With Tony Maiden, Ray Fuller, Paul Jackson Jr and Jeff Lee Johnson on guitars, Leon "Ndugu" Chancler on drums, and Reggie Young on trombone. CD

Sweet grooves from George Duke – and a set that almost feels like it's got a bit more edge than usual – at least in recent years! The vibe's still got that warm mix of soul and jazz that's continued to make George great – but the keyboards also feel richer at points, with some of the mystical inflections you'd expect from the Dreamweaver title – served up by Duke in a mix of Fender Rhodes, acoustic piano, and other keyboards. A number of tracks have vocals – by George himself, with help from Rachelle Ferrell on one track, the late Teena Marie on another, and a group with Freddie Jackson, Jeffrey Osborne, and Lalah Hathaway on another – but there's also a fair bit of instrumental moments that spin out with more flourish than we've heard from Duke in years. Titles include "Brown Sneakers", "Round The Way Girl", "Ball & Chain", "Stones Of Orion", "Ashtray", "Change The World", and "Missing You". CD

A recent album from the legendary George Duke, and a great one too – put together with a sense of soul and sound that really recalls some of Duke's best work of the late 70s! The album's got a wonderful balance between electric and acoustic elements – especially at points when George puts the keyboards aside, and steps out on acoustic piano – creating lines that ring out proudly amidst the warm backdrops of the group. George also handles some Fender Rhodes on the record, with a very old school vibe – and in addition to his own lead vocals, the set also features backups from Eric Benet, Howard Hewett, Jim Gilstrap, and Rachelle Ferrell. Titles include a sweet remake of "Superwoman", plus "No One", "T-jam", "Sausalito", "Saturday Night", "Hybrids", "Homeland", and "Trust". DVD contains excerpts from the Live In Tokyo 1983 DVD. CD

Tracks include "Dukey Stick", " Reach For It", "Seachin' My Mind", "Mothership Connection", "Sweet Baby", "Lady", and "Shine On" – 10 cuts total. CD

Features vocals by Rachelle Ferrell, James Ingram, Marvin Winans, and the Emotions. CD

Quite a soul-based set from the great George Duke – a set that not only features his strong keyboards, but also a fair bit of vocals from singers Phil Perry, Jeffery Osborne, and James Ingram – all of whom are a great fit for Duke's evolving sound! Duke had worked heavily with singers on many other albums – and even produced for some of these artists as well – but the vibe here is also more of an extension into 90s modes, both for fusion and R&B – with a few lingering traces of his 80s work, but also a leaner style at times that's nicely appreciated. Titles include "Love Ballad", "Children Of The Night", "Miss Wiggle", "Brazilian Coffee", "This Lovin", "Mystery Eyes", and "Same Ole Love". This Japanese CD edition includes 3 bonus tracks: "560 SL", "Fuzzzion" and "Rise Up". CD

Features guest vocals from Philip Bailey, Chante Moore, Phil Perry, and Deniece Williams. CD

A massive live set from Cannonball Adderley – and a record that really shows the growth he'd undergone in just a few short years! The album's done in close collaboration with David Axelrod – who'd handled Cannon's big live dates for Capitol in the 60s – but this record is much more freewheeling, open-ended, fuzz, funky, and electric overall! Tracks are all nice and long, and really trip out in the best way – with keyboards from George Duke in the core group, plus some heavy basslines from Walter Booker, drums from Roy McCurdy, and guitar from Mike Deasy on a number of key tracks. Deasy plays with lots of great wah wah and fuzz – and the album also features guest work from Airto on percussion and Ernie Watts on tenor – plus Cannonball's great alto and the cornet of brother Nat Adderley too. There's a really collaborative feel to the whole thing – as the record steps easily between a lot of heady styles – and titles include "Zanek", "Eye Of The Cosmos", "The Scene", "The Chocolate Nuisance", "The Steam Drill", "Little Benny Hen", and "The Black Messiah". CD

