Music from Garfield Akers, Kid Bailey, William Harris, Blind Willie Reynolds, Arthur Petties, Blind Joe Reynolds, Mississippi Jook Band, Geeshie Wiley, Jelly Jaw Short, King Solomon Hill, Freddie Spruell & more. CD

That's a young Isaac Hayes on the cover, sitting at the piano next to David Porter – his key songwriting partner at Stax Records in the 60s – at a time before both artists had gone onto their own solo recordings for the label! The Hayes/Porter team gave Stax some of their best songs during the second half of the 60s – often numbers that have a hip, hard-grooving style that really pushed the boundaries of Memphis soul – and as you'll hear here, the duo's work was not just recorded for their main label, but also handled by a wealth of other artists too – mostly soul singers of the late 60s, but also featured here on a few later tracks as well. Those later cuts are ever bit as soulful as the 60s material that makes up most of the collection – and the package also features some unissued numbers too –served up here in a list of 24 titles that include "Can't Trust Your Neighbor" by Freddie King, "60 Minutes Of Your Love" by Homer Banks, "I'll Understand" by Edwin Starr & Blinky, "Left Over Love" by Ruby Johnson, "Hold On I'm Coming" by The Righteous Brothers, "You Got Me Hummin" by The Hassles, "I'm Dedicating My Life" by Danny White, "Love Is After Me" by Charlie Rich, "Your Good Thing" by Mable John, "You Don't Know Like I Know" by Keith Powell & Billie Davis, "Wrap It Up" by Archie Bell & The Drells, "Baby" by Rachel Sweet, "As Long As I've Got You" by The Emotions, "I Take What I Want" by The Bishops, "The Sweeter He Is (parts 1 & 2)" by Soul Children, and an unreleased alternate of "Toe Hold" by Johnnie Taylor. CD

Four friends in Bari, making really beautiful music together – a lineup that features sparkling trumpet from the great Fabrizio Bosso, plus guitar from Guido Di Leone, bass from Giuseppi Bassi, and drums from Mimmo Capanale! The set's got all the subtle charm of Bosso's best work in recent years – that stone classic approach to jazz trumpet – played with a talent that we'd rank right up there with folks like Freddie Hubbard or Art Farmer at their best – set to some inventive arrangements that really make great use of guitar in the place you'd normally find piano in such a group. The change of instrument makes for a nicely gentle quality at times in the rhythms, which seems to make Fabrizio's horn sound even more upfront and soulful – and titles include "E La Chiamano Estate", "King Dorian", "Wide Green Eyes", "Bernie's Tune", "Mack The Knife", and "Nostalgia Di Cuba". CD

Great post-Chess material from Chicago bluesman Jimmy Rogers – with Freddie King on additional guitar! LP, Vinyl record album

Music from Duke Ellington, Charlie Parker, Count Basie, Sarah Vaughan, Glen Miller, Harry James, Billie Holiday, Louis Armstrong, Nat King Cole, Freddie Hubbard, Dizzy Gilliespie, and more. CD

Includes tracks by Eric Clapton, Jack Bruce, Freddie King, Love With Arthur Lee, Macko Palmer, Blue, and more! 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

Soul Jazz gets the royal treatment, or should we say gives us the royal treatment! The royal court is in session with a fine, fine batch of today's sound today, another regal dip into the Studio One vaults, showcasing the top male vocal stars in Coxsone Dodd's stable! The set includes both classic cuts and some well chosen lesser known nuggets, and as you now know (or are about to find out) the Soul Jazz selectors pull together a compilation fit for a king! 17 numbers in all, including "I've Got To Make It" by Larry Marshall, "Every Tongue Shall Tell" by Horace Andy, "Well Run Dry" by Alton Ellis, 'Water More Than Flour" by Johnny Osbourne, "I Am The Ruler" by Anthony Rocky Ellis, "Pretty Looks Isn't All" by Cornell Campbell, "Please Be True" by Alexander Henry, "Them A Come" by Burning Spear, "Change Of Plan" by Joe Higgs, "Roots Natty" by Devon Russell, "Be Yourself" by Ken Boothe, "I Shall Be Released" by Freddie McGregor, "Father Will Cut You Off" by Freddie McKay, "Locust" by the Ethiopian, "One, One" by George Philip, "I Don't Want To See You Cry" by John Holt and "Won't You Come Home" by Delroy Wilson. LP, Vinyl record album

