutting Edge" and "First Moves", and working in a more contemplative vein on "To A Wild Rose" and "A House Is Not A Home". Also includes a lengthy take on "Swing Low, Sweet Chariot". LP, Vinyl record album

The jazzy genius of Tatsuo Sunaga gets turned in a cool direction here – as the set's an imagined soundtrack for the voyage of Crouka – the dog who disappeared from the launch of the Soviet rocket Soyuz2! That story hardly needs to be part of the description, though – as the record is overflowing with music that more than stands on its own – that wonderfully jazzy take on Japanese club that Sunaga served up so well during his glory days – live instrumentation mixed with clubby rhythms – in a lineup that includes vocals from Vince Andrews, Aaron Blackmon, Kirsty Hawkshaw, and even the great jazz singer Sheila Landis – who does a fantastic job on one number! There's light strings at a few points, fleshing out the sound wonderfully – and the set also features a few cool spoken bits and links – on titles that include "It's You", "Kid", "Welcome", "C'Est Vous Sur Le Pont", "Theme From Sunaga T Experience", and "Istonichoff". LP, Vinyl record album

An album that certainly lives up to the promise of its title – as it's filled with amazing instrumentation, groundbreaking compositions, and a sound in jazz that few ears could imagine at the time! The groove here is extremely modal – all instruments rolling along on the same rhythmic pulse, with drums, bass, trumpet, and alto sax incredibly intertwined! Ornette's really got an edge on his instrument – cutting even more deeply here than the clipped, punctuated cornet work of Don Cherry – and the rhythm team of Charlie Haden and Billy Higgins are simply amazing – not just keeping up with the energy of Ornette, but also really helping facilitate it as well! Titles include the haunting "Lonely Woman", plus "Peace", "Chronology", and "Focus on Sanity". LP, Vinyl record album

An extremely great session from Eddie Costa and Art Farmer – arguably more so, because the cover and label make you think it's going to be a cheap knockoff! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record. Titles include "Big Ben", "Blues Plus Eight", "Stretch In F", and "Get Out Of The Road". LP, Vinyl record album

One of Bill Evans' most beautiful albums from the time – and one that features the fantastic team of Jeremy Steig and Eddie Gomez, who were cutting some beautiful records for other labels at the time. Steig's flute later got very silly, but at this point, he's got a raw stripped-down sound that works perfectly with Gomez's warm, slightly funky basslines – making for a slightly soulful approach that really transforms the session. Evans is no slouch either – and the youthful company makes him play some of his best bits in years – on titles that include "Time Out For Chris", "So What", "Spartacus Love Theme", and "Autumn Leaves". LP, Vinyl record album

A very unusual session for Carmen McRae – a live recording that features only her vocals and piano, on spare readings of a number of sophisticated songs that ably demonstrate the class and care she was bringing to her work at the time! The approach is quite different from some of the smoother, more soul-based records that McRae was cutting in the 70s – a very laidback, late nite sort of date that takes us right back to Carmen's earliest years on record – but with a 60s' worth of hipness thrown into the mix. She's still got some sense of poise on the tunes, but also brings up a slightly earthy undercurrent at points too – a relaxed, mature vibe that really fits the intimacy of the record. Titles include "The Last Time For Love", "More Than You Know", "I Can't Escape From You", "I Could Have Told You", "Please Be Kind", and "Supper Time". LP, Vinyl record album

A cool set from a percussionist who was both a figure in the more cutting-edge side of the New York downtown scene of the early 80s – and who had done some work for bigger groups as well! The album's one of the few under Van Tieghem's name – and features the artist on a huge amount of percussion instruments, both electric and acoustic – plus keyboards and a variety of objects. Peter Gordon co-produced, and plays saxes on the set – and the record's a nice one in the same territory of Laurie Anderson and David Byrne experiments on early 80s Warner. LP, Vinyl record album

In the tradition of the Molemen and All Natural, another nice one from the Chicago underground. "Think U Jammin'?" uses a killer organ bassline and DJ Diamond Kut cutting up a line from Steady Serv's classic "You Know The Time" for the chorus, and of course straight up dope hip hop verses. 12-inch, Vinyl record

Despite the fact that he's one of the most influential jazz singers of all time (and certainly one with the biggest hit, as the original recording of "I'm In the Mood For Love" probably sold more copies than most other vocalese recordings combined), King Pleasure only ever cut three full albums – and this third one is the hardest to find! The album was recorded for United Artists during the time when Alan Douglas was cutting sides for the label, and it's very much in the same mode as his earlier recordings for Prestige and HiFi, apart from some occasional spare string backing that's added to the small group jazz playing. Pleasure's vocals are wonderful – incomparable, and right at the peak of vocalese sublimity – and the album's filled with great numbers like "That Old Black Magic (Diaper Pin)", "This Is Always", "Jazz Jump", "Don't Get Scared", "Swan Blues", and "Mean To Me", all completely transformed by Pleasure! LP, Vinyl record album

