One of those landmark meetings of mighty talents that sounds even better on record than it does on paper – as the set somehow finds this really special space that's completely between all the best early 70s modes of both Terry Riley and John Cale! Cale was really coming into his own at the time as a solo act – creating amazing records after leaving the Velvet Underground, but also still tied to the deeper art scene from which he emerged. Riley was on the way to becoming one of the most popular of the more modern composers – thanks to a nod from The Who, and a big audience for his wonderfully trippy records on Columbia. The label allowed the pair to create this really special music here – sounds that borrow from Riley's minimalism, while also having some of the darkness of Cale's own compositions – and coming across with this jagged, almost modal sort of approach that's really great. Cale only sings on one song, and the rest of the set is instrumental – as Riley plays piano, organ, and soprano sax – and Cale joins in on bass, guitar, viola, and harpsichord. The two of them groove together in these totally cool tracks that build and build, with minimal lines repeating over and over in endlessly fascinating groove – in a way that touches on a weirdly funky mode! The cut "Ides Of March" has the potential to be dancefloor groover in the jazz dance scene, and there's lots of other great tracks like "Church of Anthrax", "The Protege", and "The Hall of Mirrors at the Palace of Versailles". CD

A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients". CD

An excellent compilation of work by Curtom club diva Linda Clifford – featuring 17 tracks from her late 70s albums on the label, plus 7 more tracks that comprised the album I'm Yours! Titles on the "best of" part include not only club tracks like "Runaway Love", "Broadway Gypsy Lady", "If My Friends Could See Me Now", "Don't Give It Up", and "From Now On", but also 2 duets with Curtis Mayfield, and the classic lost early single "March Across The Land"/"Long Long Winter" – two fantastic sides of soul that predate the disco era, and which stand as some of the best Chicago female soul from the 70's! The I'm Yours album includes the cuts "I Had A Talk With My Man", "Shoot Your Best Shot", "I'm Yours", "If You Let Me", and "I Don't Hurt No More". 24 tracks in all! CD

One of the coolest, funkiest records we've ever heard from Dr John – thanks to lots of guest help from The Meters! The vibe here is a bit tighter than some of Mac's previous records – not as trippy as his first few for Atco – but the sound is still nice and sharp, and Allen Toussaint provides production and arrangements with a style that would be right at home on some of his work for the indie Sansu label. The title cut – "Right Place Wrong Time" – was a huge hit, but has a great funky break – and the album also features loads of other nice numbers too – including "Life", "Traveling Mood", "Same Old Same Old", "Just The Same", and "Shoo Fly Marches On". CD

A record of pure genius and one of the greatest albums ever to come out of the British jazz rock scene – in an expanded 2CD package – with BBC and Peel Sessions, plus previously unreleased studio material! Matching Mole was a bit of a supergroup at the time – one that featured the piano, drums, and voice of Robert Wyatt next to the guitar of Phil Miller – topped off by additional piano, organ, and electric piano – in a wonderfully spacey, wonderfully mellow style that's never been matched again! If you dig the quieter, gentler side of Wyatt's work – or some of Miller's most intimate recordings on Virgin – you'll totally flip over the album – but even that's not giving it it's full due, because the sound is totally unique. Wyatt's vocals are wonderfully personal, and almost heartbreaking at times – handled with a fragility that few others of his generation had the courage to match! Titles include "Part Of The Dance", "Signed Curtain", "O Caroline", "Instant Kitten", "Beer As In Braindeer", and "Dedicated To Hugh But You Weren't Listening". Bonus material includes "O Caroline (Single Version)", "Signed Curtain (Single Edit)", the previously unreleased "Part Of The Dance Jam" (21+ minutes!) , plus "Horse", and "Memories Membrane", "Immediate Kitten" and "Marchides/Instant Pussy/Smoke Signal" from early '72 BBC sessions for John Peel and more! CD

Blue in the main style of his early years at Riverside – working in an all-star group (the "Big 6" in the title), with players that include Johnny Griffin, Curtis Fuller, Wynton Kelly, Wilbur Ware, and Philly Joe Jones. Blue's leadership isn't that strong – but fortunately, the others (particularly Griffin, Ware, and Jones) gel together strongly with or without him, making the set crackle with the soulful energy of some of the best Jazzland/Riverside hardbop sides from the time. Tracks include "Sir John", "Blues March", "Big Six", and "Jamph". CD

Searing sounds from The Seeds – not just the group's well-known material on GNP, but lots of obscure non-LP tracks, b-sides, and even some late gems recorded for MGM! The sneering, gritty quality of the group really comes through on these tracks – tight numbers that pack a heavy punch in the short space of a vintage 45 – as a few familiar tunes mix things up with lots of lesser-known gems – all in a mindblowing set of garage psych from the tail end of the 60s! Titles include the MGM singles "Bad Part Of Town", "Did He Die", "Love In A Summer Basket", and "Wish Me Up" – plus the tracks "The Wind Blows Your Hair", "Six Dreams", "Mr Farmer", "Up In Her Room", "No Escape", "Out Of The Question", "Daisy Mae", "Excuse Excuse", "March Of The Flower Children", "Try To Understand", "Can't Seem To Make You Mine", and an unedited rare version of "Pushin Too Hard". CD

A laidback, and almost rootsy effort from Cassandra Wilson – recorded with small combo backing, and still handled in the sweetly swinging style of her other Blue Note work – but also with some folksy touches that create a more intimate feel on the record than you might think. Of course, part of the reason for that is that a few of the tunes on the set are classic blues numbers – handled by Wilson in an updated style that has kind of a fake authentic quality to it. We still prefer her on the smoother jazzier sides of the set – like the album's great remake of Jobim's "Waters Of March", or the mellow tune "Only A Dream In Rio". Other tracks include "Road So Clear", "Hot Tamales", "Show Me A Love", 'Drunk A Cooter Brown", "Wichita Lineman", "The Weight", and "Justice". CD