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 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 landmark album – not only for Freddie Redd, but for Jackie McLean, who's the real star of the session! In the early 60s, both Freddie and Jackie played together in a hip New York play called The Connection – working as a part of a live jazz band who were hanging out in an apartment, waiting for their "connection" to bring them some heroin. The music on this set was forged during the course of the play – played live, improvised, but tightly honed into some fantastic tunes over the course of the run – so that by the time Blue Note went to record this set, the whole thing had a razor-sharp intensity that blew away even the best other Blue Note work of the time! Redd wrote all the tracks, and he plays with a dark and fiery edge that we've never heard in his work on other records – superbly matched by McLean's alto, which blows these amazingly precise and soulful notes throughout. Titles include "Who Killed Cock Robin", "Wigglin", "Music Forever", and "O.D." CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". CD

A beautiful album that we'd rank as one of Freddie Hubbard's greatest recordings ever – a truly sublime set that's quite different than his Blue Note work of the 60s, and which really shows him emerging as a major talent on the trumpet! The set features a core sextet of key players – the legendary John Gilmore on tenor sax, making a rare appearance here away from the Sun Ra Arkestra – plus Curtis Fuller on trombone, Tommy Flanagan on piano, Art Davis on bass, and Louis Hayes on drums – the last three of whom provide a soulful, almost spiritual rhythm to the record – elevating Freddie's horn to tremendous heights, possibly for the first time in his career. All tracks are nice and long – and titles include the Hubbard originals "Bob's Place", "Happy Times", and "The 7th Day", all of which roll along on a groove that's not what you'd expect – plus versions of "Summertime" and "Caravan". CD

Jazz funk genius from Freddie Hubbard in the mid 70s! Gleam was a Japanese-only double album from the jazz giant in its original release – mighty funky at times, too – right up there with some of the best Miles Davis and Herbie Hancock Japanese sets from the 70s! It's a live set captured in March of '75 at Tokyo's Yubin Chokin Hall – long numbers played by a group that includes Freddie on trumpet, Carl Randall on tenor and flute, George Cables on electric piano, Henry Franklin on bass, Carl Burnett on drums, and Buck Clark on percussion! Each player has plenty of space to groove, and it's very well captured – you can hear the most expressive solos and the most subtle nuances. Some great solos by Freddie and the rest of the players – breathless tenor & flute by Randall, keys by Cables that are jazz funk perfection and interplay between Burnett's drums and Clark's congas & percussion that's somehow tense and comfortable at the same time. The shortest number in the set runs more than the 7 minutes and the longest is more than 20 minutes – and none is one second shorter than necessary, actually leaving us pining for more – making it all the more vital in the double album format. Released on 2CDs for the first time ever here! How this great album has been so hard to find over the years is a mystery. Titles include "Kuntu", "Spirits Of Trane", an amazing cover of Stevie Wonder's "Too High", "Midnight At The Oasis", "Ebony Moonbeams", and "Put It In The Pocket". LP, Vinyl record album

Electric funk from Freddie Hubbard – a great 70s session that has him bringing in a bit more soul to the mix than usual! Things are a bit tighter here than on the CTI sides, but still pretty open and fluid – almost in a Donald Byrd mode with Larry Mizell, given the fuller backings on the set, and Hubbard's lean, clean tone on the top! Hubbard did the arrangements with George Cables – who plays some wonderful keyboards on the set, and keeps things solid throughout – creating the kind of open lines that always seems to get the best out of Freddie. Other players include Ray Parker on guitar, Carl Randall on tenor and flute, Henry Franklin on bass, and Spider Webb on bass – and a few cuts have some chorus vocals, which again take on a great Mizell-like quality in the mix. Titles include "Kuntu", "Put It In The Pocket", "Liquid Love", "Yesterday's Thoughts", "Lost Dreams", and a version of "Midnight At The Oasis". LP, Vinyl record album