One of the greatest albums of European jazz from the early 60s – a tremendous effort from pianist Michael Naura, working here with lots of vibes and a fair bit of grooves – in a style that sounds a lot like some of the best early recordings made by the team of Roy Ayers and Jack Wilson! The groove here is definitely modern, but also plenty darn soulful too – and thanks to some alto sax in the mix, the tracks have a cutting quality that really gives them an edge – a kind of rasp that predates some of the late 60s soulfulness of the Saba/MPS scene, of which this album is a definite precursor! Alongside Naura's piano, the group also features vibes by Wolfgang Schluter, alto sax by Peter Reinke, bass by Wolfgang Luschert, and drums by the great Joe Nay – soaring together on tunes that includes Tubby Hayes' "Down In The Village", Oliver Nelson's "Three Seconds", Jackie McLean's "Dr Jekyll", and the originals "Night Flower", "Stratosphere", and "Grunga Mood". LP, Vinyl record album

Double-length brilliance from the mighty Sahib Shihab – a set that collects a number of killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, if not tops the best MPS/Saba sounds of the time – all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Titles include "Companionship", "Om Mani Padme Hum", "Bohemia After Dark", "Serenata", "Yah Yah Blues", "Balafon", "Talk Some Yak-ee Dak", "The Turk's Bolero", "CT + CB", "Jay Jay", "Stoned Ghosts", "Just Give Me Time", and "Dijdar". LP, Vinyl record album

Atlantic Starr definitely get straight to the point on this set – bursting out strongly with an upbeat groove from the very first note – all produced to perfection by maestro Bobby Eli, in the same manner as some of his other great late 70s work for other artists! The group's a big one, but they've got a lean focus here – a groove that has plenty of space for both male and female vocals, as well as a lot of instrumentation – yet never gets bogged down at all. Rhythms have a bit of boogie, and some older ensemble funk modes – and the vocals of Sharon Bryant are especially nice, cutting with a slight feminine edge against the more masculine leanings of the combo. Titles include "Kissin Power", "Straight To The Point", "Bullseye", "What'Cha Feel Inside", "Losin You", "Fallin In Love With You", and "Let The Spirit Move Ya". LP, Vinyl record album

An extremely great session from Eddie Costa – one of the best of the all-great Mode sessions from 1957! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art Farmer's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record. Titles include "Big Ben", "Blues Plus Eight", "Stretch In F", and "Get Out Of The Road". LP, Vinyl record album

Without a doubt, Benny Golson is one of the most underrated tenorists of his generation – a player with a tone and conception that's always tremendous – but which comes across especially well on this early 60s session for Argo Records! As you might guess from the title, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time". LP, Vinyl record album

Some of the best Art Pepper work you'll ever find! This 2LP set is filled with tracks that were originally cut for Savoy Records during the time of Art's Surf Ride album for that label, but which were lost on the cutting room floor for years. Pepper's tone is fantastic – with more of an edge than usual, kind of a raspy soulful quality that you don't find in some of his other work, especially those slicker overrated sessions that most consider "classic". We love this material, and this LP is the first time this material has seen the light of day. There's a number of alternate takes, but don't worry, because they're worth hearing, and often have very different solos. Titles include "Everything Happens To Me", "Art's Oregano", "What's New", "Thyme Time", "Nutmeg", "Suzy The Poodle", and "Straight Life". LP, Vinyl record album

Double-length brilliance from the mighty Sahib Shihab – a set that collects a number of killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, if not tops the best MPS/Saba sounds of the time – all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Titles include "Companionship", "Om Mani Padme Hum", "Bohemia After Dark", "Serenata", "Yah Yah Blues", "Balafon", "Talk Some Yak-ee Dak", "The Turk's Bolero", "CT + CB", "Jay Jay", "Stoned Ghosts", "Just Give Me Time", and "Dijdar". LP, Vinyl record album

One of Nina's greatest records – recorded with her cool combo that included Weldon Irvine! Weldon's on organ on the set, and he co-wrote the two-part track "Revolution" with Simone, one of the album's strongest numbers! That track is set amidst covers of other hip 60s material, including "Turn Turn Turn", "To Love Somebody", "I Can't See Nobody", and "Just Like Tom Thumb's Blues" – all done with a freely righteous style that has Nina cutting loose at the end of the 60s! LP, Vinyl record album

A wonderful combination of players – really stretching out here in a hip double-length set! The live performance features three key musicians all recording for Milestone Records in the 70s – Sonny Rollins on tenor and soprano sax, McCoy Tyner on piano, and Ron Carter on bass – joined by drummer Al Foster, who provides some great energy to round out the quartet! But not all the tracks here are quartet ones, either – as the set also features some duet, trio, and solo moments too – really changing things up on some extended tracks that continue to keep things interesting! Titles include the excellent "Cutting Edge" – plus "Continuum", "Alone Together", "Nubia", "NO Blues", and "Don't Stop The Carnival". LP, Vinyl record album

