Hard-dancing piano lines from Fumio Karashima – a highly dynamic player that's hardly ever gotten his due on this side of the Pacific! Fumio worked on a few of Elvin Jones' better recordings from the post-Coltrane years, but he really sounds far better on his own – working in trio formation here, in a way that lets his long, loping lines on the piano stretch out and really take flight. There's an understatedly rhythmic quality to a lot of these titles that's really great – a slow pulse that's present even in the silent moments – driving the tunes with a poise, grace, and vision that are instantly apparent. Titles include the originals "Open The Gate" and "Tony Williams" – plus versions of "Autumn Leaves", "Love For Sale", and "Norwegian Wood". CD

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower". CD

Early Prime Time stuff by Ornette, with the harmelodic sound electric sound of the group that included Jamaaladeen Tacuma, Bern Nix, and Charlie Ellerbee. Lots of popping guitar strings, jumping basslines, and rambling solos by Ornette. Tracks include "Jump Street", "Sleep Talk", "Air Ship", "What Is The Name Of That Song?", and "Job Mob". Very early eighties, very downtown scene. CD

A funky keyboard treasure – a smoking organ and Fender Rhodes session that is one of the greatest Blue Note albums by Ronnie Foster! Foster plays organ on the set, next to electric piano by Ernie Hayes – and the pair stir up the sound wonderfully as they glide over grooves, soaring on twin keyboard lines that really make for a magical sound! A few tracks get hard and funky, and others have that superdope laidback feel that made all of Foster's early work so great – especially for the Quest-era sample crowd. The album's got some really great 70s soul covers, mixed with a few tasty originals – and titles include "Backstabbers", "Lisa's Love", "Superwoman", "Alone Again (Naturally)", "Sweet Revival", "Some Neck", "Inot", and "It's Just Gotta Be That Way". CD

Terumasa Hino's looking a bit cheesy on the cover of this one – but the record's hardly the slick 80s affair you might expect – and instead is a great session of ballads and more gentle numbers, recorded in the US with full string backings and a warmly sensitive approach to the music! There's a depth here that goes beyond most of Hino's other work of the decade – an approach to the tunes that reminds us a bit of Art Farmer or Freddie Hubbard in a similar setting – with warmly lyrical lines undercut with a slight hint of sadness – that "blue" reference in the title and cover image. Hino plays cornet with a core group that includes Jim Hall on guitar, Kenny Kirkland on piano, Eddie Gomez on bass, and Grady Tate on drums – plus a bit of vocals – and strings are arranged by David Nadian. Titles include "Greensleeves", "Black Orpheus", "Alone Alone & Alone", "Nature Boy", and "Lush Life". CD

It's hard to go wrong with Jackie & Roy at this early point in their career – and the sound here is completely sublime – unlike anything else we can think of! The album has the pair coming off their seminal early work with Charlie Ventura – working in a mode that's deeply informed by bop, and which has the singers hitting vocal lines that only the hippest of the 50s could match! Yet there's also a sweetness too – a style that sets them apart from the work of Eddie Jefferson, King Pleasure, or Jon Hendricks – especially given that some of the tunes have Jackie & Roy taking the lyrics straight, instead of riffing with an instrumental solo-inspired sound. Some cuts feature scatting, others vocalese, and still others offer great straight-up readings of the lyrics – and backing is by a small combo that features Roy on piano, Barry Galbraith on guitar, Bill Crow on bass, and Joe Morello on drums. Titles include "Slowly", "Thou Swell", "I Didn't Know What Time It Was", "Cheerful Little Earful", "Hook Line & Sinker", and "Yesterdays". CD

A really great later effort from Helen Merrill – one recorded in Paris at the end of the 80s with some excellent tenor sax work from Stan Getz! The mode of the record is similar to other Merrill records from the time – spare, gentle, and moody – sometimes threatening to lapse into its own blueness, but wonderfully redeemed by Stan's solo lines – which push a boldness and raspy edge into the tunes that really livens things up. The album's a great demonstration of the Getz power on a vocal session – a sound that never overtakes the presence of the singer, but really brings in something fresh – a voice of its own that helps redefine the tunes and create some of the most exciting moments on the record. Other players include Joachim Kuhn and Torrie Zito on piano, JF Jenny-Clark on bass, and Daniel Humair on drums – and titles include "Music Makers", "Cavatina", "It's Not Easy Being Green", "Yesterdays", "If You Go Away", and "Just Friends". CD

A really unusual album from the mighty Hammond giant John Patton – as the set features two tenor players in the group, both of them great! The tenor's no stranger to the sublime keyboard work of Patton – but here, the great one gets help from both Fred Jackson and Harold Vick – both of whom are at their early 60s soul jazz best, able to play with a hard edge, but also some surprisingly complicated moments too – which really fits into the spirit of Patton's overall groove! The group also features great guitar from Grant Green – one of his key pairings with the organist – plus drums from the wonderful Ben Dixon, who's got a fluid, open approach to rhythm that really works well with John's basslines from the Hammond. Titles include "Gee Gee", "Pig Foots", "Spiffy Diffy", "Along Came John", and the classic modal groover "The Silver Meter". CD

A killer debut from Rasputin Stash – a funky group who work with all the long-haired inspiration you'd expect from their name! The groove is a mix of guitars and tight horns – undercut by the kind of heavy basslines that later made the group a good fit for Curtom Records, and lots of cool percussion touches that pepper the bottom of the rhythms nicely – with a pretty spontaneous feel! At times, there's almost a Watts 103rd Street Rhythm Band vibe to the record, but mixed with some of the trippier influences of the Westbound crew – especially on the guitar – and like those artists, these guys have no trouble at all dipping into a touch of rock here and there to trip out their groove. Titles include "Mr Cool", "You Are My Flower", "Dookey Shoe", "I Want To Say You're Welcome", "Take Me On Back", and "Freaks Prayer". CD

One of the most haunting albums we've ever heard from Japanese pianist Masao Yagi – and one of his straightest, too! The set's a moody, late nite affair – but that hardly means it's sleepy at all, as Yagi brings a decided edge to the proceedings – setting things up with some slightly unusual arrangements, even amidst familiar tunes. Some numbers focus on his piano lines – which have a much more human feel than usual – while others make use of some key trumpet and tenor solos, both recorded with just the right depth to fit the mood of the record. Titles include "Cry Me A River", "Love Is Here To Stay", "Autumn In New York", "April In Paris", "Goodbye", and "Softly As In A Morning Sunrise". CD