An overlooked gem from Freddie Hubbard – a late fusion outing, done for the Japanese market at a time when most of his American work was returning to more acoustic modes! Freddie's trumpet sparkles brilliantly in the lead – hitting the same sort of soulful, stretching vibe as his best CTI recordings from the mid 70s – served up with an equally great mix of electric and acoustic instrumentation in the arrangements! The lineup of musicians is pretty unique, too – with Art Pepper on alto, George Cables on acoustic and electric piano, Phil Ranelin on trombone, and Roland Bautista on guitars – usually working in these gentle grooving rhythms that have a soulful stepping vibe – and which really let Freddie soar on his trumpet solos. Titles include "Eclipse", "Sunshine Lady", "I Love You", and "Bring It Back Home". LP, Vinyl record album

Freddie Hubbard's definitely rolling on this great little set – rolling right back into acoustic jazz territory after a run of smoother soul sessions for bigger labels at the end of the 70s! The album's a live one, and it's a perfect example of the development of Hubbard's solo skills at the point – amazingly well-crafted, especially in a spontaneous setting like this, where Freddie can really stretch out over a long tune with really soulfully imaginative expressions. The group features the great David Schnitter on tenor and soprano sax – a great colleague for the date – plus Billy Childs on acoustic and electric piano, Larry Klein on bass, and Carl Burnett on drums. Titles include "Breaking Point", "Brigitte", "Cascais", "One Of Another Kind", and "Byrdlike". LP, Vinyl record album

A definite sweet return from Freddie Hubbard – a record with a cover and title that might appear to be smooth jazz, but one with a sound that's solidly acoustic and soulful all the way through! The album's a great example of Hubbard's amazing work in the early 80s – a time when he was shaking off the larger and electric trappings of the 70s, to return to smaller combo work – but often with a really fluid and warm feel that showed the best lessons learned from the previous decade! Freddie's tone and timing here are impeccable – and the long tracks are especially great, with continually-inventive solo work that holds us rapt with attention. Other players include Lew Tabackin on tenor and flute, Joanne Brackeen on piano, Eddie Gomez on bass, and Roy Haynes on drums – and titles include "The Night Has A Thousand Eyes", "Heidi B", "Sweet Return", "Whistling Away The Dark", and "Calypso Fred". LP, Vinyl record album

It's easy to give the great Freddie Redd due respect – especially when the pianist sounds every bit as wonderful here as he did on his classic Blue Note albums from decades back! Freddie's a hell of a pianist, with a very unique vibe – able to be modern in conception, but lyrical in execution – sharp edges and angles warmed with a sense of humanity that always has Redd's music making this beautifully inherent sense, and drawing us right in, right away! The same seems to also be the case for his sidemen – who really flower in the setting – a lineup that includes John Mosca on trombone, Chris Byars on alto and flute, and Stefano Doglioni on bass clarinet. Mosca's trombone is especially nice – a real treat to hear in Redd's music – and titles include "A Night In Nalen", "Reminiscing", "Blue Hue", "I'm Gonna Be Happy", "OD", "Ole", "Lady J Blues", and "Melanie". CD

Great live material – recorded during the late 60s as part of the Left Bank Jazz Society series in Baltimore, but never issued until now! The work captures Freddie Hubbard in that great Atlantic Records mode – crafting a mixture of hip hardbop and nascent 70s soul soloing, working here with a quintet that features all wonderful players, including Benny Maupin on tenor, Kenny Barron on piano, Herbie Lewis on bass, and Freddie Waits on drums. The set's one of the best in this series on Label M – and it's essential work if you dig Hubbard at this key moment! Titles include "Pensativa", "Echoes Of Blue", "Crisis", and "Bob's Place". CD