The genius of Betty Carter knows no bounds – and this album's a perfect illustration of that fact! The record is one of the few that Betty released on her own label – working in near obscurity at a time when she really wanted to break from the BS of the bigger companies, and the staid approach they were using towards vocal jazz. This set is one of Betty's most freewheeling – performed with trio lineups that include players like Onaje Alan Gumbs, Buster Williams, and Louis Hayes – really stretching things out past the simple "piano trio meets standards with singer" that you might hear on other records. The best illustration of the style is the amazing track "Sounds" – a 7 minute workout that has the trio and Betty cutting loose, taking jazz vocals a million miles past Ella or Billie or any other singer. Most other tracks are originals – and beautiful ones too – and titles include "What Is It", "I Can't Help It", "We Tried", "Happy", and "Tight". LP, Vinyl record album

An album that certainly lives up to the promise of its title – as it's filled with amazing instrumentation, groundbreaking compositions, and a sound in jazz that few ears could imagine at the time! The groove here is extremely modal – all instruments rolling along on the same rhythmic pulse, with drums, bass, trumpet, and alto sax incredibly intertwined! Ornette's really got an edge on his instrument – cutting even more deeply here than the clipped, punctuated cornet work of Don Cherry – and the rhythm team of Charlie Haden and Billy Higgins are simply amazing – not just keeping up with the energy of Ornette, but also really helping facilitate it as well! Titles include the haunting "Lonely Woman", plus "Peace", "Chronology", and "Focus on Sanity". LP, Vinyl record album

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! LP, Vinyl record album

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! LP, Vinyl record album

A killer set that's extremely well-titled – as BT Express were one of the hottest ensemble funk acts of their time! The groove here is definitely aimed at a more disco-oriented dancefloor than before – but the overall sound is plenty funky enough for our ears – thanks to some amazing horn passages arranged by Carlos Ward, whose own work on sax and flute really add an edgey quality to the set. Ward's horns are really fantastic – cutting and turning with a sharply-honed tone that keeps things fresh throughout – even when the rhythms are hitting more of a mainstream dancefloor sound. Titles include the group's mellow soul version of "Now That We've Found Love", plus "Herbs", "Time Tunnel", "Energy To Burn", "Can't Stop Groovin Now Wanna Do It Some More", and "Make Your Body Move". LP, Vinyl record album

One of the greatest lost sessions ever! Legendary vibist Bobby Hutcherson recorded this set of tracks in his early days with Blue Note – but the set's never come out until now, and its release is cause for rejoicing! The material shows Hutcherson playing in a straight-ahead format, tinged with some of the modernist new thing elements of other recordings from the time, but mostly filled with a soulfulness not always heard on his Blue Note albums at the time. The group includes Duke Pearson on piano, whose lovely lyrical approach works perfectly with Hutcherson's vibes. Joe Henderson plays some great hard-edged tenor, cutting nicely through all the tracks – and Grant Green sits in on half of the material, playing some nice spiralling modal lines on guitar. Many of these titles have been recorded in other versions on later Blue Note albums – but they're all in fantastic versions here, including "Bedouin", "The Kicker", "Step Lightly", and "Mirrors". LP, Vinyl record album

The amazing second album from The Soul Searchers – even harder, funkier, and rarer than the first! This one blows away everything else the group have ever done – as the record has an angular approach that has the band taking a lot of weird twists with the grooves, creating these dark jazzy edges that have forever made the album a favorite with fans of deep-thinking funk! The massively funky sound of the group's debut are further increased here by a hipper, more sophisticated approach to rhythm and soul – one that's got the group flowing through warm moments one minute, then cutting things into deeper, sharper tones the next. Titles include the sublime "Ashley's Roachclip", a famous BDP sample from way back – plus the cuts "I Rolled It You Hold It", "Blow Your Whistle", "Funk To The Folks", "Ain't It Heavy", and "If It Ain't Funky". LP, Vinyl record album

A surprising Bud Powell album for Reprise Records – and one of the label's hippest jazz titles ever! When Frank Sinatra first started up the Reprise imprint, he let Duke Ellington do a bit of A&R for the jazz division – and one of the first things Ellington did was capture the great Bud Powell in his then-local setting of Paris – in this rough edgey session that turned out to be one of Powell's last albums, and one of his best from the 60s. The record is nothing fancy on the outside – just simple piano trio versions of jazz standards like "Parisian Thoroughfare", "I Can't Get Started", "Jordu", and "Dear Old Stockholm" – but Powell's dark genius turns the tracks into jagged little razors, cutting with an emotional depth that's quite surprising. Duke Ellington produced – and trio members include Gilbert Rovere on bass and Carl Fields on drums. LP, Vinyl record album

The amazing second album from The Soul Searchers – even harder, funkier, and rarer than the first! This one blows away everything else the group have ever done – as the record has an angular approach that has the band taking a lot of weird twists with the grooves, creating these dark jazzy edges that have forever made the album a favorite with fans of deep-thinking funk! The massively funky sound of the group's debut are further increased here by a hipper, more sophisticated approach to rhythm and soul – one that's got the group flowing through warm moments one minute, then cutting things into deeper, sharper tones the next. Titles include the sublime "Ashley's Roachclip", a famous BDP sample from way back – plus the cuts "I Rolled It You Hold It", "Blow Your Whistle", "Funk To The Folks", "Ain't It Heavy", and "If It Ain't Funky". LP, Vinyl record album