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction". CD

Gerald Albright's not really one to push the envelope – at least not in the way you'd expect from more progressive jazzmen – but this set is still right on the money for Gerald, and very much in the soul-drenched territory that's kept him high in the charts for years! Albright's got help on the record from some classic soul jazz heavyweights – including Earl Klugh, Fred Wesley, and George Duke, who each guest on a track apiece – but it's Gerald's horn that's still the most winning element here, wrapped up in some relatively lean backings with a smooth variant on funk at the bottom. Titles include "Get On the Floor", "Bobo's Groove", "What Would James Do", "Capetown Strut", "Close To You", "Embrace The Spirit", and "Highway 70". CD

Beautifully sensitive work from pianist Geri Allen – a session cut with a core trio of Ron Carter on bass and Jimmy Cobb on drums, but one that sparkles even more from guest contributions by Wallace Roney and Carmen Lundy! Geri's piano is at the forefront of the set – sliding out gracefully with a sound that's not exactly timeless, but which has a soulful energy that reminds us a lot of some of the best styles of her roots – focused a bit more here, and augmented on a few tracks by the Atlanta Jazz Chorus, a vocal group who hardly dominate the record, but float in very gently alongside Geri's piano – almost in a style that's similar to the use of voices on some of Duke Pearson's last recordings for Blue Note. Titles include "Portraits & Dreams", "Oh Freedom", "Melchezedik", "Well Done", "La Strada", "I Have A Dream", "Nearly", "In Real Time", "Our Lady", and "Timeless Portraits & Dreams". CD features a bonus disc with a version of "Lift Every Voice & Sing" by vocalist George Shirley with the Atlanta Jazz Chorus. CD

Stanley Clarke on bass – joined by George Duke, Bill Summers, Gerald Albright, George Howard, Michael Thompson, Dennis Chambers and others. CD

Features Kenny Garrett on alto and soparano sax – plus guest work from George Duke, Joe Sample, and Paulinho Da Costa. Titles include "Cobra", "Big Time", "Hannibal", "Jo Jo", "Amandla", "Jilli", and "Mr Pastorious". CD

A nice collaboration between Miles and Marcus Miller from the latter part of Miles career. As much of the recording here is overdubbed, with many multiple instruments played by Miller, it doesn't have the improvised vibe of Miles' classic performances, but the songwriting and arrangements are head and shoulders above much of the contemporary jazz being recorded at the time, Miles is in great form, and the glossy production sits better with us now than ever before. Paulinho DaCosta, George Duke, Michael Urbaniak and Bernard Wright all make guest appearances. 8 tracks in all: "Tutu", "Tomaas", "Portia", "Splatch", "Backyard Ritual", "Perfect Way", Don't Lose Your Mind" and "Full Nelson". CD

Herb Ellis on guitar, Ray Brown on bass, Jack Hanna on drums, Plas Johnson on tenor saxophone, Harry Sweets Edison on trumpet, and George Duke on piano. CD

A portrait of Duke, done by Dizzy – and one that's got a whole different feel than you might think! Gillespie's working here with arrangements by a young Clare Fischer – who takes Ellington's themes and recasts them with an even deeper sense of color and tone – one that pushes the already-modern themes of the numbers into a whole new realm of sound, and uses the horn passages to carve things out a lot differently than Duke might have done! The result is a wonderfully striking session – one with familiar melodies that unfold in a whole new way – and which showcases some great phrasing from Dizzy, over rhythms by a combo that features Hank Jones, George Duvivier, and Charlie Persip – playing alongside a group of larger horns. Titles include "Perdido", "Caravan", "Upper Manhattan Medical Group", and "Chelsea Bridge". CD

A portrait of Duke, done by Dizzy – and one that's got a whole different feel than you might think! Gillespie's working here with arrangements by a young Clare Fischer – who takes Ellington's themes and recasts them with an even deeper sense of color and tone – one that pushes the already-modern themes of the numbers into a whole new realm of sound, and uses the horn passages to carve things out a lot differently than Duke might have done! The result is a wonderfully striking session – one with familiar melodies that unfold in a whole new way – and which showcases some great phrasing from Dizzy, over rhythms by a combo that features Hank Jones, George Duvivier, and Charlie Persip – playing alongside a group of larger horns. Titles include "Perdido", "Caravan", "Upper Manhattan Medical Group", and "Chelsea Bridge". Essential Jazz release adds 4 bonus tracks recorded at the Newport Jazz Festival. CD