A real gem from Freddie Hubbard's 60s years – an all soul jazz outing, cut with a hip array of players that show that young Fred was definitely on the forefront of jazz at the time! Despite the "blues" in the title, the main groove is spiritual soul jazz – in a style that puts Freddie a few years ahead of the Strata East crew, and working here in a mode that he oddly didn't continue into the 70s. The album's got a really righteous sound overall – with long tracks that really stretch out wonderfully with rich feeling and spirit – thanks to work from players who include Weldon Irvine and Kenny Barron on piano, Bennie Maupin and James Spaulding on reeds, and Freddie Waits on drums. The set's filled with great original tunes that include Freddie's "Latina", "True Colors", and "For BP" – as well as a version of Weldon Irvine's "Can't Let Her Go". LP, Vinyl record album

Sweet electric Freddie Hubbard – a wonderfully laidback session that's filled with space and soul – hardly what you'd expect from the title! The album follows nicely in the style that Hubbard hit at CTI – an openly flowing groove that has Freddie's trumpet on top of long electric piano lines from George Cables, with occasional fuller backings to flesh out the sound! Arrangements are by Dale Oehler, who's conducting a larger group behind a core quintet that also features excellent reeds from Junior Cook – possibly one of his strongest (and only) appearances on an electric date like this. Cables is the champ, though – and really makes the set cook by changing the vibe strongly with his keys – setting a tone for Freddie throughout. Titles include "Camel Rise", "Crisis", "Too High", "Black Maybe", and "Baraka Sasa". LP, Vinyl record album

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD adds an alternate take of "Plexus". CD

A lost treasure from the overlooked late 70s jazz years at Columbia! The album's got Freddie Hubbard working with arranger Claus Ogerman on some expansive tracks that go beyond his earlier work in the decade – sometimes blowing mellow notes over larger orchestrations, other times working in a surprisingly lean groove that has some really soulful touches! The approach shifts from track to track, but all titles are long, and the overall effect is really great. Al Jarreau guests on a sweet vocal version of "Little Sunflower", and other players on the set include Joe Farrell and Tom Scott on reeds, and Chick Corea, who plays most of the keys on the set. Titles include "Lazy Afternoon", "This Dream", "Brigitte", and "The Love Connection". LP, Vinyl record album

Warm and wonderful work from Freddie Hubbard – a killer of an album recorded for CTI, and one of his most soulful efforts for the label! The album's got a bit more of a human heart than some of the more cosmic sessions Freddie cut at the time – a bit more contemplative and introspective, but no less open-minded and electrically charged. The assortment of players is all top-shelf – with Billy Cobham, Airto, Lennie White, George Cables, Hubert Laws, and George Benson all backing Freddie up on the set – and titles include a great take on "People Make the World Go Round", plus "Naturally", and "Son of Sky Dive", which grooves just like its papa! LP, Vinyl record album

A great post-CTI session from Freddie Hubbard – one that has him blowing over sweet arrangements from Bob James, who manages to keep things full, yet soulful throughout! There's a lot of instrumentation backing Freddie up for the date – full horns, strings, and even a bit of chorus vocals – but as with some of James' best efforts like this, things never get too cluttered, nor too slick – and the album rocks with the kind of soulful vibes you'd hear on some of the Kudu Records dates of the time. Even familiar covers – of tunes like "Feelings" or "Dream Weaver" – are nicely transformed by James' touch, taking on a new soulful sound in this setting – thanks to Bob's own work on keyboards, which are supported a bit by additional keys from George Cables. Hubbard sparkles no matter what the setting – and titles include "Rock Me Arms", "Touch Me Baby", "Windjammer", and "Neo Terra". LP, Vinyl record album

Fantastic! This is the kind of soul that we still collect vinyl for! Freddie Hughes is one of the great lost voices of the 60s, and this sparkling album of soulful tunes is a real gem! He's not the same singer as the Freddie Hughes from Chicago – and he hailed from San Francisco, a very unlikely source for such great soul music. The session was recorded with Lonnie Hewitt (Cal Tjader's funky piano player) in SF – but it's got that perfect New York Wand/Scepter "deep soul meets uptown" sound. The tracks are mostly written by Hughes or Hewitt – and they are all pretty amazing, filled with hooks that just don't quit, and some heartbreaking verses that match the work of writers like Curtis Mayfield or Garland Green. Titles include "Send My Baby Back", "He's No Good", "Tonight I'm Gonna See My Baby", and "I Gotta Keep My Bluff In". LP, Vinyl record album

A striking little set from vibesman Freddie McCoy – not just for the cool superhero image on the front cover, but also for the tight grooves underneath! The album's one of McCoy's most unified for Prestige – as all tracks feature a core quartet with Freddie on vibes, Charlie Wilson on piano, Steve Davis on bass, and Rudy Lawless on drums – not your usual Prestige players, and all musicians who really make the album sparkle! There's a bold soul jazz vibe running through the set – similar to some of Freddie's other work, but a bit more open too – and titles include a groovy take on "Girl From Ipanema", plus the soul jazz classics "Speak Out, Deagan!" and "Hav' Mercy" – as well as the cuts "Yesterdays" and "Spider Man". CD

A key moment in the career of the legendary Freddie McGregor – easily one of the best-known voices in reggae in the post-Marley years! The set captures Freddie at his youthful best – coming off of time doing vocal group work, but really shining strongly as a lead singer on his own – getting this nicely subtle Studio One backing that are heavy on the roots vibe, which makes a nicely deep rhythmic contrast to the sweetly crackling vocals of McGregor! The set came out at the start of the 80s, but it's got an instant classic vibe that resonates almost more strongly with some of the most soulful Jamaican recordings at the end of the 60s. Titles include "Bandulo", "We Need More Love", "What Difference Does It Make", "Go Away Pretty Girl", "Tomorrow Is Like Today", "Bobby Bobylon", "Wine Of Violence", "Gonna Take Over Now", "Rastaman Camp", and "I Am A Revolutionist". CD

A key moment in the career of Esther Phillips – and a record that really has her shaking off the rougher bluesy styles of the earlier years, and pointing the way towards strong jazz success in the 70s! The album's definitely burnin, but with a sophisticated vibe too – as Esther works with backing from a small combo that includes Jack Wilson on piano, Richard Tee on organ, Chuck Rainey on bass, and Cornell Dupree on guitar – a lineup that almost hits the same vibe as her later work on CTI/Kudu – and which brings out a new depth in Esther's vocals that's simply amazing! There's a heartbreaking quality to most of the numbers – a mix of roots and class, depth and poise – all served up in a style that's unlike any other singer before or since. Titles include "Don't Let Me Lose This Dream", "And I Love Him", "Shangri-La", "I'm Getting Long Alright", and "Please Send Me Someone To Love". LP, Vinyl record album

An exquisite bit of modernist hardbop – recorded by Freddie Redd with the same sort of sound that he brought to the classic Connection recording, also done for Blue Note! As with that session, Redd is working here with alto from a young Jackie McLean's on alto sax – really at the top of his powers here, and beautifully skirting a line that runs between soulful hardbop and some of the more modern phrasing McLean would use during his "new thing" years! Tina Brooks is on tenor, and as on other classic Blue Notes – such as the Street Singer album – the Brooks/McLean combination makes for some stellar solo work throughout. Redd's piano is firey in a way that we can hardly describe, and tracks include "Thespian", "Melanie", and "Shadows". CD