Subtle genius from Joe Henderson – a wonderfully laidback album that interweaves Latin rhythms, west coast soul jazz, and some slight electric touches – all in a mode that shows Henderson to be one of the deepest thinking players of his scene! All tracks are long and exploratory, without going too far out – and they're done here with a style that's gentler and more introspective than Henderson's first few electric records – but in a way that makes them even more complicated and deeply soulful. Players include Oscar Brashear, George Duke, Luis Gasca, Hadley Caliman, and Mark Levine – but Henderson's tenor is the main guiding force of the set – moodily exploring some wonderful space laid out on the tunes "All Things Considered", "Las Palmas", "Tres Palabras", and "Canyon Lady". CD

With Kenny Baron, Ron Carter, George Cables, Stanley Clarke, Jack DeJohnette, George Duke, Herbie Hancock, Louis Hayes, Dave Holland, Mark Levine, Harvey Mason, Airto Moreira, Julian Priester, Lee Ritenour, Woody Shaw, Lenny White, and others. CD

A wonderful set from this mighty ensemble – a record that opens up immediately in a range of complex colors and tones, yet all with a quality that still manages to swing throughout! That balance is part of the real strengths of pianist/arranger David Matthews at this point in his career – able to draw on a few decades' worth of innovation in big band material, yet all without hitting you over the head with it – almost a return to the more organic shifts of sounds you'd get in a 50s arranger like Ralph Burns. The players are all great – and include Randy Brecker and Byron Stripling on trumpet, George Young and Chris Hunter on saxes, and Danny Gottlieb on drums – and titles include "Doxy", "Spanish Blue", "Sir Duke", "One Black Orchid", and a great take on Duke Jordan's "No Problem". CD

A pretty great idea for a late 60s rock record – even if the record itself is even better than its idea! The whole concept of the "masked marauders" was that the group was supposedly formed by big rockers of the time – unable to be listed on the cover, because of contractual obligations. And in truth, the set does sound a lot like it could have been lifted from sessions by The Rolling Stones, or Get Back-era Beatles – plus maybe a few other contemporaries too – yet it's all actually the work of some great unknowns, who came up with a sweet gimmick to get the record out there! On its own, the set's a real charmer – and has a mix of rootsy modes and tighter, deeper ideas that's not unlike some of the George Harrison/Phil Spector work – save for those moments when the Marauders are clearly trying to sound a bit more like a big name act. Titles include "I Can't Get No Nookie", "Cow Pie", "Duke Of Earl", "I Am The Japanese Sandman", "Later", "More Or Less Hudson's Bay Again", and "Season Of The Witch". Also features two mono single tracks – "Cow Pie" and "I Can't Get No Nookie". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this first volume include "Sue's Changes", "Devil Blues", and "Duke Ellington's Sound Of Love". CD

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. CD

Two different concert recordings from the great Charles Mingus – recorded with the space of more than a decade between them, and showing the continual evolution of his genius! The first 2CDs bring together a sublime recording by German Radio in Bremen from 1964 – work that's from that important European tour that included the soon-to-be late Eric Dolphy on alto, flute, and bass clarinet – as part of a fiery sextet that also includes Johnny Coles on trumpet, Clifford Jordan on tenor, and Jaki Byard on piano. All players are fantastic – getting that push with Mingus that could often make soloists even more dynamic with the leader at the helm than on their own recordings – as you'll hear on the extended concert readings of "Hope So Eric", "Fables Of Faubus", "Parkeriania", and "Meditations On Integration" – plus a shorter solo by Byard. Mingus is at the helm of a different, but equally great group on the 1975 concert – with Jack Walrath on trumpet, George Adams on tenor, Don Pullen on piano, and Dannie Richmond on drums (as on just about every Mingus recording!) The politics of the 64 performance are still in place, with a slight shift – and they're mixed with some of the late Mingus' love of Duke Ellington, who gets a tribute here in a few spots, but with some great touches by Charles. Most tracks are nice and long – and titles include "Remember Rockefeller At Attica", "Devil Blues", "Duke Ellington's Sound Of Love", "Black Bat & Poles", "For Harry Carney", "Sue's Changes", and "Free Cell Block F Tis Nazi USA". CD