An exquisite bit of modernist hardbop – recorded by Freddie Redd with the same sort of sound that he brought to the classic Connection recording, also done for Blue Note! As with that session, Redd is working here with alto from a young Jackie McLean's on alto sax – really at the top of his powers here, and beautifully skirting a line that runs between soulful hardbop and some of the more modern phrasing McLean would use during his "new thing" years! Tina Brooks is on tenor, and as on other classic Blue Notes – such as the Street Singer album – the Brooks/McLean combination makes for some stellar solo work throughout. Redd's piano is firey in a way that we can hardly describe, and tracks include "Thespian", "Melanie", and "Shadows". CD

A tremendous album from organist Freddie Roach – arguably his best record ever for Blue Note, and a really wonderful session! The set's got Freddie opening up in a slightly hipper groove than on some of his more R&B-influenced sides – working with a quartet that includes Percy France on tenor, Kenny Burrell on guitar, and Clarence Johnston on drums. Tracks are longish, with some really great rhythms – and show Freddie moving past straight Hammond grooving, into a more righteous mode that would emerge even more on his albums for Prestige. 6 tracks in all, and the titles include "De Bug", "Ahm Miz", "Althea Soon", and "Lion Down". CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". LP, Vinyl record album

A great bit of funky guitar work from Freddie Robinson – a player who clearly started out with a bluesy backing, but managed a real super-dope sound by the time of his 70s work for Stax! Part of the sound is that Freddie's using a hollow-body electric – giving him a style that's a bit like Little Beaver on the best tracks. Freddie sings a bit on the set, but his guitar play's his strongest suit – and he's backed here by electric piano from Monk Higgins, and keyboards from Joe Sample! Tracks include "Smoking", "Off the Cuff", "Rivers Invitations", "Try It One Time", and "Medicine Man". LP, Vinyl record album

One of the last great records ever cut by Jon Hendricks – one of our favorite singers of all time! The album's a bit of a "tour de force" – with Hendricks singing alongside a host of famous jazz musicians and vocalists, working in an all star setting that's sometimes too good for its own good, but at other times works magically! The best moments are those when Jon actually takes the lead himself, singing in that warm, raspy, honest style that's always made him the kind of a singer that brings meaning to lyrics that always leave us cold from other vocalists. The album's got a wonderful re-reading of the Italian classic "Estate", redone here with English lyrics as "In Summer" – and one of Hendricks finest moments on record! Other tracks include "Listen To Monk", "Sugar", "Freddie Freeloader", "High As A Mountain", "Trinkle Tinkle", and "The Finer Things In Life" – and players include Tommy Flanagan, George Benson, Wynton Marsalis, Stanley Turrentine, and Al Jarreau. CD

Baddest Hubbard or goodest Hubbard – whatever you prefer, the set's a great sampling of Freddie's incredible work for the CTI label during the early 70s! The album only features 4 tracks, but for CTI, Freddie was cutting them so long, that's the only way you could go – as his freewheeling approach to soul jazz really pushed the boundaries of the genre while he was working at the label – and which really pushed Hubbard's sound, too – into territory that nobody would have expected back in the 60s! Titles include the long original version of "Red Clay", plus the classic funk track "First Light", and mellower tunes "In A Mist" and "Here's That Rainy Day". LP, Vinyl record album

Sweet early CTI work from trumpeter Freddie Hubbard – the kind of groundbreaking electric jazz that really helped him find a new space in the 70s! The album follows strongly from Freddie's classic Red Clay set for CTI – and like that one, it features extended tracks that build beautifully as they roll on – taking Freddie's airy trumpet as the base, and layering in electric piano, flute, guitar, and percussion – plus some wonderfully subtle strings – used sparely, but in just the right way to underscore the wider vision of the record. Arrangements are by the mighty Don Sebesky – and other players include George Benson on guitar, Hubert Laws on flute, Phil Kraus on vibes, and Airto on percussion – plus Richard Wyands on the keys, making a rare CTI appearance here. Titles include a surprisingly great version of "Uncle Albert/Admiral Halsey" which has some great breaks in the middle – plus "First Light", "Moment To Moment", and "Yesterday's Dreams". CD