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes". CD

Trippy electric fusion from the west coast – a record that features Ponty, who was working with Zappa at the time, playing a set of electric jazz takes on Zappa tunes – with lots of added help from George Duke, who was also working with Zappa too! The set's almost a "birth of fusion" one – with Zappa arrangements that are clearly in a jazz-rock mode – and lots of electric bass, electric piano, and electric violin in the set. Tracks are long, and riff-heavy – and other players include Ernie Watts, Wilton Felder, Buell Neidlinger, and Ian Underwood. Titles include "America Drinks & Goes Home", "Music For Electric Violin & Low Budget Orchestra", "King Kong", and "Twenty Small Cigars". CD

A double-length package of organ/guitar greatness – and a set that features key 60s work by Hammond hero Jack McDuff and guitarist George Benson! First up is The New Boss Guitar Of George Benson – the first album ever cut by Benson as a leader, a cooker of a soul jazz set, recorded back when George was the guitarist in Jack McDuff's classic 60s quartet! The album's almost a McDuff Quartet one – since Jack's on Hammond and Red Holloway is on tenor – but the group's slightly different too, with the surprising additions of Montego Joe on drums, and Ronnie Boykins on bass! Benson's guitar is amazing throughout – sharp-edged and played with a tightness that's quite different than most of his later work – and titles include "Shadow Dancers", "The Sweet Alice Blues", "Just Another Sunday", "Easy Living", and "Rock A Bye". Next up is Hot Barbeque – one of our all-time favorite albums from Brother Jack McDuff! The combo here is great – with a young George Benson hard-wailing on guitar, cutting lines so fast and furious it's hard to believe – especially if you only know his later work. The legendary Joe Dukes is on drums – dancing all over the place under Brother Jack's great groovy solos – and Red Holloway completes the group on tenor sax! The title track's got a rare vocal refrain – with Jack shouting out "Hot Barbeque" over the organ – and other cuts include "Briar Patch", "Hippy Dip", "601 1/2 North Poplar", and "The Three Day Thang". CD

2 of the greatest albums ever by Jack McDuff – back to back on one CD! Soulful Drums of Joe Dukes was originally issued under the name of McDuff's famous mid-60s funky drummer, Joe Dukes – but it's actually a McDuff session, recorded with the classic quartet lineup that includes Red Holloway on tenor and alto, George Benson on guitar, and Dukes on drums. The album's got an incredible sound, with Dukes' unique approach to drums scattering all over the kit, creating these complicated dancing rhythms for the organ, sax, and guitar lineup. The album's filled with excellent groovers, like "Moohah the D.J.", "Soulful Drums", "Greasy Drums", and "My Three Sons" – and the whole thing's great! Equally sublime is the album Hot Barbeque – probably the strongest of all of McDuff's mid 60s albums, with a coherency and a solidness to the playing that you'd have to work hard to find on other organ group sides from the time. Jack's work on the Hammond is incredible, filled with sharp changes and turns that will leave you breathless, and which will soon make him your favorite organist ever. Benson's guitar is incredible, too – filled with energy and intensity, vamping away at a pace and accuracy that's simply inexplicable. Every single cut's a gem – and the album includes the vocal-driven groover "Hot Barbeque", plus "Hippy Dip", "601 1/2 North Poplar", "The Three Day Thang", and "Briar Patch". All That, and the CD also includes the rare bonus track "Redwood City"! CD

A lost jazz-funk gem – originally recorded at Club Mozambique in Detroit in 1970, but not issued by Blue Note until the mid 90s! The set's right up there with Lonnie's classic Move Your Hand live set – as the tracks are long, free, and very funky, performed by a hip group that includes Joe Dukes on drums, Dave Hubbard on tenor, Ronnie Cuber on baritone, and George Benson on guitar. Lonnie's organ is harder than you'll ever hear it in later years – and tracks include "Scream", "Expressions", "I Can't Stand It", "Peace Of Mind", "Love Bowl", and "Play It Back". CD