A collection of some of Freddie Hubbard's great early to mid 60s output for Blue Note, compiled and released in 1975 during a time when a number of his LPs were no longer available (not unlike these days . . .). While Freddie would cut great sides throughout his career, some of his fieriest playing was during this time, and he's joined by a batch of greats who are definitely there to deliver the message too, including James Spaulding, Hank Mobley, Wayne Shorter, McCoy Tyner, Philly Joe Jones and ELvin Jones, amongst others (these tunes were pulled from the Crisis, Breaking Point and Hub Cap sessions). 13 tracks in all: "Crisis", "I Wish I Knew", "Hub Cap", "Luana", "Weaver Of Dreams", "Blue Frenzy", "Jodo", "Cry Me Not", "One Mint Julep", "Mirrors", "Breaking Point", "Blue For Brenda" and "All Or Nothing At All". LP, Vinyl record album

A real burner from Freddie Hubbard's early years at Blue Note – filled with rich hues, colors, and tones! The group's a quintet – supported by lyrical rhythms from the trio of McCoy Tyner on piano, Paul Chambers on bass, and Philly Joe Jones on drums – working alongside Freddie's trumpet and the tenor of Hank Mobley – to craft tunes that sparkle with slight exotic touches, and which offer the perfect blend of modern and soulful that Blue Note was cutting in the early 60s! The whole album's great, and titles include the classic modal number "Asiatic Raes", plus "Karioka", "The Changing Scene", and "A Pec A Sec". CD

A real gem from Freddie Hubbard's 60s years – an all soul jazz outing, cut with a hip array of players that show that young Fred was definitely on the forefront of jazz at the time! Despite the "blues" in the title, the main groove is spiritual soul jazz – in a style that puts Freddie a few years ahead of the Strata East crew, and working here in a mode that he oddly didn't continue into the 70s. The album's got a really righteous sound overall – with long tracks that really stretch out wonderfully with rich feeling and spirit – thanks to work from players who include Weldon Irvine and Kenny Barron on piano, Bennie Maupin and James Spaulding on reeds, and Freddie Waits on drums. The set's filled with great original tunes that include Freddie's "Latina", "True Colors", and "For BP" – as well as a version of Weldon Irvine's "Can't Let Her Go". CD

A smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The LP presents all tracks in long, unedited takes – titles that include "Birdlike", "The Intrepid Fox", and "Sky Dive". LP, Vinyl record album

A landmark set for Blue Note – one that features Freddie Hubbard working in raw, firey, freewheeling territory – given space that few other players at the label were getting at the time! The two volume set features tracks recorded live at Club La Marchal in Brooklyn – and have Hubbard working with a completely hip group that features Lee Morgan, James Spaulding, Harold Mabern, Larry Ridley, Pete La Roca, and Big Black on conga. Each side of the album features one long track – and this second volume features the tunes "Jodo" and "Breaking Point" – done in an extended style that's much rougher and rawer than Hubbard's studio albums of the time! LP, Vinyl record album

A landmark set for Blue Note – one that features Freddie Hubbard working in raw, firey, freewheeling territory – given space that few other players at the label were getting at the time! The two volume set features tracks recorded live at Club La Marchal in Brooklyn – and have Hubbard working with a completely hip group that features Lee Morgan, James Spaulding, Harold Mabern, Larry Ridley, Pete La Roca, and Big Black on conga. The sound is incredible – a full on burner that easily earns the "cookers" status of the title – and which sounds quite different from most other live jazz albums of the time! Each side of the album features one long track – and this 2CD set features both volumes, with 4 extended titles that include – "Pensativa", "Walkin", "Jodo", and "Breaking Point". CD

One of the best recordings from Freddie Hubbard's "back to basics" stretch in the early 80s – a time when Freddie returned to a strongly acoustic jazz mode after a mostly electric 70s! The record still has Freddie stretching out on the longer tracks he got used to during the CTI years – but he's working here in tight quartet formation with Kenny Barron on piano, Buster Williams on bass, and the always-great Al Foster on drums – carving out long lines on extended, but well-conceived numbers that echo with a tremendous amount of force. Freddie's lost none of his edge by this point, and the record shows a new sense of energy and focus that are extremely impressive – and also pretty darn soulful! Titles include "Santa Anna Winds", "You Don't Know What Love Is", "The Outpost Blues", "Dual Force", and "Loss". CD

Moody genius from Freddie Hubbard – a really unusual album that stands out not only from some of his other Blue Note work of the 60s, but also from most of the rest of his catalog as well! Part of the album's uniqueness is its group – an unusual lineup with McCoy Tyner on piano, Wayne Shorter on tenor, and Bernard McKinney on euphonium – a tuba-like instrument that gives the album a nicely shadowy sound! McKinney's probably better known for his 70s work with the Tribe scene in Detroit – but here, he's a young player with an innovative sound – one that makes the album one of Freddie's most striking of the period – a soulfully modern set that's set apart from his straighter hardbop work! The album features some great original tunes by Hubbard and Shorter – and other players include Elvin Jones on drums and Art Davis on bass – on titles that include "Crisis", "Birdlike", "Arietis", and "Weaver Of Dreams". LP, Vinyl record album

Moody genius from Freddie Hubbard – a really unusual album that stands out not only from some of his other Blue Note work of the 60s, but also from most of the rest of his catalog as well! Part of the album's uniqueness is its group – an unusual lineup with McCoy Tyner on piano, Wayne Shorter on tenor, and Bernard McKinney on euphonium – a tuba-like instrument that gives the album a nicely shadowy sound! McKinney's probably better known for his 70s work with the Tribe scene in Detroit – but here, he's a young player with an innovative sound – one that makes the album one of Freddie's most striking of the period – a soulfully modern set that's set apart from his straighter hardbop work! The album features some great original tunes by Hubbard and Shorter – and other players include Elvin Jones on drums and Art Davis on bass – on titles that include "Crisis", "Birdlike", "Arietis", and "Weaver Of Dreams". CD features bonus alternates of "Marie Antoinette" and "Arietis". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". LP, Vinyl record album

Keystone bop indeed – a smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The CD presents all tracks in long, unedited takes – and this Friday/Saturday Night volume features 4 tracks – "One Of Another Kind", "Round Midnight", "Red Clay", and "First Light". CD

A session originally issued under the name of Curtis Fuller – titled Boss Of The Soul Stream Trombone! We're not sure what "soul-stream" is as a genre – but given the strength of this record, we'd be more than willing to grant it onto Curtis Fuller all by himself! The record's a gem that's even more obscure than Fuller's already-rare dates for Blue Note at the end of the 50s – a crack set done for the Warwick label, and one that features an all-star group who've got a great blend of modern edges and soulful rhythms. Alongside Fuller's trombone, other players include Yusef Lateef on tenor and flute, Freddie Hubbard on trumpet, Walter Bishop on piano, Buddy Catlett on bass, and Stu Martin on drums – making a rare early appearance here. Titles include "If I Were A Bell", "Do I Love You", "Chantized", "Flutie", "The Court", and "Mr L". LP, Vinyl record album

A pivotal album not just in the career of Quincy Jones, but in the development of the CTI Records sound as well – as this all-star effort is a perfect blend of all the hippest currents that were cooking up in the scene at the time! At one level, the record has Quincy taking back some of the sophisticated currents he was developing in soundtrack work of the 60s, but moving back to jazz – more groove than before, and more of a sense of space and timing – which is carried off by an excellent lineup that features plenty of electric piano from Bob James, plus work from Hubert Laws on flute, Eric Gale on guitar, Freddie Hubbard on trumpet, and Toots Thielemans on guitar and harmonica. There's also added soulful vocals at a few points too – more chorus than lyrics, at a level that hints at the jazz/soul crossovers that Quincy would do in the 70s – on a set of tracks that's completely sublime, with titles that include "Killer Joe", "Dead End", "Walking In Space", and "Love & Peace". CD